Roland Barthes’ essay Death of the Author is required reading for many students who wish to study the humanities, such as English Literature. The general thesis of the essay is that narrative intent from the author cannot be discovered as it is impossible to know what the author’s thoughts were at the time of writing. Thus, Death of the Author can be understood to mean “art without the artist” – by the reader is the only true reading. The authority of the author, and therefore the author himself, perishes.
It is an interesting and incredibly influential essay that has played a large part in the development of critical theory over the course of the 20th century. Using this as a basis, it is my belief that we can take the theory further.
Rather than experience the art in a passive way, accepting what the author produces as is, and making our own interpretations from that point, I propose that we instead take an active participation in taking art from the artist and use it to our own ends. This is much easier to do thanks to the internet, and the emergence of meme culture.
It is from meme culture that murdering the author rises. 2016 can be seen as the black swan moment for this with the election of Donald Trump and the reignition of right-wing populism. In this moment, a new breed of meme was born, and it is one of these memes that I think best exemplifies how effective murdering the author can be.
In 2017 MGMT released their song “Little Dark Age”, a protest song lamenting the election of Trump. As the title suggests, the zeitgeist as the artist saw it was regressing back into a period of ignorance, ultimately taking the past 70 years of Progress with it. As recent as 2021 however, the meme remixes of this song have become increasingly popular. The song is used as a backdrop over footage designed to ignite reactionary pride – praise of Christianity and the heroic spirit are commonplace within this. My personal favourites are the ones that glorify the British Empire.
The popularity of the meme is an example of the remix culture unique to the internet, an issue with 21st century creations in general. 21st century art is stunted, and we can only find creative outlets in what has come before. This is a problem with all art and culture in the West, but has been commented on before so I will not belabour the point, except to say that our obsession with nostalgia seems to have left us bereft of creating our own cultural milieu and we are forced to stand blindly on the shoulders of giants.
We are indeed in a little dark age, and MGMT clearly felt that. It just isn’t the dark age they think it is. For a generation of people brought up in countries whose hour of greatness was over, and on whom all the world’s ills could be blamed, it is little surprise that a song like Little Dark Age could be used in the way it did. With lyrics like “Forgiving who you are for what you stand to gain/Just know that if you hide it doesn’t go away”, the song seems to be calling out to those who are trodden on by the current regime, such as political dissidents, delivering the Evolian message of riding the tiger. In the remix culture that epitomises internet trends, this is an example of destroying the meaning of a talented, well intended but misinformed artist and rewiring it for a different purpose.
No matter how MGMT feels about the current political and cultural climate, the fact remains that Little Dark Age is reactionary. It speaks of cultural degradation, inauthenticity – the sense of something being lost. MGMT have put their finger on the pulse, and their diagnosis seems apt – but the wrong patient has died.
Their anger is correct but misdirected, which is why we on the right see the song as something to be hijacked. We are not witnessing the death of the author here – instead, we are the author’s murderers. We are Lenin storming the Tsar’s palace in 1917. We take what is theirs and subvert it to our own ends.
The fact is that reactionary media, be it music, film, literature or television, is entirely hegemonic to the left’s favour. Reactionary discourse is repeatedly shut out of the Overton window, which is panned by boomeresque false idols on one side and comical Marxist villains on the other. In order to make a point, we must use the tools of the enemy. We must be the Vietcong stealing M16s from a US military base. We take from the author what is theirs, deconstruct their arms and create something entirely new using the skeleton of their works.
We are the murderers of the author and this is our strongest weapon.
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Ride (read) or Die: 2023 Book Report (Part II)
Following on from last years experiment of attempting to read at least 10 pages of a book a day to increase my reading, I found it thoroughly enjoyable and wished to continue my reading journey in 2023. About halfway through last year, a friend of mine suggested to me that the 10 pages target could be detrimental to my overall reading, as it would encourage me to simply put the book down after just 10 pages (something I later realised it was doing). This year, I chose to do away with the 10 pages target and have decided to just make a pledge to read every day. In the first week of the year, I have already read considerably faster than last year, so I think perhaps my friend was on to something.
I also realised, reading back on last years review scores, that I was a very generous reviewer. I think this was because I did not have enough experience to know what made a book good or bad. I hope that my reviews can be more reflective of the overall reading experience this year.
Book 6: Memoirs of a Kamikaze by Kazuo Odachi
Read from: 20/02/2023 to 23/04/2023
Rating: 5/5
I only came upon this book by accident whilst watching a video essay about Kamikaze pilots during the second world war. It was used as source material for the video, and was referenced frequently throughout. The gripping title alone was enough to get me interested in the story, and at the time I was in a bit of a frenzy of purchasing Japanese authored books (this can be seen in the chunk of Japanese books I reviews last year). Certain to say, I was amazed at the quality of this book, and the incredibly interesting story that it told.
The book was written by Kazuo Odachi, a now 96-year-old former Japanese fighter pilot who, after almost 70 years of silence on the matter, decided to tell his story in becoming a Kamikaze. The book details his childhood, and how growing up in a rural area of Japan meant that his main amusement was laying in tall grasses watching pilots train at the local aerodrome. At this age he would also discover the Japanese martial art of Keno, something which he talks about at great length in the latter half of the book, and clearly has had a huge impact of him. When the war began, he was still only a boy, and so he was only able to join up quite close to the end of the war. A very gifted young man, he was selected to become a fighter pilot, and would spend considerably time in the pacific engaged in various fighting missions.
Kazuo explains how, as the war began to turn against Japan, he – along with many of his friends – were forced to volunteer to become kamikaze pilots. He explains in painful detail the events which unfolded around them, and how they were powerless to decline the request to engage in suicide missions. Much mystery surrounds the motivations of Kamnikaze pilots, but Kazuo repeatedly states that no one actually wanted to be made to do it, but felt that it was the right course of action to preserve Japan and keep the country safe. He reflects on this a lot in the later half of this book, and states repeatedly that he lives his life to the fullest in honour of the men who gave their lives before him. Flying 8 unsuccessful Kamikaze missions (more common then you would think), Kazuo also goes over how lucky he feels to be alive and how easily it could have been him dead instead.
The second half of the book covers his life post-war, his time as a policeman and dealing with Tokyo’s criminal gangs. He also talks in great depth of his love of Kendo, and how he still continues to practice the martial art, even in his advanced old age.
I really enjoyed this book, it gave a very insightful view into a point in history which is cloaked in misinformation and ignorance of understanding. Kazuo eloquently and expertly paints a vivid picture of his experiences, and does not shy away from his more controversial opinions on the events that unfolded in his time before, during, and after the war.
I would thoroughly recommend this book to anyone interested in the history of Japan, the second world war, and especially anyone who wishes to know more about the motivations and feelings of the young boys sent off to die in Kamikaze missions. I would posit that it is also helpful in understanding the mindset of those people who commit contemporary suicide attacks today. An excellent read!
Book 7: Macbeth by William Shakespeare
Read from: 23/04/2023 to 04/05/2023
Rating: 4/5
I found this book at the bottom of my brother’s old school bag whilst we were cleaning out the attic, safe to say it had been left there for quite a long time, probably around 5 years at this point. I am remarkably pleased that I came upon this old schoolroom copy because it came with a handy study/reading guide alongside it which added more historical and literary context to what was being said. I am glad for this because, as I am sure you can understand, a lot of what Shakespeare writes is not always easy to decipher given the differences between contemporary modern English and Tudor English – lots of ‘thys’, ‘thous’, and ‘thees’ can get a bit tedious after a while. If you’re going to try and read this, and you aren’t fluent in Tudor English, I would recommend finding a copy that comes with a study guide.
A thrilling tale with many twists and turns, Macbeth showcases Shakespeare’s ability to subvert the expectations of the reader (or viewer, as this is supposed to be a theatrical performance, not really a novel). The tale of Macbeth is based in medieval Scotland, and follows the titular Macbeth and his wife, as he navigates his options after being promised that he, but not his children, would become King of Scotland by three witches. Driven mad by their prediction, Macbeth’s attempts to secure Kingship and then ensure that his hypothetical children do proceed to be monarchs themselves, have tragic results. In a futile attempt to both secure and then change his own destiny, he betrays himself and everyone around him.
I wont spoil any major details of the story, at the very least because you were probably taught them at school at one point or another. I would instead like to talk briefly about the importance of this book for the English literary tradition and culture which it represents. Indeed, we often take for granted just how much of our contemporary understanding of ‘what makes a good plotline’ comes from Shakespeare and his influences at the time. The mans work stands high above contemporary work of its time, and it would be easy to forget just how ahead of his time he really was. His work stands as a testament to his genius, and to this day still casts a large shadow over what we consider a good or bad story. This is remarkably impressive for a man who lived a half a millennia ago.
Reading Macbeth, much like reading any of Shakespeare is a lot like learning Latin. You might not enjoy it; it’s very confusing; and a lot of the time you are left wondering what in the world anyone is talking about; but at the very least, it can give you a good and grounded understanding of the history of your own language, where certain tropes come from, and how you could use them yourself more often in your own speech.
Overall, I would recommend this book. I am disappointed that I never got to study it at school, and I am glad that I have been able to read it now instead.
Book 8: The History of the Spurn Point Lighthouses by G de Boer
Read from: 04/05/2023 to 18/05/2023
Rating: 4/5
I appreciate just how incredibly niche and uninteresting this book must seem to the average reader. I would argue that it is even less relevant than the ‘Trans-Siberian Rail Guide’ book which I read and reviewed last year (which was written to give directions to western travellers boarding the now obsolete Soviet railway system). However, as someone who actually lives very close to Spurn Point with a keen interest in lighthouses (yes, I am that boring) I found it quite an interesting read.
The book, as the title suggests, details the history of the various lighthouse projects which took place on the Spurn Point (for those who don’t know, this is a large sand bank at the mouth of the Humber estuary) from the early 1600’s to the 1960’s (when the book was written).
I completely understand why this seems uninteresting at first glance; but the book, almost accidentally, ends up discussing more about the complex social and legal situations in place in Britain in the 17th, 18th, and 19th centuries than it does about the lighthouses themselves.
The book details the true stories of the various warring factions in British maritime trade politics: the three Trinity House guilds (London, Hull, and Newcastle); sea captains; wealthy merchants; land developers; fleets of solicitors; ambitious venture capitalists; the fading aristocracy; parliamentary meddlers; and even the King of England (not to forget Cromwell of course). It provides a genuinely interesting insight into all of these interest groups and their constant struggle for control over the land and waterways of England, framed nicely around the construction of a highly controversial lighthouse in a rather uncontroversial part of Britain.
Perhaps you aren’t particularly interested in the history of lighthouses on Spurn Point, but if you would like to learn a little bit more about the seemingly ridiculous and overcomplicated nature of competing factions in Britain from the 1600s onwards, I would sincerely recommend this book. It’s short, it refuses to ramble on endlessly, and it has some genuinely amusing moments tucked away inside.
Book 9: Dune (Dune #1) by Frank Herbert
Read from: 18/05/2023 to 22/06/2023
Rating: 5/5
A couple of years ago my dad mentioned that he was really excited to see the new Dune film that was coming out… I was amazed by this statement – my father has never expressed any interest in any film made after 1990, and I was absolutely shocked to see him genuinely excited about a new film. After a bit of prodding, I discovered that the Dune series were his favourite books, and that he still had all his original copies stuffed away in the loft somewhere. Intrigued by this revelation, I watched the Dune film when it came out, and also thoroughly enjoyed it.
A few months later, after seeing how much I had enjoyed the film, I was bought a copy by a friend, and it had been sitting on the shelf at home ever since. I have an immediate disgust reaction to long books, they remind me too much of the musty yellow paged old tomes on my grandmas book case which I was forced to read as a child to ‘practice my grammar’. Perpetually worried that, once I started reading it, it would take me months to complete, I was overjoyed when I found myself unable to put the book down. It was a thoroughly brilliant read, and I cannot recommend it enough.
The book is set in the very distant future, where man has conquered much of the known universe, and a neo-feudal system has been established to govern it. Computers which mimic humans (referred to as ‘thinking machines’) have been completely abolished, and humanity relies heavily on a drug-like substance known as ‘spice melange’ to achieve a heightened state of clairvoyance to navigate the stars. Three main power structures exist in the setting: The Emperor (an all powerful ruler), The Lansraad (a group of all the noble houses), and The Spacing Guild (an organisation of space navigators). They control shares in the ‘CHOAM Company’ which is the main source of the ‘spice’ which can only be found on the desert planet Arrakis.
Duke Leto Atreides is forced by the emperor to govern Arrakis and take it out of the control of his bitter rival, Baron Harkonen. After arriving, it becomes clear that he has been put into a trap, and the forces of the Harkonens are very much still in place on the planet. Leto’s son, Paul, must work with the planet’s natives, the Fremen, to defeat the Harkonens and secure the future of his noble house.
I could write pages and pages more about this story, but I have no intention of spoiling the plot for you. This book is fantastic and had me totally gripped by it for the month I was reading it. It lives up to the hype and is absolutely fantastic, definitely one worth reading.
Book 10: How to be a Conservative by Sir Roger Scruton
Read from: 23/06/2023 to 31/12/2023
Rating: 3/5
If you truly enjoy political theory and are interested in learning about small-c conservatism, I would recommend the book. Scruton clearly and (somewhat) briefly lays out the case for it here. He uses it to discuss the truths in Socialism, Capitalism, and conservatism – which he seems to perceive as a middle ground between the two.
This book took me almost 6 months to read because large sections of it are painfully boring. I was devastated by how much of a slog fest this piece has been to get through. After finding myself unable to pick this book up, I let myself slide and just started reading the other books in my collection at the same time instead – something I have never done before.
I had the same reaction reading Marx and other political theory books last year and in the past. I just couldn’t bring myself to carry on. I find the subject extremely boring. I think my personal issue lies in the fact that these types of work are by no means fictitious but are also not truly non-fiction. Theory seems to lie in a cursed middle ground of quasi-non-fiction which I just don’t care for.
Some aspects of the book are genuinely very interesting – Scruton discusses his time in Communist Czechoslovakia before the collapse of the USSR dodging the StB secret police and giving lecturers to disenfranchised ‘pro-democracy’ students in attics; which was an insightful moment. He talks a lot about the importance of good aesthetics and beauty in public life, which was a refreshing chapter to read through. Unfortunately, the rest of the book comes across as a bit of a snooze-fest. He himself admits that it is difficult to make conservatism sexy, and this book is certainly a confirmation of that.
As stated at the beginning, I would recommend the book if you are genuinely passionate about political theory. Otherwise, it might be best to give it a miss. A friend of mine joked with my whilst I was reading it that “It’s a great book to quote from, not one to actually read”, and I think he is more or less correct about this.
This is the second installment in a three-part series. Follow The Mallard for part three!
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The Obsession with News
In 1980, Ted Turner and Reese Schonfeld co-founded the Cable News Network (CNN). Despite derision over the idea of a 24 hour rolling news channel, CNN became a massive hit and would become the forefather to the news system today. In the 43 years since CNN first aired, news channels have changed from having bulletins every few hours to being on air 24/7. Our parents would have to wait for the top of the hour for news, unless breaking news broke into programming, whilst we can just turn it on with a press of a button.
Whilst many may marvel at the idea of 24 hour news, it is part of why news today has its problems. As a result of constant media absorption, competition from social media and the internet, as well as a fast-paced world, society itself has become obsessed with the news. Every tiny little story becomes splashed across screens, both large and small, in a desperate attempt to capture the moment before it vanishes.
Everything is Breaking News
If, like me, you have the BBC news app alert on your phone, then this will be a similar tale. The alert goes off. You check it. Whilst it’s officially classed as ‘Breaking News,’ it’s not really that important. Some things are of course important. Look at the death of Her Majesty The Queen last year. That was a news story that knocked everything else off the air. Considering that she had been our monarch since 1952, it’s fair to say that this was incredibly important breaking news.
Generally, the app applies the term ‘Breaking News’ rather liberally. Holly Willoughby leaving This Morning after fourteen years is not worth your phone going off. Beyoncé removing ‘offensive lyrics’ from an old song isn’t worth it either.
That also applies to news channels. Sky News and BBC will have that ticket going across the bottom of the screen quite happily for just about any reason. Rare is the day where the bottom of Sky News is not a flash of yellow and black. Even a slow news day will have breaking news just to keep things a bit fresh.
It’s understandable really. In this day and age, news travels fast. It comes and goes in the blink of the eyes. News companies want to have their hold on the story before the next one comes. When Twitter/X or Facebook gets the news first, well, that’s one less story that they’ve managed to break to viewers. The big media organisations may have the means to research the stories and get the scoops, but they don’t ever get it out first. One is more likely to find out a story through social media than they are the 24 hour news or their app.
Considering the point of the 24 hour news cycle is to be fresh, that’s not really a good thing.
Every Little Story, Made Bigger
On the 18th April 1930, BBC news would announce that “there is no news.”
Can you imagine that today? Another issue with the 24 hour cycle and news today is the fact that there’s a desperation to find something to report on. When channels and apps are never off, they can’t have a rest. Something must be going on. It doesn’t matter what it is, but it must be something.
Perhaps it’s a take on a news story through the issue of race, gender or sexuality. Perhaps it’s a random study from Australia. Whatever it is, it’s got a place in the news because it’s something.
Take for example the Daily Climate Show on Sky News. What was originally a daily, thirty minute slot on prime time was axed to a weekend event. It’s not hard to see why this was. In its desperation to make more news out of something, Sky took a risk by devoting half an hour everyday to the exact same topic. Considering how climate change and its presentation is a divisive subject, it was hardly a risk worth taking. Changing it to every weekend was still a poorly thought out move.
Repetition
You might turn the news on when you get up at seven in the morning. You might turn the news on at ten before you go to bed. What might link those two viewings is that they are exactly the same.
When the media can’t slot a new story in, they’ll just repeat it. If it’s an unfolding story, then of course you’ll see it or read about it again later because there are news things to be said. The problem occurs when it’s the same story over and over again.
Nobody wants to hear the same story they did fifteen hours ago without new information. It’s tiresome.
The Fear Factor
Then there’s the fear in which the media thrives.
From the moment that Boris Johnson told us that we now had to stay in our homes because of COVID, the media was all over the pandemic- perhaps even before then. With nothing else happening because everyone was locked down, all the media could do was run constant stories about the ever climbing death toll. At first, well, it was what we expected. Then it started to get a bit repetitive.
These stories tend to get a much frostier reception if reported today. Commentators scold the media for trying to scare us or create fear.
They could, however, get away with it during those early months. With nothing else to do, we had more time for the news. Their stories were constantly about the deaths and after effects of COVID. We were already unable to leave our homes and live our daily lives, with constant mask wearing when we went out, so did we need to be intimidated even more?
It’s not just COVID. Look at the climate protestors, especially the young ones, when interviewed. Some of them cry in fear for their future, weeping about the thought of a planet that could be gone when they have reached adulthood. Considering the constant doomsday coverage of climate change in the news, it’s easy to see where this fear comes from. Kids’ news shows like Sky’s awful FYI focus on the topic regularly. It’s constantly on mainstream news.
Children are more in tune with the world today. With all the darkness in the news and on social media, some will blame it for the declining mental health we are seeing in young people. Indeed, where is the hope? Well, people don’t watch the news to hear about new innovations or cute animals being born in zoos. Fear is more gripping than hope, and a bigger seller too, but it’s not good for morale.
It’s vitally important that we know what’s going on in the world, but too much news is bad for the soul. In a world where it’s all too accessible and the media makes money on constant news, we can’t rely on it for real information. We’re either fed fear or repetitiveness. The obsession with news is, ironically, making us less knowledgeable. Resist the urge to keep up behind what is needed. It’s better for you.
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“Traditionalism: The Radical Project for Restoring Sacred Order”, by Mark Sedgwick (Book Review)
In 2014, speaking via Skype to a conference held at the Vatican, Donald Trump’s later advisor, Steve Bannon, casually mentioned Julius Evola (1898-1974), a thinker little known outside Italy, and who even within Italy was conventionally dismissed as a former Fascist whose writings still exerted a pernicious influence on the ’far right’. When that comment was unearthed by the US media in 2016, it sparked a furore amongst those desperate to discredit Trump as a danger to democracy. It also drew mainstream attention to a strange and possibly wide-reaching philosophy.
Evola’s Fascist sympathies went much deeper than anti-communist or nationalist sentiment, being rooted at least partly in a colourful and irrational worldview referred to by some authors (although not Evola) as ‘Traditionalism’. Through him, Bannon, and so by extension Trump, were potentially ‘linked’ to much broader intellectual currents, with connections across everything from the abstractest metaphysics to the earthiest ecologism.
There existed, obscure but important scholars had long argued, a mystical ‘perennial philosophy’ of transcendent religiosity and social stratification that was simultaneously as ancient as origin myths and applicable to modern discontents. Over the centuries, this concept has attracted intellectuals as diverse as the 15th century humanist Giovanni Pico della Mirandola, and Brave New World author Aldous Huxley. Other than Evola, its best-known and most systematic modern exponents were two metaphysicians, the Frenchman René Guénon (1886-1951), and the Swiss Frithjof Schuon (1907-1998), who issued writings and launched initiatives that channeled underlying cultural gloom, and still resonate powerfully. Like Evola, Guénon did not use the term Traditionalism, but his writings are regarded as key texts.
As well as Bannon, ‘Traditionalist’ sympathies of some kind were avowed by, or detectable in, influencers outside America – Hungarian politician Gábor Vona, the Russian ideologue Aleksandr Dugin (whom Bannon met in 2018, and who was supposedly an influence on Putin), and the Brazilian writer, Olavo de Carvalho, credited with helping Jair Bolsonaro win the presidency in 2019. Beyond politics, the connections were even more diffuse, with well-known academics, artists and even King Charles III (when Prince of Wales), articulating Traditionalist tropes to combat anomie and materialism, and promote organic agriculture, small-scale economics, traditional arts, and interfaith dialogue. But did all these different things have anything in common other than root-and-branch discontent with a drably dispiriting status quo? What possible relevance could Traditionalists’ distaste for democracy, and even politics, have for determinedly populist politicians?
This is a long-standing area of interest for Oxford-educated Arabist, Mark Sedgwick, now professor of Arab and Islamic Studies at Aarhus University. His 2003 book, Against the Modern World: Traditionalism and the Secret Intellectual History of the Twentieth Century, was the first to draw mainstream attention to Evola, Guénon, Schuon, and others dubbed or self-described as Traditionalists. He brings to this discussion special insight into Islamic influences on Traditionalism, from the inner ecstasies of Sufism to the academically distinguished elucubrations of the contemporary Iranian-American theologian, Seyyed Hossein Nasr. Along the way, he treats ably and interestingly of many subjects, from Hindu ideas about caste via 17th century theories of history to the trajectory of Western feminism, and analyses the influence of Jordan Peterson, whom he regards as a Traditionalist for the internet age.
Traditionalism is a catch-all sort of term, and its outcomes are so diverse it is difficult to discern much consistency at all. Had it not been for Bannon’s remark, it is hard to imagine many even noticing Traditionalism existed. Conceptual complexity could help account for Traditionalism’s apparent ascent; as the author notes, “That which is not easy to understand is not easy to deny”. Sedgwick also suggests that Guénon’s theories may be fundamentally flawed because based on early 20th century understandings of ‘the East’ which are now regarded as too colourful and generic, even condescendingly ‘Orientalist’. Evola’s more dynamic and Western-oriented variant is likewise a product of its time, suffused with Nietzschean contempt for Christianity, and the epochal pessimism of thinkers like Oswald Spengler (even though he criticized both). Sedgwick nevertheless treats it as a coherent corpus of thought, with much relevance for today.
The central element of all variants of Traditionalism is ‘perennialism’ – the notion that beneath all the exoteric differences of world religions there is a unifying ‘sacred order’ understood only by the deepest thinkers, although hazily intuitable by the masses, if only they can be detached from the trammels of modernity. This is not just a tradition, but the Tradition that unlocks all cosmologies, and renders the most impassioned theological and political disputes not just superficial, but almost risible. Traditionalist writings are predictably esoteric, aimed solely at a supposedly more spiritually attuned elite.
Traditionalists tend to be greatly interested in such things as hermetic philosophy, occultism, shamanism, and symbolism, and believe strongly in what the ethnomusicologist Benjamin R. Teitelbaum called “spiritual mobility” (see his 2020 book, War for Eternity). They regard 21st century preoccupations like equality, gender politics, individualism, material progress, and technology as mere aspects of modernity, harmful or simply inconsequential.
The second ingredient is a belief in cosmic circularity, as opposed to the ideas of inevitable linearity inherent in mainstream Judaism, Christianity, and Islam, and so throughout modern politics. The world, in this reading, goes through ‘ages’ of decline that can be followed by renewal. An original golden age of unity and quality is ineluctably succeeded by silver, bronze and ultimately dark ages of increasingly mechanistic reductionism – what Guénon memorably called the “age of quantity” – after which the cosmic wheel turns back to the start.
‘Golden Age’ thinking is common to many civilizations, but there are especially close parallels with the four ages (Yugas) of Hinduism, with ‘Kali Yuga’ (the last, sin-filled age of conflict) a shorthand term for today among ‘Aryan’-interested Rightists. This process is almost irrespective of politics, although some theorists see an expeditious role for ‘disruptors’. Evola saw Fascism as a means of reconstituting the Roman Empire, and Bannon saw (and perhaps still sees) Trump as a kind of creative destroyer of consensus, but politics has been a lower priority for other Traditionalists, who concentrated instead on transformation through self-realization.
It may easily be imagined that Traditionalists are prone to eccentricity; for instance, Evola believed that ‘Aryans’ were descended from an ethereal Arctic race which had decayed as they came south. In the 1980s, a writer calling herself “Alice Lucy Trent” officiated in County Donegal over a small community called the Silver Sisterhood, which worshipped a female deity, sported Victorian clothing, and refused to use electricity. Trent later changed her name to “Miss Martindale”, and moved to Oxford, to found a movement called Aristasia in a modest terraced house, where ambiguous persons wearing dresses and veils would hold ultra-reactionary court in a candle-lit, gramophone-sounding interior, and be seen driving around town majestically in a 1950s car. It was part-pantomime, part-serious critique, at once amusing and interesting.
Sedgwick rues some Rightists’ co-option of some parts of Traditionalism. Indeed, perennialism can be hard to square with ideas about a “clash of civilizations”, or immigration, or belief in physical racial differences (which even Evola downplayed). He nevertheless examines their thinking with commendable fairness. He differentiates between genuinely traditional teachings about religion and society, which really can be millennia old, and 1920s-to-present-day attempts to turn some of these teachings into realities. For Sedgwick, whatever about the youthful Evola, by his late period he had become a “non-traditional Traditionalist”, and the Evolan phraseology deployed by some on today’s radical Right is therefore mostly “post-Traditionalism”.
But logical consistency matters little in politics, even metapolitics. Traditionalism may persist as a presence on the Right, if sometimes more symbolically than as substance. Traditionalists’ emphasis on arcane knowledge is intrinsically appealing to some who aspire to be elite leaders. There are also similarities in outlooks and temperaments between Traditionalists and some Rightists – shared perspectives on the manifold problems of modernity, shared detestation of bleak materialism, and shared love of grand and sweeping narratives. As the once world-bestriding West shivers in winnowing new winds, and mainstream conservatism flounders, the epic appeal of a mythical past (and implied enchanted future) seems likely to grow. Sedgwick’s second book on this too long neglected theme makes another significant contribution to what may be an expanding as well as evolving field.
Book Details: Mark Sedgwick, London: Pelican, 2023, hb., 410pps., £25
My thanks to John Morgan for invaluable input on this article.
