As of today, the Mallard is no longer publishing articles that include the word ‘woke’, in either print or online. 

Too many submissions, not just to the Mallard, but other publications – have become reliant on this word to explain away current trends that people find unappealing, yet cannot articulate why beyond anything other than this word. It is the responsibility of all outlets to contribute to the public discourse, and when a word, concept, idea, or individual, fails to contribute to the discourse – they have to be removed.

When pundits of the right use ‘woke’, they are using a word spawned by the online Left to denote their being ‘awake’ to the ‘injustices’ of the world, which are usually spawned from an ideological conviction rather than an actual understanding of the complex issues of the world. It suggests these people – the ‘woke’ left – are awake to the things that we are not, as if they have some deep insight that surpasses the average person. It is simply the latest expression of ‘real consciousness’ derived from Marxism.

Of course, we all know that the word is used sarcastically – but to use it at all is to make the eternal mistake of the Right, and to fight the Left on their own terms. We have been making this mistake for seventy years, and to reverse this trend, we need to stop appealing to their language, their values, their goals. 

But even when the word is used derisively, it adds virtually nothing. Issues around pronouns and bathrooms pale in comparison to the economic, cultural, and demographic changes brought about by the respective trends of globalism, liberalism, and immigration. There is nothing substantively different in the current cultural trends than in the previous cultural trends. What is happening today should not be described with a new word, because what is happening today is not new. That is the reality of where we are now – ‘woke’ is not sufficiently different from what came before it to really merit a separate topic of discussion. It is just an extension of the logic of the sexual revolution, the Civil Rights era, and the great liberalisation of the last sixty years.

One of our assistant editors, William Yarwood, last year recorded a short podcast begging us to stop calling groups like Antifa ‘fascists’ or the Left ‘the real racists’, and recognise that they are just communists. Stop calling the Left ‘woke’ as shorthand for a broad range of things you just ‘don’t like’. 

It is useless to say ‘look, I agree with what they stand for, I just don’t like how they’re going about it’. Then your disagreement is technical, it is not fundamental, so really you’re just the ones putting the brakes on their movement. They will come for you eventually, so you might as well recognise that now. 

Calling something ‘woke’ is a lazy caricature that lets (what passes for) the right wing commentariat get away with murder; the liberals of yesteryear are allowed to displace conservative voices in media, politics,  and culture. They pretend, in their sarcastic overtones, that leftists are weak and hypersensitive, when in reality they want to put children on hormone blockers, let men into womens’ changing rooms, open our borders to people who hate us, and teach the next generation that they have nothing to gain from the civilisation that birthed them. 

These individuals are not weak. These people are not hypersensitive. Instead, they pass laws to put people in prison if they so much as joke about them. The notion these people are weak is a reflection of decades of failure of conservatives to actually do anything about them. If these individuals were weak, they would not find it so easy to break down the barriers that protect the most vulnerable in society: women and children.

These are not just simple activists, by the way. They are in our institutions, running our universities, pioneering our civil service, ‘decolonising’ our curricula, all the while entrenching their culture by building parallel careers that have no real world purpose or function. The massive, tumorous growth of the ‘human resources’ machine has seen to it that busy body unemployable humanities graduates have a reason to exist once more, only now it is self-perpetuating cancer that simultaneously cannot abide the existence of leftist heresy whilst relying on it like a parasite.

And as we see continuously, the online right is just as bad. If there are necessary discussions about poverty, living crises, genuine injustices that actually harm peoples’ lives, the right shrieks ‘woke!’ in such a hypersensitive way that the actual discussion disappears behind parody and caricature. TalkRadio’s infamous Mike Graham recently told an Extinction Rebellion member that we can ‘grow concrete’ in an effort to ‘own the lib’ – to which the XR member, who is stupid for different reasons, was left speechless. By consequence, Mike Graham made XR look reasonable – an own-goal, if ever there was one. 

When war broke out in Ukraine, it was necessary for the right to attempt to make sense of it. This was done well in some circles – with people drawing attention to the Realist school Regardless of your thoughts on the Realist school, it was undoubtedly an intellectual contribution to the discourse. If you looked at the mainstream discourse however, you would know nothing of this contribution. Instead, it became another flashpoint to discuss this word, those they associate with it, and how these people were ‘weak’, ‘hypersensitive’ and made it so we were incapable of fighting a war against Putin.

It couldn’t possibly be that nuclear war is a possibility, or even – as the neoconservative lobby implicitly recognises but refuses to admit – that we have nothing to gain from getting involved in the war. No, it must be the woke. We end up in some perverse eternal Spy vs Spy scenario, where ‘woke warriors’ seek out racism/sexism/whateverism in any place they can find it, while the ‘common sense rightists’  only try to define what they consider ‘woke’ to make it work, rather than criticise it on its own grounds.

So we are not publishing the word any longer. Here is a list of publications that are likely interested: The Sun; TalkRadio; The Critic; Compact; Breitbart; GB News. I am sure they will find your work fascinating. We won’t. 

With Russian troops having begun a full-scale invasion of neighbouring Ukraine, President Joe Biden was recently asked by a journalist “Do you think you may have underestimated Putin?” In response to the question, the supposed ‘most powerful man in the world’ offered merely a smirk and proceeded to sit in silence whilst his team rushed to stop the video recording. This was inevitably due to the honest answer being yes – the warning signs have been evident for decades. Let us first consider the historical basis for the invasion.

Vladimir Putin’s position as a Soviet romantic has come to be a defining aspect of his political image. In his 2005 state of the nation address, he notably referred to the 1991 collapse of the USSR as “the greatest geopolitical catastrophe of the century”, an event which left “tens of millions of our fellow citizens and countrymen … beyond the fringes of Russian territory”. It is this Slavophilic perspective that is paramount in understanding the motives and aims of Russian foreign policy in Eastern Europe. With the fall of the USSR came, according to Russian nationalists, the mass displacement of Soviet citizens outside of the Motherland. Millions of Slavic people, all of whom shared a rich cultural history, now living within the borders of independent states, stripped of their collective identity. At this time, young Vladimir Putin was working for the Mayor of Leningrad, and this moment came to shape his ideology and vision for Russia’s future (and the future of former-Soviet satellite states).

Ukraine however, has always occupied a special place within Russian romantic nationalism. The Russian Federation actually has its origins in modern-day Ukraine – specifically the Kievan Rus’ federation (consisting of East Slavic, Baltic and Finnic peoples), which existed from the 9th to the 13th century. Linguistic and cultural roots remain strong, with most Ukrainians also speaking Russian, especially in the eastern and southern parts of the country. Whilst a region of the Russian Empire (and later the USSR), Ukraine was a crucial region for agriculture due to its soil, which is exceptionally well-suited to the farming of crops.

Given this intertwined history, a key tenant of Putin’s romantic mindset is the idea that Russians and Ukrainians are one people, and must therefore exist within the same state. This view was most recently revealed in a 2021 article written by the president, titled ‘On the Historical Unity of Russians and Ukrainians’, in which he affirmed that “true sovereignty of Ukraine is possible only in partnership with Russia”. Stella Ghervas, a professor of Russian history at Newcastle University, has explained that “the borders of the Russian Empire in 1914 remain a point of reference from the Kremlin up to this day”.

However, it seems that the West has chosen not only to ignore how ideologically desperate Putin is to reclaim Ukraine, but also how brutally willing he has been to utilise hard power to achieve his expansionist aims. 2008 saw artillery attacks by pro-Russian separatists (backed by Putin) in the South Ossetia region of Georgia; 2014 brought us the infamous annexation of the Crimean Peninsula, and 2021 saw a mass-movement of Russian troops and military equipment to the Ukrainian border, raising concerns over a potential invasion. These examples should have clearly demonstrated to Western powers the lack of respect Vladimir Putin has for national sovereignty, and that once his mind becomes fixated on regaining lost Soviet territory, he can’t be easily dissuaded. With this in mind, the invasion of Ukraine should be viewed as the inevitable and long-awaited finale to Putin’s expansionist concerto.

The response to the latest developments is hardly surprising: economic sanctions appear to be a firm favourite amongst Western leaders; Boris Johnson has sanctioned five Kremlin-friendly oligarchs and aims to target “all the major manufacturers that support Putin’s war machine”, whilst Joe Biden has levied penalties against major Russian industries and frozen the bank assets of the regime’s major figures. An international effort has also been undertaken, with the UK, US, EU and Canada agreeing to cut off a number of Russian banks from SWIFT, the international payment system. However, such sanctions, especially those against individuals, have received pushback. Following Crimea in 2014, the late and greatly-missed philosopher Sir Roger Scruton published a piece in which laid out how believing that sanctions against oligarchs “will make the faintest difference to Russia’s expansionist foreign policy is an illusion of staggering naivety” – having faced the threat of increased sanctions since then, Russia has built up foreign currency reserves of $630bn (akin to ⅓ of their economy).

In terms of military responses, the general consensus is that Western troops won’t be deployed, and there is a simple logic to it – Western populations have no real hankering for a war: two recent YouGov polls revealed 55% of Britons and 55% of Americans oppose sending their own troops to fight in Ukraine (for the United States, last year’s disastrous withdrawal from Afghanistan undoubtedly turned the public off of war for a while). However, NATO troops have been deployed to Eastern Europe, and we’ve also sent 1,000 soldiers to Hungary, Slovakia, Romania and Poland, in preparation for the inevitable outpouring of innocent and scared Ukrainian families.

 Whilst the objectives of the Putin regime and the long-term naivety of the Western order are the two primary factors, the West’s role in bringing this situation about must also be acknowledged, for the sake of honest discussion. In the early 1990s, Boris Yeltsin expressed his desire for Russia to one day join NATO; Putin echoed this in 2000 when Bill Clinton visited Moscow. Despite Russia at these times being a fledgling democracy, they were turned down by the alliance – provided the opportunity to start anew and help the Russian people, the West refused to bring Russia into the international fold.

Further evidence of the West’s culpability is the expansion of NATO’s borders. Although an arrangement with murky origins, the generally-understood version is that the US Secretary of State James Baker, told Mikhail Gorbachev that NATO expansion was ‘not on the agenda’. Regardless, the welcoming of former Eastern Bloc states into the alliance (Romania, Bulgaria, Latvia, Lithuania, Estonia, Slovakia and Slovenia in 2004, and Albania and Croatia in 2009) has only served to worsen relations between Putin and the West – despite the availability of open dialogue for decades, we’ve consistently chosen mistrust when dealing with Russia.

Whilst the West may be shocked that Putin actually went ahead with a military invasion, it can’t seriously claim to have been surprised; the president’s intentions regarding Eastern Europe and Ukraine especially have been nefariously evident for at least a decade, in which time we’ve fooled ourselves, downplaying the risk Russia posed. We must endeavour to remember however, the most tragic consequences of this entire situation: the many thousands of innocent Ukrainian civilians who’ve lost their lives, their homes and their feeling of safety within their own borders. For Russia, sanctions will hurt their citizens, all whilst their understanding of the situation is distorted through propagandistic state media. This really is a horrific situation, and one that has occurred because of Putin’s worldview and Western leaders’ inability to take Russia seriously as a threat.

Photo Credit.

For someone who has anger issues, entering the Audubon’s The Birds of America exhibition was like entering a whole new world. Upon the entry, I saw giant screens showing details from Audubon’s work and I could hear quiet bird noises in the background. It was an incredibly calming experience, as much as one can consider stuffed birds and plates depicting birds massacring another bird calming. Naturally, this wasn’t the centre of the exhibition – it truly celebrated the skill and the creativity of the bird illustrator with a passion for nature.

The exhibition is running in the National Scottish Museum in Edinburgh from the 12^th of February to the 8^th of May of this year. It displays over 40 plates, each measuring almost one metre in height. Most of them have never actually been shown to the public before. It is split into 4 sections, each of them with its own theme – the first one, ‘Meet the Birds of America’ introduces the ‘world’s most expensive book’ and Audubon, in general.

John James Audubon was a 19th-century ornithologist and naturalist. He made a point of studying and cataloguing the birds he encountered in their natural habitats. A son of a sugarcane plantation owner and a chambermaid, he must have had a conflicted childhood. Audubon moved to the US to avoid participation in the Napoleonic Wars – and focused on birds instead. 

The second section of the exhibition titled ‘An Art and a Science’ examines the influence of other illustrators on Audubon as well as the scientific, or sometimes quasi-scientific context. With the Industrial Revolution clashing with the Romantic movement, the transcendental search for nature was at its peak. The illustrations at the time were generally quite dull due to drawing from taxidermy and lifeless study skins.

Audubon, however, made a point of painting directly from wildlife, by personally hunting the birds and sometimes getting others to hunt for him. He would then paint the birds he gathered by pinning them into lifelike poses observed in the wild. This resulted in his art being vivid and life-like. He didn’t want to paint the taxidermied birds as he felt this would take away their lively spark from them. He was known for sometimes romanticising the birds he saw in the wild, for example when painting the Mocking Bird, in which a rattlesnake attacks birds in a bush, where it would be impossible for a rattlesnake to do so. Audubon would also sometimes add more human behaviours to the birds to allow the audience to relate to the birds. He was sometimes accused of not exactly presenting the truth.

The third part of the exhibition called ‘Audubon in Edinburgh’ explores the role of Scottish intelligentsia in ensuring that Audubon was embraced by the art society, after his rejection by the scientific community in Philadelphia. He befriended William Home Lizars and started engraving. Edinburgh was central to Audubon’s beginnings as a bird illustrator, making it extremely relatable to the Scottish audience, and it became somewhat a privilege to live in the same city where Audubon once found inspiration and was embraced by the art world.

The fourth section called ‘The Great Work: The Making of a Masterpiece’ deals with technical and artistic achievements. There are short films available for those whose attention span is longer than mine. However, this section also shows the bound edition of Birds of America which is extremely large (100 x 130 cm when open). Audubon insisted that the illustrations would show the birds life-size. Only two paper mills in the UK were capable of printing these, as he used a double elephant folio which is 96 x 66 cm. For those who are capable to rotate shapes in their head, this number will probably mean a lot.

The fifth section ‘Naturalist or Showman’ focuses on his contribution to discovering new species. Audubon identified 25 new species. This part of the exhibition explores some of the ‘controversies’, for example, Audubon was known for his strong belief in phrenology, the science which is now deemed ‘pseudoscience’ by some. Phrenology suggests that one can find details about someone’s personality from their skull shape. Seeing what kind of person he was, he probably used phrenology to mock his rivals. He was often accused of plagiarism and scientific fraud due to misidentifying some species and fabricating scientific data. Sometimes he invented new species to impress people who might then buy his work. Reportedly, he even stole the specimen of Harris’s hawk from his subscriber to then pretend he never knew him. He also lied in his own autobiography.

The sixth and final section of the exhibition ‘Birds of the World’ considers the impact of the modern era on the preservation and extinction of many birds. Some, such as the Carolina parakeet is entirely extinct – they used to always flock in large groups which made it easier for the hunters to kill them. They’ve also been considered a pest by farmers, which contributed to their demise. The exhibition ends on a thoughtful note, advising us to consider the repercussions of human behaviour on the natural world.

This prompted many conversations, such as the possibility to clone the extinct animals using their DNA tissue, however, so far, this was only tried with Pyrenean Ibex in 2003, but this one died not long after from lung defects. It might be a way forward in the future though.

The exhibition was a visual feast for the eyes and the birds are engraved and painted beautifully. The sheer skill of Audubon’s art is undeniable, and it trumps any accusations he received. He may not have been rigidly adhering to the scientific advice, but he created something that’s still worth looking at. Audubon inspired George Bird Grinnell to create the National Audubon Society in 1905 (although the idea goes back as far as 1895 when the first Audubon Society was created). The organisation protects the birds and their habitats in the Americas. If you like birds, you can donate here.

Audubon’s exhibition included a wealth of important items, including some study skins of birds and many taxidermized birds as well as his diaries, plates, and his hunting double-barrelled rifle. The exhibition is beautiful, thoughtful and certainly fascinating. For anyone who craves the return to transcendentalism and ancient values – it’s a feast for their eyes. If you fancy a trip to Edinburgh before the end of the exhibition on the 8^th of May – make a point of stopping by at the National Scottish Museum to look at some birds, I strongly recommend it.

Quote: The exhibition was a visual feast for the eyes and the birds are engraved and painted beautifully. The sheer skill of Audubon’s art is undeniable, and it trumps any accusations he received.

Picture Credit