“Short and easy will be the task of the mere biographer. A life of usefulness, literature, and religion, was not by any means a life of event…to the little disappointments incidental to human life was never added, even for a moment, an abatement of good-will from any who knew her.”
No, this quote does not refer to the late Queen Elizabeth II—though several aspects of it, from the humble understatement to the positive rapport among her acquaintances, could just as well describe the late monarch (ignoring the lacking a “life of event” part) as they do its actual subject, Jane Austen.
Written by her brother Henry and included as a preface to the posthumous volume containing Northanger Abbey and Persuasion, the brief biography is one of the many resources found in the 2016 Norton Critical Edition (the fourth) of Pride and Prejudice, edited by Donald Gray of Indiana University and Mary A. Favret of Johns Hopkins. Besides confirming that one cannot understand Austen without understanding her, as he puts it, “thoroughly religious and devout” faith (another parallel between Austen and Her Royal Highness, and many others), the biography gives several details that lend insight into not only P&P but Austen’s other novels, as well.
This is, of course, the purpose of Norton Critical Editions, which I have used since my first essay as a California kid at Oxford (due on a Monday after meeting my tutor on Friday). The Norton Alice’s Adventures in Wonderland, bought, read, and cited in a two-day scramble, saved my grade that weekend, and it still graces my bookshelf for whenever I or mine might need it.
While pieces contemporary with the books’ printings, like the above biography, letters from the author to family and friends, and subsequent reviews at the time (for P&P from Scott, C. Bronte, Emerson, Twain, and others) provide a great context, as a student I found most useful the critical excerpts included in each edition, which attempt to give an up-to-date view on the literary conversation surrounding a certain work. For undergraduates who may not know where to look for sources on a certain author, I usually suggest Norton Criticals (and, by God, the several-page-long Selected Bibliography in the back—my brother and sister in Christ, THEY DO YOUR WORK FOR YOU), if only as a primer for larger critical discussion.
But the editions aren’t, and shouldn’t be, limited to the student; indeed, fans of Austen (or whom have you) might wear down their editions faster and more thoroughly than the student who buys it for a two-week paper. Although written with the academic in mind, works like Norton Critical Editions might very well contribute to the canon being preserved outside of the university, providing, as they do, the tools for a historical and critical understanding of one’s favorite work.
Literally one of the greatest novels ever written, and second in my mind only to The Brothers Karamazov, qua novel, Pride and Prejudice needs no encomium from me. Based on and in parts expanding my Goodreads review, what follows is a summary of and, at times, response to the recent critical sources in the 4th Norton Edition. I hope it will prove useful to Austen lovers as much as students.
D.A. Miller, “No One is Alone,” from Jane Austen; Or the Secret of Style (2003).
Discusses the break between Austen’s style and her characters, with the former being omniscient and the latter being little-knowing. Recounts how Austen’s style developed from reading 18th-century writers like Sam Johnson and how she novelized several aspects of their articles. Discusses the paradox of Elizabeth’s marrying Darcy (Miller cynically sees it as an unfortunate contradiction) by supposedly eschewing the very wit (or “impertinence”) that made her unique.
Jeff Nunokawa, “Speechless in Austen,” from Differences 16 (2005).
Discusses the timelessness in Austen (both narration and characters), whose writing seems to have no idea of the enormous cultural changes that were to come in the 1800s. Nunokawa identifies this confident changelessness as being part of why we read P&P, which, despite readers’ approaching it with nostalgia, has very little actual nostalgia within its pages. Discusses, like Elfenbein below, Austen’s use of space-as-social dynamic. Also contextualizes and discusses silence within P&P, and how Darcy must learn to open up because it is through sociability and inclusion, not mere rank, that one succeeds in P&P. Reasons that in Austen one can only know themselves through social interaction, and so Darcy’s attempting to only speak when he has something perfect or great to say ironically reduces him. Finally, examines the certainty of tone often used by both Austen’s narrator and her characters.
At times syntax/language felt a bit overwrought, but it may be because it’s an excerpt and, its being the first article I read after finishing the novel, I was still reading with Austen’s rhythm.
Andrew Elfenbein, “Austen’s Minimalism,” from The Cambridge Companion to Pride and Prejudice (2013).
Examines how and why Austen leaves out descriptive details; identifies her as not being a realist (as has been argued) because of this selectivity. Contextualizes Austen with Johnson’s 18th-century advice to make writing timeless by avoiding too many details; shows how Austen nuances this by using detail to enhance beauty of characters/scenes, like the then popular picturesque school (which suffuses the book – see Knox-Shaw below). Identifies rooms and the outdoors not as physical places but as identifiers of distance and a context for the social interactions that make up the book. One of the best articles in the edition, both for historical context and argument flow.
Peter Knox-Shaw, “Pride and Prejudice, A Politics of the Picturesque,” from Jane Austen and the Enlightenment (2004).
Identifies the Picturesque as finding a medium between the Burkean-Romantic poles of pacifying Beauty and provoking Sublime. Follows the picturesque as a running metaphor through the book for Elizabeth and Darcy’s love, and thus, for Elizabeth’s breaking of gender stereotypes/politics. Argues that, like the picturesque, Elizabeth’s development depicts a nuancing of (if not campaign against) conventional beauty, while showing that beauty and attractiveness are not synonymous in the book (see Michie below). In conjunction with the other articles on the picturesque, Knox-Shaw’s was one of the more enlightening articles in the material.
Felicia Bonaparte, “Conjecturing Possibilities: Reading and Misreading Texts in Jane Austen’s Pride and Prejudice,” from Studies in the Novel 37.2 (2005).
Places P&P within the contemporary philosophical debate between the rationalists and the empiricists. Establishes how P&P identifies Jane Austen as an empiricist in the line of David Hume due to its consistent focus on skepticism regarding secondhand accounts, texts, and assumptions. Stresses how often characters’ epistemology is discovered to be faulty, and how the book encourages a general skepticism regarding first impressions. Argues that the Bennet sisters each, in their own way, undermines one’s ability to interpret reality with certainty, and that Elizabeth’s developing a “practical empiricism” is “the bildung of the novel.” Goes further to argue that Austen was even an early Nietzschean post-modernist in how she incorporates her characters’ mutual and self-reflective interpretations into their construction of, rather than deduction of, reality. Probably my favorite of the edition’s essays, for its historical context and depth of substance, as well as readability.
Vivien Jones, “Feminisms,” from A Companion to Jane Austen (2012).
Argues that, despite her focus on primarily women characters and their circumstances, Austen should not be classed as an early feminist because of her reaffirmation of marriage, which Jones interprets as an endorsement of the patriarchal structure she sees throughout the book. Identifies Austen, rather, as a postfeminist author, who (she thinks mistakenly) argues in her characters and scenarios that the inequalities facing early-19th-century women had largely been dealt with and that many problems experienced by women could be surmounted not by societal revolution and polemic but by individual reflection and reformation. Identifies Elizabeth as being in the vein of Mary Wollstonecraft, but Austen as aligning more with the conservative female writer Hannah More. Accuses Austen of contextualizing the benefits achieved by Wollstonecraft within a conservative/Tory context of twenty years later that reaffirms the social structure. Reads P&P as conservative reinterpretation of previous feminist ideals through the onus for individual, rather than broader social, reform. In my opinion, Jones’s view that Elizabeth’s marriage is a renegging on her previous independence (rather than a full expression of it) misses the point of the book, which his her growth out of her own pride and prejudice (an impetus and growth Austen notably gives to Darcy, too).
Janet Todd, “Jane Austen’s Hero,” from The Cambridge Companion to Pride and Prejudice (2013).
Argues that Darcy’s place in society allows him to begin the book as a boor, whereas Elizabeth’s requires her to adapt through the book. Sees Elizabeth as having no individuality in either Darcy or Collins’s eyes. Follows Alistair Duckworth’s 1971 Marxist reading of the book’s property entail (arguably refuted below by Macpherson), applying it to gender and property. Like Jones above, interprets Elizabeth’s growth out of her pride and prejudice as a negative, a product of her social standing and gender, and thus misses the point of the book.
Elsie B. Michie, “Social Distinction in Jane Austen,” from The Vulgar Question of Money: Heiresses, Materialism, and the Novel of Manners from Jane Austen to Henry James (2011).
Interprets P&P as Austen’s attempt to find the proper relation to wealth. Reads book as a response to Hume and Smith’s writings on the problematic effects of wealth on English society. Elizabeth as the opposite of Miss Bingley and Lady Catherine, both of whom present the negative effects of status via inherited wealth (shallow, arrogant, etc). Examines the growth of manners to replace the traditional virtues of the landed aristocracy (both shown in said characters). Points out how Elizabeth’s manners, as well as her disregard for inherited virtue or status, make her attractive despite her lack of apparent beauty (see Knox-Shaw above). Looks at what Darcy’s growing attraction to her says about him. A good essay for understanding and contextualizing the different dynamics in the Elizabeth-Lady Catherine interactions, as well as the changing social mores of the time.
Sandra Macpherson, “Rent to Own: or, What’s Entailed in Pride and Prejudice,” from Representations 82 (2003).
Lays out the laws of property entail—and, Macpherson points out, ironic humor surrounding the issue—that undergird the plotof P&P. Debunks Duckworth’s Marxist view that the book’s society is structured along class and gender lines (see Todd, above). Showing how entail cannot be blamed on any one person or group, explains the implicit joke in both Mrs. Bennet’s expecting something to be done about the entail and Collins’s continual apology for it (both of which Austen’s readers would have seen as ridiculous). Reads Austen as not being against entail, per se, because it is an image of social obligation, not one of exclusion. Examines Austen’s contrasting renting vs owning as makers of different personalities and virtues (vis, Bingley and Darcy). One of the more enlightening, historically based, and easy/fun to read of the back material; possibly my favorite, contending with Bonaparte.
Andrew Maunder, “Making Heritage and History: The 1894 Illustrated Pride and Prejudice,” from Nineteenth-Century Studies 20 (2006).
Examines the role illustrations play in forming (and revising) later perceptions of an artist and their work. Explores how, “Illustrations play a central role in how readers construe novels,” and “modify, challenge, and even dictate readers’ understandings,” of the novels. Argues in a footnote that later illustrations of P&P like , rather than the text itself, are to be attributed with the reading that Darcy becomes more emotionally responsive by the novel’s end; conversely sees the text as validating Darcy’s cold “legal and ethical formalism,” and pushing Mr. Bingley to emulate it. Explores the effect the 1894 edition had on how the novel was interpreted, despite it’s being merely a “gift book” among many similars flooding the market. Presents and critiques key illustrations by artist Hugh Thompson and describes others, unpictured; interprets Thompson’s stated desire to show Austen’s “sense of fun,” as going too far, into reinterpretation. Although Thompson and editor George Allen caused a revival of interest in Austen, implies the popularity had more to do with the reinterpretive lens than with Austen’s work, itself (see my own critique of the recent Persuasion adaptation, linked above).
Tiffany Potter, “Pride and Prejudice and Zombies,” from Women, Popular Culture, and the Eighteenth Century (2012).
Reads Seth Grahame-Smith’s book/reinterpretation, P&P&Zs, as more than a pulp piggyback off of Austen. Presents book as a concretization of the implicit, unspeakable aspects of P&P, with the zombies being “a literalization of the threat of a social death in spinsterhood…in opposition to the socially constructed life-and-death quality of the marriage plot.” Interprets several moments from Grahame-Smith’s book as helping readers better understand Austen, such as Lydia’s becoming an “unmentionable” zombie as an image of the unspeakability of her adultery in Austen, or the steady death to zombiehood of Charlotte as a picture of her intellectual death in marrying Collins. An interesting piece that treats P&P&Z seriously, though Potter ultimately interprets certain aspects of Austen (e.g. Jane and Elizabeth’s marriages) negatively, like others above.
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Johnson’s Intermarium – A new Geopolitical Bloc?
In the closing days of May, Boris Johnson came public with a proposition that could be characterised, at the very least, as surprising, especially to us here in Eastern Europe. This proposal was the creation of a new “European Commonwealth”, which would encompass the UK, Ukraine, Poland, the Baltic States and possibly, later on, Turkey. The Italian daily Corriere della Sera quoted that this commonwealth would provide an alternative to the EU, aimed at countries that are united by their distrust of Brussels and the German response to Russian aggression. While this proposal didn’t create much public discussion in the mainstream, many in the nationalist and dissident right sphere, including yours truly, were definitely intrigued. Partly due to this idea coming completely out of the blue, but mainly because it echoed the idea of Intermarium.
The promotion of the Intermarium, Międzymorze or “between seas” idea has been a long-term geopolitical project of many nationalist organisations and activists in Eastern Europe, especially in the Baltics and Ukraine. While the details occasionally vary, Intermarium can, in general, be understood as a (con)federation of Central and Eastern European states, such as Finland, the Baltics, Ukraine, Belarus, the Visegrad Four, the states of the Caucasus and some Balkan states. These are countries, which by and large, share three important aspects: geopolitical interests, historical experience as part of the communist world and similar socio-cultural values. The aim of this project is to unite the aforementioned countries into an united bloc, which would be economically, militarily and culturally strong enough to resist both the globalist West and the imperialist East. The final goal would be this bloc becoming both a new pole of power and a new centre for Europe, eventually supplanting the declining Western European states.
This project is not really new, but rather a revival of an old idea, tailored to fit the realities of the modern world. The original idea of the Intermarium federation was the brainchild of Polish marshal and statesman Jozef Pilsudski, whose dream was a recreation of the historical Polish-Lithuanian Commonwealth. It would have served as a basis for a “Third Europe”, countering both Soviet Russia and a revanchist Germany. Pilsudski’s project failed to materialise in the 1920s due to several reasons. Firstly, Soviet Russia proved to be too strong to overcome by the nascent Polish Republic on its own and the creation of a united anti-soviet front was hampered by a disunited Ukraine and several disputes Poland had with its neighbours. Secondly, many of the envisioned constituent states saw, somewhat justifiedly, the project as solely advancing Polish interests and domination in the region. Lastly, Poland itself experienced strong domestic opposition to the idea, mainly from the nationalist camp. There are today, however, several promising indicators that we’ve learned from the mistakes of the past. While there still is bickering stemming from historical grievances, the success of regional cooperation forums, such as the Visegrad Group and the Three Seas Initiative, indicates a positive reception towards increased regional cooperation and integration.
Coming back to the role of the UK, the involvement of HM Government in this region has an interesting and long history, especially in Estonia. After Finland, the UK can be considered to be Estonia’s largest supporter during our War of Independence. In addition to providing significant amounts of material aid (arms, ammunition etc.), the Royal Navy played a crucial role in the fight against the invading Red Army. The 6th Squadron under Rear Admiral Edwyn Alexander-Sinclair not only secured the Estonian coast from any seaborne assault into the rear, but also kickstarted the Estonian Navy by donating two captured Russian vessels. Even today, Estonia honours this contribution, with our naval jack bearing a close resemblance to the Union Jack. Later, during the opening years of the Cold War, MI6 provided extensive support to Baltic anti-communist guerrillas through Operation Jungle. This operation was unfortunately brought down by the betrayal of the infamous communist spy, Kim Philby. Nonetheless, the presence of the UK has been a strong influence over here up to this day, with units of The Welsh and the Queen’s Royal Hussars forming the strongest allied contingent of NATO troops.
Now, I’m not so naive as to claim the UK provided this support out of the kindness of its heart. Like any nation, they were advancing their own geopolitical interests. Indeed the British command was quite perturbed when instead of joining in the assault on Petrograd, the Estonian government decided to consolidate the country’s independence by making peace with Soviet Russia. As in 1918-1920, even today the UK has its own interest in making diplomatic headways into Eastern Europe. But just as before, by virtue of a common foe, our interests seem to align. The reason for our animosity towards Russia has different roots, Estonia’s being nationalism and the UK doing it, most likely, out of a desire to spread “freedom and democracy”. Nonetheless, I would still consider the enemy of my enemy to be my friend, at least to some extent. Historically and out of pure necessity, Estonians have fought alongside powers which may not have had our national survival as a priority.
Why would have Johnson proposed something like this new commonwealth? Britain’s geopolitical position in the post-WWII era can be easily summed up with the adage calling the British Isles a permanent floating aircraft carrier of the United States, destined to play second fiddle to the new preeminent global power. We must keep in mind that the early warning systems at RAF Fylingdales are solely for the benefit of the US, not the residents of Yorkshire. While the Falklands campaign was an unprecedentedly sovereign move from the UK, common wisdom would still consider it as an exception that reinforces the rule. Whether it was Iraq, Yugoslavia or Afghanistan, Britain has answered the call of the US, not vice versa. 40 years on, the rusted wreck of the General Belgrano at the bottom of the South Atlantic might occasionally invoke some pride and nostalgia in an ageing boomer, but after that, the British canon seems to lack such definitive moments. Johnson, I believe, had also noticed this lack of assertiveness.
A post-Brexit Britain, not burdened by the collective bargaining requirements of the EU, has the position and opportunity to regain some of its international clout and the new alliance proposal is definitely an attempt at that. An important aspect to remember is that this whole project is strongly tied to the war in Ukraine and while much of the EU dithers, the UK has taken a particularly strong stance in support of Ukraine, becoming one of its main supporters. This began already before the Russian invasion, with the “friend of the US”, president Poroshenko being replaced by Zelenskyy, a friend of the UK. Strategically, this move is intelligent and definitely in line with the current goals of a UK wishing to regain its international importance. Increased material and diplomatic support shows not only Ukraine, but also much of Eastern Europe, that Britain is indeed prepared to help while the big players of the EU are hesitant. Conversely, Eastern European states will start seeing the UK as a much more valuable ally. It seems that the Johnson administration, by sidestepping both the US and EU, was actively trying to improve its international standing and expand its sphere of influence into countries that may already have been somewhat sceptical of the EU. Whether this was being done to further British strategic and economic interests, spread liberal-democratic ideology, to invoke past glories, or all three simultaneously, remains to be seen.
What has the reaction been like over here in the East then? As mentioned before, the new commonwealth proposal was barely noted in the media over here, but at least in Estonia, it did create discussion in the right-wing nationalist camp. Sharing a common enemy in imperialist Russia and euroscepticism, it can’t be denied that we have aligned interests. Furthermore, we see this proposed framework as a possible stepping stone towards the dream of a modern Intermarium alliance. There are some reservations though. Firstly, just as we in Eastern Europe do not wish to be dominated by the EU or Russia, any such attempt from the UK would be received with equal disdain. Additionally, any form of deepened political, economic and military ties would inevitably lead to an increased socio-cultural influence as well. This might not be a problem automatically, but given the reticence of our national cultural establishment, I am wary. Instead of Morris dances, the UK is exporting liberal progressivism, and aggressively so.
The anglosphere and its establishment have become the vanguard of liberalism in the world. There is much talk of Russian influence in both the West and the Baltics, but the influence of large-scale propaganda campaigns of the liberal West is constantly omitted in the mainstream. The UK government, along with the US, Canada and Germany (to name a few), is funding and supporting NGOs, magazines and events that actively support a left-leaning progressive and anti-national ideology among the Estonian and broader Eastern European population. A very tangible example of this is the UK ambassador, Ross Allen, taking the stage at the US-sponsored Pride event in my home city of Tartu. While Russian imperial ideology is detestable and I wish never to live under it no matter how anti-liberal it is, the prospects for Estonian nationhood as part of the rapidly declining liberal-democratic West are equally low. If the UK would, in this new alliance, focus on strategic geopolitical and military interests instead of ideological exports, we would be more receptive.
To conclude, while Johnson’s proposal of a new European Commonwealth is definitely an interesting prospect for both Eastern Europe and the UK itself, it raises several issues. On one hand, it could prove to be a geopolitical boon to both parties, with the UK re-establishing its influence and Eastern European states moving from a peripheral position towards the core of a new international bloc. The support of an emerging powerful player such as the UK could very well be beneficial in establishing the new Intermarium alliance as a truly viable alternative to the ever-centralising and anti-national EU. However, as of yet there are no signs that this alliance would give a central role to nationalist principles which many Eastern European nations value, especially if led by the current UK political establishment. The Intermarium concept has always stressed nationalism as one of its core tenets and we certainly would not wish to replace EU liberalism with the Anglo variant. Time will tell if this proposition gains any traction and how it will evolve. Johnson’s resignation adds a whole new dimension, and perhaps this whole concept will quickly be forgotten and UK foreign policy will pivot significantly. In any case, these are developments which we should follow closely.
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Little Dark Age and Murdering the Author
Roland Barthes’ essay Death of the Author is required reading for many students who wish to study the humanities, such as English Literature. The general thesis of the essay is that narrative intent from the author cannot be discovered as it is impossible to know what the author’s thoughts were at the time of writing. Thus, Death of the Author can be understood to mean “art without the artist” – by the reader is the only true reading. The authority of the author, and therefore the author himself, perishes.
It is an interesting and incredibly influential essay that has played a large part in the development of critical theory over the course of the 20th century. Using this as a basis, it is my belief that we can take the theory further.
Rather than experience the art in a passive way, accepting what the author produces as is, and making our own interpretations from that point, I propose that we instead take an active participation in taking art from the artist and use it to our own ends. This is much easier to do thanks to the internet, and the emergence of meme culture.
It is from meme culture that murdering the author rises. 2016 can be seen as the black swan moment for this with the election of Donald Trump and the reignition of right-wing populism. In this moment, a new breed of meme was born, and it is one of these memes that I think best exemplifies how effective murdering the author can be.
In 2017 MGMT released their song “Little Dark Age”, a protest song lamenting the election of Trump. As the title suggests, the zeitgeist as the artist saw it was regressing back into a period of ignorance, ultimately taking the past 70 years of Progress with it. As recent as 2021 however, the meme remixes of this song have become increasingly popular. The song is used as a backdrop over footage designed to ignite reactionary pride – praise of Christianity and the heroic spirit are commonplace within this. My personal favourites are the ones that glorify the British Empire.
The popularity of the meme is an example of the remix culture unique to the internet, an issue with 21st century creations in general. 21st century art is stunted, and we can only find creative outlets in what has come before. This is a problem with all art and culture in the West, but has been commented on before so I will not belabour the point, except to say that our obsession with nostalgia seems to have left us bereft of creating our own cultural milieu and we are forced to stand blindly on the shoulders of giants.
We are indeed in a little dark age, and MGMT clearly felt that. It just isn’t the dark age they think it is. For a generation of people brought up in countries whose hour of greatness was over, and on whom all the world’s ills could be blamed, it is little surprise that a song like Little Dark Age could be used in the way it did. With lyrics like “Forgiving who you are for what you stand to gain/Just know that if you hide it doesn’t go away”, the song seems to be calling out to those who are trodden on by the current regime, such as political dissidents, delivering the Evolian message of riding the tiger. In the remix culture that epitomises internet trends, this is an example of destroying the meaning of a talented, well intended but misinformed artist and rewiring it for a different purpose.
No matter how MGMT feels about the current political and cultural climate, the fact remains that Little Dark Age is reactionary. It speaks of cultural degradation, inauthenticity – the sense of something being lost. MGMT have put their finger on the pulse, and their diagnosis seems apt – but the wrong patient has died.
Their anger is correct but misdirected, which is why we on the right see the song as something to be hijacked. We are not witnessing the death of the author here – instead, we are the author’s murderers. We are Lenin storming the Tsar’s palace in 1917. We take what is theirs and subvert it to our own ends.
The fact is that reactionary media, be it music, film, literature or television, is entirely hegemonic to the left’s favour. Reactionary discourse is repeatedly shut out of the Overton window, which is panned by boomeresque false idols on one side and comical Marxist villains on the other. In order to make a point, we must use the tools of the enemy. We must be the Vietcong stealing M16s from a US military base. We take from the author what is theirs, deconstruct their arms and create something entirely new using the skeleton of their works.
We are the murderers of the author and this is our strongest weapon.
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The Riots: a working-class view
Back in the fourteenth century, England’s lowest class enjoyed the greatest piece of luck it has ever had: the arrival of the Black Death. True, most of us were wiped out, but life became so much better for those who survived. Anyone who wanted our labour now had to compete for it and offer more than their competitors did. These inducements (today we call them wages) went up and up because workers had become so scarce. Such was the plight of the working class in those days that it took a lethal disease that wiped out half of humanity to improve our lot; something which should teach us the importance of the size of the labour pool: how the amount of available labour can be balanced to give both sides a fair deal, or skewed one way or the other to cause economic and social disruption.
Since 1997, the year of the coming to power of New Labour, it has been the policy of every government to saturate the British economy with workers from foreign sources, thus greatly expanding the amount of available labour. This means every lower-skilled, less educated, less qualified worker’s bargaining position and job security were jeopardised. It should be obvious that in a free market – in fact in any endeavour where there is competition – there will be rivalry between the contenders. There will be resentment toward challengers who threaten one’s standard of living, or even one’s very capacity to earn a living. Recently this resentment boiled over and numerous riots occurred around the country. They happened because of what has taken place in Britain over decades: the reckless pursuit of profit by means of reducing labour costs at the expense of (and with no concern for) social cohesion. A ruthless, imported form of capitalism has taken over and sacrificed a section of what is supposed to be one nation in order to benefit another part of that nation. The Left of yesteryear called this class conflict, a term which our modern and very bourgeois Left do not care to use these days; they prefer cultural conflict to class conflict, possibly because so many modern Leftists are themselves millionaires and discussions about wealth inequalities would embarrass them. Populists describe the division of the classes as the elite versus the people, and the American Right has enjoyed success with this message, but whichever terminology one prefers, it is clear that here in Britain what was once arguably one nation has now unarguably been cleaved in two.
Although Labour has traditionally been the party of mass immigration, for the last fourteen years immigration ballooned while a Conservative party was in power. The drama of small boats ferrying illegal migrants across the channel was really just a footnote to (and perhaps a distraction from) a large amount of quite legal immigration rubber-stamped by the Tories. The simple truth about immigration is this: enormous numbers of foreign workers come and settle in this country because British politicians want them to. Mass immigration means there is no pressing need to innovate, no need to invest, no need to waste money training or educating British people, no need to worry about productivity: one can merely import cheap ready-mades, and then carry on importing them. It is the easy option and our politicians have been taking it for years. Any economic growth Britain has achieved has been a sham; merely a growth in population. The group which has suffered most is of course the working class, those who are most vulnerable to low-skilled immigration; a working class that these days has little to no political representation.
Jacob Rees-Mogg recently condemned the working-class rioters, saying that such behaviour might be justified in a dictatorship but not in a democracy like Britain, where peaceful protest is permitted. The problem is of course that protesting achieves nothing. In fact, in modern Britain, voting achieves basically nothing. In 2016, during the referendum on our membership of the European Union, the Leave campaign was only put on the path to victory when the focus was changed from important but philosophical arguments about sovereignty to the issue of immigration. After the vote was won, however, a strange thing happened. ‘I never claimed immigration would come down,’ said Daniel Hannan immediately after the electorate had voted to get immigration down. David Davis said that immigrants would be ‘needed for many years’ and Michael Gove praised how immigrants raised educational standards. If one examines the promises made by Brexiteers one sees that they were never promises. They were not even clear statements, merely hints that could be interpreted in different ways. None of the Brexiteers promised to stop immigration. None of them even promised to reduce it. They promised merely to control it. The word ‘control’ is loved by politicians because it means everything and nothing at the same time. Voters took it to mean that immigration would be reduced, but it could just as easily have meant that it would be left as it was. Perhaps, it could mean that it would be increased – which, incredibly, is what happened, despite a majority in the highest turnout for a UK-wide referendum in British electoral history.
With free movement from the EU interrupted, workers were now imported from the rest of the world. Migrants from very distant and very different cultures would come here in increasing numbers; and because these people were from such distant parts of the world they belonged to different races. This meant that unlike the Poles, the Hungarians, the Lithuanians etc., these foreign migrants would be instantly recognisable as such, from a distance, without them having to utter a single foreign-accented word. And so it is that riots which are economic in cause, which are the consequence of choices made by governments, can appear to be purely racist uprisings – and safely dismissed as such by sanctimonious politicians and their media. By these means a truth has been officially established: that the riots were a temporary madness caused by wicked fascists exploiting the gullibility of working-class people.
The truth however is that in this democracy which Jacob Rees-Mogg believes we live in; the working class are not allowed to vote in their economic interest. Their voice and their interests are repressed. In any general election in the UK there are only ever two parties that have a chance of being elected: the Labour Party, which enthusiastically believes in immigration, and the Conservative Party which believes in it with equal enthusiasm but pretends not to. There has been a convergence of self-interest. First, the greed of a Conservative Party that cares only about its enrichment and which despite its reputed belief in “faith, flag and family” is happy to see the British natural environment, British culture, British traditions, British family life, British history, British ownership, British democracy, British self-respect and the British working class all ruined, each of them being sacrificed in the scramble for quick profit at any cost. And then there is the greed of the Labour Party. This party is, in material terms, as rich and privileged as the Conservatives but is greedy too for moral glory. It wants to be loved by people who matter (educated, cultured people of taste) and so it haughtily condemns the primitive rage of the uneducated people with ugly lives and values who live below. By the magic of media, the material self-interest of the privileged becomes a noble cause. The expansion of the labour pool and the crippling of the bargaining position of British workers is shown as a moral crusade; the pursuit of diversity, the bringing about of a glossy-eyed, handholding, multi-coloured, multi-lingual paradise in which the elite are ‘enriched’ by other cultures while the ferocious competition for jobs pauperises the working class.
Democracy is more than just a word. It is the most efficient way of organising a society ever devised. It balances competing interests by making them visible and enabling them to negotiate. It vents the pressures that create conflict. What the people would have wanted, and would have accepted had anybody in our alleged democracy bothered to ask them, was a moderate level of immigration that would have benefited a moderated capitalism; a capitalist system in which those enjoying extreme levels of wealth and those suffering extreme levels of hardship were both pulled back toward a civilised mean; a more cohesive, moderately patriotic Britain in which all get a just share of everything; in which those who do more and achieve more rightly get more, but not an immoral amount more. In other words, a Britain that was one nation – not the theatre of tribal warfare it is today.
