The legendary German historian, Oswald Spengler, was born in the German Empire on the 29th of May, 1880 AD. He is best known for his two-volume book The Decline of the West, published after the First World War, and his “pessimistic” and “deterministic” views on History – or so the liberal academia claims. In truth, Oswald Spengler postulates that Cultures play the central role of world history, and are analogous to biological entities, each with a limited, predictable and predetermined lifespan which he would define as Destiny. He proposes a Copernican revolution of historical science, substituting the progressive linear course with the conservative cyclical model of history. Although one could find a few obvious mistakes in Spengler’s entire narrative, which were upgraded by other authors such as Arnold J. Toynbee and Amaury de Riencourt, many of his theses are on point. He has indeed discovered the hidden rhythm of History, the ebbs and flows of Cultures and Civilizations – which are completely different terms in Spengler’s model.
Cultures are the original spiritual organisms, born from rural areas, characterized by a unique and deep spirituality, manifested through the Culture’s art and architecture. They are young and vigorous, representing the Spring and Summer seasons of a High Culture’s life-cycle. A Culture’s values are aesthetic, religious and, usually, aristocratic. Civilizations are overripe Cultures, mechanized spiritual organisms bound by ethics – secular and democratic in nature. Civilizations are born in the Autumn Stage of a High Culture’s lifespan, lasting out until the very end of its Winter Stage. By the coming of Winter, a series of powerful figures rise to tame the chaotic waves of Democracy as Civilization crumbles. These figures are, out of convenience, named as “Caesars”. Caesarism is will-to-order personified, a century-long process of societal militarization under the watchful gaze of absolutist dictators. Spengler believed that Western Civilization would bow itself before its Caesars somewhere between 2000 AD and 2200 AD, just like its predecessor, the Civilization of Rome, which was overtaken by its Caesars between 100 BC and 100 AD.
In Hitler’s National Socialism, or Mussolini’s Fascism, Oswald Spengler saw no Caesars – just reckless adventurers who would go on to destroy their countries. In 1933 AD, Spengler accurately predicted that the Third Reich would collapse by 1945 AD. Thus he was, and remained, a stark critic of Nazism and Fascism. However, in the appearance of Benito Mussolini, Spengler saw the shadow of the future Caesars. He saw their shadow in the person of the legendary British colonial entrepreneur and adventurer Cecil Rhodes as well. Spengler predicted that by the year 2000 AD, Western creativity will cease. Any observer of modern cultural trends can see the devolution of music, film, video games and art in the last three decades – in different rhythms, of course. He also believed that a Second Religiousness will follow the footsteps of the future Western Caesars. The seeds of this future Second Religiousness could be seen in the de-secularization of society, either by New Age cults or the impulses of more traditional religious forms across the West.
All of these predictions he made are just the beginning…
The mind of Oswald Spengler provides future historians (and historiosophers!) with far deeper insight than mere predictions about the future. An often forgotten fact is Henry Kissinger’s senior undergraduate thesis, titled The Meaning of History: Reflections on Spengler, Toynbee and Kant, which was over 400 pages long. And the role of Henry Kissinger in international affairs, as well as his relationship with the American political or business establishments, needs no introduction. Thus, an objective analyst of international relations should ask himself – what role did the ideas of this now-forgotten German historian play in the shaping of the modern world as we know it. Other important discussions started by Spengler are concerned about themes quite relevant to our time: the relationship between Man and Technics, the need for a Conservative Revolution across the West, the role of Socialism in the coming centuries, and many others – each a topic for itself.
What was sparked by Ibn Khaldun in the Islamic Civilization, carried by the Italian and Russian historians – Giambattista Vico and Nikolay Danilevsky, respectively – was finally delivered by Oswald Spengler, whose mind forged a new perspective on History. This torch was then carried by Arnold J. Toynbee – whose erudition and classifications reached unseen heights, Amaury de Riencourt – whose insight discovered even deeper currents of History, or Carroll Quigley – whose purely scientific method of analysis broadens some of the arguments proposed by Spengler, and especially Toynbee.
His ideas have been influential among right-wing and left-wing thinkers alike. Socialist figures such as the German intellectual, Theodor Adorno, or the Afro-American revolutionary, Malcolm X, saw merit in the theories and models of Oswald Spengler. Conservatives, such as the Spanish philosopher, Jose Ortega y Gasset, Ernest Junger or Leo Strauss, were influenced by Spengler’s ideas. The American policy maker, George F. Kennan, as well as the famous American horror writer, Howard Phillips Lovecraft, were also interested in Spengler’s view of History. Joseph Campbell, an American analyst of comparative religion, claimed that his view on religious history would be impossible without the ideas proposed by Oswald Spengler. Fascists, like Francis Parker Yockey, Karl Haushofer, Oswald Mosley and Julius Evola, were quite impressed by Spengler’s revolutionary theses. Even the notorious Russian philosopher, Alexander Dugin, quotes Oswald Spengler quite extensively. Islamic radicals are well-acquainted with his ideas as well. Various, often opposing parts of the political spectrum have shown support or praise for the insights offered to us by this, often ignored and easily dismissed, German historian.
It should be noted that Oswald Spengler deals in quite interesting terms – such as Destiny, Will, God, Blood and others – while remaining neither a religious nor a secular historian. Thus, from his quite objective standpoint in the dispute between the faithful and secularists, he more often than not affirms the important role religion plays in the development of a Culture’s Soul. Some of Spengler’s ideals are derived from Goethean science, sparked by the German writer, Johann Wolfgang von Goethe, and later popularized, at least in the Anglo-Saxon world, by the works of the Austrian occultist, Rudolf Steiner.
But another important question must be asked before this essay about the great German historian ends…
The importance of Spengler’s ideas for the philosopher and the social scientist are quite obvious by now. However, of what importance are his ideas for the common man?
In his book, Man and Technics, Spengler paints a very bleak future for the West in the coming centuries. But at the same time, he offers a very simplistic solution. Spengler advises the Western Man to behave like the Roman soldiers stationed at Pompeii during the eruption of Vesuvius – a stoic resistance to the inevitable currents of History which will be remembered by future generations until the End of Days. A last stand, if you will, against the inescapable Doom which eventually awaits the West, whose sheer willpower will stand the test of time as one of the most tragic, yet the most epic tales of all time. In the end of all things Western, against the encroaching Darkness, Oswald Spengler offers a manly solution – worthy of the old Germanic warrior sagas whose motifs still inspire the last aristocrats of the soul across the modern West.
As the cult-classic American fantasy novel written by George Martin, A Song of Ice and Fire declares: “Winter is Coming.”
And Western Man should brace for it…
For this Winter may prove to be the harshest one of them all…
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The Original “Original Right-Wing Gramscians”
Last year, The Mallard’s Chairman, Jake Scott, wrote two essays titled “The Original Right-Wing Gramscians”, detailing the history, ideology, and influence of free-market think-tanks in post-war Britain.
However, unlike the post-war free marketeers, whose “right-wing Gramscian” descriptor has been added retroactively, the French ‘New Right’ (Nouvelle Droite) openly characterised themselves, as did others, as “Gramscians of the Right” – both during their intellectual ascendancy in the 1970s, and during revived interest in their movement around the turn of the millennium.
Whilst technically established in 1968 with the foundation of the ‘Groupement de Recherche et d’Etudes pour la Civilisation Européenne’ (GRECE; Research and Study Group for European Civilization), the most recent attempt at a unified doctrine for the French (and, by extension, European) New Right is found in an essay titled “The French New Right in The Year 2000” (FNR2K).
A relatively short work, the FNR2K reads less as a political manifesto and more as an intellectual one. Granted, the content is political, but it doesn’t confine itself to the trappings of electoral politics. After all, the French New Right (FNR) grew out of electoral alienation, instigated by consecutive right-wing electoral defeats throughout the 1960s.
This prioritisation of intellectualism over electoralism is made clear off-the-bat when Alain De Benoist, often dubbed the FNR’s leading figure, dispels the idea that the FNR constitutes a “political strategy”. Instead, the FNR is defined as a “school of thought” attempting to “formulate a metapolitical perspective”.
Metapolitics, Benoist continues, is “not politics by other means”. Rather, it is the idea that “ideas play a fundamental role in collective consciousness”. All human actions, trivial or revolutionary, take place within a framework of “convictions, beliefs, and representations which provide meaning and direction”. These “convictions, beliefs, and representations” are the focus of the FNR’s work. In simpler terms, metapolitics is that which is outside, but shapes, the development of politics.
FNR2K is divided into three sections: Predicaments, Foundations, and Positions. ‘Predicaments’ is divided into three sub-divisions: What is Modernity?, The Crisis of Modernity, and Liberalism: The Main Enemy, all of which provide context to the FNR’s intellectual work.
‘Foundations’ establishes the FNR’s theoretical first principles in relation to a variety of topics: man, society, politics, economics, ethics, technology, the world, and cosmos. Throughout, these first principles are juxtaposed with the theoretical first principles found in liberal modernity.
Finally, ‘Positions’ summarises that which the FNR is for and against, as well as an additional 13th stand-alone commitment to promoting “independence of thought and a return to discussion of ideas”.
The FNR interprets Modernity as a convergence of five processes: Individualization (the destruction of traditional communal life), Massification (the adoption of standardised lifestyles), Desacralization (the replacement of religious understanding with scientific understanding), Rationalization (the hegemony of “instrumental reason” via capital and technology), and Universalization (the globalisation of assumed-to-be superior models of social organisation).
The Crisis of Modernity refers to the failure of these processes to produce their initial promises of Freedom and Equality. Freedom has been reduced to a procedural formality; it means to operate “within the marketplace, technoscience or communications without ever being able to influence their course”. Erstwhile, Equality has failed two-fold. It has both “betrayed” the people it allegedly sought to benefit (e.g. the murderous nature of communist regimes) and has been “trivialized” (e.g. growing economic inequality under capitalism). Specifically, this has happened despite Equality being the foundational principle of both communism (equal access to means of production) and capitalism (equal opportunity to prosper within a market economy).
As such, the end result of Modernity is “the most empty civilization mankind has ever known”. Contrary to a free and equal paradise, “the language of advertising serves as the paradigm for public discourse, the primacy of money has made commodities an omnipresent feature of society. Man has turned from a social animal to a hedonistic object; he occupies an unreal world of drugs, virtual reality, media-hyped sports” – he operates as a “solitary individual” amid an “anonymous and hostile crowd”.
Considered to be “the dominant ideology of modernity”, it follows that Liberalism is the FNR’s primary intellectual target. Attacked for reducing life to individualistic economic competition, erstwhile imposing a hypocritical notion of value-neutrality, the FNR considers Liberalism responsible for creating a barren existence: survival for the sake of survival, an existence devoid of higher purpose or aspiration.
However, Liberalism is not the only target. Whilst charitably described as a “legitimate reaction”, the FNR dismisses Marxism as a counter-productive and misdirected response to the problems arising from Liberalism, being rooted in common modern presuppositions.
As an example, Benoist points to the modern welfare state. Emerging as a reaction to the autonomous market, the welfare state does not restore historic communal ties undone by Liberalism. Rather, it assisted in re-engineering society to adhere to the matrix of mere production and consumption. Whilst Liberalism is nothing more than a “global system of production and reproduction”, Marxism has created conformity around “an opaque redistributive structure”, one which has “generalised irresponsibility” and has transformed members of society into “nothing more than recipients of the public system”.
In summary, Modernity has reduced humanity to the lowest-common denominator; to the barebones of production and consumption, supplementing its constituents with a hypermodern array of metastasized rights and a dehumanising system of welfare. Compounded, the end result is a frightful and depersonalised lumpen.
In response to this hellish existence, the FNR begins to lay the ‘Foundations’ of its counter-ideology. At bottom-level, this means recognising a distinction between Pluriversuum and Continuum; a distinction between what is diverse and particular (‘plural’) and what is constant and universal (‘continuous’).
Contrary to Modern depictions of man, either as an “infinitely malleable” atomised individual or the sum of a single specialised factor (i.e., economy; homo economicus) – man is neither wholly determinable or determined.
For example, one can’t change his ethnicity or family, but can, in a moral sense, choose to “go beyond himself or debase himself”. In this instance, the Pluriversuum of man is exemplified by the natural diversity of communities which exist in the world, whilst the Continuum of man is exemplified by his ability to engage in decisions, irrespective of his particular community and its customs. Neither is more key to man’s nature than the other; they are distinct but equally important aspects of what he truly is.
Against the backdrop of the first section, the FNR sees Modernity as reducing Earthly existence to Continuum (technical decision-making within a globalised system of production and consumption) at the expense of Pluriversum; liberal modernity means global homogenization (or, as it has become known in some circles: globohomo).
Given this, it follows that the origins of man, a social animal, as well as the affairs of his society, are also beholden to this logic. Society cannot be reduced to a homogenised collective or aggregated individuals, but a “body of communities” – families, neighbourhoods, localities, national ethnicities and supranational groups; they are distinct and defined by their respective, precise, and unique relation to each other.
Politics is an art, offering a vibrant plurality of forms, renditions, improvements and cultivations, unlike the Modern understanding which situates politics as a system of management; decisions are made to be purely technical and “neutral”, denying any fundamental alternatives to the machine, reducing politics to a matter of stability, rather than the deliberation and actualisation of ideas.
Economics (oikos-nomos; family law) must be recontextualised, from the narrow realm of immediate and quantifiable transaction to a broader understanding which incorporates distinctly qualitative values, such as beauty, ecology, family, and ethics.
Ethical values, whilst universally contingent on the distinction between good and bad, and other such related categories, must be allowed to organically develop into specific customs appropriate for particular societies. The universal reduction of morality to “practical materialism” must be resisted. This principle of striving towards excellence, provided specific meaning by context, is also true of different modes of life within a community; a good plumber is better than a bad philosopher.
Technology, whilst celebrated for its “Promethean” capabilities, must be harmoniously balanced with environmental custodianship. Concern for the natural world should stem not from government regulation or technophobia, but from a shared moral conscience; one which earnestly wishes for future generations to inherit a world “no less beautiful, no less rich, and no less diverse than the world we know today”.
Having established their given context and theoretical response to said context, the FNR2K concludes with its ‘Positions’ – what it is against and for:
Against Uprooting, For Strong Community Identities; Against Racism, For Difference; Against Immigration, For Cooperation; Against Sexism, For Gender; Against The New Class, For Bottom-Up Autonomy; Against Jacobinism, For a Federal Europe; Against Depoliticization, For Democracy; Against Productivism, For New Forms of Labour; Against Ruthless Economic Policies, For Economy at the Service of the People; Against Gigantism, For Local Communities; Against Megalopolis, For Cities on a Human Scale; Against Unbridled Technology, For Integral Ecology; For Independence of Thought and a Return to Discussion of Ideas.
Many of these points will be intuitively, if not immediately, understood, such as the first, third, ninth, tenth, eleventh, twelfth and thirteenth. After all, these are matters regularly discussed and supported by more traditional conservatives: social cohesion, national identity, strong borders, developing social and economic capital, aesthetical refinement of all kinds, and environmental custodianship.
Although there has been strong pushback against ‘gender ideology’ and corresponding issues (i.e. transgenderism), one shouldn’t be misinterpret De Benoist’s use of ‘gender’ – he’s saying very much the same thing: men and women are ontologically different and one cannot, and should not, become the other.
Even unfamiliar terms like “The New Class” immediately become familiar once De Benoist pins down a summary:
“…the manpower for the media, large national and multinational firms, and international organisations. This New Class produces and reproduces… the same type of person: cold-blooded specialists, rationality detached from day to day realities… engenders abstract individualism, utilitarian beliefs, a superficial humanitarianism, indifference to history, an obvious lack of culture, isolation from the real world, the sacrifice of the real to the virtual, an inclination to corruption, nepotism and to buying votes… The New Class depersonalises the leadership of Western societies and… lessens their sense of responsibility.”
All this said, some points are likely less understood from the get-go. Despite being listed second, the commitment to ‘difference’ is perhaps the central defining tenet of the FNR. Dubbed “the right to difference” De Benoist suggests, as a matter of principle, that diversity is good – diversity of people, cultures, systems, products, religions, and ideas.
Placing primary emphasis on ethnocultural diversity, the “right to difference” is meant to counteract what De Benoist sees and refers to as “the ideology of sameness” – an all-encompassing term for global homogenization and all its various forms: mass immigration, economic and cultural globalisation, philosophical universalism, egalitarianism, and so on.
However, whilst the “right to difference” forms the basis for the FNR’s support for group-based, individual, and ideological differences, it also provides a basis for conserving differences in a whole host of other domains.
Democracy is, first and foremost, understood as a rejection of universal equality; it recognises “a people” – defined by a common, but distinct, sense of membership – as the basis for legitimate deliberation and decision-making, both in the name of the common good and as an expression of individual agency. This is situated in contrast to depoliticization, which does not recognise the existence of a people, and by extension the sovereignty of the people, allowing bureaucrats, technocrats, and lobbyists to forego pluralism and disqualify certain political programs at will.
Similarly, instead of a “Europe of Nations” or a “European Nation”, the FNR2K poses organic regional secession from existing European nation-states, and the ‘bottom-up’ federalized along Eurocultural lines (including Russia), affording distinct identities and devolved powers to all principalities, with the exception of “those matters which escape the competence of the lower level” and apply to “all the federal communities” of Europe, such as major military, diplomatic, legal, environmental, and infrastructural matters.
The FNR believes: “the nation-state is now too big to manage little problems and too small to address big ones” – civilizational superorganisms, organised in a polycentric patchwork, albeit with integrated research, industry, communications, and currency, are necessary for securing autonomy, tranquillity, and difference.
Labour must be reinterpreted beyond a ‘productivist’ understanding – it must incorporate work that is conducted and valued for qualitative, rather than merely quantitative, reasons; this ranges from labours of love and duty to ensuring the fruits of labour strive for timelessness, rather than obsolescence.
Additionally, modernity has created a society “where payment by salary is the principal means of integration into social life”. As such, the mission of reimagining labour is two-fold: “to work less in order to work better and in order to have some time for oneself to live and enjoy life”.
Tell me: doesn’t it feel as though you’ve heard all of this before? That you have felt, read, or even articulated such sentiments yourself? To be clear: I am not remarking on the originality or unoriginality of the FNR2K. After all, what good would such a point prove? ‘Originality’ – the moralist insistence to reinvent, the insistence of newness as a virtue – is a cornerstone of modernity.
Rather, I am remarking on how a document published over 20 years ago still bears an uncanny resemblance to matters the British right has, seemingly, only begun to publicly engage with, even if only peripherally, over the past few years: disaffection with liberalism, deracination in a society struggling to be cosmopolitan, the ‘bloatedness’ of institutions, the sense of ennui amid barely managed decline, the ‘re-emersion’ of tribal and class antagonism, the vicious discourse surrounding hereditarian innateness and social malleability, the homogenisation of everything from brand logos to community identities, from the sound of music to values and customs, from architecture to our options at election time.
Despite this, Francophobia has become something of an informal cornerstone of the British right’s identity; THB Britain Should Invade France, etc. Such parochialism, whether sincere principle or hollow performance, does not aid our political or intellectual development.
If the British right is prepared to concede, as it has done so before, that despite historic animosity and cultural differences, Britain and France share common civilisational challenges (multi-faceted demographic change, the future of freedom, sclerotic and hostile institutions, etc.) then it should also be prepared to engage with and learn from French – and more broadly, European – interpretations of affairs.
It’s no debate. The French right talks about positive visions for the future, the British right talks about the Plank of the Week. Whilst the British right mobilised to find footage of Keir Starmer not wearing a seatbelt, the French right almost made Eric Zemmour president of the republic. In Britain, we’ve only just got around to discussing illegal immigration. By contrast, France is way ahead of us.
It’s clear that many of our problems are here at home, not with the “Cheese-Eating Surrender Monkeys”. Given how intellectually barren the political landscape is generally, particularly on the right, perhaps it wouldn’t hurt to look beyond the English Channel, and see what our continental adjacents can offer as inspiration.
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Five Truths from Dostoevsky’s The Devils
Whenever I scroll through the news on Twitter or listen to talk radio, I like to play a game called “Dostoevsky called it.” As one can guess, it consists of identifying events or trends that correspond with those in Feodor Dostoevsky’s novels and letters. Because Dostoevsky devoted so much ink to warning about the motives and effects of atheist-utilitarian socialism from the radical left, the game often points to his most direct attack on those ideas: The Devils.
Published between 1871 and 1872 and written in response to the Nechaev affair, where an underground group of socialist-atheist radicals, planning to ultimately overthrow the Tsarist government through propaganda, terrorism, and assassination, murdered a former comrade who had left their secret society, The Devils (Бесы; also translated as Demons or The Possessed) is Feodor Dostoevsky’s most explicit expose of and polemic against the revolutionary nihilism growing in late nineteenth-century Russia. Although, due to his own participation in a socialist plot aimed at educating and ultimately liberating the serfs, he often gave the benefit of the doubt to the moral idealism of the younger generation of radicals—assuming their hearts, if not their methods, were in the right place—in The Devils he nonetheless skewers the radical ideology and his generation and the next’s culpability for it.
While his main focus is on the characters’ psychologies and their symbolic significance, Dostoevsky nonetheless lays out many of the ideas populating late-nineteenth-century Russia, displaying a thorough understanding of them, their holders’ true motives (which, like those of that other ideological murderer Raskalnikov, are rarely the same as those consciously stated by their loudest advocates), and what would be the results if they were not checked. In several places, Dostoevsky unfortunately calls it right, and The Devils at times reads as a preview of the following fifty years in Russia, as well as of the modes and methods of radicalism in later places and times.
It would be too great a task to cite, here, all the places and times where Dostoevsky’s visions were confirmed; at best, after laying out a few of the many truths in The Devils, I can only note basic parallels with later events and trends in Russia and elsewhere—and let my readers draw their own additional parallels. Nonetheless, here are five truths from Dostoevsky’s The Devils:
1: The superfluity of the preceding liberal generation to progressive radicals.
The Devils is structured around the relationship between the older and younger generations of the mid-1800s. The book opens with an introduction of Stepan Trofimovich Verkhovensky, father to the later introduced radical Peter Stepanovich. A Westernized liberal from the 1840s generation, Stepan Trofimovich represents the upper-class intelligentsia that first sought to enlighten the supposedly backwards Russia through atheistic socialism (a redundancy in Dostoevsky).
However, despite his previously elevated status as a liberal and lecturer, by the time of The Devils Stepan Trofimovich—and, with him, the 1840s liberals who expected to be honored for opening the door to progress—has become superfluous. This is highlighted when his son returns to the province and does not honor his father with figurative laurels (when such a symbol is later employed literally it is in satirical mock).
Though never the direct butt of Dostoevsky’s satire, Stepan Trofimovich cannot (or refuses) to understand that his son’s nihilism is not a distortion of his own generation’s hopes but is the logical, inevitable product of them. The older man’s refusal to admit his ideological progeny in his literal progeny’s beliefs, of course, enables Peter Stepanovich to mock him further, even while he continues to avail himself of the benefits of his father’s erstwhile status in society. This “liberal naivete enabling radical nihilism” schema can also be seen in the governor’s wife, Yulia Mikhailovna von Lembke, who believes that she can heroically redirect the passions of the youth to more socially beneficial, less radical, pursuits but only ends up enabling them to take over her literary fete to ridicule traditional society and distract the local worthies while agents set parts of the local town ablaze. Stepan Trofimovich, Yulia Mikhailovna, and others show that, despite the liberal generation’s supposed love for Russia, they were unable to brake the pendulum they sent swinging towards leftism.
The same pattern of liberals being ignored or discarded by the progressives they birthed can be seen in later years in Russia and other nations. While it would historically be two generations between Belinsky and Lenin (who was born within months of Dostoevsky’s starting to write The Devils), after the 1917 Revolution, Soviet Russia went through several cycles of executing or imprisoning previous generations who, despite supporting the Revolution, were unfortunately too close to the previous era to be trusted by new, socialistically purer generations.
In a more recent UK, Dostoevsky’s schema can also be seen in the Boomer-led Labour of the ‘90s and ‘00s UK paving the way for the radical, arguably anti-British progressivism of the 2010s and ‘20s (which, granted, sports its share of hip Boomers). In America, it can be seen in the soft divide in congressional Democrats between 20th-century liberals like Nancy Pelosi and Chuck Schumer and “the squad” comprised of Alexandria Ocasio-Cortez, Ilhan Omar, and others who have actively tried (and arguably succeeded) in pushing the nation’s discourse in a left progressive direction.
2: Ideologies as active, distorting forces rather than merely passive beliefs.
“I’ve never understood anything about your theory…” Peter Stepanovich tells the serene Aleksei Nilych Kirillov later in the book, “I also know you haven’t swallowed the idea—the idea’s swallowed you…” The idea he is referring to is Kirillov’s belief that by committing suicide not from despair or passion but by rational, egotistic intention, he can rid mankind of the fear of death (personified in the figure of God) and become the Christ of the new utilitarian atheism (really, Dostoevsky intends us to understand, not without pity for Kirillov, an antichrist thereof). The topic of suicide—rising in Russia at the time of the book’s writing and a result, Dostoevsky believed, of the weakening of social institutions and national morality by the subversive nihilism then spreading—is a motif through the book. Countering Chernyshevsky’s romanticized revolutionary Rakhmetov from What is to Be Done?, Kirillov is Dostoevsky’s depiction of the atheist rational egotism of the time taken to its fullest psychological extent. Like others he had and would later write (Raskalnikov, Ivan Karamazov), Kirillov is driven mad by an idea that “swallows” him in monomania and which he has admitted to being obsessed with—the idea of a world without God.
Though Dostoevsky considered it the central issue of his day (which still torments Western culture), my focus here is not on Kirillov’s idea, itself, but on his relation to it. Countering the Western Enlightenment conceit that ideas are mere tools to be rationally picked up and put down at will, Dostoevsky shows through Kirillov that ideas and ideology (ideas put in the place of religion) are active things that can overwhelm both conscious and unconscious mind. Indeed, the novel’s title and Epigraph—the story of Legion and the swine from Luke 8—already suggests this; for Dostoevsky, there is little difference between the demons that possessed the pigs and the ideas that drive characters like Kirillov to madness.
Of course, a realist-materialist reading of Kirillov’s end (I won’t spoil it, though it arguably undercuts his serenity throughout the book) and the later Ivan Karamazov’s encounter with a personified devil would contend that there was nothing literally demonic to the manifestations, but for Dostoevsky that matters little; for him, whose focus is always on how the individual lives and experiences life, being possessed by an ideology one cannot let go of and being in the grasp of literal demons is nearly synonymous—indeed, the former may be the modern manifestation of the latter, with the same results. In his work, such things almost always accompany a lowering of one’s humanity into the beastial.
The problem with ideology, Dostoevsky had discovered in Siberia, was in their limited conception of man. By cutting off all upper transcendent values as either religious superstition or upper class decadence, the new utilitarian atheism had removed an essential part of what it meant to be human. At best, humans were animals and could hope for no more than thus, and all higher aspirations were to be lowered to achieving present social goals of food, housing, and sex—which Dostoevsky saw, themselves, as impossible to effectively achieve without the Orthodox Church’s prescriptions for how to deal with suffering and a belief in afterlife. Of the lack of higher impressions that give life meaning, Dostoevsky saw two possible results: ever-increasingly perverse acts of the flesh, and ever-increasingly solipsistic devotion to a cause—both being grounded in and expressions not of liberation or selflessness, but of the deepest egotism (which was a frankly stated element of the times’ ideologies).
From this view, Dostoevsky would have seen today’s growing efforts to legitimate into the mainstream things like polyamory, abortion, and public displays of sexuality and increasingly aggressive advocacy by groups like Extinction Rebellion or NOW (he predicted both movements in his other writing) as both being attempts to supply the same religious impulse—which, due to their being cut off by their premises from the transcendent metaphysic required by the human creature and supplied by Christianity, &c, is a doomed attempt.
3: Seemingly virtuous revolution motivated by and covering for private vices.
By the time he wrote The Devils Dostoevsky had seen both inside and outside of the radical movement; he had also depicted in Notes from Underground and Crime and Punishment characters who discover, to their angst and horror, that their actions were not motivated by humanitarianism, but by envy, cravenness, and the subsequent desire for self-aggrandizement. The Devils features the same depth of psychology beneath the main characters’ stated ideas and goals, and the book often shows how said ideas cannot work when applied to real people and real life.
As the chronicle unfolds, characters often speak of the petty vices that undermine the purity of the revolutionaries’ stated virtues and goals. “Why is it,” the narrator recounts Stepan Trofimovich once asking him, “all these desperate socialists and communists are also so incredibly miserly, acquisitive, and proprietorial? In fact, the more socialist someone is…the stronger his proprietorial instinct.” So much for those who seek to abolish property; one can guess to whom they wish to redistribute it! The revolutionary-turned-conservative Ivan Shatov later continues the motif, digging deeper into the radicals’ motives: “They’d be the first to be terribly unhappy if somehow Russia were suddenly transformed, even according to their own ideas, and if it were suddenly to become immeasurably rich and happy. Then they’d have no one to hate, no one to despise, no one to mock! It’s all an enormous, animal hatred for Russia that’s eaten into their system.”
Leftists might accuse Dostoevsky of merely wishing to make the radicals look bad with such an evaluation; however, as addressed by Joseph Frank in his chapter on the topic in Dostoevsky: The Miraculous Years, 1865-1871, the “bad for thee, fine for me” mentality of The Devils’s radicals (if their ideology doesn’t completely blind them to such inconsistency in the first place) was straight from the playbook of men like Nechaev: the Catechism of a Revolutionary. Far from trying to evade contradictory behavior, such a work, and other later analogues (Marcuse’s “Repressive Tolerance”; Alinsky’s Rules for Radicals) advocate being inconsistent and slippery with one’s principles for the sake of the revolution. Indeed, contradicting the rules one was trying to impose on others was and is seen not as an inconsistency but as a special privilege—of which several examples can be found, from upper party opulence in the USSR to modern champagne socialists who attend a $35,000-per-seat Met Gala while advocating taxing the rich.
4: Social chaos and purges as necessary and inevitable in achieving and maintaining utopia.
Perhaps the single most prophetic scene in The Devils occurs in the already mentioned chapter “‘Our Group’ Meets,” which depicts the various local radicals meeting under cover of a birthday party. A cacophony of competing voices and priorities, the scene’s humorous mix of inept, self-serving idealists is made grotesque by the visions they advocate. Most elaborate of the speakers is Shigalyov, whose utopian scheme for the revolution was insightful enough that Boris Pasternak and Alexander Solzhenitsyn both referred to the Russian government’s post-October Revolution policies and methods as “Shigalevism.”
While Shigalyov’s whole speech (and Peter Stepanovich’s commentary) is worth reading as a prophecy of what would happen less than fifty years after the book, here are some notable excerpts:
“Beginning with the idea of unlimited freedom, I end with unlimited despotism…One-tenth will receive personal freedom and unlimited power over the other nine-tenths. The latter must forfeit their individuality and become as it were a herd [through re-education of entire generations]; through boundless obedience, they will attain, by a series of rebirths, a state of primeval innocence, although they’ll still have to work…What I’m proposing is not disgusting; it’s paradise, paradise on earth—there can be none other on earth.”
A direct goal of the purges in Soviet Russia, and of the alienation of children from their parents, was to create a new, purely socialist generation unburdened by the prejudices of previous or outside systems.
“[We’ve] been urged to close ranks and even form groups for the sole purposed of bringing about total destruction, on the pretext that however much you try to cure the world, you won’t be able to do so entirely, but if you take radical steps and cut off one hundred million heads, thus easing the burden, it’ll be much easier to leap over the ditch. It’s a splendid idea…”
While hundred million murders may seem like hyperbole in the scene’s darkly comic context, in the end it was an accurate prediction of what communism would accomplish if put into systemic practice; however, we should also not miss the stated method of destabilizing society via conspiratorial groups aimed not at aid but at acceleration—a method used in early 20th-century Russia and employed by modern radical groups like Antifa.
“It would take at least fifty years, well, thirty, to complete such a slaughter—inasmuch as people aren’t sheep, you know, and they won’t submit willingly.”
Besides the time element, the identifying of the individual human’s desire for life and autonomy as a lamentable but surmountable impediment to revolution—rather than a damning judgment of the radicals’ inability to make any humanitarian claims—is chilling.
“[Shigalyov] has a system for spying. Every member of the society spies on every other one and is obliged to inform. Everyone belongs to all the others and the others belong to each one. They’re all slaves and equal in their slavery.”
A corrollary to the section above on freedom-through-slavery, this part accurately identifies the system of paranoid watchfulness in the first half of the USSR, as well as the system currently in place in the DPRK, among other places.
“The one thing the world needs is obedience. The desire for education is an aristocratic idea. As soon as a man experiences love or has a family, he wants private property. We’ll destroy that want: we’ll unleash drunkenness, slander, denunciantion; we’ll unleash unheard-of corruption… [Crime] is no longer insanity, but some kind of common sense, almost an obligation, at least a noble protest.”
Anti-traditional-family advocacy and the flipping of the criminal-innocent dichotomy as a means of destabilizing the status quo all took place in the early years of the Soviet Union. Unfortunately, they are all too familiar today in the West, whether we’re talking about the current argument in the US that children’s education belongs to the community (i.e. teachers, public unions, and the government) to the exclusion of parents, or the argument heard at several points in the 2020 that crimes and rioting committed during protests were an excusable, even “noble,” form of making one’s voice heard (while nicking a TV in the process!).
More recently and ongoing here in California (often uncannily parallel to the UK in certain policy impulses), our current District Attorney George Gascon, in an attempt to redefine the criminal-victim mentality in the state, has implemented policies that benefit criminals over victims by relaxing the definitions and sentences of certain crimes and refusing to try teenagers who commit felonies as adults (among other things); as many expected would happen, crime has risen in the state, with the Los Angeles PD recently advising residents to avoid wearing jewelry in public—which, to this resident, sounds oddly close to blaming the victim for wearing a short skirt by another name, and is certainly a symptom and example of anarcho-tyranny.
To nineteenth-century readers not as versed as Dostoevsky in the literature and ideas behind the Nechaev affair (which was publicly seen as merely a murder among friends, without the ideological significance Dostoevsky gave it), this section of The Devils would have seemed a comic exaggeration. However, to post-20th-century readers it stands, like a clarion pointing forward to the events later confirmed by Solzhenitsyn, as a dire warning not to forget the truth in the satire and not to dismiss the foolishly hyperbolic as impotent. Even in isolated forms, the ideas promoted by Shigalyev are real, and when applied they have been, as Dostoevsky predicted, disastrous.
5: Socialism not as humanitarian reason, but as religious poetry; revolution as primarily aesthetic, not economic.
An amalgam of, among other members of the 1840s generation, the father of Russian socialism Alexander Herzen, Stepan Trofimovich is, by the time of the 1860s setting of The Devils, an inveterate poet. This reflects Dostoevsky’s evaluation of his old theorist friend, whom he nonetheless cites as the enabler of men like the nihilist terrorist Nechaev, despite Herzen’s claims that the terrorist had bastardized his ideas (see truth number 1, above).
The brilliantly mixed critique of and homage to Dostoevsky’s own generation that is Stepan Trofimovich presents one of the book’s main motifs about the nihilist generation: that they are not pursuing a philosophically rational system of humanitarian goals, but a romantically poetic pseudo-religion. “They’re all bewitched,” cries Stepan Trofimovich about his son, “not by realism, but by the emotional and idealistic aspects of socialism, so to speak, by its religious overtones, its poetry.” Later, at the aforementioned pivotal meeting scene, Peter Stepanovich shows he is completely conscious of this fact—and willing to use it to his advantage. “What’s happening here is the replacement of the old religion by a new one; that’s why so many soldiers are needed—it’s a large undertaking.” In the next scene, Peter Stepanovich reveals to Stavrogin his desire to use the enchanting nobleman as a figurehead for revolution among the peasantry, intending to call him Ivan the Tsarevich to play off of the Russian folk legend of a messianic Tsar in hiding who will rise to take the throne from the “false” reigning Tsar and right all the world’s wrongs with his combined religious and political power.
Peter Stepanovich, himself, is too frank a nihilist to believe in such narratives; focused as he is on first destroying everything rather than wasting time pontificating about what to do afterwards, he even treats Shigalyov’s utopian visions with contempt. However, the rest of the radicals in the book are not so clear-sighted about the nature of their beliefs. Multiple times in the book, susceptibility to radical socialism is said to inhere not in reason but in sentimentality; showing Dostoevsky’s moderation even on a topic of which he was so passionately against, this critique often focuses on younger men and women’s genuine desire to good—which ironically makes them, like the naive and forthright Ensign Erkel, susceptible to committing the worst crimes with a straight, morally self-confident face.
It is this susceptibility to the art of revolution that causes Peter Stepanovich to be so sanguine about others’ romanticism, despite its falling short of his own nihilism. His intention to use others’ art for his own advantage can be seen most clearly in his hijacking of Yulia Mikhailovna’s literary fete to use it, through his cronies, as a screed against the social order and to mock artistic tradition. His doing so is just a follow-through of an earlier statement to Stavrogin that “Those with higher abilities…have always done more harm than good; they’ll either be banished or executed. Cicero’s tongue will be cut out, Copernicus’s eyes will be gouged out, Shakespeare will be stoned…it’s a fine idea to level mountains—there’s nothing ridiculous in that…we’ll suffocate every genius in its infancy.”
Against his son’s leveling of mountains, Stepan Trofimovich, to his infinite credit and speaking with his author’s mouth, declares, with the lone voice of tradition amidst the climactic fete, that “Shakespeare and Raphael are more important than the emancipation of the serfs…than nationalism…than socialism…than the younger generation…than chemistry, almost more important than humanity, because they are the fruit, the genuine fruit of humanity, and perhaps the most important fruit there is!” In this contrast between the Verkhovenskys, it is not different views on economics but on art—on Shakespeare, among others—that that lie at the heart of revolution, with the revolutionaries opposing the English Poet more viscerally than any other figure. This reflects Dostoevsky’s understanding that the monumental cultural shift of the 1800s was not primarily scientific but aesthetic (a topic too large to address here). Suffice it to say, the central conflict of The Devils is not between capitalists and socialists (the book rarely touches on economic issues, apart from their being used as propaganda—that is, aesthetically), nor between Orthodox and atheists (though Dostoevsky certainly saw that as the fundamental alternative at play), but between the 1840s late Romantics and the new Naturalist-Realists.
The prophetic nature of this aesthetic aspect of The Devils has many later confirmations, such as the 20th century’s growth of state propaganda, especially in socialistic states like Nazi Germany or the USSR, though also in the West (Western postmodernism would eventually make all art as interpretable as propaganda). Furthermore, the Stalinist cult of personality seems a direct carry over of Peter Stepanovich’s intended desire to form just such a pseudo-religious cult out of Nikolai Vsevolodovich.
Having written a novel on the threat posed to Shakespeare by the newest generation of the radical left (before reading of Verkhovensky’s desire to stone Shakespeare—imagine my surprise to find that Dostoevsky had called even the events in my own novel!), I hold this particular topic close to my heart. Indeed, I believe we are still in the Romantic-Realist crossroads, and in dire need of backtracking to take the other path that would prefer, to paraphrase Stepan Trofimovich, the beautiful and ennobling Shakespeare and Raphael over the socially useful pair of boots and petroleum. Like Stepan Trofimovich, I believe comforts and technical advancements like the latter could not have come about were it not for the culture of the former—and that they would lose their value were their relative importance confused to the detriment of that which is higher.
Conclusion
There are, of course, many other truths in The Devils that have borne out (the infighting of radical advocacy groups competing for prominence, radicalism as a result of upper-class boredom and idleness, revolution’s being affected not by a majority but a loud minority willing to transgress, self-important administrators and bureaucrats as enablers and legitimators of radicals…). While the increasingly chaotic narrative (meant to mimic the setting’s growing unrest) is not Dostoevsky’s most approachable work, The Devils is certainly one of his best, and it fulfills his intended purpose of showing, like Tolstoy had done a few years before in War and Peace, a full picture of Russian society.
However, while Tolstoy’s work looked backward to a Russia that, from Dostoevsky’s view, had been played out, The Devils was written to look forward, and, more often for ill than good, it has been right in its predictions. Not for nothing did Albert Camus, who would later adapt The Devils for the stage, say on hearing about the Stalinist purges in Soviet Russia that “The real 19th-century prophet was Dostoevsky, not Karl Marx.”
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When Celebrities talk Geopolitics
“There are a lot of people that are afraid, that are afraid of being Jewish at this time, and are getting a taste of how it feels to be Muslim in this country.”
Oscar-winning Susan Sarandon’s comments at a pro-Palestine rally in New York saw her dropped by her representatives, United Talent Agency. Sarandon is far from new to activism and politics, having spent her many decades in the spotlight discussing various issues. It seems that this time she may have gone too far, judging by the reaction of UTA.
The newest development in the ongoing conflict between Israel and Palestine/Hamas has captivated the world, from the United Nations to local councils. Governments at all levels across every country have voted on ceasefires, because county councils apparently have a lot of say in geopolitics.
What is arguably even more prominent is the input of our entertainers. One can easily browse X or Instagram for a few moments and find a litany of celebrities who have given their views on the conflict. As a general rule, said celebrities have called for a ceasefire. In response to conflict, calling for a ceasefire is treated as the obvious response- it’s easy to say, you don’t sound too partisan and it’s essentially saying you just don’t like war. Any more nuance than that isn’t really expected of anyone.
At the end of one such open letter, those who signed it stated that “the United States can play a viral diplomatic role in ending the suffering.”
The United States probably can, yes. Celebrities? Not so much.
Celebrities like to use their voices to amplify issues, from war and presidential endorsements to abortion and LGBT rights. One only has to look at the star-studded events held by Hillary Clinton in 2016 to see how celebrities gravitate towards politics. Considering Clinton boasted guests like Katy Perry and Beyoncé, it’s plain to see that it’s a voice politicians accept. You’ll find celebrities using social media, posting blacked out squares on Instagram in an apparent promotion of Black Lives Matter. Perhaps they’ll wear a pink hat to protest anti-abortion legislation.
They are well within their right to do this, as we all should be. They also generally reside in the country in which they protest. The issue, however, comes when celebrities meddle in geopolitics.
The conflict in the Middle East is not an easy one, despite claims to the contrary. It involves years of religious and ethnic fighting, controversial borders, terror, violence, and bloodshed. The sides cannot, and often will not, agree to terms. So precious is Jerusalem to religious groups that conflict in its holy sites is far from rare. Saying ‘oh let’s have a ceasefire’ may stop a few problems in the short term, but it’s not a permanent stop to generations of problems.
Most notably, celebrities may have a say in their collective fan communities, but they do not have any influence on geopolitics. Even Joe Biden, who the aforementioned open letter was directed at, did not listen. Meanwhile, both Palestine and Israel are doing what they believe they need to do to survive. Hamas is doing what they believe they need to do to eradicate Israel. They are not going to listen to someone with an Oscar nomination or a Top Ten song.
That’s not to say that we shouldn’t speak out about issues because we feel it won’t influence things. Celebrities have the right to talk about the conflict, but let’s not pretend that we should care what they think or that it has any influence on anything. Most of us- celebrities and normal people- do not have the expertise to properly understand the situation. We can take a moral stance, but let’s not pretend that celebrities are necessarily informed.
The action, however well intentioned, is almost always performative. Celebrities allow themselves to be almost bullied into saying something, anything, by fans so that they’re not cancelled. Look at Taylor Swift. Her platform and wealth are equally large, so much so that her general lack of political inclinations is met with side-eye at best, and boycotts at worst. We expect celebrities to act as moral leaders and arbiters, to the detriment of real discussion.
Perhaps one day we won’t expect celebrities to be geopolitical experts. Perhaps one day celebrities won’t feel the need to ensure that their views aren’t the most important in the room. Much as COVID and January 6 turned people into armchair experts in virology and treason laws, the conflict in the Middle East has made us all experts in international relations.
Celebrities, continue calling for ceasefires if you wish, but don’t expect Benjamin Netanyahu and Hamas to take you up on your advice.
