white mule's formal luddhism
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Ben Totushek
Close Reading Essay
Wen Jin, The Novel and Global CapitalismWord Count: 2381
Nothing characterizes the works of the popular front so much as the inability toimagine a completed narrative (Denning 118).
The cultural front of the early 20 th century was characterized by a different kind of
strategy on the part of the American labor movement. Borrowing from Gramscis idea of
the social bloc, Michael Denning suggests looking at the popular front as a historical bloc
that had both a base (the labor movement) and a superstructure (political thought
currents, unique cultural works and values, etc) (6). This particular period in American
Labor, although never gaining true hegemony, nevertheless had far reaching influence,
argues Denning, particularly with regards to one main school of its cultural works which
he terms the proletarian grotesque (many of which are still popular today). The Novel
White Mule by William Carlos Williams is a perfect example of one such work that
made important contributions to both the popular fronts evolving aesthetic ideology, as
well as to modernism as a whole. The purpose of this paper is to closely analyze one
passage of White Mule in detail, with the aim of decoding Williams complex system of
revolutionary symbolism (118). In doing so, we will shed light on two major issues that
Williams raises in the text. The first is Williams own view of the nature of the capitalist
mode of production. The other is what, if any, alternatives does Williams offer?
Though foremost among Williams formal decisions seems to be an obsession with
obscurity, there is a symbolic logic to his formal style, albeit an obscure one. In fact,
there is much to be learned from studying the basic formal devices of the novel, from the
conscious omission of quotation marks and new paragraphs for each speaker to the
unambiguous lack of a well-developed plot, in addition to, say, the allegorical meaning of
its basic characters and events. Williams creation of the variable foot in poetry was a
radical formal statement in its own right, aimed at the literary elites and dripping in the
vernacular of the American working class. In this same vein, White Mule is an attempt by
Williams to open up new channels of communication through radical formal deviance
and, using these channels, to say something totally new and unique about the nature of
American life under a capitalist mode of production. In a historical sense, he was
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probably a modernist, although his ideas remain current in the context of a postmodern
world and beyond, which testifies to their strength. As a basic rule, each chapter of the
book is set up as its own little documentary, offering a very honest, often ugly, but
always clinical look at the culture that pervaded working class life in the late 18 th- early
19th centuries.
In applying the two-fold level analysis described above (both of form and of content)
the most revealing passage of the novel for decoding White Mules revolutionary
symbolism involves the breaking of a printing press on a shop floor, and the situations
handling by the manager, Joe. In terms of content, the machines malfunctioning due to a
blockage, specifically the blockage of a foreign object, suggests an allegorical reference
to the all-too-famous barriers or limits to capital, which both David Ricardo and Thomas
Malthus conceded were relevant economic considerations, though they mainly focused
on population and the environment. David Harvey, combining a Marxist method of
inquiry with a modern geographical framework, describes several other barriers to
capitalism, including the surplus production problem, the problem of adequate labor, the
problem of limited quantities of natural resources, the problem of technology as a
commodity (resulting in less dynamic labor-saving innovation), the question of limited
market demand, and finally, the question of control on the shop floor. A chief theme
amongst these blockages is of course the potential barrier of an unruly workforce.
Secondary but related themes include the origins of capital, namely capital as constructed
the credit system, and the monetary system as a whole. In terms of form, however, this
blockage is also an allegory for the blocking of the readers knowledge that Williams so
deliberately employs. The chapter strike has only vague references to the general strike
that happens at the plant, for example. By looking at the context and the situation that
bring about this literal blockage and the consequences it brings about, we gain valuable
insight into the central riddle of the novel which is the question of why Williams chose
not to depict the strike, and why he jams the readers viewpoint so consistently
throughout the novel.
What exactly happens in the passage at hand? Leading in to it, the chapter Men
begins at a union print shop, where Joe Stecher, the main character, is the foreman. The
specific commodity the shop produces appears to be postal money orders, although this,
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like many other things in the novel, is kept somewhat obscure by Williams. And at this
particular moment in the story, the bosss son has been sent to find Joe to tell him that the
government has placed another order that exceeds the shops capacity due to a classic
barrier to capital: labor law. So just as the shop has malfunctioned by tripping over the
classic labor problem, Joe is inspecting a press that has malfunctioned due to its own
barrier: the handle of a screwdriver.
If youll let me get where you are Ill see where it is, said
the mechanic. All right, said Joe, and he crawled out
backwards. The mechanic moved over, lifted himself up
and took hold of the object Joe had pointed out. What is it?
I cant move it, said the mechanic. It looks like part of the
gear. Get it out, said Joe.
The mechanic moved awkward and slow.
Mr. Stecher. Wanted in the office. (Williams 90)
What Williams is doing here is emphasizing, as he always tries so hard to do, the
cramped, stressful, difficult living and working conditions of the characters in the novel.
But he is also quietly posing the question of how those issues relate to the blocked
machine. The mechanics intentional attempt to conceal the blockage from Joe is a very
subtle act of rebellion, both to Joe as foreman and to the capitalist running the operation.
Meanwhile, the fact that Joe is being called to his bosss office to help deal with another
limit to capital, in the form of a labor shortfall, suggests a reading of Joe as a particularly
important cog in the capitalist machine that is the print shop.
This human mechanization is further suggested in Joes wooden response to the
blockage. He says to the mechanic:
How long will it take? It all depends whether I can get a
part in the city. Well, get on your clothes and go out and
get it, said Joe. But dont you think I better start? Can you
fix it without the part? No but couldnt you send one of the
boys while I Then do what I tell you. Get what you
need, wherever it is made. Get on the train. Go where they
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make them. But get it. Work all night if you have to, but
this press has got to be running by tomorrow morning. (92)
Although the mechanic here makes a reasonable suggestion, Joe ignores it due to what he
sees as the bottom line. He must be able to tell the boss that the machine will be back
tomorrow, or its his ass on the line. But despite this mechanization, Joe displays
noteworthy humanity in the situation by merely suspending Carmody, who some of his
coworkers believe should have been fired.
So it is not a willing transformation to capitalist machine-part on the part of Joe, but
rather one of necessity given his job as middle manager. And Joe is indeed a crucial cog
in the machine, as Williams reveals on the following page. As the old man (his boss)
rants and raves about the broken machine, it makes no impression on Joe. He knew
and knew that the old man knew he knew there was no one that could take his place
(92). First of all, this sentence alone bears similarities to the repetitive monotony of
manual machine labor, made all the more salient because it is precisely the type of
calculation that an employee must make about their boss on many an occasion on the job.
Just as Joe is a critical cog, Carmody is an integral screw in the capitalist machine as
well, and makes similar calculations about his own value: He didnt have the guts to fire
me. I know they need the press. Theyre up against it and dont want to start a night shift
(94). Except that Joe was at that very moment asking to start a night shift to meet the
excess demand on the shop. So Joe wasnt such a gutless coward after all. Gutlessness
would suggest the dominance of some kind of human emotion. Instead, it is the very fact
that he was irrationally opposed to labor unions (This business of holding up the game
to get a rake off from it affronted his philosophy, it was something foreign to him that he
did not understand) which caused Joe to miscalculate on the implications of the night
shift and incite the strike (14). But capitalism itself has been called, to paraphrase the
economist Duncan Foley, an inherently irrational system that is constantly insisting on its
own rationality.
There is in fact a very close parallel between the machine blockage via foreign object
and the blockage of Joes nature via foreign philosophy. And its not that the blockages
are both foreign, although thats another problem, perhaps for a different paper
indeed the blaming of the Irish for the ills of society harkens back to the tendency of
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unemployment to breed fascism in 18th-19th century New York and everywhere else, for
that matter. But thats not the significance of the parallel to which Im referring. His very
next thought on page 14 acknowledges that there is a flip side to his philosophy: I work
and they get the money (14). Its important to remember, however, that this tender
moment is one of the only ones in the novel for Joe. Minutes later hes picking a flower
for his wife. Its understandable for him to behave so mushy, of course. Hed just had a
baby. Nevertheless, it seems clear that this human side is whats lacking throughout this
novel, and that the capitalist mode of production is both the source of this dearth and the
main beneficiary of it, except when it reaches its limits, such as the blockage of organized
labor.
Immediately following the blocked machine that started this whole domino effect,
Williams pushes his narrative jamming device to its full extent in the very faint
description of the events of the strike. For those readers still hoping for a traditional
plotline, this is probably the moment when they give up reading White Mule, for there is
frustrating little told about the actual events of the strike, and none of it firsthand. This
doubling down on the disruptive narration is coupled with more domestic descriptions of
the sickly baby being abused, the mundane chores of its mother Gurlie, etc. The message
from Williams here seems to be that we need to wrest back our humanity from the
capitalist machine, but that can not happen from simply holding up the game.
We are ready, then to summarize Williams answers to the two questions I posed at
the beginning of this essay: 1. what is the nature of the capitalist mode of production, and
2. what alternatives does Williams offer? The nature of the capitalist mode of production,
simply stated, is a dehumanizing, homogenizing, machine-like process that has a life of
its own, including many limits and threats to that life which it is obsessed with
overcoming. As far as what alternatives or solutions Williams may pose, he seems to
imply that dehumanization is a two way street, and that perhaps the only solution is to
first rehumanize the proletariat. If Joe had seen both sides of the labor issue as the
machine was breaking, he wouldnt have been so brash as to order a night shift, and a
major limit to capital (the strike) could have been avoided. The babys birth, as grotesque
as it may have been, gave Joe that temporary moment of insight, and so an emphasis on
family life as a tonic is implicit. Williams seems to disagree with the common criticism
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of capitalism that it is a spontaneous and unalterable thing. Although capitalism has
corroded the family and the social fabric of the proletariat in his novel, people like Joe
are often in positions to change it for the better.
Joe is thus the best hope for his shop and by extension society. Ironically, however, he
must first stop behaving like the machine he is a part of. Its not entirely clear whether
Williams thinks this is very reasonable. But he does clearly think its at leastpossible,
and that may mean its our best hope. As far as how we are to get there from here, again
the formal devices of the novel make more concrete suggestions of a different path than
any of the outright statements. The implication of this is, to my reading, that through
creativity and new, more honest forms of communication we can begin to reverse the
effects that the capitalist system is having upon us. The White Mule is a very peculiar, at
times painful and disorienting read, but such was life at the time it depicted. There is in
fact something dishonest and nauseating about the idea of a typical plot structure
depicting something like a story of urban 1890 New York, and yet it took Williams doing
it the other way for us to see that.