Hobsbawm’s essay on the Manifesto speaks of its ‘dark, laconic eloquence’, and notes that as political rhetoric it has ‘an almost biblical force’. ‘The new reader,’ he writes, ‘can hardly fail to be swept away by the passionate conviction, the concentrated brevity, the intellectual and stylistic force of this astonishing pamphlet.’ The Manifesto initiated a whole genre of such declarations, most of them from avant-garde artists such as the Futurists and the Surrealists, whose outrageous wordplay and scandalous hyperbole turn these broadsides into avant-garde artworks in themselves. The manifesto genre represents a mixture of theory and rhetoric, fact and fiction, the programmatic and the performative, which has never been taken seriously enough as an object of study.
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