Table of Contents

Chapter One Political and Artistic Divides in Baudelaire.
Chapter Two The Diabolical Character of Modern Political Redemption.
Chapter Three Benjamin’s Politicized Aesthetics.
Chapter Four The God’s Eye View of the Historical Materialist.
Chapter Five Paris, Melancholy and Phantasmagoria: Economic Determinations or a Human Soul-scape?
Chapter Six Flâneurs – Baudelaire’s Urban Self-Makers, Benjamin’s Accomplices of Commodity Capitalism, and Redeeming Rag-pickers.
Chapter Seven Baudelaire’s “Depraved” View of Women and Benjamin’s Redemption of Commodified Fallen Women.

About the Author

Beibei Guan assistant professor of English at Harbin Institute of Technology, Shenzhen.

Wayne Cristaudo is professor of political science at Charles Darwin University.

Reviews

The authors show how the politicized approach to literature that dominates the academy today, bolstered by Walter Benjamin as tutelary genius, strips the mind and heart of their deepest and most necessary resources (starting from empathy) for understanding literature and human affairs in general. Unquestioning belief in one’s own idea of what is right – in a political ideology rather than in humanity and its unfathomable complexity – demonstrably leads to the gulags and genocides that have blighted contemporary history since Benjamin. On the basis of a deeper understanding of the workings of politics in history, grounded on analyses by Weber and Tocqueville rather than on slogans taken from Marx, this book pleads for restoring to their place of honor poetic insight and aesthetic vision, which have been tragically forsaken for political ideology in so much contemporary criticism. The book has a sharp, specific, and topical focus in diagnosing Benjamin’s (mis)reading of Baudelaire, but it also has broad scope and relevance in touching the nerve of what is vitiating literary studies and the humanities across disciplines in their present crisis.
*William Franke, Vanderbilt University*

To present a reading that goes against the grain of the critical orthodoxies relating to any major figure is a brave undertaking indeed, so to do this in relation to not one but two such figures in a single volume is surely foolhardy to say the least. When each of those figures has transmogrified into something resembling a brand behind which there lays an entire scholarly industry invested in the maintenance of that brand identity, such an endeavour is tantamount to a declaration of war. Yet such is precisely the project of Guan and Cristaudo here, knowing that such a move is justified only if the stakes are high enough. Their argument is as compelling as its ramifications are damning for any who tow the party line in relation to Baudelaire or Benjamin and crucial for anyone wishing to reconsider the relationship between aesthetics and politics.
*Greg Hainge, FAHA, University of Queensland*

Walter Benjamin sees Charles Baudelaire as a touchstone for the zeitgeist of Paris during the rise of the bourgeoisie, and indeed Benjamin strives to recruit the poetry of Baudelaire to the Marxist project of revolutionary transformation. Beibei Guan and Wayne Cristaudo, however, demonstrate that the “artistic” sovereignty in the aesthetic values of Baudelaire might, in fact, resist such “priestly” recruitment to the political causes of Benjamin. Guan and Cristaudo offer their own spirited defenses of l’art pour l’art, and they rescue Baudelaire from the apparatchiks of literature, arguing that Benjamin has spawned an academic industry of critics, who assess the merits of poetry, based upon its devotion to an agenda of popular, leftist salvation (even though much of poetry argues for the “evil” of its own freedom in defiance of such crusades). Guan and Cristaudo strive to give poetry back to the poets, like me.
*Christian Bök, Charles Darwin University*