In short, the year started badly but was peppered with good moments. By mid-2022 it was going excellently, and I thought I was finally past the worst of what this year could throw at me. My hubris was rewarded with some of the worst few months of my life so far. I know that, in the grand scheme of things, I should be thankful for all that I have, and I certainly recognise that I have it much better than most people. It helps to remember that, but it doesn’t change how I felt and acted at the time.
I suppose that that is the nature of life and hindsight. At the time, these moments seemed to mean everything. They either crush your soul and spirit or bring you to the highest heights. I think that this sentiment is expressed quite well in the ‘it’s over/we’re back’ memes that have propagated themselves across my twitter timeline for the past few years. We outright refuse to recognise our own mundane victories and losses, and instead focus on the peaks and troughs – this is natural of course, we would go completely insane otherwise.
I don’t think it is bad to allow these experiences to hit you. Part of the human experience is to be hit by these ups and downs. It is the dwelling on these events that becomes a problem. Holding on to fading hurt and fleeting success instead of moving on in some sort of twisted nostalgia for our best and worst moments can lead us down a very dark and dangerous road. It makes us forget who we are and who we can be. Our lessons learnt, we should embrace the change and simply move on. It is in these moments that we grow and mature as people, and become a better version of ourselves.
For me personally, this year has been an absolute rollercoaster of highs and lows, and that has been very hard to deal with. Things seem to be better now, however, and I am filled with enthusiasm for what the new year can bring me. I think that 2023 will be an amazing time for personal growth and development. I still have a lot of weight to lose, but I am steadfast in my determination to see it through this year. Coming to terms with my situation and state of mind will not be easy, but life is not supposed to be easy. Nothing worth doing is easy.
This is an excerpt from “Provenance”. To continue reading, visit The Mallard’s Shopify.
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In Conversation with Curtis Yarvin III (Political Testosterone and BBC Pidgin)
Curtis Yarvin, known by his pen name ‘Mencius Moldbug’, is one of the most prominent social critics and reactionary writers of the contemporary era. Yarvin’s blogs, ‘Gray Mirror’ and ‘Imperial Melodies’, can be found on Substack.
Yarvin’s words are in light.
Are you familiar with my favourite institution of journalism? As you know, Orwell worked at the BBC, a great service. I used to listen to BBC short wave as a kid in Cyprus. It used to go ‘beep, beep, beep, beep’, you know, but there’s another part of the BBC that most people don’t know.
Oh!
It’s BBC Pidgin.
Yes! I knew you were going to say that.
[*Laughing*]
You know how many people’s minds you can blow when you show them BBC Pidgin?
Oh my God, oh my God, it’s like the sophisticated version of Rick Rolling.
Oh, it’s so good.
You send them to a story, I’ve been sending people to the BBC Pidgin story about FTX, right?
It is impossible, this is the thing, it’s impossible to read it without sounding like you’re doing something incredibly transgressive.
No, no, no [*Reading from an article on BBC Pidgin], “Dis na as rumours say di FTX and oda firms wey im own bin dey shake financially cause pleti pipo to start to try to dey comot dia money from di platform wey dem dey take buy and sell digital tokens. As mata come tie am rope for neck, Oga Bankman-Friend bin try to organise bailout but e no work.” [*Laughing*] and um…
Oh my God. I’m going to have to type out that transcription.
Yeah, yeah, yeah, yeah, I would start with a Google and get it right, like the poem. You know, you don’t wanna [*inaudible*] oh my God. Yeah, but in any case, like, it’s, it’s, you know, the easiest way to explain, like, how like, Mary Tudor, you know, would look at England today, would be like…she’d have the same response to everything that we have to BBC Pidgin. And, and, right –
Even the Victorians, even the Victorians.
Even the Victorians.
It’s like, you know, Blockbuster still exists but its last outlet is in some pointless town in Wisconsin or something.
Yeah, yeah, yeah.
That is basically the United Kingdom today. It’s uh…
Yeah, but it doesn’t have to be. Knowing that decline is just a consequence of a form of government should be this endlessly exciting, invigorating, hope, where like, absolutely no hope seems to exist. The fact that no hope seems to exist means that sort of all of these bullshit paths toward hope like Brexit have been exhausted and no energy should be diverted into them, which is good, because they’re traps, and like, the energy of a complete collapse is not really the energy of a collapse, it’s the energy of a reinvention. It’s like, you know, this amazing, joyous, recreation of the modern world, kind of shaking off its 20th Century birth pangs. It’ll be incredible. And it’ll be incredibly wonderful and exciting and glorious and certainly not violent in any particular way because…
Because it doesn’t need to be.
It doesn’t need to be. You know, and, and, and, Sir Arthur Scargill is no longer in the building, let alone like, you know, the workers of London will rise up and there will be a new Peterloo. So, you know, like the clack of history turns, and it turns for them as well as for us.
There’s not enough testosterone for anything like that anyway.
There’s not enough testosterone and actually, you know, literally, there’s not enough testosterone as well as figuratively in many ways, and so you’ll just see these old regimes just crumble like East Germany. And it’s like…people will be like “Why didn’t that happen earlier? Because it could have happened earlier, but it didn’t”.
And, yeah, so, you know, the extent to which the problem of like, spreading this picture, and especially spreading this picture in a way which doesn’t scare anyone, you know, because there’s nothing scary about it. Like, you know, and there’s absolutely nothing scary about it and this is the job of we, the dark elves, on both sides of the Atlantic.
It’s been a huge pleasure. I’m getting a little bit tired.
Curtis, thank you very much for your time.
It has been a great pleasure talking to you and thank you for listening.
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Current Criticism on Austen: An Overview of the Norton Critical Pride and Prejudice, 4th Ed.’s Back Material
“Short and easy will be the task of the mere biographer. A life of usefulness, literature, and religion, was not by any means a life of event…to the little disappointments incidental to human life was never added, even for a moment, an abatement of good-will from any who knew her.”
No, this quote does not refer to the late Queen Elizabeth II—though several aspects of it, from the humble understatement to the positive rapport among her acquaintances, could just as well describe the late monarch (ignoring the lacking a “life of event” part) as they do its actual subject, Jane Austen.
Written by her brother Henry and included as a preface to the posthumous volume containing Northanger Abbey and Persuasion, the brief biography is one of the many resources found in the 2016 Norton Critical Edition (the fourth) of Pride and Prejudice, edited by Donald Gray of Indiana University and Mary A. Favret of Johns Hopkins. Besides confirming that one cannot understand Austen without understanding her, as he puts it, “thoroughly religious and devout” faith (another parallel between Austen and Her Royal Highness, and many others), the biography gives several details that lend insight into not only P&P but Austen’s other novels, as well.
This is, of course, the purpose of Norton Critical Editions, which I have used since my first essay as a California kid at Oxford (due on a Monday after meeting my tutor on Friday). The Norton Alice’s Adventures in Wonderland, bought, read, and cited in a two-day scramble, saved my grade that weekend, and it still graces my bookshelf for whenever I or mine might need it.
While pieces contemporary with the books’ printings, like the above biography, letters from the author to family and friends, and subsequent reviews at the time (for P&P from Scott, C. Bronte, Emerson, Twain, and others) provide a great context, as a student I found most useful the critical excerpts included in each edition, which attempt to give an up-to-date view on the literary conversation surrounding a certain work. For undergraduates who may not know where to look for sources on a certain author, I usually suggest Norton Criticals (and, by God, the several-page-long Selected Bibliography in the back—my brother and sister in Christ, THEY DO YOUR WORK FOR YOU), if only as a primer for larger critical discussion.
But the editions aren’t, and shouldn’t be, limited to the student; indeed, fans of Austen (or whom have you) might wear down their editions faster and more thoroughly than the student who buys it for a two-week paper. Although written with the academic in mind, works like Norton Critical Editions might very well contribute to the canon being preserved outside of the university, providing, as they do, the tools for a historical and critical understanding of one’s favorite work.
Literally one of the greatest novels ever written, and second in my mind only to The Brothers Karamazov, qua novel, Pride and Prejudice needs no encomium from me. Based on and in parts expanding my Goodreads review, what follows is a summary of and, at times, response to the recent critical sources in the 4th Norton Edition. I hope it will prove useful to Austen lovers as much as students.
D.A. Miller, “No One is Alone,” from Jane Austen; Or the Secret of Style (2003).
Discusses the break between Austen’s style and her characters, with the former being omniscient and the latter being little-knowing. Recounts how Austen’s style developed from reading 18th-century writers like Sam Johnson and how she novelized several aspects of their articles. Discusses the paradox of Elizabeth’s marrying Darcy (Miller cynically sees it as an unfortunate contradiction) by supposedly eschewing the very wit (or “impertinence”) that made her unique.
Jeff Nunokawa, “Speechless in Austen,” from Differences 16 (2005).
Discusses the timelessness in Austen (both narration and characters), whose writing seems to have no idea of the enormous cultural changes that were to come in the 1800s. Nunokawa identifies this confident changelessness as being part of why we read P&P, which, despite readers’ approaching it with nostalgia, has very little actual nostalgia within its pages. Discusses, like Elfenbein below, Austen’s use of space-as-social dynamic. Also contextualizes and discusses silence within P&P, and how Darcy must learn to open up because it is through sociability and inclusion, not mere rank, that one succeeds in P&P. Reasons that in Austen one can only know themselves through social interaction, and so Darcy’s attempting to only speak when he has something perfect or great to say ironically reduces him. Finally, examines the certainty of tone often used by both Austen’s narrator and her characters.
At times syntax/language felt a bit overwrought, but it may be because it’s an excerpt and, its being the first article I read after finishing the novel, I was still reading with Austen’s rhythm.
Andrew Elfenbein, “Austen’s Minimalism,” from The Cambridge Companion to Pride and Prejudice (2013).
Examines how and why Austen leaves out descriptive details; identifies her as not being a realist (as has been argued) because of this selectivity. Contextualizes Austen with Johnson’s 18th-century advice to make writing timeless by avoiding too many details; shows how Austen nuances this by using detail to enhance beauty of characters/scenes, like the then popular picturesque school (which suffuses the book – see Knox-Shaw below). Identifies rooms and the outdoors not as physical places but as identifiers of distance and a context for the social interactions that make up the book. One of the best articles in the edition, both for historical context and argument flow.
Peter Knox-Shaw, “Pride and Prejudice, A Politics of the Picturesque,” from Jane Austen and the Enlightenment (2004).
Identifies the Picturesque as finding a medium between the Burkean-Romantic poles of pacifying Beauty and provoking Sublime. Follows the picturesque as a running metaphor through the book for Elizabeth and Darcy’s love, and thus, for Elizabeth’s breaking of gender stereotypes/politics. Argues that, like the picturesque, Elizabeth’s development depicts a nuancing of (if not campaign against) conventional beauty, while showing that beauty and attractiveness are not synonymous in the book (see Michie below). In conjunction with the other articles on the picturesque, Knox-Shaw’s was one of the more enlightening articles in the material.
Felicia Bonaparte, “Conjecturing Possibilities: Reading and Misreading Texts in Jane Austen’s Pride and Prejudice,” from Studies in the Novel 37.2 (2005).
Places P&P within the contemporary philosophical debate between the rationalists and the empiricists. Establishes how P&P identifies Jane Austen as an empiricist in the line of David Hume due to its consistent focus on skepticism regarding secondhand accounts, texts, and assumptions. Stresses how often characters’ epistemology is discovered to be faulty, and how the book encourages a general skepticism regarding first impressions. Argues that the Bennet sisters each, in their own way, undermines one’s ability to interpret reality with certainty, and that Elizabeth’s developing a “practical empiricism” is “the bildung of the novel.” Goes further to argue that Austen was even an early Nietzschean post-modernist in how she incorporates her characters’ mutual and self-reflective interpretations into their construction of, rather than deduction of, reality. Probably my favorite of the edition’s essays, for its historical context and depth of substance, as well as readability.
Vivien Jones, “Feminisms,” from A Companion to Jane Austen (2012).
Argues that, despite her focus on primarily women characters and their circumstances, Austen should not be classed as an early feminist because of her reaffirmation of marriage, which Jones interprets as an endorsement of the patriarchal structure she sees throughout the book. Identifies Austen, rather, as a postfeminist author, who (she thinks mistakenly) argues in her characters and scenarios that the inequalities facing early-19th-century women had largely been dealt with and that many problems experienced by women could be surmounted not by societal revolution and polemic but by individual reflection and reformation. Identifies Elizabeth as being in the vein of Mary Wollstonecraft, but Austen as aligning more with the conservative female writer Hannah More. Accuses Austen of contextualizing the benefits achieved by Wollstonecraft within a conservative/Tory context of twenty years later that reaffirms the social structure. Reads P&P as conservative reinterpretation of previous feminist ideals through the onus for individual, rather than broader social, reform. In my opinion, Jones’s view that Elizabeth’s marriage is a renegging on her previous independence (rather than a full expression of it) misses the point of the book, which his her growth out of her own pride and prejudice (an impetus and growth Austen notably gives to Darcy, too).
Janet Todd, “Jane Austen’s Hero,” from The Cambridge Companion to Pride and Prejudice (2013).
Argues that Darcy’s place in society allows him to begin the book as a boor, whereas Elizabeth’s requires her to adapt through the book. Sees Elizabeth as having no individuality in either Darcy or Collins’s eyes. Follows Alistair Duckworth’s 1971 Marxist reading of the book’s property entail (arguably refuted below by Macpherson), applying it to gender and property. Like Jones above, interprets Elizabeth’s growth out of her pride and prejudice as a negative, a product of her social standing and gender, and thus misses the point of the book.
Elsie B. Michie, “Social Distinction in Jane Austen,” from The Vulgar Question of Money: Heiresses, Materialism, and the Novel of Manners from Jane Austen to Henry James (2011).
Interprets P&P as Austen’s attempt to find the proper relation to wealth. Reads book as a response to Hume and Smith’s writings on the problematic effects of wealth on English society. Elizabeth as the opposite of Miss Bingley and Lady Catherine, both of whom present the negative effects of status via inherited wealth (shallow, arrogant, etc). Examines the growth of manners to replace the traditional virtues of the landed aristocracy (both shown in said characters). Points out how Elizabeth’s manners, as well as her disregard for inherited virtue or status, make her attractive despite her lack of apparent beauty (see Knox-Shaw above). Looks at what Darcy’s growing attraction to her says about him. A good essay for understanding and contextualizing the different dynamics in the Elizabeth-Lady Catherine interactions, as well as the changing social mores of the time.
Sandra Macpherson, “Rent to Own: or, What’s Entailed in Pride and Prejudice,” from Representations 82 (2003).
Lays out the laws of property entail—and, Macpherson points out, ironic humor surrounding the issue—that undergird the plotof P&P. Debunks Duckworth’s Marxist view that the book’s society is structured along class and gender lines (see Todd, above). Showing how entail cannot be blamed on any one person or group, explains the implicit joke in both Mrs. Bennet’s expecting something to be done about the entail and Collins’s continual apology for it (both of which Austen’s readers would have seen as ridiculous). Reads Austen as not being against entail, per se, because it is an image of social obligation, not one of exclusion. Examines Austen’s contrasting renting vs owning as makers of different personalities and virtues (vis, Bingley and Darcy). One of the more enlightening, historically based, and easy/fun to read of the back material; possibly my favorite, contending with Bonaparte.
Andrew Maunder, “Making Heritage and History: The 1894 Illustrated Pride and Prejudice,” from Nineteenth-Century Studies 20 (2006).
Examines the role illustrations play in forming (and revising) later perceptions of an artist and their work. Explores how, “Illustrations play a central role in how readers construe novels,” and “modify, challenge, and even dictate readers’ understandings,” of the novels. Argues in a footnote that later illustrations of P&P like , rather than the text itself, are to be attributed with the reading that Darcy becomes more emotionally responsive by the novel’s end; conversely sees the text as validating Darcy’s cold “legal and ethical formalism,” and pushing Mr. Bingley to emulate it. Explores the effect the 1894 edition had on how the novel was interpreted, despite it’s being merely a “gift book” among many similars flooding the market. Presents and critiques key illustrations by artist Hugh Thompson and describes others, unpictured; interprets Thompson’s stated desire to show Austen’s “sense of fun,” as going too far, into reinterpretation. Although Thompson and editor George Allen caused a revival of interest in Austen, implies the popularity had more to do with the reinterpretive lens than with Austen’s work, itself (see my own critique of the recent Persuasion adaptation, linked above).
Tiffany Potter, “Pride and Prejudice and Zombies,” from Women, Popular Culture, and the Eighteenth Century (2012).
Reads Seth Grahame-Smith’s book/reinterpretation, P&P&Zs, as more than a pulp piggyback off of Austen. Presents book as a concretization of the implicit, unspeakable aspects of P&P, with the zombies being “a literalization of the threat of a social death in spinsterhood…in opposition to the socially constructed life-and-death quality of the marriage plot.” Interprets several moments from Grahame-Smith’s book as helping readers better understand Austen, such as Lydia’s becoming an “unmentionable” zombie as an image of the unspeakability of her adultery in Austen, or the steady death to zombiehood of Charlotte as a picture of her intellectual death in marrying Collins. An interesting piece that treats P&P&Z seriously, though Potter ultimately interprets certain aspects of Austen (e.g. Jane and Elizabeth’s marriages) negatively, like others above.
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We Need a Che Guevara of Our Own
The title might be misleading at first, but there is a good reason for that. To understand the needs and opportunities for the contemporary Right, we first need to understand what got the Left into power at first.
Enter Che Guevara, or more exactly, enter Ernesto Guevara de la Serna.
For anyone in either the free-market or the classical conservative sphere, the travel log of his motorcycle trip around Latin America should be a required reading. Not because it is an historical account of the radicalization of one man, who from well-educated Argentinian bourgeois doctor went to terrorist, revolutionary and guerrilla leader, but because it shows the seeds of how a simple man with ideas (albeit in his case, the worst ones) can become an archetype, a religious icon for a set of beliefs.
Even for someone like Murray Rothbard himself, Che Guevara was someone worth of interest, to the point of writing a highly critical but yet prophetic obituary for him, and Rothbard, of course, was right, because Che Guevara has probably become the most well-known political figure in recent Latin American history, and outside of the developed West, that is, the US-led Anglosphere and Western Europe, his face and his name have become synonymous with armed struggle, with guerrilla warfare, with an utopian socialist ideal that knows no limits nor boundaries.
His death at the hands of the Bolivian Army, helped by the CIA, in a failed attempt to spark an agrarian Marxist revolution in the Andean Altiplano, only contributed more to his already legendary status among those who oppose the ideas of freedom and civilization.
In practice, his death made him a martyr of the Left, a religious symbol of a revolution that never came but is always presented as the gospel of egalitarianism. Say what you want about Che Guevara, say he was a killer and a terrorist, and you will be right. But that doesn’t take away the fact that Che was ready to die for his ideas, and in fact did so.
The Right, neither conservative nor libertarian, doesn’t have a single person who has gone to such extents. We don’t have martyrs, and our beliefs are not religious. We may think of the self-immolating acts committed by the likes of Alex Jones or Kanye West as martyrdom for our causes, like free speech, but they are nothing but counterproductive folk activism.
In fact, our beliefs, are quite the opposite to a religious fanatism, for they are rooted in the reasonable analysis of history, nature and society, and as such, the results of our ideas, even if adequate on a long term, are not easy to sell to high-time preference masses, who have become used to receive subsidies from governments and have internalized the propaganda created by the corporate-managerial class that works in tandem with policy-makers.
Our society is deadlocked between an individual struggle for freedom and an organized struggle for power, and our times are stranger than ever, for they represent what Francis Fukuyama still insists is the End of History, but look closer to the civilization end stage described by Oswald Spengler in his Decline of the West magnum opus.
The problem is that if we take either Fukuyama’s or Spengler’s words for granted, we’re still left without some key elements to understand the mechanics of our age: liberal democracy is indeed the dominant system all around the world, but it is not liberal (for it is not generous, as defined by Erik von Kuehnelt-Leddihn, and because it creates false, unstable prosperity out of heavy taxation, inorganic monetary emission and general government intervention of the economy), nor it is democratic (for it allows everyone to vote, no matter who or what “the People” is or is intended to be, and reserves power only for an unelected managerial class.)
If this account of facts is remindful of James Burnham’s ideas, it is because he, like Spengler, identified elements of our current collapse, and tried to predict its future by equating the imminent managerialism of the West with Soviet Stalinism and Italian fascism, and in many senses, Burnham was right, and Western managerialism has indeed become something akin to fascism, although without the nationalism, as Lew Rockwell has repeatedly warned us.
But where does that leave us and how is Che Guevara connected to all of this?
Simple: for Burnham, as well as for Spengler, as theorists of Western collapse, the system that would be in place in the endgame of civilization would depend on strongmen like Cecil Rhodes to work smoothly, for they, as the Great Men in History described by Thomas Carlyle, would be the only ones able to take the reins of power to direct society.
This mention of Cecil Rhodes is not random, because he could probably be considered the best example of how a Great Man idea must be compensated with a sound understanding of historical processes, and because Rhodes, like Che Guevara, was strongman, a tactician and a born leader. In Hans-Hermann Hoppe’s words, he was a natural elite.
From an English boy with poor health, the son of an Anglican priest, he became a mining magnate and then an important politician in South Africa. His talent for business allowed to thrive and prosper, and his short stay in Oxford University shaped his worldview into one of British dominance and influence.
In the same fashion as other strongmen before him, Rhodes was elevated into the highest prestige in his last years and after his death, with the British colonies he helped to acquire getting named after him (not unlike Bolivia being named after Simón Bolívar), with his South African estate becoming the campus for the University of Cape Town, and with his large fortune left to fund the Oxford scholarship named in his honor, which has helped educated thousands of politicians and enterprise heads from all around the Anglosphere, with the original intent of shaping them to think in the same way Rhodes himself thought about a British-dominated world.
But his legacy hasn’t prospered as much as the almost religious veneration Che Guevara has acquired, for the idea of Rhodes, the imperial businessman and politician, once respected as an ideal of the British Empire, has now become anathema even in the very institution he attended and donated his fortune to, for the gospel of egalitarianism cannot allow the veneration of natural elites, in their own times and contexts.
Che Guevara, on the other side, by living fast and dying young, by focusing and sacrificing himself to his ideas, created a myth around and about himself, a myth that men like Cecil Rhodes could have never even achieved.
And now, in our Populist age, where political and business leaders emerge out of the polarization of ideas and beliefs, where strongmen and magnates like Ron DeSantis and Elon Musk can lead thousands of supporters and yet still have troubles to hold or exercise power in their own spheres of influence, the question remains: what are we missing that the Left does have?
We may not realize it, but the Left is currently lacking this key element: they don’t have natural elites, they don’t have caudillos, they don’t have true leaders.
In their inflation of their egos, they have elevated the likes of Klaus Schwab and Samuel Bankman-Fried into their demigods, and when the societal collapse they have caused themselves may finally come, they won’t be able to prevent it or to mitigate it.
But here is where and when our duty becomes clear: if the Left is a fanatic religious movement focused on enforcing egalitarianism, and if the Left has had its martyrs like Che Guevara, then our fight, just as Rothbard said, must also be a religious crusade, one for the defense of freedom and civilization.
But to fight such a fight you don’t only need fighters, you need leaders, tacticians, strategists. Not everyone can be one, because our natural differences make us spontaneously inclined to different activities and positions in life, but extreme circumstances do create extreme leaders.
Ernesto Guevara did not become El Che from day to night, he was transformed by his trip around Latin American, radicalized by the poor living conditions of his fellow men, and engaged by the common identity of a single continent from the Rio Grande to Patagonia. It just happens he took to wrong path and he fought for the wrong ideas, and instead of prosperity to the masses, the only things he brought were death and misery, in Cuba, in Angola, and in Bolivia.
His face, now a symbol, still represents carnage and poverty wrapped around an utopian ideal, but ultimately proves the point of this essay: Che was, and still is, a symbol.
We, in the Right, cannot take him for our side, because it would be incoherent and counterproductive, but we must understand what made him as such. Che emerged under the most unlikely conditions and circumstances. Our Che will probably emerge from the most unlikely of the places as well.
Because if one thing is true, that our conflict with the left is indeed a religious fight against a fanatic progressive dogma, then we will also need leaders and martyrs, just like Che was for the Left in the past. We need a Che Guevara of our own.
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