Zygmunt Bauman’s writing is animated by a high degree of interaction with many and various interlocutors. This paper addresses the intersection between Bauman’s thinking and that of Marshall Berman, via his 1984 classic, All That Is Solid Melts Into Air. There is a suggestive coincidence here, between the enthusiasm of Berman and the more detached view of Bauman, culminating after 2000 in Bauman’s embrace of the idea of Liquid Modernity. I suggest that this is an affinity rather than an identity. Berman wants to embrace the maelstrom, which Bauman wants to take some distance on. To enter this labyrinth is also to take on, again, the presence of Marx and Trotsky, Faust and Spengler.