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How to Deal with an Ideological Villain

By Dustin Lovell — 3 months ago

A pet peeve of mine is when an antagonist in a book, show, or movie is driven by an ideology that, when he or she is inevitably defeated, nonetheless remains without being dismantled or rendered inept in some way. While, today, it is more often the protagonist driven by his or her writer’s self-inserted worldview, antagonists have, for over a century, often had ideological motivations–saving the climate, achieving some form of racial or sexual (but never ideological) equity, promoting radical resource conservation, whatever. Of course, we keep our hands clean by having the villain nominally lose, but that still leaves the ideology to be dealt with.

If left unanswered, the antagonist’s scheme, though foiled in its dastardly implementation, can too easily become a case of a merely overzealous attempt to produce what some believe to be a nonetheless good, noble goal with whatever hue of progressivism initially drove him or her. The good and the bad becomes, thus, not a matter of principle or goal but of method–the villain or villainess was such because he or she was too radical for those around him or her, etc. Hence, you get people considering whether the Marvel Universe’s Thanos was right in trying to reduce planetary populations by half, whether it wouldn’t be just for Godzilla: King of the Monsters’s Dr. Emma Russel to accelerate some a titanic climate emergency to fully dispense with humanity, or whether X-Men’s Magneto’s openly violent revolution for minority-mutant acceptance wouldn’t be justified–if not just a little satisfying.

Of course, the author who led the way with dealing with explicitly ideological villains was Dostoevsky, who reached his zenith of popularity, not to mention innovation, by dismantling Turgenev’s and Chernyshevsky’s ideological heroes. He did this often through mockery but predominantly through exposing to light of their ideologies through his antagonists who share them. Let us attend: the two–exposure and mockery–can and arguably should go hand-in-hand.

Dostoevsky made it his M.O. to resolve his characters’ conflicts by showing why their motivations are as bad as (or worse than) the attempted implementation. However, there was another writer, up to whom Dostoevsky looked, who was already doing this in England before Dostoevsky hit the Russian literary scene. I am, of course, talking about Charles Dickens.

No reader of Dickens can miss his criticism of the perspectives and politics of his day, be it open scorn, mocking satire, or earnest plea. While not all of his villains recant their ideas, one of his most complete cases of repentance is also one of his most popular tales, especially come Yuletide. This is none other than A Christmas Carol.

Now, readers will not need me to review the plot of Ebenezer Scrooge, whose name has become synonymous with Christmas in the English-speaking world. However, I nonetheless want to briefly examine points in Scrooge’s arc to see how it is not only his avarice but also the then popular ideology that justified it that is defeated in the end. Dickens pretty handily sets up the contemporary pop philosophy that gilds Scrooge’s greed. Rejecting personal charity for the impersonal, tax-funded state institutions of ‘“prisons…Union workhouses…the Treadmill and the Poor Law,”’ he identifies himself in the first scene as a Social Darwinist and Malthusian Utilitarian. ‘“Christian cheer of mind or body to the multitude,”’ as one of the scene’s collectors of charity puts it? Bah–humbug! ‘“I help to support the establishments I have mentioned,”” he says, ‘“they cost enough; and those that are badly off must go there…If they would rather die…they had better do it, and decrease the surplus population.”’ In Scrooge, Dickens concretises the worst versions of the ideologies gaining popularity as an increasingly rationalistic society dispensed with Christian superstitions of God’s image in each individual, and with them the Christian ethics behind giving of one’s own to the poor.

Of course, Dickens includes us in the dramatic irony that Scrooge’s integrity is neither admirable nor monstrous (yet), but pitiable and foolish. The former is articulated when, drawn through key moments of his past by the Ghost of Christmases thereof–his lonely Christmases as a child, his little sister who would leave behind his supposedly foolish nephew, his erstwhile love for the Christmas season at Old Fezziwig’s regardless of its cost in ‘mortal money’–Scrooge is reminded of how spectacularly he fumbled the bag with his fiancée Belle by grasping a different bag too tightly. The enlightened self-righteousness of Scrooge’s post-Christian ethic is neither as internally consistent nor as impressive as its holder might try to maintain: juxtaposing Scrooge’s excited apology for Fezziwig’s party in spite of himself with an unwillingness to look on the greed that would lead to his present loneliness, Dickens makes clear that Scrooge’s ideological righteousness covers a deeply buried sense of failure, regret, and betrayal of the best aspects of his past self. The scene shakes Scrooge’s supposedly staid principles, and his explicit and implicit admissions that gold is not the be-all, end-all valuer of life serve to begin his reformation.

Having shown why Scrooge is to be pitied for his Malthusian views (which he may not even fully hold), Dickens progresses to show Scrooge that he has also been unnecessarily foolish to hold them. Satisfying the first scene’s foreshadowing, this foolishness is shown when the Ghost of Christmas Present gives us more of his nephew, Fred.

Hard on the heels of shaming Scrooge with the mistreated Bob Cratchit’s nonetheless toasting him, the second Ghost presents Fred’s dinner party, sans uncle. Whereas Cratchit politely rebuffed his wife’s insults to Scrooge, Fred does the same to his wife’s with jollity. ‘“His wealth is of no use to him. He doesn’t do any good with it.”’ When his wife says, ‘“I have no patience with him,”’ Fred returns:

‘“Oh, I have!…I am sorry for him: I couldn’t be angry with him if I tried. Who suffers by his ill whims? Himself, always…[The] consequence of his taking a dislike to us, and not making merry with us, is, as I think, that…he loses pleasanter companions than he can find in his own thoughts, either in his moldy old office or his dusty chambers. I mean to give him the same chance every year, whether he likes it or not, for I pity him.”’

The girls mock the idea of Scrooge’s ever taking Fred up on that chance. However, unbeknownst to them, their mock unknowingly digs the knife of change further into the invisible uncle–not by disclaiming the immorality of his avarice (which might harden him), but by showing how foolish he is to maintain his proud isolation in it.

And the fact is that Scrooge would much rather be with them. In spite of himself, he tries his invisible darnedest to play along with the group’s games, which leads him, unsuspectingly, into being the butt of the night’s climactic joke. Having already shown Scrooge the ineffectuality of his gold and spite, Dickens meets both not with other characters’ argument but with mockery. Little wonder that the later Dostoevsky, who would mock his characters while showing the disastrous real-world consequences of their ideas, counted Dickens as one of his primary influences. 

And yet, Dickens does not risk leaving things there, for one man’s pitiable past and foolish present might not undermine an entire ideology, even to the man himself. Before he leaves, the second Ghost reveals to Scrooge the true nature of his ideas–in the forms of the emaciated siblings, Ignorance and Want, hidden beneath his heretofore abundant cloak. ‘“Scrooge started back, appalled. Having them shown to him in this way, he tried to say they were fine children, but the words choked themselves, rather than be parties to a lie of such enormous magnitude.”’ Pushed to choose between the utilitarian phrases of his ideology and his own human sympathy, Scrooge ultimately cannot utter the former.

Readers don’t need me to review Scrooge’s interview with the third Ghost. Suffice it to say, his initial viewpoint, if followed through, will land him little posthumous respect among the living, even those who nominally venerate the old skinflint. Furthermore, to add insult to injury, with none to care for his affairs, Scrooge’s possessions will land in the hands of petty thieves–who, as a last insult to his way of life, parody him in their penny pinching over his personal effects. In death, he is treated according to the utilitarian ideology he espoused in life.

Now, several moments in A Christmas Carol are, without a doubt, moralistic and even a bit preachy in dealing with Scrooge’s ideology (example, the two waifs, above), and can, thus, arguably be skipped in retellings or depictions without the story’s–or Scrooge’s humbling’s–losing much weight. As I have previously written on the story, the falling away of such excesses, bound as they are to ideas and issues contemporary to its writing, is the beginning of a work’s usefulness as art. That so much of A Christmas Carol remains despite its initial polemic speaks to Dickens’s ability to make a point without its feeling like he is doing so.

And yet, his depiction of Social Darwinism remains relevant–not the least because Scrooge’s hardnosed display foreshadows those in our own day who promote state redistribution schemes while foregoing personal charity, yet somehow still thinking themselves moral and on the side of the poor. Furthermore, current progressive ideologies often take on the same self-satisfied tone, even glee, as Scrooge at the supposedly justified handicap or destruction (always their fault) of the designated outgroup–white men, “the rich,” landlords, heteronormative family units, groups indigenous to European lands, etc. Their hijacking every medium they can for the sake not of creating good art but of spreading “The Message” has left a dearth of art and stories that seek not only to include the majority of audiences but also to simply be good for their own sake. The question among conservative creators (which, as I argue in the above linked article, not to mention my novel, includes many more than those who consider or label themselves conservative) of how to create the best art can and should point us to authors like Dickens and Dostoevsky.

While politics was not the point for such authors, they did not shy away from dealing with insidious ideas of their day. The difference between them and authors who see art as inherently political was and should be that, in treating art as a function of greater things than politics–not to mention weighing it against human experience and tradition–they exposed inhuman ideas fully in the lives of their characters. Such a thing necessarily leads, as can be seen in A Christmas Carol, towards at least some characters’ repenting of their ideology towards a more wholistically human ethic that balances personal rights and interests with duties and responsibilities for others–one I would argue is best found in the Christian view of man and its subsequent moral tradition, articulated implicitly in Dickens and explicitly in Dostoevsky.

Like many pre-20th-century books, A Christmas Carol is refreshing, if nothing else because its lesson is for its protagonist (who is also its antagonist), not its readers, who are included in the joke. However, even thus reducing it to a “lesson” is to render it as inhumanly provincial as is the pre-repentance Scrooge. We should look to older literature not just to nostalgically escape the present (though that’s often a necessary salve), nor to learn how to “retvrn” to a time before all the other advancements our culture has made (on the backs of the previous centuries’ literature and ethics, one should add). We should do so because older books have survived the changing of times.

Said survival is not, as Marxist progressives claim, because their popularity has been artificially and oppressively maintained in various social traditions and structures (though one man’s supposedly oppressive structure might be many other men’s most efficient means of justly and safely ordering society). Rather, it is because their authors concretised elements of human life that are and will remain immutably true. That, of course, can have implicit ideological or political (etc.) ramifications, but such accidental effects are not their core substance. Watching a rendition of A Christmas Carol to get into the Christmas spirit might have the effects of motivating us to give to the less fortunate or to look, Cratchit-like, with forgiveness on even the most oppressive of our fellow men (or on ourselves, as Scrooge, himself, learns to do). However, to see this kind of thing as inherently political or ideological is, itself, to maintain an ideology about the relationship between art, actual people, and each other that would reduce all three. Thankfully, should we want to dismantle such a thing, we know where to look.

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Culture

On Conservatism and Art

By Dustin Lovell — 7 months ago

A few weeks ago, another tweet claiming that it was impossible for conservatives to make art made the rounds of Twitter. Like too many in the mainstream culture, its sender erroneously assumed that because art inherently involves edgy innovation, and since conservatives categorically hate and/or fear both extremes and change, art must be the obvious property of the left. The thread received enough attention that I don’t need to invite more here. The Mallard hosted a Space on the topic—not necessarily on whether its message had merit (quote threads were rife with examples contradicting it, from Dostoevsky to Dali to Stevie Ray Vaughan), but rather to discuss the question of how conservatives could most effectively make art. 

Of course, among other topics we discussed the relationship between art and politics. A point made by many was the fact that, when discussing art and conservatism one should at least attempt to be clear about their terms. Furthermore, as mentioned in the conversation by Jake Scott, one must differentiate between political conservatism and metaphysical conservatism; the confusion of the two has, as the above stereotype shows, led to much confusion on the subject of conservatism and art that, so far as I can, I will attempt to nuance here. 

A refrain one hears, usually from activists on the left, is that all art is political. Such assertions are often met with frustration, generally from convervatives but also from people not explicitly on the right but who just want to be left alone when it comes to politics (and who, for such a response, are subsequently branded as right-wing by those who interpret all of life through an unconditional, against-if-not-actively-for ideology). However, the former are not wrong; all art can be interpreted as political—because all art is metaphysical.

As I’ve mentioned in previous articles, art is, among other things, a concretization of abstract values. When one looks at a painting, listens to a song, takes in a sculpture, walks through a building, or reads through a novel, one is engaging with the values that the artist has given a local habitation and a name (as always, Shakespeare said it best—MND V.1); this necessarily involves, though it need not be fully bound to, the artist’s metaphysical worldview.  

Consider the two literary schools that dominated the nineteenth century and that can generally be placed within Western culture’s pendulum-like sway between the Platonic and Aristotelian: Romanticism and Naturalism. A Romantic whose work assumes that there are things higher than the material world that give this life an infinite meaning will create very different art from a Naturalist who believes the material world is all that exists and that any attempt to say differently is an artifice that will unintentionally or cynically mislead people into accepting suffering as a value. Nothing in these examples is overtly political, but one can see (indeed, we’ve had over a century of seeing) the different politics that would come from each view. This is because politics, as an expansion upon the more fundamental realm of ethics, begins with metaphysical premises from which the rest flow. Different directional degrees will lead maritime navigators to very different locations; how much more will different primary assumptions about the nature of reality and humans’ place in it?

Let’s look at an example from an author who was cited in that thread as a conservative: Dostoevsky. Rather than counter the rising atheist-socialist egotism of mid-nineteenth-century Russia with a political textbook (which, granted, would have been banned under the Tsar’s censors, who eschewed all explicitly political works—hence why the Russian novel had to take on so many roles), Dostoevsky depicts and undermines the burgeoning philosophy in the character of Crime and Punishment’s Rodion Raskalnikov. 

However, though the ideas in debate had (and are still having) political effects, Dostoevsky is not merely speaking politics in Crime and Punishment. He understood that politics was a function of one’s primary assumptions about reality—about one’s metaphysics—and their effects on one’s individual psychology. He also recognized, as Raskalnikov’s unconventional bildung shows, that one’s stated politics may actually conflict with the metaphysics underlying their beliefs. Hence, for all Rodion’s stated atheistic egotism, he finds himself preventing a woman from committing suicide, giving all his spare cash to those with less than he, and being fascinated with the downtrodden but resilient (because Christlike) Sonia. 

In Crime and Punishment and his other masterpieces, Dostoevsky juxtaposes the new generation’s radical ideas not against other ideas (i.e. on the radicals’ terms) but against the background of the broader Orthodox-Christian Russian psyche. Raskalnikov’s working out of the contradiction between his would-be Napoleon complex and his subconscious worldview (if not the fabric of reality at large—Dostoevsky rarely simplifies the distinction between the two) mimics the author’s own similar progression not only from a socialistic politic to one more consistent with his deeper Orthodox convictions but, in his view, one from madness to sanity. 

While to read Dostoevsky solely through a political lens is to not read him at all, his writing does point to the inherent relationship between an artist and the politics of his or her historical context. The norms, laws, and cultural debates of a given generation are interconnected with the art then produced, which can reinforce, undermine, or, in the case of most pre-2010s consumer art, quite simply inhabit them (which, true to form, the aforementioned leftist activist would accuse of being a complacent and complicit reinforcement). 

However, as this political layer is often based in the times, it usually passes away with them. In the coming Christmas season, few people will read A Christmas Carol with Social Darwinism in mind, though Dickens was, in part, critiquing that contemporaneous viewpoint in Ebeneezer Scrooge. Perhaps works like Dickens’s Carol were necessary to ensure Social Darwinism did not succeed—that is, perhaps their politics served the purpose intended by their authors. Nonetheless, today A Christmas Carol is virtually useless, politically (at least, for Dickens’s immediate polemical purposes), which is the beginning of a work’s infinite usefulness as art. What is left is the more general story that, for all intents and purposes, made modern Christmas. Contrary to what politivangelicals and literature majors who read through a new historicist lens (*raises hand*) might try to maintain, this is not a lessening but an enriching; it is the separation of the transient from the enduring—of the metaphysical from the physical. 

One implication of this view of art as concretized metaphysics, and one which was mentioned in our Space conversation, is that not all art that labels itself “art” qualifies as art. If the explanation of a piece contains more discernible meaning (i.e. is bigger) than the piece itself—that is, if no values have been concretized so as to be at least generally recognizable—then, sorry, it’s not art (or if it is, it’s not concretizing the values its creator thinks it is). Often the makers of such “art” believe the paramount aspect of a piece must be its radical message—the more disruptive and cryptic, the better; this conveniently offers the maker a pretext to skip out on, if not directly subvert, style and aesthetic skill, to say nothing of selectivity. It goes without saying that this is a major part of the oft-lamented degradation of aesthetics in Western culture, from “high art,” to architecture, to animation. Why devote rigor to style and skill when the point is to signal that one aligns with the correct message?

By the way, this merits a general exhortation: if you don’t like a piece of art (a building, a sculpture, a Netflix series, etc), it might not be because you, rube that you are, have no taste or understanding; it might be because it’s simply a pile of shit—which, it bears mentioning, has been tried to be passed off as art. You are under no obligation to concede the inferiority complex such pieces try to sell you in their gnostic snake oil. Because the point of art is to communicate abstract human values, one does not need a degree in art, nor in philosophy, to understand and enjoy good art. Indeed, contrary to the elitism assumed in modern art taste, it may be the mark of good art that the average person can understand and enjoy it without too much explanation; such a work will have fulfilled art’s purpose of bodying forth the forms of things unknown but which are nonetheless universal.

The unintentional defaulting or the intentional subverting of the role of aesthetics in art by the modern and postmodern culture unwittingly reveals a possible door for conservatives who wish to make art. Rather than playing into the stereotype by simply making reactionary art with explicitly opposite meanings, “conservative art” (or, more preferably, conservatives who simply want to make good art) must begin with a return to aesthetic rigor. Just as the early church’s response to heresies was not to accept the premises of the heresies’ mind-body split but, rather, to restore the body-mind-spirit unity depicted in the Gospel and the Trinity, so the current response to artistic heresies—which involve a similar, if not the very same, split—is to reunite the physical and metaphysical. 

We must not ignore the messages of our art, but we should allow them to follow the literally more immediate role of the aesthetic experience. Indeed, we should seek to develop enough skill in conveying abstract themes and ideas through our medium such that little explanation is necessary. As conservatives, especially, we do not need to maneuver things so our audience takes away a certain message. Either the values we are trying to capture will speak for themselves, or we will learn that we need more practice. Above all, unless knowingly engaging in polemics, we should not (or at least try not to) approach art as a sermon. Doing so runs the risk of proving too much, besides turning off audiences who have probably had enough messaging and rhetoric. Instead, use your ethos, pathos, and logos to present their corresponding virtues of Goodness, Beauty, and Truth, and let the aesthetic experience stand as the message. As Jake Scott recently tweeted, underscoring his January article cited above, when making art, forget politics—seek to create heritage.

As always, it’s the conservative’s task to take his or her advice first. While I do currently have a polemical novel in pre-publication process with a clear message against the canceling in academia of Shakespeare and the tradition he represents, in A California Kid in King Henry’s Court, my serial novel for The Mallard’s print magazine, I have tried to focus solely on the aesthetic experience of the story. 

The title is, of course, a throwback to A Connecticut Yankee in King Arthur’s Court, Mark Twain’s comedy of an American who, having been knocked on his head in a factory, awakens in Arthurian England and subsequently seeks to industrialize the chivalric country, all the while becoming, himself, as much an object of Twain’s satire as medieval chivarly. My semi-autobiographical serial novel takes an opposite tack: a kid from California, having derived from Tolkien and Shakespeare a love for England’s literary past, attends modern Oxford and finds it far different from what he expects. The joke of each episode is usually on the fictional narrator, Tuck. However, though I’m a far less subtle satirist than Twain (really, my work is parody, not satire, since I am starting from a loving desire to enjoy the book’s subject, rather than a satirical desire to debase it), I’ve attempted to do something similar to Twain: unlock the dramatic and comic potential of Americans’ English past while still poking fun at elite pretensions, whether those of the narrator whose knowledge of literary references is irrelevant outside of academia, or of a modern England that keeps shattering the narrator’s romanticized ideas of Anglo tradition. 

While, beneath the parody, one of A California Kid’s thematic goals is to explore the deeper relevance of the English literary tradition, my main objective has simply been to make readers laugh—which, taking a cue from Monty Python’s discussions of comedy, starts with making myself laugh. If readers walk away from the episodes appreciating Shakespeare or Tolkien, so much the better, but it is only a secondary end to the primary one of telling a hopefully worth-reading story. 

Over the past half-century the postmodern anti-tradition has become the predominant tradition. The task of breaking open a way forward from the metaphysical assumptions of that structure—of liberating people from them—is now the job of conservatives, which, yes, does include everyone who does not want to wholly jettison, deconstruct, or “decolonize” the past, however politically or philosophically they self-identify. However, our goal should not be to merely preserve the past against the current attack and atrophy. The left’s view of art as a vehicle for political messaging can be traced back over 150 years to, among other sources, Nikolay Chernyshevsky, literary rival of Dostoevsky and writer of the utopian polemical novel What is to Be Done? As I tell my US History students, if you want to know why a generation pursues certain politics, look at what they were reading twenty or thirty years before; according to Dostoevsky biographer Joseph Frank, Chernyshevsky’s novel was the favorite book of a young Vladimir Lenin. 

Conservatives must take a similarly long view of art. We must strive, as much as we are able, to make works that will last not just for a given generation, but for several. Yes, we must look to the works and artists whose work has aesthetically endured and whose metaphysics have transcended their own times—and then we must create our own. The messages, insofar as they are necessary, will follow, the greatest of which being that the aesthetic experience is the point of the art. This has always been the point, not because of any inherent politics or lack thereof in art, but because it is the nature of art to simultaneously look backward and forward in its concretization and preservation of values. The same can be said of conservatism, which I take as a sign that we, rather than the left, are best equipped to produce the future of art. Like our philosophy, ours is not simply an art of return, but of resurrection and legacy.

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Let’s Talk About Sex (Work)

By Sarah Stook — 8 months ago

This tweet from @GraffitiRadical invoked quite the conversation. Well, as much conversation as you can have on Twitter. Some argued that it is empowering and that it’s a legitimate profession. Others argued that it’s exploitative and damaging. Some refuse to even use the term ‘sex work,’ favouring language such as prostitution. To others, it’s interchangeable.

However, currently and historically, the technical and legal term for sex work is prostitution, something many advocates wish to see changed, arguing the term creates stigma. Opponents of the practice would say this is rightly so, given the nature of the practice.

However angry the arguments, however poor, it doesn’t take away from the fact that it’s something that exists. It may be tucked away in the shadows of the night or blatantly advertised on OnlyFans, but it exists. They don’t call it the world’s oldest profession for nothing. Pictures and paintings showing prostitution still exist from the times of Ancient Rome. Courtesans could make a lot of money by being chosen by a rich benefactor. The 90s film Pretty Woman showed the profession in a new light.

Whatever you want to call it, there’s still a major debate about the morality and legality of prostitution. One only must look across the world to see how different cultures tolerate the practice-or if they do at all. That being said, laws do not always impact supply and demand. Prostitution exists in liberal secular nations as well as conservative religious ones. It happens in peacetime and in wartime. Prostitutes and clients come from all walks of life.

So, what is it really?

The Whos and the Whats

When we think of prostitution, we often think of ladies in revealing clothing on street corners. That may be true, but streetwalkers aren’t the only type of prostitute. There are those who work in brothels, massage parlours and bars, or as escorts or cam girls. One may think of the window and door girls in Amsterdam. Other forms exist but are rarer.

Statistically, it’s thought that the vast majority of prostitutes are women. According to Streetwalker, 88% of prostitutes in the UK. That percentage is likely applicable worldwide give or take, but we will never truly know given the taboo nature. Sadly, child prostitution is not unheard of and is indeed common, with some areas being tourist hotspots for those interested in that.

Entry into prostitution also varies.

Types of Legislation

There are five types of legislation regarding prostitution.

Legalisation

In legalisation, prostitution itself is both legal and regulated, as are associated activities such as pimping and earning money. Countries with this framework include The Netherlands, Argentina, Turkey, Bangladesh, and Germany.

The Netherlands is probably the most infamous example of legalised prostitution. Its capital of Amsterdam is a hotspot for prostitution, and its red-light district is equally well known. There is strict regulation of the trade as with any ordinary profession, and prostitutes have been required to pay income tax and register with the Chamber of Commerce since 2010. While they are taxed, they may also receive unemployment benefits, though they do not if they work through the opt-in system.

Some limits do exist to protect the vulnerable. The hire or use of prostitutes under 21 is illegal, as is purchasing sex from someone you know, or suspect has been trafficked. 

Despite benefits for the parties involved and protections for vulnerable people, it’s no cakewalk. The Netherlands still remains a top destination for human trafficking due to the demand for prostitution. Most prostitutes in The Netherlands are not native, giving credence to the narrative of human trafficking. Meanwhile, prostitutes themselves feel as though the government is not on their side. The majority of those who apply for registration do not get it, whilst local authorities are closing windows and do not allow prostitutes to book clients online. In response, prostitutes are complaining that the restrictions reduce demand and make it harder for them to find work.

Decriminalisation

New Zealand, Belgium, New South Wales and Northern Territory

Decriminalisation means that there are no legal penalties for prostitution but that it is not legal itself, nor anything associated with it. Countries with this framework include New Zealand, Belgium and parts of Australia, such as New South Wales and the Northern Territory.

New Zealand became a model for decriminalisation following legislative changes in 2003. Prostitution, living off earnings, soliciting and contracts are all legal. The government recognises it as work but does not promote it. Limitations do exist, such as using girls under 18, those on short-term visas entering the trade and non-Kiwis or Aussies owning brothels.

Whether or not this has succeeded in helping prostitutes depends wildly on opinion. Anecdotal evidence varies- the lady in this piece feels much safer, whilst another argues it’s still incredibly dangerous. A report from July 2012 by the New Zealand government concluded that whilst it was far from perfect, it had made steps in the right direction. This report says otherwise.

In terms of advocacy, the New Zealand Sex Prostitutes Collective (or NZPC) is the largest in the country. They help any prostitute and advocate for all types. Their website explains the New Zealand model and their case for why decriminalisation must stay.

Abolitionism

In abolitionist legislation, the act of prostitution is legal, but everything else related to it is against the law. Countries with this framework include Madagascar, Democratic Republic of the Congo, Mexico, Brazil, and Great Britain.

Great Britain has long had an abolitionist model. Like the Netherlands, it’s illegal to have sex with a prostitute who has been trafficked. The age of prostitutes is also set at eighteen, higher than the age of consent of sixteen. All other parts of prostitution, such as living off wages and brothels, are illegal.

Groups both for and against prostitution exist. Both the English Collective of Prostitutes and the Sex Worker Advocacy and Resistance Movement (SWARM) support full decriminalisation. Streetlight U.K. and Beyond the Streets. Meanwhile, the safety of prostitutes in the U.K. is precarious. One 2018 article states that the mortality rate for prostitutes is twelve times the national average for example. Those with opposing views are at odds on what would help.

Neo-Abolitionism

In neo-abolitionism, the act of selling sex is not a crime, but buying it is, along with other associated acts. This is often called ‘The Nordic Model.’ Countries with this framework include Canada, Spain, Ireland, Sweden and Norway.

Sweden’s lurch towards neo-abolitionism at the turn of the century was the first of its kind. In 1999, they made the act of selling sex illegal, with everything else remaining against the law.

A 2010 investigation from the Swedish government came to this conclusion:

  • Street prostitution had decreased.
  • The law had acted as a deterrent to prospective buyers of sexual services, reducing demand.
  • The law had deterred trafficking, as criminals had not so readily sought to establish organised trafficking networks in Sweden.
  • The number of foreign women in prostitution had increased, but not to the extent noticed in neighbouring countries.
  • Online prostitution had increased in line with all other sold services since 1999, but not to the extent that it could be said that street prostitution had simply migrated.
  • Exit strategies and alternatives had been developed.
  • There had been a significant change of attitude and mindset in society.
  • Adoption of the law had served as a pioneering model for other countries.

Street prostitution has also decreased by 50% since 1995. A 2021 report also showed that the use of online services has increased, particularly among young people.

As of 2023, prostitutes are taxed on their income.

Unfortunately, Sweden remains a top destination for sex trafficking. The number of those trafficked into the country has steadily increased over the years, particularly children. Sweden tends to be very proactive in combating trafficking, but opponents may point to this as an example as to why their laws do not work.

Red Umbrella Sweden, a group made up of current and former prostitutes, is one example of advocacy. They oppose the Nordic model and push for full decriminalisation.

Prohibitionism

In Prohibitionism, anything to do with prostitution, including the act itself, is illegal. Countries with this framework include Egypt, South Africa, the USA outside of parts of Nevada, China and Russia.

Prohibitionist Egypt actively prosecutes those who partake in prostitution. One can receive between six months and three years in prison for the crime, as well as a fine. All other acts linked to prostitution, including facilitating it and profiting from proceeds can get a person up to three years in jail. Adultery is also a crime, but one that unfairly penalises women more. Women who commit adultery can receive three years in prison, but for men it is six months, and only if it is done inside the home.

One way in which charges of prostitution can be avoided is through a temporary marriage-or nikah mut’ah. It is common in Muslim countries. For a specified period of time, which can be between hours and years, a couple is said to be married. This allows any sexual activity done in this time to be ‘legitimate.’ Payment is often involved, as is a dowry. The length of time of the marriage must be chosen beforehand and the father of the girl must give his consent if she has not been married before. It is said that Arab men often travel to Egypt for the summer and engage in these marriages. Both Western and Muslim feminists argue that this facilitates prostitution.

Arguments For and Against

Prostitution has its supporters and its critics. They make varying points based on personal views, religion, ideas of women’s rights, economics, and other things.

For:

Consenting Adults: Probably the most libertarian argument of the bunch, some contend that as long as it’s involving consenting adults, then what’s the problem? An argument is to be made that so long as both sides are consenting to sex, then it is a victimless crime. One must also remember that they are surely consenting to risks of pregnancy and STIs by this action and are thus unable to complain about said risks. Philosophically, it’s an argument of self-ownership of the body, and thus being able to do with it as one pleases. If we circle back to those involved being consenting adults, then there’s the argument.

Taxation: In Nevada, Sweden and The Netherlands amongst others, prostitutes are subject to income tax. Brothels are also subject to business tax in Nevada. From a purely economic standpoint, some would argue that this is just good business sense. By legalising prostitution, you’re creating an income stream that can be used like any other. Those taxes may go into welfare benefits for the prostitutes themselves, or other things such as schools and healthcare.

Safety and Justice: Proponents argue that if prostitution is legal or at least decriminalised, then prostitutes who have been raped, robbed etc will be able to go to the police. This is the case in New Zealand, as police will respond to prostitutes in distress. Those for legalisation argue that by keeping prostitution underground, those who are in genuine need of help will not reach out due to fear of being arrested themselves. That is, however, assuming police will be of any help. That said, it also could reduce the risks of clients doing anything bad, as they would be aware that there are consequences.

Health: With some prostitutes having been arrested after large amounts of condoms were found on them, some argue that criminalisation may decrease the sexual health of both prostitutes and clients. If a prostitute chooses to have sex without a condom, there’s a potential spread of STIs, both treatable and more serious. Furthermore, if it is legal, then outbreaks can be more easily traced and stopped. One might point to Nevada, with its mandatory testing, condom usage and barring violent customers.

Inevitability: Prostitution is, as has been previously said, often named the world’s oldest profession. It happens in poor and rich countries, conservative and liberal places, and in both peace and wartime. One only must see how widespread it is. Thus, one might argue that seeing as prostitution is essentially an inevitability, it might as well be legal and moderated. After all, centuries of illegality haven’t stopped it. That being said- a lot of things are inevitable.

Against:

Forced Prostitution: There’s no way to determine the amount of prostitutes forced into the job by trafficking, but the amount certainly isn’t zero. Legalisation, even with law enforcement backing, does not necessarily prevent trafficking. There’s a bit of back and forth as to whether legalisation increases or decreases trafficking, but the point stands that it will always be there. By legalising it, it seems almost certain that violent pimps and traffickers will not have more of an imperative to flood the market.

Class and Sex: The vast majority of prostitutes are women. Of those in the trade itself, a number are either trafficked or come at it from an economic standpoint. Those who are most at risk of trafficking or survival sex come from minority and poorer socio-economic backgrounds. This thus puts them at a disadvantage when being put with clients who have the ability to pay for their services. Is that not taking advantage of the most vulnerable?

Normalises: Much in the same way the ‘consenting adults’ justification is a libertarian argument, the next is more conservative in nature. One might say that legalising prostitution might normalise it. For some, normalising it is not an issue. For others, they may not want to normalise casual sex with strangers. This is especially true if the clients are married as it could serve as an outlet for adultery. In a feminist twist on the argument, one might say that it normalises a more powerful person paying for the body of a marginalised one.

Doesn’t Stop the Root Causes: There are numerous reasons as to why people enter prostitution. Some want to simply work at something they enjoy or take advantage of the potentially good pay. Others are victims of trafficking, survival sex, poverty, or addiction. Some argue that legalising prostitution does not get to those root causes. People may still enter prostitution because of those reasons even if it is legal. Would it be preferable to help those most in need?

Doesn’t Stop the Violence: Proponents of legalisation and decriminalisation argue that prostitutes are safer under those methods. Whilst that may or may not be true, it doesn’t prevent violence at all. One might point to the murder of Anna Louise Wilson, a New Zealand prostitute murdered after the client refused to wear a condom. Another might point to the fact a prostitute was murdered in a German brothel, the largest in the world.

What Do We Do?

When it comes down to it, it’s clear that there isn’t much of a consensus on prostitution. Despite the trend towards legalisation and decriminalisation, there are still those who oppose it.

Prostitution isn’t just a woman- or a man- having sex for money. It’s about choice, desperation, desire, and fear. There are those who see it as a job, whilst there are those who were forced into it. Some want to leave. There are pimps, brothels, websites, street corners and clients, not by sheer accident, but because supply is often preceded by demand.

Of course, we must listen to prostitutes themselves. They are the ones with first-hand experience of selling their bodies at great risks and under varying circumstances. Many have been victims of child sexual abuse, rape, domestic violence, and addiction. For those who are comfortable in their trade, legalisation and decriminalisation is considered a comfort. For others, it’s no safety blanket. Indeed, many supporters of prostitution uniformly view prostitutes as consenting participants whilst many opponents uniformly view them as victims of manipulation. Unfortunately, things aren’t that simple.

There are some reading this who will want prostitutes to be able to freely work without governments coming down on them. There are others who may be disgusted at the idea of the state sanctioning it. Whatever the case, one hopes that this article has helped them understand the dimensions of debate which surround this controversial and complex issue.

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Joel Coen’s The Tragedy of Macbeth: An Examination and Review

By Dustin Lovell — 9 months ago

A new film adaptation of Shakespeare’s Scottish tragedy, Joel Coen’s 2021 The Tragedy of Macbeth is the director’s first production without his brother Ethan’s involvement. Released in select theaters on December 25, 2021, and then on Apple TV on January 14, 2022, the production has received positive critical reviews as well as awards for screen adaptation and cinematography, with many others still pending.

As with any movie review, I encourage readers who plan to see the film to do so before reading my take. While spoilers probably aren’t an issue here, I would not want to unduly influence one’s experience of Coen’s take on the play. Overall, though much of the text is omitted, some scenes are rearranged, and some roles are reduced, and others expanded, I found the adaptation to be a generally faithful one that only improved with subsequent views. Of course, the substance of the play is in the performances of Denzel Washington and Frances McDormand, but their presentation of Macbeth and Lady Macbeth is enhanced by both the production and supporting performances.

Production: “where nothing, | But who knows nothing, is once seen to smile” —IV.3

The Tragedy of Macbeth’s best element is its focus on the psychology of the main characters, explored below. This focus succeeds in no small part due to its minimalist aesthetic. Filmed in black and white, the play utilizes light and shadow to downplay the external historical conflicts and emphasize the characters’ inner ones.

Though primarily shown by the performances, the psychological value conflicts of the characters are concretized by the adaptation’s intended aesthetic. In a 2020 Indiewire interview, composer and long-time-Coen collaborator Carter Burwell said that Joel Coen filmed The Tragedy of Macbeth on sound stages, rather than on location, to focus more on the abstract elements of the play. “It’s more like a psychological reality,” said Burwell. “That said, it doesn’t seem stage-like either. Joel has compared it to German Expressionist film. You’re in a psychological world, and it’s pretty clear right from the beginning the way he’s shot it.”

This is made clear from the first shots’ disorienting the sense of up and down through the use of clouds and fog, which continue as a key part of the staging throughout the adaptation. Furthermore, the bareness of Inverness Castle channels the focus to the key characters’ faces, while the use of odd camera angles, unreal shadows, and distorted distances reinforce how unnatural is the play’s central tragic action, if not to the downplayed world of Scotland, then certainly to the titular couple. Even when the scene leaves Inverness to show Ross and MacDuff discussing events near a ruined building at a crossroads (Act II.4), there is a sense that, besides the Old Man in the scene, Scotland is barren and empty.

The later shift to England, where Malcolm, MacDuff, and Ross plan to retake their homeland from now King Macbeth, further emphasizes this by being shot in an enclosed but bright and fertile wood. Although many of the historical elements of the scene are cut, including the contrast between Macbeth and Edward the Confessor and the mutual testing of mettle between Malcolm and MacDuff, the contrast in setting conveys the contrast between a country with a mad Macbeth at its head and the one that presumably would be under Malcolm. The effect was calming in a way I did not expect—an experience prepared by the consistency of the previous acts’ barren aesthetic.

Yet, even in the forested England, the narrow path wherein the scene takes place foreshadows the final scenes’ being shot in a narrow walkway between the parapets of Dunsinane, which gives the sense that, whether because of fate or choice rooted in character, the end of Macbeth’s tragic deed is inevitable. The explicit geographical distance between England and Scotland is obscured as the same wood becomes Birnam, and as, in the final scenes, the stone pillars of Dunsinane open into a background of forest. This, as well as the spectacular scene where the windows of the castle are blown inward by a storm of leaves, conveys the fact that Macbeth cannot remain isolated against the tragic justice brought by Malcom and MacDuff forever, and Washington’s performance, which I’ll explore presently, consistently shows that the usurper has known it all along.

This is a brilliant, if subtle, triumph of Coen’s adaptation: it presents Duncan’s murder and the subsequent fallout as a result less of deterministic fate and prophecy and more of Macbeth’s own actions and thoughts in response to it—which, themselves, become more determined (“predestined” because “wilfull”) as Macbeth further convinces himself that “Things bad begun make strong themselves by ill” (III.2).

Performances:  “To find the mind’s construction in the face” —I.4

Film adaptations of Shakespeare can run the risk of focusing too closely on the actors’ faces, which can make keeping up with the language a chore even for experienced readers (I’m still scarred from the “How all occasions” speech from Branagh’s 1996 Hamlet); however, this is rarely, if ever, the case here, where the actors’ and actresses’ pacing and facial expressions combine with the cinematography to carry the audience along. Yet, before I give Washington and McDormand their well-deserved praise, I would like to explore the supporting roles.

In Coen’s adaptation, King Duncan is a king at war, and Brendan Gleeson plays the role well with subsequent dourness. Unfortunately, this aspect of the interpretation was, in my opinion, one of its weakest. While the film generally aligns with the Shakespearean idea that a country under a usurper is disordered, the before-and-after of Duncan’s murder—which Coen chooses to show onscreen—is not clearly delineated enough to signal it as the tragic conflict that it is. Furthermore, though many of his lines are adulatory to Macbeth and his wife, Gleeson gives them with so somber a tone that one is left emotionally uninvested in Duncan by the time he is murdered.

Though this is consistent with the production’s overall austerity, it does not lend much to the unnaturalness of the king’s death. One feels Macbeth ought not kill him simply because he is called king (a fully right reason, in itself) rather than because of any real affection between Macbeth and his wife for the man, himself. However, though I have my qualms, this may have been the right choice for a production focused on the psychological elements of the plot; by downplaying the emotional connection between the Macbeths and Duncan (albeit itself profoundly psychological), Coen focuses on the effects of murder as an abstraction.

The scene after the murder and subsequent framing of the guards—the drunken porter scene—was the one I most looked forward to in the adaptation, as it is in every performance of Macbeth I see. The scene is the most apparent comic relief in the play, and it is placed in the moment where comic relief is paradoxically least appropriate and most needed (the subject of a planned future article). When I realized, between the first (ever) “Knock, knock! Who’s there?” and the second, that the drunk porter was none other than comic actor Stephen Root (Office Space, King of the Hill, Dodgeball), I knew the part was safe.

I was not disappointed. The drunken obliviousness of Root’s porter, coming from Inverness’s basement to let in MacDuff and Lennox, pontificating along the way on souls lately gone to perdition (unaware that his king has done the same just that night) before elaborating to the new guests upon the merits and pitfalls of drink, is outstanding. With the adaptation’s other removal of arguably inessential parts and lines, I’m relieved Coen kept as much of the role as he did.

One role that Coen expanded in ways I did not expect was that of Ross, played by Alex Hassell. By subsuming other minor roles into the character, Coen makes Ross into the unexpected thread that ties much of the plot together. He is still primarily a messenger, but, as with the Weird Sisters whose crow-like costuming his resembles, he becomes an ambiguous figure by the expansion, embodying his line to Lady MacDuff that “cruel are the times, when we are traitors | And do not know ourselves” (IV.2). In Hassell’s excellent performance, Ross seems to know himself quite well; it is we, the audience, who do not know him, despite his expanded screentime. By the end, Ross was one of my favorite aspects of Coen’s adaptation.

The best part of The Tragedy of Macbeth is, of course, the joint performance by Washington and McDormand of Macbeth and Lady Macbeth. The beginning of the film finds the pair later in life, with presumably few mountains left to climb. Washington plays Macbeth as a man tired and introverted, which he communicates by often pausing before reacting to dialogue, as if doing so is an afterthought. By the time McDormand comes onscreen in the first of the film’s many corridor scenes mentioned above, her reading and responding to the letter sent by Macbeth has been primed well enough for us to understand her mixed ambition yet exasperation—as if the greatest obstacle is not the actual regicide but her husband’s hesitancy.

Throughout The Tragedy of Macbeth their respective introspection and ambition reverse, with Washington eventually playing the confirmed tyrant and McDormand the woman internalized by madness. If anyone needed a reminder of Washington and McDormand’s respective abilities as actor and actress, one need only watch them portray the range of emotion and psychological depth contained in Shakespeare’s most infamous couple.

Conclusion: “With wit enough for thee”—IV.2

One way to judge a Shakespeare production is whether someone with little previous knowledge of the play and a moderate grasp of Shakespeare’s language would understand and become invested in the characters and story; I hazard one could do so with Coen’s adaptation. It does take liberties with scene placement, and the historical and religious elements are generally removed or reduced. However, although much of the psychology that Shakespeare includes in the other characters is cut, the minimalist production serves to highlight Washington and McDormand’s respective performances. The psychology of the two main characters—the backbone of the tragedy that so directly explores the nature of how thought and choice interact—is portrayed clearly and dynamically, and it is this that makes Joel Coen’s The Tragedy of Macbeth an excellent and, in my opinion, ultimately true-to-the-text adaptation of Shakespeare’s Macbeth.

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What is the Point of the Turner Prize?

By Josh Allan — 10 months ago

Picture the scene. Strings of tattered bunting, the concrete shaft of a half-built pillar. At the centre of it all a pile of red and black folders, supplanted by a pair of flagpoles bearing faded Union Jacks. A length of striped tape lies beside them on the floor like the shed integument of a snake, and everywhere you look you see road barriers, twisted, contorted, lopsided. If it weren’t for the fact that the setting of the scene is Towner Eastbourne art gallery, you’d think a car had crashed through it. And you probably wouldn’t blame the driver.

This isn’t the aftermath of a riot or the contents of a disorganised storage room. In fact it is Jesse Darling’s winning submission for the 2023 Turner Prize, one of the world’s most prestigious art awards. The prize was established to honour the ‘innovative and controversial’ works of J.M.W. Turner, although in the thirty-nine years since its inauguration, none of the winning submissions have evoked the sublime beauty of Turner’s paintings.

There are no facts when it comes to art, only opinions. The judges, who lauded the exhibition for ‘unsettl[ing] perceived notions of labour, class, Britishness and power’, seem to have glimpsed something profound beyond the shallow display of metal and tape. Or they may simply have considered it the least worst submission in a shortlist which included some accomplished but otherwise unremarkable charcoal sketches, an oratorio about the COVID-19 pandemic and a few pipes.

It may be that beauty lies in the eyes of the beholder. But there is a distinction to be made between works of art whose beauty is universally accepted, and those which fail to find acclaim beyond a small demographic of urban, middle-class bohemians. According to a YouGov poll, an unsurprising 97% of the British public consider the Mona Lisa to be a work of art. That figure drops to 78% for Picasso’s Guernica, 41% for Jackson Pollock’s Number 5, and just 12% for Tracey Emin’s My Bed. That 12% of society, however, represents those among us most likely to work in art galleries and institutions, and to hold the most latitudinarian definition of ‘art’.

For ordinary people, the chief criterion for art is, and always has been, beauty. But like the other humanities, the 20th century saw the art world succumb to the nebulous web of ‘discourse’, with a corresponding shift away from aesthetic merits and towards political ends. Pieces like Marcel Duchamp’s Fountain – an upturned porcelain urinal – proved that works of art could shoot to fame precisely on account of their capacity to disturb and agitate audiences. As philosopher Roger Scruton described it, ‘According to many critics writing today a work of art justifies itself by announcing itself as a visitor from the future. The value of art is a shock value.’ The fact that shock, fear and revulsion create more powerful reactions than the sense of joy, calm or awe one feels when looking at a Rosetti or a Caravaggio is an unfortunate fact of human nature, and remains as true today as it did a hundred years ago. In much the same way that a news stories about declining global poverty rates or deaths from malaria will receive less attention than stories about melting ice caps or rising CO2 emissions, a truly beautiful artwork will receive less attention in the media than something which irks, irritates and offends. 

In the opening chapter of The Picture of Dorian Gray, when Basil Hallward reveals the eponymous portrait to his friend Lord Henry, he confesses to feeling reservations about exhibiting the work despite it being, in Henry’s estimation, his masterpiece. ‘There is only one thing in life worse than being talked about,’ Lord Henry reprimands him, ‘and that is not being talked about.’ The sentiment is triply true in the age of social media. Indeed, the term ‘ragebait’ started appearing online in the months following Mark Leckey’s winning submission for the Turner Prize in 2008, an exhibition which featured a glow-in-the-dark stick figure and a naked mannequin on a toilet. Like Dorian Gray, the more the art world thirsts for attention, the more hideous the art itself will become.

The quickest route to attention is politics. At the award ceremony for this year’s Turner Prize, Darling pulled from his pocket a Palestinian flag, ‘Because there’s a genocide going on and I wanted to say something about it on the BBC.’ In his acceptance speech, he lambasted the late Margaret Thatcher for ‘pav[ing] the way for the greatest trick the Tories ever played, which is to convince working people in Britain that studying, self expression and what the broadsheet supplements describe as “culture” is only for certain people in Britain from certain socio-economic backgrounds. I just want to say don’t buy in, it’s for everyone’. The irony is that all the money in the world wouldn’t fix the problems currently afflicting the art scene. If the custodians of modern art want to democratise their vocation, and make culture available to ordinary people, they should follow the example of Turner – and produce something worth looking at.

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It’s Not Just Any Christmas, It’s a Little Shop of Horrors Christmas

By Victoria Friedman — 11 months ago

What is Christmasy about setting fire to Christmas cards? What is festive about a giant Venus flytrap almost eating a small dog? Nothing, but apparently those are the kinds of Christmases two of the largest high-end retailers are trying to sell us, and we aren’t buying.

The release of Christmas ads in November launches the holiday season, and there are few greater British traditions than gathering around the kettle in the work kitchen to talk about the new John Lewis advert the day after it’s aired.

But the first major retailer to release its ad did not get the reaction it had hoped for. Marks & Spencer faced a backlash over its ‘Love Thismas, Not Thatmas’ ad, which sent the message that traditional Christmas needs to be burnt down, shredded, smashed, and go swimming with the fishes.

In one scene of the retailer’s clothing and home campaign, Sophie Ellis-Bextor turns her attention from browning marshmallows on a gingerbread house with a kitchen blowtorch to setting a stack of Christmas cards on fire. In another, paper hats get mulched into confetti, an elf gets launched off the roof of a house with a baseball bat – you get the idea.

It ends with the voiceover saying: ‘This Christmas, do anything you love.’

‘Do anything you love.’ Eschew the spirit of charity. Destroy Christmas and make it all about you. Not about family. Not about children. Reject tradition. 

The John Lewis ad was worse. If the Little Shop of Horrors did Christmas ads, it would look like this. 

In short, a boy’s Christmas tree seed grows into a giant voracious Venus flytrap with multiple sharp-toothed mouths, that at one point appears to snap after the family’s Pomeranian. Fearful of the carnivorous plant, the boy’s mother, grandmother, and sister take it outside.

But the narrative that you shouldn’t judge a predatory plant based on its natural inclination triumphs when the family joins the flytrap in the garden with their presents. And as if taking inspiration from the feverish delusions of a sick toddler, the ad ends with the plant snatching the wrapped gifts, gobbling at them, and spitting them back at the family, unwrapped. 

John Lewis’s message is spelt out and very much the same as M&S: reject tradition. Or as the major retailer phrased it, the ad “celebrates the joy in the UK’s changing Christmas traditions.” 

At one time, John Lewis set the standard for Christmas ads. Memorable favourites like Monty the Penguin (2014), the 2010 montage ad accompanied to Ellie Goulding’s rendition of ‘Your Song’, or the adventurous snowman ad of 2012, were warm, festive, and at times tear-jerking. They celebrated dreaming and childlike innocence. They felt like they were produced with true love for the season. While not all were cookie-cutter traditionally Christmasy in appearance, they conveyed those timeless values of family, sharing, hope, and gratitude. They were crafted with the skill of Don Draper.

The 2023 John Lewis ad is ugly nightmare fodder. 

The affordable food retailers, however, embraced and celebrated the traditional messages of Christmas. 

Asda leans enthusiastically into the festive season with its joyful, light-hearted ‘Make This Christmas Incredibublé’ ad, featuring Michael Bublé as a store quality officer.

Showing off turkey, mince pies, panettone, and enough cheeses to put a lactose intolerant into a coma, Bublé is funny and ostentatious. The sets are tastefully but festively decorated, and the ad is finished with the singer joining a choir of staff in an energetic rendition of ‘Walking in a Winter Wonderland’.

Asda struck the right chord and knew its audience. It knows they’re suffering under the cost-of-living crisis and says without saying: you can still afford to have a nice Christmas dinner this year. 

The Aldi advert sees a return of Kevin the Carrot, this time in his adventures in a Christmas food-themed Willy Wonka’s factory. Narrated by British actor Jim Broadbent, lines of poetry convey deep-rooted values such as: ‘Only Kevin the carrot clearly understood the true meaning of Christmas and the importance of being good.’   

And: ‘The season of goodwill was truly in the air, for Christmas is a time that’s sweeter when you share.’

But it was fellow German food retailer Lidl that stole the paper Christmas crown. A racoon who loves Christmas goes on a little hero’s journey to make sure a toy monkey gets delivered to the boy who he’s been watching through the window. While never discovered to be the creature that placed the toy under the tree, the raccoon is rewarded when the family dog takes a portion of Christmas dinner outside to share with him.   

It was old John Lewis: full of innocence, adventure, mild peril, and generosity. It was moving and warm. It shared an important message: little gestures of kindness matter.

And the latter two retailers put their money where their mouth is: both Aldi and Lidl are part of the Neighbourly charity network to distribute unsold surplus food to local communities. Lidl is also hosting toy banks for donations in their stores and has said that it will be producing the monkey and raccoon toys for sale, with the proceeds going to Neighbourly.

These aren’t just empty words, but action. The desire to help comes through these ads and touches people. These are authentic expressions of the season of good will towards all men. 

What I and people who took issue with in the M&S and John Lewis ads is not that some individuals reject traditional Christmas. People are free to have whatever unconventional Christmases they want and not be judged for it. 

No, this is about people tired of being nudged by forces that shape our society and craft our media that our world must change. That even though we are in the majority, we must have our expression of our culture and tradition come second – or not at all – to unconventionality, modernity, and progression.   

‘Don’t touch or break our Christmases,’ we’re saying.

These messages from John Lewis and Marks & Spencer were intentional, crafted by professional agencies that have been captured and work to serve the woke agenda and their ‘purpose-driven’ campaigns – sometimes at the expense of profit. While unconventional unChristmas ads are not woke in themselves, they originate from the same spiteful anti-tradition place. 

But the fickle monster you feed eventually comes back to bite you over any perceived form of ‘hate’, slight, or microaggression. Case in point: Marks & Spencer had shared a still outtake from their ad to social media, showing paper hats burning in a fireplace, before quickly deleting it and apologising for any offence caused.

Not apologising to those Christmas-lovers who might have thought it mean spirited, but to pro-Palestinian activists. Yes, Marks & Spencer took seriously complaints that burning red and green paper hats was insensitive and stoking tensions because Palestinian flags also happen to feature red and green. 

Let no good pandering go unpunished. 

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Eve: The Prototype of the Private Citizen

By Dustin Lovell — 1 year ago

Written in the 1660s, John Milton’s Paradise Lost is the type of book I imagine one could spend a lifetime mining for meaning and still be left with something to learn. Its being conceived as an English Epic that uses the poetic forms and conventions of Homeric and Ovidic antiquity to present a Christian subject, it yields as much to the student of literature as it does to students of history and politics, articulating in its retelling of the Fall many of the fundamental questions at work in the post-Civil-War body politic of the preceding decade (among many other things). Comparable with Dante’s Inferno in form, subject, and depth, Paradise Lost offers—and requires—much to and from readers, and it is one of the deepest and most complex works in the English canon. I thank God Milton did not live a half century earlier or write plays, else I might have to choose between him and Shakespeare—because I’d hesitate to simply pick Shakespeare.

One similarity between Milton and Shakespeare that has import to today’s broader discussion involves the question of whether they present their female characters fairly, believably, and admirably, or merely misogynistically. Being a Puritan Protestant from the 1600s writing an Epic verse version of Genesis 1-3, Milton must have relegated Eve to a place of silent submission, no? This was one of the questions I had when I first approached him in graduate school, and, as I had previously found when approaching Shakespeare and his heroines with the same query, I found that Milton understood deeply the gender politics of Adam and Eve, and he had a greater respect for his heroine than many current students might imagine.

I use “gender politics” intentionally, for it is through the different characterizations of Adam and Eve that Milton works out the developing conception of the citizen in an England that had recently executed its own king. As I’ve written in my discussion of Shakespeare’s history plays, justified or not, regicide has comprehensive effects. Thus, the beheading of Charles I on 30 January 1649 had implications for all 17th-century English citizens, many of which were subsequently written about by many like Margaret Cavendish and John Locke. At issue was the question of the individual’s relation to the monarch; does the citizen’s political identity inhere in the king or queen (Cavendish’s perspective), or does he or she exist as a separate entity (Locke’s)? Are they merely “subjects” in the sense of “the king’s subjects,” or are they “subjects” in the sense of being an active agent with an individual perspective that matters? Is it Divine Right, conferred on and descended from Adam, that makes a monarch, or is it the consent of the governed, of which Eve was arguably the first among mankind?

Before approaching such topics in Paradise Lost, Milton establishes the narrative framework of creation. After an initial prologue that does an homage to the classical invoking of the Muses even as it undercuts the pagan tradition and places it in an encompassing Christian theology (there are many such nuances and tensions throughout the work), Milton’s speaker introduces Satan, nee Lucifer, having just fallen with his third of heaven after rebelling against the lately announced Son. Thinking, as he does, that the Son is a contingent being like himself (rather than a non-contingent being coequal with the Father, as the Son is shown to be in Book III), Satan has failed to submit to a rulership he does not believe legitimate. He, thus, establishes one of the major themes of Paradise Lost: the tension between the individual’s will and God’s. Each character’s conflict inheres in whether or not they will choose to remain where God has placed them—which inerringly involves submitting to an authority that, from their limited perspective, they do not believe deserves their submission—or whether they will reject it and prefer their own apparently more rational interests. Before every major character—Satan, Adam, and Eve—is a choice between believing the superior good of God’s ordered plan and pursuing the seemingly superior option of their individual desires.

Before discussing Eve, it is worth looking at her unheavenly counterpart, Sin. In a prefiguration of the way Eve was formed out of Adam before the book’s events, Sin describes to Satan how she was formed Athena-style out of his head when he chose to rebel against God and the Son, simultaneously being impregnated by him and producing their son, Death. As such she and Satan stand as a parody not only of the parent-progeny-partner relationship of Adam-Eve but also of God and the Son. Describing her illicit role in Lucifer’s rebellion, Sin says that almost immediately after birth,

I pleased and with attractive graces won

The most averse (thee chiefly) who full oft

Thyself in me thy perfect image viewing

Becam’st enamoured and such joy thou took’st

With me in secret that my womb conceived

A growing burden.

—Paradise Lost II.761-767

In here and other places, Sin shows that her whole identity is wrapped up in Satan, her father-mate. In fact, there is rarely any instance where she refers to herself without also referring to him for context or as a counterpoint. Lacking her own, private selfhood from which she is able to volitionally choose the source of her identity and meaning, Sin lives in a state of perpetual torment, constantly being impregnated and devoured by the serpents and hellhounds that grow out of her womb.

Sin’s existence provides a Dantean concretization of Satan’s rebellion, which is elsewhere presented as necessarily one of narcissistic solipsism—a greatness derived from ignoring knowledge that might contradict his supposed greatness. A victim of her father-mate’s “narcissincest” (a term I coined for her state in grad school), Sin is not only an example of the worst state possible for the later Eve, but also, according to many critics, of women in 17th-century England, both in relation to their fathers and husbands, privately, as well as to the monarch (considered by many the “father of the realm”), publically. Through this reading, we can see Milton investigating, through Sin, not only the theology of Lucifer’s fall, but also of an extreme brand of royalism assumed by many at the time. And yet, it is not merely a simple criticism of royalism, per se: though Milton, himself, wrote other works defending the execution of Charles I and eventually became a part of Cromwell’s government, it is with the vehicle of Lucifer’s rebellion and Sin—whose presumptions are necessarily suspect—that he investigates such things (not the last instance of his work being as complex as the issues it investigates).

After encountering the narcissincest of the Satan-Sin relationship in Book II we are treated to its opposite in the next: the reciprocative respect between the Father and the Son. In what is, unsurprisingly, one of the most theologically-packed passages in Western literature, Book III seeks to articulate the throneroom of God, and it stands as the fruit of Milton’s study of scripture, soteriology, and the mysteries of the Incarnation, offering, perhaps wisely, as many questions as answers for such a scene. Front and center is, of course, the relationship between the Son and Father, Whose thrones are surrounded by the remaining two thirds of the angels awaiting what They will say. The Son and Father proceed to narrate to Each Other the presence of Adam and Eve in Eden and Satan’s approach thereunto; They then discuss what will be Their course—how They will respond to what They, omniscient, already know will happen.

One major issue Milton faced in representing such a discussion is the fact that it is not really a discussion—at least, not dialectically. Because of the triune nature of Their relationship, the Son already knows what the Father is thinking; indeed, how can He do anything but share His Father’s thoughts? And yet, the distance between the justice and foresight of the Father (in no ways lacking in the Son) and the mercy and love of the Son (no less shown in the words of the Father) is managed by the frequent use of the rhetorical question. Seeing Satan leave Hell and the chaos that separates it from the earth, the Father asks:

Only begotten Son, seest thou what rage

Transports our Adversary whom no bounds

Prescribed, no bars…can hold, so bent he seems

On desperate revenge that shall redound

Upon his own rebellious head?

—Paradise Lost III.80-86

The Father does not ask the question to mediate the Son’s apparent lack of knowledge, since, divine like the Father, the Son can presumably see what He sees. Spoken in part for the sake of those angels (and readers) who do not share Their omniscience, the rhetorical questions between the Father and Son assume knowledge even while they posit different ideas. Contrary to the solipsism and lack of sympathy between Sin and Satan (who at first does not even recognize his daughter-mate), Book III shows the mutual respect and knowledge of the rhetorical questions between the Father and Son—who spend much of the scene describing Each Other and Their motives (which, again, are shared).

The two scenes between father figures and their offspring in Books II and III provide a backdrop for the main father-offspring-partner relationship of Paradise Lost: that of Adam and Eve—with the focus, in my opinion, on Eve. Eve’s origin story is unique in Paradise Lost: while she was made out of Adam and derives much of her joy from him, she was not initially aware of him at her nativity, and she is, thus, the only character who has experienced and can remember (even imagine) existence independent of a source.

Book IV opens on Satan reaching Eden, where he observes Adam and Eve and plans how to best ruin them. Listening to their conversation, he hears them describe their relationship and their respective origins. Similar to the way the Father and Son foreground their thoughts in adulatory terms, Eve addresses Adam as, “thou for whom | And from whom I was formed flesh of thy flesh | and without whom am to no end, my guide | And head” (IV.440-443). While those intent on finding sexism in the poem will, no doubt, jump at such lines, Eve’s words are significantly different from Sin’s. Unlike Sin’s assertion of her being a secondary “perfect image” of Satan (wherein she lacks positive subjectivity), Eve establishes her identity as being reciprocative of Adam’s in her being “formed flesh,” though still originating in “thy flesh.” She is not a mere picture of Adam, but a co-equal part of his substance. Also, Eve diverges from Sin’s origin-focused account by relating her need of Adam for her future, being “to no end” without Adam; Eve’s is a chosen reliance of practicality, not an unchosen one of identity.

Almost immediately after describing their relationship, Eve recounts her choice of being with Adam—which necessarily involves remembering his absence at her nativity. Hinting that were they to be separated Adam would be just as lost, if not more, than she (an idea inconceivable between Sin and Satan, and foreshadowing Eve’s justification in Book IX for sharing the fruit with Adam, who finds himself in an Eve-less state), she continues her earlier allusion to being separated from Adam, stating that, though she has been made “for” Adam, he a “Like consort to [himself] canst nowhere find” (IV.447-48). Eve then remembers her awakening to consciousness:

That day I oft remember when from sleep

I first awaked and found myself reposed

Under a shade on flow’rs, much wond’ring where

And what I was, whence thither brought and how.

—Paradise Lost IV.449-452

Notably seeing her origin as one not of flesh but of consciousness, she highlights that she was alone. That is, her subjective awareness preexisted her understanding of objective context. She was born, to use a phrase by another writer of Milton’s time, tabula rasa, without either previous knowledge or a mediator to grant her an identity. Indeed, perhaps undercutting her initial praise of Adam, she remembers it “oft”; were this not an image of the pre-Fall marriage, one might imagine the first wife wishing she could take a break from her beau—the subject of many critical interpretations! Furthermore, Milton’s enjambment allows a dual reading of “from sleep,” as if Eve remembers that day as often as she is kept from slumber—very different from Sin’s inability to forget her origin due to the perpetual generation and gnashing of the hellhounds and serpents below her waist. The privacy of Eve’s nativity so differs from Sin’s public birth before all the angels in heaven that Adam—her own father-mate—is not even present; thus, Eve is able to consider herself without reference to any other. Of the interrogative words with which she describes her post-natal thoughts— “where…what…whence”—she does not question “who,” further showing her initial isolation, which is so defined that she initially cannot conceive of another separate entity.

Eve describes how, hearing a stream, she discovered a pool “Pure as th’ expanse of heav’n” (IV.456), which she subsequently approached and, Narcissus-like, looked down into.

As I bent down to look, just opposite

A shape within the wat’ry gleam appeared

Bending to look on me. I started back,

It started back, but pleased I soon returned,

Pleased it returned as soon with answering looks

Of sympathy and love.

—Paradise Lost IV.460-465

When she discovers the possibility that another person might exist, it is, ironically, her own image in the pool. In Eve, rather than in Sin or Adam, we are given an image of self-awareness, without reference to any preceding structural identity. Notably, she is still the only person described in the experience—as she consistently refers to the “shape” as “it.” Eve’s description of the scene contains the actions of two personalities with only one actor; that is, despite there being correspondence in the bending, starting, and returning, and in the conveyance of pleasure, sympathy, and love, there is only one identity present. Thus, rather than referring to herself as an image of another, as does Sin, it is Eve who is here the original, with the reflection being the image, inseparable from herself though it be. Indeed, Eve’s nativity thematically resembles the interaction between the Father and the Son, who, though sharing the same omniscient divinity, converse from seemingly different perspectives. Like the Father Who instigates interaction with His Son, His “radiant image” (III.63), in her first experience Eve has all the agency.

As the only instance in the poem when Eve has the preeminence of being another’s source (if only a reflection), this scene invests her interactions with Adam with special meaning. Having experienced this private moment of positive identity before following the Voice that leads her to her husband, Eve is unique in having the capacity to agree or disagree with her seemingly new status in relation to Adam, having remembered a time when it was not—a volition unavailable to Sin and impossible (and unnecessary) to the Son.

And yet, this is the crux of Eve’s conflict: will she continue to heed the direction of the Voice that interrupted her Narcissus-like fixation at the pool and submit herself to Adam? The ambivalence of her description of how she would have “fixed | Mine eyes till now and pined with vain desire,” over her image had the Voice not come is nearly as telling as is her confession that, though she first recognized Adam as “fair indeed, and tall!” she thought him “less fair, | Less winning soft, less amiably mild | Than that smooth wat’ry image” (IV.465-480). After turning away from Adam to return to the pool and being subsequently chased and caught by Adam, who explained the nature of their relation—how “To give thee being I lent | Out of my side to thee, nearest my heart, | Substantial life to have thee by my side”—she “yielded, and from that time see | How beauty is excelled by manly grace | And wisdom which alone is truly fair” (IV. 483-491). One can read these lines at face value, hearing no undertones in her words, which are, after all, generally accurate, Biblically speaking. However, despite the nuptial language that follows her recounting of her nativity, it is hard for me not to read a subtle irony in the words, whether verbal or dramatic. That may be the point—that she is not an automaton without a will, but a woman choosing to submit, whatever be her personal opinion of her husband.

Of course, the whole work must be read in reference to the Fall—not merely as the climax which is foreshadowed throughout, but also as a condition necessarily affecting the writing and reading of the work, it being, from Milton’s Puritan Protestant perspective, impossible to correctly interpret pre-Fall events from a post-Fall state due to the noetic effects of sin. Nonetheless, in keeping with the generally Arminian tenor of the book—that every character must have a choice between submission and rebellion for their submission to be valid, and that the grace promised in Book III is “Freely vouchsafed” and not based on election (III.175)—I find it necessary to keep in mind, as Eve seems to, the Adam-less space that accompanied her nativity. Though one need not read all of her interaction with Adam as sarcastic, in most of her speech one can read a subtextual pull back to the pool, where she might look at herself, alone.

In Eve we see the fullest picture of what is, essentially, every key character’s (indeed, from Milton’s view, every human’s) conflict: to choose to submit to an assigned subordinacy or abstinence against the draw of a seemingly more attractive alternative, often concretized in what Northrop Frye calls a “provoking object”—the Son being Satan’s, the Tree Adam’s, and the reflection (and private self it symbolizes, along with an implicit alternative hierarchy with her in prime place) Eve’s. In this way, the very private consciousness that gives Eve agency is that which threatens to destroy it; though Sin lacks the private selfhood possessed by Eve, the perpetual self-consumption of her and Satan’s incestuous family allegorizes the impotent and illusory self-returning that would characterize Eve’s existence if she were to return to the pool. Though she might not think so, anyone who knows the myth that hers parallels knows that, far from limiting her freedom, the Voice that called Eve from her first sight of herself rescued her from certain death (though not for long).

The way Eve’s subjectivity affords her a special volition connects with the biggest questions of Milton’s time. Eve’s possessing a private consciousness from which she can consensually submit to Adam parallels John Locke’s “Second Treatise on Civil Government” of the same century, wherein he articulates how the consent of the governed precedes all claims of authority. Not in Adam but in Eve does Milton show that monarchy—even one as divine, legitimate, and absolute as God’s—relies on the volition of the governed, at least as far as the governed’s subjective perception is concerned. Though she cannot reject God’s authority without consequence, Eve is nonetheless able to agree or disagree with it, and through her Milton presents the reality that outward submission does not eliminate inward subjectivity and personhood (applicable as much to marriages as to monarchs, the two being considered parallel both in the poem and at the time of its writing); indeed, the inalienable presence of the latter is what gives value to the former and separates it from the agency-less state pitifully experienced by Sin.

And yet, Eve’s story (to say nothing of Satan’s) also stands as a caution against simply taking on the power of self-government without circumspection. Unrepentant revolutionary though he was, Milton was no stranger to the dangers of a quickly and simply thrown-off government, nor of an authority misused, and his nuancing of the archetype of all subsequent rebellions shows that he did not advocate rebellion as such. While Paradise Lost has influenced many revolutions (political in the 18th-century revolutions, artistic in the 19th-century Romantics, cultural in the 20th-century New Left), it nonetheless has an anti-revolutionary current. Satan’s presumptions and their later effects on Eve shows the self-blinding that is possible to those who, simply trusting their own limited perception, push for an autonomy they believe will liberate them to an unfettered reason but which will, in reality, condemn them to a solipsistic ignorance.

By treating Eve, not Adam, as the everyman character who, like the character of a morality play, represents the psychological state of the tempted individual—that is, as the character with whom the audience is most intended to sympathize—Milton elevates her to the highest status in the poem. Moreover—and of special import to Americans like myself—as an articulation of an individual citizen who does not derive the relation to an authority without consent, Eve stands as a prototype of the post-17th-century conception of the citizen that would lead not only to further changes between the British Crown and Parliament but also a war for independence in the colonies. Far from relegating Eve to a secondary place of slavish submission, Milton arguably makes her the most human character in humanity’s first story; wouldn’t that make her its protagonist? As always, let this stimulate you to read it for yourself and decide. Because it integrates so many elements—many of which might defy new readers’ expectations in their complexity and nuance—Paradise Lost belongs as much on the bookshelf and the syllabus as Shakespeare’s Complete Works, and it presents a trove for those seeking to study the intersection not only of art, history, and theology, but also of politics and gender roles in a culture experiencing a fundamental change.

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A Romantic Case for Anime

By Dustin Lovell — 1 year ago

We’ve all felt it—the mixed excitement and dread at hearing a beloved book is set to be made into a movie. They might do it right, capturing not only key plot events but also (and more importantly) how it feels to be swept up in the work as a whole; 2020’s Emma with Anya Taylor-Joy comes to my mind, most of all for the way it captures how someone who understands and loves Austen’s ubiquitous irony might feel when reading her work. However, they also might do it poorly; despite both 1974 and 2013 attempts’ being worth watching, I’ve yet to see a rendition of The Great Gatsby that captures the book’s plot and narrative tone in the right proportion (in my opinion, the 1974 version emphasizes the former but misses some of the latter, while parts of the 2013 version exagerrate the latter just to the border of parody). My readers have, no doubt, already imagined examples of works they’ve always wished could be faithfully put onto the screen and others they’d rather not be risked to the vicissitudes of translating from one medium to another.

The last decade has thankfully seen a growth in long-form, box-office quality productions that makes it more possible than ever to imagine longer works being produced without curtailing their lengthy plotlines—example, the BBC’s 2016 rendition of War and Peace. However, this leaves another, perhaps more important, hurdle to hazard: while live-action media can now faithfully follow the plots of the originals, there still remains the difficulty of conveying the tone and feel of the works, especially when different media necessarily have different capacities and limitations of representation. Though I’ve enjoyed productions that have been made, I don’t know that I would expect live-action renditions to reproduce the aesthetic impression of, say, Paradise Lost, The Hunchback of Notre Dame, or Crime and Punishment, and I worry that attempts to do so might mar more than measure up. The problem lies in the difficulty of translating characters’ inner experience—which is usually conveyed by a stylizing narrator—via the essentially externalistic medium of the camera eye.

While a live action movie or series might remain faithful to the selective events in a plot, the lack of an interpretive narrator removes a key element of what defines epic poems and novels. Paradoxically, the narrowing of perspective through a stylizing narrator allows story to move from the limits of natural events into the limitlessness of human perception and interpretation. Voiceover narrators can provide thematic stylization in film, as well as essential plot coherence, but it is still primarily the camera that replaces the literary narrator as the means of conveyance. Furthermore, if too ubiquitous, voiceovers can separate the audience from the action, which is the focus of film. Film’s power inheres in its ability to place the audience in the midst of a plot, removing as many frames between the watcher and the story’s events as possible. However, this is also why books are so difficult to translate: motion pictures focus on events when the aesthetic experience of literature inheres in how characters and narrator experience said events.

The literary movement that focused most on the character’s experience (and, vicariously, ours) as the purpose of art was Romanticism. Romantic literature and poetry were less concerned about the subject matter than about their effect on the character’s emotions—in the sense that, from the generally Platonic metaphysics of the Romantics, the incidental reaches its fullest meaning by provoking an aesthetic experience far beyond it. From Hawthorne’s rose bush growing outside Salem’s prison, to Shelley’s secondhand rumination on the ruined feet of Ozymandias, to Keats’s apostrophe to the Grecian urn, the Romantics showed how part of the reality of an object involves its significance to the observer, and it was the role of the Romantic narrator and speaker to draw out that effect for the reader.

It is this essential influence of the narrator and characters’ inner lives on the great works’ aesthetic experience that makes me skeptical of even the best acting, camera work, and post-production effects to sufficiently replace them. It may be possible, and, again, I have very much enjoyed some renditions. Furthermore, not wanting to be the audience member who misses the Shakespeare performance for the open copy of the play on their lap, I tend to watch movie adaptations as distinct works rather than in strict relation to the originals. However, this, itself, may be a concession to my hesitance to trust film to live up to the aesthetic experience of certain books. I would, however, trust anime to do so.

While a history of Japanese manga and anime is beyond the scope of this piece (or my expertise), since choosing to explore the artform as a post-grad-school reward (or recovery—one can only stare at the sun that is Paradise Lost for so long) I’ve watched plenty of anime over the past ten years, and I have become convinced that it might serve as, at least, a middle ground when seeking to capture plot, narrative tone, and inner character experience in a motion medium. Anime is capable of handling virtually every story genre, and while it contains many of the same ridiculous hi-jinks and satire of Western cartoons and CG animation, it can also capture tragic pathos and sublime catharsis in ways that would be out of place in the vast majority of Western animation. This makes sense: originating in early 20th-century Japan, manga and anime were not subject to the same skepticism about artistic representations of transcendent value that characterized Western art after the move from 19th-century Romanticism and Realism to 20th-century modernism and post-modernism.

Of course, there have been exceptions; 20th-century Disney animation, or Marvel and DC Comics, were iconic because they attempted to be iconic—they unironically tried to depict in images those values and stories that are transcendent. However, even these were created predominantly with the child (or the childlike adult) in mind. Furthermore, while anime certainly has deserved elements of ambivalence, if not cynicism, and while there are many incredibly satirical and humorous series, anime as an artform is not implicitly dismissive of narrative trustworthiness and characters’ experience of the transcendent in the same way that much of Western motion art is. Rather, anime conventionally allows for the sublime heights and deepest horrors that previously characterized Romanticism, all of which it presents through the stylization of animation. This stylization is able to act as an interpretive medium just like a novel’s narrator, contextualizing events through the experience of those involved in a way often eschewed by, if not unavailable to, film.

For an example, I submit Kaguya-sama: Love is War (Japanese Kaguya-sama wa Kokurasetai – Tensai-tachi no Ren’ai Zunōsen, “Kaguya Wants to Make Them Confess: The Geniuses’ War of Hearts and Minds”). Though a romantic comedy in the Slice-of-Life genre, it exemplifies anime’s ability to convey the heights and depths of inner experience of the characters—here Kaguya and Miyuki, a pair of high school teenagers who, as student council president and vice president, compete to be top of their class while being secretly in love with each other and too proud to admit it. As the English title conveys, a running metaphor through the show is the bellicose subtext of their attempts to maneuver each other into confessing their love first and, thus, losing the war; think Beatrice and Benedick with the extremizing effect of teenage hormones and motifs of heavy artillery.

Plot-wise, Love is War follows a standard rom-com formula, with tropes recognizable to Western audiences: the pride and prejudices of the characters, the much ado about things that end up being really nothing, the presence of a mutual friend who acts as an oblivious catalist and go-between in the relationship, etc. However, the show reinvigorates these tropes by portraying via hyperbolic narrator the deuteragonists’ experience of the episodes’ conflicts, bringing audience members into the all-consuming tension of how a teenager might see something as minor as whether to share an item from their lunch. The combination of chess and military metaphors conveys the inner conflicts of the initially cold but gradually warming characters (the “tsundere” character type common in such animes), and the consistency of such motifs creates a unified aesthetic that, due in large part to the disconnect between the over-the-top tone and, in reality, low-stakes subject matter, is hysterical. Another unique aspect about Love is War is that, due to its focus on the characters’ experience of the plot (all the better for being trivially mundane), it’s a technically Romantic romantic comedy.

Love is War is, of course, a low-stakes example of what modern anime can do, though it did score three awards, including Best Comedy, at the 2020 Crunchyroll Anime Awards. A more serious example, Death Note, similarly conveys much of its gravitas through voiceover—this time the first-person narration of protagonist Light Yagami, a high schooler who with the help of a book from the realm of the dead is able to kill anyone whose name and face he knows, and L, a mysterious and reclusive detective charged by Interpol to find him. Throughout the series—which employs similar, if non-parodic, attempts by characters to outwit each other as Love is War—Light and L articulate their planned maneuvers and the implications thereof through inner voiceover. Not only does the narration lay out elements of their battle of wits that the audience might have missed, but it conveys the growing tension the two experience—especially Light, who, as he amasses fame as both a menace and cult hero experiences a growing egotism and subsequent paranoia around the possibility of being found out.

Just as Love is War is, in many ways, a parallel of Pride and Prejudice (Elizabeth and Darcy, themselves, both being tsundere characters), Death Note’s focus on a young man who wishes to achieve greatness by killing those deserving of death and who subsequently develops a maddening neurosis is virtually the same as Crime and Punishment—however enormously their plots and endings differ (Crime and Punishment lacks an explicit demonic presence like Death Note’s Shinigami Ryuk, the Death Note’s otherworldly owner; Dostoevsky would not employ the spectre of a conversant devil until The Brothers Karamazov—yet another point of consanguinity between anime like Death Note and his writing). Regardless of their differing plots, the anime’s inclusion of the characters’ inner thoughts and imaginations convey an increasingly tense tone similar to how Dostoevsky steadily shows Raskalnikov’s moral unmooring, and the explanations and attempted self-justifications by both Light and L convey more than I think even the best cinema would be capable of showing.

I am not advocating that every narrative motif or figuration be included in page-to-screen renditions, nor that we cease trying to actively reinvigorate great works of art through judicious adaptations into new media. Yet, if the inner lives of teenagers—which are often exaggerated, if at times unnecessarily, to Romantic proportions—can be portrayed by anime to such comic and tragic effect, with the figuration and tone of the characters’ perceptions seamlessly paralleling the literal events without obscuring them, then I’d be interested to see what an anime Jane Eyre, The Alchemist, or Sula might look like. Based on the above examples, as well as anime heavyweights like Fullmetal Alchemist, Cowboy Bebop, and, if one is not faint of heart, Berserk, all of which present events in some measure through the background and perspective of the main characters, I could imagine the works of Milton, Hugo, Austen, Dostoevsky, and others in anime form, with the aesthetic experience of the original narration intact.

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Culture

The Obsession with News

By Sarah Stook — 1 year ago

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.

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Retreating Revisionists

By Dominic Wightman — 1 year ago

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.

Photo Credit.

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