Peter Sloterdijk, photo credit: Courtesy of Wikimedia Commons
By Adam Kirsch
The New Republic | July 19. 2013
Peter Sloterdijk has been one of Germany’s best-known philosophers for 30 years, ever since the publication of his Critique of Cynical Reason in 1983—a thousand-page treatise that became a best-seller. Since then Sloterdijk has been at the forefront of European intellectual life, contributing to public debates over genetic engineering and economics and hosting a long-running discussion program on television, all while publishing a steady stream of ambitious philosophical works.
The Critique of Cynical Reason appeared in English many years ago, but it is only recently that Sloterdijk has begun to emerge on the American horizon. Bubbles, the first volume in a trilogy calledSpheres, his magnum opus, appeared here in 2011. Now it is followed by You Must Change Your Life, another wide-ranging and challenging book. Along with Rage and Time, which appeared in English in 2010, these volumes make it possible to begin to come to grips with Sloterdijk as a stirring and eclectic thinker, who addresses himself boldly to the most important problems of our age. Above all, he is concerned with metaphysics—or, rather, with what to do with the empty space that is left over when metaphysics disappears—along with religion, faith in revolution, and the other grand sources of meaning that long gave shape and direction to human lives.
Sloterdijk was born in 1947, making him just the right age to participate in the student movement of the 1960s. By the early 1980s, when he wrote Critique of Cynical Reason, the idealism and the world-changing energy of that movement had long since dwindled into splinter-group violence, on the one hand, and accommodation to the realities of capitalism and the Cold War, on the other. In that cultural moment, Sloterdijk’s diagnosis of “cynicism” was very timely. “The dissolution of the student movement,” he wrote, “must interest us because it represents a complex metamorphosis of hope into realism, of revolt into a clever melancholy.”
Despite its parodic Kantian title, Sloterdijk’s Critique is not a work of theoretical abstraction; it is a