Grand Hotel Abyss Quotes

“We no longer live in a world where nations and nationalism are of key significance, but in a globalised market where we are, ostensibly, free to choose – but, if the Frankfurt School’s diagnosis is right, free only to choose what is always the same, free only to choose what spiritually diminishes us, keeps us obligingly submissive to an oppressive system.”
― Stuart Jeffries, Grand Hotel Abyss: The Lives of the Frankfurt School

“John Dewey. ‘The serious threat to our democracy is not the existence of foreign totalitarian states. It is the existence within our own personal attitudes and within our own institutions of conditions which have given a victory to external authority, discipline, uniformity and dependence upon The Leader in foreign countries. The battlefield is also”
― Stuart Jeffries, Grand Hotel Abyss: The Lives of the Frankfurt School

“But the opening ceremonies of the Third Reich also heralded its death. In Minima Moralia: Reflections from Damaged Life, written in American exile, Adorno, that virtuoso of immanent critique, wrote: ‘No one who observed the first months of National Socialism could fail to perceive the moment of mortal sadness, of half-knowing surrender to perdition, that accompanied the manipulated intoxication, the torchlight processions and the drum-beating.’7 This leitmotif – sadness in intoxication, catastrophe foreshadowed in the very moment of exultation, death figured in birth pangs – is, for Adorno, utterly German, and it had an historic parallel. In 1870, he notes, as the German Empire was born in victorious military campaign, Wagner wrote Götterdämmerung, ‘that inflamed spirit of the nation’s own doom … In the same spirit, two years before the Second World War, the German people were shown on film the crash of their Zeppelin at Lakehurst. Calmly, unerringly, the ship went on its way, then suddenly dropped like a stone.’8 Like Benjamin, Adorno reimagined history as breaking through what the former called empty, homogeneous time, establishing resonant constellations of disasters or hopes, assembling them into allegories of their own demise.”
― Stuart Jeffries, Grand Hotel Abyss: The Lives of the Frankfurt School

“The image of the punishing father was now projected into the authority of the state. Fromm even contended that the criminal justice system did not reduce the crime rate; rather, its function was to intensify oppression and crush opposition. These thoughts are echoed in our time by the American activist and professor Angela Davis, a one-time student of Marcuse. What she and other leftist intellectuals call the ‘prison-industrial complex’, a tawdry if tacit alliance between capitalism and a structurally racist state, results not in a reduction in the crime rate but in profits for business and a withdrawal of democratic rights for the US’s overwhelmingly black and hispanic inmates.”
― Stuart Jeffries, Grand Hotel Abyss: The Lives of the Frankfurt School

“In his inaugural lecture, Horkheimer opposed positivism because it ‘sees only the particular, in the realm of society it sees only the individual and the relations between individuals; for positivism, everything is exhausted in mere facts’.10 Positivism, an approach to social theory devised in the nineteenth century by the French philosopher Auguste Comte, held that society, like the physical world, operates according to laws. In philosophy, logical positivism holds that all we can reasonably claim to know is based on reports of sensory experience, along with logical and mathematical operations. Propositions not based on such reports or operations are metaphysical and hence nonsense, and even aesthetic or moral judgements, rightly understood, are not genuine judgements but more or less sophisticated grunts of approval or disapproval. Such a philosophy was developed almost contemporaneously with the Frankfurt School. The so-called Vienna Circle of logical positivism, founded by Moritz Schlick in 1922, consisted of a group of philosophers and scientists who met until 1936 at the University of Vienna. Some former members of the Circle went into exile from Austria around the time of the Nazi Anschluss of 1938, and the Circle went on to greatly influence philosophy departments in Britain and the United States, in part because their intellectual trajectory (they took most of Hegel to be metaphysical and therefore nonsense) was more amenable to the Anglophone universities.”
― Stuart Jeffries, Grand Hotel Abyss: The Lives of the Frankfurt School

“Peter Sloterdijk, in his 2005 book Im Weltinnenraum (In the World Interior of Capital), agreed with Benjamin that capitalism functions, in part, by creating exclusive spaces to keep out the undesirable and unmoneyed – be they gated estates, malls with security guards, or fortress Europe – but denied that such grand interiors of capital contained any hope for a better world. Indeed, Sloterdijk argued that another, grander capitalist temple of glass and steel, namely Joseph Paxton’s Crystal Palace built to house the Great Exhibition of 1851 in London, was a better, but less hopeful, metaphor for capitalism. ‘The arcades formed a canopied intermezzo between streets or squares’, wrote Sloterdijk, ‘the crystal palace, on the other hand invoked the idea of an enclosure so spacious that one might never have to leave it.’18 Inside the Palace, the world’s most diverting flora, fauna and industrial products were displayed under climate controlled, obligingly sanitary conditions under one roof, thus precluding the necessity for travel, while whatever remained outside (war, genocide, slavery, unpleasant tropical diseases) dwindled into irrelevance. In that respect, Crystal Palace rather than the Parisian arcade was the blueprint for how capitalism has functioned since. ‘Who can deny’, Sloterdijk wrote, ‘that in its primary aspects, the western world – especially the European Union – embodies such a great interior today?’19 In The Arcades Project, Benjamin took the bourgeois drawing room to be emblematic of private space under early capitalism, one in which the private citizen could hole up from the irksome world; under late capitalism, for Sloterdijk, the exclusion zone had expanded from drawing room to the size of a continent.”
― Stuart Jeffries, Grand Hotel Abyss: The Lives of the Frankfurt School