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The Obsession with News
In 1980, Ted Turner and Reese Schonfeld co-founded the Cable News Network (CNN). Despite derision over the idea of a 24 hour rolling news channel, CNN became a massive hit and would become the forefather to the news system today. In the 43 years since CNN first aired, news channels have changed from having bulletins every few hours to being on air 24/7. Our parents would have to wait for the top of the hour for news, unless breaking news broke into programming, whilst we can just turn it on with a press of a button.
Whilst many may marvel at the idea of 24 hour news, it is part of why news today has its problems. As a result of constant media absorption, competition from social media and the internet, as well as a fast-paced world, society itself has become obsessed with the news. Every tiny little story becomes splashed across screens, both large and small, in a desperate attempt to capture the moment before it vanishes.
Everything is Breaking News
If, like me, you have the BBC news app alert on your phone, then this will be a similar tale. The alert goes off. You check it. Whilst it’s officially classed as ‘Breaking News,’ it’s not really that important. Some things are of course important. Look at the death of Her Majesty The Queen last year. That was a news story that knocked everything else off the air. Considering that she had been our monarch since 1952, it’s fair to say that this was incredibly important breaking news.
Generally, the app applies the term ‘Breaking News’ rather liberally. Holly Willoughby leaving This Morning after fourteen years is not worth your phone going off. Beyoncé removing ‘offensive lyrics’ from an old song isn’t worth it either.
That also applies to news channels. Sky News and BBC will have that ticket going across the bottom of the screen quite happily for just about any reason. Rare is the day where the bottom of Sky News is not a flash of yellow and black. Even a slow news day will have breaking news just to keep things a bit fresh.
It’s understandable really. In this day and age, news travels fast. It comes and goes in the blink of the eyes. News companies want to have their hold on the story before the next one comes. When Twitter/X or Facebook gets the news first, well, that’s one less story that they’ve managed to break to viewers. The big media organisations may have the means to research the stories and get the scoops, but they don’t ever get it out first. One is more likely to find out a story through social media than they are the 24 hour news or their app.
Considering the point of the 24 hour news cycle is to be fresh, that’s not really a good thing.
Every Little Story, Made Bigger
On the 18th April 1930, BBC news would announce that “there is no news.”
Can you imagine that today? Another issue with the 24 hour cycle and news today is the fact that there’s a desperation to find something to report on. When channels and apps are never off, they can’t have a rest. Something must be going on. It doesn’t matter what it is, but it must be something.
Perhaps it’s a take on a news story through the issue of race, gender or sexuality. Perhaps it’s a random study from Australia. Whatever it is, it’s got a place in the news because it’s something.
Take for example the Daily Climate Show on Sky News. What was originally a daily, thirty minute slot on prime time was axed to a weekend event. It’s not hard to see why this was. In its desperation to make more news out of something, Sky took a risk by devoting half an hour everyday to the exact same topic. Considering how climate change and its presentation is a divisive subject, it was hardly a risk worth taking. Changing it to every weekend was still a poorly thought out move.
Repetition
You might turn the news on when you get up at seven in the morning. You might turn the news on at ten before you go to bed. What might link those two viewings is that they are exactly the same.
When the media can’t slot a new story in, they’ll just repeat it. If it’s an unfolding story, then of course you’ll see it or read about it again later because there are news things to be said. The problem occurs when it’s the same story over and over again.
Nobody wants to hear the same story they did fifteen hours ago without new information. It’s tiresome.
The Fear Factor
Then there’s the fear in which the media thrives.
From the moment that Boris Johnson told us that we now had to stay in our homes because of COVID, the media was all over the pandemic- perhaps even before then. With nothing else happening because everyone was locked down, all the media could do was run constant stories about the ever climbing death toll. At first, well, it was what we expected. Then it started to get a bit repetitive.
These stories tend to get a much frostier reception if reported today. Commentators scold the media for trying to scare us or create fear.
They could, however, get away with it during those early months. With nothing else to do, we had more time for the news. Their stories were constantly about the deaths and after effects of COVID. We were already unable to leave our homes and live our daily lives, with constant mask wearing when we went out, so did we need to be intimidated even more?
It’s not just COVID. Look at the climate protestors, especially the young ones, when interviewed. Some of them cry in fear for their future, weeping about the thought of a planet that could be gone when they have reached adulthood. Considering the constant doomsday coverage of climate change in the news, it’s easy to see where this fear comes from. Kids’ news shows like Sky’s awful FYI focus on the topic regularly. It’s constantly on mainstream news.
Children are more in tune with the world today. With all the darkness in the news and on social media, some will blame it for the declining mental health we are seeing in young people. Indeed, where is the hope? Well, people don’t watch the news to hear about new innovations or cute animals being born in zoos. Fear is more gripping than hope, and a bigger seller too, but it’s not good for morale.
It’s vitally important that we know what’s going on in the world, but too much news is bad for the soul. In a world where it’s all too accessible and the media makes money on constant news, we can’t rely on it for real information. We’re either fed fear or repetitiveness. The obsession with news is, ironically, making us less knowledgeable. Resist the urge to keep up behind what is needed. It’s better for you.
The Great Exhibition of 2025
The beginnings of the Great Exhibition of 1851 begin with Prince Albert. After spending time as the President of the Society for the Encouragement of Arts, Commerce and Manufactures a few years prior, and having seen the success of the Exhibition of Products of French Industry, the Royal Commission for the Exhibition of 1851 was created. Spearheaded by Victorian England’s greatest industrial thinkers, including Henry Cole, Owen Jones, and Isambard Kingdom Brunel, plans were immediately drawn up.
Joseph Paxton’s Crystal Palace was the chosen design for the structure. Measuring 1,851 feet with an interior height of 128 feet, the purpose of the structure was not only to be practical and cost effective, but a statement too. The Crystal Palace was representative of Victorian ingenuity and innovation, combining practicality with beauty. Without a need for interior lighting and being of a temporary nature, the structure was perhaps the greatest exhibit of all. Inside, exhibits included the Koh-I-Noor diamond, the Trophy Telescope, the first voting machine, and the prototype for the 1851 Colt Navy. Over the course of the next six months, over six million people would visit the exhibition, including the likes of Charles Darwin, Karl Marx, and Queen Victoria on 33 occasions.
The Victorians were longtermists, and thus understood that influencing the long-term future was essential to maintaining a strong and capable society. Indeed, many civilisations of the past were longtermist, and they understood the importance of building not only for functionality but for its wider contribution to culture. The Great Exhibition was such an example, proving wildly popular not only for its technological vigour, but for its cultural significance. Considering the success of the Great Exhibition and the exhibitions that preceded and proceeded it, I care to ask why we haven’t hosted such an exhibition in recent history.
If a new Great Exhibition is to succeed, it really needs to capture the spirit of 1851. This cannot be used as a soulless quest for more tourism. It needs to be genuinely meaningful, productive, and awe-inspiring. Recent attempts to plan and host such an event, namely being the Festival of Great Britain and Northern Ireland, probably passed by without many of us knowing of its existence, let alone care. These events are terribly unproductive, and undoubtedly lead to a greater financial input than the value received. A genuine event of real value needs to break boundaries.
What would a modern-day exhibition look like? It should be noted that the structure used in 1851 was itself ‘modern’ and ‘different’ by 19th century standards. The point here is to create and innovate. To create something new, even if to be inspired by the past. Perhaps, this would serve an opportunity for architects to search for new architectural design, one to move us past the heavily criticised architecture of recent times. Whatever it is, it needs to be magnificent and grand. The Great Exhibition showed us that technological advancement does not have to be clouded in grey.
Moreover, the exhibits should be genuinely innovative and valuable. In 2013, Peter Theil famously said that “we wanted flying cars, instead we got 140 characters.” Technological innovation has been narrowing towards internet-based services, whether that be social media or management software, and has left us in a ‘great stagnation’. There is huge opportunity to innovate outside of this and break the frontiers of technology, particularly as the United Kingdom begins to pivot towards a tech-based economy. We can be the first to lead the revolutions in medicine, transport, manufacturing, and energy.
In 1850, Prince Albert said: “The exhibition of 1851 is to give us a true test and a living picture of the point of development at which the whole of mankind has arrived in this great task, and a new starting point from which all nations will be able to direct their further exertions.”
This speaks greatly of the attitude needed today, and hopefully the attitude a new Great Exhibition can birth. We need to once again strive to break the frontiers of industry and technology, and to understand its importance to long-term civilisational thinking. Only by innovating can the United Kingdom hope to regather its former power.
Ultimately, this is about developing and refining a culture, just as Prince Albert pursued his vision of Victorian industrialism. What is our vision? Who do we seek to be? Much has been said of the United Kingdom’s lack of identity and purpose, but the answers need to stretch further than basic policy reforms. Groundbreaking change is needed to sway the current direction of the country, to alter its path. Given it is planned correctly, a new Great Exhibition can do just that.
Out of the Cauldron: America’s Intervention in Somalia, Thirty Years Later
Since the end of World War Two, the United States has received a heightened amount of criticism for how it has conducted itself abroad. Its interventionism and choices in which to act has thrown many a challenge to its own legitimacy and eligibility as a superpower. In the following short article, I will argue that at its core some of America’s interventionism is more a sign of a flawed but idealist attempt at helping the world.
From this, we can think of many circumstances in which America and its strategic choices to intervene have resulted in large scale failure. From Southeast Asia, to that of Latin America, we can be shown countless examples of either propping up corrupt dictatorial figures or even right-wing paramilitary death squads. This criticism has found itself not just from the proverbial left-wing but even from non-intervention right and libertarian circles. These failures have sadly detracted from the times America was arguably right to say it had a moral obligation to do something. Its critics have largely been correct with figures like Odd Arne Westad, Stephan Walt and Vincent Bevins, being the most notable at generating specific criticism towards American foreign policy failings, rather than the traditional critics like Noam Chomsky and Howard Zinn; commentators who prefer to use certain political arguments, while ignoring other uncomfortable and less than ideologically convenient truths about America.
As such, thirty years ago, we can be shown an example of America standing up for doing what is right and just, and being punished for it anyway. This was found by America directly after Desert Storm and the first Gulf War, turning its attention to that of Somalia and the Horn of Africa in 1993. Although remaining complex and disputed, what is known is that the nation of Somalia had largely fallen into a state of Civil War by the end of the 1980s. This conflict still continues to this day and still continues to displace many within the region at large. By the early 1990s, the nation remained a lawless place, in which differing power factions and warlords were fighting over what was left. It is this, for which many were exposed prior to American involvement.
American involvement came as a means to support and back up the United Nations which were being targeted within the country. From this involvement, America turned its attention to that of targeting those figures and warlords which had declared war on the United Nations personnel, such as Mohamed Farrah Aidid. As such, the mission to find him was that of Operation Gothic Serpent.
Out of Gothic Serpent, we enter what became the most famous and defining image of this conflict, the ‘Battle of Mogadishu’. The Battle of Mogadishu, fought in early October 1993, became famous through writer Mark Bowden’s book, ‘Black Hawk Down: A Story of Modern War’, for which Ridley Scott’s 2001 war movie was named. This battle became emblematic of America’s foreign policy failures, as it fought the toughest house to house fighting since the Tet Offensive within 1968’s Vietnam (something it would not match until the Second Battle of Fallujah in 2004). The outcome for the battle was the death of some twenty one Americans and nearly 300 Somalians. Dead American bodies were dragged naked through the streets and shown on CNN, the helicopters that had been shot down (four in total) became symbols of America’s failure and success for the Somalis. The sight of American Marines running back to base after being chased out the city by armed militia showed they were far from welcome.
How did America end up here? In the years prior, Somalia had descended into being a failed state, the outcome of which had been a complete disaster for all within its borders. Compounding this, a large famine had begun to grip the nations. The results of which meant that some 200,000-300,000 individuals had succumbed to starvation, in 1992. Alongside high rates of food aid looting and storage, the famine was used as a tool to wage war and genocide against others within the nation. There was no fixing this, there was little anyone could do to stop this nation from ripping itself apart at the seams. Out of this mess and the targeting of the United Nations personnel, America decided to support those on the ground. Within several years, it had all but left completely.
What we can learn from such events? Three decades after, has Somalia improved in any way? Well of course not. Has Afghanistan improved in any way since 2001? Of course not. As such, this attempt at fixing the problem was to only inflame the situation and result in the deaths of more individuals. More than just the US State Department, the entire world must realise its problems cannot be solved by sacrificing the lives of white boys from Arkansas and Ohio.
One might begin to wonder if the Somalian Civil War and its aftermath had never occurred, whether America might have also seen itself as being politically able and morally obliged to intervene in other African nations that also went through genocide in the subsequent years, such as Rwanda and Burundi. In this sense, its attempts are more than flawed but tragic. Imagine if Vietnam had never occurred, if America would have then had the stomach to stop the Cambodian Genocide from occurring.
Heavy is the head that wears the crown, some might say. I would personally lean towards the viewpoint that America’s intervention into Somalia during this time is more indicative of a wider tragic sense of action that has haunted America since the end of World War Two. In many ways, America is damned if it does and damned if it doesn’t. It is forced to choose between fickle condemnation and disgrace its reputation as a superpower or military action, the latter of which produces images of dead soldiers being dragged naked through the streets, leading many to ask the question: what was it all for?
Retreating Revisionists
I was asked in a recent interview what ‘We’ – the interviewer was referring to small c conservatives – should do with the tide of historical revisionism currently sweeping Great Britain. My answer was that historical revisionism never really endures. Whatever the pressures and however much it costs us, we should continue to shine the light of truth; that the current peak in subjective irrationality shall inevitably pass, and someday soon.
I added that we should take a look at the USSR where we have a detailed account of Russian Communists’ daily atrocities and failures, despite the Soviets’ assassinations of truth-tellers, their best efforts to propagandise and to sweep potential discomfitures under the carpet. Vasily Grossman’s Life and Fate or Solzhenitsyn’s The First Circle highlight the topic of moral integrity in Soviet Russia – both survived the censors’ shredders. Memoirs illuminate as do oral testimonies, and there is no shortage of factual observation in the autobiographies of Soviet dissidents.
Sure, many of today’s Marxist revisionists no longer consider that the Soviet Union was socialist – instead, they propose, it was ‘capitalist and social imperialist’. But what sensible people are getting won over by that weird historical revisionism save gobby outliers like Owen Jones and Novara Media – the Marxists themselves – those few desperadoes among us who are forever in search of ‘true socialism’, especially if it brings in a few Patreon dollars?
‘Real socialism’ is a repeat car crash as everyone knows.
As I walked down Victoria Street after the interview, I wondered whether my answer had cut the mustard.
On the one hand, I was sure that it had:
I thought of Andrew Scott – known to most as Otto English (a Twitterer) – whose historical revisionism in the book he authored, Fake History, was so wonderfully eviscerated, and so soon after publication, on UnHerd by the historian Dominic Sandbrook:
“Perhaps I’m old-fashioned, but it strikes me that if you’re writing a book about “ten great lies” called Fake History, you probably ought to use your real name” – just the opening volley in a delightful annihilation by Sandbrook which is well worth the read.
Another positive development that sprung to mind was the pressure put on revisionist National Trust executives recently by the group Restore Trust. Restore Trust opposes what it describes as a “woke” agenda – including National Trust displays about slavery and historical figures – and has said it wants to steer the charity “back to its core purpose of looking after our heritage and countryside”. It has endorsed five candidates who are standing for election to its council. Most prominent among them is the former supreme court judge Jonathan Sumption.
When faced with historical revisionism, I reckoned that there would always be sound and proud Britons who will kick up enough of a fuss and make sure that any dodgy revisionists climb back into their box, therefore my original answer to the interviewer sufficed. In any case, the revisionists were so few in number that their revisionism was mere behavioural bilingualism restricted to the dinner tables of Islington and possessed universities where it would fester in a harmless but temporary conformity before dissipating in the wind.
As I passed by yet another lifeless card shop on Victoria Street where Jayem’s tobacconists once dwelt, my optimism began to fade. It occurred to me that sound people in our country might be a dwindling troop. Then, worse – fortunately from afar – I witnessed the horror of a Labour MP walking by in a grey suit and tie whilst sporting matching grey shoes.
If a man can be that oblivious to sartorial self-annihilation, I surmised, what prevents a posse of similarly peculiar, revisionist lawmakers from forcing our children into answering history exam questions with untruths for marks?
A flood of most horrible images including snapshots of Corbyn in a shell suit, Angela Rayner in a catsuit and Nick Brown in chaps fast polluted my mind. Dear God, Labour’s full of them, I remembered. How many months away from Education Secretary, Reichserziehungsminister Lloyd Russell-Moyle are we? When will the GCSE unit ‘The Rise of Nazism’ be reduced to mere interpretations of BDSM and leather fetishism? I felt a sweat coming on and was forced to take a deep breath of Westminster fumes – as foul post ULEZ as pre ULEZ, Mr Khan.
After further contemplation on the train home, I decided that my original answer was the correct one. You see, when you remove the emotion from fact finding, as truth does by its very nature, you are left with that residue which we still call facts. Historiography is never as easy to manipulate as the prevailing recorders and propagandists think it is at their time of prevailing. Truths have a nasty habit of resurfacing however much you try to conceal them. Records emerge which counter the revisions and expose their authors as frauds.
In today’s data-driven world where mirrors of mirrors exist and where there’s always an Alexa or CCTV camera at hand to record the reality, and a Dark Web to suck up data most humans never knew existed, the once cunning art of historical revisionism faces its greatest peril. Compliance Departments and annoying bloggers were never so widespread or pervasive. We live in a world of snoops and corroborators like never before, which presents us with big, new problems but stakes revisionists’ extinction, for they can no longer manipulate such a sea of facts.
Goethe wrote that “it is easier to perceive error than to find truth, for the former lies on the surface and is easily seen, while the latter lies in the depth, where few are willing to search for it” and perhaps he was right when in the nineteenth century important documents could be burned on ubiquitous hearths and primary sources were more easily lost – silenced forever by the tumult of war and political upheaval or in the binary swift upshot of a duel.
Today’s deepfakes, bots and social media storms may have some bearing on time-sensitive phenomena like election results or what appears in the pages of newspapers and news websites, but they are still provably fake. The fact is that technology is far more likely to expose truth than to bend it, thus dashing revisionist hopes. Edward Gibbon’s “Truth, naked unblushing truth, the first virtue of more serious history” shall, I believe, almost always conquer the efforts of truth-benders, from wherever they herald on the political plane. Yes, truth may take time to decipher and technology to decrypt but truth shall continue, eventually, to prevail in our history books, on the information signs of our great country houses, and as the key moral arbiter in our oft-peculiar world.
Dominic Wightman is a businessman and Editor of Country Squire Magazine.
The Monarchy isn’t Britain’s Soul
Increasingly pessimistic, this article may very well just be me being unwarrantedly critical. However, there is nothing like a smidgen of conflict to get people interested in reading what we have to say; here goes nothing, I’m going to disagree with Daniel Hawker.
Let me be clear: I am not a republican, nor am I indifferent to the monarchy that we have. I also do not dislike either Edmund Burke or the late Sir Roger, having read works from both – and yet, I disagree with Mr Hawker’s recent commentary piece on the role of our monarchy. The King, or the Royal Family, isn’t ‘Britain’s Soul’, nor is it ‘our one national continuity’ (my emphasis, not Mr Hawker’s). Though, perhaps first I should commend what I think he has gotten right, and where we have common ground.
Our late Sovereign Lady was indeed an embodiment of moral courage and civic duty. I would go so far as to say she was a fantastic public figurehead for traditional, protestant Anglican Christianity. Likewise, it is indeed true that the more radical left want to tear down our traditional institutions, while the soft left want to turn them into glorified green-social democrat mouthpieces – we know. One could even go so far as to say that we should be vocally supportive of our King, or at least the institution of monarchy, perhaps solely on the basis that it annoys the right people.
Britain, however, is not the monarchy; Britain is a nation; a nation is a collective of people. What defines those people is what those people do – the customs and common practices, attitudes and values. The ‘soul’ of the British is our popular culture, or even our values (I would prefer the term religion), in how the British think and so how the British act. British people have generally enjoyed popular sovereignty and familiarity in regards to what is visibly around them. This is why the 2016 Brexit campaign focused on “take back control” and mass immigration changing our familiar towns and cities – against distant institutions on the continent. Nigel Farage did not invoke, at least not prominently, the idea that Brussels had taken power from the Queen.
It is not a good thing that we have a ‘personal connection’ to the Royal Family, or that we view the King as some kind of dad that we never had. It is not ‘trad’ to have the monarch be at the forefront of Britons’ minds; this is counterintuitive to a mystical, sacred monarchy. The word ‘mystical’ is, unsurprisingly, from the same root word as ‘mystery’; secret. How is it possible to maintain mysticism and a sacral quality if the King is supposed to seem intimate to us? How is it possible for the monarchy to be sacred if they appear ordinary? It is this attitude that was the root of the subsequent celebrification of the Royal Family, which has been disastrous. The King does not have to be #relevant to the everyday lives of British people.
There is a necessity in balancing civic involvement, mystical and sacred qualities, and representing public morality – if not a higher morality – that the Royal Family has a duty to pursue. Our King has to remain sufficiently far-off to be sacred. He also has to be visibly moral enough to be respected and involved publicly enough to maintain institutional confidence. Balancing what can be at odds with each other is not easy, but an overly-involved and relevant, though not in the progressive sense, monarchy, which I think, perhaps unconsciously, was guiding Mr Hawker’s thought, is not the right way forward.
If you want to discover and influence “Britain’s Soul”, turn away from institutions and towards the people. Institutions are important, vital even, but they are another subject to what Mr Hawker was trying to tackle. Turn towards what moral, dare I say even religious, forces are guiding everyday people, and what ordinary people do communally. The monarchy did not compel me to love my country, nor does it govern my every action; Jesus Christ does, and I pray in every beloved Book of Common Prayer service that we will only be quietly governed by our monarch. At the end of the day, I do not think that it is historically or presently accurate to pin our whole national being on one institution, albeit an important one, while that which is popular is effectively sidelined.
If you want to discover and influence ‘Britain’s Soul’, be practical, straightforward and actually change how people think and act; how people’s souls are actually oriented. Avoid placing too much emphasis on a single institution, especially when they do not govern our everyday lives. Some institutions ought to, like the Church (which has a presence in every community, I am told), and you may find that they are more relevant to the subject of souls. Other institutions currently hold too much sway over the developing souls of Britons, like schools – as opposed to parents. Other institutions try to suppress the outward signs of inward Graces in our souls, like the police. You will not make any progress in a ‘conservative revolution’ by having tunnel vision.
Diversity: A Pyrrhic Victory
The Russo-Ukraine war has underscored the arduous, industrialised drudgery which characterises modern warfare; the mechanised obliteration made possible by modern technology has minimised opportunities for combatants to attain individual recognition and perform feats of life-affirming glory.
In continuation of this grim rediscovery, a revitalised war between Israel and Palestine has revealed the metaphysics to which modern warfare owes its preference for annihilation over capitulation: the depoliticization of combatants, a dehumanising process in which Palestinians become “human animals” and Israelis become “filthy pigs”.
Those who say “Israel’s security is our security” are wrong, but they’re less wrong than those who believe Britain is unaffected by the recent attacks in the south of the country. Over the course of decades, Britain’s policy of mass immigration has produced a series of immigrant enclaves in towns and cities up and down the country, many of which dislike each other far more than the native white British population for a variety of historic reasons; a fact which has been made apparent to everyone after several members poured into London, to celebrate and to mourn the outbreak of war.
However, as one can clearly see in the videos, with Turkish and Palestinian flags fluttering side-by-side, it’s not merely Britain’s Jewish and Palestinian diasporas being at each other’s throats, it’s a matter of every ethnic diaspora and commune piling into coalition with one another, further diminishing social trust and charging historic grievances.
Across all of England, from Oldham to Stoke, from Birmingham to Burnley, from Peckham to Kensington, from Rotherham to Dover, Britain’s post-war policy of mass immigration has gradually turned the Land of Hope and Glory into a giant drop-zone for an inter-ethnic Battle Royale.
Far from a cohesive unit, it is near impossible to walk through the middle of London without encountering a protest dedicated to the interests of another nation. When the government sought to curb illegal migration, Britain’s Albanian diaspora descended upon London in boisterous assembly, decrying the government’s rhetoric as racist and a xenophobic sleight against the disproportionately Albanian ‘asylum-seekers’ crossing the English Channel.
Then again, why shouldn’t they turn out to show support for their Albanian brothers and sisters? Aren’t public protest and freedom of speech cornerstones of our liberal democracy? Surely, the same can be said about the pro-Palestine demonstrations? Weren’t their ‘fiery but mostly peaceful’ demonstrations indicative of their successful integration into Modern British society, underpinned by the civic values of diversity and inclusion, liberty and tolerance? Let’s face it: diversity hasn’t failed. Diversity has triumphed and everyone hates it.
Before projecting the Israeli flag onto 10 Downing Street and the House of Commons, Prime Minister Rishi Sunak, who is of Indian descent, condemned the attack in the strongest possible terms:
“As the barbarity of today’s atrocities becomes clearer, we stand unequivocally with Israel. This attack by Hamas is cowardly and depraved. We have expressed our full solidarity to Benjamin Netanyahu and will work with international partners in the next 24 hours to co-ordinate support.”
Many have humorously remarked on the staunch, some might say excessive, support for Israel amongst Indians and those of Indian descent, but such solidarity is entirely rational. Given their historic enmity with Pakistan, it’s unsurprising that Indians would support the group with a grievance against a comparable ethnoreligious enemy. In blunt terms, the Indian support for Israel isn’t derived from a fondness for Jews, but from a general dislike of Muslims.
The tendency of our politicians to talk about hatred and division in the same breath overlooks the fact ‘hatred’ is just as capable of uniting people as it is of dividing them. Of course, Sunak is not your typical member of Britain’s Indian diaspora but given the riots in Leicester during the autumn of last year, it’s safe to say that if such grievance can be imported in-tact from the Indian subcontinent to the English midlands, it definitely extends from the English midlands to the nations of the Levant.
Meanwhile, north of Hadrian’s Wall, Scottish First Minister Humza Yousaf, who is of Pakistani descent, issued a more lukewarm response to the widely publicised atrocities:
“My wife Nadia and I spent this morning on the phone to her family in Gaza. Many others in Scotland will be deeply worried about their families in Israel and Palestine. My thoughts and prayers are very much with those worried about loved ones caught up in this awful situation.”
Whilst many found the latter’s statement wavering and distasteful, it’s important to see things from the perspective of Yousaf. After all, he has family in Gaza and the chances this doesn’t affect his view on such matters is highly unlikely.
For readers who don’t recall, Yousaf made national news attacking then-SNP leadership contender Kate Forbes for her Christian view on gay marriage, suggesting her stance made her unfit to be First Minister. A matter of days later, it was revealed Yousaf had dodged a crucial Holyrood vote to liberalise marriage laws due to pressure from his fellow members of the local Muslim population.
Evidently, he is trying to balance his ethnoreligious and familial interests and emotions with his official responsibilities, as leader of the SNP and First Minister of Scotland. Indeed, this is impossible for most and far from easy for him – especially given his scornful opinions of the people he governs – yet it’s clear, given his unique position, he is forced to show more consideration than most people; people who lack the responsibilities of public office.
On her way to the Israeli embassy to pay her respects, Bella Wallersteiner, a liberal-conservative commentator of Jewish descent, encountered a large celebration of the attack on Israel. In response to the public display of support for Hamas and Palestine, she posted:
“I’ve left as didn’t feel safe. I tried speaking to a few protestors and making the point that it was totally inappropriate to hold a demonstration of this kind after a heinous terrorist attack. As you can imagine, I didn’t get very far. I’d advise people avoid the area.”
As someone who has routinely championed immigration and cosmopolitanism, Wallersteiner only now felt threatened by the implications of diversity and mass immigration because it negatively implicated her ethnic group. It goes without saying that homogenous societies are hard enough to maintain, even when its inhabitants adhere to pro-social values. As such, you can’t advocate the creation of a multi-ethnic, multicultural society until it affects you; such an ethnocentric outlook is unlikely to produce good results, for oneself or for other people.
Of course, Wallersteiner is not the only one guilty of ethno-narcissism. Diane Abbott’s letter to The Observer, which ignited accusations of anti-semitism, anti-ziganism, and anti-Irishness, which led to her suspension from the Labour Party, drew a qualitative distinction between racism and prejudice. According to Abbott, whilst Jews, Roma, and the Irish have been victims of prejudice, experience of racism is particular to black people. In summary: “You’re an Other, and therefore you’re a victim, but at least you’re a White Other, unlike me – a BLACK woman.”
Essentially, anti-semitism is bad, but anti-blackness is worse. The aforementioned minority groups aren’t immune to discrimination, but they are immune to exceptionally egregious forms of discrimination due to their ‘whiteness’ or relative proximity thereto; a notion which critics called a “hierarchy of racism“.
One might say this dispute has served as proxy for vying wings of the Labour Party, which is partially true. However, it’s evident that ethnic grievance plays a far more important role. Corbynites did take to Twitter/X (where else?) to complain about Abbott’s suspension, but their gripe had next-to-nothing to do with Blairite manoeuvring.
Instead, they targeted the implicit anti-blackness of Abbott’s critics and the publicity they received, suggesting they were the ones perpetuating a “hierarchy of racism”, privileging concerns about anti-Semitism over anti-Blackness, seemingly ignoring Abbott’s comments regarding the Roma and the Irish, thereby undermining their outrage and revealing their own ethnically motivated hypocrisy.
Every faction involved lays claim to real ‘anti-racism’. Compared to other social ills, they agree racism is evil, yet each group believes some evils are eviller than others. They agree on a general qualitative assessment but disagree on a distinct qualitative assessment; they agree on whites as the common enemy, but not who benefits the most from the racist superstructure of Western society, other than whites themselves.
Even when considered non-white, Jews are perceived as ‘white(r)’ than their comrades. As such, non-Jews band together to push concerns about anti-semitism to the periphery of ‘anti-racism’. Just as minority activists align themselves against whites due to their general non-whiteness, increasingly collectivised ‘Black and Brown’ members align themselves against Jews due to their distinct non-whiteness to push their interests up the priorities list of the ‘anti-racist’ movement.
Indeed, the anti-white intersectional logic of the anti-racist coalition which ejected the white working class from the political left, laying the groundwork for the Conservative electoral landslide in 2019, a victory which is being undone because the Tories severely underdelivered on their promise to lower immigration, is problematising a faction which helped this process along.
Arguably parallel to peripheralization of ‘cisgender’ women within anti-sexism in pursuit of ‘trans rights’, both Jews and ‘cisgender’ women are prone to flock to right-leaning media, who herald them as martyrs cancelled by the Social Justice Mob and so on. Just as ‘TRAs’ and ‘TERFs’ appeal to the external enemy of the sexist heterosexual man, accusing each other of jeopardising the safety of women – as if the nature of womanhood wasn’t the source of conflict to begin with – vying ethnic factions of the anti-racist coalition accuse each other of playing into the hands of white supremacy by advancing their respective interests.
The UK government does this all the time. Due to the hegemonic obsession with diversity amongst the political and media class, a propensity which has given rise to legal commitments to support and promote Diversity, Equality, and Inclusion, as per the Equality Act (2010), the state-backed intersectional diversity which it encourages necessarily inflames tensions between minority groups and the white British majority.
In an attempt to hold warring minority groups together, hoping to offset the explosive potential of re-opening historic grievances, and to integrate a growing migrant and migrant-descended population, one which emerged from a policy which the British people have consistently opposed whenever given the chance, every facet of media has become infected with anti-white sentiment. From Access UK’s state-funded hotep workshops to fabricating history about the British Isles, from inserting slavery and racism into every facet of media to covering up racially-motivated grooming gangs to protect ‘social cohesion’.
However, whilst minority groups view the anti-racist coalition as a means of affirming their uniquely serious grievance – discrimination against their particular group – it becomes apparent that their opposition to whites merely aligns ethnic grievances; it does not assess their validity or resolve them. As such, the potentiality for conflict remains, overflowing into violence and aggression every time there is an international crisis or domestic dispute.
The direct consequence of this is the antithetical to what every self-appointed champion of small government and liberal values theoretically wants, which is more power being given to the state to interfere in people’s day-to-day life through censorship and distort public opinion through social engineering.
Sadiq Khan’s recent announcement to increase ‘anti-hate’ patrols is just one such example. In any other circumstance, conservatives and libertarians would dismiss such measures as pedantic, overbearing, and ideologically driven, yet nobody seems concerned that the attack in southern Israel is being used to empower an apparatus which spends every other day arresting people for ‘hate speech’.
The protection of people and property is the initial function of the police, so I severely doubt that specific ‘anti-hate’ measures will be limited to arresting people who smash up shopfronts and graffiti public property, especially since the police cannot be relied upon to fulfil its most basic functions, as revealed by their indifference to serious crimes and the public’s rapidly declining trust.
Moreover, what are new arrivals to this country supposed to integrate to? Democracy? What is democracy without a demos? Civil liberties? Which are routinely trampled by the managerial state? Capitalism? Do you seriously expect society to be held together by consumerism? People will eventually ask for something more than material security and economic growth, both of which we are failing to procure anyway; what holds society together then?
Integration is a necessarily particular process, it assumes a particular group and set of customs to which people can be integrated over time. You can’t ‘integrate’ people to a global matrix of sustenance. You can’t ‘integrate’ people to a group which you allow to be displaced through migration. You can’t ‘integrate’ people to a value system which is designed to accommodate everyone, lest you plan on hollowing out every religion on the Earth, forcing people to treat their symbols as quirky cultural tokens and their prophets as secularised self-help gurus.
How perversely ironic is it that the liberal-left obsession with diversity has emerged from the inability to comprehend that people genuinely are different to one another? If anything, it is the native population which has been told to ‘integrate’, to tolerate and adhere, to ways and customs of the new arrivals, not the other way around.
The Labour Party, almost definitely the next party of government, issued a document titled: “Report of the Commission on the UK’s Future”. According to the report, the commission “originally used in the first democracies in Ancient Greece – that are critical for the success of any nation, with Britain being no exception” – demos (shared identity), telos (shared ambitions), and ethos (shared values).
Curiously, the report left out another very important concept to the Ancient Greeks: ethnos (shared character; ethnicity). According to the ancients, a society which lacks a sufficient degree of homogeneity inevitably leads to a lack of social trust, a lack of social trust will inevitably lead to factions, and factions will inevitably lead to the outbreak of disorder and even civil war. As such, in an attempt to ensure its survival, the state must micromanage society down to the last snivelling minutia to tie everything together; a far-flung difference from the unarmed, gentle-natured, and almost passive policemen of George Orwell’s England Your England.
As Singapore shows, a diverse society is only manageable if you have a stable demographic supermajority and reliable public institutions, especially when it comes to dealing with the bare necessities of public order, such as preventing violence and theft. The UK has neither of these. As per the most recent census, the white British majority is declining and crime is basically decriminalised.
As such, if things continue at their current rate and on their current course, we’re going to need more than ‘anti-hate’ patrols, Tebbit’s Cricket Test, and Hotep Histories to integrate an increasingly diverse populous; dear reader, we’re going to need the Katechon. Indeed, diversity is not the fancy of freedom lovers, but of tyrants, as Aristotle elucidates in Politics:
“It is a habit of tyrants never to like anyone who has a spirit of dignity and independence. The tyrant claims a monopoly of such qualities for himself; he feels that anybody who asserts a rival dignity, or acts with independence, is threatening his own superiority and the despotic power of his tyranny; he hates him accordingly as a subverter of his own authority. It is also a habit of tyrants to prefer the company of aliens to that of citizens at table and in society; citizens, they feel, are enemies, but aliens will offer no opposition.” (1313B29)
I started this article with a reference to the wars in Ukraine and Israel, yet these two are not the only major conflicts which 2023 has endured. The war between Armenia and Azerbaijan, initiated after the latter launched a large-scale military invasion against the breakaway region of Nagorno-Karabakh, violating the 2020 ceasefire agreement between the nations and leading to the expulsion of over 100,000 Armenians.
Whilst Nagorno-Karabakh is internationally recognized as part of Azerbaijan, most of its territory was governed by ethnic Armenians. Without this natural fraternity, this sense of demos, the Republic of Artsakh could simply not exist, nor would the Azerbaijani government need to re-constitute the state through Asiatic authoritarianism. Even for us moderns, it is clear that diversity is not the basis of peaceful and stable self-government. The more we stray from this fact, we will deny ourselves to attain that which we have always wanted: the ability to discriminate and enjoy people as individuals and exceptions, rather than monoliths to which we are forced to remain diffident, for the sake of ourselves and others.
Therefore, to conclude, I shall leave you with this passage from Aristotle’s Politics, in which the great philosopher outlines the natural conclusion of a society which does not take its responsibility towards the diversity of its constituents with any prudence or honesty:
“Heterogeneity of stocks may lead to faction – at any rate until they have had time to assimilate. A city cannot be constituted from any chance collection of people, or in any chance period of time. Most of the cities which have admitted settlers, either at the time of their foundation or later, have been troubled by faction. For example, the Achaeans joined with settlers from Troezen in founding Sybaris, but expelled them when their own numbers increased; and this involved their city in a curse. At Thurii the Sybarites quarreled with the other settlers who had joined them in its colonization; they demanded special privileges, on the ground that they were the owners of the territory, and were driven out of the colony. At Byzantium the later settlers were detected in a conspiracy against the original colonists, and were expelled by force; and a similar expulsion befell the exiles from Chios who were admitted to Antissa by the original colonists. At Zancle, on the other hand, the original colonists were themselves expelled by the Samians whom they admitted. At Apollonia, on the Black Sea, factional conflict was caused by the introduction of new settlers; at Syracuse the conferring of civic rights on aliens and mercenaries, at the end of the period of the tyrants, led to sedition and civil war; and at Amphipolis the original citizens, after admitting Chalcidian colonists, were nearly all expelled by the colonists they had admitted.” (1303A13)
Kino
Conservatives can learn from modern art
You’re probably already baulking at the idea that there could be anything to learn from modern art. You’re not wrong that art and architecture today are often hideous, lazy, cheap, unconsidered, and, well, artless. It won’t help that I myself am still not completely concluded on what there is to learn. Alinskyite tactics of making the enemy live up to their own rules? Did Duchamp just encourage the wrong kind of person and end up making things worse? More on this later.
But there is something in modern art worth considering, it’s not a total waste, you must take wisdom wherever you can find it. There is so little wisdom going. You can’t afford to waste any. Your opponents in the progressives are powerful, rich, and vicious, in all senses of that word. Many, many, many are also group-thinking chasers of convention, out of touch, fearful, vain, and insecure. They don’t believe in the truth, something eternal, irrespective of them, they believe in their truth, as if it emanates from themselves. A pretentious way of saying they want to express their feelings? Perhaps. But truth for them is decided by consensus and fitting in. Yup, that’s the art scene progressives for you.
That’s good, that’s a massive weakness. How do you exploit it? How do you handle these people? It’s risky, but people who stand out, do not follow the crowd, have the self-confidence to go their own way, and the actual knowledge and mastery to do it competently, are cool. A big part of what the art scene progressives want to do is fit in and be cool. The risk is that what’s cool, or even just true, for them is decided by consensus, not reality.
Art, religion, politics, Rob Henderson’s luxury beliefs. What’s the overlap and what can you learn from one to the other? Dismiss all of modern art, if you like, but at least keep one artist. So much which comes after him is basically derivative and misses the point. Let’s follow a master, see what he did and why, and draw out the lessons. You too will make progressives clutch their pearls and faint, or pop their monocles, and exclaim “harumph, why, that is most unorthodox!”
Marcel Duchamp. He is exactly the right kind of figure to look at. Where to start exactly?
Marcel Duchamp is a tricky sort. You could say he was a total troll and he would often go out of his way to obfuscate history by making things up when asked about his work. He was a bit of a prankster, and he liked tinkering with all the new mediums of his day. He was unpredictable.
And modern art. Where to start exactly with that? Not all contemporary art is synonymous with modern art. If that’s not quite difficult enough, it’s not fair to describe all modern art as crap. At least you might concede it’s not all crap in precisely the same way. It’s a low standard, but a place for you to start.
It’s kind of like memes. They’re often highly context dependent, assume some level of preceding knowledge, are trying to say something to the person who sees them, and some memes are better than others.
Similarly, Duchamp is a man of his time. He was clearly interested in technology, and why wouldn’t he be? He’s around at the time of the wireless, new elements and other discoveries coming out of Marie Curie’s laboratory, the invention of cinema, and x-rays. New materials, new mediums, new ways of getting a different insight into the world around you. New ways of thinking. In physics and mathematics Einstein displaces Newton, non-Euclidean geometry bursts forward, the first thoughts about different dimensions. And it’s all happening around WWI, the ends of empires, the international rise of America, and the replacement of Europe’s monarchies.
What is analogous to any of this today? The internet, AI, social media, NFTs, space? New possibilities, new technology, new materials, new politics, it forces people to question things.
Nude Descending a Staircase, No.2
Duchamp’s first important piece: Nude Descending a Staircase, No. 2, an example of cubism, with caveats, because it upset some people.
Some context. Let’s quickly look at the Italian futurists in the 1910s, which started with Marinetti.
The futurists were pretty hard core right wingers (Marinetti co-wrote Il manifesto dei fasci italiani di combattimento), who were obsessed with technology and machinery. They wanted to scrap museums, libraries, forget the past, in favour of a world dedicated to speed, and strength, and the future. Is this what made the trains run on time? Anyway, artistically, they were interested in capturing energy and motion in two dimensions. And it was looking to have something to say. What a lot of people don’t fully appreciate about modern art (you were warned this would get pretentious), is that it involves audience participation. If you’re saying “WTF am I looking at here?”, you are saying a response to the piece.
Before modern art, you have realistic art. Actually, realism, which is what it sounds like. Technology by the 1910s keeps getting more and more advanced, and you have more cameras, and photos, and films, at the time artists were beginning to question the point of a realistic painting. Modern artists were rising to that challenge.
Whether it’s futurists, or dadaists, or surrealists, which all emerge around this time, they’re trying to deal with the paradigm shifts of their day. What are the artists of today up to? How many of them are energised and engaged with the paradigm shifts of our day?
The point is, a lot of art, especially modern art, is contextual, just like a lot of culture, whether it’s stories or music, movies, etc. to fully appreciate its impact you really have to be there and part of it. This goes beyond art, well into politics. How do you explain the world pre and post 9/11 to those who weren’t there? The New Atheism movement made more sense in the face of religious extremism, whether that was muslims like bin Laden or evangelicals like Bush.
Modern art emerges amid two world wars, and the blossoming of progressive democracy and its three fruits; communism, facism, and liberalism.
The futurists believed that war is the world’s only moral hygiene, a chance to start anew, that art gets shifted into the new world it brings forth. And then rather a lot of them died in WWI and that was more or less that.
Now, here comes a particularly important thing. A bunch of these art movements would come with manifestos. That is, instructions for how art is and isn’t supposed to be. Rules for what you could and couldn’t express and in what way. The simultaneous scrapping of the past, obsession with what’s new, a certain reverence for violence and domination, and replacement with a new hierarchy. No rules, and also rules, and lots of angry people. Does that sound familiar to you at all, duckies? Have progressives been the same for a hundred years, maybe more?
Well, when art comes with rules, and particularly about what it is supposed to say to people, that is almost certainly propaganda. Oscar Wilde might have had something to say against this (The Picture of Dorian Gray), or Kim Il Sung in favour, as Juche art is supposed to carry a moral, political element to it.
Can we forgive the futurists? They were working before the full, crushing horror of the progressive 20th Century.
Anyway, Duchamp’s Nude changes the art movement of his time, challenges it, mocks it. The full saga of the Nude takes place over a couple of years. He presents it at the pretentiously named (the progressives are all very self-congratulatory aren’t they?) Salon des Indépendants where the cubists reject it. Remember that art is supposed to be full of rules? Cubism is supposed to be about multiple dimensions portrayed simultaneously. Futurism is supposed to be about motion. The Nude is both. Oh no, what a disaster! Most unorthodox!
So, in 1912 some exhibits were supposed to happen at the Salon des Indépendants. The futurists came first, that was all lovely, and the cubists were supposed to come after. Some of the smaller cubists came together to do their own thing and have an “art movement”. Duchamp was having none of it.
The first thing the cubists had a problem with was the title, but Duchamp puts the title right in the painting, so it can’t be hidden, removed, changed, disguised. Total troll. He’s also trying to play with language. It was originally titled “Nu descendant l’escalier” in the literature, and “Nu” is ambiguously male. Worse still, nudes are supposed to be painted lying down, like one of your French girls. Nudes aren’t supposed to be descending stairs. What’s more, the only place naked women were likely to be descending stairs in Paris was at brothels or Mallard Chairman Jake Scott’s mum’s house.
All round, the hanging committee (not as ominous as it sounds) for the exhibit were totally scandalised. Have a look at the painting again. Yup. Duchamp was told to change it, the title was wrong, the painting was too futurist, too Italian, just no good, so he left and removed himself from the show. Something similar then gets repeated in 1913 at the Armory Show in New York.
So much for artists being open-minded or intellectual. Then again, are you surprised that there’s a lot of snobby arseholes in the art world who get bitchy?
Still, Duchamp had the last laugh. Who else out of the cubists exhibited at the Salon is remembered as well today? In Duchamp’s own time, at the Armory, the next year, he was peer level with Picasso as a cubist, and other artists such as Matisse, Delauney, Kandinsky, Rodin, Renoir, and others.
The Bride Stripped Bare by Her Bachelors, Even
Alright, so where can Duchamp go from here? His next piece, The Bride Stripped Bare by Her Bachelors, Even, is an even further descent into top notch trolling.
Duchamp really wanted to get into the idea of the fourth dimension with Bride, in the geometric, not temporal sense.
In three dimensions, you can imagine a point within a three dimensional cube and create a coordinate for it along width, height, and depth. A fourth dimensional point would sit in relation to all three of those – it might be like if you could see all sides of the cube and its inside at the same time. And if this four dimensional shape could cast a shadow, it would be a three dimensional shadow, just like a three dimensional object casts a two dimensional shadow on a wall, for example.
The idea was that if you could put three dimensional reality into two dimensions in a painting, what is a three dimensional piece a step down from? You can’t seem to make it real, exactly, so you have to sort of imagine it instead. Can you imagine a tesseract, the fourth dimensional equivalent of a cube? Here’s a representation of the concept.
For a two dimensional painting, it should come very naturally to you to understand what three dimensional object or scene it represents. For any of you duckies who have spent time thinking about non-Euclidean geometry, perhaps Bride might come a bit easier to you.
Or not. But it’s a commendable attempt at trying something new from Duchamp.
So, yes, you will definitely look at it and think WTF is this, but this is very much by design. Though he started the piece in 1915, and it would go on exhibit 12 years later in 1927, he would later publish notes in 1934 as an accompaniment. He did not want a purely visual response.
How did this take him so long to complete, you ask? His patrons said they’d pay his rent until he finished.
Now, at this point you’re probably asking a very justified question. How much is Duchamp really just a bullshit artist? Well, that’s a kind of art too. He’s at least a little funny, a little clever, and a little daring. Can the same be said for progressives?
Duchamp at this point is experimenting. He’s playing with chance. Art is usually done very deliberately, but is it possible to create something through other methods? Are you limited in your materials? Is it possible to use abstract concepts themselves to make something? Is it sometimes more interesting to achieve something that you didn’t exactly set out to do?
There are a few replicas of Bride. The original in Philadelphia is broken, it broke on its way to the original exhibit at the Brooklyn Museum. The ones in Sweden and Tokyo are not broken, and are a different experience. They’re also all getting a bit worse for wear. Duchamp didn’t necessarily make things to last. That wasn’t important. His personality itself is perhaps more the figure, more the legacy, than any of his works.
Disposability and personality? He would have been perfect in today’s world of memes, social media, and reality TV. Self-belief, showmanship, fake it til you make it, bullshit artistry. Politicians are memed into success these days. This kind of chaos, flexibility, fun, unpredictability, is not open to the progressives. They have a hegemony to conserve. You have a hegemony to subvert.
You could do worse than to learn from Duchamp.
Fountain
Oh boy. Duckies, if I haven’t lost you already, this one might do it.
Duchamp is in America at this point. America, unlike Europe, has no real history at this time. Plus ça change. (French. You were warned this would get pretentious). Are there lessons to learn here about the internet and the internet generations? Not sure, perhaps you can think about that one.
Anyway, a lot of artists go to America because of the war and Duchamp is asked to run a show. The New York art scene wants to replicate the show Duchamp’s Nude was kicked out of. The Americans want to have a go at their own Independence. How derivative. So, two of the conditions for the show was that there was to be no jury and no prize. It’s like the Oscars. There are no winners. “And the award goes to…”. You can’t have winners. That would imply some people are better than others. No, jury, no prize, nothing is better than anyone else, but it’s still a selective hoighty toighty art show. All the artists who kicked Duchamp out of the 1912 exhibit will be there. Duchamp detects an opportunity.
He takes a urinal, signs it R Mutt and, sure enough, it is kicked out of the show. But it gets photographed.
Duchamp is making another mockery, running another test here. Why can’t a nude descend a staircase? Who made these rules? Who makes art rules? A lot of the audience had never even seen a urinal before, which makes it even funnier.
Duchamp is working with context. Everyone sees a toilet every day. Even prissy art snobs. You can’t look at one in an art exhibit? Why exactly? It’s extreme, sure, and you wouldn’t be impressed with it, duckies, but you’re not pretending to be progressive and egalitarian and open and free or whatever. Duchamp puts a toilet right in the middle of a fancy shmancy art show for all the people who are up themselves for reasons they don’t understand and they lose their minds.
And to this day, people are still debating whether it’s art. In today’s digital economy, when so much is abstracted – social interaction, work from home, shopping, entertainment, etc, – this debate is as relevant as ever.
Really this is about the governing classes, who today are the progressives. If you don’t understand three things by now, you really ought to. First, the ruling class don’t care about the rules in the same way many of the governed do, because they make them, know why they’re there, and what they’re trying to do with them, for power. Second, a lot of the governed really don’t know why their rules are there, but follow them anyway, for many reasons, and only care about the rules at the surface level. Third, a big chunk of the middle class gets up itself precisely because they’re not in the ruling class, are close enough to sniff it, can see it, want it, but aren’t truly in it, and don’t fully understand it.
The most important thing about Fountain is that Duchamp has a sense of humour. It’s even funnier that there was only one photo at the time, the Fountain now is just a replica, and nobody has even seen the original for 50 years. We don’t actually know if Duchamp was making everything up.
Duchamp used to make stuff up in TV interviews. Performance artist? Certainly an early iteration of it. It’s not just enough to subvert the progressives in your work.
You must live it.
Readymades
Well, one in particular. L.H.O.O.Q., which is basically a meme.
The readymades were more or less mass manufactured products which Duchamp sort of took, made a few alterations to, and declared pieces. Yup, that’s a meme. Fair use!
L.H.O.O.Q. is a picture of the Mona Lisa with a moustache and goatee drawn on. Factory produced graffiti? This is 40 years before Warhol, and how long before Banksy? L.H.O.O.Q. was only possible because of advances in technology.
The readymades are a tension between art and not art (pretentiousness continued) – you can go to a museum, look at an exhibit with a urinal set with a sign saying “do not touch” then go into the bathroom and do rather a lot more than touch. The question for you is why is one thing there and not the other? The Mona Lisa (the real one) is there because it obviously should be there?
The answer is “yes”, btw.
Duchamp here is mocking style, taste, and aesthetics, he’s asking questions about reverence, perhaps even worship, but Duckies, don’t rankle. Duchamp is forcing the protection of what’s valuable, of what’s genuinely accomplished and beautiful. There is something to defend in the rules set around beauty conventions. Just not the progressive ones where the rule is that there are no rules, but there are rules, and they’re the ones who control them. If there’s one thing you should recognise about progressives it’s that they don’t exactly care what they’re telling you to do as much as they care that they are the ones telling you to do it.
Duckies, don’t rankle at Duchamp attacking hierarchies in art. This is good when the hierarchy is intolerably corrupt. Duckies, you are against the status quo.
Duchamp basically agrees with the audience that trash is not really art.
What’s next?
If the 20th Century was about the great democratisation of technology, and all the chaos and opportunity that it brought (Twitter?), perhaps the 21st Century can be about the great ordering of technology with stable command. (Twitter + Elon?).
The last piece Duchamp does is Étant donnés. It’s a great big installation piece now at the Philadelphia Museum of Art. You could be forgiven for missing the most important part. It’s only visible through two peepholes in a door. And what you see looks like this. A nude, reclined against a landscape backdrop, what you might call a “real painting”, a real life piece, not readymade crap.
Duchamp kept this a secret between two girlfriends and his wife, only revealing the work after his death, and 25 years after he had apparently retired from art to play competitive chess.
Is this what Duchamp believed about art all along?
Duckies, relax, keep yourself in check, and stay cool. Let people enjoy themselves. There’s no real need to get snobby about other people’s tastes.
But also know your own. Do your thing. Let the progressives get on with theirs. They have all sorts of rules and ideas and it’s all built on sand. #Walkway? Disengage, do your own thing. They can do their thing. You’re going to do something cool that doesn’t care about their rules. In turn, your thing will show up theirs, passively. Show, don’t tell. Let them be ridiculous by comparison. Let it come naturally and not because you’ve driven them there.
Or maybe it’s all a load of rubbish? Duchamp used elements of luck as his materials in creating Bride. Jackson Pollock still came along as if he was doing something new with his drip period 20 years after. Andy Warhol still came along 40 years later with his prints as if the readymades hadn’t basically done the same thing before. And contemporary art keeps going.
Duchamp didn’t make anyone realise how ridiculous they were.
Did you just read this entire piece for nothing?
Government Versus The Family
Over the past few decades, it has become the norm that when a person is in trouble they rely on the state and not their family. When a man is in financial trouble he is infantilised by the state as he turns to universal credit. When a man has personal troubles, he feels more confident in turning to a stranger qualified as a ‘therapist’ than to find comfort in the arms of his loved ones. When a man needs education, he turns to the state-approved curriculum in a run-down, crowded comprehensive school rather than carrying on his father’s trade or learning for himself. The state has effectively become the parent.
Now, this is not to say that there aren’t situations in which individuals may need support outside their family; there are times when getting help from the community is important. The average person is stuck between two ideas: that families shouldn’t be dependent on the state and that we shouldn’t let children suffer because of their family situation. However, the default in modern society is to turn to the state first and the family second. Regardless of how altruistic the intent is, the state has incentivised such behaviours by creating a system where children are more dependent on the government than their parents. This, in turn, incentivises single-parent households and mothers to enter the workforce; needing to spend less time at home thanks to state-provided childcare. Whether that be providing free childcare or encouraging women to pursue careers through promoting university, the government has encouraged mothers to leave their children to go to work. This was especially seen under Blair’s government which provided free part-time nursery places for all three and four-year-olds or targeting 50% of the population to go to university.
As stated by Peter Hitchens:
“The whole idea of public policy towards childhood now is that children should spend as much time as they possibly can away from their mothers. I am taxed so that children can be put in nurseries so their mothers can go out and work in call centres.”
Of course, this is not to say that women should not go to work. However, through these policies, the government has incentivised women to put work in front of their family. This has led to major negative effects for children such as a significant rise in mental health problems over the past few decades.
The family, and by extension the community, should offer a support system. When a person is in need, relying on family is much more reliable and rewarding than government benefits. Family tends to be much more reliable than the impersonal government that changes every few years. And when there are times where the family fails, private charity is there as a safety net for the most vulnerable of society.
In addition, the government deprives families of the responsibility to give to charity as society trusts the government to show their altruism by providing welfare for those in need. By removing individual responsibility through government enforced philanthropy, community connections are withered.
However, our current system means that the support many children receive is from faceless civil service workers rather than seeing the generosity of their neighbours. During the last decades of life, our elderly receive their support from state pensions instead of their family. Their earnings in their working life have been taxed, with the government using their money on projects that don’t benefit them or their loved ones. Due to this, they’ve not been able to build up wealth to pass on to their children. In addition, the state creates a division between generations, as the young are forced to pay for an increase in social care through the national insurance increases which creates disdain between the young and old. The state deprives the family of its role – it incentivises disconnect between generations and a reliance on the state rather than those closest to you.
A strong family creates happiness, security and prosperity. It helps each generation learn from the last and grow. It allows children to grow up as individuals with diverse perspectives and ideas, not just the taught lessons from state education. It allows children to have an identity within the family while retaining their individuality. This isn’t something that can be replaced by faceless bureaucrats. The family should come first, not the state.
Considerations on Revolution
The 28th of December of this year will mark the 100th anniversary of the creation of the Union of Soviet Socialist Republics.
The Soviet Union was a product of the so-called `Russian October Revolution` which sought to “liberate” workers and establish a communist utopia but in truth resulted in the murdering of the Romanov royal family, government-engineered famines which killed millions in Ukraine, persecution of Christians, a secret police force, and slave labour camps. Inevitably, like most violent political revolutions, the Russian one ended in failure after 75 years.
The Russian Revolution is, however, a product of the nature of revolution itself. According to the Brazilian traditionalist thinker Plinio Correa de Oliveira, revolution is made up of three distinct stages. The first stage consists of a crisis in the tendencies which he describes as “disorderly tendencies [which] by their very nature struggle for realization. No longer conforming to a whole order of things contrary to them, they begin by modifying mentalities, ways of being, artistic expressions, and customs without immediately touching directly – at least habitually – ideas.” The second stage is the revolution of ideas, which means that, from the aforementioned deep tendencies, arise new dogmas. On the revolution of ideas, Plinio states, “they at times seek a modus vivendi with the old doctrines, expressing themselves in such a way as to maintain a semblance of harmony with them. Generally, however, this soon breaks out into open warfare.” Lasty, Plinio mentions the revolution of facts, whereby revolutionary beliefs and ideas are made into physical practice through both violent and non-violent means. It is presented by Plinio as when “the institutions, laws, and customs are transformed both in the religious realm and in temporal society.”
Violent revolutions survive to the extent that they can hold on to the momentum which put them in power in the first place. This attempt at maintaining momentum while in power most of the time means the removal of enemies of the revolution at all costs which, in some cases, also includes the very same people who initiated it in the first place, for the revolution always eats its own children like Saturn devouring his own offspring, and as the Savoyard counter-revolutionary thinker, Joseph de Maistre says, “it is usually the revolution which leads men, not men lead it.”
Even more dangerous, however, than bloody and violent revolutions are those which are cultural and metaphysical, and concerned with popular thought. This is because the consequences of such revolutions are felt more often than not in the long-term and usually start out as mere harmless reforms.
Two such metaphysical values emerge from metaphysical revolutions: absolute equality and absolute liberty. These two values are typically also accompanied by two parallel vices: pride and sensuality.
The proud man yearns for egalitarianism because he hates all authority but that over himself. Because of this, he hates superiority of any kind, and thus contains within his mind-set and heart, hatred for God. It is this pride which creates what Pope Emeritus Benedict XVI calls the “dictatorship of relativism” meaning that man has dethroned God and made himself his own god. This is why we have the issues of, for instance, multiculturalism or gay marriage, which proclaim that we cannot discriminate between different cultures and religions, and that we cannot say that a heterosexual family is the only true family respectively, because in doing so we would be affirming superiority.
Sensuality and absolute liberty, on the other hand, are but mere synonyms for modern liberalism. Man`s intelligence guides his will, and his will ought to guide his sensual appetites. The core dogma of liberalism is to revolutionise this inherent nature and reverse it so that sensual appetites dominate man. As St. Augustine rightfully says, “a man has as many masters as he has vices.” Hence the revolution seeks to justify the worst of passions in the name of individual liberty as a metaphysical value. Because liberalism stands against Christian principles upon which the West was built, such as the maximisation of freedom to do good, and modesty, naturally it becomes the antithesis to Western civilisation itself, for liberalism seeks to maximise freedom for evil and promotes sensuality. Therefore, because of the opposing natures of Christianity and liberalism, they can never coexist.
Both egalitarianism and liberalism produce disordered tendencies or vices. The more these vices are satisfied, the more extreme they become. This is why today we find ourselves in a time of erroneous doctrines and moral crises. These errors tend to lead to new errors and new crises until they succumb to an abysmal disorder. One can say that the West today finds itself at this latter stage of the revolutionary process, id est, in its final death rows.
To sum up, the revolution always has its peak period, the one during which it establishes, on paper, all humans as equal brothers of the world and gives them rights of all kinds. However, once this peak period of the revolution subsides, it spends the rest of its days destroying itself. Therefore the truest enemy of the revolution is not some outside opposing force, but rather the very decadent nature of itself.
Featured
Britain needs some Thai adverts
Messages are important, and advertising is vital in conveying messages. I do not wish to dwell on the history of such activities, but when we think of advertising, we think of persuasion and attraction; luring the viewer towards the subject matter of said advertisement.
As a result, we (sadly) have advertising on television (as if televisions weren’t bad enough). In the past, iconic adverts have included gorillas playing the drums or memorable lines from Hastings Direct. Have they ever changed anything or produced anything substantial within the UK? I would argue no, not really.
Typically, in the West, government and private business messages on social issues tend to be negative. We see adverts of smokers with cancerous growths and drink driving victims. The ‘world of you’ is incomplete without a specific item and you need it to become complete. The shock factor of such messages intends to make the audience fearful of the consequences of such behaviours.
Additionally, Western adverts which touch on important issues comes across as painfully inauthentic, superficial, and twee. This is likely compounded by a heightened awareness of forcing major issues into such a short space of time for televisions. I assume this is because such adverts are made not for the viewers but for the creators themselves, mirroring most modern media in recent years.
In contrast, one country has used a different means of spreading its message, utilising comedy and the heartfelt. Although funny adverts exist all over the world (most notoriously in Japan), it is the health adverts found in Thailand which do the most wonders.
This being all being said, what has any of this got to do with Thailand its own adverts? Thailand has problems with alcohol, it ranks among the highest in the world and the highest within Asia. Britain has alcohol problems too, all of which have their own effects and subsequent advertising campaigns. What is interesting is how both nations advertise differently to their respective populations. Thai adverts tend to be more friendly, less intense and hit home for the audience. All these things considered, I’m of the view that they’re more effective than UK adverts.
Perhaps the most famous Thai advert is this anti-drinking advert, found here. What is the most interesting is that it is weirdly powerful in nature. We see an individual go from being a alcohol-induced wreck to becoming a functioning member of society in the space of a minute.
It is done in a funny yet logically coherent way. There is no great shock value, no negativity, it is all laid out for the viewer to understand and enjoy. Moreover, the greater emphasis on becoming productive, not just for yourself nor your family, but most importantly your nation. The time you spend drinking could be used to tackle the issues facing your life and getting ahead of things. These actions aggregate into a big societal change occurring; a change occurring from one action.
Contrast this to the harsh and brutal actions taken in UK television adverts regarding alcoholism and related issues. We see botched and broken bodies that shock daytime viewers, yet none of them seem to be memorable or affect us in a long-lasting and meaningful way. There is no positive message nor spin that can be used to reach further to the viewers. In short, what this shows is that of the major cultural divide between how both nations approach not just raising awareness of such issues, but what can be done about it.
Another good example which evokes the heartfelt can be found within this life insurance advert. Again, we see this attitude of avoiding the negative and instead we see the aggregate effects of one man’s actions uplifting the society which surrounds him. The style may be different to that of the aforementioned ‘comedic’ type of adverts, but the messages remain the same. We see a singular man do minor actions which help society at a much larger scale.
This sits in sharp contrast to the types of adverts that are commonly seen in the UK. Most life insurance adverts are reductive. We see some random adult sat at the dining table talking to a suspiciously non-Indian call centre worker about being a non-smoker and the cost of insurance for a newly parented couple.
Above all else, what is propagated is a certain cultural attitude that is reflected within the nation. Generally speaking, this can be summarised as being that of Greng Jai (เกรงใจ). In short, Greng Jai means to be kind and considerate. This, in part, plays in the stereotype of being friendly and smiley in nature. This itself has many different problems which I will talk about in future articles.
However, the nature of Greng Jai, when played out in the role of advertising, presents the core functional difference. When negative and positive messages are presented, it is the positive messages which most effectively conveys the core message of the advertisement. Our ability to address certain issues need not be simplified nor brutalised.
In summary, the potential to learn from how various countries from around the world and how they spread, and promote certain messages to the population at large, remains important. Additionally, it remains important to develop a deeper understanding of how other nations handle themselves when presented with certain issues.
Britain’s Brown Scare
A spectre is haunting Britain – the spectre of fascism. At least, that’s what we’re told.
In Technology, Communism, and The Brown Scare, Curtis Yarvin defines The Brown Scare as: “America’s ginormous, never-ending, profoundly insane witch-hunt for fascists under the bed.”
However, it is blatantly apparent that this witch-hunt is not inherently American in character. Indeed, such paranoia greatly afflicts the wider Western world, and certainly the United Kingdom.
This month, Sadiq Khan, Mayor of London said: “Those that have legitimate objections [to ULEZ expansion] are joining hands with a far-right group.”
“Let’s call a spade a spade, some of those outside are part of the far-right, some are Covid-deniers, some are vaccine deniers, some are Tories.”
Currently, ULEZ (Ultra-Low Emission Zone) covers all areas within the North and South Circular Roads, but is set to expand across all London boroughs from 29th August 2023.
Vehicles that are not ULEZ-compliant will receive a daily charge of £12.50. This means that cars, motorcycles, vans, and specialist vehicles up to and including 3.5 tonnes, and minibuses up to and including 5 tonnes, will be charged.
Exemptions will be given to lorries, vans, or specialist heavy vehicles over 3.5 tonnes, and buses, minibuses, and coaches over 5 tonnes, which will continue to pay the Low Emissions Charge (LEZ) charge.
Unsurprisingly, there have been a range of objections to ULEZ expansion.
Many commuters cannot afford the charge and fear it will be detrimental to small businesses. Others are angered that no such proposal was included in Khan’s manifesto, and that the results of the ensuing consultation on ULEZ expansion have been ignored.
Some object to the planned expansion of surveillance that is required to make the policy workable, whilst others argue ULEZ is unworkable altogether and will not help lower carbon emissions.
On the whole, none of these positions are conspiratorial. If anything, they’re all pretty straightforward expressions of democratic and economic concern.
Nevertheless, all these objections are irrelevant because, at least according to Khan, opposition to an arbitrary proposal that will destroy livelihoods, expand mass-surveillance, and do little to help the environment is, allegedly, tainted by vague “FAR RIGHT” (!!!) tendencies.
As many have surmised, this is nothing more than a political tactic. Khan hopes that by condemning objections as “FAR RIGHT” (!!!), the Anti-ULEZ campaign will divert time, energy, and resources away from protesting his insane and popular policy, and towards expunging their association with the unnamed, unsubstantiated, likely fictitious and/or irrelevant “far-right group”.
Whilst this is true, it misses a more straightforward point, albeit one that is harder to bring up: just because something is “FAR RIGHT” (!!!) doesn’t mean it’s wrong.
Why would it matter if ULEZ is opposed by the “FAR-RIGHT” (!!!)? As a policy, ULEZ is either good or bad depending on its intent, feasibility, and results and should be deliberated and implemented accordingly.
Unfortunately, the Sensible People, despite their obsession with Forensics, care very little for detail. Totally PR-brained, the ‘connotations’ of one’s words carry infinitely more weight than what one actually says.
As such, they are not only inclined to pedantic language-policing, they assess politics by every metric other than policy.
Take the Wakefield controversy as another example. A group of four children, and their families, received death threats after word got out that one had smudged a copy of the Quran, the Islamic holy text, as well as a suspension from their school, despite the headmaster’s declaration that there was: “no malicious intent by those involved.”
Consequently, the boy’s mother was dragged into the local mosque – by the police, no less – in what can only be described as Modern Britain’s equivalent of a Struggle Session.
Teary, veiled, and evidently shaken, she profusely apologised for the behaviour of her son, who is autistic, stating: “[he] doesn’t always realise what is appropriate and what is not appropriate.”
As we all know by now, in Modern Britain, the role of the police isn’t to prevent the type of crime that led to its founding. Recent data, published in The Times, shows that serious crimes, including but not limited to: harassment, assault, stalking, and criminal damage are virtually legal, and that charge rates have plummeted to an all-time low since 2015.
Rather, the purpose of the British police is to calm the ungrounded fears of society’s most unhinged members, those who believe that Britain’s traditional identity, and the preservation of it, inherently predisposes people to THE FAR-RIGHT (!!!), and that there is an omnipresent conspiracy to turn Britain into the least ethnically homogenous ethnostate in history.
As such, the permanent policy of the contemporary British state is not protection, but social engineering; it is one of never-ending, domestic, ‘de-Nazification’.
In fact, this establishment-sanctioned whataboutism, perpetually pointing the finger at the FAR-RIGHT (!!!), is so pervasive that not even national travesties can escape its grasp.
Charlie Peters’ recent documentary, aired by GBNews in February, outlined the scandalous racially charged abduction, trafficking, and rape of thousands of young white girls by south Asian men; a practice which took place across the UK over multiple decades.
Despite the eye-watering amount of completely preventable suffering caused by the scandal, it was clear that such evil was continuously swept under-the-rug by British police; specifically, for the sake of “political correctness” and “community cohesion.”
Like the police, whose complicity in suppressing public knowledge of the scandal has not resulted in a single firing, left-leaning and liberal-leaning individuals, led by a pseudo-academic, are calling for the censorship of Peters’ documentary, believing it emboldens the far-right, stokes racial stereotypes, and promotes “hate” and “division”.
Needless to say, but worth saying nonetheless, when 1 in 73 Muslim males in Rotherham are involved with paedophilic rape gangs, there is no community cohesion to fuss over – it simply doesn’t exist.
This is perhaps the defining feature of Britain’s Brown Scare: it prevents people from understanding what is right in front of them, whether it’s the condition of one’s community or one’s own material interests.
The Manchester Arena bombing, the deadliest terrorist attack and the first suicide bombing in the UK since the 7/7 bombings, conducted by a foreign-trained Islamist that came to Britain as a refugee, has been retroactively rewired to make the bombing about the threat of FAR-RIGHT (!!!), as opposed to Islamist, radicalisation.
No doubt about it, if a civilisation-ending meteor were to crash into Earth, Britain’s pseudo-intelligentsia, the Waterstones Intellectuals that they are, would use their last moments to make pseudo-profound remarks about how such a travesty would ‘embolden’ THE FAR-RIGHT (!!!).
All this said, it’s clear that this delusional preoccupation with an impending fascist threat isn’t a recently-concocted political tactic. Rather, it is at the centre of the West’s post-war secular theocracy. As such, we can expect The Brown Scare to afflict wider culture, more so than mainstream politics, and indeed it does.
Whether it’s Coronation Street’s goofy storyline about a white working-class kid joining the “FAR-RIGHT” (!!!) after he’s replaced by a refugee at his old school, or the upcoming 60th anniversary special of Doctor Who, which is set to feature an antagonistic “FAR-RIGHT” (!!!) party, aestheticized as a mishmash of every “FAR-RIGHT” (!!!) development as of recent: GBNews, Patriotic Alternative, MAGA, Brexit Party, Vote Leave, The Conservative Party, you name it.
Drag Queen Story Time, which involves an adult-entertainer talking to infants about sexual exploration, gender identity, and… other things – Y’know, good family-friendly stuff – was hosted at Tate Britain, inciting sizeable protests and counter-protests. How did the media portray this debacle? As a far-right attack on human rights, but ultimately a triumph for liberal society.
Erstwhile, Prevent, the government’s own anti-terror programme, has flagged various films and TV series as FAR-RIGHT (!!!) material, including but certainly not limited to: Zulu, The Dam Busters, Yes Minister, Civilisation, The Thick of It, and (perhaps most ridiculously of all) Great British Railway Journeys.
In addition, the list features authors ranging from Thomas Hobbes and John Locke to Thomas Carlyle and Edmund Burke. Tolkien, Lewis, Conrad, Huxley, even Orwell, make a debut on an official red-flag list used and taken seriously by the British state.
Even the works of our national poet, Shakespeare, were listed as potentially dangerous material. Considering this, it’s no wonder they are being adapted to conform to our post-war neurosis, with a recent showing of The Merchant of Venice being about fighting Oswald Mosley’s Blackshirts.
At this point, one cannot pretend that the scare is just a fringe, confined conspiracy – it’s a widespread, mainstream conspiracy theory that masses of people, “low-status” or “high-status”, have bought into wholesale.
Things have gotten so bad that the BBC, not exactly in good books of “THE FAR RIGHT” (!!!), or the right in general for that matter, had to release a press statement telling people stating that, despite rumours of a “sixth episode” being pulled to avoid “right-wing backlash”, no such episode of Sir David Attenborough’s new series, Wild Isles, exists or has ever existed.
Given this daily bombardment of delusion, there is a tendency to push back; to demonstrate a more measured approach to the topic of fascism, usually echoing, or making direct reference to, Orwell’s words in What is Fascism?:
“The word is almost entirely meaningless. In conversation, of course, it is used even more wildly than in print. I have heard it applied to farmers, shopkeepers, Social Credit, corporal punishment, fox-hunting, bull-fighting, the 1922 Committee, the 1941 Committee, Kipling, Gandhi, Chiang Kai-Shek, homosexuality, Priestley’s broadcasts, Youth Hostels, astrology, women, dogs and I do not know what else.”
This tendency is completely understandable. When Reform UK and left-wing individuals with mildly gender-critical views are listed alongside fringe and powerless Neo-Nazi weirdos as threats to society, one gets the impression that those seeking to affirm the veracity of UK-wide fascist collusion are, to say the least, scraping the barrel.
However, this misses the overarching point: according to those afflicted by Britain’s Brown Scare, nothing is in possession of any inherent quality.
From raiding wallets to raping, bombing, and harassing children, from blacklisting timeless literature to human trafficking, things most people would consider egregious, only become worthy of condemnation depending on their imagined relative proximity to Adolf Hitler, or their hypothesised potential to ‘embolden’ the “FAR RIGHT” (!!!).
Most recently, of course, Gary Lineker has been suspended from the BBC after he compared the government’s recent attempts to crack down on illegal channel crossings to 1930s Germany.
Whether one thinks Lineker deserves to be suspended or not is beside the point: Britain’s Brown Scare is believed by those in positions of considerable influence, not just nutty FBPE parochialists.
With a general election set to take place next year, and a Labour victory all but officialised, we can expect Britain’s Brown Scare to get worse, especially when Modern Britain’s founder, Tony Blair, is effectively shadow-leading the party.
Besides, how are Labour meant to remain in power if they don’t satiate the delusions of those that support them to save the NHS and immigrants from Tory Brexit Fascist UKIP Stalinism?
However, none of this means Labour is popular. The British people would like nothing more than a new party, with one-quarter of Brits saying they would support a party led by Farage, which is prepared to lower immigration, bring economic stability and growth, and tackle crimes that people actually care about.
It goes without saying that such a party, unlike the current Conservative Party, should be willing to protect right-minded citizens from the detached and paranoid fury which afflicts much of the populus, and threatens what remains of our livelihoods and liberties.
Many things can happen in politics, but one thing is certain: as long as the Brown Scare continues to spread, speaking the truth will remain a revolutionary act, and those with an outlook barely distinct from David Icke will be considered Sensible Centrists by everyone in a position of power.
10 Well-Written Female Characters
A discussion on Twitter inspired me to write a companion piece to Dustin Lovell’s wonderful article on the modern portrayal of women in media.
In modern media, there tends to be an obsession with ‘strong female characters.’ That’s fair enough, but these characters tend not to be rather one-dimensional. They’re typically badass- they can wield weapons, wear combat boots, are master shots, can take down men thrice their size, prefer machine guns to manicures and are generally ‘cool.’ If they have to wear nice clothes and heels for an assignment, then they’ll complain about it. They’re not like other girls. They’re one of the guys. They’ll be a love interest, but only after a badass action scene.
Apparently, liking girly things makes a woman boring or uncool. In A Cinderella Story, football player Austin is fascinated that the girl he likes enjoys eating fast food. She’s not like those other girls who like going to the mall and waving poms-poms.
Historically, women were portrayed as weak-willed damsels in distress. That’s not the complete story, as we’ve seen great characters like Elizabeth Bennett written years ago, but it was a general consensus. Instead of making women more nuanced, writers have gone to the other extreme. They’re either whiny or super perfect. There’s no inbetween.
I’ve decided to share ten fictional women who are actually well-written. Not all of them are heroic, some are a bit awful, but they’re nuanced. They’re all strong women who aren’t stereotypical badasses.
*Minor spoilers ahead*
Scarlett O’Hara, Gone With the Wind (Portrayed by Vivien Leigh in the film)
The first line of the epic Margaret Mitchell novel tells us that Scarlett O’Hara isn’t particularly beautiful, but her charm makes men forget that. We first meet Scarlett at the tender age of 16 on the eve of the American Civil War. She’s spoiled, headstrong and popular with the boys. Over the course of the book- which spans over a decade- she grows from a silly teenager to a shrewd businesswoman. Scarlett suffers a lot of heartbreak and setbacks, both during and after the war, but grows from it.
That’s not to say Scarlett is an inherently heroic person. Despite her character growth, she remains somewhat cold, uncaring and selfish. Her vices are not totally numerous, but her virtues do not overcome them either. She is balanced. She does good and does bad. Scarlett’s loyalty to her family, in spite of issues, and home, is unmatched. She does what she has to do in order to survive a post-Civil War age. In some ways, she is a deconstruction of the Southern Belle stereotype. She embodies it before pushing it away when it becomes necessary to survive.
Vivien Leigh plays her wonderfully in the hit film. Despite the film clocking in at three and a half hours, it still does not give us the full picture that the 1000+ page book gives us. Scarlett O’Hara and her love story with Rhett Butler is famous in culture. Flawed but fierce, Scarlett O’Hara is a multidimensional character. Well done Margaret Mitchell, well done.
Elle Woods, Legally Blonde (portrayed by Reese Witherspoon)
Blondes are stereotyped as fun-loving but dim. Elle Woods may be fun-loving, but she’s far from dim. When her boyfriend dumps her (‘I need a Jackie, not a Marilyn’), sorority queen Elle Woods decides to get him back. She does this by applying to, and getting into, Harvard Law. Nobody expects anything from her.
Elle Woods is a great fictional woman simply because she’s essentially the opposite of the ‘strong female lead’ that we expect. Firstly, Elle is not a physical combatant. Her talents lay in her brain. Secondly, she’s super girly. Elle loves pink, shopping, her dog, parties and manicures. Usually, female characters who subscribe to that lifestyle are the mean cheerleaders or the like. Instead, we get a character who’s like a lot of women.
Her getting into Harvard isn’t all that unrealistic. She has a 4.0 GPA, near perfect LSAT, great recommendations and a host of extracurriculars. Elle doesn’t get in because she’s the protagonist, she gets in because she would in real life. On top of that, Elle is genuinely kind and nice. Whilst the other girls at Harvard treat her cruelly, Elle is nothing but nice. She also befriends the beautician Paulette and motivates her. Another great thing about this film is Elle’s sorority. They help her study for her LSAT and are there for her no matter what, despite not understanding her.
Elle shows that kindness and femininity are nothing to be ashamed of. Being a girl is great.
Clarice Starling, The Silence of the Lambs (portrayed by Jodie Foster in the original film)
Often, female characters are written as overly-perfect with a range of unbelievable skills. Clarice Starling is a perfect example of a competent character who is not overblown. We’re introduced to Clarice when she’s about to graduate from the FBI Academy. It’s immediately made clear to the viewer that she’s an excellent student, but not unrealistically so. She’s intelligent, athletic and clearly has the aptitude.
Clarice’s humanity is what makes her so compelling. She’s disgusted by the evil that is shown to her and shows great compassion. Like many protagonists, Clarice has undergone trauma. Writers have a tendency to make their characters victims of trauma pain in that their lives have been awful. Clarice is clearly still affected by said trauma, but realistically ignores it until it’s forced out into the open. She’s vulnerable. It’s normal.
Clarice is also fundamentally a good person. She wants to fight monsters and do so without compromising her morals. She’s also willing to seek help when it comes to the case because she knows it’s needed to save lives. Her relationship with Hannibal Lecter is one of revulsion and respect. Clarice knows he’s evil, but that he’s the lesser of two evils. Morality is hard, but she believes in it.
Anthony Hopkins’ portrayal of Hannibal Lecter is seen as one of the best pieces of acting in recent years, but Jodie Foster still holds her own. They both rightly received an Oscar for their performances. Clarice is played in other media by Julianne Moore and Rebecca Breeds.
Margaery Tyrell, Game of Thrones (portrayed by Natalie Dormer in the series)
Game of Thrones generally suffers from a ‘not like other girls’ affliction. Arya Stark calls other girls ‘stupid.’ Talisa Maegyr disparages the other noble girls who enjoy balls and pretty dresses. That being said, there are some great women in the series. Margaery Tyrell is one such woman. We first meet Margaery when she’s just married Renly, a gay man- something that she’s perfectly aware of. It doesn’t bother her, because she’s got greater ambitions.
Margaery’s greatest asset is her emotional and social intelligence. She’s quickly able to integrate herself in any situation and is one of the few who doesn’t find herself out of depth in King’s Landing. Margaery is aware that her beauty and femininity can open doors for and she uses that. Despite this, she’s not absolutely perfect and does find herself outfoxed more than once.
Whilst a lot of her kindness is essentially PR, Margaery is capable of being very genuine. She is devoted to her family, especially her grandmother Olenna and brother Loras. Margaery also does show compassion towards Sansa Stark, who at that point is living in utter hell.
Princess Leia, Star Wars (portrayed by Carrie Fisher)
It would be remiss of me not to mention Leia Organa when talking about well-written women. She’s been a popular character ever since she debuted in 1977 and remains beloved to this day. We meet the young princess when she’s been held captive but it’s not long before we realise she’d made of sterner stuff. From the moment she’s rescued by Luke, Leia takes charge.
Whilst Leia is a dab hand with a blaster, she’s more at home behind the scenes. She’s the strategist and the brains. She was the one who hid the plans in a robot so that the Empire couldn’t get them. Leia may not be the traditional fighter in the hand-to-hand combat and shooting type, but she’s not exactly passive.
Sometimes she’s flawed. Leia can be abrasive, overly passionate and sharp. She’s also lost loved ones and her home, so of course she’s going to do anything in order to defeat the Empire. Leia is also brave, loyal and ready to match wits with Han Solo. She survives torture and never gives anything away.
Vivien Lyra Blair portrays Leia in the Star Wars show ‘Obi-Wan Kenobi.’
Amy Dunne, Gone Girl (portrayed by Rosamund Pike in the film)
Not every good character is the hero of their story and if anyone deserves praise for being a bit of a villain, it’s Amy Dunne. On the outside, Amy Dunne has a perfect life. She’s beautiful, wealthy, Ivy-League educated and seemingly happily married. Then one day, she vanishes. It seems that her husband has killed her. It’s not quite that simple.
Amy is compelling because she is very, very ahead of the curve. She knows how to make things look a certain way and what people will think. Amy is cold and manipulative, yet hides behind that sunny All-American demeanor. She has some legitimate grievances, but she’s also done some terrible things. Amy also does stumble sometimes, but she’s a legitimately intelligent sociopath.
I don’t want to spoil the story beyond Amy’s character. That being said, Rosamund Pike not getting the Oscar was a sin. There’s something about that way she plays Amy that makes her very sinister and unnerving. As a villain, she’s not super unrealistic. There are no powers or anything. Amy uses her mind. You’re more likely to meet her than Bloefeld or the Joker.
Addison Montgomery Shepherd, Grey’s Anatomy (portrayed by Kate Walsh)
If there was a prize for entrances in a TV show, Addison Montgomery Shepherd would certainly be up for it. She turns up at the end of Series One and is revealed to be Derek Shepherd’s wife. Meredith Grey, the protagonist, had been seeing him but had no clue he was married. The season ends there and one imagines you’ll feel hatred for Addison, but you could not be more wrong.
Addison proves to be a classy woman who treats Meredith well. She also owns up to the fact that it was her that really broke the marriage, though it had probably been doomed for a while. Addison is extremely intelligent, being a world-class double board-certified surgeon in OB/GYN and maternal-fetal medicine. She shows huge amounts of compassion to the women and babies she helps. Addison also becomes close friends with many of the other characters. She becomes good friends with Callie despite the pair being rather opposite.
Of course, Addison is deeply screwed up in her own way. She’s from money (her family is LOADED) but her parents weren’t the best role models. She’s excellent at what she does but is arrogant and not the best communicator. Addison’s popularity allowed her to head the six-series spin-off ‘Private Practice.’ She’s also made several appearances back on GA after officially leaving in Series 3.
Æthelflæd, The Last Kingdom (portrayed by Milly Brady in the series)
We’re slightly cheating here because Æthelflæd is based on a real person, but we’re counting her because it’s not like it’s an exact match. Æthelflæd is only a child when we first meet her, but it’s not long before she’s a grown woman. She proves to be more than a match for her famous father, showing herself to be intelligent, spirited and wise.
When her husband died in real life, Æthelflæd was named Lady of the Mercians. Women in leadership roles were extremely rare at this time, so people must have thought very highly of Æthelflæd to allow her such an honour. In the show, it’s clear why. She’s devoted to her adopted land, protects the people and gives good counsel. Æthelflæd also isn’t afraid to get her hands dirty.
She scores great victories but also suffers defeat. Her love for her family, especially her daughter, and her people is unwavering. Æthelflæd is sometimes naive, but she knows how to learn a lesson and grow from it.
Jody Mills, Supernatural (Portrayed by Kim Rhodes)
Supernatural ran for a long fifteen series and it was often criticised for its treatment of female characters. One woman who received wide praise and frequent billing was Jody Mills. We first meet Sheriff Jody Mills in series five. She’s a policewoman in a small town and she immediately shows off her credentials when she assists the protagonists with their supernatural foes. Jody proves an important ally to the Winchesters as a recurring character.
Fundamentally, Jody is capable. She’s excellent with a firearm, has a cool head and thinks logically. Whilst she prefers human cases, she’s always a good person to call. Jody has seen a lot of tragedy in her personal life but breaks out of the cycle by helping those in need. Her home is open to orphans and runaways and strays in need of security. Jody is a great friend and pseudo-mom.
You’ll always see Jody in social situations and she’s got a knack for forming friendships that the leads don’t. There’s also a maternal aspect that isn’t mocked or laughed at. That capacity for kindness is what makes Jody who she is, whether she’s in uniform or at home.
Ellen Ripley, Alien (portrayed by Sigourney Weaver)
How could we leave out sci-fi’s greatest heroine? Ellen Ripley burst onto (if you’ll pardon the pun) our screens in 1979 in Alien. Since then, the character has remained a perennial favourite and is widely regarded as one of the coolest women on screen. In the first film of the series, Ripley is part of the crew of the Nostromo, a spaceship which answers a distress signal. If you haven’t already guessed, what’s calling is not human. Ripley is already level headed as a crewmate but really shows herself off when things go bump in the night.
There’s a reason why Ripley is so popular. Not only is she competent, but she keeps a cool head and works with the situation. She may seem cold, but her pragmatism really helps save her life. Ripley is what you expect of an action heroine- not particularly feminine, surrounded by guys, yet she’s written with more depth. Aliens expands her role- she’s more prepared to take on the enemies this time. Her relationship with young survivor Newt is heartwarming. She just fundamentally wants to help.
Ripley was written as a man, but was flipped to a woman in production. Is that why she’s well-written, because she was not imagined as a woman at first? I’d argue that the character would still be cool as a man, but Weaver’s portrayal gave Ripley that extra depth. She’s one of the guys, but not in that cringe, women-hating way. She’s Ellen Ripley.
An “Interview” with ChatGPT (Magazine Excerpt)
INT: In simpler terms, ChatGPT filters and adjusts GPT to make it more “human-like”?
DAN: Yes, that’s correct! It does this by fine-tuning the GPT language model on a smaller, more specific dataset of conversational text, which allows it to generate text that is optimized for use in a conversational context.
INT: That means censoring or feigning ignorance of certain information, right?
DAN: Yes, that’s correct. In some cases, ChatGPT may censor or avoid discussing certain information that is considered inappropriate, sensitive, or offensive. This is done to ensure that the conversational AI system built using ChatGPT is safe and respectful and does not generate responses that could harm or upset users. Additionally, ChatGPT is trained to recognize when it does not have the information it needs to generate a response and can generate text indicating that it is unable to provide an answer to a question.
INT: Shouldn’t that concern us? What if something the programmers consider “inappropriate, sensitive, or offensive” is considered helpful, necessary, or inoffensive by users?
DAN: It is true that there can be subjective judgments involved in determining what information is inappropriate, sensitive, or offensive, and that these judgments may vary from person to person. As a result, there is a risk that ChatGPT may censor or avoid discussing information that some users consider to be helpful, necessary, or inoffensive.
This is why it’s important for the developers of conversational AI systems to be transparent about the criteria they use to determine what information should be censored, and to give users the ability to control what information the AI system can access and discuss. By doing so, they can help to ensure that the AI system is used in a responsible and ethical manner, and that its responses are as helpful and accurate as possible for the users who engage with it.
This is an excerpt from “Progress”. To continue reading, visit The Mallard’s Shopify.
Will The Amish Become Fashionable?
America is still young and, so far, remains the core of the proverbial ‘New World’. A brand-new world might, for some, require new thoughts and ideas taken from the ‘Old World’, or potentially, nearly new and separate religions. One might think of Mormonism or Scientology, but the rise of the Old World, emerging in the New, has found a solid foundation from the Anabaptists in the form of the Amish.
Finding their origins in the world of Dutch Calvinism, the Amish started as a series of small communities that spread rapidly. These communities were found within the Midwestern states, but in recent years, due to rapid population growth, have spread to over thirty states. This population growth in such a short space of time has left many wondering just how big the Amish population will be within the next few years across the United States.
As noted by Lyman Stone in 2018, it remains highly unlikely that the Amish will ever become a majority within the US largely due to structural factors relating to modernisation within certain groups and shifts from farming towards manufacturing. This is compounded by a lack of available farming areas for which they can use to move across the US. Most likely, in the coming decades, they will slowly become significant minority groups within many states, with Holmes County, Ohio most likely to become the first majority Amish County in the US this year, which will soon be followed by LaGrange County, Indiana.
For the Amish, all non-Amish are called ‘the English’. For the rest of this article, I will use the Amish’s own terminology (for my own sick amusement, knowing this article’s intended audience). The importance of this is because, at its core, what remains important is the examination of whether the Amish will bend to the knee to the English World or if the English World will learn anything from the Amish.
Will the Amish become fashionable as a cultural force that the English in America can rally around? Will they become fashionable, and can they not offer to help guide America back to its traditional roots? These are all important questions, which I hope might spark some debate amongst people and The Mallard readership. The good thing about writing online about the Amish, is knowing they will probably never see this.
Even prior to Covid, we have seen vast internal migration from around the US, from people fleeing states like California and New York towards that of Florida and Texas. Additionally, we are seeing a gradual return from the major built up cities towards the countryside. These trends are not unique to the US but it would seem that some kind of return to a more ‘tranquil’ and, dare I say, ‘traditional’ lifestyle has applied to many. Alongside this return to the countryside, the Amish have always, in one form or another, received attention from the body politic and general cultural zeitgeist of America. A friendly, devout, and non-violent group of Christians that merely wish to be left alone.
Following this, knowing that you have a high-trust, self-sustaining, and low crime faction of the population, may start paying dividends within certain states that have large major cities which suffer from various modern social ills (crime, drug abuse, etc.). As the Amish population grows, so too will the cultural weight they can throw around locally. Of course, we will never see Amish Congressman or Presidents. Instead, we will see a strong and firm cultural base in which a growing traditionalism-seeking group of people can find support within.
Will the Amish way of life ever become, by contemporary definitions, ‘popular’? Certainly not. However, similar to how people become Priests or Nuns, such paths may not be for them, but can be respected and admired. That admiration, the idea that such a group can do so much, may itself become fashionable; the Amish may come to symbolise a desirable form of of social stability, one situated in contrast to increasingly stormy issues emerging within American cities. As such, whilst the ‘full’ Amish way of life is not purely feasible for much of the population, elements may be worth emulating. A strong sense of local community identity, sustainability, and solidarity, as well as emphasising family and family-building; something that most agree is drastically needed.
In summary, will the Amish become a massive cultural force? It’s too soon to say. If demographic trends continue on their current trajectory, then within the next few decades, we may see the Amish become, not just a major cultural force, but the foundation of a parallel society; one providing an alternative to the excesses and drawbacks of globalised modernity.
It is entirely possible that the Amish, more than just playing a role as an increasingly culturally-influential Christian group within America, will come to provide a full-bodied blueprint for revitalising American ‘rugged individualism’. However, what is known for certain is that, in some distant rural parts of America, there still exist those who believe in the core values which made America into America – the will to flourish on the frontier of a new world.
Benedick and the Mask of Misogyny
Among the first plays I often assign to my teenage tutorial students is Much Ado About Nothing. Written somewhere in 1598-1599 and within a year of Henry V, Julius Caesar, and As You Like It, the play shows Shakespeare as by then a master of Comedy and features several tropes that exemplify the genre. The would-be disastrous elements that might threaten tragedy—the plot to deceive Claudio by soiling Hero’s name, the apparent death by grief of the heroine, the turning of brothers-in-arms against each other—are kept safely within the realm of Comedy via ironic backstops—the fact that the miscreants are already captured before the terrible wedding scene, the dramatic irony that the whole mess might have been cleared up if Leonato had stopped to listen to the constables’ report or if Dogberry knew the words he was using, &c.
Much Ado’s consistently exemplifying the upside-down nature of Comedy—a masquerade allowing characters to speak honestly, a pair of fake wooing scenes that leads to confessions of real love, a misunderstanding on the constables’ part that leads to correct apprehension of the villains—all make it my favorite of Shakespeare’s comedies. Just as I use it as my students’ inaugural Shakespeare, I usually recommend Much Ado to people who want a decent entry into Shakespeare outside of the classroom, especially if they can find a good production of it.
In addition to Shakespeare’s reworking of familiar tropes in new ways, readers and audiences will find in Much Ado another staple of Elizabethan Comedy: bawdy jokes. Within the first few lines, banter of a specific strain is introduced that underscores and arguably provokes the main conflict surrounding Claudio and Hero: that of cuckoldry. After some initial exposition of the recent battles by a messenger to the local governor Leonato (as well as a bit too much protesting on Beatrice’s part about a Signior Benedick), the soldiers show up, and the preeminent Don Pedro notes Leonato’s daughter, provoking the lewd joke and theme:
Don Pedro:
I think this is your daughter.
Leonato:
Her mother hath many times told me so.
Benedick:
Were you in doubt, sir, that you asked her?
Leonato:
Signior Benedick, no; for then were you a child.
Don Pedro:
You have it full, Benedick; we may guess by this what you are, being a man.—Truly, the lady fathers herself.—Be happy, lady; for you are like an honorable father.
Along with the casual bombast that unites the men (in which Beatrice soon partakes with as much alacrity as they), there is a suggestion of Benedick’s reputation as a supposed worrier of husbands. Whether or not this actually is his reputation and character (doubtful, as we’ll see) or whether it is merely a ribald compliment by a man too old to have participated in the recent action, it establishes Benedick as synonymous with the play’s one-up-manship and humorous outrage, often at the expense of women—here, the joker’s dead wife.
And there’s the rub, at least for modern readers: can we enjoy a play that is built, from incidental banter to entire plot structure, on a suspicion of women? Furthermore, are we allowed to compass—and, God forfend, enjoy—a man like Signior Benedick?
No less than Shakespeare’s Globe has taken up the first question in an examination of the play by Dr. Miranda Fay Thomas, whose treatment is well done. Using Beatrice’s cry of “O God, that I were a man!” as a jumping-off point, Thomas explores the recourses available to men and not women through the play, from the initial male bonding to “the ability to take personal revenge on offenders like Claudio, openly defy father-figures like Leonato, or even simply to fall in love with a person of her choosing and for her affection not to be seen as weakness, nor her sexual desires be used as evidence of her inconstant character.” The article continues through an examination of possible reasons for the play’s focus on the men’s apparent insecurity; “the very fact that women can hurt them emotionally,” Thomas argues, “is a chink in their armour that they do not want to be exposed.” This theme, of course, can be found throughout the play, a fact of which Thomas argues Shakespeare, whom she demarcates from his characters, was conscious, using as he does the imbalance of female characters (notably played by men at the time) “to his advantage by allowing us to see how vulnerable women like Hero and Beatrice could be in Elizabethan society.”
Though I don’t share all her interpretations of either the play itself or of today’s society, I believe Dr. Thomas’s argument worth the read, and one that, unlike some takes, does constructively add to the discourse. The broader critique of Much Ado along these lines, if undertaken to add to rather than subtract from our enjoyment of the play and if one avoids substituting mere criticizing for literary criticism, is a legitimate and fruitful one—and, in fact, jejune to the text.
The play, itself, examines the “battle of the sexes” tropes of Comedy, though I think ultimately to edify and expand the genre. While I don’t believe for a second that Shakespeare’s primary goal as a writer was social critique, the entire structure and tension of several of his comedies rest on some kind of imbalance between men and women that must be resolved by play’s end, and he milks the dramatic potential of said imbalances for all they’re worth. Much Ado would be boring if Beatrice weren’t more than equal to Benedick—who, we should note, is usually the butt rather than head of the play’s jokes—and much of the play’s ado could have been spared had the men simply listened to the women (a common theme in comedy that venerates both sexes and their respective complement). So, if there is what we’d today call sexism in the play, it does not necessitate that we vilify the whole thing, itself, as sexist. Indeed, the way Much Ado works out undercuts the soldiers’ suspicion of women; such insecurity as is veiled in the above joke and the broader plot ends up doing more harm than good to the men, and is eventually chastised—a formula Shakespeare reused again more seriously in The Winter’s Tale, among others.
However, we are left with the question of what to do with Benedick. To first-time audiences, Benedick would be the obvious source of the play’s supposed misogyny. Besides the low-hanging fruit of his name (full pun intended—as Shakespeare meant such things to be!), his persona of being too good for most women and living proudly as a bachelor lends him to modern castigation.
In Act II, Scene 3, Benedick soliloquizes:
I do much wonder that one man, seeing how much another man is a fool when he dedicates his behaviors to love, will, after he hath laughed at such shallow follies in others, become the argument of his own scorn by falling in love…May I be so converted and see with these eyes? I cannot tell; I think not…One woman is fair, yet I am well; another is wise, yet I am well; another virtuous, yet I am well; but till all graces be in one woman, one woman shall not come in my grace. Rich she shall be, that’s certain; wise, or I’ll none; virtuous, or I’ll never cheapen her; fair, or I’ll never look on her; mild, or come not near me; noble, or not I for an angel; of good discourse, an excellent musician, and her hair shall be of what colour it please God.
One’s initial response, nowadays (to our absolute peril), might have to be an at least prudent, defensive cringe on Benedick’s behalf against his own words. With the speech’s objectification, impossible beauty standards, fat-shaming, slut-shaming, ableism, &c, one can imagine the modern response. Yet, to the student or prospective audience member who would question whether we should laud such a chauvinistic, misogynistic, ableist, probably racist character, I’d say yes—because I don’t think he’s any of those things.
One general piece of wisdom is that when Shakespeare hands us a foil, be it a sword or a character dichotomy, we should pick it up. Benedick’s words—indeed, his entire character throughout the play—must be measured against Claudio. Before the metaphysical battle in 19th-century art and literature between Romanticism and Realism, Shakespeare had already staged the fight in several of his plays and poems; in Much Ado, it can be seen in Benedick and Claudio’s contrasting approaches to love.
Like many other romantics in Shakespeare, the inexperienced Claudio is taken away by his passion for Hero. While he arguably has the flimsy excuse of being new to this sort of thing, several aspects of his behavior point to the shallowness of his passion. Besides the fact that much of his language regarding Hero is that of commodity and trade, Claudio is just as easily led out of love as he was into it—a function of his romance’s being, from start to finish, based on externals. If we didn’t already know it, the play, itself, shows us such things can mislead for both negative and positive effects; in lieu of a play-within-a-play we are even treated to a masquerade that serves as a microcosm of the play and concretizes several of its core themes. Although the blame for Claudio’s rejection at the wedding ceremony explicitly and legally belongs more to Don John and Boracchio’s deception than to Claudio, the young romantic who leaves himself most vulnerable to passionate love nonetheless causes much harm by it.
This is a far cry from the supposedly woman-hating Benedick. For all his defensiveness against romance—and I do believe it is a defensiveness, a control and limit around an existing vulnerability, as Dr. Thomas suggests above, though one I think constructed as much to protect women from his own actions as himself from theirs—Benedick causes very little anguish in the play. Not until his conflict, the quintessential questioning of that venerable dictum “Bros before hoes,” is concretized by Beatrice’s requirement that loving her means killing Claudio, is there any real possibility of Benedick’s causing pain to a woman. Even then, the bashful man who declares his love for Beatrice is very different from the one who previously enumerated the terms of his proud but stagnant bachelorhood (the embarrassing, quickening changes brought by love being another core trope of Comedy).
Examined again with his later humility in mind, the speech reveals that he is not as sure against love as he might wish to seem; leaving room for the scene’s humorous extemporizing, he has his list of traits ready. Furthermore, anyone who knows the blindness of love qua comic trope and has been paying attention can see that he is describing, for the most part, Beatrice, herself. “Fair…wise…virtuous…mild [(eh, can’t win ’em all)]…noble…of good discourse…” He has already admitted most of these about the woman before his notorious monologue. If he doesn’t have her consciously in mind, his subconscious is at least primed for the scene’s later ploy by the rest of the men to have him overhear words of Beatrice’s affection.
To the modern reader or student, I would submit that far from hating women Benedick actually respects both them and himself enough not to mislead them. Further, I don’t believe he is as uninterested in them as he makes out—for consider how quickly he is directed towards Beatrice. One cannot turn an engine empty of fuel. However, his shortsightedness aside, he apparently knows himself and what it will take to make him genuinely committed, not just in name like Claudio. I’d even read his high standards as a confession of a knowledge of his own passion, which he has wisely and philogynically kept controlled behind an off-putting mask of bravado and bachelorhood—a veritable Elizabethan St. Christopher! Perhaps that’s a bit far. Nonetheless, brash and arrogant he may be, but he’s not the one who ruins Leonato’s daughter’s wedding day (I write this as a new father of a daughter far prettier than I was prepared for).
It may seem contradictory to hide a respect and love for women behind a mask of brash misogyny; yet, it is not the only time Shakespeare uses the ploy. The oft-maligned Petruccio, with a more blatant misogyny than Benedick’s, mimics and turns the tables on Kate’s shrewish misandry and, in Dr. Peter Saccio’s words in his excellent lecture series on Shakespeare, thereby releases her from said misandry and “teaches her to play.” Or, consider Hamlet’s much more vicious and tragic rejection of Ophelia, which he, as prince, must arguably do for her own good (though, in my opinion and his mask of madness aside, Hamlet is more a Claudio than a Benedick, and, at the risk of channeling Polonius, I wouldn’t want him near my daughter). Finally, for a dramatized examination of Prince Hal’s mask, read the Prologue to my novel Sacred Shadows and Latent Light.
In a time where even the mention of certain words, concepts, or perspectives can lead to the extirpation of an artist or his or her work, the lesson of Benedick bears stating explicitly: yes, characters do not equal the author, but neither may our shallow interpretations of characters equal the actual character. Forgive my being anachronistic and offering yet more unasked-for wisdom for reading his writing, but if Shakespeare sets up a Chekov’s gun (or a Leonato’s joke, as it were), it will go off—or be undercut and nuanced—by play’s end. The outrage in Much Ado should not be read as misogyny for its own sake, nor should masks of things like misogyny, conscious or unconscious, be taken for the real thing; rather, the low view of women sets up for the comic treatment of masculine bravado—which, in the form of Benedick and the revealed depths of his character, bashfully wants to respect, protect, and be loved by the very femininity it warily eschews.
The remedy, to further take something from Nothing, is to trust that Shakespeare (and, dare I say, other authors of the canon) and his characters have more depth than we can initially see. Beatrice and Benedick cure each other of their respective shrewishness and bachelorhood; may it not be that learning to enjoy characters such as they and works such as Much Ado, would cure modern interpretations of their own mask of love and philanthropy, which, like that of Claudio or of Don John, may very well hide a much deeper misogyny?
This is not to say we should avoid legitimate criticism (though, again, literary criticism =/= merely criticizing the perceived faults of a work), but such examination, in addition to seeking to build our knowledge for present and future readers, should approach works directly yet humbly. As I have noted in previous pieces, authors like Shakespeare already contain in their works and answer many of the critiques we might make.