This lively volume follows the development of right-wing thought in Britain between the beginning of the premiership of Labour’s Keir Starmer and the end of the presidency of Mark Hall of the United Party.
Richard Cruston, Professor of Political Theory at Trinity College, Cambridge, is a learned scholar who has written biographies of Edmund Burke, Roger Scruton and Jacob Rees Mogg. His deep knowledge of ideas and personalities were clearly essential in developing this book.
His story begins with the astonishing electoral failure of Prime Minister Rishi Sunak in 2024 — ending almost fourteen years of more or less unrivalled Conservative success. In exile, the Conservatives found themselves fragmented, both politically, with the Johnson loyalists in a fiery campaign to make the unenthusiastic former Mayor of London and Prime Minister of the United Kingdom Leader of the Conservative Party, and ideologically, with “post-liberals”, “national conservatives” and “classical liberals” vying for influence.
If conservative ideas mattered at all, it was in their influence on the Labour government. Professor Cruston is an authority on the development of post-liberalism — a communitarian trend which earned support in the wake of the 2028 London riots — which spread from the capital across provincial England — as its emphasis on order and localism chimed with the state’s management of societal division. Cruston suggests that there might have been the faint whiff of opportunism in the combination of communitarian rhetoric and neo-authoritarian security measures — with more of an emphasis on “community hubs” and “peace enforcement” than on family and faith — but it was politically successful.
The 2030 blackouts were considered the beginning of the end for the Labour government. Prime Minister Meera Devi won the 2032 elections on a platform that some commentators called “neo-Thatcherite” — promising economic liberalisation, energy reform and closer links with what became known as “the younger powers”. Professor Cruston disapproves of what he describes “the fetishisation of the market” — though he doesn’t say where the power was meant to come from.
Devi’s government placed significant emphasis on character and individual responsibility. “Disciplining yourself to do what you know is right and important,” she was fond of saying, quoting Britain’s first female prime minister, “Is the high road to pride, self-esteem, and personal satisfaction.” Regrettably, her time in power was dogged by scandal, with ministers being accused of cocaine addiction, using prostitutes, doing cocaine with prostitutes and being addicted to doing cocaine off prostitutes.
Ashley Jones’ Labour premiership offered conservatives a chance to regroup. Had they forgotten the ends of politics as well as the means? Were they too focused on economics and not culture? Cruston is informative on the subject of the traditionalist “Lofftism” which flourished in the late 2030s, only being interrupted by the “Summer of Crises” which finally led to the United Party taking power in March 2039.
Conservative thought flourished in the early years of the 2040s, with generous funding being invested in private schools, universities, think tanks and private clubs. Here — if you were fortunate enough to be invited — you could hear about great right-wing minds from Hayek to Oakeshott, and from Kruger to Hannan. It was a time of intellectual combat but also intellectual collegiality. Millian liberals could debate Burkean conservative and yet remain friends. You could say anything, some intellectuals joked, as long as you didn’t influence policy.
With the unexpected departure of President Hall on the “New Horizons” flight the future of British conservatism looks mysterious. Professor Cruston counsels that we return to Burke — a voice that spoke in a time of similarly great upheaval. Perhaps we should heed his words.
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Avatar: The Way of Water Review (Magazine Excerpt)
It has been almost 12 years since the release of one of the highest grossing films of all time – that being 2009’s Avatar, James Cameron’s sci-fi epic.
There has been a running meme for the last couple years that despite the first Avatar film’s wild success in the box office, it isn’t a memorable film. The characters aren’t memorable, the storyline is a copy and paste of 1990’s Dances With Wolves, and that its success hinged on the technological breakthroughs in CGI and 3D film that were a staple feature of the film.
In retrospect, the running joke isn’t far from the truth. Avatar is a film that hasn’t held up for casual viewers on its own merits, but rather through nostalgia of a time that has long passed – a time before the insanity of the last 10 years in the social and political scene, where most people were more concerned about the film’s core messages; that being a deeply environmentalist film, a critique on colonialism, and the insatiable appetite of human discovery wreaking havoc on innocent and more noble creatures.
While there are aspects of the original film I enjoy, such as the detailed world-building that Cameron is known for, and the cutting edge visual effects, it still failed to resonate with me the way it has with many other viewers.
The preaching was exhausting when I watched it the first time in 2009, and it is still exhausting today. I get it. Humans are bad, save the trees, the military industrial complex is so evil, etc, etc.While the second installment Avatar: The Way of Water certainly delves a little deeper into the lore and ups the stakes for the protagonists, it still carries the same bare-bones environmentalist sermon that has become all too exhausting in this day and age, especially when we have Extinction Rebellion and Just Stop Oil cronies ruining fine art and causing general inconvenience to all those around them in our current reality.
This is an excerpt from “Provenance”. To continue reading, visit The Mallard’s Shopify.
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Orwell’s Egalitarian Problem
George Orwell’s Nineteen Eighty-Four is a book whose influence exceeds its readership. It resembles a Rorschach test; moulding itself to the political prejudices of whoever reads it. It also has a depth which often goes unnoticed by those fond of quoting it.
The problem isn’t that people cite Orwell, but that people cite Orwell in a facile and cliched manner. The society of Oceania which Orwell creates isn’t exemplified in any contemporary state, save perhaps wretched dictatorships like North Korea or Uzbekistan. It’s thus not my intent to draw on Nineteen Eighty-Four to indict my own society as being “Orwellian” in the sense of being a police state, a procurer of terror, or engaged in centralised fabrication of history. A world of complete totalitarianism of the Hitlerian or Stalinist kind hasn’t arrived (not yet at least), but Nineteen Eighty-Four still has insights applicable to our day.In Nineteen Eighty-Four, the protagonist, Winston, is suffocated by the miserable tyranny he lives in. The English Socialist Party (INGSOC) controls all aspects of Britain, now called Airstrip One, a province of the state of Oceania. It does so in the name of their personified yet never seen dictator, Big Brother. When Winston is almost at breaking point, he meets fellow party member, O’Brien. O’Brien, Winston thinks, is secretly a member of the resistance, a group opposing Big Brother. O’Brien hands Winston a book called The Theory and Practice of Oligarchical Collectivism. This book is supposedly written by Emmanuel Goldstein, arch-nemesis of Big Brother, and details the secret history and workings of Oceanian society, something unknown to all its citizens.
Oligarchic collectivism is the book’s term for the ideology of the Party in response to a repeating historical situation. Previous societies were characterised by constant strife between three social classes: the top, the middle, and the bottom. The pattern of revolution across history was always the middle enlisting the bottom by pandering to their base grievances. The middle would use the bottom to overthrow the top, install itself as the new top, and push the bottom back down to their previous place. A new middle would form over time, and the process would repeat.
INGSOC overthrew the top through a revolution, in the name of equality. What it actually achieved was collectivised ownership at the top, and so it created a communism of the few, not unlike classical Sparta. The rest of the population, derogatorily called “proles”, live in squalid poverty and are despised as animals. They’re kept from rebelling by being maintained in ignorance and given cheap hedonistic entertainment at the Party’s expense. INGSOC nominally rules on their behalf, but in reality is built upon their continual oppression. As Goldstein’s book puts it:
“All past oligarchies have fallen from power either because they ossified or because they grew soft. Either they became stupid and arrogant, failed to adjust themselves to changing circumstances, and were overthrown; or they became liberal and cowardly, made concessions when they should have used force, and once again were overthrown. They fell, that is to say, either through consciousness or through unconsciousness.”
In other words, the top falls either by failing to notice reality and being overthrown once reality crashes against it, or by noticing reality, trying to create a compromise solution, and being overthrown by the middle once they reveal their weakness. INGSOC, however, lasts indefinitely because it has discovered something previous oligarchies didn’t know:
“It is the achievement of the Party to have produced a system of thought in which both conditions can exist simultaneously. And upon no other intellectual basis could the dominion of the Party be made permanent. If one is to rule, and to continue ruling, one must be able to dislocate the sense of reality. For the secret of rulership is to combine a belief in one’s own infallibility with the Power to learn from past mistakes.”
INGSOC can simultaneously view itself as perfect, and effectively critique itself to respond to changing circumstances. It can do this, we are immediately told, through the principle of doublethink: holding two contradictory thoughts at once and believing them both:
“In our society, those who have the best knowledge of what is happening are also those who are furthest from seeing the world as it is. In general, the greater the understanding, the greater the delusion; the more intelligent, the less sane.”
It’s through this mechanism that the Party remains indefinitely in power. It has frozen history because it can notice gaps between its own ideology and reality, yet simultaneously deny to itself that these gaps exist. It can thus move to plug holes while retaining absolute confidence in itself.
At the end of Nineteen Eighty-Four, the Inner Party member O’Brien tortures Winston, and reveals to him the Party’s true vision of itself:
“We know that no one ever seizes power with the intention of relinquishing it. Power is not a means, it is an end. One does not establish a dictatorship in order to safeguard a revolution; one makes the revolution in order to establish the dictatorship. The object of persecution is persecution. The object of torture is torture. The object of power is power. Now do you begin to understand me?”
It’s here where I part ways with Orwell. For a moment, O’Brien has revealed to Winston one-half of what Inner Party members think. Doublethink is the simultaneous belief in the Party’s ideology, English Socialism, and in the reality of power for its own sake. INGSOC is simultaneously socialist and despises socialism. Returning to Goldstein’s book:
“Thus, the Party rejects and vilifies every principle for which the Socialist movement originally stood, and it chooses to do this in the name of Socialism. It preaches a contempt for the working class unexampled for centuries past, and it dresses its members in a uniform which was at one time peculiar to manual workers and was adopted for that reason.”
Orwell creates this situation because, as a democratic socialist, he’s committed to the idea of modern progress. The ideal of equality of outcome isn’t bad, but only the betrayal of this ideal. Orwell critiques the totalitarian direction that the socialist Soviet Union took, but he doesn’t connect this to egalitarian principles themselves (the wish to entirely level society). He therefore doesn’t realise that egalitarianism, when it reaches power, is itself a form of doublethink.
To see how this can be we must introduce an idea alien to Orwell and to egalitarianism but standard in pre-modern political philosophy: whichever way you shake society, a group will always end up at the top of the pile. Nature produces humans each with different skills and varying degrees of intelligence. In each field, be it farming, trade or politics, some individuals will rise, and others won’t.
The French traditionalist-conservative philosopher Joseph de Maistre sums up the thought nicely in his work Etude sur La Souveraineté: “No human association can exist without domination of some kind”. Furthermore, “In all times and all places the aristocracy commands. Whatever form one gives to governments, birth and riches always place themselves in first rank”.
For de Maistre the hard truth is, “pure democracy does not exist”. Indeed, it’s under egalitarian conditions that an elite can exercise its power the most ruthlessly. For where a constitution makes all citizens equal, there won’t be any provision for controlling the ruling group (since its existence isn’t admitted). Thus, Rome’s patricians were at their most predatory against the common people during the Republic, while the later patricians were restrained by the emperors, such that their oppression had a more limited, localised effect.If we assume this, then the elite of any society that believes in equality of outcome must become delusional. They must think, despite their greater wealth, intelligence and authority, that they’re no different to any other citizen. Any evidence that humans are still pooling in the same hierarchical groups as before must be denied or rationalised away.
This leads us back to the situation sketched in Goldstein’s book. What prevents the Party from being overthrown is doublethink. The fact it can remain utterly confident in its own power, and still be self-critical enough to adapt to circumstances. In Nineteen Eighty-Four, the former is exemplified in the vague utopian ideology of INGSOC, while the latter is the cynical belief in power for its own sake and willingness to do anything to retain it. But against this, no cynical Machiavellianism is necessary to form one-half of doublethink. A utopian egalitarian with privilege is doublethink by default. At once, he believes in the infallibility of his ideology (he must if he’s to remain in it), and is aware of his own status, continually acting as one must when in a privileged position.
How does this connect to that most Orwellian scenario, the permanent hardening in place of an oligarchic caste that can’t be removed? As Orwell says through Goldstein, ruling classes fall either by ossifying to the point they fail to react to change, or by becoming self-critical, trying to reform themselves, and exposing themselves to their enemies. Preventing both requires doublethink: knowing full well that one’s ideology is flawed enough to adapt practically to circumstances and believing in its infallibility. The egalitarian elite with a utopian vision has both covered. If you truly, genuinely, believe that you’re like everyone else (which you must if you think your egalitarian project has succeeded), you won’t question the perks and privileges you have, since you think everybody has them. That takes care of trying to reform things: you don’t.
Yet, as an elite, you still behave like an elite and take the necessary precautions. You avoid going through rough areas, you pick only the best schools for your offspring, and you buy only the best houses. As an elite, you also strive to pass on your ideology and way of life to the next generation, thus replicating your group indefinitely. Thus, you simultaneously defend your position and believe in your own infallibility.Could an Oceanian-style oligarchy emerge from this process? Absolutely, provided we qualify our meaning. The society of Nineteen Eighty-Four lacks any laws or representational politics. It has no universal standards of education or healthcare. It functions as what Aristotle in Politics calls a lawless oligarchy, with the addition of total surveillance. But this is an extreme. What I propose is that egalitarianism, once in power, necessarily causes a detachment between ideology and reality that, if left to itself, can degenerate into extreme oligarchy. The severe doublethink needed to sustain both belief in the success of the project and safeguard one’s position at the top can accumulate over time into true class apartheid. This is, after all, exactly what happened to the Soviet Union. As the Soviet dissident and critic Milovan Dilas, in his book The New Class: An Analysis of the Communist System, put it:
“Every private capitalist or feudal lord was conscious of the fact that he belonged to a special discernible social category. (…) A Communist member of the new class also believes that, without his part, society would regress and founder. But he is not conscious of the fact that he belongs to a new ownership class, for he does not consider himself an owner and does not take into account the special privileges he enjoys. He thinks that he belongs to a group with prescribed ideas, aims, attitudes and roles. That is all he sees.”
To get an Oceanian scenario, you don’t need egalitarianism plus a Machiavellian will to power, forming two halves of doublethink. You just need egalitarianism.
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What is the Point of the Turner Prize?
Picture the scene. Strings of tattered bunting, the concrete shaft of a half-built pillar. At the centre of it all a pile of red and black folders, supplanted by a pair of flagpoles bearing faded Union Jacks. A length of striped tape lies beside them on the floor like the shed integument of a snake, and everywhere you look you see road barriers, twisted, contorted, lopsided. If it weren’t for the fact that the setting of the scene is Towner Eastbourne art gallery, you’d think a car had crashed through it. And you probably wouldn’t blame the driver.
This isn’t the aftermath of a riot or the contents of a disorganised storage room. In fact it is Jesse Darling’s winning submission for the 2023 Turner Prize, one of the world’s most prestigious art awards. The prize was established to honour the ‘innovative and controversial’ works of J.M.W. Turner, although in the thirty-nine years since its inauguration, none of the winning submissions have evoked the sublime beauty of Turner’s paintings.
There are no facts when it comes to art, only opinions. The judges, who lauded the exhibition for ‘unsettl[ing] perceived notions of labour, class, Britishness and power’, seem to have glimpsed something profound beyond the shallow display of metal and tape. Or they may simply have considered it the least worst submission in a shortlist which included some accomplished but otherwise unremarkable charcoal sketches, an oratorio about the COVID-19 pandemic and a few pipes.
It may be that beauty lies in the eyes of the beholder. But there is a distinction to be made between works of art whose beauty is universally accepted, and those which fail to find acclaim beyond a small demographic of urban, middle-class bohemians. According to a YouGov poll, an unsurprising 97% of the British public consider the Mona Lisa to be a work of art. That figure drops to 78% for Picasso’s Guernica, 41% for Jackson Pollock’s Number 5, and just 12% for Tracey Emin’s My Bed. That 12% of society, however, represents those among us most likely to work in art galleries and institutions, and to hold the most latitudinarian definition of ‘art’.
For ordinary people, the chief criterion for art is, and always has been, beauty. But like the other humanities, the 20th century saw the art world succumb to the nebulous web of ‘discourse’, with a corresponding shift away from aesthetic merits and towards political ends. Pieces like Marcel Duchamp’s Fountain – an upturned porcelain urinal – proved that works of art could shoot to fame precisely on account of their capacity to disturb and agitate audiences. As philosopher Roger Scruton described it, ‘According to many critics writing today a work of art justifies itself by announcing itself as a visitor from the future. The value of art is a shock value.’ The fact that shock, fear and revulsion create more powerful reactions than the sense of joy, calm or awe one feels when looking at a Rosetti or a Caravaggio is an unfortunate fact of human nature, and remains as true today as it did a hundred years ago. In much the same way that a news stories about declining global poverty rates or deaths from malaria will receive less attention than stories about melting ice caps or rising CO2 emissions, a truly beautiful artwork will receive less attention in the media than something which irks, irritates and offends.
In the opening chapter of The Picture of Dorian Gray, when Basil Hallward reveals the eponymous portrait to his friend Lord Henry, he confesses to feeling reservations about exhibiting the work despite it being, in Henry’s estimation, his masterpiece. ‘There is only one thing in life worse than being talked about,’ Lord Henry reprimands him, ‘and that is not being talked about.’ The sentiment is triply true in the age of social media. Indeed, the term ‘ragebait’ started appearing online in the months following Mark Leckey’s winning submission for the Turner Prize in 2008, an exhibition which featured a glow-in-the-dark stick figure and a naked mannequin on a toilet. Like Dorian Gray, the more the art world thirsts for attention, the more hideous the art itself will become.
The quickest route to attention is politics. At the award ceremony for this year’s Turner Prize, Darling pulled from his pocket a Palestinian flag, ‘Because there’s a genocide going on and I wanted to say something about it on the BBC.’ In his acceptance speech, he lambasted the late Margaret Thatcher for ‘pav[ing] the way for the greatest trick the Tories ever played, which is to convince working people in Britain that studying, self expression and what the broadsheet supplements describe as “culture” is only for certain people in Britain from certain socio-economic backgrounds. I just want to say don’t buy in, it’s for everyone’. The irony is that all the money in the world wouldn’t fix the problems currently afflicting the art scene. If the custodians of modern art want to democratise their vocation, and make culture available to ordinary people, they should follow the example of Turner – and produce something worth looking at.
