Oppression

Simone Weil’s Political Philosophy: Field Notes from the Margins (2023)

Benjamin Davis read

In this book, Benjamin P. Davis demonstrates how Simone Weil’s Marxism challenges current neoliberal understandings of the self and of human rights. Explaining her related critiques of colonialism and of political parties, it presents Weil as a twentieth-century political philosopher who anticipated and critically responded to the most contemporary political theory.

Simone Weil’s short life (1909–1943) is best understood as deeply invested in and engaged with the world around her, one she knew she would leave behind sooner rather than later if she continued to take risks on the side of the oppressed.

In this important and timely book, Davis presents Simone Weil first and foremost as a political philosopher. To do so, he places Weil’s political writings in conversation with feminist philosophy, decolonial philosophy, aesthetic theory, human rights discourse, and Marxism. Against the backdrop of Weil’s commitments, Davis reads Weil explicitly into debates in contemporary Critical Theory. Davis argues that in the battles of today, we urgently need to reconnect with Simone Weil’s ethical and political imagination, which offers a critique of oppression as part of a deeper attention to the world.

Advance Praise

In this moving account of Simone Weil’s political thought, Benjamin Davis merges world history and personal testimony, theory and living, brain and heart. He shows that one’s scholarship and one’s life cannot be separated easily.

— Christy Wampole, Princeton University

About the Author

Benjamin P. Davis is a postdoctoral fellow in ethics at the University of Toronto. Davis’s scholarship is in the areas of human rights, Decolonial Theory, and Caribbean Philosophy. He has articles published or forthcoming in The CLR James Journal, The Journal of the Caribbean Philosophical Association, Transmodernity: Journal of Peripheral Cultural Production of the Luso-Hispanic World, and Humanity: An International Journal of Human Rights, Humanitarianism, and Development. He is also Vice President of the American Weil Society.

Publisher

Rowman & Littlefield Publishers (March 15, 2023 / 184 pp) (link here).

Anemones—A Simone Weil Project

Lisa Robertson read

It is with great pleasure that we present Lisa Robertson’s Anemones: A Simone Weil Project, the fourteenth publication within the “If I Can’t Dance” Performance in Residence programme.

Three years ago, “If I Can’t Dance” invited poet and writer Lisa Robertson to develop an experimental research project based on her long-term study of medieval troubadour poetry and the invention of the rime in the historical region of Occitania. The scope of this investigation offered “If I Can’t Dance” an intriguing proposition to revisit genealogies of performance that sit outside the canons that define this rather young discipline. Troubadour poetry was composed and sung in the twelfth and thirteenth centuries using the Occitan vernacular language, a language of migratory confluences, where Arab, Jewish, Christian, and secular popular traditions blend and jostle. Unlike the stability and authority of Latin or of the then forming French territory to the north, troubadour rime culture elaborated a poetics of intermixture—linguistic, erotic, and mystical, in the southwest region of what is now France, in relation to Andalusian, Syrian and Palestinian cultural movements and influences, as well as to plant and animal neighbours. As Robertson explained at the Edition VIII—Ritual and Display introductory weekend in October 2019, this language “learn[ed] from birds, leaves and tree frogs as well as people”, each of which moved between lands and over the borders of political territories.

What was initially going to be a publication on the invention of the rime within these vocal and cultural movements eventually took a different turn. The archival research and the collaborations Robertson had envisioned for the project had to come to a halt due to the prolonged confinements provoked by the outbreak of Covid-19. In this space of arrest, Robertson encountered the essay “What the Occitan Inspiration Consists of,” penned by philosopher, mystic and political activist Simone Weil in 1942 for the Marseilles-based anti-fascist literary journal Les Cahiers du Sud. Written from within the devastations of World War II, Weil elevates the troubadour concept of love to a practice of political resistance that rejects force in all its forms. In a new annotated translation that lies at the heart of the volume, Robertson dwells on the transhistorical potential of this notion, coming to terms with the broken lineage of troubadour culture, the legacy of Weil’s philosophical thought, and the violent context from which it emerged. In so doing, Robertson embraces the effect of both actualised and suppressed histories, testifying to friendship, readership, and the resistance of words across incommensurable distances.

Designed by Amsterdam-based Rietlanden Women’s Office, Anemones: A Simone Weil Project moves between poetry, the epistolary genre, and scholarly research. Echoing Weil’s philosophical concerns, the publication is also the site of a performance of dedication that takes the form of a series of floral actions conceived and realised by artist Benny Nemer. Carrying a letter written by Robertson, Nemer delivered an arrangement of flowers to seven people—artists, writers, poets—this book is dedicated to. The pages of the book then become the receptacle of a performativity that resists consumption and is not meant to be seen, announced, and disclosed, but rather imagined, whispered, and savoured in a moment of intimacy.

Simone Weil’s Method: Essaying Reality through Inquiry and Action

Benjamin P. Davis read

Abstract

I read a selection of Simone Weil’s political philosophy in the way that she reads Marx – as forming “not a doctrine but a method of understanding and action.” My claim is that Weil’s method is likewise twofold: she attempts to understand the world through inquiry, then she tests her understanding through action. First, I read “Reflections Concerning the Causes of Liberty and Social Oppression” (1934). In that essay, inquiry, exemplified by Weil’s calling into question the term “revolution,” is her way of understanding reality around her, including forces of oppression and possibilities for liberation. Second, I read her “Factory Journal” (1934–1935), which records how she tested her theories from “Reflections” by placing herself in French factories. My conclusion states the fruits of Weil’s method for philosophy today: an interrogation of present political keywords (resistance, resilience) and a practice of philosophy as a way of life.

Comparative and Continental Philosophy, vol. 13 (Nov. 23, 2021)

A Truer Liberty: Simone Weil and Marxism

Lawrence A. Blum & Victor J. Seidler read

Simone Weil ― philosopher, trade union militant, factory worker ― developed a penetrating critique of Marxism and a powerful political philosophy which serves an alternative both to liberalism and to Marxism. In A Truer Liberty, originally published in 1989, Blum and Seidler show how Simone Weil’s philosophy sought to place political action on a firmly moral basis. The dignity of the manual worker became the standard for political institutions and movements. Weil criticized Marxism for its confidence in progress and revolution and its attendant illusory belief that history is on the side of the proletariat.

Blum and Seidler relate Weil’s work to influential trends in political philosophy today, from analytic Marxism to central traditions within liberal thought. The authors stress the importance of Weil’s work for understanding liberation theology, Catholic radicalism, and, more generally, social movements against oppression which are closely tied to religion and spirituality.

New York: Routledge Revivals, 2010