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Karl Marx’s unfinished masterpiece, Capital, is a disjointed and incoherent mess. But as Francis Wheen argues, that’s the point. Marx believed capitalism was a disjointed, incoherent mess. Don’t read the book as a work of economics, but read it as Marx intended—a work of art:

Marx was a modernist avant la lettre. His famous account of dislocation in the Communist Manifesto - "all that is solid melts into air" - prefigures the hollow men and the unreal city depicted by TS Eliot, or Yeats's "Things fall apart; the centre cannot hold". By the time he wrote Das Kapital, he was pushing out beyond conventional prose into radical literary collage - juxtaposing voices and quotations from mythology and literature, from factory inspectors' reports and fairy tales, in the manner of Ezra Pound's Cantos or Eliot's The Waste Land. Das Kapital is as discordant as Schoenberg, as nightmarish as Kafka.

Marx saw himself as a creative artist, a poet of dialectic. "Now, regarding my work, I will tell you the plain truth about it," he wrote to Engels in July 1865. "Whatever shortcomings they may have, the advantage of my writings is that they are an artistic whole." It was to poets and novelists, far more than to philosophers or political essayists, that he looked for insights into people's material motives and interests: in a letter of December 1868 he copied out a passage from another work by Balzac, The Village Priest, and asked if Engels could confirm the picture from his own knowledge of practical economics. Had he wished to write a conventional economic treatise he would have done so, but his ambition was far more audacious.

Posted by edelfenbein at July 16, 2006 12:37 PM