Abstract

The scope of David Roberts’ book on the Total Work of Art is daunting. It stretches from the French Revolution through to the modernist avant-garde and its dissolution in totalitarianism. If Wagner is its chief leader and artistic animator, it also echoes back to Robespierre, Napoleon and Saint-Simon, and through at least to Bolshevism and Futurism, Stalinism and Italian Fascism. The total work of art totalizes the world of the artwork, but it also adds in the politics of the sublime, turns politics into art and negates both as independent spheres of existence at the same time. In this piece I offer some observations on the thinking of a key switchman in this story: Leon Trotsky.