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'POST-SIXTIES': a CULTURAL HISTORY of UTOPIA in the UNITED STATES a Dissert UNIVERSITY OF CALIFORNIA SANTA CRUZ AFTER THE ‘POST-SIXTIES’: A CULTURAL HISTORY OF UTOPIA IN THE UNITED STATES A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in LITERATURE by Madeline Lane March 2016 The Dissertation of Madeline Lane is approved: ____________________________________ Professor Wlad Godzich, chair ____________________________________ Professor Christopher Leigh Connery ____________________________________ Professor Robert Sean Wilson _____________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Table of Contents List of Figures ……………………………………………………………………… iv Abstract ……………………………………………………………………………. v Acknowledgments and Dedication ………………………………………………… vi Introduction: Toward a Theory of Utopia at the End of the Post-60s …………….... 1 Part One: Periodizing Anti-Utopianism …………………………………………… 26 Chapter One: Failed Utopia and the Post-60s in Boyle’s Drop City ............ 31 Chapter Two: “There is no use pretending, now”: Reading Le Guin’s 1970s Critical Utopias Against Anti-Utopianism ………………………………… 57 Chapter Three: Finding Utopia in the Dystopian Turn: Punk Literary Utopias in the Long 1980s …………………………………………………………. 81 Part Two: Of Utopia and Recuperation: The Cultural and Spatial Imagination of the American Tech Industry ………………………………………………………….. 130 Chapter Four: “We Owe It All to the Hippies”: Undoing the Post-60s in the Techno-Utopian 1990s …………………………………………………... 136 Chapter Five: False Utopias of Silicon Valley ………………………….. 179 Part Three: Utopia as the Idea of Post-Capitalism ………………………………. 213 Chapter Six: The End of Capitalism in ‘Post-Occupy’ Dystopian Films .. 220 Chapter Seven: Notes on the Spatial Imagination of Contemporary Struggles …………………………………………………………………………… 261 Conclusion: ‘Utopia’ After Occupy …………………………………………….. 289 Bibliography…………………………………………………………………….. 304 iii List of Figures Figure 1 – Sex Pistols ……………………………………………………………… 90 Figure 2 – Mad Men 1 …………………………………………………………… 131 Figure 3 – Mad Men 2 …………………………………………………………… 134 Figure 4 – Floating City Plan ……………………………………………………. 184 Figure 5 – Googleplex 1 ………………………………………………………… 192 Figure 6 – Googleplex 2 ……………………………………………………….... 194 Figure 7 – Googleplex 3 ………………………………………………………… 198 Figure 8 – Google Bus ………………………………………………………….. 210 Figure 9 – Dawn of the Planet of the Apes ……………………………………... 224 Figure 10 – Cosmopolis ………………………………………………………… 226 Figure 11 – The Dark Knight 1 …………………………………………………. 231 Figure 12 – The Dark Knight 2 …………………………………………………. 232 Figure 13 – The Dark Knight 3 …………………………………………………. 238 Figure 14 – Snowpiercer 1 ……………………………………………………… 244 Figure 15 – Snowpiercer 2 ……………………………………………………… 248 Figure 16 – Mad Max: Fury Road 1 ……………………………………………. 250 Figure 17 – Mad Max: Fury Road 2 ……………………………………………. 251 Figure 18 – Mad Max: Fury Road 3 ……………………………………………. 254 Figure 19 – The Road ………………………………………………………….. 258 Figure 20 – Oakland Commune 1 ……………………………………………… 292 Figure 21 – Oakland Commune 2 ……………………………………………… 297 iv Abstract: After the ‘Post-Sixties’: A Cultural History in Utopia, Madeline Lane After the ‘Post-Sixties’: A Cultural History of Utopia in the United States is an historical inquiry into the cultures of utopian thought and practice. Consisting of three multi-chapter sections, this cultural history unfolds as an account of utopian, anti- utopian, and dystopian imagination through different periodizations. Each section attempts to extend Fredric Jameson’s 1984 essay “Periodizing the 60s” to a history of the present period, developing a historical framework for understanding the politics of utopia. The last section deals with utopia and dystopia as cultural tendencies in the historical imagination of the 2007-2008 financial crisis and the global explosion of social movements and uprisings that extended from the Movement of Squares in the North Africa, the Middle East, and parts of the Mediterranean, to the Occupy Wall Street encampments in the United States. The first section builds toward this account of the contemporary period, through a series of analyses of literature, film, subcultures, music, architectures, and historical phenomena that engage with communalist, feminist, punk, anti-colonial, and anti-capitalist articulations of ‘utopia.’ The second section examines the recuperation of countercultural utopianism in post-1960s history of tech corporations and creative industries in the United States. In constructing a periodization of the end of the post-sixties, this cultural history considers various shifts and mutations in the political imaginary of neoliberalism, and takes up utopia as an epistemological problematic of contemporary global capitalism. The project concludes tentatively and with futurity, insisting on the correspondence between utopian imagination, historical experience, and revolutionary possibility. vi “NO ONE WAY WORKS, it will take all of us shoving at the thing from all sides to bring it down.” – Diane DiPrima, Revolutionary Letter #8 Acknowledgements and Dedication My research and pursuit of this project was nurtured by the supervision of my committee members, Wlad Godzich, Chris Connery, and Rob Sean Wilson, whose guidance will stay with me for many years to come. I want to also thank professors Hunter Bivens, Vilashini Coopan, Susan Gillman, Donna Haraway, Dee Hibbert- Jones, G.S. Sahota, and Dick Terdiman, each of whom played a key part in the development of my work. None of this would have been possible without the tireless encouragement and commitment of my colleagues Johanna Isaacson and Kenan Sharpe. I also want to thank Maya Andrea Gonzalez and Jeb Purucker, for their generosity and time in helping me to refine my ideas and politicize my thinking over the course of so many years and shared experiences. Marija Cetinic, Lisa Curran, Dylan Davis, Kendra Dority, Justin Hogg, Louis-Georges Schwartz, and Nicole Trigg are among the many friends whose support has kept me both motivated and reflexive about the process. I would not have been able to pursue this project without the love and labor of my partner, Kyle. My father, George, and my mother and step-father, Laura and Eric, are wonderful and loving grandparents who have given me the time and space to complete my dissertation within the university’s time-frame. My last acknowledgement is my dedication – to my daughter, the possibilist, and to my late friend, a utopian killed by capitalist realism. For Tuli Zinnia & Chitty vi Introduction Toward a Theory of Utopia at the End of the Post-60s “Sometimes I think the conditions of daily life, of everyday oppressions, of survival, not to mention the temporary pleasures accessible to most of us, render much of our imagination inert. We are constantly putting out fires, responding to emergencies, finding temporary refuge, all of which make it difficult to see anything other than the present… When movements have been unable to clear the clouds, it has been the poets – no matter the medium – who have succeeded in imagining the color of the sky, in rendering the kinds of dreams and futures social movements are capable of producing. Knowing the color of the sky is far more important than counting the clouds.” – Robin D.G. Kelley, Freedom Dreams: The Black Radical Imagination “The purpose of a thought-experiment [is] not to predict the future… but to describe reality, the present world.” – Ursula K. Le Guin, introduction to The Left Hand of Darkness The following work draws out a history of ‘utopia,’ as a critical dimension to the cultural imagination since the end of the 1960s. According to a certain periodization of political foreclosure and neoliberal capitalism, the end of the 1960s marks a juncture of waning utopian imagination – an outmoding of utopia that maps onto the end of grand narratives pronounced by Jean-Francois Lyotard as the conditions of postmodernity. The “end of the 60s,” as Fredric Jameson suggests at the height of this foreclosure in 1986, “will be characterized by an effort, on a world scale, to proletarianize all those unbound social forces which gave the 60s their energy, by an extension of class struggle [into] the farthest reaches of the globe,” in addition to “the most minute configurations of local institutions (such as the university system).” (Jameson, “Periodizing” 208) It is through such a critique of the ‘post-60s’ paradigm that the outmoding of utopia may be reassessed and historicized 1 in terms of the cultural recuperation of the 1960s. However, the political stakes of this periodization have changed in recent years – more specifically, it seems possible to articulate a history of utopia positioned after this ‘end of the 60s.’ The cultural moment of this end of the post-60s – for which the encampments of Occupy Wall Street in 2011 are only a fleeting interlude – represents a shift in utopian imagination stimulated by a juncture of economic crisis and global recession. This is the long 2011, stretching from the brink of financial crisis in late 2007 to the insurrections that continue to proliferate on a global scale, in various mutations. In the United States, 2012 was dominated by political confusion and melancholia within radical milieu, as ‘Occupy Wall Street’ became even more clearly what it had always been: a product of social media activism, without a developed enough spatio-temporal imagination to exceed its digital platform. However, in late 2014 and early 2015, another resurgence of anti-capitalist energies emerged with the Ferguson riots and the Black Lives Matter movement.
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