Abstract
Posterity has not been kind to the Australian-born polymath Jack Lindsay (1900–1990), a self-confessed ‘odd man out’ who published over one hundred and seventy books across a range of genres. This article asks what Lindsay wrote, why it has been forgotten and why we should care. It restores to view Lindsay's politico-cultural trajectory from his conversion to Marxism in 1936. It argues that Lindsay's searching and sceptical Marxism was a source of his prolific creativity and that he evolved a distinct and sometimes eccentric Marxist theoretical framework – a system with the concept of alienation at its core – within which his individual works are most legible. It argues that Lindsay's theoretical Marxism is not reducible to that of ‘British Communism’ or the ‘Old Left’, but exceeded and was mostly in tension with the Marxism of his party and its Soviet models, despite his political affiliation. It explains that Lindsay's oeuvre sank gradually from mainstream cultural visibility through the Cold War and that his conflicted but ongoing CP and Soviet-facing alignment alienated him from an emerging New Left with which he actually shared much theoretical ground. Estranged from his own party and largely dismissed by the New Left, his project disappeared through the cracks that opened during the traumatic realignments of the British Left in the post-1956 decade and remains largely absent from accounts of Marxist thought in Britain today. But though in many ways flawed, Lindsay's central project – tracing the processes of alienation through social formations, sifting human history for moments of resistance to that alienation, and attempting to prefigure a society in which values of creative production and communication are generalized across society as a whole – speaks loudly to ever-sharpening problems and deserves revisiting now.
Practice of Propaganda on Korean Peninsula (1945-1960)