What a relief. After trudging through a couple of so-called ‘popular’ books, it’s refreshing to read something that actually reflects the complexity of reality.
The first essay in Slavoj Ĺ˝iĹľek’s Against Progress is titled Progress and Its Vicissitudes. It opens with a nod to the opening scene of The Prestige, directed by Christopher Nolan. But Ĺ˝iĹľek, as always, takes it further. He unearths something far more sinister in the magician’s sleight of hand—something unsettlingly perceptible to the young girl who witnesses the trick.
Life isn’t always what it seems on the surface. It isn’t as neat or digestible as our perceptions make it out to be. Ĺ˝iĹľek embarks on a scathing critique of the concept of progress, dismantling its conventional interpretations and exposing the often-overlooked consequences that lurk beneath its glossy exterior. He unravels the paradoxes and failures inherent in the notion of progress, urging readers to rethink their blind faith in the idea of a linear march towards a utopian future.
Defining ‘progress,’ he argues, is akin to laying claim to the future. But whose future? And at what cost? He interrogates the competing visions that shape human possibility, questioning whether, in the face of our cascading ecological, social, and political crises, things can actually improve—and what ‘better’ even means. He skewers various ideologies—neoliberalism, populism, and the self-improvement industrial complex—for their roles in manipulating and distorting the very concept of progress.
From a postmodernist perspective, Ĺ˝iĹľek’s analysis aligns with the scepticism towards grand narratives and universal truths that define postmodern thought. He deconstructs the monolithic idea of progress, revealing it as a construct that conveniently conceals underlying power structures and exclusions. By exposing the ‘squashed dead birds’—the inevitable collateral damage of progress—he underscores just how arbitrary and manufactured our notions of advancement really are.
Moreover, Ĺ˝iĹľek’s critique echoes the postmodernist fixation on desire, denial, and disavowal. He examines how different visions of progress systematically exclude or sacrifice certain elements and how these dynamics manifest across cultural phenomena, from Hollywood blockbusters to decolonisation movements. His analysis reinforces the postmodernist conviction that meanings are never fixed—they are fluid, contested, and often riddled with contradiction.
In the end, Against Progress is not just a critique—it’s an invitation. An invitation to abandon the comforting illusion of an inevitable march towards something better and to face the messy, contingent reality of human existence head-on.
Philosophics 