Review: The Utopia of Rules, by David Graeber
Reading a book about bureaucracy may not sound like an exciting way to spend a weekend off with my family. And yet, having just started David Graeber’s latest—A Utopia of Rules—when I wasn’t making tea for my elderly grandmother, I curled up in a comfy chair with this little pink book, mocked up to look like one of the forms it excoriates, and excited by each new page. Although many of the ideas Graeber presents here aren’t new, the clarity and force with which they are drawn together and set out is a rare pleasure—a contrast with turgid official paperwork that was almost certainly intentional.
Graeber—a social anthropologist, anarchist, and prominent leftist thinker, based at the London School of Economics (LSE)—develops his argument, in part, by thinking ethnographically with his own personal experiences of officialdom, beginning with a heartbreaking account of his own struggle to deal with his elderly mother’s Medicaid application. In response to this, he introduces the book as a series of short essays on different facets of what he calls “total bureaucratisation”—defined as “the gradual fusion of public and private power into a single entity, rife with rules and regulations whose ultimate purpose is to extract wealth in the form of profits.” Bureaucracy is not a simple matter of red tape created by the state tying up private enterprise, as right-wing pundits would have us believe: Graeber points out that bureaucratic forms have become intrinsic to both private and public spheres.
While the Left has been largely unable to produce a critique of bureaucracy, the Right has such a critique—but efforts to “roll back” the state by the Right have had the opposite effect, producing even more paperwork than ever. This leads Graeber to propose what he calls “the Iron Law of Liberalism”, which states that “any market reform, any government initiative intended to reduce red tape and promote market forces will have the ultimate effect of increasing the total number of regulations, the total amount of paperwork, and the total number of bureaucrats the government employs.”
In stressing the coeval nature of the free market and an expansive state, Graeber directs his analysis away from shallow criticism of big government, towards the common institutional basis of all inequality, found at the heart of neoliberal governance. Given the extent to which the general public in the English-speaking world continue to view the expansive state and the “free” market as antithetical to one another and synonymous with the Left and the Right of politics respectively, this is an important point to make.
With the foundations laid, Graeber’s lucid prose carries the reader briskly through a sequence of stand-alone essays, each of which engages with a particular aspect of total bureaucratisation today. Each of these, Graeber claims, will need to be addressed by any critique of bureaucracy the Left might develop. Dead Zones of the Imagination utilises feminist theory of imaginative labour to develop the argument that bureaucracy—in addition to being stupid—exists to create stupidity. Its impersonal procedures, backed up by threat of violence, ensure that those in positions of authority—especially the police—are able to avoid doing the imaginative labour of empathising with others, while forcing those others to engage in imaginative labour towards the authorities, simply in order to avoid physical harm. Police insist upon being able to “define the situation”—those who contest this, rather than violent criminals, are the ones who are routinely meet with physical violence. This serves to emphasise a very basic point: don’t underestimate the importance of physical violence, even if it takes place behind a veil of paper.
In Of Flying Cars and the Declining Rate of Profit, Graeber turns his attention to the trajectory of technological development in the modern world. Why is it, he asks, that in the 1950s we were able to explore space, and expected to be surrounded by robotic servants and flying cars by now, but that this awesome potential has not been realised? The answer, he suggests, is that rather than cause social change by itself, the direction of technological innovation is directed by financial interests—so that instead of pursuing automation and space travel that could disrupt existing economic relations on Earth, major funders have prioritised less disruptive research lines, such as information technology. The greatest achievement of the late 20th century—the Internet—is revealed as decidedly chimeric; both a tool for enhanced communication, but also a means of surveillance and manipulation on an industrial scale. The promise of technology has been broken in favour of labour discipline and social control; R&D budgets have been slashed in favour of boosting executive pay and shareholder dividends. Instead of being allowed to pursue their research interests, academics are increasingly forced to spend more and more of their time doing paperwork. Rather than a driver of social change, technology is itself subject to the demands of capital.
The Utopia of Rules, or Why We Really Love Bureaucracy After All concludes the triptych, by exploring the ways in which bureaucracy can, in fact, be deeply enchanting—when it works well—providing human beings with a sense of predictability and certainty that can be deeply seductive. While the second essay uses science fiction to reflect upon the curious falling short of innovation, this essay turns to magic and fantasy fiction in an attempt to understand how the appeal of bureaucratic rationality is generated. Graeber argues that the elaborate angelic hierarchies and formulaic modes of ritual address, developed in the Rennaissance but that now enliven Western Ceremonial Magic, actually reflect a political imaginary—a vision of the chaotic, violent world of the Middle ages reordered according to a spiritualised version of the old, lost, Roman bureaucracy. Nowadays, however, this vision is inverted—fantasy fiction today constructs a pseudo-Medieval world, where bureaucracy is almost entirely absent, where creativity is directly channelled into reality via magic, and where leadership is acquired on the basis of personal virtue and conquest, rather than through impersonal qualification or graduate recruitment. However, while giving us an opportunity to vicariously enjoy a world without bureaucracy, medievalist fantasies – with their perennial sense of threat and danger – nonetheless reinforce our sense that it’s probably preferable to live with the devil we know. Just as the gruesome spectacle of Gladitorial combat both beguiled and repulsed the populace of Rome from the idea of democracy, the blood-soaked cities of Westeros instill in us a fear of a world without bureaucratic order.
Perhaps the most fascinating contestation made by Graeber—albeit, only in passing—is that bureaucratic rationality rests upon a resolutely spiritual set of commitments. The idea that numbers and their rational appraisal can help one to understand and manipulate reality, reaches back to the Pythagoreanism of ancient Greece. They, in turn, directly inspired Plato, the father of Western formalism, and in turn the Medieval angelic hierarchies mentioned above. This commitment to the power of logic and pure numbers conferred upon bureaucracy a utopian air; bureaucrats envision a world of perfect harmony, governed by well-designed, efficient institutions, and develop frameworks that attempt to make that world a reality. The fact that the complexity of the world-as-lived rarely fits these lofty ideals ensures that bureaucracy requires constant enforcement—with the force in question being the threat of violence meted out by private security, the police or the military.
But it is in the Appendix—Batman and the Problem of Constituent Power—that we find some of Graeber’s most timely observations for the present moment. In a playful analysis of the cultural and political significance of superheroes, Graeber points out that—building upon his analysis of medievalist fantasy in the previous chapter—comics teach the same kind of lesson. In pitting basically passive superheroes who seek to preserve the status quo against endlessly creative and scheming villains who wish to unseat it, comics allow the reader to vicariously enjoy the thrill of unfettered creative potential, only to enforce the idea that such potential necessarily leads to violence, and that violence is in turn the only way that it can be controlled.
In the Marvel and DC Universes, the only alternative to bureaucracy is violent creativity of villains—in short, fascism. This, in turn, allows Graeber to highlight a broad distinction between the left and the right: “Ultimately, the division between left-and right-wing sensibilities turns on one’s attitude towards the imagination. For the Left, imagination, creativity, by extension production, the power to bring new things and new social arrangements into being, is always to be celebrated. It is the source of all real value in the world. For the Right, it is dangerous; ultimately, evil. The urge to create is also a destructive urge. This kind of sensibility was rife in the popular Freudianism of the day [1950s]: where the Id was the motor of the psyche, but also amoral; if really unleashed, it would lead to an orgy of destruction. This is also what separates conservatives from fascists. Both agree that the imagination unleashed can only lead to violence and destruction. Conservatives wish to defend us against that possibility. Fascists wish to unleash it anyway. They aspire to be, as Hitler imagined himself, great artists painting with the minds, blood, and sinews of humanity.”
Following from the magistral philosophical treatise Debt: The First 5,000 years (2011), The Utopia of Rules is a more modest project. Graeber does not attempt to propose a leftist critique of total bureaucratisation within its pages, though he argues such a critique is long overdue. Nor does he advance a singular argument—his goal is simply to prompt a conversation. With the rise of the populist right, this conversation is more important than ever. The mainstream Left, Graeber points out, has for too long positioned itself on the side of state control, leaving critiques of bureaucracy to the Right. As the pro-market efforts of neoliberalism have done nothing but concentrate capital in the hands of the rentier classes, the frustration is now boiling over. And yet, in unveiling the mystical roots of stultifying modern paperwork, Graeber reveals a way forward for us—if total bureaucratisation is a spell laid over the world, that spell may be broken. We need not live out the fevered dreams of Renaissance mystics; we can awaken. Nor shall the dark blood and bone portraits of fascists necessarily hold sway over the human imagination, for the Left is just as creative as the right; indeed, unlike them, we can create without fear of creativity. The Right may aspire to break this world, but it is the birthright of the Left to make a better one.
Jonathan is a social anthropologist and human ecologist, based at the University of Cambridge. He is a specialist in the political economy of the British landscape, and in the relationship between spirituality, the environment, and climate change. A member of the Order of Bards, Ovates, and Druids, and an eco-animist, Jonathan maintains a blog about his academic fieldwork called BROAD PATHWAYS.
You can still purchase our entire digital catalogue for $20 US until 1 June.