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.
-
Oswald Spengler: Prophet of Doom?
The legendary German historian, Oswald Spengler, was born in the German Empire on the 29th of May, 1880 AD. He is best known for his two-volume book The Decline of the West, published after the First World War, and his “pessimistic” and “deterministic” views on History – or so the liberal academia claims. In truth, Oswald Spengler postulates that Cultures play the central role of world history, and are analogous to biological entities, each with a limited, predictable and predetermined lifespan which he would define as Destiny. He proposes a Copernican revolution of historical science, substituting the progressive linear course with the conservative cyclical model of history. Although one could find a few obvious mistakes in Spengler’s entire narrative, which were upgraded by other authors such as Arnold J. Toynbee and Amaury de Riencourt, many of his theses are on point. He has indeed discovered the hidden rhythm of History, the ebbs and flows of Cultures and Civilizations – which are completely different terms in Spengler’s model.
Cultures are the original spiritual organisms, born from rural areas, characterized by a unique and deep spirituality, manifested through the Culture’s art and architecture. They are young and vigorous, representing the Spring and Summer seasons of a High Culture’s life-cycle. A Culture’s values are aesthetic, religious and, usually, aristocratic. Civilizations are overripe Cultures, mechanized spiritual organisms bound by ethics – secular and democratic in nature. Civilizations are born in the Autumn Stage of a High Culture’s lifespan, lasting out until the very end of its Winter Stage. By the coming of Winter, a series of powerful figures rise to tame the chaotic waves of Democracy as Civilization crumbles. These figures are, out of convenience, named as “Caesars”. Caesarism is will-to-order personified, a century-long process of societal militarization under the watchful gaze of absolutist dictators. Spengler believed that Western Civilization would bow itself before its Caesars somewhere between 2000 AD and 2200 AD, just like its predecessor, the Civilization of Rome, which was overtaken by its Caesars between 100 BC and 100 AD.
In Hitler’s National Socialism, or Mussolini’s Fascism, Oswald Spengler saw no Caesars – just reckless adventurers who would go on to destroy their countries. In 1933 AD, Spengler accurately predicted that the Third Reich would collapse by 1945 AD. Thus he was, and remained, a stark critic of Nazism and Fascism. However, in the appearance of Benito Mussolini, Spengler saw the shadow of the future Caesars. He saw their shadow in the person of the legendary British colonial entrepreneur and adventurer Cecil Rhodes as well. Spengler predicted that by the year 2000 AD, Western creativity will cease. Any observer of modern cultural trends can see the devolution of music, film, video games and art in the last three decades – in different rhythms, of course. He also believed that a Second Religiousness will follow the footsteps of the future Western Caesars. The seeds of this future Second Religiousness could be seen in the de-secularization of society, either by New Age cults or the impulses of more traditional religious forms across the West.
All of these predictions he made are just the beginning…
The mind of Oswald Spengler provides future historians (and historiosophers!) with far deeper insight than mere predictions about the future. An often forgotten fact is Henry Kissinger’s senior undergraduate thesis, titled The Meaning of History: Reflections on Spengler, Toynbee and Kant, which was over 400 pages long. And the role of Henry Kissinger in international affairs, as well as his relationship with the American political or business establishments, needs no introduction. Thus, an objective analyst of international relations should ask himself – what role did the ideas of this now-forgotten German historian play in the shaping of the modern world as we know it. Other important discussions started by Spengler are concerned about themes quite relevant to our time: the relationship between Man and Technics, the need for a Conservative Revolution across the West, the role of Socialism in the coming centuries, and many others – each a topic for itself.
What was sparked by Ibn Khaldun in the Islamic Civilization, carried by the Italian and Russian historians – Giambattista Vico and Nikolay Danilevsky, respectively – was finally delivered by Oswald Spengler, whose mind forged a new perspective on History. This torch was then carried by Arnold J. Toynbee – whose erudition and classifications reached unseen heights, Amaury de Riencourt – whose insight discovered even deeper currents of History, or Carroll Quigley – whose purely scientific method of analysis broadens some of the arguments proposed by Spengler, and especially Toynbee.
His ideas have been influential among right-wing and left-wing thinkers alike. Socialist figures such as the German intellectual, Theodor Adorno, or the Afro-American revolutionary, Malcolm X, saw merit in the theories and models of Oswald Spengler. Conservatives, such as the Spanish philosopher, Jose Ortega y Gasset, Ernest Junger or Leo Strauss, were influenced by Spengler’s ideas. The American policy maker, George F. Kennan, as well as the famous American horror writer, Howard Phillips Lovecraft, were also interested in Spengler’s view of History. Joseph Campbell, an American analyst of comparative religion, claimed that his view on religious history would be impossible without the ideas proposed by Oswald Spengler. Fascists, like Francis Parker Yockey, Karl Haushofer, Oswald Mosley and Julius Evola, were quite impressed by Spengler’s revolutionary theses. Even the notorious Russian philosopher, Alexander Dugin, quotes Oswald Spengler quite extensively. Islamic radicals are well-acquainted with his ideas as well. Various, often opposing parts of the political spectrum have shown support or praise for the insights offered to us by this, often ignored and easily dismissed, German historian.
It should be noted that Oswald Spengler deals in quite interesting terms – such as Destiny, Will, God, Blood and others – while remaining neither a religious nor a secular historian. Thus, from his quite objective standpoint in the dispute between the faithful and secularists, he more often than not affirms the important role religion plays in the development of a Culture’s Soul. Some of Spengler’s ideals are derived from Goethean science, sparked by the German writer, Johann Wolfgang von Goethe, and later popularized, at least in the Anglo-Saxon world, by the works of the Austrian occultist, Rudolf Steiner.
But another important question must be asked before this essay about the great German historian ends…
The importance of Spengler’s ideas for the philosopher and the social scientist are quite obvious by now. However, of what importance are his ideas for the common man?
In his book, Man and Technics, Spengler paints a very bleak future for the West in the coming centuries. But at the same time, he offers a very simplistic solution. Spengler advises the Western Man to behave like the Roman soldiers stationed at Pompeii during the eruption of Vesuvius – a stoic resistance to the inevitable currents of History which will be remembered by future generations until the End of Days. A last stand, if you will, against the inescapable Doom which eventually awaits the West, whose sheer willpower will stand the test of time as one of the most tragic, yet the most epic tales of all time. In the end of all things Western, against the encroaching Darkness, Oswald Spengler offers a manly solution – worthy of the old Germanic warrior sagas whose motifs still inspire the last aristocrats of the soul across the modern West.
As the cult-classic American fantasy novel written by George Martin, A Song of Ice and Fire declares: “Winter is Coming.”
And Western Man should brace for it…
For this Winter may prove to be the harshest one of them all…
-
The Need for Roots by Simone Weil (Book Review)
Born in Paris on the 3rd February 1909, Simone Weil was the youngest of two children born to an intellectual and non-observant Jewish family. Stricken by appendicitis as an infant, Weil suffered from ill-health throughout her short life. Academically brilliant, intense and morally uncompromising, Weil intimidated and bemused those she encountered – her tutor, Emile Chartier, dubbed his otherworldly charge ‘the Martian’. Restless, and intent on understanding life outside of her natural, bourgeois, milieu, Weil spent time as a factory worker and fighting (briefly and ineffectually) for the anarchist CNT/FAI during the Spanish Civil War. Following a series of mystical experiences, Weil found herself drawn to the Catholic Church, though it is unknown whether she allowed herself to be baptised.
Exiled from her homeland during the Nazi occupation, Weil worked for the Free French in London, and there is reason to believe she had been accepted for training by the Special Operations Executive before ill-health intervened. In 1943, weakened by tuberculosis but refusing to eat more than was permitted to citizens of occupied France, Weil succumbed to cardiac failure in a Kentish sanitorium. Her resting place can be found in the Catholic section of Bybrook Cemetery, Ashford.
Weil’s writings have found enthusiasts as ideologically diverse as Albert Camus and T. S. Eliot. Her detractors range from Susan Sontag (for whom Weil was ‘fanatical… ridiculous…’) to her boss Charles de Gaulle, who derided her as ‘crazy’.L’ENRACINEMENT
In 1942, the Free French invited Weil to submit her thoughts on the regeneration of France, post-liberation. Weil’s paper outlined her vision for the spiritual reinvigoration of her homeland, and is her most systemic treatise on political issues. Published posthumously as ‘L’Enracinement’ in 1949, the book was translated into English in 1952 with the title ‘The Need for Roots’. Originally published by Routledge, it appears in a new translation by Ros Schwartz, under the Penguin Classics imprint.
The Need for Roots is an eccentric and uneven work, too baggy and unfocused to offer a blueprint for political action. Like the best of Weil’s writing, its strength is in the originality of her thought – even where she is wrong Weil is wrong in interesting and original ways. Weil’s analyses, and her critique of the social cost of modernity – rooted in an organicist conception of society – will be of interest to the kind of conservatives who read The Mallard.RACINEMENT AND DERACINEMENT
‘Roots’ and ‘rootedness’ – ‘racines’ and ‘racinement’ – enjoyed a vogue on the French right before Weil. Maurice Barrès, author of Les Deracines, outlined a republican vision of ‘la terre et les morts’ – the mystical bond shared by a people living on, and working, the land in which their ancestors enjoy their eternal rest.
Weil, ironically perhaps, understands roots in less mystical terms:‘Human beings have roots by virtue of their real, active, and natural participation in the life of a community which preserves in living shape particular treasures of the past and particular expectations for the future.’
For Weil, roots arise organically among people thrown together by circumstance, and are multifaceted – anchoring the individual in, for example, a community, a nation, a professional milieu. Through these spontaneous bonds of language, culture and place the individual finds identity and meaning.
When roots are severed, the individual feels himself estranged, and is deprived of an opportunity to participate in the pursuit of a Good beyond himself. Enracinement provides the individual with meaning – imbuing his everyday relationships with eternal, even supernatural significance.
At a political level, roots give the individual ‘a sense of personal ownership’ of ‘public monuments… and the lavishness displayed in ceremonies’. The rites and rituals of civic religion orient the individual toward the Good, as his culture understands it. The individual witnesses a great ceremony of state – a coronation, or a military parade – and understands that the rite is just as much an expression of his identity as, for example, Sunday Mass at the village chapel. Through racinement, the individual understands himself to be a participant in his culture, and feels that he has an interest in the spiritual and cultural health of his community and nation.
Deracinement, then, is a spiritual malady, an alienation from one’s culture and the conceptions of the Good that have shaped it. Uprootedness on a grand scale can be occasioned by revolution, military conquest or population displacement. It is interesting to speculate on what Weil would have made of the mass immigration that has transformed Europe in the post-war era.ROOTS AND NATURAL ORDER
Empathy, for Weil, is the soul of patriotism. It is easier to feel empathy for people with whom one shares bonds of language, culture and place. It is from these bonds of trust and social solidarity that, in a healthy society, order arises.
For Weil roots are the basis of order. Order is the pre-eminent human need – the guarantor of all subordinate needs. In a healthy society, order flows from the bottom-up; a product of ‘compassion’ and trust. This naturally-arising order is distinct from the ‘top down’ constitutional politics of liberalism.
Freedom, like order, cannot be imposed upon a people, rather it must emerge from among them. This is perhaps Weil’s most important lesson for the contemporary right. No western libertarian cites Somalia and Haiti as an ideal for his society to follow, despite both countries’ longstanding traditions of limited (or at least, weak) central government. It is not sufficient to simply limit the reach of the state. Rather, certain social preconditions, principally a culture of mutual trust, must exist if a free, orderly society is to flourish.
Whereas man under liberal democracy understands his relationship with the state formally, in terms of ‘rights’, through ‘enracinement’ the individual understands the interrelatedness between his rights and the obligations that he owes his fellows:‘A right is not effective on its own but solely in relation to the obligation to which it corresponds.’
LEFTISM: A POLITICS OF ROOTLESSNESS?
Liberalism, founded on a universalistic conception of human nature and the absolute sovereignty of the individual, is hostile to rootedness, and thus the organic ties of heritage, culture and place in which healthy identities are founded. And, as Weil observes, uprootedness has the dangerous quality of propagating itself.
Marxism, Weil suggests, is not merely driven by uprootedness, but seeks its universalisation – the reduction of everyone to the status of the proletarian. For Weil, uprootedness was exemplified by the industrial working class of her day; condemned to repetitive and physically exhausting labour, and forced to live in unlovable slums.
Industrialisation elevated the material standard of the common man, but did so at tremendous spiritual cost. The lot of the peasant was hard, but he at least enjoyed the consolations of meaningful labour and a life lived among natural beauty – often on land worked by his ancestors. The proletariat, by contrast, are inescapably aware that they are interchangeable cogs in an economic machine.The strange revival of Marxist (or at least Marx-ish) politics in the post-Soviet era can be understood as a manifestation of alienation. It is not that Marxism offers a compelling alternative to the current order; rather, Marxism retains an enduring appeal to the uprooted. When people feel estranged from their culture, they desire its destruction. It is not enough for the Communist to triumph over the old order, he must destroy all vestiges of the past. Witness the mad vandalism of the Cultural Revolution, or, in our time, the toppling of statues by those who have been taught to consider western history as uniquely shameful.
In our era ‘deracinement’ manifests in many ways. Witness the proliferation of bizarre sexual subcultures; notably ‘trans’ and ‘non-binary’ identities; among educated left-leaning whites. Ersatz identities such as these provide a sense of belonging and an opportunity to pursue imagined ‘Goods’, in the form of liberation and ‘social justice’. But they thrive on angst and guilt – and propagate the dangerous idea that fulfilment is impossible without radical transformation of the self and society.
Contemporary uprootedness takes other, less dramatic forms: a tendency (found on both left and right) to confuse one’s personal and political identities, for example, or an exaggerated identification in the struggles of peoples very unlike one’s own. Alienated from their own political culture, Zoomers often fail to appreciate the cultural specificity of foreign issues – or, conversely, to map American racial politics onto their own (this writer recalls one especially pathetic incident in which demonstrators in London, protesting the homicide of George Floyd, an incident that occurred on another continent, chanting ‘hands up, don’t shoot’ at unarmed constables of the Metropolitan Police).
The European right, too, is tainted by the uprootedness of the modern world. Witness the awe in which post-war ‘conservatives’ have held America, a land of uprooted individuals, where history is shallow and order proceeds from the top down in the form of a Constitution and a Bill of Rights.WE NEED ROOTS
Weil’s most important lesson for the conservative movement is that man has needs beyond the economic. She stands against an era in which:
‘money and the state have come to replace all other bonds of attachment.’
An authentically conservative politics should define itself against the reduction of people to mere economic units; and towns, regions, countries as mere places. We are the custodians of the institutions and traditions that we have inherited. The triumph of capitalism over feudalism has undoubtedly improved life in material terms; but capital, unchecked, uproots peoples from traditional ways of life, destroying communities and cultures. As Weil argues, the destruction of the past is ‘perhaps the greatest of all crimes’, for, once destroyed, the past can never truly be recovered.
The ills that Weil identified in her own age have grown more acute in the post-war era, thanks both to the moral revolution of the 1960s and the triumph of the market in the 1980s. It is a sad but inescapable fact that ‘conservative’ parties, today dominated by different flavours of free-market liberal, have played their role in accelerating this process of deracination.
Conservatism – authentic conservatism – offers a politics that understands men as more than the sum of their appetites and ambitions. Weil’s prescient vision of European revitalization deserves a new audience on the right. It is time for conservatism to rediscover its roots.
-
Little England: Bekonscot, Le Corbusier and the Housing Crisis
The Morris men stand, hankies aloft, in the same pose they’ve held for decades. The little girl tugs at her father’s sleeve.
“Who are they, daddy?”
Her father pauses for a moment, scratches his chin and ventures a guess.
“They’re Irish dancers.” He says, “I think.”
The girl looks confused.
“I mean, I don’t know why they’re wearing lederhosen.”
Puzzled, he contemplates the scene further. I walk on.
BEKONSCOT
In 1927 Roland Callingham’s wife, tiring of her husband’s toy railway, insisted that he take his trains outside. Callingham, a well-to-do city accountant, purchased four acres of land on the outskirts of the Buckinghamshire town of Beaconsfield and, with the assistance of his gardener, W.A. Berry, began work on a model village, complete with a high street, church and railway, each constructed at the scale of one inch to one foot. Callingham dubbed his creation ‘Bekonscot’.
Originally intended as a private diversion, Bekonscot opened to the public in 1929, and soon became a popular tourist attraction, incorporating, in time, seven model villages. Initially, Bekonscot kept pace with the changing architectural styles of the times. However, a reactionary purge in the 1990s saw most modern buildings removed and the villages returned to a thirties aesthetic. Thus, what was originally conceived as a chance to see the everyday world in miniature, is increasingly a museum of a bygone Britain. Notably, the villages’ high streets are devoid of the vape shops and Turkish barbers that lend colour to the contemporary streetscape. Today, concessions to modernity are confined to a handsome Art Deco tube station, a few authentically drab office buildings and some token Arts and Crafts houses.‘THE BEAUTIFUL’
The week before I visited Bekonscot, the government, determined to accelerate the rate of housebuilding across Britain, announced plans to build 300,000 new homes annually. Earlier in the summer, Angela Rayner announced plans to drop a requirement that new houses be ‘beautiful’, dismissing the old rules as ‘ridiculous’. ‘Beautiful’ explained Rayner ‘means nothing, really.’
For our deputy prime minister; her mind addled, like most of her generation, by postmodernism; ‘beautiful’ is a concept too subtle to be reduced to simple language, and as such, is essentially meaningless. For the modern liberal, ‘beauty’ can be filed alongside ‘female’ and ‘nation’ as terms too slippery to contain meaning.
This does not mean that the Angela Rayners of the world fail to recognise beauty (or, for that matter, ugliness) when they see it. It is rather that they have taught themselves to disregard the evidence of their eyes and dismiss all aesthetic judgments as purely subjective. But how smart must one be to understand that the average street in Salisbury, say, or Stratford-upon-Avon, is more beautiful than its equivalent in Salford or South Croydon? This is a truth that I am sure even Angela Rayner would acknowledge, if pushed.FORM FOLLOWS FUNCTION
Why, among those less sophisticated than the average Labour cabinet minister, is ‘modern’ often a synonym for ‘ugly’? There is no reason why contemporary buildings should not be beautiful. Modern architects can do ‘spectacular’ well – witness London’s ‘objects’ – the statement buildings that litter the City and Docklands. But such edifices, no matter how impressive, do not belong to any regional or national tradition. The Gherkin would not look out of place in Los Angeles, say, or Lagos. Further, every ‘object’ is an experiment, and if it fails to pay off, a city must live in its shadow.
By contrast, tradition makes for attractive architecture. Ugliness is seldom worth repeating and does not endure. In aesthetics, as in politics, however, the liberal distrusts tradition, preferring theory. In our enlightened age, it is not enough for a building or artwork to be beautiful, rather it has to satisfy certain theoretical criteria. One only needs eyes to judge how a building looks. It requires an education to understand what a building means.
Only an architectural theorist of Le Corbusier’s brilliance could have built a city as inhuman as Chandigarh. By contrast, the numberless attractive villages that dot the British countryside were built, in the main, by unlettered craftsmen, men who would have found modern architectural theory incomprehensible. The vernacular architectural styles immortalised in Bekonscot evolved across centuries and were to inform the styles of suburban housing into the immediate post-war era.
The latter half of the twentieth century saw the defeat of tradition and the victory of theory, in politics, in art, and in architecture. Just as, for the political utopian, one solution (the common ownership of the means of production, for example, or the disappearance of the state and the triumph of the market) is sufficient to meet the needs of all human societies, so, for Le Corbusier, the principle of ‘form following function’ was a universal maxim. The great brutalist dreamed of a world remade in concrete and glass. Le Corbusier spoke of architecture when he maintained that ‘[In] Oslo, Moscow, Berlin, Paris, Algiers, Port Said, Rio or Buenos Aires, the solution is the same…’ but the sentiment is echoed throughout radical literature.
The Le Corbusiers of the post-war era have left Britain an uglier place. I am confident that, by the time Labour leaves office, many of Britain’s towns will be uglier still.
Britain needs new houses, of course. Would I feel the same sense of trepidation if acres of countryside were to disappear beneath dozens of (full-scale) Bekonscots? No. But, alas, the philistines hold power and are intent on despoiling our countryside with more of the soulless Legolands that litter the outskirts of our towns.
In Bekonscot, of course, it is forever 1933. Were things really better then? Life today is undoubtedly easier, but in many respects, Britain is a less pleasant place in which to live, with the cultural and economic revolutions of the post-war era having eroded social solidarity and trust. This decline finds a strange parallel in the quality of our built environment, as the reins of power passed to those less concerned with ensuring that England looked like England.
Tellingly, overseas visitors to Bekonscot seem to be having a great time. Perhaps Bekonscot looks more like the England they hoped to see than whatever they have found outside.THE LAST DANCE
This is the future we have chosen, or at least, the future that was chosen for us. We could choose another. Conservatives should reject the mistaken idea that the cultural, social (and yes architectural) changes we are living through are inexorable and unalterable.
Which brings me back to the incident with the Morris dancers.
By the late nineteenth century, Morris was all but dead. A small band of Victorian enthusiasts recognised the tradition’s value and fought to ensure it did not die. Folk dance has never been fashionable, much less ‘useful’ (I should imagine that it would be difficult to convince Angela Rayner of its value) but England would be that little bit poorer if it were to disappear.
Likewise, the antique crafts required to build cottages and cathedrals were passed down across generations and are largely lost now. We are poorer for their being lost. But they could be revived. It only requires will.
Bekonscot’s brochure describes a ‘little piece of history that is forever England.’ There is no reason why the full-size England outside of Bekonscot’s walls should not remain forever England also. Traditions are only truly lost if we stop fighting for them
