The theorist Mark Fisher, whose death was announced at the weekend, was one of our most original thinkers about how we experienced late 20th century and early 21st century capitalism. He also wrote honestly about his depression, and sometimes one felt that the two were related: that seeing so clearly the confines that late capitalism imposed on its subjects was too much weight for one person to stand. (Guy Debord suffered in a similar way.)
People have been queuing up today to pay tribute to Fisher and his work, and rightly so: Capitalist Realism is one of the essential texts of the last 10 years: so good, in fact, that I realised recently that I’d bought two copies. His style was also singular in its skill in combining the cultural and the political, a reminder that actually the two can never be separated out, as he demonstrated in his more recent book Ghosts of my Life, which I wrote about here.
In an obituary, the music writer Simon Reynolds, a friend of Fisher’s, described his writing like this:
The exciting thing about Mark’s writing – CCRU era, K-punk era, in magazines like FACT and The Wire, the books – was the feeling that he was on a journey: the ideas were going somewhere, a gigantic edifice of thought was in the process of construction. That Mark was thinking big, building a system, always aiming for the largest scale. And finally that this work, rigorous and deeply informed as it was, was not academic, in the sense of being done purely for its own sake: its urgency came from his faith that words really could change things. Reading Mark’s writing made everything feel more meaningful, supercharged with significance. It was a rush. An addiction.
One of the most tiresome tropes on the futures circuit is the idea that the world is speeding up, often accompanied by a dodgy video with dodgier data. It’s one of those things that almost every generation in history has believed, along with the notions that young people are less respectful than they used to be and that society is going to the dogs. It also helps to sell books and consultancy projects. And broadly speaking, it is just plain wrong. To borrow Sohail Inayatullah’s terminology, it is a “used future”, borrowed from someone else.