The scene in The Patriot where Mel Gibson rides across the early dawn horizon bearing the Betsy Ross flag has always stirred a latent fervour in me. I never felt the same patriotic twitch looking at the modern, 50 star flag. That flag flies in front of government buildings of a state that no longer stands for me.
In the Covid-era, we experienced a de facto coup of long brewing forces of tyranny. As we enter its aftermath, a true and full-hearted Americanism is the supreme counter culture. It is easy and tempting in times of such horrendous decay to see America as a corrupt empire, but behind its aggressive export of proto-Luciferian global progressivism is a nation of forgotten men with a great lust for life.
The true America is a nation of explorers. Exploration is the zenith of vibrant and vital youth. Curiosity and drive for mastery of self and surroundings bred a stock of men seeking God, wisdom and adventure. As the 50 star banner and the government it represents becomes more hostile to these values and the men who inspired them, I submit that our countercultural Americanism should rally behind the banner of a man who embodied our spirit with great zeal – John C. Frémont.
The Frémont flag looks much like the traditional American flag. In the place of stars, the blue field seats an eagle holding an olive branch in one claw and a fistful of arrows in the other. Frémont carried it on his expeditions so as not to provoke war in Indian territory while identifying himself as an American. The symbolism was clear; you can have peace or war with America, but regardless of your choice, it will be on our terms.
To be entirely honest, that message is one for another time, in which our Republic was very different. The intended meaning of the flag is less interesting than its namesake. John Frémont was one of the greatest Americans to ever live, and an exemplar of the spirit we must thrust upon this modern age. Frankly, it doesn’t hurt that it looks cool as hell.
An explorer, commander and politician, Frémont was born with nothing and never accepted a fatalistic life of destitution. He gained marginal status as a military officer and brilliant mathematician. After courting the daughter of politician Thomas Hart Benton, he was pushed away by the senator for his low status. Indignant, the young Frémont ran away with his beloved and eloped.
The senator’s outrage subsided in time and he sponsored the young couple’s expeditions into the untamed west. Frémont would lead five major expeditions, plant the American flag on the peaks of the Rockies, create maps and literature illuminating the romantic wonder of our frontier and inspire thousands to brave the Oregon Trail and settle new territory.
Frémont’s adventures as an explorer were put on pause by the Mexican-American War. The adventurer commanded the conquest of California and was appointed the military governor. He was such a beloved leader that when he was displaced as governor, he staged a mutiny with the fervent support of his regiment. He was court-martialed for the rebellion and stripped of rank. In recognition for his indispensable service in the conquest of the west, he was granted a presidential pardon.
The adventurer’s spirit was never broken. After the Mexican-American War he would find himself commanding new armies, governing new territories and taking on several other new ventures. While he died destitute, he fought at every point to thrust his vision upon the world. He was unwavering with power that was granted to him and he never ceased to chase adventure. The circumstances of his birth were never allowed to be a limiting factor in his drive for an unbridled and wildly whole life. He never pitied himself nor despaired of his misgivings, he was ever relentlessly free.
Frémont was a child born in sin. His mother, seed of the southern gentry, was arranged at the age of sixteen to be married to a wealthy landowner in his late sixties. She began an affair with her tutor, an educated man of French extraction. They conceived John and ran away together, living in poverty. Frémont was born of passion. A forbidden passion, the very nature of his conception was filled with that fiery force of life that possesses us in moments of ecstasy. His birth was by the work of Eros and it baptised him with a great fire and zeal for life that he carried through him into his final days.
This fire of passionate, ecstatic life is inseparable from the American spirit. We are of the great stock of the mighty Englishmen who created an empire upon which the sun never set – though we are a branch of that family filtered by possessing the daring to board wooden ships and cross the most treacherous of oceans, to a land of hostile natives and untamed lands. We arrived upon a continent with nothing but what we could carry and we made it our own. Nothing we have achieved would have been possible without this fiery spirit of passion for life! Frémont is among the greatest of Americans and a symbol of the American spirit manifest in its most uncompromising, violent and arrogant excellence. Under his banner, I see an America made new, cleansed by its own zealous, willful, vicious, wholly alive spirit.
Let us rally behind Frémont’s banner. It is now our time to embrace a heroic spirit of adventure, to be unwavering in our use of power. In times of national crisis, we cannot bind ourselves to convention. The great men of our era must be unforgiving and wield the power that they can acquire with absolute strength. The system is against you. You will face setbacks, perhaps situating you at square one. Embrace the spirit of adventure, and wander on.
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Consorts (Part 3)
Eleanor of Castile
- Life: 1241-28th November 1290
- Reigned: 20th November 1272-28th November 1290
- Spouse: Edward I (m. 1254)
- Children: Sixteen, including Edward II
- Parents: Ferdinand III of Castile and Joan, Countess of Ponthieu
- Origin: Spain
Early Life: Eleanor of Castile was born sometime in 1241 in Burgos, Castile (later Spain). Her parents were Ferdinand III of Castile and Joan, Countess of Ponthieu. Ferdinand was one of Castile’s most successful rulers, as he greatly expanded its territory and joined it with León. Joan was Ferdinand’s second wife- Elisabeth of Swabia had died in 1235. Their eldest son, Alfonso, would succeed to the throne after his father’s death.
Eleanor was her mother’s successor as Countess of Ponthieu. She had five brothers, seven half-brothers and three half-sisters, though most did not live past early childhood. Eleanor was extremely well-educated, even for the time, and enjoyed the arts and literature. This extended to Alfonso and the Castile court itself.
Marriage and Children: The only living daughter of Ferdinand III and half-sister of Alfonso X, Eleanor was a desirable candidate in the marriage market. After several betrothals were played with, Eleanor was ultimately engaged to Prince Edward, heir to the throne of England. They wed on the 1st November 1254. Eleanor was about thirteen and Edward only a couple of years older.
Edward and Eleanor had a famously loving marriage. They were close from the moment they married, no doubt helped by the fact that they were practically the same age. Edward never strayed from his wife or had any illegitimate children, an extreme rarity for the time. He loved the fact that she joined him on the Crusades. Eleanor’s death would devastate him and it was only by need that he chose to remarry. They were rarely apart.
The pair had sixteen children- eleven daughters and five sons. Only seven of their children lived past infancy- indeed, the future Edward II was their youngest son and child. Eleanor adhered to the parenting styles of the time by sending her children away to be educated and barely seeing them. She did care for their education and arranged her daughters’ marriages.
Pre-Reign and Queenship: Eleanor and Edward initially lived on the continent, but moved back to England in 1255. During the Second Barons’ War, Eleanor joined her husband as he fought in Wales. She once again was at his side when he traveled to fight during the Crusades. At this point, Eleanor had given birth to six of her children. Three more would be born during the Crusades, though only one would live to adulthood.
In 1272, they received word that Edward’s father had died. They nevertheless stayed on the continent until 1274, whereupon they returned to England. The pair were crowned together on the 19th August of that year.
Eleanor was uninvolved in politics due to her husband’s views on the matter, but was seemingly alright to it. She instead focused on culture. Her influence included arts, literature, education, decoration and clothing. Eleanor’s superior education helped her in that respect. In that way, she fulfilled the traditional role of Queen- she was not political and focused on the feminine aspects of a reign.
Whilst she enjoyed a close relationship with her husband, Eleanor was generally very unpopular with the public. Her business dealings, which made her incredibly wealthy in both land and money, were seen as unbecoming for a queen. The large foreign retinue of cousins that came with Eleanor were also disliked, though Eleanor was smart enough not to let the men marry English noblewomen. She also supported her husband’s crusade against the Jewish people.
By the mid to late 1280s, Eleanor was frequently ill. In 1290, it was clear that she was dying. Eleanor used her remaining time to arrange the marriages of her children. In November of that year she was no longer able to travel and was thus given quarters in Nottinghamshire.
On the 28th November 1290, Eleanor Castile died at the age of 48-49. Her husband was by her side. Eleanor is buried in three places- her viscera (internal organs) in Lincoln Cathedral, her heart at Blackfriars Monastery and the rest of her body in Westminster Abbey. Edward would later be buried beside her.
Personality: Eleanor was an intellectual with a passion for the arts and culture, something that is part of her legacy. She was also extremely brave and strong, as evidenced by her joining her husband on the Crusades. Several of her children were born abroad as opposed to the safety of England. Unfortunately, Eleanor had her flaws. Her ruthlessness towards the Jews may not have been the same as her husband’s, but she still seized lands from them. Her general business dealings made her unpopular.
Legacy: Eleanor’s most famous legacy is that of the Eleanor crosses. Her broken-hearted husband built twelve large, intricate crosses to mark the stops taken as her body was taken back to London. Only two remain. Eleanor’s cultural influence was also strong. She is also often remembered for the loving relationship she shared with her husband, a sharp contrast with that of other medieval marriages.
Margaret of France
- Life: c.1279-14th February 1318
- Reigned: 8th September 1299-7th July 1307
- Spouse: Edward I (m.1299)
- Children: Three
- Parents: Philip III of France and Maria of Brabant
- Origin: France
Early Life: Margaret of France was born around 1279 in Paris. Her parents were Philip III of France and Maria of Brabant. She was the youngest child of both parents, with Philip having been married to Isabella of Aragon until her 1271 death. Margaret has a brother, a sister, and five half-brothers, though most did not live past childhood.
Very little is known about her early life, but she was likely well-educated as a princess of France.
Marriage and Children: Margaret’s older sister Blance was initially engaged to Edward’s son, the future Edward II. Upon hearing of Blanche’s apparent beauty, Edward broke off the relationship in hopes of marrying his son’s betrothed. It turned out that Blanche had already been married off. Her half-brother Philip IV had been king since Margaret was six and offered her as Edward’s bride. An angry Edward refused and declared war on France. Eventually, an agreement was made. Margaret’s half-niece Isabella would later marry Edward II as part of the agreement.
Despite Edward’s devoted love to his late wife Eleanor, the fact he only had one living son made it essential that he remarry. In the end, Edward and Margaret would enjoy a very happy marriage. Their age gap was at least forty years, but they lived harmoniously. Margaret’s decision to join her husband on the front was reminiscent of Eleanor and thus pleased him greatly. Their relationship was so great that Margaret would refuse to remarry upon his death.
Margaret had two sons within two years of marriage, fulfilling Edward’s hopes of further sons. She would later have a daughter that she named Eleanor after her predecessor.
Queenship: Like Eleanor, Margaret was not involved in politics but was surely a close confidant of her husband. She also bravely joined her husband at the front, something that endeared her greatly to him.
Margaret fulfilled her role as Queen in more ways than just providing sons. A medieval Queen was expected to be a mediator and a calm, feminine influence on her husband. The kind Margaret would intercede on behalf of those who had displeased the king. This most notably extended to her stepson Edward, who often quarreled with his father. Edward was only two years Margaret’s junior and the pair got on extremely well.
After nearly eight years of marriage, Edward I died on the 7th July 1307 aged 68.
Post-Queenship: Margaret remained in England following Edward’s death. Despite her youth (she was 26 when she was widowed), Margaret refused to remarry, saying that ‘when Edward died, all men died for me.’
She remained on good terms with her half-niece Isabella upon the girl’s marriage to Edward II in 1308. Unfortunately, Edward’s association with Piers Gaveston soured their previously excellent relationship. Margaret’s rightful lands were confiscated but she later got them back.
Personality: Margaret was a singularly kind, warm woman who was an excellent queen. She fulfilled her duties through her interceding on behalf of others and mediating between her husband and stepson. Margaret’s kindness went beyond what was expected of the time and thus won her affection. She showed bravery by joining her husband on the front. Despite their large age gap, Margaret was a devoted spouse and remained loyal after her husband’s death. She was kind to her successor Isabella.
Legacy: Margaret is not as remembered as her predecessor Eleanor, probably helped by the fact that she was not the mother of a king. Her granddaughter Joan, however, would marry Edward II’s son and become mother of Richard II, the boy king. Her loyalty to Edward is something some will remember.
Isabella of France
- Life: c.1295-22nd August 1358
- Reigned: 25th February 1308-25th January 1327
- Spouse: Edward II (m.1308)
- Children: Four, including Edward III
- Parents: Philip IV of France and Joan I of Navarre
- Origin: France
Early Life: Isabella of France was born around 1295 in Paris. Her parents were Philip IV of France and Joan I of Navarre. Philip’s half-sister Margaret was Isabella’s predecessor as Queen, and they were both engaged to their respective husbands through the same agreement. Philip himself was a handsome man known to be a very strong and hard king. Joan was a beloved Queen who enjoyed a close relationship with her husband. She died when Isabella was about ten.
As befitting a princess of France, Isabella received a thorough education, probably similar to the one her aunt Margaret received.
Marriage and Children: The agreement that had Edward I and Margaret of France married saw Isabella engaged to Edward’s son. The king attempted to stop the marriage several times, but the issue became moot when he died.
Edward II married Isabella on the 25th January 1308 in a very elaborate ceremony. Unfortunately, it was not a good marriage. The roughly twelve year-old Isabella was immediately sidelined at her own wedding reception when Edward sat with his favourite Piers Gaveston. He went so far as to gift all of Isabella’s jewellery and presents to Gaveston, angering her and the nobles. Their poor relationship will be explored further in the Queenship section, as the repercussions were great.
As Isabella was only around twelve at the wedding, it was a while before the wedding was probably consumated. The pair’s first child, the future Edward III, was born nearly five years after the wedding. Isabella and Edward would have two sons and two daughters.
She was the typical medieval mother in her parenting style. Her machinations alienated her son Edward to the point of him imprisoning her upon reaching his majority. Isabella was close to her daughter Joan in later life.
Queenship: Isabella was immediately ignored by her new husband. This was not helped by her youth and the fact that she was too young to consummate the marriage, but Edward II was not a good husband. Her jewels and gifts had been given to Piers Gaveston. She was denied money and maintenance, forcing her to complain to her father.
Eventually, Isabella found herself allying with Gaveston. Despite her relative youth, Isabella was an intelligent young woman who was attempting to forge her own political path. Unfortunately for her, Gaveston had earned the ire of the powerful nobles and would be executed in 1308. Isabella was pregnant at the time.
Things would only get worse, despite Isabella successfully giving birth to a son. Edward became close to the Despensers, a father and son duo who would soon become his closest allies. Hugh Despenser the Younger was a great favourite of Edward and it’s believed that they had a sexual relationship. Isabella found herself still cast out of Edward’s inner circle. Despite her problems with a lot of the nobility, Isabella supported their efforts to get rid of the Despensers.
With Despenser at his side, Edward became a despot over the next few years. Isabella set up her own household far away but would be punished by having her children taken away and her lands confiscated.
Luckily, Isabella was able to get herself sent to France as a peace envoy. Whilst there, she rallied anti-Edward forces with the help of Roger Mortimer, a leading nobleman. The forces arrived in England and quickly took over. Edward was captured two months later and forced to abdicate. Both Despensers were brutally executed.
Isabella had her son Edward installed and crowned in early 1327. Meanwhile, the former Edward II was shuttled around before being placed in Berkeley Castle. He died on the 21st September of that year. The circumstances of his death are murky. Historians remain divided as to whether he was murdered or died of natural causes, though murder is more likely.
Post-Queenship: With Edward III barely a teenager, he required a regent. Isabella, along with Mortimer, fulfilled that role. She ensured her son listened to her and the boy had limited power. Mortimer was a careless man and was stupid enough to treat Edward badly. Eventually, Edward had enough, especially after his father’s death. The trigger was Mortimer ordering the execution of Edward’s uncle, the Earl of Kent.
Edward took his mother and Mortimer by surprise when he captured them in late 1330. Whilst he placed Isabella in a luxurious house arrest, he had Mortimer executed without trial.
Isabella spent years living very comfortably and was often visited by family and friends. Despite her cold reputation, she was a loving mother to her daughter Joan and doting grandmother.
The ‘She-Wolf’ of France died on the 22nd August 1358 around the age of 62. She is buried at Grey Friars’ Church.
Personality: Isabella was a complicated woman. She showed great intelligence and political acumen, but was also very ruthless and sharp. Whilst many queens were forced to live through their husband’s affairs, none would be quite humiliated as Isabella was. She was called a ‘She-Wolf,’ but we must remember she was a humiliated child bride. Such actions in men would not be treated so poorly. Whilst Isabella was controlling of her son, she did prove to be a loving grandmother.
Legacy: Isabella is remembered as a cold, calculating woman as opposed to the pure and virtuous ladies of her era. She succeeded in giving birth to heirs but did not follow the tradition of ‘feminine’ queenship. The truth is more complicated- Isabella was ruthless and cold, but no more than other historical figures.
Philippa of Hainault
- Life: 24th June 1310/1315-15th August 1369
- Reigned: 24th January 1328-15th August 1369
- Spouse: Edward III (m.1328)
- Children: Thirteen, including Edward the Black Prince
- Parents: William I, Count of Hainaut and Joan of Valois
- Origin: France
Early Life: Philippa of Hainault was born on the 24th June 1310 or 1315 in Valenciennes, modern day France. Her parents were William I, Count of Hainaut and Joan of Valois. She was the third of their eight children. Whilst Philippa did not have the title of princess, Joan of Valois was the granddaughter of a French king and sister of the other.
She was likely well-educated.
Marriage and Children: A betrothal between the future Edward III and Philippa was tentatively discussed as early as 1322. Four years later, Edward’s mother Isabella had them officially engaged in return for William’s help in invading England.
The marriage was a success even before the wedding, as it is said that Philippa cried when Edward left to return home. Their proxy wedding occurred in October 1327 before their official marriage three months later.
Edward and Philippa had a strong, loving relationship that lasted throughout their marriage. This did not stop Edward from straying in his wife’s later years, as he had a young mistress named Alice Perrers, with whom he had three children. It is argued that this only occurred when Philippa’s health was poor and that it was kept from her. This was oddly progressive for the time, as kings didn’t usually hide mistresses. Whilst he did have the affair with one other woman, Edward’s true love was clearly Philippa.
The pair managed to have thirteen children- eight sons and five daughters, eight of whom would live to adulthood. Interestingly, most of their children would marry rich English nobles as opposed to foreign royals. This was most unusual for their eldest son and heir Edward, who married his widowed cousin Joan. Perhaps the happiness between Edward and Philippa allowed them to have their own children be married for love.
Queenship: Philippa may have been Queen in name, but her mother-in-law Isabella was Queen in every other way. Isabella did not like relinquishing her title and thus prevented Philippa’s coronation. It was not until Philippa was pregnant that she was crowned. Luckily for Philippa, she bore a healthy son and unrelated events saw Mortimer executed and Isabella imprisoned.
Throughout her time as Queen, Philippa proved to be enormously popular and beloved. She was not necessarily political in the way Isabella was, but she used her influence when necessary. Edward trusted her to act as regent when he was away and she proved herself more than capable.
It was Philippa’s kindness and charity that made her loved. The most famous of these cases was that of the Burghers of Calais. Angered by the holdout of the city, Edward swore he’d spare the citizens if six of the leaders (burghers) made themselves known and surrendered to him. Before he could presumably have them executed, a barefoot and pregnant Philippa fell to her knees before him. She begged him to spare them, saying that their unborn child would be punished if they did not. Edward was supposedly so moved by this that he agreed to let them live.
Her charity extended to those at home. Philippa also bravely encouraged troops fighting the Scottish invaders, something sorely needed as Edward was out of the country.
In her later years, Philippa fell ill. Those years saw Edward turn to Alice Perrers and father three children with her. Philippa finally passed on the 15th August 1369, somewhere in her mid-fifties. Edward was with her at her deathbed. She asked Edward to ensure that all of her debts and obligations were fairly paid.
Edward spent £3K on her tomb. Her death also saw a massive decline in his popularity. He was vilified for cheating on his loving wife with a younger woman- something extraordinary in a time where it was expected that kings would stray. Alice Perrers would become a huge villain in England. Perrers was accused of taking advantage of an old, grieving king by accepting extravagant gifts. Her interference in politics was not welcomed.
Upon his death, Edward was buried with his beloved Philippa.
Personality: Philippa is one of the most revered consorts in English history. Her kindness, warmth and generous nature made her beloved throughout her country. She was a very successful Queen- she completed the role of feminine mediator and provided her husband with many children. Even without that, her good heart kept her through. The fact that Edward was castigated for taking a mistress shows how loved she was.
Legacy: Philippa is not often remembered. She did not leave a lasting legacy through arts or culture, despite leaving a mark on the textile industry. Her eldest son did not become king, but her grandson would be. Philippa’s sons Edmund and John of Gaunt would become a direct monarchical ancestor.
Anne of Bohemia
- Life: 11th May 1366-7th June 1394
- Reigned: 20th June 1382-7th June 1394
- Spouse: Richard II (m.1382)
- Children: None
- Parents: Richard IV, Holy Roman Emperor and Elizabeth of Pomerania
- Origin: Czech Republic/Czechia
Early Life: Anne of Bohemian was born on the 11th May 1366 in Prague, modern day Czechia. Her parents were Richard IV, Holy Roman Empire and Elizabeth of Pomerania. Elizabeth was Richard’s fourth and final wife. Anne had three brothers, one sister, three half-brothers and three half-sisters. Richard was the most powerful king of the age and was also extremely popular.
She was likely well-educated.
Marriage and Children: The marriage between Anne and Richard II was an odd one. Despite Anne being the daughter of an extremely powerful monarch, she did not have a large dowry or other assets. The main reason was due to a problem with the Church and two rival popes. Richard and the Holy Roman Emperor both opposed France’s choice.
Richard and Anne were both fifteen when they married on the 20th January 1382. Despite Anne’s unpopularity and lack of wealth (Richard having to pay Anne’s brother for marriage), the two became devoted to one another. Richard never strayed and always defended Anne.
No children were born of the union. Anne was blamed by society, as women were at the time, but Richard never cast doubt towards her.
Queenship: Anne was known as ‘Good Queen Anne,’ which shows that she overcame early unpopularity. She would often intercede on behalf of others, as Philippa of Hainault had. This constant kindness made her beloved by the English people, and eventually the court. It was her sweetness that won the nobles over.
After a happy twelve years of marriage, Anne died aged 28 on the 7th June 1394. Edward was bereft. He ordered the palace that she died in to be torn down. Edward also refused to enter any building besides a church where he’d been with Anne. After his own 1400 death, Edward was buried with a tomb he’d already prepared beside Anne’s.
Personality: Anne was reportedly a sweet and kind woman. She cared greatly for her subjects and was merciful to a fault. It was her good nature that pushed away early criticisms directed towards her.
Legacy: Anne is not often remembered. She, and indeed Richard himself, has no children together, so she did not see any direct descendants claim the throne. Anne did bring new fashions over, such as new shoes.
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Book Review: Return of the Strong Gods by R R Reno
One of the rare consolations of the Empire of Lies we’ve found ourselves in is occasionally encountering a sphere of truth. Such an event reassures us we’re not alone and that kindred spirits are still out there, patiently pushing back against the insanities of the age. One such spirit is the American Catholic author and editor of First Things magazine R.R Reno and his 2019 work Return of the Strong Gods.
Like contemporary efforts by Patrick Deneen and the Polish philosopher Ryzsard Legutko, Reno’s is a book which illuminates the errors of the age. It’s a work which neither succumbs to the easy evasions of the left nor to the vulgarity found on farther reaches of the right. Ultimately, it’s a book that rejects the notion that the post-war era has been the best of all Panglossian worlds.
Divided into five sections and written in simple yet succinct prose, the overarching theme is that the West has lost its way in an abyss of openness: that sine qua non of the present day. Opening at the Second World War and surveying the post-war era, Reno traces our failings back to Auschwitz and Hiroshima and the promise that ‘never again’ would we bear witness to such horrors.
In light of such an overwhelming imperative, a rhetorical and practical pursuit of openness was initiated in what Reno dubs the “postwar consensus”. A stance which involved the marginalisation at best – and outright illegality at worst – of the noxious -isms that led us to 1914-1945. Nationalism, militarism and anti-Semitism were what caused our horrors, they were thus to be expunged from the public square.
Put simply, such ‘strong gods’ were too dangerous: they had to be banished from the realm. Yet precisely who these deities are, and what they mean in practice, is rendered by Reno deliberately vague. In essence, they’re the deeper – and often darker – parts of the soul such as pride, envy and a ‘love of one’s own’.
Yet Reno does provide us with a rough definition. As he states, the strong gods “are the objects of men’s love and devotion, the sources of the passions and loyalties that unites societies” – ”Truth is a strong god” as are “King and country.” Not all strong gods are malignant, however: they can just as well “be beneficent.” Still, the chief lesson of the twentieth century was that the strong gods of “militarism, fascism, communism, racism, and anti-Semitism” overwhelmingly “brought ruin.”
To this end, the Western post-war consensus, led by the United States, was to prioritise cultural weakening in the form of a near-unlimited openness. Out were truth, certainty and exclusivity; in were relativism, doubt and diversity. If these trends were ever queried, one only needed reminding of 1945 and was soon brought to heel. The post-war consensus – and its Manichean framing: either ‘openness or Auschwitz’ – was thus brought into being.
A stance that Reno then proceeds to illuminate, beginning with ‘the open society’. A notion coined by the author of the movement’s most emblematic and eponymous work, Austrian philosopher Karl Popper and his two-volume Open Society and Its Enemies. A book which was written in obscurity in New Zealand during the Second World War and in which Popper attacks Plato, Hegel and other giants of the tradition before coming down on the side of openness.
As Reno remarks, for Popper ‘our civilisation faces a choice.’ We “can live in a tribal or ‘closed society’… or we can break free from this ‘collectivist’ impulse and build an ‘open society’”, one that ‘sets free the critical powers of man.’ And as Popper argued at the time, our future depended on choosing the latter: something we’ve dutifully done and which has set in train the decline that’s since followed.
The rest of the book is then an exploration of this one key theme; with Popper’s socio-cultural openness soon echoed on the economic plane by compatriot Friedrich Hayek: he of Road to Serfdom fame. Thus in a strange symmetry, the West ends up with two Austrian emigres erecting the twin pillars of its post-war world: the Popperian commitment to cultural openness and the Hayekian imperative of free markets.
As Reno remarks, these two men were “united by a commitment to individual freedom and a desire to prevent the return of authoritarianism.” A notion that encapsulates the last eighty-odd years as well as any other and that’s been reinforced through organisations like the Mont Pelerin Society, which Popper and Hayek were founding members, and through Popper’s most famous student, and current bete noir of the right, George Soros: he of his own Open Society fame.
Once established, then, the open-society framework of free markets, multiculturalism and the neutering of metaphysics – “The open society must be anti-metaphysical” – comes to characterise the West. A stance Reno then explores in an impressive overview of the major philosophical figures of the era. After Popper and Hayek, come the Americans Milton Friedman and William F Buckley; followed by a return to the German-speaking giants of earlier in the century, Sigmund Freud and Max Weber; before ending with the Francophone philosophers of the latter part of our era, namely: Albert Camus, Michel Foucault and Jacques Derrida.
Yet it’s Weber and his notion of the disenchantment of the world – i.e. the scientific erasure of the supernatural – that helps further explain our malaise. As Reno observes, Popper, following Weber, wants to rid us of the metaphysical. For as Reno adds, it’s been imperative to eliminate “the vestiges of sacred authority that blinker men’s reason”. A stance that many of us have come to believe is benign, yet it’s a trend which Reno intimates is ultimately suicidal as it “drains away the substance of Western Civilization’s beliefs in robust metaphysical truths.” That is, it erodes the religious substrate that has enabled us to flourish.
A posture that has been implemented practically by what Reno dubs our ‘therapies of disenchantment’. As although erasing the sacred is ultimately futile quest, our need for metaphysics can be tamped down by the political order. Something that has been done by “relativizing” such notions, by “putting them in their historical contexts” and “critiquing their xenophobic, patriarchal, cisgender, and racist legacies”.
From this, the cultural imperatives then follow: we must “celebrate diversity”, “cultivate transgression” and “problematize” our traditional ties. A stance accomplished by our elite as they “drive old loyalties to the margins of respectability, and otherwise advance the cause of an open society and open minds.”
This metaphysical poverty, allied with the imperative of openness and the eviscerating force of the free-market, have led us to the current impasse. One witnessed in the apparently inchoate actions of voters in their support for non-establishment actors like Nigel Farage and Donald Trump. That is, in their clamouring for figures brave enough to enunciate the failures of the liberal order and able to address them.
Something evident in what Reno calls the Homeless Society. One which is a natural reaction to the “embattled postwar consensus” and a “rebellion against the dogmas of openness”. As in opposition to the issues of 1945, we no longer face the same problems. Indeed, what ails us now is the direct opposite of that time.
Our issues revolve around an all-pervasive anomie. We are a culture that’s “imperilled by a spiritual vacuum and the apathy it brings”. A society that’s “politically inert, winnowed down to technocratic management of private utilities and personal freedoms”. Our main danger is thus one of “a dissolving society; not a closed one; the therapeutic society, not the authoritarian one.”
A stance Reno expands upon as he notes the economic, cultural and demographic disasters that have arisen under the aegis of openness. A failure that has been overseen by what can only be described as an utterly inept and unpatriotic elite – or as Reno puts it, our Leaders without Loyalty. Indeed, the book can be read as one of the best indictments of our elites yet seen.
Simply put, our elites are hypocrites. They insist on ‘openness for thee, but not for me’ as they insulate themselves from the baleful effects of their dogma. As Reno notes: “For all their talk of an open economy and open society, those in the upper echelons of our society work very hard to protect [themselves and] their children”. “They…choose homes in neighborhoods with goods schools” and condemn “traditional norms as authoritarian, but… keep their [own] marriages together.” Ultimately, “they shelter themselves and those whom they love” from the destructive effects of openness as they praise its putative virtues publicly.
Given this hypocrisy, and the other failings of the liberal order, the post-war consensus is straining under the weight of its contradictions. It’s a case of ‘what can’t go on, won’t go on’ – and the current settings can’t go on much longer. Indeed, the anti-naturalness of the post-war project was inherent from the outset, but only now are the fissures impossible to ignore.
As such, we move back to the beginning: to the ‘return of the strong gods’. A notion that is not only the book’s title, but which was also an inevitable result of the liberal order. As despite the well-intentioned commitment to openness and the promise of ‘never again’, the post-war concord was always doomed to fail.
This is so as it doesn’t accord with underlying nature. For as many have come to realise, the liberal order is one big affect. Although largely peaceful and prosperous, the post-war consensus fails to fulfil a multitude of human needs. Socially, it’s a regime that doesn’t recognise the darker elements of the soul, like parochialism and ‘a love of one’s own’; not does it address the practicalities of life in a political community: such as a sense of belonging, a common culture and the stability we innately seek. While economically, the Hayekian imperative of unencumbered markets has left us as financially precarious as we are socially: afflicted by the dilemmas of the ‘double-dose’ liberalism to which many now allude, and that writers like Christopher Lasch and John Gray explicitly warned.
Which is why Reno finishes the book seeking an end to the ‘long twentieth century’ and a return to the politics of ‘shared love’. Our order failed as it rendered us homeless: lost in a sea of apathy with no place to call our own. As in spite of the left-liberals who treat our crisis “as an illusion” – with Trump and Farage mere manifestations of an aberrant electorate – Reno treats their rise as the logical result of the errors innate to the liberal order.
The mere fact of ‘populism’, then, is not an epiphenomenon of short-term economic or social angst; but of deeper and entirely legitimate “questions about national identity, immigration and foreign policy, all of which cast doubt on the legitimacy of the established leadership class in the West.”
As in advancing openness, our elite has eroded the solidarity we seek. As under our technocratic ethos, vast swathes of the human experience is marked verboten and placed outside the frame of debate. As Reno remarks, our elite “is so thoroughly blinded by the postwar consensus” it neglects “the actual problems we face – atomization, dissolving communal bonds, disintegrating family ties, and a nihilistic culture of limitless self-definition.”
We thus need to return to the strong gods: of love, solidarity and genuine community. It requires our leaders “to ask question they have been trained to supress”. It needs them to realise that, as the philosopher Leo Strauss observed – in direct opposition to Popper – that ‘the society by nature is the closed society’. A notion to which Reno alludes when he references that well-known saw about human nature: that “blood is thicker than water.”
Which in essence is all that is wrong with the post-war order and why it’s now falling apart. As although the initial desire to prevent future holocausts, gulags and atomic explosions was clearly laudable, these events did not to change human nature. That is, a nature which still seeks solidarity and a sense of the sacred; one that sees our “private interest as part of a larger whole”; one with a “love of our land, our history, our founding myths, our warriors and heroes”. Simply put, we need a renewed patriotism: we need ‘to renew the “we”’.
There is thus very little to critique in Reno’s work. Being an avowed Catholic, his remedies tend towards the Christian, which may rankle the less religious, yet he wears his religion lightly and the book is never in danger of dogmatism. There is an argument to be made, however, that by anchoring the book to the motif of socio-cultural openness, other factors, like the importance of economics – and the centrality of economic growth to the post-war era- are not given the import they deserve. There is also an incongruous attempt to smuggle in some American-style civic nationalism that is understandable even though it’s completely contradictory to the spirit of the work.Nevertheless, this is a highly commendable work. Like Deenen’s and Legutko’s, it’s one of few recent books that drives to the heart of our malaise and that honestly elucidates the errors of our age.
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Joel Coen’s The Tragedy of Macbeth: An Examination and Review
A new film adaptation of Shakespeare’s Scottish tragedy, Joel Coen’s 2021 The Tragedy of Macbeth is the director’s first production without his brother Ethan’s involvement. Released in select theaters on December 25, 2021, and then on Apple TV on January 14, 2022, the production has received positive critical reviews as well as awards for screen adaptation and cinematography, with many others still pending.
As with any movie review, I encourage readers who plan to see the film to do so before reading my take. While spoilers probably aren’t an issue here, I would not want to unduly influence one’s experience of Coen’s take on the play. Overall, though much of the text is omitted, some scenes are rearranged, and some roles are reduced, and others expanded, I found the adaptation to be a generally faithful one that only improved with subsequent views. Of course, the substance of the play is in the performances of Denzel Washington and Frances McDormand, but their presentation of Macbeth and Lady Macbeth is enhanced by both the production and supporting performances.
Production: “where nothing, | But who knows nothing, is once seen to smile” —IV.3
The Tragedy of Macbeth’s best element is its focus on the psychology of the main characters, explored below. This focus succeeds in no small part due to its minimalist aesthetic. Filmed in black and white, the play utilizes light and shadow to downplay the external historical conflicts and emphasize the characters’ inner ones.
Though primarily shown by the performances, the psychological value conflicts of the characters are concretized by the adaptation’s intended aesthetic. In a 2020 Indiewire interview, composer and long-time-Coen collaborator Carter Burwell said that Joel Coen filmed The Tragedy of Macbeth on sound stages, rather than on location, to focus more on the abstract elements of the play. “It’s more like a psychological reality,” said Burwell. “That said, it doesn’t seem stage-like either. Joel has compared it to German Expressionist film. You’re in a psychological world, and it’s pretty clear right from the beginning the way he’s shot it.”
This is made clear from the first shots’ disorienting the sense of up and down through the use of clouds and fog, which continue as a key part of the staging throughout the adaptation. Furthermore, the bareness of Inverness Castle channels the focus to the key characters’ faces, while the use of odd camera angles, unreal shadows, and distorted distances reinforce how unnatural is the play’s central tragic action, if not to the downplayed world of Scotland, then certainly to the titular couple. Even when the scene leaves Inverness to show Ross and MacDuff discussing events near a ruined building at a crossroads (Act II.4), there is a sense that, besides the Old Man in the scene, Scotland is barren and empty.
The later shift to England, where Malcolm, MacDuff, and Ross plan to retake their homeland from now King Macbeth, further emphasizes this by being shot in an enclosed but bright and fertile wood. Although many of the historical elements of the scene are cut, including the contrast between Macbeth and Edward the Confessor and the mutual testing of mettle between Malcolm and MacDuff, the contrast in setting conveys the contrast between a country with a mad Macbeth at its head and the one that presumably would be under Malcolm. The effect was calming in a way I did not expect—an experience prepared by the consistency of the previous acts’ barren aesthetic.
Yet, even in the forested England, the narrow path wherein the scene takes place foreshadows the final scenes’ being shot in a narrow walkway between the parapets of Dunsinane, which gives the sense that, whether because of fate or choice rooted in character, the end of Macbeth’s tragic deed is inevitable. The explicit geographical distance between England and Scotland is obscured as the same wood becomes Birnam, and as, in the final scenes, the stone pillars of Dunsinane open into a background of forest. This, as well as the spectacular scene where the windows of the castle are blown inward by a storm of leaves, conveys the fact that Macbeth cannot remain isolated against the tragic justice brought by Malcom and MacDuff forever, and Washington’s performance, which I’ll explore presently, consistently shows that the usurper has known it all along.
This is a brilliant, if subtle, triumph of Coen’s adaptation: it presents Duncan’s murder and the subsequent fallout as a result less of deterministic fate and prophecy and more of Macbeth’s own actions and thoughts in response to it—which, themselves, become more determined (“predestined” because “wilfull”) as Macbeth further convinces himself that “Things bad begun make strong themselves by ill” (III.2).
Performances: “To find the mind’s construction in the face” —I.4
Film adaptations of Shakespeare can run the risk of focusing too closely on the actors’ faces, which can make keeping up with the language a chore even for experienced readers (I’m still scarred from the “How all occasions” speech from Branagh’s 1996 Hamlet); however, this is rarely, if ever, the case here, where the actors’ and actresses’ pacing and facial expressions combine with the cinematography to carry the audience along. Yet, before I give Washington and McDormand their well-deserved praise, I would like to explore the supporting roles.
In Coen’s adaptation, King Duncan is a king at war, and Brendan Gleeson plays the role well with subsequent dourness. Unfortunately, this aspect of the interpretation was, in my opinion, one of its weakest. While the film generally aligns with the Shakespearean idea that a country under a usurper is disordered, the before-and-after of Duncan’s murder—which Coen chooses to show onscreen—is not clearly delineated enough to signal it as the tragic conflict that it is. Furthermore, though many of his lines are adulatory to Macbeth and his wife, Gleeson gives them with so somber a tone that one is left emotionally uninvested in Duncan by the time he is murdered.
Though this is consistent with the production’s overall austerity, it does not lend much to the unnaturalness of the king’s death. One feels Macbeth ought not kill him simply because he is called king (a fully right reason, in itself) rather than because of any real affection between Macbeth and his wife for the man, himself. However, though I have my qualms, this may have been the right choice for a production focused on the psychological elements of the plot; by downplaying the emotional connection between the Macbeths and Duncan (albeit itself profoundly psychological), Coen focuses on the effects of murder as an abstraction.
The scene after the murder and subsequent framing of the guards—the drunken porter scene—was the one I most looked forward to in the adaptation, as it is in every performance of Macbeth I see. The scene is the most apparent comic relief in the play, and it is placed in the moment where comic relief is paradoxically least appropriate and most needed (the subject of a planned future article). When I realized, between the first (ever) “Knock, knock! Who’s there?” and the second, that the drunk porter was none other than comic actor Stephen Root (Office Space, King of the Hill, Dodgeball), I knew the part was safe.
I was not disappointed. The drunken obliviousness of Root’s porter, coming from Inverness’s basement to let in MacDuff and Lennox, pontificating along the way on souls lately gone to perdition (unaware that his king has done the same just that night) before elaborating to the new guests upon the merits and pitfalls of drink, is outstanding. With the adaptation’s other removal of arguably inessential parts and lines, I’m relieved Coen kept as much of the role as he did.
One role that Coen expanded in ways I did not expect was that of Ross, played by Alex Hassell. By subsuming other minor roles into the character, Coen makes Ross into the unexpected thread that ties much of the plot together. He is still primarily a messenger, but, as with the Weird Sisters whose crow-like costuming his resembles, he becomes an ambiguous figure by the expansion, embodying his line to Lady MacDuff that “cruel are the times, when we are traitors | And do not know ourselves” (IV.2). In Hassell’s excellent performance, Ross seems to know himself quite well; it is we, the audience, who do not know him, despite his expanded screentime. By the end, Ross was one of my favorite aspects of Coen’s adaptation.
The best part of The Tragedy of Macbeth is, of course, the joint performance by Washington and McDormand of Macbeth and Lady Macbeth. The beginning of the film finds the pair later in life, with presumably few mountains left to climb. Washington plays Macbeth as a man tired and introverted, which he communicates by often pausing before reacting to dialogue, as if doing so is an afterthought. By the time McDormand comes onscreen in the first of the film’s many corridor scenes mentioned above, her reading and responding to the letter sent by Macbeth has been primed well enough for us to understand her mixed ambition yet exasperation—as if the greatest obstacle is not the actual regicide but her husband’s hesitancy.
Throughout The Tragedy of Macbeth their respective introspection and ambition reverse, with Washington eventually playing the confirmed tyrant and McDormand the woman internalized by madness. If anyone needed a reminder of Washington and McDormand’s respective abilities as actor and actress, one need only watch them portray the range of emotion and psychological depth contained in Shakespeare’s most infamous couple.
Conclusion: “With wit enough for thee”—IV.2
One way to judge a Shakespeare production is whether someone with little previous knowledge of the play and a moderate grasp of Shakespeare’s language would understand and become invested in the characters and story; I hazard one could do so with Coen’s adaptation. It does take liberties with scene placement, and the historical and religious elements are generally removed or reduced. However, although much of the psychology that Shakespeare includes in the other characters is cut, the minimalist production serves to highlight Washington and McDormand’s respective performances. The psychology of the two main characters—the backbone of the tragedy that so directly explores the nature of how thought and choice interact—is portrayed clearly and dynamically, and it is this that makes Joel Coen’s The Tragedy of Macbeth an excellent and, in my opinion, ultimately true-to-the-text adaptation of Shakespeare’s Macbeth.
