We’re Now in the Sopranos Stage of Imperialism

In the first episode of The Sopranos, Tony Soprano confesses to his new psychologist, Dr Jennifer Melfi, whom he visits after experiencing a panic attack, that “it’s good to be in something from the ground floor. I came too late for that, and I know. But lately, I’m getting the feeling that I came in at the end. The best is over.” While the fictional New Jersey mob boss is referring to the Mafia, it also serves as a metaphor for the anxieties of declining US imperial power in a world in which its hegemony is in marked decline. Donald Trump’s rise, fall, and return to power are, in large part, driven by this anxiety in its various forms — as is the racketeering style of his presidency in his second term — most obviously illustrated by the recent kidnapping of Venezuela’s president, Nicolás Maduro, and his wife, Cilia Flores.

The episode was hardly unprecedented. Since 1989, the United States has kidnapped three sitting presidents, beginning with George H. W. “Pappy” Bush’s betrayal of his old partner in counterrevolutionary drug trafficking, Manuel Noriega, and continuing with George W. “Dubya” Bush’s abduction of Haiti’s democratically elected president Jean-Bertrand Aristide in 2004. Noriega was left to waste away in a US dungeon, while Aristide was eventually granted asylum in South Africa. We will see in the coming months if the pathetic justifications for taking out Maduro hold any weight in a US court, though there is little reason to expect an impartial process. What distinguishes Venezuela is that it is not a small state dependent on the United States like Panama or Haiti. It has been treated as one of the US’s official enemies, with a target on its back since Hugo Chávez came to power. It is also a large country with a population of twenty-eight million and a military that is, at least on paper, capable of inflicting some damage in the event of an invasion.

The spectacle of the operation not only marked a clear end to…

La suite est à lire sur: jacobin.com
Auteur: Benjamin Fogel

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