I just finished October, China Miéville’s turbo-charged account of the Russian Revolution. Think Ten Days That Shook the World, but in months: from February through October 1917. With each chapter narrating the events of each month. Just some quick thoughts here on what has been one of the most exhilarating reading experiences of my recent past.

1.

I don’t think I’ve ever read such an Arendtian account of revolution as this. I have no idea if Miéville has read Arendt or if he counts her as an influence. But if you want a purely political account of revolution, this is it.

There are workers, there are peasants, there are soldiers, there are parties, there are tsars, there are courtiers. Each of them bears his or her class position, his or her economic and other concerns, but it is the political field itself, how it hurls its protagonists into combat, combat with its own rules and norms, its own criteria for success and failure, that is front and center here. This may be the most textured, most concrete, account of what political contest and political combat, literal and metaphoric, feels like. Or what an event-driven account (Arendt was big on events, as is Miéville; it’s nice to see a writer like Miéville prise narrative and events from the hands of Simon Schama) might look like.

While people on the left, particularly the Marxist left, have a big distrust of Arendt, she did get at something about the revolutionary experience itself, which the best Marxist historians have always understood, but which isn’t always well conveyed in Marxist histories of revolution. This book shows you what those accounts are missing.

2.

There’s a famous public dialogue, I can’t remember when or where, between Arendt and a bunch of her readers, in which Mary McCarthy says something like: Okay, I get it, you think politics shouldn’t be about economics or the social question. But aside from war and diplomacy, what would politics in your world be about? It’s one of the big questions that has always haunted Arendt scholars. What should politics in the Arendtian vision be about? What would it look like? (E. M. Forster has a line about Virginia Woolf: “For it [Woolf’s writing] was not about something. It was something.” That’s not a bad approximation of, on some interpretations, Arendt’s view of politics.) Read Miéville. You’ll find out.

3.

I love Miéville’s portrait of Kerensky. His Kerensky seems like a brilliant knock-off of Tony Blair. Vain, vainglorious, fatuous, infatuated, though lacking Blair’s ability to translate his conviction in himself into world-historical action.

4.

The first chapter, the pre-history of the Revolution, is written in the present tense. From Peter the Great to Nicholas II, it reads like one of those newsreels they used to run in theaters before the main show. Then, as the countdown from February to November is launched, and the subsequent chapters begin, the book shifts to the past tense.

It’s a brilliant and counterintuitive use of syntax: as if the preceding centuries were a powder keg waiting to explode, always pregnant with possibility, forever situated in the grammar of the now, only to shift into the past tense once the revolution begins, as if the revolution is the inexorable working out of history, the thing that had to happen.

While Miéville never loses a sense of contingency—making a mockery of all those historians who go on about contingency (or in the case of Niall Ferguson, counterfactuality) as a way of countering the alleged determinism of Marxism—he manages nonetheless to capture a sense of inexorability, of fate, of possibilities that weren’t ever really possible, except in the imagination of Kerensky and his minions.

5.

One element in the book that resonates with our current moment is the inability or refusal of both liberals and the left to lead, where leadership means destroying the old regime. Power is there, waiting to be exercised, on behalf of a new order: the soldiers demand it, the workers demand it, the peasants demand it, but all the parties of the left, including the Bolsheviks, just hesitate and vacillate, refusing to take responsibility for society itself. It feels like we’re in a similar moment, and it could last much longer than the interregnum between February and October 1917. Not because of the power of the old regime—quite the opposite, in fact—but, as in moments throughout 1917, because of the weakness and incoherence, the willed refusal, of the parties that might bury it.

6.

As Jodi Dean has said, the real hero in October is the revolution itself. Trotsky’s there, but mostly in the wings. There’s the familiar tussle between Zinoviev/Kamenev and Lenin, and between Lenin and everyone else. And while Miéville honors and recognizes Lenin’s tactical genius, his antenna for the mood and the moment, Miéville mostly portrays a Lenin who is struggling to keep up and who often gets it wrong. It’s the revolutionary process that has the last word; it is the protagonist.

7.

That said, Miéville’s chapter on April—that’s the chapter where Lenin arrives in Petrograd, having developed his revolutionary theses in exile, far from the crucible of the revolution itself—is sublime. It has this wondrous feeling of condensation, as if the revolutionary precipitant is taking shape right then and there. It’s the perfect counterpoint to the chapter on June, where all that’s solid, and much else, melts into air.

8.

Buy the book. You can read it in a few days. You won’t be sorry.

Update (11:30 pm)

I should add, another Arendtian note: the keyword of the Russian Revolution, in Miéville’s telling, is freedom. It’s the word that keeps recurring throughout the tale. That’s what the revolution is after: freedom.

Also, just listened to this great interview that Chapo Trap House did with Miéville, and he’s got some things to say that are worth listening to.