Over the recent decade, we have seen a certain type of storyline rise to popularity among critics. The plot usually follows a female character with some type of special power or circumstance who, by virtue of said power, is beset by some type of related conflict; sounds normal enough—this is the beginning of virtually every story.
However, in this case, the conflicts that develop around said heroines’ uniqueness do not always follow their growing or learning how to ethically or effectively use their power. Instead, it’s the opposite: their stories or the cultural interpretation thereof often involve the discovery, decision, or insistence that they do not have to grow or learn, but that it is society or the surrounding world that must adapt to and accept them. From Elsa, to Carol Danvers, to Rey (it cannot be stressed enough) Palpatine, some of the most lauded heroines in current media have followed this type of storyline—which, due to the the ways the characters interact with their settings and conflicts, involves several tropes of a common story type, the bildungsroman.
However, the plot structure and underlying tone of the aspects emphasized as worthwhile by critics classify them as an attempt to form a new genre: a kind of anti-bildungsroman that, in line with the beliefs of the modern feminism that usually advocates said storyline type, actively seeks to subvert the assumptions of the individual’s (here, the individual woman’s) relationship with the broader social structure. The execution of this storyline ironically does the female characters—and stories with female leads generally—several disservices that run counter to the stated goals of those behind the stories.
The Bildungsroman: what it is and what it isn’t.
Just for a refresher, a bildungsroman—German for “education novel”—is a story that intertwines the character’s ethical, psychological, and spiritual growth with the resolution of the conflict. Alice’s Adventures in Wonderland is as much about Alice’s learning not to behave like all the examples of toxic femininity she encounters through the story as it is actually getting out of the rabbit hole. Harry Potter learns as much about how to be a responsible young adult as how to actually cast spells (with the when and why invariably outweighing the what). The bulk of Aang’s story in Avatar: The Last Airbender involves not his learning how to use his powers as the Avatar, but his learning not to be a childish idiot who sticks his foot in his mouth at every turn. And who can forget Uncle Ben’s injunction to Peter Parker (established by Spider-Man: No Way Home as a theme that transcends the multiverse) about power and responsibility? It’s become nearly as iconic a scene as a still novice Luke Skywalker running through Dagobah with Yoda on his back, with nary a trickle of Force to be discerned by the anticipating audience.
In each of these, the external conflict is resolved and made more complex and dramatic by the character’s resolving some type of inner conflict—usually involving the growth from maturity to immaturity, selfishness to sacrifice, idleness to responsibility, &c.
Now, not every story is or needs to be a bildungsroman. We don’t always need heroes that change or grow—sometimes we need the opposite! It’s no coincidence that Conan the Barbarian and Superman, both unique because of their unchangeability, came out of the flux of the 1930s, when the average Joe, Jane, Jimmy, or Jill might rather enjoy a character who stands in opposition to the instabilities and shiftings around them.
There are many other examples of changeless characters coming out of changing times. The Lord of the Rings—specifically, Aragorn—came out of Tolkien’s effort to preserve English virtues and history through the trauma of values that were the Great War and Modernism (though, granted, Aragorn did a lot of growing up before Frodo receives the Ring). Later in the twentieth century, James Bond stood like a modern Conan (the parallels between their stories and characters are many, despite the obvious differences) amidst the unease of the Cold War. Nor does it always need to be so dire as these: in the ‘90s, Forrest Gump’s charm often inhered in how his simplemindedness showed how the problems around him might really have simple answers (at least within the bounds of his film), and the Dude of mistakened Lebowski fame would not be His Dudeness if he grew through his misadventures.
I list these to head off any claims of my placing standards on the female characters discussed below that I won’t apply to male characters. This is also why, other than this sentence, I won’t use the oft-bandied phrase “Mary Sue;” besides simplifying the argument into mere stereotypes, the phrase, or its male counterpart Gary Stu, implies that strong or unchanging characters are always bad or always lack depth. They may very well be, but my interest is not to simply descry it but to find out why. I come at the topic and characters below with one goal: to encourage complex characters and stories that do what we need art to do—to concretize the values we need to experience at a given time in ways that are timeless. Sometimes that can best be achieved by characters that grow, sometimes not; usually we need iterations of both simultaneously—often in the same story.
But the stories I’m focusing on do assume the complexity of a bildungsroman framework; in each case, the female character is placed in a situation where she is expected by society (and, often, the audience) to grow and she either flatly refuses to do so, or she grows in ways counter to her respective canon. In fact, the characters often self-consciously push against and subvert the canonical expectations for growth in various ways.
Elsa: Letting Go of Past Story Structures
The phenomenon that was Frozen was hailed by many as a deconstruction of the archetypal Disney princess story. Its setup follows many tropes of said genre: a girl of unique birth locked away by parents to prevent a misuse of her powers. However, from there the movie breaks the tradition of stories as late as Rapunzel (2010), which, itself, broke several tropes while adhering to familiar formats. Parents? The uredeemed source of her abuse. Prince charming? Actually the villain. The protagonist’s powers? To be used without compunction after letting go (of expectations? Of the need for self-control? The unnamed antecedent of her song’s Dionysian “it” is as multifarious as the audience might wish).
It would be wrong to say Elsa experiences no growth or argue her character lacks compelling internal conflicts. After going to live alone on her mountaintop (notably embodying several characteristics of the traditional ice queen villain), she does come down and remit her isolation upon learning that by embracing her powers she has caused an eternal winter in Arendelle. Furthermore, not all of the movie’s deconstructions are negative. While the ending of stories in a marriage signifies the restored balance and completion of comedy—and is much more than merely reducing the female to an ornament of the male and his restored power structure, as the format’s feminist critics allege—Frozen’s replacing the familiar eros-driven love story with one of phileo between sisters should be welcomed as an expansion of the virtues and values we enjoy being explored. However, from there we are faced by the irony that the same voices who push the “sisters > prince charming” dynamic often insist on seeing eros in any story featuring two male friends—an unfortunate sexist double standard…
My focus here on Frozen and the others is as much on the cultural response to the stories as the stories, themselves. The danger to Anna posed by her love-at-first-sight relationship with Prince Hans was not rectified by placing it against the authentic relationship with Kristoff; rather, the reversal of the form was turned retroactively onto all other Disney stories about love at first sight, which had the tone less of adding complexity that had never been established than of burning down the now malicious parts of what had. Finally, it was not a song about Elsa’s learning how to judiciously use her powers that every parent of kids of a certain age (or, let’s face it, young adults, too) had to listen to on repeat for the rest of 2013 and most of 2014. It was a song advocating the audience (especially girls) vicariously “Let it go!” along with Elsa. It was a kicking song, and I don’t begrudge any young girl for making her parents want to break a speaker because of it, but it did, thematically, set the ideological perspective and tone for latter heroines that would come after.
Rey Palpatine: A Victim of her Advocates
The next female character who declines to grow in ways prescribed by her lore is Rey Palpatine. Establishing Rey’s arc or lack thereof is difficult due to her appearing in three films with different directors with conflicting goals for her movies. The lack of unified vision, added to the retconning the trilogy exacted on the established Lucas canon and universe, makes it difficult to treat Rey’s plot either as a uniform whole or as a consistent intentional decision to buck expectations.
Nonetheless, against the backdrop of Luke’s growth under Yoda Rey’s development falls short. While Luke’s progression is drawn over two, if not all three, of the original movies, Rey is able to, for example, beat Kylo Ren the first time she touches a lightsaber. This could be possibly excused if, like Anakin, she were shown to have a high concentration of midichlorians and, thus, a more preternatural adeptness with the Force; however, such a reveal, set up by Abrams in The Force Awakens, was rejected by Rian Johnson in favor of making her a nobody in The Last Jedi (a more vicious crime against Star Wars lore than simply creating a new heroine backstory—or, really, refusing to—might necessarily entail). Abrams, then, had to pick up the pieces in The Rise of Skywalker to make what he could of Johnson’s arson. Central as it is, Rey’s disjointed arc is by no means the only problem with the new Star Wars trilogy.
Enough has been written and recorded about the canonical breaks between the original and the prequel trilogies and Rey’s that I don’t need to belabor the differences. Furthermore, many of Rey’s lacks can be explained, and possibly excused, by acknowledging the directorial conflicts of the trilogy. However, this does not excuse how Rey’s character was marketed: she was, we were often reminded, a female heroine, and that to reject her and all the incongruous elements of her story, even for the sake of preserving the larger Star Wars universe in good faith, was nothing less than sexist bigotry resulting from an irrational fear of strong women (which, strangely enough, had not reared its head in response to any of the other strong, complex females in the Star Wars universe).
The insistence among Rey’s defenders that she is a prime example of both a strong female character and a victim of unfair bigotry unfortunately sets the bar quite low for what is considered a good character—besides disregarding a devoted fanbase who were already invested in finding in the star of the revival trilogy as much depth as they could. Again, my focus is less on whether Rey consistently grows (if she does, it is disjointed due to director disagreements and rushed in a “tell rather than show” kind of way—a sin for character development of any genre). At issue here is the implied insistence that she should not have to grow—that standards of growth from a previous canon are at best an unfair standard and at worst a reactionary response from a threatened tradition of supposedly (but, as fans know, not really) male lore and predominantly male audience against a new heroine. That Rey’s greatness, thus, relied on the spectre of sexist pushback for its vitality and clout did not strike anyone as an issue to be worried about.
Carol Danvers: The Unrestrained Will
My final example of a heroine who rejects the complexity of growth prescribed by her own canon—and the one that does so most openly—is the adult version of Elsa, Marvel’s Carol Danvers. Begun in production as Elsa was gracing theaters, Captain Marvel (2019) added the element of the character’s rethinking her entire culture—of decolonizing her mind, as it were—to the formula, providing her further justification to eschew the self-control and prescribed growth of the traditional superhero story.
Danvers’s story begins with her training opposite Jude Law’s Yon-Rogg, who is preparing her to be a Kree warrior. It is against his mentoring admonitions to control her impulses and to use her head over her heart—and to become “the best version of yourself”—that the rest of her story takes place. Through the movie, she pieces together her disjointed memories to discover the Kree she is fighting for against the Skrull are actually the baddies, and that she is a human whose powers come from Kree technology she destroyed but which Yon-Rogg and the civilization’s Supreme Intelligence AI are trying to still utilize in her.
For the present I’ll ignore the fact that the movie reduces the 1970s “Kree-Skrull War” match between two bloodthirsty races in into a one-sided genocide of the Skrull by the Kree that resembles less the source material and more the modern revisionist simplifications of history into binaries between rapacious, patriarchal colonists and innocent, victimized indigenous. At issue here is that the heroine discovers, in a reverse-brainwashing sequence, that she has actually been misled (gaslit, brainwashed, Stockholm syndromed, all the common terms) by the Kree, and that her assumptions and even her own mind are complicit with the evils of the Kree. She must, thus, decolonize her worldview as she works out whence she got her powers—which, upon learning she gained them through an attempt to save the Skrull, could be used without any moral qualms about their being created by the antagonists.
Within the bounds of the movie, it’s a compelling conflict, and one which does necessitate Danvers’s rethinking and rejecting Yon-Rogg’s inducements to use her powers in what the Kree would say were the right ways (but which are, in reality, against her practical and ethical interests). However, it is not, technically a character arc: rather, it is an anti-arc. Released from the usual inducement to meet power with self-control, or to clearly delineate between her power and her self (with the former always needing to predominate), Danvers simply uses her powers.
This results in some great cinematics that, I’ll admit, meet the desire for a decent action movie with a satisfyingly insolent protagonist. However, Danvers nonetheless loses a major potential character arc.
Even in the final moment with Yon-Rogg, where, in rejecting his last-ditch effort to manipulate her into fighting as herself without her powers (i.e. on terms in which he knows he can beat her), she simply blows him away, thus showing that he’s right: that she cannot control her impulses.
She claims she has nothing to prove to him, but what about to herself? This is, after all, one of the classic canonical superhero conflicts—where the line between self and power falls, which can provoke further questions of what can ultimately be relied upon, or how to maintain one’s self despite the changes brought by power. What about conflicts regarding the dependability of her newfound way of seeing the world, a major question in a movie where the inability to trust reality (brainwashing Kree, shapeshifting Skrull, etc) is a common motif? No, once she gets woke to the Kree, Danvers never questions her new episteme. Why allow internal conflicts to burden her character with unnecessary complexity—especially when we can resolve all the movie’s external conflicts with unlimited girlboss power, smashing the patriarchy—err, the Kree—with their own tools, instead?
This lack of reflection on her powers is a major part of what makes Danvers’s character flatter than either Elsa’s or Rey’s. Both of them at least experience doubt regarding their powers and their relationship to them and their relative place in the world. However, as if stuck in Elsa’s famous song, Danvers’ climactic embracing of her powers keeps her in a third-act moment of what could have been a five-act growth arc.
There is also the unadmitted Superman paradox.
The Superman paradox arose when writers realized an all-powerful being could have no serious conflicts—and, therefore, no compelling story. His creators had to steadily introduce kryptonite to keep him interesting. Presumably her creators knew of this but didn’t think it would apply.
It can certainly be argued that incorporating both an awakening embrace of power and an overcoming of weakness to that power would be expecting too much—and trying to include two major conflicts in one movie. However, completely eschewing any real weakness (Danvers’ conflict involves her adopting and subsequently rejecting weaknesses she does not intrinsically have, which are accidental and, thus, ultimately unserious as conflicts) still sets a low bar of complexity when most superhero movies include some sort of chink in the hero’s armor for future exploration. Danvers’s embracing of her powers is so wholly untainted that, as cathartic for some as the final sequence may be (complete with her acquiring the ultimate symbol of freedom, flight), the seeds for future growth or reflection—the marks of a hero’s staying power—are, sadly, lacking.
[1] Feminist Heroines: A Rejection of Complex Females
None of this is to deny that Elsa’s, Rey’s, or Danvers’s movies are entertaining and have devoted, good-faith fanbases. As with the unchanging heroes I mention above, people can and should enjoy what they like and feel they need. However, this leads to my qualms with the idea of a character type that shouldn’t have to grow in expected or sympathetic ways. Among other things, I fear the contention that traditional complexity and character growth are arbitrary impositions meant to reject characters because of their femaleness will result in less complexity in female characters, as well as create, in a self-fulfilling prophecy, an antipathy or apathy among audiences towards new female characters—not because they are female, but because they are simple.
However, so long as a certain brand of feminist critics assume that all efforts to mold a female character according to a broader ethical framework are, really, a patriarchal attempt to keep women down, we will continue to get simplistic stories and morals thereof like these. This should not surprise us. The same critics who hold to this implicitly Marxist reading of traditional story structures interpret Pride and Prejudice as an anti-woman novel because it suggests some of Elizabeth Bennet’s problems can only be fixed by personal reflection and reformation—i.e. because the novel is in part a bildungsroman—despite her embodying most of the same traits of their stated favorite heroines (even those discussed above!). If that is how such critics interpret a thoroughly complex character arc, we should not hold out hope for better from them or from studios working to satisfy them as an audience.
So, what should we do? For one, we should flatly deny the accusations that disliking an individual character equates antagonism or bigotry against an entire category; besides employing an irrefutable denial of moral legitimacy, it tries to shoehorn a Marxist reading that sees individuals as merely instances of their group or class. In trying to save characters from simplicity, we should also fight the simplification of critique.
When stories or characters come out that do, indeed, participate in complexity in some way, we should promote them. This may mean being open to new reworkings of stories (on that note, I had originally included The Legend of Korra above, but on further reflection and research of perspectives, I decided the Avatar Korra does grow in ways consistent with the precedents of the Avatar universe that I had not considered before). While above I critiqued the characters for breaking from their canons, it can be equally damaging for story to never stretch what has already been. The best stories will, in my view, resurrect familiar elements of their canons while showing that new arcs are still possible therein. So, we should vote with our pounds, dollars, and online engagements to show at least the less ideology-driven studios that complexity of story matters to audiences more than character identity politics.
A converse of this is to reject stories built around transgressive or socially deconstructive elements, and to educate ourselves on why such things do not and should not be privileged as equally valid views or stories (being anti-stories) in the marketplace of ideas—especially when those who promote them would not and are not extending the same toleration to the rest of us.
Finally, as we at The Mallard have advocated and tried to put into practice, we should create the things we want to see. If nothing else, this will help us understand how to interpret the other art we consume. Complexity is difficult, and accomplishing it subtly and succinctly is even moreso. It might discredit me as a writer to put it in print, but I had to cut 250+ pages of my novel Sacred Shadows and Latent Light, most of which was backstory and characterization. Necessary for fleshing out my characters for myself, but not inherently necessary for developing the book’s conflict. The experience paradoxically made me more sympathetic but also less yielding when it comes to character depth. I hope I’ve shown both above in my treatment of characters who have, in theory (certainly in budget), better writers than I behind them.
[One aspect of Captain Marvel that is only peripherally related to Danvers’s relationship with her powers, but which nonetheless aligns with the eschewing of usual self-control progression, is her treatment of the minor male characters in the film. Danvers has the perfect excuse to treat new people with suspicion, and, perhaps excepting Stan Lee on the bus, she enjoys it—from ____ to committing theft grand auto. Of course, the trope of an apparent alien not conforming to local property laws goes as far back as Thor (and, of course, farther), but the undertone here is that the theft is justified in response to the man admittedly creepily asking Danvers for a smile. She later shows that her default to rudeness is not a casualty of her untrusting circumstances: she responds to someone as unthreatening as Tom Holland’s Peter Parker in Avengers: Endgame in as insolent a manner as she does to the characters in her movie—an indecency for which I have not been able to forgive her.]
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Rousseau and the Legacy of Romanticism
One idea that I’ve fondly taken from Augusto del Noce is that ideologies have an internal logic to them, which unfolds as they interact with real-world events. Philosophies aren’t static, but constantly changing as they play out against one another historically. This view, while similar to the Marxist notion of praxis, finds ultimate inspiration from Joseph de Maistre. It’s de Maistre who writes that the French Revolution sweeps men up against their will and devours its own children.
Once put into practice, revolutions take on a life of their own, and like a wild tiger on a leash, drag their authors to new and unheard-of places. This isn’t to deny human free will; something I strongly affirm. It’s rather to recognise that rational humans, faced with circumstances, strive to act consistently with what they believe. This mechanism of consistency is what causes ideologies to evolve over time.
This insight is a powerful tool for understanding the long-term consequences of philosophies. The social sciences may quantify popular actions and opinions, but because human wishes are often nebulous, and people are fond of lying to themselves, there’s always room to dispute the results. The romantic primitivism of Jean Jacques Rousseau is one such ideology. Since being unleashed into the world from the bloody womb of the Reign of Terror, it has branched in many different directions and morphed into shapes Rousseau himself wouldn’t have recognised.
To define romanticism, I turn to Irving Babbitt and his 1919 work Rousseau and Romanticism. Romanticism sets itself in opposition to classicism. Classicism seeks standards for ethics and culture in universal types which it deems natural. It’s not the case that classicism seeks rules necessarily (lest we confuse it with Kantianism). Aristotle is the foremost classicist, yet he denies that norms are truly codifiable into rules. A universal type is rather an ideal based upon the nature of something. A classicist (like Aristotle) might say that being polite at the dinner table is something we should do, and this politeness consists of showing due moderation in eating, drinking, talking etc. But this isn’t a rule so much as a way of displaying the excellence proper to a human being.
Classicism isn’t opposed to emotion either. Rather, it subdues emotions to rational norms. Human nature has a standard of excellence which demands the proper use of emotion. In other words, emotions are good or bad depending on how we wield them according to a standard for the human species. The one able to do this is a universal type, what Aristotle calls the phronimos, or wise man. The later Stoics didn’t condemn emotions entirely, as the popular misconception of them. They rather encouraged natural emotions and discouraged the unnatural. Again, nature is a standard for ideal behaviour, external to individual fancy.
Romanticism, on the other hand, seeks standards in what’s unique and unrepeatable. Instead of conforming to generic ideals, goodness comes from spontaneous individual acts and thoughts. The cause for this is Rousseau’s doctrine of original sanctity. Classicism makes a distinction between ‘things-as-they-are’ and ‘things-as-they-ought’. Humans, animals, and plants don’t come into the world fulfilling an ideal; they arrive imperfect and must strive after their ideal. If we deny this, as Rousseau does, then to be good just is to be what one is. The generic ideal has no purpose and drops out. Authenticity to oneself as one is becomes the aim of life, and this can only find expression in unrepeatable spontaneous acts.
Indeed, once authenticity becomes central, it’s but a short step to rebelling against all standards which society imposes on the self. Since whatever standards society imposes must be ideal repeatable types, and no ideal repeatable types are authentic, no socially imposed standards can be authentic. And since goodness lies in authenticity, being truly good means casting off the standards society has imposed.
As Alasdair Macintyre wryly says in After Virtue, Enlightenment philosophes have the least self-awareness of all thinkers. They create new and revolutionary systems, but the content of their morality is entirely inherited from the civilisation they’ve inherited and which they despise. Thus, Rousseau’s ethics are stuffed full of quaint and puritanical Calvinist ideas from his Genevan upbringing. “Effeminacy” is one of his constant worries, and he applies the term, in boyish fashion, to anything he doesn’t like. Thus, in the Discourse on the Origin of Inequality, he can condemn civilised man:
“By becoming sociable and enslaved, he becomes weak, fearful, and grovelling, and his soft and effeminate way of life ends by enervating both his strength and his courage.”
Take these relics away, however, and Rousseau’s romanticism has only its sentimental primitivism to act as a limiting moral principle. Goodness is whatever lies in the untainted human heart, freed from social corruption. What becomes of it then? I wager it must enter an eternal spiral of liberation. Romanticism is built on the idea that we’ll be truly happy only when we free ourselves from all external rules and uncover a pre-social authenticity. Since this is a lie, no amount of liberation will ever create happiness. So, to remain consistent with itself, romanticism must seek ever more shackles of oppression to shatter. It’s either that or admit error.
The progressive radicalisation built into romanticism is visible everywhere. The sexual revolution, for example, has no brakes, because it’s built on a romanticised and primitivist vision of sex that would be falsified the moment brakes are applied. The radicals of the mid-twentieth century believed that socialised sexuality was corrupt, and once the orgasm was freed from all external restraints, pure happiness would result (Wilhelm Reich, for example, thought-free love was the precondition to utopian social democracy). Free love hasn’t made us happier, however. So, the answer is to find ever more previously unknown sexual taboos, whose chains we must shatter if we’re at last to be free.
In everyday morality, romantic assumptions have remade the life quest we each undertake for goodness, into a quest for authenticity. Finding one’s true self is now a drain on the wallet of the entire Western bourgeoisie. People of ages past underwent transformative moral journeys that turned them from sinners to saints, but theirs wasn’t a trek for authenticity. They did something far more mundane: they changed their minds. There’s an implicit vanity in the true-self doctrine. Changing your mind means admitting error. Finding your true self means you were right all along, but just didn’t notice it, because society was keeping you blind.
The cultural production of this quest is, I believe, simply inferior to the production of a mind that looks outwards from itself onto something else. Someone obsessed with finding his authentic self doesn’t have time to stand in awe of things greater than himself. What is falling in love, if not to be overcome by the sense of the intrinsic irreplaceable value of another person, without reference to oneself? We have all effectively become Rousseau writing his Confessions. A man who delighted in nature and other people only as frissons to express his authentic self, and could begin his book with the words:
“Here is the only portrait of a man, painted exactly after nature and in all her truth, that exists and probably ever will exist.”
In education, romantic ideas have done away with the rote learning that characterised pedagogy from Ancient Greece, through the middle ages and down to the Victorian Age. Twentieth-century educators like John Dewey, following in Rousseau’s footsteps, sought to remake schooling around the true self doctrine. Instead of moulding a pupil to conform to an ideal (a gentleman or citizen), modern education exists to help him discover his uncorrupted pre-social self. Self-expression without rules has become the educational norm, with the result that we have people who are experts in analysing their own minds and emotions, but incapable of self-denial or rigour. The excellence of mind and body requires constant training. We accept this more readily about the body because physical fitness is visible. But the mind, which is invisible, needs just as much training to be fit for purpose.
In the end, I see romanticism as an enormous civilisational gamble. The difference between classicism and romanticism is about what we think reality is truly like. The classicist sees a human race born lacking and sees culture as how a scaffold is to a building. Culture exists as an aid to human completion. The romantic, meanwhile, claims that human nature isn’t completable, but already complete, and merely corrupted. He wagers that if we accept this idea, we can remake the world for the better. Like any gambler, he doesn’t think about the stakes if the wager is lost. Here the stakes are social catastrophe if the assumption is untrue. If the truth is classical, then romanticism is akin to raising a lion on a strict vegetarian diet.
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One Step Forward, Two Steps Back
Yesterday, Rishi Sunak announced his intention to cut net migration by 300,000, calling it “the biggest ever cut in net migration” two weeks after the ONS revealed net migration had increased to an unprecedented 745,000, revised up from 672,000.
Despite the claims made by politicians and the press, this announcement isn’t worth getting excited over. I needn’t re-establish the Tories’ abysmal track-record on immigration, partially because it is common knowledge (we’ll get it into the tens of thousands this time, we promise!), but mainly because their policy will prove fraudulent and destructive, even if carried out to the fullest extent.
If the government succeeded in bringing down net migration to their stated target, it would still be far higher than anything experienced before Covid. Up until recently, net migration sat at around 250,000, peaking at over 300,000. As a net figure, these figures included upwards of 500,000 arrivals each year since the early noughties, continuing a rapid increase in arrivals since the late 1990s.
Now-infamous research by Dr David Coleman showed White British people would be a minority in the UK by 2066 if immigration continued at such levels. Coleman’s forecast was published in 2013. Ten years later, net migration has more than doubled with 450,000 every year being treated as a radical reduction by politicians and the press. Of course, it matters not whether such circumstances arrive sooner or later, it would be essentially immoral and consequentially destructive for our society, as we can infer from the past few years alone.
In many ways, what the government is doing is more subversive than not doing anything at all. It is treating pre-Covid net migration as the natural benchmark, implying anything more demanding is a form of deranged and impractical extremism, a notion which couldn’t be further from the truth. Keep in mind: this country saw the rise and fall of the BNP and UKIP, a referendum on EU membership, the triumph of the Brexit Party, and a landslide for the Conservatives before the post-2020 surge in arrivals, all of which were motivated by a fraction of what the “FAR RIGHT” (!!!) Tory government are proposing.
The government’s new policy has no intention of cutting the number of foreign students, graduate worker visas or the skilled workers list. NGOs remain generously funded, no laws or treaties are abolished or amended, whilst social care and graduate visas, along with dodgy postgrad courses at immigration-dependant universities, have been left practically untouched. Typical of the Tories, they can only address immigration in technical terms, seeing at is possibly economically inefficient and occassionally unfair, rather than a matter of sociopolitical importance.
Rather, it would scrap the shortage occupation list, which companies can use to pay foreign workers 20 per cent below the going rate for jobs with so-called “skills shortages”, ban foreign care workers and non-postgraduate students bringing dependants, increase the salary required for skilled foreign workers to get a visa to £38,700, and increase in the health surcharge to £1,035. Simply put, the government’s radical policy to regulate mass migration will not address several of the main causes behind mass migration.
Just like the “biggest tax cut in history”, the “biggest cut to net migration in history” is an admission of defeat disguised as a victory chant. Despite talk of reform, Westminster’s high-immigration, high-tax consensus remains unchanged. Nevertheless, whilst this policy is the epitome of progressivism driving the speed limit, the reaction from progressives has been nothing short of deranged. What is the country to do without the illustrious skillset of Nigerian dependants?! What about all those inspiring Somalian refugees that know how to JavaScript? Who will serve them Pret a Manger?!
Now more than ever, Conservatives should come to terms with the fact that there is no middle ground on this matter. Progressives, liberals, leftists, etc. are immigration maximisers by default and anything less than open borders is a violation of Human Rights™ and International Law™. Flimsy conceptual problems aside, just because something is The Law doesn’t mean its moral, practical or true. Laws are made to be broken; it is the implied function of government. Auctoritas non veritas facit legem!
In addition, the policy has spawned the input of several insufferable non-conservatives, bleating about how it’s ‘unconservative’ to set the wage threshold at the full-time average salary, describing the wage threshold as an attack on personal relationships and cheap foreign lifestyle journalists.
Someone should inform these people that up-ending the historical continuity of a people is as ‘unconservative’ as it gets. Drawing an equivalence between those inside and outside the political community, to the extent that the distinction between the two is functionally meaningless, is also wholly ‘unconservative’ but that doesn’t matter to them either. The reduction of the conservative philosophy to a single point of concern is to reduce the description of a hand to the presence of a thumb. The family is important and the upper-bound of the family – that is, the extended family of the nation – has been under sustained assault from mass migration for no less than 30 years. Can we conserve that, at least?
If our concern is keeping families together, I’m more than happy to support barring migration altogether to safeguard against the disintegration of foreign families, but something tells me these pseudocons wouldn’t be up for such an idea. Indeed, such a policy would be a good thing. Mass immigration has effectively made wage slavery the norm of the British economy, in which third world countries are stripped of their most talented and brought to Britain to work on barely liveable wages, undercutting native demands for better conditions and causing a host of demographic problems in the process.
Given that the recent spike in arrivals was driven primarily by non-EU migrants, originating from significantly poorer countries, it is unlikely that scrapping the shortage occupation list will do much to benefit the English worker. Such people are prepared to work for much less within the legal confines of the UK economy, subjecting themselves to conditions the average Englishman would class as unacceptable, if not downright exploitation. Oh well, at least consecutive years of mass migration has improved the “skills shortage” (it hasn’t).
In light of vague demands for an alternative, a net migration figure of zero would be a more fitting target. Far from unheard of, UK basically had net zero migration from the early 70s up until 1997, the year Modern Britain was founded. That said, this would only suffice as a short-term target. You could achieve net zero migration by importing one million insofar one million leave, the demographic consequences of which wouldn’t be insignificant. Ultimately, we need to cut the number of overall arrivals, not just the net figure, and deport anyone who shouldn’t be here. If we need to smash a few treaties here and there, if we have to fire a few thousand bureaucrats en masse to ensure the survival of the body politic, so be it.
Until then, until we see something substantial, rather than a mixture of boisterous rhetoric, statistical manipulation and historical revisionism, this policy is just like every other promise the Conservatives have made on immigration: one step forward, two steps back.
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Thatcher and the Conservative Ghost Dance
Life, loss, and lethargy have strange effects on peoples, cultures, and movements. And nothing could be more lethargic than our current iteration of conservatism. Neoconservatism was certainly not new, it grew out of, and drew from, the economic thinking that preceded it. However, it at least believed in itself so strongly that it attempted to bring economic liberalism and democracy to the rest of the world. Whether or not this was to benefit those in power at the time is another matter and another article, but there was at the very least a sizeable class of people who earnestly believed in the project and aimed to see it through.
When we look across the world today however, there doesn’t appear to be one major success story for the neoconservative project. The project was so unsuccessful that the next successful candidate for the GOP following George W. Bush Jr. was Donald Trump, who rode in on opposing the ‘forever wars’. Contrast this with the left, who have certainly undergone a shift from the economic to the identitarian, but have arguably been undergoing that shift for 60 years. In comparison, the ten years between Douglas Murray’s ‘Neo-Conservatism: Why We Need It’, a celebration of the ideology, and the election of Donald Trump demonstrates the awfully short shelf-life of the worldview.
Neoconservatism could probably best be understood literally. What is new is what we conserve. Economic liberalism under the Pax Americana and democracy is new, therefore we conserve it. After all, the Allied powers had just defeated the Axis powers and brought a functioning democracy to Germany, a country which had only ever had it in the form of the dysfunctional Weimar Republic. Regime change, it seemed, was possible. But here we after after Libya, Egypt, Syria, Iraq, and Afghanistan and what democracy does exist is fraught and unstable.
When a group faces an external threat and their core beliefs are shattered, there is a tendency to double-down. To look back at the victories of the past and attempt to emulate them and relive them. There is a tendency to Ghost Dance.
Ghost dancing was the name given to the phenomena found in Native Americans who had been consistently beaten by the European settlers, who quickly found that tribal formations and dances fell flat in the face of the technology and organisation of the Europeans they encountered. Increasingly, tribes began to engage in a new Native American dance known as the Ghost Dance. The dance promised to summon the ghosts of the ancestors, to have them drive out the white man and rip up the earth beneath their feet, revealing the untouched America they had long known.
It didn’t work, of course. Ghost Dances never do. The past is over, and attempts to revive by recreating the conditions that no longer exist will only ever create artificial facsimiles at best, but Ghost Dances are reassuring, and fun for those who practice them.
When I looked across the Conference floor in 2021, I saw merchandise of Thatcher and her slogans plastered everywhere. Endlessly her name was invoked as some kind of lodestone of Conservatism. Of course, the social conservatism was tactically amiss, but she permeated the halls of Conference regardless. Juxtaposed to this is the current conservative rhetoric: “Getting On With The Job” and “Getting Brexit Done” suggest stagnation, as though leadership were a shift at Subway to muddle through to, a list of tasks to be done and forgotten about and this lack of fervour is reflected in the polling numbers.
As the dust of Coronavirus settles, and the UK remembers that Ukraine is actually quite a far away country that our American masters will not let us get involved in, the certainty of the conservatives’ loss in the culture wars with the looming threat of electoral defeat create the conditions for a Ghost Dance. We even have some ‘conservatives’ with Margaret Thatcher cut-outs in their university rooms ready to lead the dance!
But the appeal of the Ghost Dance is fleeting. The images of Thatcher and her incredible electoral success will be little more than temporary anaesthetic for the elderly base of the Conservative party in the wake of their continued loss to the left. It won’t track with a generation who never knew Thatcher, and actively suffer under the free market policies she advocated. New ways of thinking and governing are required, and must bring a close to the tragicomedy of liberalism.
“It is not the strongest of the species that survives, nor the most intelligent that survives. It is the one that is most adaptable to change.”
