Among those who detest bureaucracy, there is a common criticism. Theodore Dalrymple indicts the British bureaucratic machine with these words:
“… Anthony Blair, with the cunning of the natural born swindler, seized his chance and created a loyal, corrupt, self-seeking nomenklatura class that remains extremely influential and easily able to outwit the blancmange-like David Cameron, who in any case so easily moulds himself to any shape going.”
The idea is simple enough. Bureaucracies represent the interests of the class from which they are drawn. Over time they ossify into a lobby for that class, at the expense of society at large. In Britain’s case, there’s a caste of people most attracted to Blairite ideology, who form the core of the public service. Their predominance explains why Britain is incapable of moving beyond a collection of stale centre-left notions, regardless of the stance of the government in power.
The analysis is a classic one. Aristotle (Politics, 4.1294a; 6.6.1320b18; 6.1.1316bb39-1317a10) and Polybius (Histories, 6.10.4-11; 6.12.4) both see the balancing of different social groups as vital for social justice. It’s not just that there are executive, judiciary and legislative branches of government. These must be staffed with the right combination of groups in order to properly represent the interests of society. If a single class monopolises an institution, the results are bad, regardless of other separations of powers.
But there’s a further perception which, I think, has escaped Dalrymple. Implicit in his criticism is the idea, conscious to him or not, that were British bureaucrats something other than a Blairite nomenklatura caste, that things would be better. That a bureaucracy can be balanced between social groups, just like a parliament, and all will be well.
The training of a bureaucrat necessarily excludes any political virtue. A bureaucrat is a cog in a political machine. His job is to maintain the state’s will despite any turmoil or emergency the country may face.
In this sense the bureaucrat isn’t dissimilar to a soldier. The conservative French philosopher Yves Simon analysed the nature of authority in 1962, sometimes using the army as a metaphor. Much of what he says can be translated over to bureaucracy. Any association of people has a common good and a common action which enables it. The common good of the army is defending the national interest against enemies, so its common action is armed campaign to defeat the enemy. To do this, it must have unanimity: every soldier must know what he’s supposed to do and how to do it.
Now, every soldier is a rational individual with his own opinions and ideas. In an ideal world, each soldier would immediately understand the why and wherefore of an order, and assent to it through reasoned argument. But the reality is that the circumstances of war are so confused, cloudy and ambiguous, that were the army to expect rational assent from every individual to every strategy, nothing would get done. There would always be a cause of doubt; always a valid motive for dissent from a plan. So, there must be a threshold where deliberation stops, and opinion becomes an order. At this point, the soldier substitutes the reasoning of a superior officer for his own. Not because he’s stupid or unable to reason, but because common action demands it.
In the military the stakes are very high: destruction, death, and annihilation. Therefore, the threshold where opinion becomes an order is low, in comparison to other organisations. In a government bureaucracy the stakes are high, if not quite so high: shortage of goods, mass hunger, economic paralysis. This is why, I contend, the bureaucrat isn’t that different from a soldier. The common action of bureaucracy is to keep the country running. Like with war, the task is loaded with ambiguity and unpredictability. So, the bureaucrat is required to frequently substitute the deliberations of superiors for his own.
But this means that an excess of bureaucracy in a country will have similar cultural effects to an excess of militarisation, but without any of the martial vigour. The training of a bureaucrat isn’t to think deeply; it’s to internalise the state’s ideology to keep the country running at all costs. A bureaucrat who thinks deeply is a liability because he’s someone who will constantly express doubts and interrupt the state’s ability to act or respond to problems. So, a society that’s dominated by bureaucrats at every level will be radically conformist, incapable of self-reflection, and unable to undertake serious reform.
The city of Sparta, because it was narrowly focused on warlike virtue, excluded all other virtues and went into decline (Aristotle, Politics, 2.1271b). Sparta made all citizens into soldiers, and so rendered them unable to act as independent rational agents in times of leisure. Once the battle was over, Spartans couldn’t think without orders to follow. Sparta stopped innovating and was outcompeted by her neighbours. Isn’t a bureaucratic state like Britain prey to a similar fate of death by ideological conformity? If the bureaucrat is the model citizen, and not the statesman, artist, philosopher, or craftsman, shall our society not also become a self-regulating idiocy?
You Might also like
-
On Parliamentary Sovereignty | Xander West
Zak Mudie’s article in this publication on 11th December 2021 piqued my interest more than articles or opinion pieces usually do, for its rather bold argument that the United Kingdom should rid Parliament of its sovereignty and instead pursue a separation of powers. Far from being cautious and pragmatic, as Mr. Mudie claims, I find this proposal markedly incongruous with the accumulated traditions and conventions of the British political system which have served this nation so well for centuries. This is not to say I disagree entirely with his analysis, since I do not, but I think an alternate survey of the problems of and potential reforms to our modern Parliament would be nonetheless beneficial. I intend to conduct the rest of this article in a somewhat similar order to Mr. Mudie’s as to not roam too far away from the subject, but with certain digressions where apt.
Whilst I would also consider myself a traditional conservative, I am far less pragmatic and a tad more radically inclined than Mr. Mudie. Pragmatism is an anti-ideology, one of those isms which will absorb everything surrounding it until it alone remains. Indeed, most of the ideology of the modern Conservative Party has fallen into this black hole, perhaps never to return, under the guises of ‘modernisation’ and extending the lifespan of impotent governments. Therefore, pragmatism should be used in moderation and out of necessity rather than as a first resort, lest one wishes to be permanently unsatisfied by reform. After all, politics is ultimately about winning.
However, Mr. Mudie is right to question our modern political institutions and whether they effectively serve their goals. Crisis or not, such an activity remains healthy for all those who wish to conserve this nation. The strange times we are living in have acted as a sort of stress test for our institutions and their members, and in that sense most have sadly failed to protect this nation. The content of the laws our representatives now pass, the manner in which they do so, the alien approach to liberty they repeatedly endorse, all run roughshod over our national traditions and what is democratically proper.
Yet I do not see parliamentary sovereignty per se as the root of this problem. In lieu of the true Sovereign, Her Majesty the Queen, political sovereignty is vested in the electorate via Parliament. This has been the case in one form or another since the Glorious Revolution of 1688 shifted the then-Kingdom of England firmly onto the path of constitutional monarchy. The “absolute power” of the House of Commons, though, is a more recent invention and this supremacy can and does cause problems.
Edmund Burke once discussed the “limits of a moral competence” when Parliament was faced with filling the vacated throne of James II during the Glorious Revolution. Parliamentarians could have “wholly abolished their monarchy, and every other part of their constitution,” as was theoretically their prerogative during that moment of parliamentary supremacy, but they did not out of convention and principle. Presently, the respect and deference to the true foundations of this Kingdom and its people, which should be requisite of anyone wishing to have power over its constitution, is clearly lacking in many of our representatives. I am afraid that means the problem at hand is one where a majority of the House of Commons no longer share the same convictions as our politicians once possessed, resulting in Mr. Mudie’s core issue of its prolonged supremacy.
Armed with this realisation, one can start identifying the symptoms and consequences which the decline of the British politician has wrought on the political system. The British constitution, after all, is now but a forest of felled mighty oaks, their leaves littered all around for those who dare to see them.
For one example, allow me to divert one’s attention to the other half of Parliament. The House of Lords used to be something far more useful and dignified than the ermine-clad purgatory for cronies and ex-ministers it mostly serves as today. Burke believed it was “not morally competent… to abdicate, if it would, its portion in the legislature,” yet such is the incompetent eventuality which has nonetheless graced this country. The impatience of the Commons crippled the Lords through the Parliament Acts 1911 and 1949, seizing the second chamber’s veto and then reducing its power to delay bills. If the Acts are invoked, which has occurred several times, it removes the requirement for the Lords to approve of a bill at all. The Life Peerages Act 1958 all but assumed the monarch’s power to create peers and enabled the flood of life peers in a less than ideal example of modernisation, whilst the House of Lords Act 1999 gutted the Lords Temporal out of thinly veiled spite and Blairite revolutionary zeal. To add insult to injury, the Constitutional Reform Act 2005 extracted the judicial functions from the Law Lords, depositing them into an America-lite Supreme Court in the name of the equally foreign concept of a separation of powers.
Returning to the subject at hand, I think Mr. Mudie nearly reaches the same conclusion I have on the House of Commons with his discussion of the double-edged sword our constitution provides for our liberties. If the standard of our politicians were higher and their knowledge of this Kingdom’s political heritage richer, I doubt this double-edged sword would need to be considered with the intensity recent events might justify. Mr. Mudie identifies several other benefits and flaws of parliamentary sovereignty and our unwritten constitution in his article, but I think we would both agree those necessitate representatives of a certain calibre to handle responsibly before arguing about reform.
Obviously, Mr. Mudie and I diverge substantially over alternatives to the current state of affairs. As I mentioned earlier, I consider the separation of powers a foreign concept to British political tradition because a polity as old as this should never be artificially divided. Such things are simply incompatible with organically evolving systems such as ours, which is why the Blair revolution has caused so many of this nation’s present problems. In essence, the United Kingdom should only ever be a modern democracy in the literal sense of being democratic and existing in the modern day. To adapt Walter Bagehot, only the utilitarian “practical men who reject the dignified parts of government” would pursue a modern democracy because our constitution’s dignity yearns for true constitutional monarchy.
As for laws, the English tradition of common law suffices for rules which benefit and protect the people. Although trampled by such Blairite semi-codification efforts as the Human Rights Act 1998, I believe the common law tradition stands ready to be reinvigorated. As for some “fundamental laws” against the power of government, our history shows this has emerged through the centuries without the need for a codified constitution. Swathes of our liberties have been gained in opposition to and as limits on the monarch’s power. This concept of negative liberty has served the people well in the past and if given the space to flourish it could yet further. Furthermore, Mr. Mudie’s proposal to hand emergency powers to the executive during a crisis would not look too dissimilar to the situation we have at the time of writing, given the rot of poor governance knows no bounds in the modern British political system.
Therefore, the alternative I would propose is one of constitutional restoration wherein Parliament’s sovereignty is maintained but the House of Commons’ supremacy is curtailed. I hope I have proved, at least in part, that a system once existed which worked well and would assuage Mr. Mudie’s valid concerns. Far from synthesising a Frankenstein liberal democracy out of a myriad of other dysfunctional exhibits plaguing the modern West, we should gaze back at the accumulated wisdom of centuries of politics with some inspiration and faith that it might orient us towards a brighter future. Pragmatism actually has a place in such a paradigm shift insofar as whatever can be salvaged from this current system should be.
As long as those with power are either indifferent or hostile to this country, parties will continue to populate Parliament with bootlicking careerists and jumped-up student union activists alike. Until the political paradigm of decline the United Kingdom finds itself choked by is utterly destroyed, next to nothing can be conserved and Parliament will continue to damage the people they serve from simply lacking the wherewithal to understand the political traditions they have inherited. A separation of powers, devolution or any other such scheme will not stop the apparatchiks and bureaucrats from grasping at ever more of the people’s rights and liberties. The Blob, simply lacking the moral competence of our forebears and working in lockstep with many politicians, will continue to consume everything still worth conserving until they become scattered arrays of hollowed out and meaningless shadows. The time for slowly changing to conserve a losing battle has long passed. Instead, the time is upon us for radical change to restore the political system of the country we love.
Post Views: 527 -
Five Truths from Dostoevsky’s The Devils
Whenever I scroll through the news on Twitter or listen to talk radio, I like to play a game called “Dostoevsky called it.” As one can guess, it consists of identifying events or trends that correspond with those in Feodor Dostoevsky’s novels and letters. Because Dostoevsky devoted so much ink to warning about the motives and effects of atheist-utilitarian socialism from the radical left, the game often points to his most direct attack on those ideas: The Devils.
Published between 1871 and 1872 and written in response to the Nechaev affair, where an underground group of socialist-atheist radicals, planning to ultimately overthrow the Tsarist government through propaganda, terrorism, and assassination, murdered a former comrade who had left their secret society, The Devils (Бесы; also translated as Demons or The Possessed) is Feodor Dostoevsky’s most explicit expose of and polemic against the revolutionary nihilism growing in late nineteenth-century Russia. Although, due to his own participation in a socialist plot aimed at educating and ultimately liberating the serfs, he often gave the benefit of the doubt to the moral idealism of the younger generation of radicals—assuming their hearts, if not their methods, were in the right place—in The Devils he nonetheless skewers the radical ideology and his generation and the next’s culpability for it.
While his main focus is on the characters’ psychologies and their symbolic significance, Dostoevsky nonetheless lays out many of the ideas populating late-nineteenth-century Russia, displaying a thorough understanding of them, their holders’ true motives (which, like those of that other ideological murderer Raskalnikov, are rarely the same as those consciously stated by their loudest advocates), and what would be the results if they were not checked. In several places, Dostoevsky unfortunately calls it right, and The Devils at times reads as a preview of the following fifty years in Russia, as well as of the modes and methods of radicalism in later places and times.
It would be too great a task to cite, here, all the places and times where Dostoevsky’s visions were confirmed; at best, after laying out a few of the many truths in The Devils, I can only note basic parallels with later events and trends in Russia and elsewhere—and let my readers draw their own additional parallels. Nonetheless, here are five truths from Dostoevsky’s The Devils:
1: The superfluity of the preceding liberal generation to progressive radicals.
The Devils is structured around the relationship between the older and younger generations of the mid-1800s. The book opens with an introduction of Stepan Trofimovich Verkhovensky, father to the later introduced radical Peter Stepanovich. A Westernized liberal from the 1840s generation, Stepan Trofimovich represents the upper-class intelligentsia that first sought to enlighten the supposedly backwards Russia through atheistic socialism (a redundancy in Dostoevsky).
However, despite his previously elevated status as a liberal and lecturer, by the time of The Devils Stepan Trofimovich—and, with him, the 1840s liberals who expected to be honored for opening the door to progress—has become superfluous. This is highlighted when his son returns to the province and does not honor his father with figurative laurels (when such a symbol is later employed literally it is in satirical mock).
Though never the direct butt of Dostoevsky’s satire, Stepan Trofimovich cannot (or refuses) to understand that his son’s nihilism is not a distortion of his own generation’s hopes but is the logical, inevitable product of them. The older man’s refusal to admit his ideological progeny in his literal progeny’s beliefs, of course, enables Peter Stepanovich to mock him further, even while he continues to avail himself of the benefits of his father’s erstwhile status in society. This “liberal naivete enabling radical nihilism” schema can also be seen in the governor’s wife, Yulia Mikhailovna von Lembke, who believes that she can heroically redirect the passions of the youth to more socially beneficial, less radical, pursuits but only ends up enabling them to take over her literary fete to ridicule traditional society and distract the local worthies while agents set parts of the local town ablaze. Stepan Trofimovich, Yulia Mikhailovna, and others show that, despite the liberal generation’s supposed love for Russia, they were unable to brake the pendulum they sent swinging towards leftism.
The same pattern of liberals being ignored or discarded by the progressives they birthed can be seen in later years in Russia and other nations. While it would historically be two generations between Belinsky and Lenin (who was born within months of Dostoevsky’s starting to write The Devils), after the 1917 Revolution, Soviet Russia went through several cycles of executing or imprisoning previous generations who, despite supporting the Revolution, were unfortunately too close to the previous era to be trusted by new, socialistically purer generations.
In a more recent UK, Dostoevsky’s schema can also be seen in the Boomer-led Labour of the ‘90s and ‘00s UK paving the way for the radical, arguably anti-British progressivism of the 2010s and ‘20s (which, granted, sports its share of hip Boomers). In America, it can be seen in the soft divide in congressional Democrats between 20th-century liberals like Nancy Pelosi and Chuck Schumer and “the squad” comprised of Alexandria Ocasio-Cortez, Ilhan Omar, and others who have actively tried (and arguably succeeded) in pushing the nation’s discourse in a left progressive direction.
2: Ideologies as active, distorting forces rather than merely passive beliefs.
“I’ve never understood anything about your theory…” Peter Stepanovich tells the serene Aleksei Nilych Kirillov later in the book, “I also know you haven’t swallowed the idea—the idea’s swallowed you…” The idea he is referring to is Kirillov’s belief that by committing suicide not from despair or passion but by rational, egotistic intention, he can rid mankind of the fear of death (personified in the figure of God) and become the Christ of the new utilitarian atheism (really, Dostoevsky intends us to understand, not without pity for Kirillov, an antichrist thereof). The topic of suicide—rising in Russia at the time of the book’s writing and a result, Dostoevsky believed, of the weakening of social institutions and national morality by the subversive nihilism then spreading—is a motif through the book. Countering Chernyshevsky’s romanticized revolutionary Rakhmetov from What is to Be Done?, Kirillov is Dostoevsky’s depiction of the atheist rational egotism of the time taken to its fullest psychological extent. Like others he had and would later write (Raskalnikov, Ivan Karamazov), Kirillov is driven mad by an idea that “swallows” him in monomania and which he has admitted to being obsessed with—the idea of a world without God.
Though Dostoevsky considered it the central issue of his day (which still torments Western culture), my focus here is not on Kirillov’s idea, itself, but on his relation to it. Countering the Western Enlightenment conceit that ideas are mere tools to be rationally picked up and put down at will, Dostoevsky shows through Kirillov that ideas and ideology (ideas put in the place of religion) are active things that can overwhelm both conscious and unconscious mind. Indeed, the novel’s title and Epigraph—the story of Legion and the swine from Luke 8—already suggests this; for Dostoevsky, there is little difference between the demons that possessed the pigs and the ideas that drive characters like Kirillov to madness.
Of course, a realist-materialist reading of Kirillov’s end (I won’t spoil it, though it arguably undercuts his serenity throughout the book) and the later Ivan Karamazov’s encounter with a personified devil would contend that there was nothing literally demonic to the manifestations, but for Dostoevsky that matters little; for him, whose focus is always on how the individual lives and experiences life, being possessed by an ideology one cannot let go of and being in the grasp of literal demons is nearly synonymous—indeed, the former may be the modern manifestation of the latter, with the same results. In his work, such things almost always accompany a lowering of one’s humanity into the beastial.
The problem with ideology, Dostoevsky had discovered in Siberia, was in their limited conception of man. By cutting off all upper transcendent values as either religious superstition or upper class decadence, the new utilitarian atheism had removed an essential part of what it meant to be human. At best, humans were animals and could hope for no more than thus, and all higher aspirations were to be lowered to achieving present social goals of food, housing, and sex—which Dostoevsky saw, themselves, as impossible to effectively achieve without the Orthodox Church’s prescriptions for how to deal with suffering and a belief in afterlife. Of the lack of higher impressions that give life meaning, Dostoevsky saw two possible results: ever-increasingly perverse acts of the flesh, and ever-increasingly solipsistic devotion to a cause—both being grounded in and expressions not of liberation or selflessness, but of the deepest egotism (which was a frankly stated element of the times’ ideologies).
From this view, Dostoevsky would have seen today’s growing efforts to legitimate into the mainstream things like polyamory, abortion, and public displays of sexuality and increasingly aggressive advocacy by groups like Extinction Rebellion or NOW (he predicted both movements in his other writing) as both being attempts to supply the same religious impulse—which, due to their being cut off by their premises from the transcendent metaphysic required by the human creature and supplied by Christianity, &c, is a doomed attempt.
3: Seemingly virtuous revolution motivated by and covering for private vices.
By the time he wrote The Devils Dostoevsky had seen both inside and outside of the radical movement; he had also depicted in Notes from Underground and Crime and Punishment characters who discover, to their angst and horror, that their actions were not motivated by humanitarianism, but by envy, cravenness, and the subsequent desire for self-aggrandizement. The Devils features the same depth of psychology beneath the main characters’ stated ideas and goals, and the book often shows how said ideas cannot work when applied to real people and real life.
As the chronicle unfolds, characters often speak of the petty vices that undermine the purity of the revolutionaries’ stated virtues and goals. “Why is it,” the narrator recounts Stepan Trofimovich once asking him, “all these desperate socialists and communists are also so incredibly miserly, acquisitive, and proprietorial? In fact, the more socialist someone is…the stronger his proprietorial instinct.” So much for those who seek to abolish property; one can guess to whom they wish to redistribute it! The revolutionary-turned-conservative Ivan Shatov later continues the motif, digging deeper into the radicals’ motives: “They’d be the first to be terribly unhappy if somehow Russia were suddenly transformed, even according to their own ideas, and if it were suddenly to become immeasurably rich and happy. Then they’d have no one to hate, no one to despise, no one to mock! It’s all an enormous, animal hatred for Russia that’s eaten into their system.”
Leftists might accuse Dostoevsky of merely wishing to make the radicals look bad with such an evaluation; however, as addressed by Joseph Frank in his chapter on the topic in Dostoevsky: The Miraculous Years, 1865-1871, the “bad for thee, fine for me” mentality of The Devils’s radicals (if their ideology doesn’t completely blind them to such inconsistency in the first place) was straight from the playbook of men like Nechaev: the Catechism of a Revolutionary. Far from trying to evade contradictory behavior, such a work, and other later analogues (Marcuse’s “Repressive Tolerance”; Alinsky’s Rules for Radicals) advocate being inconsistent and slippery with one’s principles for the sake of the revolution. Indeed, contradicting the rules one was trying to impose on others was and is seen not as an inconsistency but as a special privilege—of which several examples can be found, from upper party opulence in the USSR to modern champagne socialists who attend a $35,000-per-seat Met Gala while advocating taxing the rich.
4: Social chaos and purges as necessary and inevitable in achieving and maintaining utopia.
Perhaps the single most prophetic scene in The Devils occurs in the already mentioned chapter “‘Our Group’ Meets,” which depicts the various local radicals meeting under cover of a birthday party. A cacophony of competing voices and priorities, the scene’s humorous mix of inept, self-serving idealists is made grotesque by the visions they advocate. Most elaborate of the speakers is Shigalyov, whose utopian scheme for the revolution was insightful enough that Boris Pasternak and Alexander Solzhenitsyn both referred to the Russian government’s post-October Revolution policies and methods as “Shigalevism.”
While Shigalyov’s whole speech (and Peter Stepanovich’s commentary) is worth reading as a prophecy of what would happen less than fifty years after the book, here are some notable excerpts:
“Beginning with the idea of unlimited freedom, I end with unlimited despotism…One-tenth will receive personal freedom and unlimited power over the other nine-tenths. The latter must forfeit their individuality and become as it were a herd [through re-education of entire generations]; through boundless obedience, they will attain, by a series of rebirths, a state of primeval innocence, although they’ll still have to work…What I’m proposing is not disgusting; it’s paradise, paradise on earth—there can be none other on earth.”
A direct goal of the purges in Soviet Russia, and of the alienation of children from their parents, was to create a new, purely socialist generation unburdened by the prejudices of previous or outside systems.
“[We’ve] been urged to close ranks and even form groups for the sole purposed of bringing about total destruction, on the pretext that however much you try to cure the world, you won’t be able to do so entirely, but if you take radical steps and cut off one hundred million heads, thus easing the burden, it’ll be much easier to leap over the ditch. It’s a splendid idea…”
While hundred million murders may seem like hyperbole in the scene’s darkly comic context, in the end it was an accurate prediction of what communism would accomplish if put into systemic practice; however, we should also not miss the stated method of destabilizing society via conspiratorial groups aimed not at aid but at acceleration—a method used in early 20th-century Russia and employed by modern radical groups like Antifa.
“It would take at least fifty years, well, thirty, to complete such a slaughter—inasmuch as people aren’t sheep, you know, and they won’t submit willingly.”
Besides the time element, the identifying of the individual human’s desire for life and autonomy as a lamentable but surmountable impediment to revolution—rather than a damning judgment of the radicals’ inability to make any humanitarian claims—is chilling.
“[Shigalyov] has a system for spying. Every member of the society spies on every other one and is obliged to inform. Everyone belongs to all the others and the others belong to each one. They’re all slaves and equal in their slavery.”
A corrollary to the section above on freedom-through-slavery, this part accurately identifies the system of paranoid watchfulness in the first half of the USSR, as well as the system currently in place in the DPRK, among other places.
“The one thing the world needs is obedience. The desire for education is an aristocratic idea. As soon as a man experiences love or has a family, he wants private property. We’ll destroy that want: we’ll unleash drunkenness, slander, denunciantion; we’ll unleash unheard-of corruption… [Crime] is no longer insanity, but some kind of common sense, almost an obligation, at least a noble protest.”
Anti-traditional-family advocacy and the flipping of the criminal-innocent dichotomy as a means of destabilizing the status quo all took place in the early years of the Soviet Union. Unfortunately, they are all too familiar today in the West, whether we’re talking about the current argument in the US that children’s education belongs to the community (i.e. teachers, public unions, and the government) to the exclusion of parents, or the argument heard at several points in the 2020 that crimes and rioting committed during protests were an excusable, even “noble,” form of making one’s voice heard (while nicking a TV in the process!).
More recently and ongoing here in California (often uncannily parallel to the UK in certain policy impulses), our current District Attorney George Gascon, in an attempt to redefine the criminal-victim mentality in the state, has implemented policies that benefit criminals over victims by relaxing the definitions and sentences of certain crimes and refusing to try teenagers who commit felonies as adults (among other things); as many expected would happen, crime has risen in the state, with the Los Angeles PD recently advising residents to avoid wearing jewelry in public—which, to this resident, sounds oddly close to blaming the victim for wearing a short skirt by another name, and is certainly a symptom and example of anarcho-tyranny.
To nineteenth-century readers not as versed as Dostoevsky in the literature and ideas behind the Nechaev affair (which was publicly seen as merely a murder among friends, without the ideological significance Dostoevsky gave it), this section of The Devils would have seemed a comic exaggeration. However, to post-20th-century readers it stands, like a clarion pointing forward to the events later confirmed by Solzhenitsyn, as a dire warning not to forget the truth in the satire and not to dismiss the foolishly hyperbolic as impotent. Even in isolated forms, the ideas promoted by Shigalyev are real, and when applied they have been, as Dostoevsky predicted, disastrous.
5: Socialism not as humanitarian reason, but as religious poetry; revolution as primarily aesthetic, not economic.
An amalgam of, among other members of the 1840s generation, the father of Russian socialism Alexander Herzen, Stepan Trofimovich is, by the time of the 1860s setting of The Devils, an inveterate poet. This reflects Dostoevsky’s evaluation of his old theorist friend, whom he nonetheless cites as the enabler of men like the nihilist terrorist Nechaev, despite Herzen’s claims that the terrorist had bastardized his ideas (see truth number 1, above).
The brilliantly mixed critique of and homage to Dostoevsky’s own generation that is Stepan Trofimovich presents one of the book’s main motifs about the nihilist generation: that they are not pursuing a philosophically rational system of humanitarian goals, but a romantically poetic pseudo-religion. “They’re all bewitched,” cries Stepan Trofimovich about his son, “not by realism, but by the emotional and idealistic aspects of socialism, so to speak, by its religious overtones, its poetry.” Later, at the aforementioned pivotal meeting scene, Peter Stepanovich shows he is completely conscious of this fact—and willing to use it to his advantage. “What’s happening here is the replacement of the old religion by a new one; that’s why so many soldiers are needed—it’s a large undertaking.” In the next scene, Peter Stepanovich reveals to Stavrogin his desire to use the enchanting nobleman as a figurehead for revolution among the peasantry, intending to call him Ivan the Tsarevich to play off of the Russian folk legend of a messianic Tsar in hiding who will rise to take the throne from the “false” reigning Tsar and right all the world’s wrongs with his combined religious and political power.
Peter Stepanovich, himself, is too frank a nihilist to believe in such narratives; focused as he is on first destroying everything rather than wasting time pontificating about what to do afterwards, he even treats Shigalyov’s utopian visions with contempt. However, the rest of the radicals in the book are not so clear-sighted about the nature of their beliefs. Multiple times in the book, susceptibility to radical socialism is said to inhere not in reason but in sentimentality; showing Dostoevsky’s moderation even on a topic of which he was so passionately against, this critique often focuses on younger men and women’s genuine desire to good—which ironically makes them, like the naive and forthright Ensign Erkel, susceptible to committing the worst crimes with a straight, morally self-confident face.
It is this susceptibility to the art of revolution that causes Peter Stepanovich to be so sanguine about others’ romanticism, despite its falling short of his own nihilism. His intention to use others’ art for his own advantage can be seen most clearly in his hijacking of Yulia Mikhailovna’s literary fete to use it, through his cronies, as a screed against the social order and to mock artistic tradition. His doing so is just a follow-through of an earlier statement to Stavrogin that “Those with higher abilities…have always done more harm than good; they’ll either be banished or executed. Cicero’s tongue will be cut out, Copernicus’s eyes will be gouged out, Shakespeare will be stoned…it’s a fine idea to level mountains—there’s nothing ridiculous in that…we’ll suffocate every genius in its infancy.”
Against his son’s leveling of mountains, Stepan Trofimovich, to his infinite credit and speaking with his author’s mouth, declares, with the lone voice of tradition amidst the climactic fete, that “Shakespeare and Raphael are more important than the emancipation of the serfs…than nationalism…than socialism…than the younger generation…than chemistry, almost more important than humanity, because they are the fruit, the genuine fruit of humanity, and perhaps the most important fruit there is!” In this contrast between the Verkhovenskys, it is not different views on economics but on art—on Shakespeare, among others—that that lie at the heart of revolution, with the revolutionaries opposing the English Poet more viscerally than any other figure. This reflects Dostoevsky’s understanding that the monumental cultural shift of the 1800s was not primarily scientific but aesthetic (a topic too large to address here). Suffice it to say, the central conflict of The Devils is not between capitalists and socialists (the book rarely touches on economic issues, apart from their being used as propaganda—that is, aesthetically), nor between Orthodox and atheists (though Dostoevsky certainly saw that as the fundamental alternative at play), but between the 1840s late Romantics and the new Naturalist-Realists.
The prophetic nature of this aesthetic aspect of The Devils has many later confirmations, such as the 20th century’s growth of state propaganda, especially in socialistic states like Nazi Germany or the USSR, though also in the West (Western postmodernism would eventually make all art as interpretable as propaganda). Furthermore, the Stalinist cult of personality seems a direct carry over of Peter Stepanovich’s intended desire to form just such a pseudo-religious cult out of Nikolai Vsevolodovich.
Having written a novel on the threat posed to Shakespeare by the newest generation of the radical left (before reading of Verkhovensky’s desire to stone Shakespeare—imagine my surprise to find that Dostoevsky had called even the events in my own novel!), I hold this particular topic close to my heart. Indeed, I believe we are still in the Romantic-Realist crossroads, and in dire need of backtracking to take the other path that would prefer, to paraphrase Stepan Trofimovich, the beautiful and ennobling Shakespeare and Raphael over the socially useful pair of boots and petroleum. Like Stepan Trofimovich, I believe comforts and technical advancements like the latter could not have come about were it not for the culture of the former—and that they would lose their value were their relative importance confused to the detriment of that which is higher.
Conclusion
There are, of course, many other truths in The Devils that have borne out (the infighting of radical advocacy groups competing for prominence, radicalism as a result of upper-class boredom and idleness, revolution’s being affected not by a majority but a loud minority willing to transgress, self-important administrators and bureaucrats as enablers and legitimators of radicals…). While the increasingly chaotic narrative (meant to mimic the setting’s growing unrest) is not Dostoevsky’s most approachable work, The Devils is certainly one of his best, and it fulfills his intended purpose of showing, like Tolstoy had done a few years before in War and Peace, a full picture of Russian society.
However, while Tolstoy’s work looked backward to a Russia that, from Dostoevsky’s view, had been played out, The Devils was written to look forward, and, more often for ill than good, it has been right in its predictions. Not for nothing did Albert Camus, who would later adapt The Devils for the stage, say on hearing about the Stalinist purges in Soviet Russia that “The real 19th-century prophet was Dostoevsky, not Karl Marx.”
Post Views: 535 -
The Family Sex Show: Grooming Comes to Britain
I knew Bristol was liberal; the city is famous for it. Me? I have traditional values, I am involved with the Conservative party, and I have been a Christian my whole life. But when I got an unconditional offer to study a course at the University of Bristol which ranked third in that subject, I accepted it without hesitation. Nine months into living here and I have seen advertisements for climate-crisis bake sales, intersectional feminist poetry slams, and students “occupying” the Wills Memorial Building (and subsequently whinging that their vegan Deliveroo wasn’t able to reach them) in solidarity with striking lecturers. However, having nonchalantly followed Bristol’s Tobacco Factory Theatres on Twitter to see if any shows piqued my interest, I saw something that one couldn’t just dismiss as liberal lefty nonsense – this was something truly horrifying.
Tobacco Factory Theatres retweets ThisEgg (a theatre company) promoting their new show, The Family Sex Show (also promoted by The Guardian) The title is possibly alluding to incest, to Red Light District sex shows, and is definitely intended to shock. Already feeling slightly disturbed, I read on. The age recommendation is 5+ and the show description reveals it is intended as “an alternative to porn”. I read on to learn that “there is nakedness, yes. At one point in the show, everyone on stage takes their clothes off…” This is ringing every alarm bell possible.
Posing as “sex education”, the adults involved (who were hastily cast via Twitter only a month ago) don’t seem to know the first thing about safe, age-appropriate sex education. What five-year-old needs an alternative to pornography? Exposure to pornography is often used as a desensitising tactic when grooming children. In defence of this horror show, the website claims that “sexual development and behaviour in children starts from birth”. This is an argument which I have only previously heard from a documentary about PIE (Paedophile Information Exchange) to justify removing the age of consent.
Speaking of consent, which this show claims to teach us all about, I have to question why the “actors” get to choose their level of comfort when stripping. A five-year-old child, however, cannot consent to seeing naked strangers. The only guidance for parents is that they can leave if they feel uncomfortable, yet the theatre manager has written extensively on how the actors will be supported if there was negative feedback. How, I ask, are the “actors” the victims in this situation? This show seems to be all about what the adults want to do in front of the children, convinced that they know best. Cyber-flashing has just become a crime, and yet the cast of The Family Sex Show feel it is their right to flash infant-school-aged children. Many Twitter commenters reminisced over days when “dirty flashers” would be chased off by police. Now, liberal parents pay them ten pounds a ticket to bare all on stage. These people do not deserve to be parents.
My sex education at school took place in Year Six. We were ten and eleven years old and were taught about sex and puberty in an age-appropriate, sensitive, non-embarrassing way. The teachers, surprisingly, didn’t find it necessary to strip naked and point to their genitals to get the message across. Most of my generation will have had a similar experience and don’t feel we have gaps in our knowledge. Of course, we have all witnessed the odd person getting changed at the beach rather indiscreetly – but this is contextual, and hopefully accidental. If children are taught that it is normal for strangers to want to show their genitals to them, then this completely undermines the preventative measures that parents, and trusted adults, take against grooming. And as for the argument that “children will encounter porn anyway, so why not teach them about it now?” I worked in Early Years education for four years and I didn’t meet a single five-year-old who could read, write or type well enough to access pornography. And if parents leave it accessible to children, someone needs to call CPS.
I am just thankful that the live show and tour was all suspended during the multiple lockdowns, or we could be two years into child-traumatising theatrical sex shows. The Twitter outrage has been huge, and the account, Libs of TikTok, made famous by Joe Rogan’s podcast, shared the story, at my request, to an audience of 591.3k angry followers. We also have riled up over 800 Bristolian mothers on Mumsnet who have taken this story to the Daily Mail, started a petition, and are boycotting the theatre. Grown adults are being paid to strip in front of little children, in UK theatres, funded by the National Lottery and Arts Council England. Bristol’s Tobacco Factory Theatres want your money! In return, you and your five-year-old can watch simulated sex acts followed by a stage full of strange adults exposing their genitals. I have never been more horrified.
Post Views: 924