The aim of this book is to carefully reconstruct Marx and Engels's theory of freedom, to highlight its centrality for their vision of the communist society of the future, to trace its development in the history of Marxist thought, including Marxism-Leninism, and to explain how it as possible for it to be transformed at the height of its influence into a legitimization of totalitarian practices. The relevance of the Marxist conception of freedom for an understanding of communist totalitarianism derives from the historical fact that the latter came into being as a the result of a conscious, strenuous striving to realize the former. The Russian Revolution suppressed "bourgeois freedom" to pave the way for the "true freedom" of communism. Totalitarianism was a by-product of this immense effort. The last section of the book gives a concise analysis of the dismantling of Stalinism, involving not only the gradual detotalitarization but also the partial decommunization of "really existing socialism." Throughout, Marxism is treated as an ideology that has compromised itself but that nevertheless deserves to be seen as the most important, however exaggerated and, ultimately, tragically mistaken, reaction to the multiple shortcomings of capitalist societies and the liberal tradition.

I am. We are. That is enough. Now we have to start. These are the opening words of Ernst Bloch's first major work, The Spirit of Utopia, written mostly in 1915-16, published in its first version just after the First World War, republished five years later, 1923, in the version here presented for the first time in English translation. The Spirit of Utopia is one of the great historic books from the beginning of the century, but it is not an obsolete one. In its style of thinking, a peculiar amalgam of biblical, Marxist, and Expressionist turns, in its analytical skills deeply informed by Simmel, taking its information from both Hegel and Schopenhauer for the groundwork of its metaphysics of music but consistently interpreting the cultural legacy in the light of a certain Marxism, Bloch's Spirit of Utopia is a unique attempt to rethink the history of Western civilizations as a process of revolutionary disruptions and to reread the artworks, religions, and philosophies of this tradition as incentives to continue disrupting. The alliance between messianism and Marxism, which was proclaimed in this book for the first time with epic breadth, has met with more critique than acclaim. The expressive and baroque diction of the book was considered as offensive as its stubborn disregard for the limits of "disciplines." Yet there is hardly a "discipline" that didn't adopt, however unknowingly, some of Bloch's insights, and his provocative associations often proved more productive than the statistical account of social shifts. The first part of this philosophical meditation--which is also a narrative, an analysis, a rhapsody, and a manifesto--concerns a mode of "self-encounter" that presents itself in the history of music from Mozart through Mahler as an encounter with the problem of a community to come. This "we-problem" is worked out by Bloch in terms of a philosophy of the history of music. The "self-encounter," however, has to be conceived as "self-invention," as the active, affirmative fight for freedom and social justice, under the sign of Marx. The second part of the book is entitled "Karl Marx, Death and the Apocalypse." I am. We are. That's hardly anything. But enough to start.

The book's title echoes Engels's phrase "the leap from the kingdom of necessity to the kingdom of freedom." "The kingdom of necessity" refers to the Marxist conception of the laws of history, "the leap" to the dictatorship of the proletariat, and "the kingdom of freedom" to the communist conception of freedom as control over economic and social forces. For Marx, the main enemy of human freedom was not political coercion but the "blind," uncontrollable forces of the market. Thus freedom could be realized only through rational planning that would liberate people from their dependence on material things and alienated social forces.

This work traces the changes in classical Marxism (the Marxism of Karl Marx and Friedrich Engels) that took place after the death of its founders. It outlines the variants that appeared around the turn of the twentieth century—one of which was to be of influence among the followers of Adolf Hitler, another of which was to shape the ideology of Benito Mussolini, and still another of which provided the doctrinal rationale for V. I. Lenin's Bolshevism and Joseph Stalin's communism. This account differs from many others by rejecting a traditional left/right distinction—a distinction that makes it difficult to understand how totalitarian political institutions could arise out of presumably diametrically opposed political ideologies. Marxism, Fascism, and Totalitarianism thus helps to explain the common features of "left-wing" and "right-wing" regimes in the twentieth century.

This book covers virtually all the significant Russian thinkers from the age of Catherine the Great Down to the eve of the 1905 Revolution.

This international bestseller plumbs recently opened archives in the former Soviet bloc to reveal the accomplishments of communism around the world. The book is the first attempt to catalogue and analyse the crimes of communism over 70 years.

First Published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.