A new book by China Miéville stakes out “the key political event of the 20th century“…an “astonishing, inspiring story” of what the American diplomat George Kennan described the “bitter first fruit” of the Great War, “the seminal tragedy.” And yet, this year the Kremlin skipped the national commemoration this past March 12.
In one sense it’s uncontroversial that 1917 matters. After all, it is recent history, and there’s no arena of the modern world not touched by its shadow. Not only in the social democratic parties, shaped in opposition to revolutionary approaches, and their opponents of course, but at the grand scale of geopolitics, where the world’s patterns of allegiance and rivalry and the states that make up the system bear the clear traces of the revolution, its degeneration and decades of standoff. Equally, a long way from the austere realms of statecraft, the Russian avant-garde artists Malevich, Popova, Rodchenko and others remain inextricable from the revolution that so many of them embraced.Their influence is incalculable: the cultural critic Owen Hatherley calls constructivism “probably the most intensive and creative art and architectural movement of the 20th century”, which influenced or anticipated “abstraction, pop art, op art, minimalism, abstract expressionism, the graphic style of punk and post-punk … brutalism, postmodernism, hi-tech and deconstructivism”. We can trace the revolution in cinema and sociology, theatre and theology, realpolitik and fashion. So of course the revolution matters. As Lenin may or may not have said: “Everything is related to everything else.”