Radical Agriculture by Murray Bookchin

An essay in which Murray Bookchin outlines his ideal system of food cultivation and criticizes the existing, capitalistic system. Appeared in Radical Agriculture (1972), ed. Richard Merrill

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Agriculture is a form of culture. The cultivation of food is a social and cultural phenomenon unique to humanity. Among animals, anything that could remotely be described as food cultivation appear ephemerally, if at all; and even among humans, agriculture developed little more than ten thousand years ago. Yet, in an epoch when food cultivation is reduced to a mere industrial technique, it becomes especially important to dwell on the cultural implications of "modern" agriculture—to indicate their impact not only on public health, but also on humanity's relationship to nature and the relationship of human to human.

The contrast between early and modern agricultural practices is dramatic. Indeed, it would be very difficult to understand the one through the vision of the other, to recognize that they are united by any kind of cultural continuity. Nor can we ascribe this contrast merely to differences in technology. Our agricultural epoch—a distinctly capitalistic one—envisions food cultivation as a business enterprise to be operated strictly for the purpose of generating profit in a market economy. From this standpoint, land is an alienable commodity called "real estate," soil a "natural resource," and food an exchange value that is bought and sold impersonally through a medium called "money." Agriculture, in effect, differs no more from any branch of industry than does steelmaking or automobile production. In fact, to the degree that food cultivation is affected by nonindustrial factors such as climatic and seasonal changes, it lacks the exactness that marks a truly "rational" and scientifically managed operation. And, lest these natural factors elude bourgeois manipulation, they too are the objects of speculation in future markets and between middlemen in the circuit from farm to retail outlet.

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Melissa Hoffman