All That Is Solid Melts Into Air

All That Is Solid Melts Into Air (1982)
By Marshall Berman

Synopsis: Basic question is: How can we learn from the modernisms of the past, and draw from their vital and exciting energies to re-ignite a world of connection, meaning, and vibrant understanding today? Defines modernism as "the struggle to make ourselves at home in a constantly changing world" (6). Modernism is both exciting in its maelstrom form, and potentially destructive, so we must learn how to make meaning from it, and one way of doing this is through analyzing modernism's pasts. Examines Faust; Marx as a guy fascinated by energy and potential of modern capitalism but angry that the result was only oppression and the chasing of money; Baudelaire and the excitement of the Parisian boulevard; St. Petersberg as an "underdeveloped" anti-modern modern place and the Nevsky Prospect - with its jumble of classes - as the embodiment of modernity; New York and Robert Moses (and his jackassery) and the optimism of Jane Jacobs. Each example highlights notion that modernity should be all about the maelstrom. This is a slight reworking of Marxist ideas, and shows Marx was excited about potential of modernist energy and creation. Berman perhaps has presentist concerns in mind, perhaps over how to reinvigorate our political culture of apathy and to reignite a vital sense of urbanism and public space. Tone is definitely romantic and optimistic and even utopian, and seeks to rescue us from postmodern ennui and cynicism.

Interesting Specifics:
Modernity promises both boundless adventure, growth, and transformation - and the threat to destroy all of this (15).

Boulevards created a powerful stage on which to be "private in public" (152).

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