The Lesser Evil: Political Ethics in an Age of Terror by Michael Ignatieff (2004)

How should democracies respond to terrorist attacks? In particular, How much violence, secrecy and violations of human rights should a Western government deploy in order to safeguard a democratic state which, ironically, claims to deplore violence, secrecy and loudly promotes human rights?

How far can a democracy resort to these means without undermining and to some extent damaging the very values it claims to be defending?

How far can it go to deploy the lesser evil of abrogating some people’s human rights in order to ensure the greater good of ensuring the security and safety of the majority? These are the questions Ignatieff sets out to address in this book.

The book is based on a series of six lectures Ignatieff gave at the University of Edinburgh in 2003. Obviously the context for the lectures and their starting point was the aftermath of the 9/11 terrorist attacks on America.

Historical context – the War on Terror

It’s difficult now to recreate the mood of hysteria which gripped so much public discourse in the aftermath of the 9/11 attacks. US President George W. Bush declared a War on Terror (18 September 2001) which justified major military attacks on Afghanistan (Operation Enduring Freedom starting 7 October 2001), then Iraq (Operation Iraqi Freedom starting 20 March 2003), alongside combat operations in a number of other Muslim countries (the Philippines, Sudan et al). The US Congress passed a law allowing the President to declare war on anyone he thought was a threat. In his State of the Union speech, 29 January 2002, Bush singled out three likely contenders as the so-called ‘Axis of Evil’, being Iran, Iraq and North Korea.

Apart from the mismanagement of the two major wars, in Afghanistan and Iraq, the most contentious aspect of the so-called War on Terror became what many perceived to be the egregious breaches of human rights which a newly bullish America began to practice. Critics claimed the so-called war was in reality an excuse for creating a hi-tech surveillance state, for reducing civil liberties and infringing human rights.

Within a month of the 9/11 attacks the US government passed the Patriot Act which included three main provisions:

  • expanded surveillance abilities of law enforcement, including by tapping domestic and international phones
  • easier inter-agency communication to allow federal agencies to more effectively use all available resources in counter-terrorism efforts
  • increased penalties for terrorism crimes and an expanded list of activities which would qualify for terrorism charges

The law upset human rights groups on various grounds, for example, the powers given law enforcement agencies to search property and records without a warrant, consent, or even knowledge of the targets. But the single most contentious provision was its authorisation of indefinite detention without trial, which became associated with the notorious detention centre at the Guantanamo Bay Naval Base in Cuba,

Ignatieff’s approach

The lectures were given at the heart of this period (2003), 18 months into the War on Terror, as the Patriot Act was still being rolled out, just after the US government launched its invasion of Iraq (March 2003).

In his introduction Ignatieff makes the point that already, by 2003, there was a well-developed legalistic literature on all these issues. He is not going to add to that (he isn’t a lawyer). He wants to take a broader moral point of view, bringing in philosophical and even literary writers from the whole Western tradition, to try and set the present moment in a much broader cultural context.

My purpose is…to articulate what values we are trying to save from attack. (p.xvii)

It’s worth noting that at the time he wrote and delivered these lectures, Ignatieff was the director of the Carr Center for Human Rights at Harvard’s Kennedy School of Government. I.e. he didn’t have an amateur, journalistic interest in these issues, but was a senior academic expert in them.

Contents

The text is full of Ignatieff’s trademark complex, subtle and often agonised moral reflections, mixing reportage on contemporary politics with references to writers of the past, continually teasing out subtle and often very illuminating insights. At the same time, as I worked my way through the rather laborious networks of arguments, I began to have less and less confidence in his arguments. Fine words butter no parsnips and seminars on moral philosophy can go on forever. What were his practical conclusions and recommendations?

Chapter 1. Democracy and the Lesser Evil

Democracies have often deployed coercive measures, seeing them as the lesser evil deployed to avert the greater evil of terrorism, civil conflict and so on. But it requires that the measures can be justified publicly, subject to judicial review, and have sunset clauses i.e. fixed lengths so they don’t become permanent features of the society.

Government infringement of its citizens’ rights must be tested under adversarial review. This idea recurs again and again in the text. The defining feature of democracies is intricate sets of checks and balances. If some rights have to be abrogated during emergencies, these suspensions can still be independently tested, by judges, by independent advisers, and they will eventually have to be revealed to the citizens for ultimate approval.

There is a spectrum of opinions on suspending civil liberties. At one end, pure civil libertarians maintain that no violations of rights can ever be justified. At the other end, pragmatists eschew moral principles and judge restrictive legislation purely on practical outcomes. Ignatieff is somewhere in the middle, confident that actions which breach ‘foundational commitments to justice and dignity – torture, illegal detention, unlawful assassination’ – should be beyond the pale. But defining precisely what constitutes torture, which detentions are or are not legal, where killing is or is not justified, that’s the problem area.

If lawyers and politicians and intellectuals are going to bicker about these issues forever i.e. there will never be fixed and agreed definitions, the one thing all good democrats can rally round is ‘to strengthen the process of adversarial review‘ i.e. to put in place independent review of government measures.

Chapter 2. The Ethics of Emergency

If laws can be abridged and liberties suspended during an ’emergency’, what remains of their legitimacy in times of peace? If laws are rules, and emergencies make exceptions to theses rules, how can their authority survive once exceptions are made? (p.25)

Chapter 2 examines the impact the emergency suspensions of civil liberties has on the rule of law and civil rights. Does the emergency derogation of normal rights strengthen or weaken the rule of law which we pride ourselves on in the Western democracies?

Ignatieff takes the middle ground that suspension of rights does not destroy them or undermine the normal practice of them, indeed helps to preserve them – provided they are ‘temporary, publicly justified, and deployed only as a last resort.’

Chapter 3. The Weakness of the Strong

Why do liberal democracies to habitually over-react to terrorist threats? Why do we seem so quick to barter away our liberties? One way to explain it is that majorities (i.e. most of us) are happy to deprive small and relatively powerless minorities (in the War against Terror, Muslims and immigrants) of their rights in order to achieve ‘security’.

But our opponents have rights, too. Just as in the debate over freedom of speech, any fool can approve free speech which they agree with, it’s harder to fight for the right of people to say things you dislike or actively think are wrong. But that is the essence of free speech, that is its crucial test – allowing the expression of opinions and views you violently disagree with, believe are wrong and immoral. It is precisely these kinds of views we should make every effort to allow free expression. ‘I may not agree with what you have to say, but I will defend to the death your right to say it,’ as Voltaire famously put it.

It’s easy and uncontroversial to defend the human rights of poets and activists who protested against apartheid or communist oppression. Much harder to insist that detainees being grabbed in Iraq or Syria or anywhere else in the Arab world and flown half way round the world and who might well be members of al Qaeda or ISIL, are provided just the same level of legal representation and rights as you and me. But that is exactly the test of our commitment to human rights: whether we extend them to our bitterest enemies.

Same goes for the other elements in the system of checks and balances, namely the other wings of government, the courts and the media. The temptation and the tendency is for everybody to ‘rally round the flag’ but this is exactly the opposite of what ought to happen. The American constitution vests power in the Presidency to take extraordinary steps in times of crisis or war but that is precisely the moment when the other elements in the division of power should increase their oversight of executive actions.

In his searing indictment of America’s mismanagement of the war in Iraq, Thomas E Ricks makes just this point. The build-up to the war involved questionable evidence (about weapons of mass destruction), wrong assumptions (about the response of the Iraqi population to foreign invasion), criminal mismanagement and the complete absence of a plan for the aftermath. While describing all this in forensic detail, Ricks points out that this is precisely the point when the administration’s plans should have been subjected to intense and critical scrutiny, something which might have saved tens of thousands of lives, billions of money, untold materiel. Instead, in the atmosphere of hysterical patriotism which gripped America, Congress rolled over and approved the plans with little serious examination and the press turned into bombastic cheerleaders. Both miserably failed to live up to the roles assigned to them in a free democratic society.

In fact most of this chapter is taken up with a useful and informative history of terrorism as a political tactic, starting with the Nihilists in nineteenth century Russia, then onto the two great loci of political violence, in revolutionary Russia and Weimar Germany, before turning to post-war terrorism in Latin America (Chile, Colombia, Peru), in Sri Lanka, in Israel, before cycling back to Europe and the 1970s terrorism of the Baader-Meinhof Gang and the Red Brigades, before a brief consideration of the separatist/nationalist terrorism faced by Britain in Northern Ireland and Spain in the Basque Country.

Ignatieff’s summary from this brief conspectus is that terrorism never works, it never achieves its political aims. The Russian and Weimar regimes weren’t undone by political violence but by the cataclysm of World War One and the Great Depression, respectively. Marxist terrorism in 1970s Germany and Italy aimed to create media spectaculars and psychological tipping points whereby the population would be woken from their slumber, rise up and overthrow the repressive bourgeois state etc. Complete failure with the terrorists either committing suicide or publicly recanting.

In Latin America political terrorism either produced the exact opposite of what was intended, for example in Argentina, where it helped a repressive military junta into power. Or, as in Sri Lanka and some extent Israel, it became a stalemate that extended over such a long period of time that it became the social reality of the country, giving rise to a society characterised by random atrocities, intimidation of local populations by the terrorists, and repressive state apparatuses. The host society wasn’t liberated and transformed but permanently degraded.

Ignatieff then considers how the British, on the whole, managed the Northern Ireland situation successfully by abrogating various civil rights but under the aegis of government and judicial review.

But part of the reason his review of traditional terrorism is so enjoyable is because it’s so familiar from decades of print and TV journalism – but this itself highlights, I think, a weakness of the whole book: which is that the campaign of al Qaeda and related groups was not to achieve political change (like the Marxist terrorist groups of the 1970s) or to achieve constitutional change / nationalist independence (as with the Basques or, at the other end of the Europe, the Kurdish terrorist groups in Turkey). Those aims could both be handled in Ignatieff’s model i.e. carefully incorporated into the existing political structures.

By contrast Al Qaeda wanted to destroy the West not only as a goal in itself but as part of an even grander aim which was to undermine the contemporary world order of nation-states and re-create the historical umma, the worldwide community of Muslims that was once held together under the caliphate of the prophet Mohammed. Osama bin Laden identified America as the chief bulwark of the existing world order, especially in the Arab world, where it subsidised and underpinned repressive states. So as a first step to remodelling the world, bin Laden ordered his followers to attack Western targets anywhere, at any time.

Ignatieff was writing in 2003. We had yet to have the 2004 Madrid train bombings (193 dead), the 7/7 2005 attacks in London (56 dead), the Boston Marathon bombing on 15 April 2013 (3 dead), the 18 March 2015 attack on a beach in Tunisia (21 dead), the 13 November 2015 attack at the Bataclan theatre in Paris (90 dead), the Manchester Arena bombing on 22 May 2017 (23 dead), plus numerous other Islamist atrocities in countries further afield.

If the central aim of al Qaeda and its affiliates is to kill and maim as many Westerners as possible, it’s difficult to see how this can be incorporated into any kind of political process. And in the next chapter Ignatieff indeed concludes that the organisation itself can only be defeated militarily.

Chapter 4. The Strength of the Weak

An examination of terrorism itself.

In this chapter I want to distinguish among forms of terrorism, identify the political claims terrorists use to justify violence against civilians, and propose political strategies to defeat them (p.82)

Ignatieff considers terrorism the resort of groups who are suppressed and oppressed, who have no voice and no say in the power structures which rule over them. He gives a handy categorisation of six types of terrorism:

  1. insurrectionary terrorism aimed at the revolutionary overthrow of a state
  2. loner or issue terrorism, aimed at promoting a single cause
  3. liberation terrorism, aimed at the overthrow of a colonial regime
  4. separatist terrorism, aiming at independence for a subordinate ethnic or religious group within a state
  5. occupation terrorism, aimed at driving an occupying force from territory acquired through war or conquest
  6. global terrorism, aimed not at the liberation of a particular group, but at inflicting damage and humiliation on a global power

With the last one sounding like it’s been made up to describe al Qaeda-style hatred of America.

Terrorism presents a classic challenge for liberals, who have traditionally been on the side of the underdog and oppressed minorities, from the early trade unions to blacks under apartheid, and so often have an instinctive sympathy for the social or political or economic causes of terrorism but who, obviously, want to stop short of supporting actual acts of violence. Where do you draw the line?

Ignatieff says the only practical solution is to ensure that the oppressed always have peaceful political means to address their grievances. Purely military means cannot solve terrorism. It requires political solutions, above all bringing the voiceless into peaceful political processes. He doesn’t mention it but I think of how the warring factions in Northern Ireland were cajoled into joining a political ‘peace process’ which promised to take seriously the concerns of all sides and parties, to listen to all grievances and try to resolve them in a peaceful, political way.

Mrs Thatcher said ‘we do not talk to terrorists’ but, rather as with free speech, it is precisely the terrorists that you should be talking to, to figure out how their grievances can be addressed and the violence be brought to an end.

Thus even if al Qaeda’s values come from completely outside the modern framework of human rights, even if they base themselves on Islamic traditions of jihad and unrelenting war against the infidel, even if they cannot be reasoned with but only crushed militarily, this doesn’t prevent Ignatieff making the obvious point that we in the West can still bring pressure to bear on many authoritarian Arab regimes to try and remove the causes of grievance which drive young men into these causes. These would include overt American imperialism; repressive police policies which enact brutal violence and deny human rights; lack of pluralistic political systems i.e. which allow subaltern voices a say and some influence. And so on (pages 99 to 101).

The weak and oppressed must be given a peaceful political alternative that enables them to rise up against the violence exercised in their name. (p.106)

The Arab future

Trouble is, a lot of this kind of hopeful rhetoric was claimed for the movements of the so-called Arab Spring of 2011, when authoritarian regimes were overthrown in Libya, Egypt and nearly in Syria. Just a few years later it was clear that the ‘spring’ comprehensively failed: an even more authoritarian regime was in place in Egypt, Libya had split into warlord-run areas and a ruinous civil war had bedded down in Syria which would pave the way for the rise of ISIS.

Personally, I think the countries in that part of the world which aren’t lucky enough to be sitting on vast reserves of oil will be condemned to perpetual poverty and conflict, because of:

  • the lack of traditions of individual civic responsibility and the complex matrix of civil society organisations which make the Western countries stable as politically stable as they are;
  • as the main offshoot of the above – universal corruption
  • the entrenched political tradition of strong rulers invoking ethnic nationalism or Islamic models of rule or both (Nasser, Gaddafi, Saddam)
  • what Ignatieff calls ‘the corruption and decay of the Arab and Islamic political order’ (p.152)
  • the economic backwardness of most Arab countries i.e. preponderance of subsistence agriculture
  • widespread lack of education
  • marginalisation / lack of education or political rights for women
  • the extraordinary population explosion (when I first visited Egypt in 1981 it had a population of 45 million; now it’s 110 million) which ensures widespread poverty
  • and now, the speedy degradation of the environment by climate change (loss of water and agricultural land)

One or two of these would be tricky challenges enough. All of them together will ensure that most countries in the Arab world will remain breeding grounds for angry, aggrieved and unemployed young men who can be persuaded to carry out atrocities and terrorist acts against domestic or Western targets, for the foreseeable future.

Chapter 5. The Temptations of Nihilism

This chapter addresses the way that, in the absence of peaceful talks, terrorist campaigns tend to degenerate into destruction and killing for their own sake, as does the behaviour of the authorities and security services set to combat them. Tit-for-tat killing becomes an end in itself. Violence begets violence in a downward spiral.

This is the most serious ethical trap lying in wait in the long war on terror that stretches before us. (p.115)

Ignatieff realises that this well-observed tendency can be used by opponents of his notion of ‘the lesser evil’ i.e. the moderate and constantly scrutinised, temporary abrogation of human rights. Their argument goes that what begins as a high-minded, carefully defined and temporary ‘abrogation’ of human rights law has so often in the past degenerated into abuse, which then becomes standard practice, becomes institutionalised, and then causes permanent damage to the democracies which implemented it.

As you’d expect, Ignatieff meets this claim by breaking the threat down into categories, and then analysing them and the moral problems and issues they throw up.

First, though, he starts the chapter with some low-pressure, enjoyably colourful discussion of Dostoyevsky’s novel, The Possessed – which describes a terrorist group which takes over a remote Russian town – and then of Joseph Conrad’s novel, The Secret Agent, which features a nihilistic character named the Professor, who walks round London with an early version of a suicide vest.

Part of the chapter addresses the practical, administrative problem of preventing anti-terrorist campaigns from descending into violence. But, as mention of the novels suggest, he also explores (as far as anyone can) the psychology of the nihilistic terrorist i.e. people who just want to destroy, for no purpose, with no political aim, for destruction’s sake.

It can be an individual who wants to make a name for themselves through a spectacular, for example Timothy McVeigh who carried out the 1995 Oklahoma City bombing that killed 168 people and injured 680. Lone actors like this are always going to be very difficult to detect or deter.

Then he discusses the Japanese doomsday cult known as Aum Shinrikyo which carried out the deadly Tokyo subway sarin attack in 1995, killing 13 commuters, seriously injuring 54 and affecting 980 more. Terrorists who (claim to) represent an ethnic or nationalist cause can, in principle, be negotiated with for at least two reasons: one is that negotiations may hold out the hope that some at least of their goals may be achieved; the other, is that, insofar as they represent an ethnic group, a population, this population can be worked on to reject the group or moderate its behaviour.

With single actors or death cults, levers of negotiation and bargaining are obviously absent. Having established the key characteristics of these kinds of actors, Ignatieff moves on to a detailed consideration of al Qaeda. In his view it has twisted Islamic teachings so completely as to become a death cult. The 9/11 bombers didn’t leave demands or any way to negotiate – they just wanted to strike a blow at the West, specifically America, and that meant killing as many Americans as possible.

His analysis is on the brief side (there are, obviously, hundreds of books about bin Laden and al Qaeda) but, as usual, throws up fascinating insights and ideas. a) It is impossible to negotiate with a suicide bomber because being negotiated out of detonating is, by definition, a failure of the mission they’ve taken on.

b) More subtly, an organisation that sets out to use suicide bombing as a strategy cannot fail because it has no defined, workable political goals or aims. Bin Laden’s aim of clearing Westerners out of Arab lands, overthrowing the existing Arab states, recreating the 7th century caliphate and implementing Sharia law in full, is not a practical programme, it is a utopian millennarian vision. It is so impractical, it is such a long-term and enormous goal, that true believers can’t, in a sense, be demoralised.

c) And this is where the promise of immortality comes in. Once true believers are promised direct entry into heaven, they have ceased to be political actors and, in this narrow sense, Ignatieff defines them as fanatics.

He adds a distinct and fascinating idea which is that all death cults, and most terrorist groups, have to have a theory which discredits the idea of civilian innocence. Obviously blowing up a load of people going to work in their offices is murder. So, just as obviously, terrorists who do it have been re-educated or indoctrinated not to see it that way. The most basic route is for their ideological leaders to persuade them that nobody is innocent; that so-called ‘civilians’ are as guilty as the acts of repression or infidelity or murder as the armies or forces of their countries.

The Algerian National Liberation Front used this defence to justify blowing up cafes full of civilians as part of their ‘war’. Scores of other terrorist groups use the same justification, erasing the difference between the soldier (a figure defined and attributed specific rights and responsibilities under international convention going back at least as far as the Geneva Conventions) and the civilian (who, under human rights law, is not responsible in warfare and should not be a target).

But this works both ways. For when terrorists are embedded in local populations, emerging to ambush soldiers then disappearing back into the crowd, a tendency develops for those soldiers to come to hate the civilian population and take out their anger and frustration on them. Happened in Vietnam (My Lai etc), happened in Iraq (Haditha etc). And of course all such breakdowns of military discipline it play into the terrorists’ hands by getting the population to move over to support them. That’s why terrorists work hard to trigger them.

So, blurring the difference between soldier and civilian can be practiced by both terrorist and security forces and always heads in the same direction, towards ever-growing atrocity and massacre. Eventually both sides are murdering unarmed civilians, as happened in Bosnia and Kosovo.

Something which distinguishes us from the terrorists is that liberal democracies put huge value on human life, and this particularly applies to civilian human life. Therefore the kinds of massacres which US troops carried out in Vietnam and Iraq sully the reputation and undermine the meaning of liberal democracy itself. I.e. they drag us closer to the indiscriminate violence of our enemies.

These pictures of fanatical death cults are by way of preparing the way for the second half of the chapter which moves on to try and define precisely when two anti-human rights tactics may be used, namely selective assassination and torture. Ignatieff is not an absolutist or civil libertarian i.e. he reluctantly admits that, in addressing the kind of nihilistic fanatics he has described, assassination may be the only way to eliminate people you can’t bargain with, and that extremely ‘coercive’ interrogation may be necessary to extract information from fanatics which may save lives.

This is a detailed discussion of contentious issues, but the bottom line is Ignatieff things they may be permitted, but so long as his basic criteria are fulfilled, namely that they are a) approaches of last resort, after all else has been tried b) and that some kind of independent judicial review or oversight is in place. It is when these kind of policies turn into secret death squads that a rules-based liberal democracy starts to be in trouble.

Ignatieff repeats some familiar objections to torture, namely that it simply doesn’t work, that it produces intense hatred which can motivate those who survive and are released into going on to carry out atrocities, and it degrades those tasked with carrying it out. There’s evidence of post-traumatic stress disorder suffered by American operatives tasked with torturing during the War on Terror.

Typically, Ignatieff adds another point I’d never considered which is that there is a slippery slope from torture to plain murder. This may be for two reasons: the tortured may be converted by the process into such inveterate enemies of the state that their interrogators realise they will never be rehabilitated; and, more sinisterly, the torturers realise they can never release their victims because they themselves, will eventually be implicated i.e. the truth will out. Therefore it’s easier all round just to bump them off. Hence the ‘disappeared’ in South American dictatorships, all those detainees who, after extensive torture, were taken out in helicopters and thrown into the sea. Torture doesn’t just not work, create new enemies and degrade the torturers – it creates a problem of what to do with the tortured? A downward spiral all the way.

Chapter 6. Liberty and Armageddon

The book ends with a bleak discussion of what may happen as and when terrorists acquire weapons of mass destruction i.e. terror attacks on a devastating scale. Are our democracies strong enough to withstand such attacks? How can we strengthen our institutions to ensure that they are?

Ignatieff has a number of suggestions about how to prevent the proliferation of terrifying WMDs. But he comes back to his fundamental position which is that the way to defend and strengthen liberal democracies in the face of increased terrorist threats is to make them more liberal and democratic, not less.

Other thoughts

1. Internecine killing

The text is continually spinning off insights and ideas which I found distracted me from the main flow. For example, the notion that every terror campaign, sooner or later, with complete inevitability, ends up terrorising and killing people on their own side – moderates and ‘sell-outs’ and anybody in their ethnic group or repressed minority who threatens to engage in political discussion with the oppressors. In a sense, moderates are more threatening to a terrorist group than their overt enemy, the repressive state, which is why so many terrorist groups end up killing so many people on their own side (p.104).

2. The threshold of repugnance

The savagery of the Algerian fighters for independence in the 1950s left a permanent scar on the national psyche of all concerned so that when, 30 years after independence (1962) in 1992, the ruling elite disallowed an election which would have given power to the new radical Islamist party, the country very quickly descended into a savage civil war, with Islamic terrorists and government security forces both murdering unarmed civilians they considered guilty of aiding their opponents.

Both sides, with generational memories of the super-violence of the struggle for independence, invoked it and copied it in the new struggle. There was little or no threshold of repugnance to deter them (p.105). Violent civil wars set new lows of behaviour with after-comers can then invoke. The whole process ratchets ever downwards.

3. The world is watching

There’s plenty of evidence that if a movement judges that it needs the help of the outside world (of the ‘international community’ which Ignatieff is so sceptical about in his previous books) then it will tailor its behaviour accordingly. It will, in other words, try to restrain violence.

The African National Congress knew it had strong support across the Western world and put its faith in international pressure eventually bringing a settlement, so that its political leaders (and its defenders in the West) chose to play down the violence of the movement’s activist wings (which, as per rule 1, above, were mostly directed against their own i.e. the black community, witness the invention and widespread use of ‘necklacing).

In other words, the international community counts. It can exert pressure. It can use its leverage to turn liberation movements away from terrorist methods. Up to a point. As long as the movement is well organised, as the ANC was and is. At the other extreme is the Revolutionary United Front (RUF), little more than a rag-tag band of psychopaths, who led an 11-year ‘civil war’, little more than a campaign of terror against their own populations (as described in stomach-churning detail in Anthony Loyd’s book, ‘Another Bloody Love Letter’). They had nothing whatsoever to gain from outside influence except being shut down. So with nothing to lose, they continued their killing sprees for 11 long years (1991 to 2002).

At the other end of the organisational scale, Russia was able to carry out atrocities and conduct a war of total destruction in Chechnya because they know no-one was looking (it was almost impossible for foreign journalists to get in) and nobody cared (it wasn’t a location of strategic significance, no oil, none of the racial discrimination the West gets so worked up about) so mass murder proceeded with barely a ripple in the Western press.

These examples prove a general rule which is that the ‘international community’ can have some moderating influence on some insurgences, terrorist campaigns and wars (p.98).

Notes and thoughts

This is a complex and sophisticated book. The language of human rights often segues into discussion of particular conventions and international declarations in such a way that to really follow the discussion you have to be pretty familiar with these documents and laws and rules.

I also found some of the political concepts which Ignatieff routinely throws around quite obscure and unfamiliar – communitarianism, the conservative principle, adversarial justification, the decision cycle and so on.

I got along with his first political book, ‘Blood and Belonging’, very well. Ignatieff began his discussions with detailed descriptions of the political situations in half a dozen countries, giving plenty of colour and a good feel for the place, its history and issues and people, before getting on to the philosophical discussion, and only applied a handful of relatively simple ideas in order to shed light on the nationalist conflict he was covering.

This book is the opposite. It is sustained at a high academic level, continually introducing new concepts and making fine distinctions and drawing subtle conclusions, with only passing reference to real world examples. It sustains a level of abstraction which I eventually found exhausting. I wasn’t clever enough, or educated enough in the concepts which Ignatieff routinely throws around, to really make the most of it. Probably the best way to read it is one chapter at a time, going back and working through the logic of his argument, chewing over the tumble of clever conclusions. It’s certainly the most demanding of Ignatieff’s half dozen politics books.

Seven days later

Having pondered and revisited the book for a week, maybe I can offer a better description of how the text works. The best bits of ‘Blood and Belonging’ were where Ignatieff shed light on the psychology of different types of nationalism (especially the crude sort of ethnic nationalism which so quickly degenerates into violence).

The same is true here, as well. The best bit about, say, the chapter on nihilism, is Ignatieff’s categorisation of different types of terrorist psychology, and then his exploration of what each psychology is, how it comes about and works in practice. This is fascinating and hugely increases the reader’s understanding, especially when he applies the categories to real historical examples.

What I found harder going, where I think the book comes adrift, is when he moves on to discuss how ‘we’ in liberal democracies ought to deal with the new post-9/11 terrorism threat. It’s at this point, throughout the book, that he keeps using his concept of ‘the lesser evil’ i.e. we should, temporarily, and with supervision by some kind of objective person like a judge, abrogate some of our treasured human rights in some circumstances, where it’s absolutely necessary – it’s these passages, and the entire concept of ‘the lesser evil’, which I sometimes struggled to understand and never found completely clear or convincing.

Ignatieff’s categorisations and definitions of types of society or politics or terrorism, and his descriptions of the psychologies behind them, I found thrilling because they’re so incisive and instantly clarified my own thinking; whereas his discussions of the ‘morality’ of the political response to terrorism, I found confusing and unsatisfactory.


Credit

The Lesser Evil: Political Ethics in an Age of Terror by Michael Ignatieff was published by Vintage in 2004. All references are to the 2005 Edinburgh University Press paperback edition.

New world disorder reviews

The Warrior’s Honour: Ethnic War and the Modern Conscience by Michael Ignatieff (1998) – 2

‘What is more human than war?’
(Michel Ducraux, head of the Red Cross delegation in Kabul)

Chapter 3. The seductiveness of moral disgust

This rather pompous chapter title conceals something much more simple, which is: Don’t give up on trying to help the victims in disaster zones just because you’ve become disgusted by the endless stories of brutality and barbarism fed to us by the daily news. Or: avoid becoming disillusioned.

Ignatieff describes how, for the first four or so years after the collapse of communism, there was a lot of brave talk in Western diplomatic, academic and media circles about the ‘peace dividend’ and the ‘new world order’. Those years saw the ‘international community’ energetically intervening in crisis situations around the world – overseeing elections in Cambodia, throwing Saddam Hussein out of Kuwait, creating a safe haven for the Kurds, attempting to end the civil war in Somalia, the UN intervention in Bosnia.

There was hope that the huge budgets of Western nations previously devoted to armaments would be redirected into foreign aid and their own people, the so-called ‘peace dividend’. But now, as he writes in 1998, the early ’90s feel like a vanished era and he describes how the optimism from that period collapsed under the impact of a series of failures and disasters, most notably the Yugoslav wars and the Rwandan genocide (pages 89 to 91).

So this chapter considers how to keep the cause of international humanitarian intervention alive, and how to make it more practical and effective.

I. On the road with Boutros Boutros-Ghali

The first half of the chapter is an account of a fascinating week Ignatieff spent as a member of the small press pack accompanying United Nations General Secretary Boutros Boutros-Ghali (who held the position from January 1992 to December 1996). Boutros had had a big impact on the institution: when he took over, the UN had 4,000 peacekeepers worldwide; three years later it had over 70,000.

Thursday 13 July 1995: On the plane heading south from Cairo. Srebrenica has fallen, the Dutch UN peacekeepers have been taken hostage, Muslim men have been separated from their women and driven off never to be seen again. Ignatieff cross-questions Boutros who insists the UN has done as much as it could. If they had not been in Yugoslavia things would have been even worse. They have set up refugee camps. But when it comes to intervening in actual conflict, the UN are not fighters but negotiators and you have to wait till parties are ready to come to the negotiating table.

Friday 14 July 1995: Nayarubuye, Rwanda. The town whose surviving inhabitants have decided to leave the dead unburied as a memorial to the genocide. Fergal Keane was shown round it in his 1995 book Season of Blood. Ignatieff says the UN force in Kigali could have done more. The genocidal militias were spurred on by Radio Milles Collines; the UN contingent could have shut it down. Machete-wielding gangs roamed the streets of Kigali; UN tanks could have stopped them. The reduced UN contingent did set up a safe haven at the soccer ground and protected the famous Hotel Rwanda, but then was forced to stand by and watch three months of genocide take place before their eyes. It was an epic fail by any standard. Now, one year later, key members of the genocidal regime are in the vast Hutu refugee camps in eastern Zaire, where they are being housed and fed by the same UN which failed to prevent the genocide.

Saturday 15 July 1995: Luanda, Angola. Boutros flies in to check on the ceasefire agreement between Jonas Savimbi’s UNITA rebels and the government of Eduardo Dos Santos. In the twenty year civil war half a million people died and an oil-rich country full of potential was turned into a wasteland. Now the UN tries to keep the peace in this ruined land.

The United Nations has become the West’s mercy mission to the flotsam of failed states left behind by the ebb tide of empire. (p.79)

Ignatieff notes that the UN has had to step in and administer failed or stricken states. He names Mozambique, El Salvador, Haiti, Namibia and Cambodia, to which we, in 2021, could add Iraq, Syria, Libya, and let’s see what happens next in Afghanistan. After meeting with President dos Santos, Boutros and his entourage fly to the jungle base of the guerrilla leader Savimbi. The two men embrace. Diplomacy means dealing with murderers, in fact that’s what UN diplomacy largely is. The whole point is you can’t afford to be squeamish.

The family of nations is run largely by men with blood on their hands. (p.82)

Sunday 16 July 1995: Gbadolite, Zaire. Boutros, his team and the little pack of journalists which includes Ignatieff flies to the vast luxury jungle complex of President Mobutu. He keeps them waiting then arrives in a limo with entourage and charms everyone. Then smoothly promises Boutros he will not harm the Hutu refugees in their huge camps in eastern Congo. Three weeks later he breaks his promise and his troops start emptying the camps using whips and guns. [I’m not sure this is correct. All the other sources I’ve read claim that Mobutu supported and maintained the Hutu refugees. But maybe Ignatieff is referring to one particular event in what was a very confused situation, in the refugee camps, and which went on for years.]

Monday 17 July 1995: Bujumbura, Burundi. Burundi is a kind of mirror image of Rwanda. It, also, is split in this great ethnic divide between Hutus and Tutsis, but instead of the Hutu majority being in power (as was in the case in Rwanda, leading up to the genocide) it is the Tutsi minority who are in power.

Forced by the ‘international community’ to hold genuine elections (as most third world countries were, after the end of the Cold War), in 1993 Burundi finally elected a Hutu president, Melchior Ndadaye, its first ever Hutu. But his reforms antagonised soldiers in the Tutsi-dominated army and he was assassinated in a failed military coup in October 1993. This led to the Burundian civil war, in reality a series of massacres around the country, which dragged on for years and in which an estimated 300,000 people were killed. Ignatieff pays tribute to a remarkable man, which is worth recording:

To stop Burundi from disintegrating, the secretary-general appointed a special representative, Ahmed Ould Abdallah, an indefatigable fifty-five-year-old Mauritanian diplomat, who bears himself with the imperiousness of a Saharan chieftain. In April 1994, on the night that the plane carrying the presidents of Rwanda and Burundi was shot down over Kigali airport, Abdallah went on radio and television to prevent false rumours from precipitating a bloodbath. He sat up all night with the army chief of staff, phoning the local commanders and ordering them to remain in barracks. Most observers credit Abdallah with saving Burundi from the genocidal frenzy that overtook Rwanda next door. (p.85)

Ignatieff describes Abdallah as being on the phone all the time to local politicians, instructing them to keep a lid on things. He, personally, goes out on the streets, meeting the leaders of militias in ethnically cleansed towns, telling them to curb the violence or they will all be swept away. It’s a portrait of remarkable bravery. As always Ignatieff is interested in the theory or principle behind events, and sees in Abdallah a form of ‘preventative diplomacy’.

Ignatieff sits in on the meeting Boutros chairs with the country’s political elite. Tutsis and Hutus sit on opposite side of the table and won’t look each other in the eye. One by one they retell their long stories of grievance and offence: the Tutsis did this to us; no, the Hutus did this first. It is the behaviour of five-year-olds in a playground. Boutros waits till the end, then harangues them, telling them they are grown-ups, they are politicians, and the art of politics is compromise. You talk, negotiate and compromise with people from the other side; you don’t try to exterminate them.

II. The limits of UN power

That evening in the hotel Ignatieff interviews Boutros. Doesn’t he ever get tired of all this? Doesn’t he yield to ‘The seductiveness of moral disgust’? (So that’s where the chapter title comes from, p.88.)

Boutros has an important message. He tells the leaders of all these screwed-up countries that the ‘international community is watching them’ and monitoring their behaviour, but he adds an important rider. The United Nations will not save them (p.87). He manages down their expectations. Lots of leaders think they can behave like petulant children and the UN will somehow fly in and rescue them from the consequences. But in reality the UN is much more powerless than it seems, tied to ‘mandates’ which are thrashed out by the Security Council. When even the most liberal power in the world, America, refused to let UN forces in Kigali intervene in the Rwandan genocide, then you realise how impotent it is.

In reality, all the UN can do is try to steer opposing forces to the negotiating table. They are Relate for countries mired in civil conflict – but in order to change, the forces in a country have to want to change. The UN can broker deals and then it can police what was agreed – but the conflicting parties have to agree to want to make a deal in the first place. Boutros gives the Israelis and Palestinians as an example. How long did it take to get them to the peace table?

All this confirms Ignatieff’s belief that ‘that exalted fiction, the international community’ doesn’t really exist (p.88). It is a convenient fiction for all involved.

III. Maybe we should be more imperialistic

Ignatieff describes how, by 1995, the euphoria and optimism which followed the collapse of communism has evaporated. He reflects that the problem of the various foreign interventions of the past 5 years has been that they were too half-hearted. The West is hobbled by post-imperial guilt. We lob a few shells at the bad guys then withdraw, expecting things to get better, but by and large they only get worse. For such a card-carrying liberal, Ignatieff surprises the reader by asserting that maybe we need to be more imperial, more interventionist and more assertive.

What if General Schwartzkopf had been made the MacArthur of Iraq, toppling Saddam and given free rein to rebuild Iraq as MacArthur rebuilt Japan? What if America had responded to the Black Hawk Down incident in Mogadishu with full throttle aggression, had defeated the warlords or dragged them to the negotiating table, and were now policing the UN-supervised reconstruction of the country? What if NATO had responded immediately to the Serbian uprising in Bosnia in 1992 with air strikes and an aggressive ground campaign, which had prevented the creation of new concentration camps, ethnic cleansing, the long agony of Sarajevo and the massacre at Srebrenica? (p.94)

The West maintains the arrogant assumption that we know best, and reserves the right to intervene where and when we see fit, but then always does so a) too late and b) half-heartedly, withdrawing as soon as anyone gets shot or public interest wanes and moves onto the next disaster somewhere else.

IV. Disillusion and disgust

So now we get closer to the core of his argument. Ignatieff thinks he detects a new mood of disillusion throughout the diplomatic community which has spread to some of the aid workers. What’s the point? What’s the point applying sticking plasters to countries whose leaders are hell-bent on mass murder and social destruction? So this chapter amounts to Ignatieff wondering aloud whether the entire project of Western intervention has reached the end of its tether or needs to be rethought.

V. Ideologues of disillusion

Ignatieff describes this wave of disgust and disillusion as if it’s a tide washing over the Western world and goes on to mention two of its leading thinkers or idealogues (definition: ‘Someone who espouses a particular ideology, particularly a political one’), namely Samuel Huntingdon and Robert Kaplan.

Samuel Huntingdon

Samuel Huntingdon (1927 to 2008) was an American political scientist, adviser, and academic who spent over half a century teaching political science at Harvard University, as well as spells advising the governments of South Africa and Brazil. He became famous among the chattering classes for his 1996 book, The Clash of Civilizations and the Remaking of World Order. This predicted that, with the end of communism, global conflict would in future be caused by clashes between ‘cultural’ forces, by which he meant religious and ethnic blocs. He predicted that the Western world would find its most severe antagonist in the Islamic world. Most liberals pooh-poohed this idea as reactionary until 9/11 turned the world upside-down and gave his ideas renewed popularity.

Huntingdon took a relativistic view of human rights and democracy, seeing them as achievements of Western civilisation which were not necessarily appropriate to other cultures. Therefore, foisting our values on other countries and cultures was not only morally wrong but a practical mistake.

Western belief in the universality of Western culture suffers three problems: it is false; it is immoral; and it is dangerous.

Ignatieff was writing very soon after Huntingdon’s book was published and takes strong issue with it. Huntingdon appears to be saying this kind of civilisational clash is fated and predestined whereas Ignatieff very strongly disagreed. For Ignatieff, the whole point of Yugoslavia and Rwanda is not that they were fated, but that specific rulers chose to whip up ethnic nationalism in order to stay in power. The creation of civic nationalism was a realistic alternative for these countries but specific leaders chose to neglect that path. At the opening of chapter 2 Ignatieff ridicules Huntingdon’s idea that the war in Croatia was a ‘clash of civilisations’ by reducing it to absurdity, saying that Huntingdon’s theory implies that there is some kind of invisible line between the farmhouse full of Serbs that he (Ignatieff) is holed up in and the farmhouse full of Croats 250 yards away, and that this represents the borderline ‘between civilisations’.

Robert Kaplan

In February 1994 i.e. only a year or so before Ignatieff began writing his book, American journalist Robert D. Kaplan published an article in the Atlantic Monthly titled ‘The Coming Anarchy’. He had been on a tour of West African states and had seen for himself the anarchy and chaos in many of them (Liberia, Sierra Leone) and the example of the failed state Somalia on the opposite coast.

Kaplan predicted that, with the end of the Cold War, conflict of ideology would be replaced by conflicts caused by multiple overlapping causes, a congeries of causes which would be difficult to disentangle and impossible to control (p.98), namely:

  • environmental deterioration would bring ever-increasing conflict over resources
  • impoverished rural populations would migrate to cities, creating huge unstable urban areas liable to splinter along ethnic or cultural lines
  • cultural or ethnic groupings would supersede political borders, creating regions of conflict which cross traditional borders
  • the post-modern world would be a confusion of cross-cutting identities, systems and allegiances

Ignatieff summarises Kaplan’s view as predicting that future conflicts won’t even be dignified by the phrase ‘civil war’; they will ‘wars of disintegration’, fought over drugs, resources, control, power – a return to pre-modern warlordism. The West and its economically advanced partners in Asia (Korea, Singapore, the advanced parts of China) will go from strength to strength, leaving vast areas of the globe to become ‘subrational zones of semipermanent violence’ (p.98).

Ignatieff doesn’t explicitly counter Kaplan’s vision. On paper he ought to be against it because Kaplan, like Huntingdon, has such a fatalistic tinge. But Ignatieff summarises his view simply as the most famous representative of what can be called the modern chaos theory.

Three questions

Instead Ignatieff ends this essay by asking three questions in light of the Bosnian war:

  1. When is it necessary for outside powers to use military force in civil wars?
  2. When is it right to back a minority’s claim to secede from a state?
  3. How can civilian populations be protected from the consequences of civil wars?

Trying to define answers to these questions turns out to be very tricky in the context of the complexity of the Yugoslav wars, but one theme emerges. Half-assed intervention may do more harm than good. The UN supplying food to refugees of both sides may have encouraged both sides in the war to fight on. Claiming to provide ‘safe havens’ which turned out to be anything but, was arguably very harmful. The West took food to the besieged population of Sarajevo but did nothing to counter Serb aggression and allowed the Serbs to bomb Sarajevo into ruins for four long years! Then again, sending in limited numbers of UN troops to try and monitor ceasefire lines and so on, often only let them become hostages to the enemies. Once UN peacekeepers were in place, more aggressive intervention, such as air strikes, became impossible because the Serbs would have massacred or taken the UN troops hostage.

To summarise:

The chief threat to international security in the post-Cold War world is the collapse of states, and the resulting collapse of the capacity of civilian populations to feed and protect themselves, either against famine or interethnic warfare. In a world in which nations once capable of imperial burdens are no longer willing to shoulder them, it is inevitable that many of the states created by decolonisation should prove unequal to the task of maintaining civil order. Such nations have achieved self-determination on the cruellest possible terms. Either they are torn apart by ethnic conflict, or they are simply too weak to overcome the poverty of their people. (p.105)

What is needed is a more imperial approach, by which Ignatieff means a really long-term commitment to bring peace and then spend decades rebuilding a state with the kind of civic institutions we enjoy in the West. But this, also, is fraught with risk and probable failure. It may be that peoples in a failing state come to hate each other so much that only a third force can enter and hope to restore peace and order. But the experience of colonialism is that quite quickly both sides will unite against the peacekeeper. After all this is what happened in Northern Ireland where the British Army initially went in in 1969 to protect the Catholic community from attacks by Loyalists. But they hadn’t been there very long before a sequence of incidents led the Catholic community to hate their presence and there followed nearly 30 years of violence on all sides.

(And of course Ignatieff was not to know it, but the Americans were to try follow his admonition to be more, not less, imperialistic, in both Iraq and Afghanistan a few years after this book was published with what is generally agreed to be disastrous results. In Iraq overthrowing the dictator turned out to be the easy part while trying to create a peaceful civil society proved impossible, as the country collapsed into waves of religious and ethnic insurgencies. In Afghanistan, we have just seen the result of twenty years and over a trillion dollars’ worth of investment, which is that the ‘state’ everyone involved claimed to have created was overthrown in less than a week by the Taliban whose theocratic rule has been restored to what it was before 9/11. So that, after all that effort, Afghanistan remains one of the poorest, least educated places on earth.)

Ignatieff thought the West was ‘disgusted and disillusioned’ by its failed attempts to intervene in civil wars, keep the peace and try to build nations, back in 1998. I wonder what his position is now?

Chapter 4. The Warrior’s Honour

The Red Cross

This is the longest chapter in the book and gives it its title. It opens with a long factual account of the origin of the International Red Cross, starting with Swiss businessman Henry Dunant witnessing the Battle of Solferino on 24 June 1859, and then volunteering to help treat the tens of thousands of casualties which clogged the town in the aftermath of the battle. He returned to Switzerland, dazed by what he had seen, began consulting with experts in the areas of medicine and law, war law, and in 1863 the founding charter of the Red Cross was published in Geneva.

Ignatieff follows the Red Cross’s history through the cataclysms of the twentieth century, showing how rules and processes were added, the most important being the organisation’s studied impartiality, bolstered by the way that the entire international committee remained Swiss until relatively recently, and  its commitment to secrecy i.e. it has historically refused to turn over details of participants in war crimes etc to various international courts, because doing so would jeopardise its ability to operate in future warzones.

It comes over several times that the International Red Cross does not pursue justice and it does not campaign for human rights. Its job is to police the laws of war. It polices the implementation of the Geneva Codes. As Wikipedia explains:

The Geneva Conventions are rules that apply only in times of armed conflict and seek to protect people who are not or are no longer taking part in hostilities. These include the sick and wounded of armed forces on the field, wounded, sick and shipwrecked members of armed forces at sea, prisoners of war and civilians.

The International Red Cross’s central aim is to be ‘the guardian of the rules’. In practice, as the Red Cross representative in Kabul tells him, this means trying to calmly convey to warlords and militias the basic rules of war:

  • do not shoot the wounded
  • do not fire on ambulances
  • do not target hospitals
  • do not attack civilians
  • do not torture prisoners

As Ignatieff summarises:

The Geneva Conventions are not about justice but about good treatment. (p.193)

And this is because:

Dunant’s original genius lay in his acceptance of war as an essential ritual of human society, which can be tamed but which will never be eradicated. (p.156)

After all, the modern doctrine of human rights is relatively recent (the Universal Declaration of Human Rights was published in 1948) whereas warrior codes go back thousands of years.

The warrior’s code

Dunant knew from the start that his organisation’s principles of care for the victims of conflict, no matter what their origin, ethnicity or involvement, would not be enough to guarantee its future. Dunant knew he would also have to rely on the warrior’s code.

Ignatieff explains that almost all soldiers across all cultures, across all periods, have had codes of honour, codes they operated by. Just being a mighty fighter has never been enough. In general soldiers, whether Samurai or native Americans or Aztecs or medieval knights, have operated by agreed codes of behaviour. He explains how the Red Cross has played along with these warrior codes in various situations, matching its humanitarian aims (to protect the wounded and treat the sick) with the nearest thing available in the warrior codes of the culture it found itself in.

Four criticisms

However, things have changed and not for the better. Ignatieff’s account continues into a detailed consideration of the role played by the Red Cross in the Yugoslav wars when the organisation came under real stress. Both the Croat and Serb governments licensed the creation of paramilitary militias to carry out ethnic cleansing which their parent governments, and armies, could then deny responsibility for (p.133). As part of this freedom from responsibility, lack of constraint by the Geneva Conventions, some of them attacked Red Cross convoys. Red Cross delegates were killed.

1) So in the new world disorder, in the chaos of these ‘ragged wars’, the warrior’s code is decaying and being ignored.

But there is another critique, 2) which is the Red Cross’s impotence in the face of slaughter. The Red Cross arrived too late to help the inhabitants of Vukovar. The Red Cross were powerless to prevent the massacre at Srebrenica. Red Cross officials were traumatised to discover the Serbs had built the first concentration camps in Europe since the Second World War near Banja Luka.

These cumulative failures made Red Cross staff and managers wonder whether the organisation was relevant any more. Or whether the nature of war has changed so much that its role and its self-imposed restrictions, need to be reconsidered (p.140).

There’s a third element, 3) the advent of a new feature of the wars of chaos, namely child soldiers. Young teenagers have fought in armies through history, but entire units of children armed with machine guns was a new phenomenon. It was most salient in Africa, especially the wars in Liberia and Sierra Leone. Here teenagers, often stoned out of their minds, lorded it over roadblocks and machine gunned people at random, including several Red Cross missions.

In both instances – the unofficial paramilitaries and the conscienceless child warriors – the warrior code which Dunant framed his organisation to rely on, was not just breached but had ceased to exist.

Finally, 4) a really basic material fact: the world is being flooded with guns. The most basic definition or function of a state is that it controls a monopoly of violence i.e. prevents violence breaking out among its citizens. But in the last thirty years the world has been flooded with super-powerful new guns, most notably the easy-to-maintain-and-handle Kalashnikov, but also rocket propelled grenades and cheap anti-aircraft rockets. Maybe all this fancy talk of international conventions and moral scruples is pissing in the wind because the unstoppable flood of guns to all the world’s trouble spots is creating an entirely new culture, and large parts of the world are going to be permanently condemned to living in an environment of over-armed paramilitaries and gangsters (p.158).

Afghanistan

So far these lessons have all been educed from Ignatieff’s experiences in Yugoslavia. In the last part of this long essay he applies the same ideas to the civil war in Afghanistan. Ignatieff tells us he flew into Kabul three days after the former communist president, Mohammad Najibullah, had been caught by the Taliban who had just taken Kabul, tortured to death, castrated, beaten to a pulp and his body dragged round the street behind a lorry before being hung from a traffic pole (27 September 1996).

Ignatieff laments that, for most of its history, Afghan warriors fought by a code, not least limited by the country’s subsistence agriculture. There was a fighting season: Afghan warriors fought after the seeds had been sown and until harvest time. There were in-built modes of restraint.

But after the Soviet invasion of Christmas 1979, the Americans poured weapons into the country and these, along with what the Soviets left behind when they abandoned the place in 1989, made it one of the most heavily armed countries on earth. Once the Soviets had gone, the mujahideen militias of this deeply tribal country fell to attacking each other, with a technology which didn’t require a winter break. By the time Ignatieff arrives, year-round fighting with bazookas and rocket-propelled grenades and mortars had reduced most of the towns and cities to rubble. Ignatieff tells us that in all the warzones he visited he had never seen such devastation as 1996 Kabul.

The latter part of the essay analyses in detail the moral basis of the Red Cross’s work. Even some of its own staff think it should take a more proactive stance on human rights. But the veterans know its mission is narrower and darker than that. Its appeal to the warrior code may be a slender basis for action, a slender hope. But cultivating it also may be all that separates war from utter savagery.

But times have changed. For most of human history states have endeavoured to secure a monopoly of violence and vest it in a specialised warrior class, ruled, as mentioned, by a warrior code. But modern technology has removed much of the interaction of ‘soldiers’ in the West, who are increasingly technicians; while the rest of the world has seen an unprecedented flood of weapons, billions of small handguns, and endless amounts of the light, cheap and reliable Kalashnikov rifle.

The result is that poor, weak, post-colonial states often cannot enforce that monopoly of violence. What state collapse means is that violence passes into the hands of private armies, militias, paramilitaries, warlords, gangsters, drug cartels and so on. One commentator has described them as ‘ragged wars’. Many of them are hardly wars at all, but conflict between criminal gangs fighting for control of drugs or raw resources, such as the precious gems and minerals of eastern Congo.

The state’s monopoly has been broken: its armouries have been ransacked and the weapons, so cheap and easy that a child can learn to kill in a quarter of an hour, have been diffused like a virus through the whole social tissue of poor societies. (p.159)

a) It is very difficult for any society to claw its way back from such total collapse.

b) None of the purveyors of violence listed above conform to any warrior code. They have not been trained in the art of restraining and channeling violence. The result is unrestrained savagery. Barbarism.

Ignatieff delivers a surprising conclusion. What the world needs is states. Before humanitarian aid, or general aid programmes or economic development, these countries need states with professional armies with trained leaders. These armies can then disarm the militias and paramilitaries and enforce a return to peace. This may mean not intervening in civil wars and letting a victor emerge naturally – then supporting them to restore the state’s monopoly on violence. Or, alternatively, if the warring sides are equally balanced, intervening on the side of right (or less wrong) to force a result and then support the winner in enforcing that monopoly of violence.

Only under these conditions can there be any hope of a return to the basic stability which is required in so many countries in the developing world, before any kind of social or economic development can take place.

Chapter 5. The nightmare from which we are trying to awake

The past is an argument. (p.174)

The final chapter is an essay on a completely different subject, namely the purpose and effectiveness of truth and reconciliation commissions. The most famous one is the one set up by Archbishop Desmond Tutu in South Africa, but there were also attempts to air dirty secrets and establish the facts about the dictatorships in Argentina and Chile.

These commissions are based on shaky propositions:

  1. That a ‘truth’ agreed by everyone can ever be achieved.
  2. That there is a direct analogy between individual psyche and national psyche so that, just as one person can be psychologically ‘healed’ by acknowledging the truth of their behaviour, so can a nation.

We know that some people can be cured of crippling neuroses or obsessions or depression or other mental symptoms if they can be made to face up to traumatic experiences from the past; if they can ‘work through’ their ‘issues’. But it’s wishful thinking to imagine the same can happen for nations. A nation is not a person, doesn’t have a ‘mind’ and an ‘unconscious’.

So truth and reconciliation commissions have obvious limits. But they do have benefits. Many people were brought ‘closure’, particularly by concrete information about what happened to their loved ones who went missing decades ago, by learning for a fact that they were tortured to death by the Chilean police or dumped out of helicopters into the sea by the Argentine air force.

Ignatieff suggests a kind of hierarchy of outcome, or a series of waystations, for these kinds of commissions, in order of attainability:

  1. Truth
  2. Justice
  3. Reconciliation

1. Truth

He draws a distinction between truth and justice.It’s one thing to get all sides to agree on a narrative of events (the ‘truth’), it’s quite another to get them to agree on an interpretation of what those events mean. After all, they’re likely to be coming from very different perspectives. Truth, for most people, depends on who they are, on their identity.

He says some international supporters of truth and reconciliation processes were disillusioned when the military in both Argentina and Chile reluctantly took part refused to accept any blame or responsibility for their own crimes; but then:

A truth commission can winnow out the facts upon which society’s arguments with itself should be conducted but it cannot bring these arguments to a conclusion. (p.173)

To be realistic, maybe the best a truth commission can achieve is to reduce the number of lies in circulation.

2. Justice

What is justice? All too often it is victors’ justice and so seen as biased by the guilty nation. Thus the Brits make a big deal out of the elaborate process of the Nurenberg Trials but Ignatieff makes the typically insightful point that many Germans dismissed these as victors’ justice. It was the trials of former Nazis that the West German government set up itself in the 1960s that had a far greater impact on German public opinion.

But ‘justice’ is always a problematic concept, and even if a definition can be agreed, all too often it is the small fry who get convicted and carry the blame while the big fish get off scot-free, thus undermining everyone’s faith in the system.

3. Reconciliation

Reconciliation is often impossible because of the identities people all-too-often create around their plights and experiences; because of how both victors and victims create narratives which entrench their status, how both sides refuse to acknowledge any guilt or responsibility, how time hardens these myths into stone. Compromise becomes impossible.

Ignatieff takes us on a whistlestop tour of such T&R commissions. These include the ones addressing the military dictatorships in Chile and Argentina, which the military of both nations took part in but ensured their scope was severely limited.

And then the glaring fact that there has never been a public admission of guilt or acknowledgment carried out in Russia. Russia was never de-Stalinised and therefore continues to bear the burden of unspoken guilt, creating two Russias, one of the hundreds of thousands of liberals and intellectuals who are well educated and ashamed of its murderous past, and the tens of millions of party members who feel no guilt about the past, who take their medals and awards to their graves, who resent the liberals as traitors and foreign agents, who play into the hands of Putin the patriotic Russian nationalist.

Summary

Some kinds of basic factual narrative can be established although all parties will argue about how to interpret and justify them. Some kinds of justice can be achieved i.e. individuals can be convicted according to the evidence in open court. But ‘reconciliation’ is a big ask and in some places, for example the former Yugoslavia, is never going to happen.

Joyce

The title of this chapter is a famous quotation from James Joyce, to be precise Joyce’s character Stephen Dedelus, a young teacher in his novel, Ulysses, tell his headmaster that: ‘History is a nightmare from which I am trying to awake.’ The character, like Joyce, was conscious of Ireland’s stifling attachment to its grievances and oppression which almost guarantee that the same situation recurs over and over again, like the recurring nightmare of a trauma victim.

The only way to awake from the nightmare is to acknowledge the trauma and try to lay it to rest. Ignatieff praises President Alwyn of Chile who publicly apologised to the victims of Pinochet’s repression, and German Chancellor Willi Brand who got down on his knees in front of a monument to the Warsaw Ghetto. These gestures by leaders set an example. They opened up a space in which millions of their fellow citizens could also come out into the open and make gestures of apology. Saying sorry opens the door for mutual forgiveness and reconciliation.

In 1970, during his visit to Poland, West German Chancellor Willy Brandt knelt at the Warsaw Ghetto Uprising memorial.

Ignatieff is full of scorn that none of the leaders of the six post-Yugoslavia states had the imagination or greatness of soul to apologise for the crimes of their nations. There were lots of roots to it, but a major cause of the Yugoslav civil wars was the small-minded, power-hungry, provincial uselessness of all the political leaders.

Reconciliation or revenge?

In the last pages Ignatieff offers a striking new interpretation of the idea of vengeance. He makes the brilliant point that vengeance is usually considered a low, dishonourable act, vulgar and crude. But it can also be interpreted as a strongly moral devotion to keeping faith with the dead, by continuing their work, by acting on their behalf. In other words, revenge can be a high, moral idea.

But of course, vengeance tends to an eternal cycle of violence as sons take revenge for their fathers who took revenge for their grandfathers, and so on endlessly, just as the Serbs and Croats of 1992 were encouraged to avenge their grandfathers of 1942. Something must break this cycle, some act of penance or reconciliation. And the first step towards that is to attain understanding of the other side and of their hurt, no matter how difficult or repugnant that might be.

Reconciliation has no chance against vengeance unless it respects the emotions that sustain vengeance, unless it can replace the respect entailed in vengeance with rituals in which communities once at war learn to mourn their dead together. (p.190)

In other words, the act of reconciliation must match and outdo the power of revenge as an honouring of and tribute to the dead.

Terminology

‘Ragged war’. A better term might be ‘criminal war’ or ‘semi-criminalised forms of war’ (p.162) but there is no one agreed term to describe the modern, chaotic conflicts which afflict places as diverse as Syria, Sudan, Sierra Leone or Sri Lanka.

Zones of safety and zones of danger (p.107)


Credit

The Warrior’s Honour: Ethnic War and the Modern Conscience by Michael Ignatieff was published by Chatto and Windus in 1998. All references are to the 1999 Vintage paperback edition.

New world disorder reviews

Masculinities: Liberation through Photography @ the Barbican (2)

I went back to the Masculinities: Liberation through Photography exhibition at the Barbican for second helpings.

I spent another hour and a half going round again, but this time ignoring all the American photographers, and concentrating on everyone else from the rest of the world, the photographers I’d largely overlooked first time round, starting with the eight Brits.

First a few general points:

1. Liberation from heterosexual white men

Going round a second time, One Big Thing became much clearer: this exhibition isn’t even an attempt to represent what you could call ordinary or everyday masculinity. I hadn’t really grasped the significance of the title. When it says liberation it means gay liberation, women’s liberation and black liberation.

Liberation from whom? From heterosexual white men.

In the 1970s women, homosexuals and people of colour spontaneously generated nationwide and worldwide movements devoted to liberating themselves from what they felt was centuries of oppression, objectification and second class citizenship created and maintained by straight white men.

The fundamental impulse of this exhibition is to show how this worked through photography, through the work of gay, black and women photographers who rebelled against the straight white patriarchy.

This is an exhibition about the social and cultural liberation of these groups from heterosexual white male hegemony through photography.

This explains why Part One of the exhibition bombards us with a series of overblown, hypermasculine images – of American soldiers in Iraq (Wolfgang Tillmans), American cowboys (Isaac Julien and Collier Schorr) and American footballers (Catherine Opie). It’s a bit more mixed up than I’m implying but this first part of the exhibition establishes the images, concepts and behaviours of aggressive white masculinity which these groups are trying to flee.

So that Part Two of the exhibition shows us how these three key constituencies of progressive ideology – gay men, black men, and straight feminist women – achieved liberation from these toxic male stereotypes.

Photography is the medium, channel, gateway and door through which gay men, black men, and feminist women escaped from the grotesque, heteronormative hypermasculinity which we are bombarded with in the opening.

Huge though the exhibition is, it is not really about masculinity – it is about the escape from masculinity.

Which, for example, explains why the entire section on FATHERHOOD featured work by just four photographers (each of them good in their different ways) and this is the same number as the section devoted to FEMINIST photographers (and there are many more feminist photographers scattered round the show).

Simple maths shows you that, for the curators, feminist liberation from the patriarchy is more important, certainly more represented here, than what you or I might think of as a pretty a central element of any concept of masculinity – fatherhood.

Then again both feminists and father photos are swamped by the sheer number of gay artists and photographers.

I counted twenty gay snappers for definite, but had the impression that there were many more. Some were so popular with the curators that they featured more than once – notably gay Indian (score double) photographer Sunil Gupta, who was represented by three separate series of photographs, hung in different areas around the show:

  • Christopher Street – street photos of gay men in New York, 1976
  • Exiles – gay men in India, often forced to hide their true sexuality, 1987
  • Pretended Family relationships – a work lamenting the way gay couples had to disguise their relationships after the Section 28 legislation was passed by Mrs Thatcher’s government in 1988

The pretty obvious conclusion is that the image of masculinity the women curators, and the art world in general, is most comfortable with, is gay men. Almost all the images of heterosexual men were accompanied by labels criticising or chastising or scolding them.

2. Liberation from American masculinity

My first review ended up lamenting the way the exhibition is dominated by American photographers, American subjects, and American academic rhetoric.

But first time round I missed the significance of a big quote printed on the wall right at the start of the exhibition. It’s from the black, gay, American (score three points) writer, James Baldwin:

The American ideal, then, of sexuality, appears to be rooted in the American ideal of masculinity. This ideal has created cowboys and Indians, good guys and bad guys, punks and studs, tough guys and softies, butch and faggot, black and white. It is an ideal so paralytically infantile that it is virtually forbidden – as an unpatriotic act – that the American boy evolve into the complexity of manhood.

This is the Key Quote, right at the start of the exhibition, and it clearly signals the extent to which the curators really, deeply, and profoundly see the entire condition of masculinity through American eyes.

I read that quote and simply thought, well, this ‘American ideal of masculinity’ may have been a deeply problematic issue for Baldwin, for other Afro-American men, for other American gay men, and for a large number of American women who have to put up with it… But it has absolutely nothing to do with me’.

When I was a boy I wanted to be Michael Caine in The Battle of Britain or Richard Burton in Where Eagles Dare, I wanted to be John Hollins who played left half for Chelsea, and like my mates idolised Bobby Moore and Bobby Charlton. I envied John Noakes off Blue Peter for all the brilliant adventures he had like climbing up Nelson’s Column. At school we all tried to do impressions of the excitable naturalist David Bellamy. On Saturday nights I watched Patrick Troughton as Dr Who, followed by Morecambe and Wise lying in bed together making jokes, or maybe Dad’s Army with its cast of hilariously ramshackle amateurs. I loved Sid James’s laugh in the old Carry On films, and a little later on I was bowled over by Monty Python, and when I was about 15 my favourite radio DJ was Kenny Everett.

My point is that the chronically hyper-masculine, ridiculously macho and extremely violent world of the American Wild West or the corrupt streets of New York depicted in Starsky and Hutch or Kojak seemed, literally, thousands of miles away. Nothing to do with me or my life or my friends or my Dad or my uncle or my teachers. Nothing.

Thus the strange sense of disconnect as I walked round this Americanised exhibition for the second time, the sense of entering a wretchedly macho culture in which more or less the only way for a decent normal civilised man to escape the hyper-competitive, hyper-macho and hyper-violent world of American maleness is to be gay.

It struck me that it was a really profound mistake, and possibly a deceit and a lie, to view the entire concept of masculinity around the world through the prism of American masculinity.

Isn’t that a form of American imperialism? Judging everything according to American standards? Defining everything according to American ideas?

I was disappointed that the Barbican curators were such willing accomplices to American cultural imperialism.

Anyway, Fuck America and its bankrupt, corrupt and negative influence.

I went back specifically to ignore the Yanks and to pay more careful attention to everyone else, to the photographers from the rest of the world, starting with the Brits.

3. The Brits (8)

John Coplans: Frieze Number 2 (1994)

This is a grid of 12 large black-and-white prints of a big, hairy, overweight, naked man. They’re just some of the many self-portraits Coplans took of himself as – born in 1920 – he entered his 60s. in the 1980s. In fact this big grid is the first thing you see as you enter the exhibition, and is one of the many ways the curators set out to puncture the exaggerated images of masculinity which they depict elsewhere.

The most obvious thing that struck me as I confronted this sizeable display is that all the photos are artfully posed so you don’t see his willy. In fact, I must say I was surprised at the relative scarcity of willies on display.

It is a… a touching image of the male body, don’t you think? A realistic depiction of the middle-aged, naked male body, a photographic parallel to all those unglamorised paintings of fat male nudes by Lucien Freud.

Jeremy Deller: So many ways to hurt you (the life and times of Adrian Street) (2010)

This is a 30-minute video showing the life and times of the wrestler, ‘Exotic’ Adrian Street who was born in 1940 into a Welsh mining village. Street is a brilliant subject because he combines hard-edged working class attitude, with a taste for dressing in wigs and make-up as part of the identity or brand which distinguishes him from the other amateur wrestlers on the circuit.

The video was playing on a fairly big monitor which was itself embedded in a huge wall-sized painting by Deller, depicting a naive, stylised portrait of Street in his cross-dressing wrestler’s outfit, set against a stylised depiction of a Welsh town and the hills beyond.

The film reflects on the performativity of gender.

Anna Fox: My mother’s cupboards and my father’s words (1999)

On my first visit I was so dazzled by the Herb Ritts and Arnold Schwarzenegger and American soldiers in Iraq and Andy Warhol and all the New York queers that I completely overlooked this small and brilliant display. In many ways it’s one of the best things in the exhibition.

My Mother’s Cupboards and My Father’s Words consists of a grid of 15 frames each containing a small, precise photo of the contents of the cupboards in the artist’s mother’s home, each one neat and tidy and filled with banal kitchen utensils and belongings.

And very neatly, in a florid calligraphy reminiscent of wedding invitations, opposite these nice neat drawers is printed the ferocious, vile, poisonous rants of Fox’s father, overflowing with bile and abuse, but laid out as elegant free verse poems. For example:

I’m going to
tear your mother
to shreds
with
an oyster knife

Or:

She wants
her bum
scraped
with
a rusty saw

He threatens to cut his wife’s bum off and feed it to her like slices of ham. He threatens to fry her in hot oil. It’s a kind of anti-poetry, or maybe the poetry of the damned.

The smallness of the images just as much as the prissy tidiness of their contents, and the satirically ornate calligraphy of her father’s drunken ranting, create an incredibly charged display, a screaming sense of claustrophobia and misery.

This, I thought, captures the true English misery, the misery of Philip Larkin, rainy afternoons in provincial towns where couples who hate each other are forced to spend long Sunday afternoons, or weeks, months and years in each other’s unbearable company.

Ten million miles away from bloody American cowboys and footballers and Mad Men jocks striding up Madison Avenue. The curators spoil the effect by translating it into their sociological jargon:

Fox invites the viewer to reflect on how notions of hegemonic masculinity are sustained within patriarchal structures.

Is that what this delicate, subtle and intensely charged work of art is doing?

Isaac Julien: After Mazatlan (1999) and Looking For Langston (1989)

Julien is black and gay and a film-maker so he presses a lot of art world buttons, so much so that he is represented by not one but two entries:

  • After Mazatlan – In 1999 Julien made a film titled Long Road to Mazatlán, which tells a cowboy story ‘brimming with frustrated homoerotic desire’ and shot in Saint Antonio, Texas. The first installation was a grid of four large stills from the film, titled After Mazatlán.
  • Looking For Langston is a 44-minute-long black and white homage to the Harlem Renaissance poet Langston Hughes, set in scenes which move between a sort of 1920s speakeasy and a 1980s nightclub, with archive recordings of readings of their poems by Harlem Renaissance poets. As you might expect, the film ‘reflects on the relationship between gay culture and the gaze, with the white gaze, the racist gaze.’

Note how the ‘white gaze’ is elided with the ‘racist gaze’. This is, frankly, insulting.

Note also how both Julien’s films are in thrall to American culture and stereotypes and thus, in my formulation, a kind of cultural betrayal.

Hilary Lloyd: Colin #2 (1999)

There are two TV monitors on raised stands. Underneath them are ancient VHS tape players. On one screen a fairly buff young man takes off a red vest, very, very slowly. On the other screen he puts it back on, very, very slowly.

Lloyd’s penetrating gaze and carefully orchestrated presentation demand that the viewer move back and forth between the screens in a dance of observation and voyeurism.

Not really. The main feature of this piece for me was the ancient VHS recorder/players – I’m amazed you can find any which still work. Like a lot of other things in the exhibition, somehow this super-annuated technology made you realise how old and out-of-date a lot of the stuff here is.

(By the way Hilary Lloyd is a woman.)

Peter Marlow: Magnum photos 1980s to 1990s

Peter Marlow (1961 to 2016) helped set up the London office of the famous international photographers’ agency, Magnum. Unusually for this exhibition he doesn’t seem to have been gay, and is represented by a selection of fly-on-the-wall photos catching different types of very ordinary English men in various matey, group situations. These include:

This is something like the masculinity I experienced growing up.

At school I was forced to play rugby and then take communal showers afterwards, it was always bloody freezing. Photos like this bring back the sound of studs clattering on an unforgiving concrete floor and those shapes of mud punctuated with the round stud holes which used to get stuck to your boots and everyone banged against the doorframe or changing room benches so that the floor was covered in them with slivers of mud punctured by perfectly round holes.

Marlow’s photos of the shitty, windswept shopping centre at Runcorn perfectly convey the misery of English provincial life and the great betrayal of post-war town planning and architecture which turned so many English towns into concrete wind tunnels.

For the curator Marlow’s photos of the rugby players taking a communal bath:

highlight how sport has become synonymous with masculine hegemony and male solidarity.

Clare Strand: Men Only Tower (2017)

Strand has taken 68 copies of the softcore publication Men Only and piled them one on top of each other to create a ‘tower’. She has ‘subverted’ the sexist basis of the magazines by inserting into twenty of them twenty ‘images of resistance’ tucked into black envelopes and slipped between the pages of the lucky magazines.

The gushing feminist commentary points out that Strand choosing to ‘erect them in a vertical pile is a satirical reference to the male phallus, while also being an obvious reference to Trump Tower’. Of course.

When I was a teenager the top-shelf porn magazines at the local newsagent were Mayfair and Men Only and Penthouse. The point is that they were large, glossy, magazine-sized magazines, so I was intrigued that the objects in Strand’s art work are small, square-bound, with almost plain beige covers. They look disconcertingly like the cheap communist party editions I own of the works of Marx and Engels, or a set of obscure poetry magazine.

When I looked closely I saw that the editions Strand’s chosen of Men Only start in 1947! and the most recent is 1963. For me, then, this work was much more about a delve way back into post-war history, than anything at all to do with porn or men’s magazines or what the wall label called women’s exclusion from ‘the corridors of power’.

Richard Billingham: Ray’s A Laugh (1996)

Like the Anne Fox piece this is a deep dive into the profound misery of the really poor – the sick and alcoholic and uneducated poor whose lives are filled with drink and anger and violence.

It consists of ten very big colour prints of ragged, spontaneous, unposed documentary photos of Billingham’s alcoholic dad, Ray, and his obese mother, Liz. both caught in the seedy, shabby and poky-feeling flat in one of the crappier parts of Birmingham.

The curators blithely comment that this is a rare pictorial insight into English working class life and the visitor can’t help feeling this is partly because what gains commissions, wins prizes and gets you known is stylish films about cowboys and the Harlem Renaissance.

God, could anything be further away from the blow-dried queers of Christopher Street or Castro.

Brief summary

So that’s the work of the eight British photographers and artists and film-makers included in Masculinities: LIberation through Photography. I’m really glad I went back a second time and focused just on them, because taken together they do amount to a sort of sketch of British masculinity, a million miles away from the macho jocks or ‘faggots’ (I’m quoting James Baldwin) which dominate American culture.

The Peter Marlow photos are very good, but for me the top two were the grim and unrelenting insight into the lowest of lowlife existences in Ray’s A Laugh; but maybe the best is the hyper-charged, controlled explosion of Anne Fox’s sequence. Wow.


Europe (11)

Bas Jan Ader (Dutch)

I’m too sad to tell you is a black and white art film from 1971 in which performance artist Bas Jan Ader filmed himself crying.

Knut Åsdam (Norway)

Åsdam made a short art film titled Pissing showing a close-up of the slacks or sensible trousers of a man who proceeds to let himself go and wee himself.

While the film reflects on masculinity’s position in relation to the patriarchal order, it also highlights the significance of the phallus as a signifier of male power.

Rineke Dijkstra (Holland)

Dijkstra has a set of four fairly big colour photos of Portuguese bullfighters or forcados shown after they’ve finished the fight and exited the arena, looking elated and marked with blood

Dijkistra’s Bullfighters explores aspects of homosociality, a term coined by theorist Eve Kosofksy Sedgwick to describe ‘the structure of men’s relations with other men’.

Thomas Dworzak (Germany)

Dworzak is the guy who found a trove of photos taken by family photographic studios in Kandahar following the US invasion of Afghanistan in 2001, improbably showing them posing hand in hand in front of painted backdrops, using guns and flowers as props with kohl carefully applied to their eyes.

Taliban portrait. Kandahar, Afghanistan by Thomas Dworzak (2002) © Collection T. Dworzak/Magnum Photos

Hans Eijkelboom (Holland)

Eijkelboom is represented by two distinct photographic projects.

In With My Family from 1973 he went knocking on doors of a middle class suburb during the day when the husbands were away working, and asked if he could pose as the father in family photos with the wives and children of the absent men.

The result is pretty creepy and you suspect he’d get arrested if he tried that today. 1973 is quite a long time ago, nearly half a century ago. The curator comments:

With my family operates as a critique of the nuclear family as well as exposing outdated gender roles that demanded that women stay in the home caring for children while the father went to work and earned a living.

In The Ideal Man from 1978 Eijkelboom asked women to describe their ideal man, and then fashioned himself in self-portraits to fit the descriptions.  Mildly amusing.

Karen Knorr (Germany)

Karen Knorr’s series Gentlemen, 1981-83, comprised of 26 black and white photographs taken inside men-only private members’ clubs in central London and accompanied by texts drawn from snatched conversations, parliamentary records and contemporary news reports, invites viewers to reflect on notions of class, race and the exclusion of women from spaces of power during Margaret Thatcher’s premiership.

“Newspapers are no longer ironed, Coins no longer boiled So far have Standards fallen” from the series Gentlemen, by Karen Knorr (1981-83) © Karen Knorr

Annette Messager (France)

Talking of creepy, Messager is represented by a series from 1972 called The Approaches in which she took photographs of men’s crotches in the street using a concealed camera. I suppose it’s not quite upskirting, but if you tried this nowadays I wonder if you could be arrested.

In The Approaches, Messager trails men through the street and snaps photos of their crotches without permission. In this, she turns the tables on the traditional artistic norm of the male gaze, and in showing how uncomfortable and invasive this is, critique the viewing of women in a similar way, such as in gossip magazines. ‘It was a way of treating men as objects when it’s usually women who are treated as objects,’ Messager explained. ‘Men never stop checking out women’s bottoms, breasts, everything.’

Well that put paid to the male gaze, didn’t it. No longer a problem.

Richard Mosse (Ireland)

Artist Richard Mosse made a film by asking members of an American fraternity house to have a shouting competition, with the young student who could shout loudest and longest winning a keg of beer. Having contrived this artificial situation in which he films the faces of young American men shouting their heads off till they’re red in the face, Mosse then described his film as ‘a performance of masculinity and elite, white male rage’.

Wolfgang Tillmans (Germany)

The Soldiers, The Nineties (1999-2020) is an installation of newspaper front pages and photos, blown up and arranged into different size images across the wall which show NATO soldiers in a variety of conflict zones – Bosnia, Northern Ireland, the Gulf – in a number of poses – resting, smoking, reading, partying – accessed from different sources – press clippings, magazines, newspapers, TV screenshots.

Tillmans presents the viewer with images of hypermasculinity rubbing shoulders with male apprehension, camaraderie and vulnerability while also embedding the queer gaze and homoeroticism in military space.

Karlheinz Weinberger (Switzerland)

A series of black and white photos Weinberger took all the way back in the early 1960s of homosexual men dressed up in leather jackets, caps and other clichéd outfits in what was, back then, very much Zurich’s hidden, secret gay underground.

Horseshoe Buckle 1962 by Karlheinz Weinberger © Karlheinz Weinberger. Courtesy Esther Woerdehoff

Marianne Wex (Germany)

Let’s Take Back Our Space: Female and Male Body Language as a Result of Patriarchal Structures from 1976-9 is a series of large frames in which Wex arranged sets of contemporary magazine photos depicting a row of men sitting in public places, in the park etc with their legs wide open, and in a row underneath photos of women sitting with their knees primly together. Manspreading.

According to the wall label:

These differences in posture are, Wex concludes, products of a social conditioning that defines one sex as strong and the other as weak, perpetuating a hierarchical distinction between the sexes in the form of patterns of physical behaviour.

Latin America (1)

Ana Mendieta (Cuba)

A series of seven large-ish colour photos from 1972 titled Facial Hair Transplants in which Mendieta glued fragments of her fellow student, Morty Sklar’s facial hair to her own face.

Africa (4)

Liz Johnson Artur (Ghana)

Tableau vivant… if you cool the sun always shines (2002) a large embroidery with images of black people sewn or attached to it, around the central image of an embroidered version of Leonardo’s Last Supper.

Samuel Fosso (Cameroon)

70s Lifestyle, 1975-78.

By day Fosso ran a commercial studio photographing the residents of Bangui while at night he created highly performative black and white self-portraits in which he adopted a series of male personas, alluding to the idea that gender is an artificial proposition.

Kiluanji Kia Henda (Angola)

Represented by one piece, an absolutely enormous wall-sized photo The Last Journey of the Dictator Mussunda N’zombo Before the Great Extinction (Act I), 2017.

This is ‘Act I’ of a five-part series. the flamboyant figure in the centre is modelled on Mobutu Sese Seko, the kleptocratic president of Zaire. Kia Henda’s work:

reimagines the politics and history of Africa within shrewdly conjectured fictional scenarios.

Rotimi Fani-Kayode (Nigeria)

Stunningly posed, crystal clear studio art photos of black men’s bodies arranged in intriguing shapes and wonderfully aesthetic poses.

According to the wall label:

The work of the pioneering photographer Rotimi Fani-Kayode calls attention to the politics of race, representation and queer desire.

Mikhael Subotzky (South Africa)

I Was Looking Back is a large installation of 18 photos in which he revisited every photo he’d ever taken,

in an attempt to formulate a new narrative that actively exposes and deconstructs white masculine power, a defining feature of Subotzky’s experience as a white, privileged, South African male.

They include photos of blacks being beaten up and intimidated by the police, photos from inside prisons or from grim wasted slums. The photos are, apparently,

an attempt to expose and destabilise the systems of hegemonic male power that enable and normalise these acts of violence.

Middle East (2)

Fouad Elkoury (Lebanon)

Civil War 1977-86 a photo record of daily life in Beirut during the Lebanese civil war and its aftermath, including the series features here of militiamen posed against battle-scarred buildings.

Adi Nes (Israeli)

Soldiers a series in which Nes photographed young men posing as soldiers in the Israeli Defence Force i.e. they are not real soldiers. Nes is, naturally, gay.

Nes not only infuses his images of the military with homoeroticism but also reveals the strong homosocial bonds that exist between soldiers, as well as inscribing the queer body into the military imagination.

Untitled from the series Soldiers (1999) by Adi Nes. Courtesy Adi Nes & Praz-Delavallade Paris, Los Angeles

Akram Zaatari (Lebanon)

Zaatari found damaged negatives of bodybuilders in the archive of the Lebanese studio photographer Hashem El Madani and blew them up far beyond their original scale to emphasise the damaged, degraded effect, conveying a poignant sense of the passage of time.

According to the curator the photographs:

examine the construction of Middle Eastern masculinity and virility while also reflecting on Western, Orientalising perceptions of masculinity.

Asia (3)

Masahisa Fukase (Japan)

Two series:

Memories of my father (1971 to 1990) – photographic record of the artist’s father, Sukezo, through life and death

Family (1971 to 1990) – over two decades a series of formal posed photos of Fukase and his family but in each one of them a young woman is present, often half dressed, in stylised or parodic poses, so that they:

meditate on the ways in which women are still systematically subordinated to men.

Is that what you see in this photo?

Upper row, from left to right: A, a model; Toshiteru, Sukezo, Masahisa. Middle row, from left to right: Akiko, Mitsue, Hisashi Daikoji. Bottom row, from left to right: Gaku, Kyoko, Kanako, and a memorial portrait of Miyajo, 1985, from the series Family 1971-90 by Masahisa Fukase © Masahisa Fukase Archives

Sunil Gupta (India)

  • Christopher Street – street photos of gay men in New York, 1976
  • Exiles – gay men in India, often forced to hide their true sexuality, 1987
  • Pretended Family relationships – a work lamenting the way gay couples had to disguise their relationships after the Section 28 legislation was passed by Mrs Thatcher’s government in 1988

Untitled 22 from the series Christopher Street, 1976 by Sunil Gupta © Sunil Gupta. All Rights Reserved, DACS 2019

Australia

Tracey Moffatt: Heaven

This playful film from famed director and photographer Tracey Moffatt turns the tables on traditional representations of desire to examine the power of the female gaze in the objectification of men’s bodies. HEAVEN begins with surreptitiously filmed documentary footage of brawny surfers changing in and out of bathing and wet-suits. While the soundtrack switches between the ocean surf and male chanting, Moffatt moves closer to alternately flirt with and tease her subjects, who respond with a combination of preening and macho reticence. This witty piece is a potent and hilarious meditation on cinematic and everyday sex roles, voyeurism, power, and the thin line between admiration and invasiveness.

Russia (0)

China (0)

Summary

1. Lots of feminist women photographers (in the sense that all the women photographers were making points about men which were, as far as I could see, were entirely negative. None of them celebrating any aspect of maleness.)

2. At least half, if not more, of the male photographers are gay i.e. if the exhibition as a whole is about one particular type of masculinity, it is about gay masculinity.

3. No photographers and no photographs from Russia or China. Hmm. Because they don’t have men there? Or no photographers there? Or because not enough of them are gay (either the subjects or the photographers themselves)? Or because the curators don’t think Russia and China matter?

55 photographers in all, 23 from America, lots of the others covering American subjects – but none from Russia or China.


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Other Barbican reviews

More photography reviews

Masculinities: Liberation through Photography @ the Barbican

Barbican Art does things big – exhaustively and exhaustingly BIG. To quote the press release:

Masculinities: Liberation through Photography is a major group exhibition that explores how masculinity is experienced, performed, coded and socially constructed as expressed and documented through photography and film from the 1960s to the present day.

The exhibition brings together over 300 works by over 50 pioneering international artists, photographers and filmmakers such as Richard Avedon, Peter Hujar, Isaac Julien, Rotimi Fani-Kayode, Robert Mapplethorpe, Annette Messager and Catherine Opie to show how photography and film have been central to the way masculinities are imagined and understood in contemporary culture.

300 works! I wonder if anyone’s ever done a study of the optimum number of works which should be included in an exhibition. Or the optimum number of contributors.

The Piranesi exhibition I went to last week contained 60 images and that was too many to process: I ended up studying about ten of the best. But 300 images! And over 50 contributors! Each with a long and detailed explanatory wall label explaining their career and motivation and the genesis and point of their particular exhibit.

It’s less like an exhibition than a degree course!

Untitled from the series Soldiers (1999) by Adi Nes. Courtesy Adi Nes & Praz-Delavallade Paris, Los Angeles

A degree course in Gender Studies. because Masculinities: Liberation through Photography tends to confirm my sense that, for many modern artists and for most modern art curators, gender and sexual identity are the only important subjects in the world. Thus, according to Jane Alison, Head of Visual Arts, Barbican:

‘In the wake of the #MeToo movement and the resurgence of feminist and men’s rights activism, traditional notions of masculinity have become the subject of fierce debate. This exhibition could not be more relevant and will certainly spark conversations surrounding our understanding of masculinity.’

In fact quoting this much makes me think it might be most effective simply to quote the entire press release, so you can see exactly where the Barbican Art curators are coming from, without any editorial comment by me. So here it is:

With ideas around masculinity undergoing a global crisis and terms such as ‘toxic’ and ‘fragile’ masculinity filling endless column inches, the exhibition surveys the representation of masculinity in all its myriad forms, rife with contradiction and complexity. Presented across six sections by over 50 international artists to explore the expansive nature of the subject, the exhibition touches on themes of queer identity, the black body, power and patriarchy, female perceptions of men, heteronormative hypermasculine stereotypes, fatherhood and family. The works in the show present masculinity as an unfixed performative identity shaped by cultural and social forces.

Seeking to disrupt and destabilise the myths surrounding modern masculinity, highlights include the work of artists who have consistently challenged stereotypical representations of hegemonic masculinity, including Collier Schorr, Adi Nes, Akram Zaatari and Sam Contis, whose series Deep Springs, 2018 draws on the mythology of the American West and the rugged cowboy. Contis spent four years immersed in an all-male liberal arts college north of Death Valley meditating on the
intimacy and violence that coexists in male-only spaces.

Untitled (Neck), 2015 by Sam Contis © Sam Contis

Complicating the conventional image of the fighter, Thomas Dworzak’s acclaimed series Taliban consists of portraits found in photographic studios in Kandahar following the US invasion of Afghanistan in 2001, these vibrant portraits depict Taliban fighters posing hand in hand in front of painted backdrops, using guns and flowers as props with kohl carefully applied to their eyes.

Taliban portrait. Kandahar, Afghanistan by Thomas Dworzak (2002) © Collection T. Dworzak/Magnum Photos

Trans masculine artist Cassils’ series Time Lapse, 2011, documents the radical transformation of their body through the use of steroids and a rigorous training programme reflecting on ideas of masculinity without men.

Elsewhere, artists Jeremy Deller, Robert Mapplethorpe and Rineke Dijkstra dismantle preconceptions of subjects such as the wrestler, the bodybuilder and the athlete and offer an alternative view of these hyper-masculinised stereotypes.

The exhibition examines patriarchy and the unequal power relations between gender, class and race. Karen Knorr’s series Gentlemen, 1981 to 1983, comprised of 26 black and white photographs taken inside men-only private members’ clubs in central London and accompanied by texts drawn from snatched conversations, parliamentary records and contemporary news reports, invites viewers to reflect on notions of class, race and the exclusion of women from spaces of power during Margaret Thatcher’s premiership.

“Newspapers are no longer ironed, Coins no longer boiled So far have Standards fallen” from the series Gentlemen, by Karen Knorr (1981 to 1983) © Karen Knorr

Toxic masculinity is further explored in Andrew Moisey’s 2018 photobook The American Fraternity: An Illustrated Ritual Manual which weaves together archival photographs of former US Presidents and Supreme Court Justices who all belonged to the fraternity system, alongside images depicting the initiation ceremonies and parties that characterise these male-only organisations.

With the rise of the Gay Liberation Movement through the 1960s followed by the AIDS epidemic in the early 1980s, the exhibition showcases artists such as Peter Hujar and David Wojnarowiz, who increasingly began to disrupt traditional representations of gender and sexuality.

Hal Fischer’s critical photo-text series Gay Semiotics, 1977, classified styles and types of gay men in San Francisco and Sunil Gupta’s street photographs captured the performance of gay public life as played out on New York’s Christopher Street, the site of the 1969 Stonewall Uprising.

Street Fashion: Jock from the series Gay Semiotics, 1977/2016 by Hal Fischer. Courtesy of the artist and Project Native Informant London

Other artists exploring the performative aspects of queer identity include Catherine Opie’s seminal series Being and Having, 1991, showing her close friends in the West Coast’s LGBTQ+ community sporting false moustaches, tattoos and other stereotypical masculine accessories.

Bo from Being and Having by Catherine Opie (1991) © Catherine Opie, Courtesy Regen Projects, Los Angeles; Thomas Dane Gallery, London; and Soloman R. Guggenheim Museum, New York

Elle Pérez’s luminous and tender photographs explore the representation of gender non-conformity and vulnerability, whilst Paul Mpagi Sepuya’s fragmented portraits explore the studio as a site of homoerotic desire.

During the 1970s women artists from the second wave feminist movement objectified male sexuality in a bid to subvert and expose the invasive and uncomfortable nature of the male gaze. In the exhibition, Laurie Anderson’s seminal work Fully Automated Nikon (Object/Objection/Objectivity), 1973, documents the men who cat-called her as she walked through New York’s Lower East Side, while Annette Messager’s series The Approaches (1972) covertly captures men’s trousered crotches with a long-lens camera.

German artist Marianne Wex’s encyclopaedic project Let’s Take Back Our Space: ‘Female’ and ‘Male’ Body Language as a Result of Patriarchal Structures (1977) presents a detailed analysis of male and female body language, and Australian indigenous artist Tracey Moffatt’s awkwardly humorous film Heaven (1997) portrays male surfers changing in and out of their wet suits…

Thus the press release for this huge exhibition. I’ve quoted it at length so you can:

  • get an overview of the exhibition’s contents
  • get a sense of the thinking behind the exhibition
  • get familiar with the dated sociological jargon which is used throughout – ‘interrogate’, ‘challenge’, ‘disrupt’, ‘heteronormative’, ‘male gaze’, ‘patriarchy’

So you can see the curators’ point of view and intentions before I start critiquing them.


The complete irrelevance of any of these ‘masculinities’ to my own life and experience

Almost none of the art or artists in this exhibition bore any relation to my experiences as a boy, teenager, young man, adult man, working man, husband, and then father of my own son. I thought it was quite an achievement to feature so much work by so many artists claiming to speak for or about ‘masculinity’ or men, but which managed to touch on so little of my own personal life experiences of ‘masculinity’.

I took photos of the wall captions as I went round the exhibition and so, as a sample, here are the subjects of the first 15 or so displays, with the exact subject matter of the sets of photographs highlighted in bold:

  1. Taliban warriors by Thomas Dworzak
  2. Beirut fighters by Fouad Elkoury
  3. Israeli soldiers by Adi Nes
  4. a video of a close-up of the trousers of a man who urinates in his pants and trousers, so you see the wet patch spreading by Knut Asadam (Pissing by Knut Asdam)
  5. American, German and British soldiers by Wolfgang Tillmans
  6. American cowboys by Collier Schorr
  7. a film by Isaac Julien about American cowboys, The Long Road to Mazatlan
  8. American photographer Sam Contis’s photos of a liberal arts college in the mid-West
  9. American photographer Catherine Opie’s photos of American footballers
  10. American artist Andy Warhol’s movies of male fashion models
  11. American photographer Herb Ritt’s photos of buff Hollywood garage attendants
  12. American photographer Robert Mapplethorpe’s photos of Arnold Schwarzenegger and female bodybuilder Lisa Lyon
  13. Akram Zaatari’s photos of Middle Eastern weightlifters
  14. 100 black and white photos of himself wearing y-fronts taken from all angles by Canadian transmasculine performance artist and bodybuilder Cassils
  15. a series of photos by a British photographer of London Fire Brigade firefighters at work and in the showers

Men I know

Down the road from me lives my neighbour Nigel. He regularly goes folk dancing with his wife. At weekends they go for long cycle rides in the country. I helped him with a bit of guerrilla gardening last autumn when we planted daffodils on a patch of waste ground at the end of our road, which are now flowering. Nigel tended one of the allotments at the end of our road, and we’d have lengthy chats about the best plants I could put in my back garden to encourage more birds and butterflies.

Occasionally, we see old Richard go slouching along the road to his allotment where he tends his bee hives and chain smokes. A few years ago he was in the papers, in a photo showing him wearing full beekeeping rig and handing a letter into Number 10 asking for more government help to protect bees.

I shared a house with two friends in my last year at university who did science subjects: Nowadays Tony works for the Worldwide Fund For Nature trying to save the rainforests, and David is a microbiologist who helps develop micro-devices which can be installed within the human body to secrete medicine at regular or required intervals, for example in diabetics.

My boyhood friend Jonathan runs a puppet theatre for schools. Tom works for a seaman’s charity in the East End. Adam works for The Royal Society for the Protection of Birds in Scotland, monitoring bird populations, nesting habits, tagging birds to follow their migration patterns.

My son is studying biology at university. He’s considering doing a PhD into plant biology with a view to developing more sustainable crops. We play chess when he comes home at the holidays, although I’m always nagging him for frittering away so much of his time playing online video games.

These are ‘masculinities’, aren’t they? These are ways of being male? At least I think Nigel and Richard and Tom and Jonathan and Tony and David, Adam and Luke and I are men. Aren’t we?

But there was nobody like us in this exhibition, what you could call ‘normal’ people. Not a hint of men who like birdwatching, or gardening, or keeping bees, or study plant science, or like folk dancing, or are helping the environment.

Instead this exhibition’s view of masculinity is almost deliriously narrow: alternating between ridiculous American stereotypes of huge steroid-grown athletes or shouting fraternity members, and equally stereotyped images of flamboyant, make-up wearing gays working in nightclubs or part of the uber-gay communities of downtown New York or San Francisco’s Castro district. It is an exhibition of extremes and stereotypes.

Rusty, 2008 by Catherine Opie © Catherine Opie, Courtesy Regen Projects, Los Angeles and Thomas Dane Gallery, London

Paul, who I worked with for all those years in TV, wasn’t camp or flamboyant, he was just a guy who liked a beer and a laugh and happened to be gay. As was his boyfriend. As was Edwin, the Viking-looking giant with a beard who I worked with at a government agency, who also just happened to be gay, it was no big deal, and really hated the way everyone expected him to conform to ‘gay’ stereotypes.

Exactly the kind of dated gay stereotypes which exhibitions like this promote and propagate.

The British art establishment’s slavish worship of American culture

Once again I find it weirdly unself-aware that an exhibition which so smugly uses words like ‘transgressive’, ‘interrogate’, ‘disrupt’ and ‘subvert’ about its exhibits, is itself so completely and slavishly in thrall to American photographers and American subject matter and so utterly kowtows to the cultural dominance of The Greatest City in the World (if you’re an art curator) – which is, of course, New York.

The Barbican is in London. Which is in England. Not in New York or San Francisco. And yet only one of the first fifteen or so of the featured photographers was British, and I can only remember two or three other Brits among the remaining 35 or so exhibitors.

The art élite

So by about half way through the exhibition it had dawned on me that there is a very strong political element to this show, just not the one the curators intend. It is that:

Once again an exhibition about gender and race and identity proves beyond doubt the existence of a transnational art élite, made up of international-minded, jet-setting artists and photographers and film-makers, and their entourage of agents and gallery curators, who have more in common with each other than they do with the rest of the populations of their host countries.

What I mean is that the curators and critics who’ve selected the works and written the catalogue of a show like this have much more in common with their counterparts in the art worlds of New York or Berlin or Shanghai than they do with the men or women in the streets of their own cities. They speak the same art language, use the same art theory buzz words and jargon, all agree on the wonderfulness of New York, and all share the same supremely woke and politically correct attitudes to LGBT+ and transgender and BAME rights which, the exhibition strongly implies, are the most important political or social issues anywhere in the world.

They liberally throw around words like ‘elite’ and criticise pretty much all white men for their ‘privilege’. It obviously doesn’t occur to them that being part of the jetsetting, international circuit of artists and art curators is also to belong to a privileged élite.

As a small symbol of this, after having read a host of wall labels castigating élite, men-only, members-only clubs and fraternities – which had the result of hyper-sensitising me to the the wickedness of these restrictive organisations – I couldn’t help smiling when I read on the Barbican website about an ‘exclusive Members’ talk’ which is available to Barbican members only.

Preaching to the converted

And so when I watched the curator of the exhibition speaking to the assembled journalists, critics and reviewers about #MeToo and toxic masculinity, and watched the approving nods and murmurs of her audience, I realised she was praising the values and priorities of the art world and its ferociously politically correct denizens, to exactly the kinds of journalists and critics who inhabit that world and attend these kinds of launches. And it crossed my mind that I had rarely in my life seen a purer example of ‘preaching to the choir’ and reinforcing entrenched groupthink.

Horseshoe Buckle, 1962 by Karlheinz Weinberger © Karlheinz Weinberger

Initial summary

To summarise so far:

  • It felt to me that the exhibition is wildly, almost hallucinatorily partial, misleading and inaccurate about its purported subject matter – masculinity. It simply ignores and neglects almost everything I think about when I think about my own and other men’s masculinity.
  • But what it undoubtedly is, is a handy survey of the deeply entrenched anti-heterosexual, anti-male, anti-white, pro-feminist, pro-black, pro-queer attitudes which now dominate universities, colleges, the art world and art galleries. So the exhibition has this additional layer of interest which is as a fascinating sociological specimen of the current attitudes and terminology of the über-woke.

I’m not against or opposed to those positions and views, in fact I broadly support them (pro-feminism, pro-LGBT+, anti-racism etc). I’m just modestly suggesting that there’s more to the world of men than this polemical and extremely limited exhibition – either American footballers or street queens of New York – gets anywhere near suggesting. In fact there is much more to culture, and politics, and the world, than a relentless obsession with ‘gender’.

Highlights

Having got all that off my chest, you may be surprised to learn that I really enjoyed this exhibition. There’s so much stuff on show they can’t help having lots of really good and interesting art here, and – as usual with the Barbican – it is presented in a series of beautifully designed and arranged spaces. So:

I loved Herb Ritts‘ pinup-style black-and-white photos of incredibly buff and sexy (male) garage hands, stripped to the waist.

What’s not to love about Robert Mapplethorpe‘s photos of Arnold Schwarzenegger and Lisa Lyon in their bodybuilding prime?

I really liked Akram Zaatari‘s photos of Middle Eastern weightlifters: he found a trove of badly degraded, faded, marked and damaged photos, then blew them up to wall size, warts and all. The weightlifters are dressed in loose loincloths, a world away from the slick professionalism of Schwarzenegger et al, and then further removed by the spotty blotchy finish of the damaged negatives. I like all art which shows the marks of industrial processes, decay, found objects, Arte Povera etc, art which records its own struggle to emerge from a world of chaos and war.

Bodybuilders Printed From A Damaged Negative by Akram Zaatari (2011)

I liked the work of German feminist photographer Marianne Wex. In the 1970s she made a whole set of collages where she cut out magazine images of men sitting with their legs wide apart and juxtaposed these with magazine images of women sitting primly with their legs tight together. This was funny for all sorts of reason, but also had multiple levels of nostalgia: for the black and white world of 1960s and 70s magazines (and fashions – look at the hair and the flares on the men).

There was a room on the ground floor which I nicknamed ‘The Grid Room’ which contained three massive sets of images laid out as grids, and which I liked simply because I like big grids and matrices, geometric and mathematical designs, in the same way as I like Carl Andre’s bricks. The grids are:

1. German-American photographer Karen Knorr’s series Gentlemen (1981 to 1983) consists of 26 black-and-white photographs taken inside men-only, private members’ clubs in central London and accompanied by texts drawn from conversations Knorr claims to have overheard.

a) they’re strikingly composed and arranged photos
b) the overheard conversations are amusingly arrogant and pompous, if a little too pat to be totally plausible
c) but what makes this funniest of all is that Knorr is surprised that the inhabitants of expensive, members-only private clubs will be a bit, you know, pompous

2. Back in the 1990s Polish-American photographer Piotr Uklański created a vast, super-wall-sized collage of A4-sized publicity photos of Hollywood actors dressed as Nazis from a host of movies.

It is 18 columns by 9 rows, which means it shows the images of 162 actors playing Nazi. The wall label suggested that the work is an indictment of Hollywood and its trivialisation of atrocity and, in the context of this exhibition, it is also meant to be an indictment of ‘toxic masculinity’ and the hyper-masculinity promoted by the Nazis.

But look at it. It isn’t really either of those things. What it obviously is, is an invitation to identify the actors and the movies they’re in, lots of fun in a Where’s Wally kind of way. Can you spot Clint Eastwood from Where Eagles Dare, Lee Marvin in The Dirty Dozen, Leonard Nimoy from the spisode of Star Trek where they beam down to some planet which is having a Nazi phase?

And then, for me, any serious intention was undermined when I noticed that two of the belong to Monty Python actors Michael Palin and Eric Idle dressed as Nazis (6 rows down, 10 and 11 across). And when I noticed the face of Norman Wisdom (from his 1959 movie, The Square Peg, where Norman is asked to impersonate a Nazi general he happens to look like), I couldn’t help bursting out laughing.

(Having googled this artwork and studied the results, I realise that Uklański changes the arrangement of the photos from site to site, with the order of the faces different in each iteration. The version below gives you an immediate impression of the work’s overall impact – imagine this spread across an entire wall, a big art gallery wall – but in this version Norman’s photo, alas, is absent.)

The Nazis by Piotr Uklanski (1998)

3. The third big grid is a set of 69 black-and-white photos taken by American photographer Richard Avedon and ironically titled The Family, each one depicting key politicians, military men, lawmakers and captains of industry who held the reins of power in America in the Bicentennial year of 1976.

The overt aim is to shock and appal the modern social justice warrior with the fact that almost all the movers and shakers are white men (though I did, in fact, count six women in the grid and two or three black people). But it just didn’t seem too much of a surprise to me that nearly fifty years ago the make-up of the ruling class was different from now or, to put it another way, over the past fifty years the representation of women and black people at the highest levels of American power have changed and improved.

Anyway, any political message was, for me, eclipsed by the hazy memories of the 1970s which these photos evoked — the era when Gerald Ford hastily replaced that excellent American president, Richard Nixon and when Henry Kissinger won the Nobel Peace Prize (1973). There’s a youthful Jimmy Carter (elected President in 1977), a serious-faced Ronald Reagan (another most excellent American President), and gorgeously handsome Teddy Kennedy, for so long the poster boy of liberal Democrats.

Americana

As you can see from the three works in The Grid Room, even when I was trying to overlook it, I couldn’t help noticing the American subject matter or the American provenance of most of the photographers.

The America worship continues into the next room, which is devoted to the American tradition of the college fraternity, and the secret initiation rituals they apparently hold.

Thus artist Richard Mosse made a film by asking members of an American fraternity house to have a shouting competition, with the young student who could shout loudest and longest winning a keg of beer. Having contrived this artificial situation in which he films the faces of young American men shouting their heads off till they’re red in the face, Mosse then described his film as ‘a performance of masculinity and elite, white male rage’.

Is it, though? I’d have thought it was a highly contrived set-up, Mosse bribing the men to act out a certain kind of behaviour which he then turned round and criticised using his modish sociological jargon.

Also note how the word ‘white’ in sentences like that is slowly becoming a term of abuse. Mosse is, of course, himself ‘white’, but he’s the OK sort of ‘white’. He’s artist white.

Next to it is a work by American photographer Andrew Moisey, who spent seven years studying college fraternities and putting together The American Fraternity: An Illustrated Ritual Manual. This, you won’t be very surprised to learn,

explores the relationship between hegemonic masculinity and the toxic culture of American fraternities.

Toxic men. Toxic masculinity. White male rage.

The gay American photographer Duane Michals is represented by a series of photos depicting a grandfather and grandson with an eerie, surrealist vibe.

There’s a sequence of photos by American-based Indian photographer Sunil Gupta, who recorded New York’s gay scene in the 1970s.

Untitled 22 from the series Christopher Street, 1976 by Sunil Gupta © Sunil Gupta. All Rights Reserved, DACS 2019

Reclaiming the black body

Upstairs, in the section devoted to Reclaiming the Black Body, there’s a series by American photographer Kalen Na’il Roach which are described as explorations of ‘the construction of the African-American family and the absent father’.

Nearby is a set of brilliant photos by black American photographer Rotimi Fani-Kayode, who arranged human bodies in all manner of creative and interesting poses, all shot as clear and crisply as anything by Robert Mapplethorpe. There was a really beautiful, crystal clear and vivid and intimidating and erotic photo of a black man holding a pair of large scissors against his thigh, wow.

Untitled, 1985 by Rotimi Fani-Kayode © Rotimi Fani-Kayode

Queering masculinity

There’s an entire section of the exhibition devoted to gay masculinity titled Queering Masculinity. Among many others, this contains a set of photos by American photographer George Dureau, ‘a prominent figure in the queer and non-conformist communities in New Orleans’s French Quarter’, which included some disturbing images of a handsome young man with a hippy hairdo who had had both legs amputated right at the top of the thighs, images which didn’t make me think about masculinity at all, but about disability.

A corner is given to the technicolour experimental underground film Kustom Kar Kommandos (1965) by rebel film-maker Kenneth Anger, which explores the fetishist role of hot rod cars among young American men, and whose soundtrack – Dream Lover by Bobby Darin – wafted gently through the galleries as the visitors sauntered around, looking at these collections of cool, gay and black American photography.

And also upstairs was a fabulous series of black and white shots by American photographer David Wojnarowicz, who got his friends to wear a face mask of French poet Arthur Rimbaud and pose in unlikely locations around New York.

And there’s work by Peter Hujar, ‘a leading figure in New York‘s downtown cultural scene throughout the 1970s’ who photographed its various gay subcultures.

David Brintzenhofe Applying Makeup (II) 1982 by Peter Hujar © 1987 The Peter Hujar Archive LLC; Courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

There’s photos by Paul Mpagi Sepuya, an American photographer from who explores ‘the studio and darkroom as a site of homoerotic desire’.

And photos by Elle Pérez from America which are concerned with ‘the artist’s relationship with their own body, their queerness and how their sexual, gender and cultural identities intersect and coalesce through photography’.

While ‘in her meticulously staged photos, American artist Deanna Lawson (b.1979) explores black intimacy, family, sexuality and spirituality.’

Then there’s American avant-garde artist, composer, musician and film director Laurie Anderson who is represented by her 1973 work Fully Automated Nikon (Object/Objection/Objectivity) which records the men who cat-called her as she walked through New York’s Lower East Side.

One of my favourite sections was black American Hank Willis Thomas’s ironic and funny collages, Unbranded: Reflections In Black by Corporate America which cut and paste together tacky old adverts featuring black people from the 70s, 80s and 90s. As the wall label explains:

Thomas sheds light on how corporate America continues to reproduce problematic notions of race, sexuality, class and gender through the white male gaze.

(Note: ‘the white male gaze’. The male gaze is bad enough but, God, it’s twice as bad when it’s the white male gaze. Just as male rage is bad, but white male rage, my God, that’s unforgiveable. You don’t have to read many of these wall labels to realise that everything is so much worse when it’s white.)

There are photographers and artists from other countries – from the Lebanon, Cameroon, Holland, Ghana, Norway and so on. Even, mirabile dictu, some British artists. But in every room there are American artists and wherever you look there are images of New York or San Francisco or Los Angeles, while an American pop song drifts over the images of American cowboys and American bodybuilders and New York gays.

It is a very America-dominated exhibition.

It’s hard to avoid the conclusion that the woke, LGBT+-friendly, feminist, anti-patriarchal and anti-white curators are willing to disrupt, subvert, interrogate and question every received opinion, stereotype and shibboleth about the world today except for one – except for America’s stranglehold on global art and photography, except for America’s cultural imperialism, which goes unquestioned and uncommented-on.

Before this form of imperialism, British art curators bow down and worship.

Second summary

Well, if you’re a white man and you enjoy the experience of being made to feel like a privileged, white racist, elitist, misogynist, homophobic, transphobic, sexist pig by lots of righteous black, gay and women photographers, this exhibition will be right up your street.

But having said all that, I did, ultimately, and despite everything, really enjoy it. In fact I might go back for seconds. There is a huge amount of visually interesting and varied work in it and, as I’ve explained – to take the whole thing on a completely different level – it is a fascinating sociological study of up-to-date, woke and politically correct attitudes and sociological terminology.

And also because the picture of Norman Wisdom dressed as a Nazi was so utterly unexpected, so surreally incongruous among the rest of the po-faced, super-serious and angry feminist rhetoric that I was still smiling broadly as I walked out the door.

Norman Wisdom as General-Major Otto Schreiber in the hit movie, The Square Peg (1959), subverting seriousness


Dated

Not only does the exhibition mostly deal in types and stereotypes, but so many of them are really dated.

The concept of ‘the male gaze’ was invented in a 1975 essay by film critic film critic Laura Mulvey. Not one but two quotes from it are printed in large letters across the walls of feminist section of the exhibition, rather like the Ten Commandments used to be put up for the whole congregation to learn in a church.

Karlheinz Weinberger’s photos of leather-clad rebels date from the early 1960s.

Kenneth Anger’s film Kustom Kar Kommandos is from 1965.

Annette Messager’s series The Approaches is from 1972.

Laurie Anderson’s piece is from 1973.

Richard Avedon’s set, The Family, was shot in 1976.

Sunil Gupta’s street photographs of gay New Yorkers are from the mid-1970s

Hal Fischer’s amusing photos of gay street fashion are from 1977.

Marianne Wex’s project ‘Let’s Take Back Our Space: ‘Female’ and ‘Male’ Body Language as a Result of Patriarchal Structures’ dates from 1977.

David Wojnarowicz’s briliant series ‘Rimbaud in New York’ was taken between 1977 and 1979.

Andy Warhol’s film about male models is from 1979.

Hank Willis Thomas’s funny collages use magazine photos from the 1970s and 80s

Karen Knorr’s series about knobs at posh clubs were shot from 1981 to 1983.

Herb Ritts’ photos of stunning hunky men date from 1984.

Now of course a lot of the other pieces are from more recently, from the 1990s, 2000s and 2010s, and I am deliberately cherry-picking my evidence, but you get my point.

If the whole issue of gender and masculinity is as hot and urgent and topical as the curators insist, why are they going back to the 1960s and 1970s to illustrate it? My answer would be that, although many of its details have been subsequently elaborated and extended, the basis of the curators (and most of the artists’) liberate worldview date back to the late 60s and early 70s, the era which saw the real breakthroughs for modern feminism, gay rights, and a more ambitious form of black civil rights.

In other words, when you go to a contemporary exhibition of feminist art or gay art or lesbian art or politically motivated black art, you are in fact tapping into movements which have been around for about fifty years. This what gives them a curiously dated, almost nostalgic feeling. The artists and the curators may try to dress these tried-and-tested approaches up in the latest buzzwords or drum up some fake outrage by mentioning the magic words ‘Donald Trump’, but I remember going to exhibitions by gay and lesbian and feminist and black artists in the 1980s, and 1990s, and 2000s, and 2010s which all said more or less what this one does: Blacks are oppressed, women are oppressed, gays and lesbians are oppressed.

For an exhibition which is claiming to address one of the burning issues of our time it seemed curiously… dated. All these carefully printed photographs and films, how very retro, how very 1970s they seem. It’s as if the internet, digital art and social media have never happened. I described the exhibition to my daughter (18, feminist, studied sociology, Instagram and social media addict) and she said it sounded boring and preachy. Yep.


Counting the countries of origin

It’s good to count. Actually counting and analysing the data about almost any subject almost always proves your subjective impressions to be wrong, because all of our unconscious biases are so strong.

Thus when I looked up the countries of origin of all the photographers represented in this exhibition, I realised the raw facts prove me wrong in thinking that most of the exhibitors are American. Out of 54 exhibitors, some 23 were born in the States and another 3 or 4 emigrated there, so the number of ‘American’ photographers is only just about half of those included.

This exercise also highlighted the true range of other nationalities represented, which I had tended to underestimate. There are, for example, seven Brits, double the number I initially remembered.

However, these figures don’t quite tell the full story, since a number of contributors might not be from the USA, but are represented by their images of the USA. Thus Sunil Gupta is from India but is represented by a suite of photos from 1970s New York (as well as a second series of photos about gay life in India).

Isaac Julien is a British artist but is represented by two movies, one about American cowboys and one – a big one which has one of the Barbican’s entire alcoves devoted to it – a black-and-white movie set in a glamorous American cocktail bar, and set to evocative American cocktail jazz.

To really establish the facts on this one issue of American influence, I suppose you’d have to itemise every single one of the images or films on show and indicate whether they were American in origin or subject matter – which is a little beyond the scope of the present review, and possibly a little mad.

Here’s the complete list of photographers represented in this exhibition with their country of origin, which can be roughly summarised as: the exhibition includes as many American, American-based, or America-covering photographers as those from the rest of the world put together.

  1. Bas Jan Ader (Dutch)
  2. Laurie Anderson (USA)
  3. Kenneth Anger (USA)
  4. Liz Johnson Artur (Ghanaian-Russian)
  5. Knut Åsdam (Norway)
  6. Richard Avedon (USA)
  7. Aneta Bartos (Polish-American)
  8. Richard Billingham (UK)
  9. Cassils (Canada)
  10. Sam Contis (USA)
  11. John Coplans (UK emigrated to USA)
  12. Jeremy Deller (UK)
  13. Rineke Dijkstra (Holland)
  14. George Dureau (USA)
  15. Thomas Dworzak (Germany)
  16. Hans Eijkelboom (Holland)
  17. Fouad Elkoury (Lebanon)
  18. Hal Fischer (USA)
  19. Samuel Fosso (Cameroon)
  20. Anna Fox (UK)
  21. Masahisa Fukase (Japan)
  22. Sunil Gupta (India)
  23. Kiluanji Kia Henda (Angola)
  24. Peter Hujar (USA)
  25. Isaac Julien (UK)
  26. Rotimi Fani-Kayode (Nigeria)
  27. Karen Knorr (German-American)
  28. Deana Lawson (USA)
  29. Hilary Lloyd (UK)
  30. Robert Mapplethorpe (USA)
  31. Peter Marlow (UK)
  32. Ana Mendieta (Cuba, moved to New York)
  33. Annette Messager (France)
  34. Duane Michals (USA)
  35. Tracey Moffatt (Australia)
  36. Andrew Moisey (USA)
  37. Richard Mosse (Ireland)
  38. Adi Nes (Israeli)
  39. Catherine Opie (USA)
  40. Elle Pérez (USA)
  41. Herb Ritts (USA)
  42. Kalen Na’il Roach (USA)
  43. Paul Mpagi Sepuya (USA)
  44. Collier Schorr (USA)
  45. Clare Strand (UK)
  46. Mikhael Subotzky (South Africa)
  47. Larry Sultan (USA)
  48. Wolfgang Tillmans (Germany)
  49. Hank Willis Thomas (USA)
  50. Piotr Uklański (Polish-American)
  51. Andy Warhol (USA)
  52. Karlheinz Weinberger (Switzerland)
  53. Marianne Wex (Germany)
  54. David Wojnarowicz (USA)

Third summary: why American influence is so malign

The reliance on exaggerated American stereotypes of masculinity explains why the exhibition simply omits the vast majority of male experience

American attitudes to masculinity – American images of masculinity – are grossly exaggerated, hyper-commercialised, and do not represent the experience of masculinity of men from other countries.

(Possibly they don’t even represent the experience of most men in America itself: just on the curators’ favourite subject of ethnic minorities, about 18% of Americans are Latino, compared to only 12% or so who are black. But I don’t think I saw any images of Latinos, or the names of any Latino photographers or artists anywhere in the show. To adopt the curators’ own values of diversity: Why not?)

So one way to sum up this exhibition (it’s so huge I’m aware that there are, potentially, lots of ways to do this – a feminist take, a view which focused more on the gay or black or non-western perspectives) is to posit that the Americanness of half the exhibition, photos and photographers – and the overall sense you have of the exhibition’s cultural narrowness and exaggeration – are intimately connected.

Reading my way carefully around the exhibition reminded me all over again – as hundreds of documentaries and articles and news reports have over the past few decades:

  1. just how polarised American society has become
  2. how a great deal of this polarisation is in the realm of culture
  3. and how exhibitions like this tend to emphasise, exaggerate and exacerbate that atmosphere of poisonous polarisation

The relentless criticism of toxic masculinity and the male gaze and manspreading and men-only organisations, along with the continual suggestion that being white is a crime, have their ultimate source in the turbo-charged feminism, political correctness and woke culture of American universities, art schools and liberal media.

My point is that the the poisonous cultural politics of America are deeply rooted in the extremes images of masculinity which America developed since the Second World War – and that these extremes, along with the anger and vilification they prompt on both sides of the political and cultural divide – are just not applicable outside America.

Does Norway have a massive film industry devoted to promoting impossibly buff and hunky images of super-tough men? Is French culture dominated by the ideal of the gunslinging cowboy? Is Czech sporting life dominated by huge, testosterone-charged American footballers? In 1950s did Greek husbands throw open the doors to their suburban houses and shout, ‘Hi honey, I’m home!’

No. Since the war many European countries, led by France, have vehemently resisted the bubblegum stereotypes and crass vulgarity of American culture. The American example just doesn’t apply to Swiss watchmakers and French winegrowers and Greek hotel owners and Italian waiters.

Obviously accusations of patriarchy and sexism and toxic masculinity and the male gaze and white anger can be, and routinely are, levelled at all men in any Western society, but my suggestion is that the level of anger and rancour which politically correct and woke culture have reached in America is unique.

America has morphed during my lifetime into a violently aggressive and angry society which stands apart from all other industrialised countries (look at the levels of gun crime, or the number of its citizens which America locks up, 2.2 million adults, more than all the other OECD nations put together).

The anger of American liberals against Trump has to be witnessed to be believed, but so does the anger of American conservatives and the mid-West against the tide of immigrants and liberals who they think are ruining their country. America has become a swamp of hatreds, and it is an American civil war, it is not mine.

And here’s my point – an exhibition which defines ‘masculinity’ very heavily through the lens of such an unhealthy, sick and decadent society is giving a wildly twisted, biased, partial and inaccurate impression of what the word ‘masculine’ even means because it is deriving it very heavily from a culture which is tearing itself apart. We are not all American footballers or New York gay pioneers.

So although only half the exhibition is made up of American photographers and American subjects, nonetheless the poisonous rhetoric of the American cultural civil war (‘toxic masculinity’, ‘white rage’, ‘the male gaze’) infects the conception, selection and discourse of the exhibition so thoroughly from start to finish, that it helps explain why the vast majority of much more humdrum, down-to-earth types of non-American, everyday masculinity – the kinds you or I encounter among our families and friends and at work, the kind I experience when I help Nigel plant the daffodil bulbs in the waste ground at the end of our road – are so utterly absent from this blinkered and biased exhibition.


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Don McCullin @ Tate Britain

This is an enormous exhibition of over 250 photos by famous war photographer Don McCullin. A working class lad who left school at 15 and got interested in cameras during his national service, the show opens with the first photograph he sold (in 1958 a policeman was stabbed by members of a gang in Finsbury Park – McCullin happened to have been at school with some of these young toughs and persuaded them to be photographed posing in a bombed-out house – people in his office saw the printed photo and said why don’t you try selling it to a newspaper? A newspaper bought it, and said have you got any more like that? And so a star was born).

The Guv'nors in their Sunday suits, Finsbury Park (1958)

The Guv’nors in their Sunday suits, Finsbury Park (1958)

The exhibition then follows McCullin’s career as he visited one warzone, famine zone, disaster zone, after another from the early 1960s right through to the 2000s, in the process becoming one of the most famous photographers in the world. He began a long association with the Sunday Times which covered war zones and natural disasters around the world in a ground-breaking combination of photojournalism.

Each of these odysseys is accompanied by a wall label which gives you the historical background of the conflict in question, and then, separately, McCullin’s reactions and thoughts about it.

Not all of them are abroad. The Troubles in Northern Ireland, though mainland Brits often forget it, was, of course, a low-level war or civil conflict fought here in Britain. And McCullin also undertook trips with journalists to parts of Britain which were still very, very deprived in the 1960s and 70s, capturing images of the homeless and alcoholics in the East End, as well as sequences depicting the bleak late-industrial landscapes and cramped lifestyles of the North of England.

Homeless Irishman, Spitalfields, London (1970)

Homeless Irishman, Spitalfields, London (1970)

The featured locations and subjects are:

  • Early London i.e. variations on his gangs of Finsbury shots
  • 1961 a journey to Berlin just as the wall was going up
  • Republic of Congo descent into civil war
  • Cyprus – intercommunal assassinations between Greeks and Turks
  • Biafra, war and then famine in this breakaway state of Nigeria
  • Vietnam – McCullin went to Vietnam no fewer than eighteen times and shot some of the iconic images of the war: there’s a display case showing the passports he used and the actual combat helmet he wore
Grenade thrower, Hue, Vietnam (1968)

Grenade thrower, Hue, Vietnam (1968)

  • Cambodia – as the Vietnam conflict spilled over into its neighbour setting the scene for the rise of the Khmer Rouge
  • the East End i.e. the homeless, tramps and derelicts around Spitalfields
  • Northern Ireland in the early years of the conflict 1970 showing youths throwing stones at British soldiers
  • Bradford and the North – McCullin has a special fondness for Bradford with its rugged stone architecture, and shot the working class amusements of the population (bingo, the pub) with the same harsh candour he brought to his war photos
  • British Summer Time – a smaller section about the activities of the British rich i.e. the season, Ascot etc
  • Bangladesh – the war followed by floods and famine as East Pakistan broke away from West Pakistan in 1971
  • Beirut – once the Paris of the Middle East descends into a three-way civil war, destabilised by neighbours Israel and Syria – there’s a famous sequence McCullin shot at a home for the mentally ill which had been abandoned by most of its carers: madness within madness
  • Iraq – among the Kurds in particular as the first Gulf War came to its tragic end (President Bush exhorted the Kurds and Marsh Arabs to rise up against Saddam Hussein but when they did, gave them no help, so that they were slaughtered in their thousands or fled to refugee camps
  • southern Ethiopia – amazingly colourful tribespeople holding Kalashnikovs
  • India – one of McCullin’s favourite countries which he’s returned to again and again to capture the swirl and detail of life
  • the AIDS pandemic in Africa – pictures of the dying accompanied by McCullin’s harrowing description of the AIDS pandemic as the biggest disaster he’d covered

Finally, in the last big room, are displayed the photos from the last few decades of McCullin’s career (born in October 1935, he is now 83 years old), in which he has finally been persuaded to take it easy. These are in two big themes and a smaller one:

  • he has been undertaking trips to the ancient Roman ruins to be found in the Arab countries bordering the Mediterranean, leading up to the publication of the book Southern Frontiers: A Journey Across the Roman Empire
  • and his most recent book, The Landscape (2018), is a collection of stunning photos of the scenery near his home in the Somerset Levels
  • finally, right at the tippy-most end of this long exhausting exhibition are three or four still lifes, very deliberately composed to reference the tradition of the still life in art, featuring apples or flowers in a bowl, next to a cutting board
Woods near My House, Somerset (c.1991)

Woods near My House, Somerset (c.1991)

Black and white

All the 250 photos in the exhibition are in black and white. McCullin printed them himself by hand in the dark room at his Somerset home.

As I’ve remarked in reviews of umpteen other photography exhibitions, black and white photography is immediately more arty than colour, because it focuses your visual response on depth, shade, lines and composition.

A lot of the early war photography is obviously capturing the moment, often under gunfire (McCullin was himself hit by shrapnel and hospitalised in Cambodia). But many of the smokestack cityscapes of Bradford and the North, the images of swirling mist and muddy rivers in India, and then the bleak photos of the Somerset Levels, in winter, dotted by leafless trees, floodwater reflecting the huge mackerel cloudscapes – many of these also have a threatening, looming, menacing effect.

The wall labels and the quotes from McCullin himself make it explicit that he is still haunted by the horrors he has witnessed – of war and cruelty, but also of famine and death by epidemic disease. It is a fairly easy interpretation to find the trauma of war still directing the aesthetic of the later photos – whether of Roman ruins in the desert or lowering skies over bleak Somerset in winter – both looking as if some terrible cataclysm has overtaken them.

The magazine slideshow

The one exception to the black and white presentation is a big dark projection room which shows a loop of the magazine covers and articles where McCullin’s photos were first published, displays of how they actually looked when first used, covered with banner headlines, or next to pages of text, and accompanied by detailed captions, describing the scene, what had happened just before or was going to happen afterwards, quotes from the people pictured.

It is striking what a difference a) being in colour and b) being accompanied by text, makes to these images. You quite literally read them in a different way, namely that your eye is drawn first to the text, whether it be the splash headlines on the front covers, or the tiny lines of caption accompanying the images.

It makes you realise that they were almost all first intended to tell a story, to explain a situation and, in all of the rest of the rooms of the exhibition, where that story is told by, at most, a paragraph of text on the wall, the images become ‘orphaned’. They stand alone. they are more ominous, pregnant with meaning, imposing.

Here, in the magazine slideshow, pretty much the same images are contained, corralled to sizes and shapes dictated by magazine layout, and overwritten by text which immediately channels your aesthetic and emotional responses and underwritten by captions, explanations and quotes which lead you away from the image and into the world of words and information.

And because information is, at the end of the day, more entrancing than pictures, more addictive (you want to find out what happened next, who, where, what, why) in one way this was the most powerful room in the show. I stayed for the entire loop which must have lasted over ten minutes, incidentally conveying, yet again, the sheer volume of work McCullin produced.

Local Boys in Bradford (1972

Local Boys in Bradford (1972

One perspective

Which brings me to my concluding thought which is that, for all its breadth (some fifty countries visited) and variety (from traumatic photojournalistic immediacy of wounded soldiers or starving children, to the monumental beauty of the Roman ruin shots and the chilly vistas of Somerset in winter) there is nonetheless a kind of narrowness to the work, in at least two ways:

The louring images of Somerset could hardly be more bleak and abandoned and the commentary is not slow to make the obvious point that they can be interpreted as landscapes as portrayed by a deeply traumatised, harrowed survivor i.e. it is all the suffering he saw which makes McCullin’s photographs of Somerset so compelling.

Well, yes, but these are also landscapes which people travel a long way to go on holiday in, where people have barbecues in the summer, take their dogs for walks, cars drive across playing Radio One, which has a good cricket team and various tourist attractions.

None of that is here. None of the actual world in all its banality, traffic jams and Tesco superstores. The images have been very carefully composed, shot and printed in order to create a particular view of the world.

And this also goes for the war and disaster photos. Seeing so many brilliantly captured, framed and shot images of war and disaster and famine, as well as the images of wrecked human beings in Spitalsfield and the poverty of the North of England – all this is bleak and upsetting and creates the impression that McCullin was living, that we are all living, in a world in permanent crisis, permanent poverty, permanent devastation.

A Catholic youth threatening police, Londonderry, Northern Ireland (1971)

A Catholic youth threatening police, Londonderry, Northern Ireland (1971)

You would never guess from this exhibition that his career covers the heyday of the Beatles, Swinging London, hippies smoking dope in a thousand attic squats, Biba and new boutiques, that – in other words – while soldiers were torturing civilians in Congo or Bangladesh, lots of young people were partying, older people going to work, kids going to school, families going on package holidays to the Costa del Sol, trying out fondue sets and meal warmers and all the other fancy new consumer gadgets which the Sunday Times advertised in the same magazines where McCullin’s photos appeared.

In other words, that away from these warzones, and these areas of maximum deprivation, life was going on as usual, and life was actually sweet for many millions of Brits. Kids play and laugh, even in warzones, even in poor neighborhoods. No kids are playing or laughing in any of these photos.

McCullin’s photos build up into an amazing oeuvre, an incredible body of work. But it would be a mistake to use them as the basis for a history or political interpretation of the era. It is just one perspective, and a perspective paid for by editors who wanted him to seek out the most harrowing, the most gut-wrenching and the most conscience-wracking situations possible.

If the cumulative worldview which arises from all these 250 photos is violent and troubled that is because he was paid to take photos of violence and trouble. Other photographers were doing fashion and advertising and sport and pop music photos. Their work is just as valid.

None of McCullin’s work is untrue (obviously), and all of it is beautifully shot and luminously printed – but his photos need to be placed in a much wider, broader context to even begin to grasp the history and meaning of his complex and multi-faceted era.

The promotional video


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The Lost Victory: British Dreams and British Realities 1945-50 by Correlli Barnett (1995)

What a devastating indictment of British character, government and industry! What an unforgiving expose of our failings as a nation, an economy, a political class and a culture!

Nine years separated publication of Barnett’s ferocious assault on Britain’s self-satisfied myth about its glorious efforts in the Second World War, The Audit of War (1986) and this sequel describing how the Attlee government threw away a once-in-a-lifetime opportunity to modernise Britain’s creaking infrastructure and industry – The Lost Victory: British Dreams and British Realities, 1945-50.

I imagine Barnett and the publishers assumed most readers would have forgotten the detail of the earlier book and that this explains why some sections of this volume repeat The Audit of War’s argument pretty much word for word, down to the same phrases and jokes.

And these set the tone and aim which is to extend the brutal dissection of Britain’s wartime industrial failings on beyond victory in the Second World War, and to show how the same old industrial and economic mistakes were made at every level of British government and industry – but now how the ruling class not only ignored Britain’s bankruptcy and ruin during the war but consciously chose not to take the opportunity to consolidate and invest in Britain’s scattered industries, her creaking infrastructure, and draw up plans for long-term industrial rejuvenation (unlike the defeated nations Japan and Germany) but instead piled onto the smoking rubble of the British economy all the costs of the grandiose ‘New Jerusalem’ i.e. setting up a national health service and welfare state that a war-ruined Britain (in Barnett’s view) quite simply could not afford.

The unaffordable British Empire

One big new element in the story is consideration of the British Empire. The British Empire was conspicuous by its absence from The Audit of War, partly, it seems, because Barnett had dealt with it at length in the first book of this series, The Collapse of British Power which addressed the geopolitical failings of greater Britain during the interwar period, partly because Audit was focused solely on assessing Britain’s wartime economic and industrial performance.

Anyone familiar with Barnett’s withering scorn for the British ruling class, the British working class and British industry will not be surprised to learn that Barnett also considers the empire an expensive, bombastic waste of space.

It was the most beguiling, persistent and dangerous of British dreams that the Empire constituted a buttress of United Kingdom strength, when it actually represented a net drain on United Kingdom military resources and a potentially perilous strategic entanglement. (p.7)

It was, in sum:

one of the most remarkable examples of strategic over-extension in history (p.8)

The empire a liability Barnett makes the simple but stunningly obvious point that the British Empire was not a strategically coherent entity nor an economically rational organisation (it possessed ‘no economic coherence at all’, p.113). Instead he gives the far more persuasive opinion that the empire amounted to a ragbag of territories accumulated during the course of a succession of wars and colonising competitions (climaxing with the notorious Scramble for Africa at the end of the 19th century) whose rationale was often now long forgotten. It was, as he puts it, ‘the detritus of successive episodes of history, p.106.

For example, why, in 1945, was Britain spending money it could barely afford, administering the Bahamas, Barbados, Guiana, British Honduras, Jamaica, the Turks and Caicos Islands, Trinidad and Tobago, the Windward Islands, and the Leeward Islands? They didn’t bring in any money. They were a drain, pure and simple, on the British Treasury i.e. the British taxpayer.

India too expensive Everyone knows that India was ‘the jewel in the crown’ of the Empire, but Britain had ceased making a trading surplus with India by the end of the 19th century. Now it was a drain on resources which required the stationing and payment of a garrison of some 50,000 British soldiers. It was having to ‘defend’ India by fighting the Japanese in Burma and beyond which had helped bankrupt Britain during the war. Barnett is scathing of the British ruling class which, he thinks, we should have ‘dumped’ India on its own politicians to govern and defend back in the mid-1930s when the Congress Party and the Muslim League had started to make really vehement requests for independence. Would have saved a lot of British money and lives.

Ditto the long string of entanglements and ‘mandates’ and ‘protectorates’ which we’d acquired along the extended sea route to India i.e. Gibraltar, Malta, Cyprus and Egypt with its Suez Canal. None of these generated any income. All were a drain on the public purse, all required the building of expensive military bases and the indefinite prolongation of National Service to fill them up with discontented squaddies who, as the 40s turned into the 50s, found themselves fighting with increasingly discontented locals demanding independence.

So why carry on paying for this expensive empire?

For psychological reasons. Politicians and public alike though the Empire (morphing into the Commonwealth) was what made Britain Great.

Pomp and circumstance Barnett explains how the trappings of Empire were mostly created in the late Victorian period in order to unite public opinion across the dominions and colonies but also to impress the home audience. These gaudy ceremonies and medals and regalia and titles were then carried on via elaborate coronation ceremonies (George V 1910, George VI 1936, Elizabeth II 1952), via pomp and circumstance music, the Last Night of the Proms, the annual honours list and all the rest of it, the grandiose 1924 Empire exhibition – all conveying a lofty, high-minded sense that we, the British public, had some kind of ‘duty’ to protect, to raise these dusky peoples to a higher level of civilisation and now, in some mystical way, Kikuyu tribesmen and Australian miners and Canadian businessmen all made up some kind of happy family.

In every way he can, Barnett shows this to be untrue. A lot of these peoples didn’t want to be protected by us any more (India, granted independence 15 August 1947; Israel declared independence 14 May 1948) and we would soon find ourselves involved in bitter little wars against independence and guerrilla fighters in Malaya, Cyprus and Kenya to name just the obvious ones.

Empire fantasists But the central point Barnett reverts to again and again is the way what he calls the ’empire-fantasists’ insisted that the British Empire (morphing into the British Commonwealth as it was in these years) somehow, magically, mystically:

  • made Britain stronger
  • gave Britain ‘prestige’
  • made Britain a Great Power
  • thus entitling Britain to sit at the Big Boys table with America and Russia

He shows how all these claims were untrue. Successive governments had fooled themselves that it was somehow an asset when in fact it was a disastrous liability in three ways:

  1. Britain made no economic advantage out of any part of the empire (with the one exception of Malaya which brought in profits in rubber and tin). Even in the 1930s Britain did more trade with South America than with any of the colonies.
  2. Most of the Empire cost a fortune to police and maintain e.g. India. We not only had to pay for the nominal defence of these colonies, but also had to pay the cost of their internal police and justice systems.
  3. The Empire was absurdly widely spaced. There was no way the British Navy could police the North Sea, the Mediterranean and protect Australia and New Zealand from Japanese aggression.

The end of naval dominance Barnett shows that, as early as 1904, the British Navy had decided to concentrate its forces in home waters to counter the growing German threat, with the result that even before the Great War Britain was in the paradoxical position of not being able to defend the Empire which was supposed to be the prop of its status as a World Power.

In fact, he makes the blinding point that the entire layout of the Empire was based on the idea of the sea: of a merchant navy carrying goods and services from farflung colonies protected, if necessary, by a powerful navy. But during the 1930s, and then during the war, it became obvious that the key new technology was air power. For centuries up to 1945 if you wanted to threaten some small developing country, you sent a gunboat, as Britain so often did. But from 1945 onwards this entire model was archaic. Now you threatened to send your airforce to bomb it flat or, after the dropping of the atom bombs, to drop just one bomb. No navy required.

An Empire based on naval domination of the globe became redundant once the very idea of naval domination became outdated, superseded. Instead of an economic or military asset, by the end of the Second World War it had clearly become an expensive liability.

The hold of empire fantasy And yet… not just Churchill, but the vehement socialists who replaced him after their landslide general election victory in August 1945, just could not psychologically break the chain. Their duty to the Queen-Empress, all their upbringings, whether on a council estate or at Harrow, all the trappings of the British state, rested on the myth of the empire.

The delusion of being a Great Power Added to this was the delusion that the existence of a British Empire somehow entitled them to a place at the top table next to Russia and America. Churchill had, of course, taken part in the Great Alliance with Roosevelt and Stalin which made enormous sweeping decisions about the future of the whole world at Yalta and Potsdam and so on.

Looking back across 70 years it is difficult to recapture how all the participants thought, but there was clear unanimity on the British side that they genuinely represented a quarter of the world’s land surface and a quarter of its population.

Ernest Bevin What surprises is that it was a Labour politician, Ernest Bevin, who became Foreign Secretary in 1945, who felt most strongly about this. Barnett, in his typically brusque way, calls Bevin the worst Foreign Secretary of the 20th century because of his unflinching commitment to maintaining military defence of the British Empire at its widest and most expensive extent. He repeatedly quotes Bevin and others like him invoking another defence of this hodge-podge of expensive liabilities, namely that the British Empire provided some kind of ‘moral’ leadership to the world. They thought of it as an enormous stretch of land and peoples who would benefit from British justice and fair play, a kind of safe space between gung-ho American commercialism on the one hand, and the menace of Stalinist communism on the other.

And yet Barnett quotes the U.S. Secretary of State Dean Acheson as getting fed up with Britain’s clamorous calls to be involved in all the high level discussions between America and Russia, calls which would increasingly be ignored as the years went by and which were brutally snapped down during the Suez Crisis of 1956, when America refused to back Britain’s invasion of Egypt and Britain had to back down and walk away with its tail between its legs.

Salami slicing On the specific issue of imperial defence Barnett shows in considerable detail – using minutes and memoranda from the relevant cabinet meetings – that the Attlee government’s inability to decide what to do about defending the farflung Commonwealth set the pattern for all future British administrations by trying to maintain an army and navy presence in all sectors of the Empire (Caribbean, Far East, Middle East) but ‘salami slicing’ away at the individual forces, paring them back to the bone until… they became in fact too small to maintain serious defence in any one place. For the first few decades we had an impressive military and naval force but a) to diffused in scores of locations around the globe to be effective in any one place b) always a fraction of the forces the Americans and the Soviets could afford to maintain.

Empire instead of investment

Stepping back from the endless agonising discussions about the future of the Empire, Barnett emphasises two deeper truths:

1. The 1946 loan The British were only able to hand on to their empire because the Americans were paying for it – first with Lend-Lease during the war, which kept a bankrupt Britain economically afloat, then with the enormous post-war loan of $3.5 billion (the Anglo-American Loan Agreement signed on 15 July 1946). This was negotiated by the great economist John Maynard Keynes:

Keynes had noted that a failure to pass the loan agreement would cause Britain to abandon its military outposts in the Middle Eastern, Asian and Mediterranean regions, as the alternative of reducing British standards of living was politically unfeasible.

A debt that was only paid off in 2006.

2. Marshall Aid While Barnett shows us (in numbing detail) successive British governments squabbling about whether to spend 8% or 7% or 6% of GDP on the military budget required to ‘defend’ Malaya and Borneo and Bermuda and Kenya and Tanganyika – their most direct commercial rivals, Germany and Japan, were spending precisely 0% on defence.

I was surprised to learn that (on top of the special loan) Britain received more Marshall Aid money than either France or Germany but – and here is the core of Barnett’s beef – while both those countries presented the American lenders with comprehensive plans explaining their intentions to undertake comprehensive and sweeping investment in industry, retooling and rebuilding their economies to conquer the postwar world, Britain didn’t.

This was the once-in-a-generation opportunity which Britain also had to sweep away the detritus of ruined British industry, and invest in new technical schools, better training for workers and management, new plant and equipment built in more appropriate locations and linked by a modern road and rail infrastructure.

Instead Britain, in Barnett’s view, squandered the money it borrowed from America (the only thing keeping it afloat during the entire period of the Attlee government) on 1. the grandiose welfare state with its free care from cradle to grave and 2. propping up an ‘Empire’ which had become a grotesque liability and should have been cut loose to make its own way in the world.

Empire instead of Europe

Britain’s enthralment to delusions of empire is highlighted towards the end of the period (1945-50) when Barnett describes its sniffy attitude towards the first moves by West European nations to join economic forces. The first glimmers of European Union were signalled by the Schuman Declaration of 9 May 1950 which proposed the creation of a European Coal and Steel Community (ECSC), the basis of the EU as we know it today.

Typically, the British government commissioned several committees of mandarins to ponder our response, which turned out to be one of interest but reluctance to actually join – with the result that a pan-European coal and steel market was forged and we were left out of it.

The episode starkly demonstrated that five years after Victory-in-Europe Day Britain still remained lost in the illusion of a continuing destiny as a world and imperial power – an illusion which was costing her so dear in terms of economic and military overstretch. (p.120)

The following month (June 1950) North Korea invaded South Korea and Britain immediately pledged its support to America in repelling the invasion. The Korean War ended up lasting three years (until an armistice on 27 July 1953). Britain committed over 100,000 troops to what those who served bitterly called ‘the forgotten war’, of whom 1,078 were killed in action, 2,674 wounded and 1,060 missing, in defence of a nation 5,500 miles away – a military deployment which cost a fortune.

New Jerusalem

This prolonged demolition of the whole idea of the British Empire comes before Barnett even turns his guns on the main target of the book – the British government’s misguided decision not to invest in a comprehensive renovation of the British economy, and instead to devote its best minds, energies and money to the creation of the welfare state and the National Health Service.

Here Barnett deploys all the tactics he used in The Audit of War:

  • he lumps together these two projects, along with the broader aims of the Beveridge Report (massive rehousing, full employment) under the pejorative heading ‘New Jerusalem’ and deliberately mocks all its proponents as ‘New Jerusalemers’ (Beveridge himself described as ‘the very personification of the liberal Establishment’, possessing the righteousness and ‘authoritartian arrogance and skill in manipulating the press which made him the Field Marshall Montgomery of social welfare’, p.129)
  • he goes to great lengths to show how the entire New Jerusalem project was the misguidedly high-minded result of the culture of Victorian idealism, the earnest religious revival of the early and mid-Victorian period as brought to perfection in the public service ethos of the public schools and which he scornfully calls ‘the “enlightened” Establishment’ – meeting and marrying the ‘respectable’ working class tradition of non-conformism and moral improvement, particularly strong in Wales which produced, among many other Labour politicians, the father of the NHS, Aneurin Bevan
  • and how this enormous tide of high-minded paternalistic concern for the squalor and ill health of Britain’s industrial proletariat led throughout the war to a co-ordinated campaign across the media, in magazines and newspapers – led by public school and Oxbridge-educated members ‘the “enlightened” Establishment’, editors, writers, broadcasters – which used all means at its disposal to seize the public imagination

The result of this great tidal wave of high minded altruism was that by 1945 both Tories and Labour were committed to its implementation, the implementing the Beveridge Report of 1942 which called for the creation of a welfare state, for the creation of a national health service free at the point of delivery, and for Beveridge’s other two recommendations – for a vast building plan to erect over 4 million new houses in the next decade, as well as a manifesto pledge to maintain ‘full employment’.

Barnett quotes at length from the great torrent of public and elite opinion which made these policy decisions almost unavoidable – but also emphasises how none of these great projects was ever properly costed (the actual cost of the NHS tripled within two years, far exceeding expectations); and how the warnings of financial ‘realists’ like the successive Chancellors of the Exchequer (Sir Kingsley Wood, Sir John Anderson, Hugh Dalton, Sir Stafford Cripps and Hugh Gaitskell) that Britain simply couldn’t afford them, were rejected by the barnstorming rhetoric of the impetuous and passionate Bevan, who established a pattern of making grandstanding speeches about the poor and needy to his cabinet colleagues, before threatening to resign (page. 150) (Bevan did eventually resign, in 1951, in protest at Chancellor Gaitskell introducing prescription charges for false teeth and glasses).

Case studies and proof

As in The Audit of War these general chapters about the New Jerusalemites, the pointlessness of the empire, the arts and humanities education of both politicians and civil servants, and the lamentable anti-efficiency practices of the trade unions, are all just preliminaries for a long sequence of chapters and sections in which Barnett examines in mind-boggling detail how the Attlee government’s wrong-headed priorities and policies hampered and blocked any kind of industrial recovery across a wide range of industries which had already been struggling even before the war started, and now became fossilised in postures of bureaucracy and incompetence.

It is an absolutely devastating indictment of how restrictive government policies, short-sighted and stupid management, and the incredibly restrictive practices of an embittered and alienated working class all combined to create the ‘British disease’ which had brought Britain to its knees by the 1970s. Some quotes give a feel:

The catastrophically cold winter of 1946 to 1947 forced the shutdown of large swathes of industry.

In 1947 the price of food imports, many of them from the dollar area, rose to nearly a third higher than in 1945. As a consequence of this double misfortune [loss of exports due to shutdown factories, huge rise in cost of food imports] plus the continued £140 million direct dead-weight cost of the world role, Britain was no longer gaining ground in the struggle to close the balance of payments gap, but losing it. In the first six months of 1947 more than half the original 1945 loan of $3.75 billion was poured away to buy the dollar goods and foodstuffs that Britain could not itself afford. (p.199)

In fact, there is evidence that it was the failure of the ‘centrally planned’ economy under Labour to supply enough coal to keep the power stations running, and the general collapse of the economy, which did a lot to undermine faith in their competence.

It is striking that in this great age of plans and planners, it turned out that Labour did not, in fact, have a fully costed and worked out plan for either the costs of the welfare state and NHS, and even less so for what it wanted to do with the country’s economy and industry. The only plan was to nationalise key industries in the vague hope that bringing them into public ownership would make management and workers work harder, with a greater spirit of public unity. But nationalisation did the opposite. Because no new money was poured in to modernise plant and equipment, men kept working in crappy workplaces at hard jobs and insisted on their pay differentials. Instead of directing resources to the most profitable coalmines or steel plants, the Labour government nationalised these industries in such a way that the most inefficient were subsidised by the most efficient, and workers across all factories and mines were paid the same wages – thus at a stroke, killing any incentive for management to be more efficient or workers to work harder. The effect was to fossilise the generally poor level of management and incredibly inefficient working practices, at the lowest possible level.

From the start the various Boards and committees and regional Executives set up to run these ramshackle congeries of exhausted industry regarded their job as to tend and succour, not to inspire and modernise, dominated

by a model of a ‘steady-state’ public utility to be ‘administered’ rather than dynamically managed.

But it’s the fact that, after all these years of articles and speeches and radio broadcasts and meetings and papers and research and books, there were no worked-out plans which takes my breath away.

The Labour government renounced the one advantage of a command economy – direct intervention in the cause of remaking Britain as an industrial society. Except in the fields of defence, nuclear power and civil aircraft manufacture, there were still to be no imposed plans of development – even in regard to industries where the need had long been apparent, such as shipbuilding, steel and textiles. (p.204)

As to these knackered old industries:

It was a mark of how profoundly twentieth century industrial Britain had remained stuck in an early-nineteenth century rut that even in 1937 exports of cotton (despite having collapsed by three-quarters since 1913) still remained a third more valuable than exports of machinery and two-and-a-half times more than exports of chemicals. (p.209)

A Board of Trade report stated that between 60 and 70% of its buildings had been put up before 1900. Whereas 95% of looms in America were automatic, only 5% of looms in Britain were. Most of the machinery was 40 years old, some as much as 80 years old. Barnett then describes the various make-do-and-mend policies of the government which had spent its money on defence and the welfare state and so had none left to undertake the sweeping modernisation of the industry which it required.

Same goes for coal, steel, shipbuilding, aircraft and car manufacturing, each of them suffering from creaking equipment, cautious management, mind-bogglingly restrictive trade union practices, poor design, absurd fragmentation.

The chapter on Britain’s pathetic attempts to design and build commercial airliners is one of humiliation, bad design, government interference, delay and failure (the Tudor I and II, the enormous Brabazon). While politicians interfered and designers blundered and parts arrived late because of lack of capacity in steel works themselves working at sub-optimal capacity because of failures in coal supply (due, more often than not, to strikes and go-slows) the Americans designed and built the Boeing and Lockheed models which went on to dominate commercial air flight.

While the French committed themselves to an ambitious plan to build the most modern railway network in the world, high speed trains running along electrified track, the British government – having spent the money on propping up the empire, building useless airplanes and paying for cradle to grave healthcare, was left to prop up the Victorian network of

slow, late, dirty and overcrowded passenger trains, freight trains still made up of individually hand-braked four-wheeled wagons, and of antique local good-yards and crumbling engine sheds and stations. (p.262)

The Germans had already built their motorways in the 1930s. Now they rebuilt them wider and better to connect their regions of industrial production, as did the French. The British bumbled along with roads often only 60 feet wide, many reflecting pre-industrial tracks and paths. The first 8 mile stretch of British motorway wasn’t opened until 1958.

When it came to telecommunications, there was a vast backlog of telephones because no British factories could produce vital components which had to be (expensively) imported from America or Germany. Result: in 1948 Britain was a backwards country, with 8.5 phones per 100 of the population, compared to 22 in the US, 19 in Sweden, 15.5 in New Zealand and 14 in Denmark (p.265). Some 450,000 people were on a waiting list of up to eighteen months meaning that for most of the 100,000 business waiting for a phone to be installed, making any kind of communication involved popping out to the nearest call box with a handful of shillings and pence and an umbrella (p.267).

Barnett details the same kind of failings as applied to the entire system of British ports: too small, built in the wrong places without space to expand, harbour entrances too narrow, docks too shallow, cranes and other equipment too small and out of date – then throw in the immensely obstructive attitude of British dockers who were divided into a colourful miscellany of crafts and specialism, any of whom could at any moment decide to strike and so starve the country of supplies.

I was particularly struck by the section about the British car industry. it contained far too companies – some 60 in all- each of whom produced too many models which were badly designed and unroadworthy, made with inferior steel from knackered British steelworks and required a mind-boggling array of unstandardised parts. Barnett tells the story of Lucas the spark plug manufacturers who put on a display of the 68 different types of distributor, 133 types of headlamp and 98 different types of windscreen wiper demanded of them by the absurd over-variety of British cars e.g. Austin producing the A40, the Sheerline and the princess, Rootes brothers making the Sunbeam-Talbot, the Hillman Minx, and three types of Humber, and many more manufacturers churning out unreliable and badly designed cars with small chassis and weak engines.

Barnett contrasts this chaos with the picture across the Channel where governments helped a handful of firms invest in new plant designed to turn out a small number of models clearly focused on particular markets: Renault, Citroen and Peugeot in France, Mercedes and Volkswagen in Germany, Fiat in Italy. It wasn’t just the superiority of design, it was subtler elements like the continentals’ willingness to tailor models to the requirements and tastes of foreign markets, and to develop well-organised foreign sales teams. The British refused to do either (actually refused; Barnett quotes the correspondence).

On and on it goes, a litany of incompetence, bad management and appalling industrial relations, all covered over with smug superiority derived from the fact that we won the war and we had an empire.

It makes you want to weep tears of embarrassment and humiliation. More important – it explains what came next. More than any other writer I’ve ever read, Barnett explains why the Britain I was born into in the 1960s and grew up in during the 1970s was the way it was, i.e. exhausted, crap and rundown on so many levels.


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I am Ashurbanipal king of the world, king of Assyria @ the British Museum

Ashurbanipal

Ashurbanipal was ruler of the Assyrian Empire from 669 to about 630 BC. From his capital at Nineveh on the edge of present-day city of Mosul in northern Iraq, Ashurbanipal ruled a vast and diverse empire, reaching from upper Egypt, via the eastern shore of the Mediterranean (modern Cyprus, Israel Lebanon and Syria) and along a corridor either side of the Tigris and Euphrates rivers down to the Persian Gulf. During his reign he was probably the most powerful person on earth.

Map showing the fullest extent of the Assyrian empire (in pink) by Paul Goodhead

Map showing the fullest extent of the Assyrian empire (in pink) by Paul Goodhead

This blockbuster exhibition examines the life and times and cultural achievements and social context of Ashurbanipal’s rule alongside detailed profiles of the different kingdoms and cultures which he ruled over and exhaustive accounts of his numerous military campaigns.

Topics

The quickest way to give you a sense of the scope might be to list some of the headings which introduce different areas of the exhibition and displays:

  • Nineveh, a city without rival
  • The royal family
  • Ashurbanipal’s palace in Nineveh
  • Aqueducts and canals (agriculture and pleasure gardens)
  • Training to be a king (featuring numerous lions hunts in which the king displays his mastery of the natural world)
  • The scholar king (in inscriptions he boasts of being able to read numerous languages)
  • Knowledge is power (his surprisingly large library)
  • Coronation
  • Assyria’s world domination (introducing the various kingdoms and people the empire ruled over)
    • The southern Levant
    • Babylonia
    • Elam
    • The kingdoms of Cyprus
    • The kingdom of Urartu
    • Western Iran
    • Aramaean kingdoms
    • Ashurbanipal at war
    • Ashurbanipal conquers Egypt
    • Trouble in the East (Urtak, king of Elam, invades Babylonia)
    • Sibling rivalry (with his older brother Shamash-shumu-ukin)
  • Retaliation (against Elam for its rebellion)
  • Order restored
  • The empire falls apart (after Ashurbanipal’s death)
  • Ashurbanipal’s fate (a mystery to this day)
  • Legend, discovery and revival (Victorian archaeologists uncover the key sites and ship statues and carvings back to the British Museum in London)
Discovery of Nimrud by Frederick Charles Cooper (1810 – 1880) mid-19th century, watercolour on paper © The Trustees of the British Museum

Discovery of Nimrud by Frederick Charles Cooper (1810 to 1880) mid-19th century, watercolour on paper © The Trustees of the British Museum

Highlights

This is the first ever major exhibition to explore the life of Ashurbanipal in such depth and a dream come true for anyone interested in this period. Anyone familiar with the Assyrians knows that they were a strongly militaristic culture characterised, above all, by the immense statues of lions with the heads of bearded men. These tend to covered in cuneiform inscriptions which, when deciphered, amount to world class bragging about the emperor’s might and strength, king of kings, and then go on to give a long list of the emperor’s achievements.

Maybe even more famous are the numerous enormous friezes we have depicting the emperor on one of his countless lion hunts. Elsewhere in the British Museum (rooms 6, 7 and 8) you can walk along a corridor entirely lined by stone friezes depicting the lion hunt which was a central icon and symbol of Assyrian kingship. Why? Because the emperor’s role was to impose order on the world. The lion was the fiercest beast in the world. By beating it, by killing lions single handed (although surrounded by scores of courtiers and warriors) the emperor showed his fitness to rule and, symbolically, enacted the ordering of the world.

Both these types of imagery are familiar to anyone who knows a bit about the ancient Middle East.

Social history

What is new and striking about the exhibition was a lot of the non-military social history. For example, the section on the immense library which Ashurbanipal assembled, and which led him to boast about his learning. His library at Nineveh may have contained as many as 10,000 texts and the exhibition powerfully conveys this by displaying them in a massive glass wall divided into grids, each containing a cuneiform text, carved into a clay tablet, covering a wide range of subjects – astrology, medicine, legends and so on. Ashurbanipal claimed to be unlike his predecessors in that he could read, write and debate with expert scholars.

The canals of Nineveh

Nearby is a section devoted to the orderly agriculture and watering of the capital city, conveyed via a big carving showing canals, tilled fields and a path leading to a gazebo with a happy looking emperor standing in it. Apparently it was Asurbanipal’s grandfather, Sennacherib (mentioned in the Bible) who built the canals which watered Nineveh.

Clever lighting

What brings this all alive is the clever use of lighting which animates bands of blue slowly colouring the canals, and of green, slowly colouring in the fields, and white indicating the path. The information panel tells us that all of these carvings and sculptures would have been brightly coloured. But the use of son et lumiere to animate the colouring was inspired.

Battle scenes

The same goes for several of the battle panels. One of them is maybe 30 feet wide and depicts the Battle of Til-Tuba in 653 BC, as Ashurbanipal led an invasion of the kingdom of Elam. As with many of these battle panels, the figures are carved in horizontal bands, each of which tells a story, in this case the Elamites retreating in panic down a hill before triumphant Assyrians who drive them into a river.

There are information panels along the bottom of the long frieze picking out scenes, but there was also another display of lighting effects for a sequence of spotlights picked out a particular scene – not only picked it out but highlighted the silhouettes of the relevant figures – and then text was projected onto a blank part of the frieze explaining what was going on.

Relief detail of Ashurbanipal hunting on horseback from Nineveh, Assyria (645–635 BC) © The Trustees of the British Museum

Relief detail of Ashurbanipal hunting on horseback from Nineveh, Assyria (645–635 BC) © The Trustees of the British Museum

The exhibition contains a number of maps and, in the main area you realise that the entire floor you are walking on is a schematic map of the Assyrian Empire.

There are several timelines, twenty of more large information panels and, of course, hundreds of smaller information panels relating to each of the 200 or so artefacts on display.

Partitions

The exhibition is divided into different ‘rooms’ or areas by immense partitions on which are printed patterns and designs found on the tiled rooms of the emperor’s palace, abstract geometric patterns.

In fact these vast decorated partitions dominate the exhibition visually, much bigger than any one object on display, and encourage you to pay attention to the section of the show which focuses on Assyrian tiles and glazed bricks, explaining the evolution of their decorative patterns and styles.

If the central section focuses on Ashurbanipal’s military campaigns, with cases explaining the history and culture of each of the dozen or so areas which made up the empire, and then a series of displays about each of his major campaigns (against Egypt and Elam in particular), there are also plenty of more modest cases highlighting what we know about Assyrian religion, culture, design, even cookery – displaying ‘delicately carved ivories, extravagant metalwork, cosmetic vessels and gold ornaments’ – one case showing an enormous bronze cauldron decorated around the lip with what seem to be dragon heads.

Striding sphinx from ‘Fort Shalmaneser’, Nimrud, Iraq (900 -700 BC) © The Trustees of the British Museum

Striding sphinx from ‘Fort Shalmaneser’, Nimrud, Iraq (900  to 700 BC) © The Trustees of the British Museum

Criticism

Overall the exhibition layout is imaginative and over-awing, and the use of the light animations to bring old stone friezes to life is really inspiring.

However the curators make the same mistake they made with the Viking exhibition. A good number of the information labels are at waist height. When I went the exhibition was absolutely crammed. Imagine the crowd at a football stadium. It was impossible to process through it in sequential order because some display cases were simply unapproachable. Early on, there is a display of a characteristic battle relief, maybe 20 feet long by 7 or eight feet high. As usual it shows a series of incidents during a battle and it was accompanied by about ten informative and interesting panels picking out and explaining specific incidents.

But because they were at waist height, they were completely hidden by the crowd of twenty of more people in front of them. Whereas, there was plenty of space above the relief. Why not put the information panels above the objects where anybody can read them, instead of at waist height, where they are inevitably hidden?

The end

The final sections of the show peter out a bit, after the dense concentration of information and huge reliefs depicting his famous victories which dominate the centre.

I was fascinated to learn that we don’t know when Ashurbanipal died. Nobody knows whether he died of natural causes, was murdered or abdicated. The last public inscription about him dates from 638. His kingship may have ended as early as 631 or as late as 627 – there is no written record in the sources of Assyria or its neighbours.

We do know that Ashurbanipal was briefly succeeded by a son, then another one. The significant event was that in 626 a former general, Nabopolassar, claimed the throne of Babylon and started a war of independence which led to the entire empire unravelling. The Iranian Medes led by Cyaxares, joined Nabopolassar and their forces sacked the city of Ashur, home to Assyria’s chief deity. This alliance then marched on Nineveh, the beautiful city of canals and decorated palaces built up by Ashurbanipal’s forebears and himself – and sacked it, burning it to the ground.

The Victorian rediscovery

It was only in the 1840s that Victorian archaeologists began systematically to uncover the site of Nineveh, discovering the massive lions statues, thousands of clay tables covered in writing, and other treasures. Some of these treasures were displayed at the Great Exhibition of 1851 and sparked a short-lived enthusiasm for Assyrian motifs on such things as tankards and dishes, and their use in jewellery and necklaces, a handful of which are on display here.

Until these discoveries, the reputation of the Assyrians and of Nineveh was taken from the Bible, where its rulers are depicted as gross, corrupt, Sybarites, who fully deserved their destruction by the Israelites’ jealous God.

The archaeological discoveries began to overthrow that old view and restore the more rounded view of Assyrian civilisation which, we like to think, we enjoy today.

War and destruction

The final section of the exhibition is staged in a long narrow corridor. It contains a timeline of modern archaeology (i.e. since the 1840s) and two short films.

One uses computer technology to match together aerial photos of the site of Nineveh as it appeared from the 1930s up to the present day, a rough square in a bend of the River Tigris. The camera, or point of view, slowly circles down from the high vantage point of early 20th century photos, spiralling down to show us how the site has changed and developed over the past eighty years or so, until we are at ground level looking up at the rather pitiful remains.

The second film features the head of the British Museum’s Iraq section explaining the scheme whereby archaeologists from Iraq are being brought to London and trained in various techniques, and then supported as they return to Iraq in the task of ongoing digging and preservation of that country’s heritage – the ‘Iraq Emergency Heritage Management Training Scheme’.

(This isn’t exactly the same one, but covers the same scheme)

I couldn’t help noticing the world class irony here.

For the previous half hour I had been reading numerous inscriptions in which Ashurbanipal had his sculptors inscribe words describing how he not only defeated his enemies in Egypt or Elam, but annihilated them and their cities, leaving not a blade of grass standing, how he ransacked the tombs of their royal families, destroyed their monuments, killed their sheep and goats and left not an animal stirring in the barren wastelands he created.

This is the man who is being held up, not exactly for our admiration but for our awe, a man who destroyed and killed wantonly in pursuit of his worldview, namely that the known world should be ruled by a man like him, with his beliefs.

The irony being that two and a half thousand years later, another cohort of warriors seized control of this region, also convinced that they had a God-given right to rule, to impose their beliefs on all the inhabitants, and to destroy anything, any relics or remains of civilisations which they saw as infidel and blasphemous.

Difficult not to see a certain continuity of culture reaching across two and a half millennia.

Relief depicting Ashurbanipal hunting a lion (645 – 635 BC) © The Trustees of the British Museum

Relief depicting Ashurbanipal hunting a lion (645 – 635 BC) © The Trustees of the British Museum

There’s a second final thought. Many bien-pensant liberals, as well as hard core identity politicians and virtue warriors, think the British Museum is a guilt-filled testimony to the wholesale looting carried out by the British Empire, and that all of its artefacts, starting with the Elgin Marbles, should be returned to their countries of origin.

But if all of these objects had been in the Baghdad Museum in 2003 or the Mosul Museum in 2015, they would all have been looted or simply destroyed.

That doesn’t settle the debate about the Marbles or thousands of other objects, but these are the thoughts which the final section, all about the Iraq War and ISIS, leave you pondering.

Video

Here’s an excellent visual overview of the show from Visiting London Guide.


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Mother Night by Kurt Vonnegut (1962)

‘People should be changed by world wars,’ I said, ‘else, what are world wars for?’ (p.86)

Mother Night purports to be the memoirs of American Howard W. Campbell Jr., born 1912 (p.17) who goes to Germany in 1923, along with his family when his dad gets a job with the Berlin branch of General Electric (p.18) and so grows up fluent in German.

The three-page introduction by Vonnegut uses the hokey old strategy of claiming that the author is merely presenting the authentic papers of a genuine historical figure, which he has edited and corrected in various detail. This is both designed to give hokey plausibility to the narrative’s provenance while drawing attention to its artificiality. Just one of the numerous meta-fictional devices Vonnegut uses here and throughout his career.

Howard W. Campbell Jnr

The main text starts bluntly enough and very much in the tradition of much 19th century fiction:

My name is Howard W. Campbell Jnr. I am an American by birth, a Nazi by reputation, and a nationless person by inclination. (p.3)

As he came of age in Nazi Germany (he turns 21 in 1933, the year Hitler comes to power) Campbell set out to make a living as a writer, producing so-so plays and poems throughout the 1930s and marrying a German wife, the actress Helga Noth, daughter of Berlin’s Chief of Police. The glamorous young couple find themselves invited to society parties and so meeting, among others, many of the leaders of the Nazi Party, notably Joseph Goebbels.

The text purports to be a memoir written in 1961 in prison in Israel where Campbell has recently been brought after living quietly in Greenwich Village, New York since the end of the war, because Howard W. Campbell Jr.’s main achievement in life was to become a traitor to his country and a war criminal by broadcasting hard core, anti-Semitic, anti-American Nazi propaganda from Berlin right till the end of the war. Although we are not told till the end of the book how he ended up there, he is now in the custody of the Israeli authorities who are about to put him on trial for war crimes.

The memoir uses Vonnegut’s familiar approach of not giving a chronological approach to Campbell’s life, but ranging far and wide over his former life, to pick out key moments and scenes. Thus, in what is effectively a series of fragments, we learn that:

In Israel

  • Campbell is writing the memoir for Mr Tuvia Friedmann, Director of the Haifa Institute for the Documentation of War Criminals.
  • He describes the characters of the four very different Israeli guards who do the different shifts of guarding him – Andor Gutman who spent two years in Auschwitz, Arpad Kovacs who survived the war by pretending to be a good Aryan and joining the SS.

In Nazi Germany

  • It was Campbell who introduced Goebbels – and through him, Hitler – to Lincoln’s Gettysburg Address.
  • Half way through the war Helga was entertaining the German troops in the Crimea when the Crimea is overrun by the Russians. She was never heard from again, presumed dead.
  • Towards the end of the war Campbell borrowed the beloved motorbike of his best friend Heinz Schildknecht and went to visit his father-in-law, Werner Noth, in his big house on the outskirts of Berlin. Werner was having all the contents loaded on a cart and sent with his wife and other daughter, 10-year-old Resi, to Cologne. Werner asks Campbell to shoot the family dog, which Campbell did. 10-year-old Resi says she loves him (Campbell). Fine. He gets on his motorbike and tries to escape the advancing Russians.
  • In 1945 Campbell was captured by Lieutenant Bernard B. O’Hare of the American Third Army who drives him to the nearby and newly-liberated concentration camp of Ohrdruf, where he is photographed in front of the camp gallows (now full of former camp guards), a photo which makes the front cover of Life magazine and makes Campbell notorious.

In New York

  • Campbell is released by the American authorities and goes to live in New York. His mother and father had gone back to America just before war broke out, but they both die within 24 hours of each other of heart disease before the end of the war, and Howard has inherited their fortune.
  • Campbell’s downstairs neighbour in Greenwich Village is a young doctor named Abraham Epstein; he doesn’t care about the war, but his mother was in Auschwitz and recognises Campbell, who plays dumb.
  • In his loneliness, Campbell gets to know another neighbour, George Kraft, by playing chess with him. Little does he know that Kraft is in fact a Russian spy, real name Colonel Iona Potapov.
  • The beginning of the end comes when Campbell finds his mailbox stuffed with neo-Nazi literature, namely The White Christian Minuteman edited by the reverend Lionel L.D. Jones, D.D.S.
  • There’s also a letter from the American soldier who arrested him 16 years earlier, Bernard B. O’Hare, who threatens to pay him a visit and administer the punishment he so richly deserves.
  • How did they track him down? Kraft, the Russian spy. Over the months Campbell got to trust him and spill parts of his story. It was Kraft who contacted the neo-Nazis and O’Hare. Why? In order to force him to flee, so that he can be kidnapped by Russian security forces (see below).
  • Dr Jones comes to visit along with a couple of other American Nazis and… to Campbell’s amazement, his long-lost wife Helga. He gets rid of the others and he and Helga have riotous sex, just like back in the good times in Berlin. It’s only when he takes Helga shopping for a king-sized double bed like the one they used to have, that she drops the bombshell that she is not Helga – she is the kid sister, Resi, all grown up 🙂

Throughout the memoir Campbell claims he is innocent. He claims he was recruited for American intelligence by a Major Frank Wirtanen, who taught him how to leave pauses, gaps, coughs etc during his radio broadcasts, which conveyed valuable information to the American intelligence.

Trouble is the American government now (1961) refuses to confirm or deny Campbell’s story, and there are no records anywhere of this Major Wirtanen.

The deeper trouble is that Campbell himself is torn by his schizophrenia. Although he may have been an American agent he did, nonetheless, say those things over the radio. In his memoir he damns himself even more by pointing out various anti-Semitic ideas and pictures which he also contributed to the Nazi cause. He has no doubt that he was guilty of doing those things. Although he is also certain he was working for the Americans.

A book of two halves

Mother Night represents a drastic change from the mind-bending science fiction of The Sirens of Titan, coming freighted, as it does, with a lot of historical research, and a feel for the German language and German society (presumably drawing on the fact that Vonnegut himself was of German stock).

When the story is close to the Nazis and wartime Europe it is interesting. When it is more about the eccentric neo-Nazis in modern New York it feels like bubblegum comedy, like an early draft for Mel Brooks’s gross-out comedy, The Producers (‘Springtime for Hitler and Germany’).

The tone changes significantly and, in my opinion, for the worse, after Campbell is confronted and beaten up by an American soldier as he returns to his apartment building from that bed shopping trip with Resi, now that his identity is out. He is beaten to the ground and kicked in the head and loses consciousness.

When he wakes up it is in the house of Dr Jones, in the company of Kraft the Russian spy, along with some other grotesques, Father Keeley, a Catholic priest and Fascist, and the improbable figure of the ‘black Führer of Harlem’.

Somehow the book has turned into something like an episode of the Man from U.N.C.L.E., utterly implausible and unserious. When he was describing Campbell’s brief meeting with Dr Goebbels he was, I think, on his best behaviour. It is slyly satirical (the idea that Hitler would actually admire the Gettysburg Address) but at bottom serious.

Now it feels like an episode of Scooby-Doo with brightly coloured cartoon characters running round abandoned buildings.

Jones and Kraft tell him they’ve got a plan which is to abandon America completely and all fly to Mexico City.

In a farcical scene they invite Campbell to address a cohort of six-foot blonde American boys who have formed ‘the Iron Guard of the White Sons of the American Constitution’.

Campbell is giving a little speech from the stage in the basement of the building when the lights go down and he is disconcerted to hear one of his own wartime broadcasts being played (which gives us, the readers, an opportunity to savour his anti-Semitic Nazi rhetoric in full).

While the lights are down someone slips a message into Campbell’s pocket. Later he sneaks a look and it is a message from the elusive Major Frank Wirtanen to come meet him in a shop opposite.

Campbell makes his excuses for going for a stroll and suspiciously approaches the shutdown shop opposite but Wirtanen is waiting for him, alone and unarmed.

Here Wirtanen informs him the Kraft is a Russian spy and so is Resi. They will all fly to Mexico City where Campbell will immediately be kidnapped and flown to Moscow. Why? So the Soviets can try a high-profile war criminal and show how such criminals are allowed to live freely in the West.

Wirtanen warns Campbell that the safe house they’re all in is about to be raided. Back on the street, Campbell realises he has nowhere else to go and so walks back to the house. Here he confronts Resi and Kraft with their plan which they immediately admit – at which point American FBI agents burst in.

Now, John le Carré’s novel, The Spy Who Came In From The Cold was published just a year after Mother Night and even a moment’s mental comparison shows you that Vonnegut is not really interested in being serious. He is not interested in plot or suspense or dramatic climaxes.

If you call to mind the fiendish elaborateness of Le Carré’s plot and the depth of psychological duelling which it describes, and behind it all the sense of something really important at stake i.e. the survival of a high-level Western spy in the East German security machine – it throws Vonnegut’s bubble gum cartoon into vivid relief.

There is nothing remotely like that here.

The entire idea that Campbell was somehow transmitting secrets in his Nazi broadcasts is nonsense. Via a set of coughs and pauses? Rubbish. Vonnegut makes a half-arsed attempt to clarify it by having Wirtanen say that no fewer than seven women agents died getting him the information, but we never understand how that information reached Campbell or how it was codified into this nonsensical idea of coughs and pauses. He himself never explains how it was done, how he met these ‘agents’, how he turned their messages into code, the difficulty of staging the alleged coughs and pauses. It’s rubbish, a flimsy pretext.

When Campbell tells Resi that he knows she is a Russian spy she makes a rubbish speech about how she really, genuinely loves him and had asked Kraft to change the plan to protect him. But now she sees his love is dead she has no reason to go on living. So she takes a cyanide pill and collapses dead in his arms.

This isn’t serious. It is The Man from U.N.C.L.E.

The novel dissolves into fragments. While the others are arrested and taken away, Campbell, on Wirtanen’s permission is released.

He doesn’t know where to go and only a cop asking him to move along prompts him to drift back to his old apartment building. This has been trashed by various American patriots.

Campbell has a disconnected conversation with another cop, who tells him his own father was killed at Iwo Jima and how he reckons it’s all to do with chemicals in the brain, which affect our moods, can make us feel up or down, and maybe explain the different behaviour of different cultures. It’s call chemicals (a subject to be developed at length in Vonnegut’s later novel, Breakfast of Champions).

Upstairs in the ruins of his apartment (comprehensively trashed by American patriots once news about who he was has spread) Campbell is confronted by Lieutenant Bernard B. O’Hare of the American Third Army. He is drink but has dressed very correctly in uniform as he thinks he is fulfilling the military duty of killing Campbell which he should have performed 15 years earlier.

Vonnegut gives a good little cameo to O’Hare, having him admit how disappointing post-war life has been with his wife producing baby after baby and all his business plans coming to nothing. Vonnegut makes us see how O’Hare hopes to redeem all his failures in life and business by beating up Campbell, maybe killing him. But O’Hare is out of shape and drunk. As he lunges towards Campbell, our man beats down hard with a pair of fire tongs and breaks his arm. After some ineffective dodging and weaving Campbell forces O’Hare out into the hall where the latter copiously throws up, then staggers back down the stairs.

Campbell stands there, his life reduced to ashes. No wife, no lover, no friends, no cause, no help, and the entire country against him.

He has a brainwave and goes and hands himself into his young neighbour Abraham Epstein. Except it’s by now quite late at night and Epstein doesn’t know what he’s talking about and doesn’t care. Campbell insists he wants to hand himself over to the Israeli authorities. Epstein replies, well go along to the embassy tomorrow. But Campbell wants something decisive to happen now.

I suppose this is farcical but it didn’t strike me as very funny. Eventually Epstein’s mother phones three Jewish men friends who turn up and keep ‘guard’ on Campbell till the morning. She understands his need to confess, to come clean and for someone else simply to take over his life.

Suicide

And so the final pages cut to Campbell in the Israeli prison. There is a comic recap of the various witnesses for and against him, plus his lawyer who, like all lawyers, is costing him a fortune. He wakes up and has got three letters, two of them farcical (one from a company called Creative Playthings wanting his financial support).

But the third is from the elusive Major Frank Wirtanen who says he does exist, he did work for the American army, Campbell really worked for him and is an American patriot, and he will say so in court under oath.

Campbell looks up from the letter.

So I am about to be a free man again, to wander where I please.
I find the prospect nauseating.

And so in the remaining seven pages of the book, he decides he will hang himself for crimes against himself. The book’s last words are:

Goodbye cruel world.
Auf wiedersehen?

By this stage I had completely stopped taking Campbell or his fate seriously.

Thoughts

1. Vonnegut’s wisdom

As the 1960s went on Vonnegut gave in more and more to the temptation to lard his books with insights and wisdom and sayings. In this, his third novel, this tendency is mostly reined in, though various morals and meanings and precepts and proverbs about life and the world still slip through:

Oh, God – the lives people try to lead.
Oh, God – what a world they try to lead them in!

In the preface he tells us that ‘the moral of the story’ is:

We are what we pretend to be, so we must be careful about what we pretend to be.

Although it might also be:

When you’re dead you’re dead.

And another one springs to mind:

Make love when you can. It’s good for you.

This tendency to buttonhole us with his folksy wisdom – and not to be able to stop – was to run riot through his books as the 1960s progressed.

2. The Nazis and leading a double life

As to any serious thoughts about the Nazis, or Eichmann, or the nature of evil, or patriotism, and the separate theme of living a double life, epitomised by the figure of ‘the spy’ – Mother Night prompts none. It is a kind of comic fantasia without thoughts or consequences.

There are serious books on these subjects and if you seriously want to understand them, you should read those.

Reviews of anti-Semitism and Holocaust literature

3. Eichmann

The main thing it left me thinking was this: at one stage Campbell says he is being kept in the same prison as Adolf Eichmann, and several times they have brief conversations, in which Eichmann comes over as calm and serene.

Now Eichmann had been kidnapped in Argentina by the Israeli secret service Mossad, and was brought back to Jerusalem to undergo a very high-profile trial, before being found guilty and hanged in 1 June 1962.

The trial was widely followed in the media and was later the subject of several books, including Hannah Arendt’s Eichmann in Jerusalem, in which Arendt coined the phrase “the banality of evil” to describe Eichmann. (Wikipedia)

Serious commentators around the world, politicians and philosophers, were writing long earnest articles about the Eichmann trial. I’d love to know how many of them even noticed this half-comic novel by a little-known American novelist, and what – given the seriousness of the issues being discussed – any of them thought of his rather shallow, comical treatment of them.

My opinion is: Mother Night starts promisingly but then disintegrates into cartoon capers larded with two-penny, ha’penny folk wisdom. In his later novels Vonnegut would find subjects and a form (more fragmented and studiedly meta-fictional, more open-ended and gossipy) which were much better suited to the kind of writer he is obviously, even in this early book, straining to be.

Credit

Mother Night by Kurt Vonnegut Jnr was published in 1962 by Fawcett Publications/Gold Medal Books. All references are to the Vintage paperback edition.


Related links

Kurt Vonnegut reviews

Other science fiction reviews

1888 Looking Backward 2000-1887 by Edward Bellamy – Julian West wakes up in the year 2000 to discover a peaceful revolution has ushered in a society of state planning, equality and contentment
1890 News from Nowhere by William Morris – waking from a long sleep, William Guest is shown round a London transformed into villages of contented craftsmen

1895 The Time Machine by H.G. Wells – the unnamed inventor and time traveller tells his dinner party guests the story of his adventure among the Eloi and the Morlocks in the year 802,701
1896 The Island of Doctor Moreau by H.G. Wells – Edward Prendick is stranded on a remote island where he discovers the ‘owner’, Dr Gustave Moreau, is experimentally creating human-animal hybrids
1897 The Invisible Man by H.G. Wells – an embittered young scientist, Griffin, makes himself invisible, starting with comic capers in a Sussex village, and ending with demented murders
1898 The War of the Worlds – the Martians invade earth
1899 When The Sleeper Wakes/The Sleeper Wakes by H.G. Wells – Graham awakes in the year 2100 to find himself at the centre of a revolution to overthrow the repressive society of the future
1899 A Story of the Days To Come by H.G. Wells – set in the same future London as The Sleeper Wakes, Denton and Elizabeth defy her wealthy family in order to marry, fall into poverty, and experience life as serfs in the Underground city run by the sinister Labour Corps

1901 The First Men in the Moon by H.G. Wells – Mr Bedford and Mr Cavor use the invention of ‘Cavorite’ to fly to the moon and discover the underground civilisation of the Selenites
1904 The Food of the Gods and How It Came to Earth by H.G. Wells – scientists invent a compound which makes plants, animals and humans grow to giant size, prompting giant humans to rebel against the ‘little people’
1905 With the Night Mail by Rudyard Kipling – it is 2000 and the narrator accompanies a GPO airship across the Atlantic
1906 In the Days of the Comet by H.G. Wells – a comet passes through earth’s atmosphere and brings about ‘the Great Change’, inaugurating an era of wisdom and fairness, as told by narrator Willie Leadford
1908 The War in the Air by H.G. Wells – Bert Smallways, a bicycle-repairman from Kent, gets caught up in the outbreak of the war in the air which brings Western civilisation to an end
1909 The Machine Stops by E.M. Foster – people of the future live in underground cells regulated by ‘the Machine’ until one of them rebels

1912 The Lost World by Sir Arthur Conan Doyle – Professor Challenger leads an expedition to a plateau in the Amazon rainforest where prehistoric animals still exist
1912 As Easy as ABC by Rudyard Kipling – set in 2065 in a world characterised by isolation and privacy, forces from the ABC are sent to suppress an outbreak of ‘crowdism’
1913 The Horror of the Heights by Arthur Conan Doyle – airman Captain Joyce-Armstrong flies higher than anyone before him and discovers the upper atmosphere is inhabited by vast jellyfish-like monsters
1914 The World Set Free by H.G. Wells – A history of the future in which the devastation of an atomic war leads to the creation of a World Government, told via a number of characters who are central to the change
1918 The Land That Time Forgot by Edgar Rice Burroughs – a trilogy of pulp novellas in which all-American heroes battle ape-men and dinosaurs on a lost island in the Antarctic

1921 We by Evgeny Zamyatin – like everyone else in the dystopian future of OneState, D-503 lives life according to the Table of Hours, until I-330 wakens him to the truth
1925 Heart of a Dog by Mikhail Bulgakov – a Moscow scientist transplants the testicles and pituitary gland of a dead tramp into the body of a stray dog, with disastrous consequences
1927 The Maracot Deep by Arthur Conan Doyle – a scientist, engineer and a hero are trying out a new bathysphere when the wire snaps and they hurtle to the bottom of the sea, there to discover…

1930 Last and First Men by Olaf Stapledon – mind-boggling ‘history’ of the future of mankind over the next two billion years
1938 Out of the Silent Planet by C.S. Lewis – baddies Devine and Weston kidnap Ransom and take him in their spherical spaceship to Malacandra aka Mars,

1943 Perelandra (Voyage to Venus) by C.S. Lewis – Ransom is sent to Perelandra aka Venus, to prevent a second temptation by the Devil and the fall of the planet’s new young inhabitants
1945 That Hideous Strength: A Modern Fairy-Tale for Grown-ups by C.S. Lewis– Ransom assembles a motley crew to combat the rise of an evil corporation which is seeking to overthrow mankind
1949 Nineteen Eighty-Four by George Orwell – after a nuclear war, inhabitants of ruined London are divided into the sheep-like ‘proles’ and members of the Party who are kept under unremitting surveillance

1950 I, Robot by Isaac Asimov – nine short stories about ‘positronic’ robots, which chart their rise from dumb playmates to controllers of humanity’s destiny
1950 The Martian Chronicles – 13 short stories with 13 linking passages loosely describing mankind’s colonisation of Mars, featuring strange, dreamlike encounters with Martians
1951 Foundation by Isaac Asimov – the first five stories telling the rise of the Foundation created by psychohistorian Hari Seldon to preserve civilisation during the collapse of the Galactic Empire
1951 The Illustrated Man – eighteen short stories which use the future, Mars and Venus as settings for what are essentially earth-bound tales of fantasy and horror
1952 Foundation and Empire by Isaac Asimov – two long stories which continue the future history of the Foundation set up by psychohistorian Hari Seldon as it faces attack by an Imperial general, and then the menace of the mysterious mutant known only as ‘the Mule’
1953 Second Foundation by Isaac Asimov – concluding part of the ‘trilogy’ describing the attempt to preserve civilisation after the collapse of the Galactic Empire
1953 Earthman, Come Home by James Blish – the adventures of New York City, a self-contained space city which wanders the galaxy 2,000 years hence powered by spindizzy technology
1953 Fahrenheit 451 by Ray Bradbury – a masterpiece, a terrifying anticipation of a future when books are banned and professional firemen are paid to track down stashes of forbidden books and burn them
1953 Childhood’s End by Arthur C. Clarke a thrilling narrative involving the ‘Overlords’ who arrive from space to supervise mankind’s transition to the next stage in its evolution
1954 The Caves of Steel by Isaac Asimov – set 3,000 years in the future when humans have separated into ‘Spacers’ who have colonised 50 other planets, and the overpopulated earth whose inhabitants live in enclosed cities or ‘caves of steel’, and introducing detective Elijah Baley to solve a murder mystery
1956 The Naked Sun by Isaac Asimov – 3,000 years in the future detective Elijah Baley returns, with his robot sidekick, R. Daneel Olivaw, to solve a murder mystery on the remote planet of Solaria
1956 They Shall Have Stars by James Blish – explains the invention – in the near future – of the anti-death drugs and the spindizzy technology which allow the human race to colonise the galaxy
1959 The Triumph of Time by James Blish – concluding story of Blish’s Okie tetralogy in which Amalfi and his friends are present at the end of the universe

1961 A Fall of Moondust by Arthur C. Clarke a pleasure tourbus on the moon is sucked down into a sink of moondust, sparking a race against time to rescue the trapped crew and passengers
1962 A Life For The Stars by James Blish – third in the Okie series about cities which can fly through space, focusing on the coming of age of kidnapped earther, young Crispin DeFord, aboard New York
1962 The Man in the High Castle by Philip K. Dick In an alternative future America lost the Second World War and has been partitioned between Japan and Nazi Germany. The narrative follows a motley crew of characters including a dealer in antique Americana, a German spy who warns a Japanese official about a looming surprise German attack, and a woman determined to track down the reclusive author of a hit book which describes an alternative future in which America won the Second World War
1968 2001: A Space Odyssey a panoramic narrative which starts with aliens stimulating evolution among the first ape-men and ends with a spaceman being transformed into galactic consciousness
1968 Do Androids Dream of Electric Sheep? by Philip K. Dick In 1992 androids are almost indistinguishable from humans except by trained bounty hunters like Rick Deckard who is paid to track down and ‘retire’ escaped andys
1969 Ubik by Philip K. Dick In 1992 the world is threatened by mutants with psionic powers who are combated by ‘inertials’. The novel focuses on the weird alternative world experienced by a group of inertials after a catastrophe on the moon

1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic
1973 Rendezvous With Rama by Arthur C. Clarke – in 2031 a 50-kilometre long object of alien origin enters the solar system, so the crew of the spaceship Endeavour are sent to explore it
1974 Flow My Tears, The Policeman Said by Philip K. Dick – America after the Second World War is a police state but the story is about popular TV host Jason Taverner who is plunged into an alternative version of this world where he is no longer a rich entertainer but down on the streets among the ‘ordinaries’ and on the run from the police. Why? And how can he get back to his storyline?

1981 The Golden Age of Science Fiction edited by Kingsley Amis – 17 classic sci-fi stories from what Amis considers the Golden Era of the genre, namely the 1950s
1982 2010: Odyssey Two by Arthur C. Clarke – Heywood Floyd joins a Russian spaceship on a two-year journey to Jupiter to a) reclaim the abandoned Discovery and b) investigate the monolith on Japetus
1987 2061: Odyssey Three by Arthur C. Clarke* – Spaceship Galaxy is hijacked and forced to land on Europa, moon of the former Jupiter, in a ‘thriller’ notable for Clarke’s descriptions of the bizarre landscapes of Halley’s Comet and Europa

Turner prize 2018 @ Tate Britain

The Turner Prize has been running since 1984. It is awarded annually to an artist born or based in Britain. Each year four artists are shortlisted by a jury for an outstanding exhibition or public presentation of their work in the previous year. This year, for the first time since its inception, all four finalists are video film-makers, namely the organisation Forensic Architecture, and three individual artists: Naeem Mohaiemen, Charlotte Prodger and Luke Willis Thompson.

You go through the exhibition glass doors into a big light lounge-type space dominated by a big square table ringed by grey sofas. On the table are books for visitors to read on the exhibition’s themes. These are gender and identity, race and sexuality, politics, repression and resistance. Pretty standard, down the line, mainstream art school stuff ideology, then.

Turner Prize lounge, sofas, table and books

Turner Prize lounge, sofas, table and books

From this comfortable if antiseptic space four black doorways lead off. Beside each is a set of wall panels explaining the work and biography of each artist. You read about them, then walk into the black space which, in each case is in fact a short corridor which leads to a corner, turning into a pitch-black projection space, the corridor and turn being to ensure the projection space is as dark as a cinema.

1. Naeem Mohaiemen

Mohaiemen was born in 1969 in London and grew up in Bangladesh. Now, inevitably, he lives and works in New York. In the opinion of the jury his works ‘explore post-colonial identity, migration, exile and refuge’. He presents three works

Tripoli Cancelled is a fictional film which follows the daily routine of a man who has lived alone in an abandoned airport for a decade. It is 93 minutes long.

Two Meetings and a Funeral recreates key meetings from 1973 and 1974 during which the Non-Aligned Movement, set up after the Second World War to represent newly independent former colonial countries, began to reject socialism and move towards religion as a uniting force. It is 89 minutes long.

Still from Two Meetings and a Funeral by Naeem Mohaiemen

Still from Two Meetings and a Funeral by Naeem Mohaiemen

Volume eleven (flaw in the algorithm of cosmopolitanism) is a pamphlet.

2. Luke Willis Thompson

Thompson lives and works in London. He makes silent 35mm films which are projected by an enormous and noisy film projector onto a huge wall, rather than a screen. In the words of the jury, he ‘investigates the treatment of minority communities and the way objects, places and people can be imbued with violence.’

He presents a trilogy of films which ‘reframe histories of violence enacted against certain bodies, and offers counter-images to the media spectacle of our digital age.’

Cemetery of uniforms and liveries (2016) is 9 minutes 10 seconds long and features doleful portraits of the descendants of two women hurt in London by the police. Brandon is the grandson of Dorothy ‘Cherry’ Groce, who was shot by Metropolitan Police in 1985 when they raided her home looking for her son Michael. The shooting, which left Dorothy Groce paralysed, led to the 1985 Brixton riot. Graeme is the son of Joy Gardner, a 40-year-old Jamaican mature student living who died as the result of being bound and gagged by police who had raided her home intending to deport her in 1983. None of the officers involved in these women’s deaths were convicted. Brandon and Graeme face the camera in stark black and white, unmoving, unspeaking, with serious, grim, maybe mournful expressions.

Still from Cemetery of Uniforms and Liveries (2016) by Luke Willis Thompson

Still from Cemetery of Uniforms and Liveries (2016) by Luke Willis Thompson

autoportrait (2017, 8’50”) I saw this at the Photographers’ Gallery where it had won the Deutsche Börse photography prize in May of this year. In July 2016 Diamond Reynolds filmed and live-streamed the moments after the fatal shooting of her partner Philandro Castile by American police, the footage of her then and subsequently distributed round the world being of a hysterical crying woman. Thompson approached her with the idea of recording her image as she chose to present it, in clothes of her choosing, expressionless, aloof, in control.

Still from autoportrait by Luke Willis Thompson © the artist

Still from autoportrait by Luke Willis Thompson © the artist

_Human (2018, 9’30”) There is a long essay about this film on the Frieze website:

It examines the small sculpture the late British artist Donald Rodney made, using scraps of his own shed skin, and held together with dressmaking pins, as he lay ill with sickle cell anaemia.

3. Forensic Architecture

Unlike the other three entries, Forensic Architecture is not an individual: it is an international research agency that uses innovative technological and architectural processes to investigate allegations of state violence. It’s a well-funded and organised body, with members including architects, archaeologists, artists, filmmakers, journalists, lawyers, scientists, software developers and theorists.

They work with internationally reputable charities such as Human Rights Watch, the United Nations and Amnesty International. You might well ask yourself what they are doing in an art exhibition.

Well, their typical working method is to be called in when deaths have occurred, often caused by state actors, and to investigate the events using state of the art techniques they have pioneered.

The big example here relates to an incident which took place on 18 January 2017, when Israeli police attempted to clear an unrecognised Bedouin village so the area could have an Israeli settlement built on it. During the confused armed confrontation between the villagers and the police, local Yakub Musa Abu al-Qi’an and a Israeli policeman Erez Levi were killed.

The Israeli police at first claimed he was a terrorist, amid a set of evidence which presented a narrative justifying the police behaviour. But pro-Bedouin Israeli activists were present and filmed some of the events and took photos.

Drone footage incorporated in The long duration of a split second by Forensic Architecture

Drone footage incorporated in The long duration of a split second by Forensic Architecture

Bringing to bear the full panoply of modern forensic reconstructive technology, the agency’s experts were able to assemble a detailed timeline into which the scrambled footage, scattered audio, stills taken by the activists and the police themselves could be used to reconstruct what really happened. The Forensic Architecture website gives a detailed breakdown of the series of events as they eventually established and proved them.

As a visitor what you experience is: 1. in a dark room the hectic hand held footage captured by a reporter who, at the sound of shots falls to the ground, and you get a lot of scrabbled shots of the rocky ground. 2. But you can walk through the projection room and into a normal white gallery space: along one wall is the timeline of events I’ve just linked to, and then a separate, related work, Traces of Bedouin Inhabitation, which is a really characteristic piece of Forensic Architecture. The Israeli government claims it has the right to move Bedouin off the land since they are only temporary settlements. However Forensic Architecture experts have gone back and found the original aerial maps of the area produced by the British in 1945, and been able to prove that Bedouin settlements existed then, i.e. are older than the state of Israel.

Installation view of Traces of Bedouin habitation 1945-present showing headphones which give commentary and explanation

Installation view of Traces of Bedouin habitation 1945-present showing headphones which give commentary and explanation

This is fascinating, worthwhile and cutting edge forensic, legal, scientific and image manipulation work being done by an international team of experts. The installation also includes details of workshops the organisation held where people could go along and find out more about aspects of their work (and maybe get involved).

I’ve left till last the fourth installation which, on 4 December, was announced as the winner of the 2018 Turner Prize.

4. Charlotte Prodger’s Bridgit

Prodger is a Scottish lesbian. She has been working with the moving image for over 20 years during which time she has experimented with the changing technologies we use to capture images. In the words of the jury, she ‘deals with identity politics, particularly from a queer perspective. Using a range of technologies from old camcorders to iPhones, Prodger’s films build a complex narrative exploring relationships between queer bodies, landscape, language, technology and time.’

Bridgit is her most autobiographical work to date. It was shot on her iphone over the course of a year, capturing scenes around her including (the ones I saw) her cat lying on her bed, some impressive standing stones in a field with a mountain in the background, and the back of a ferry recording the white wake continually unfurling across the sea behind.

Over this are ‘found’ sounds like the radio on in the background, cars, planes, the rain. But also Prodger reading out excerpts from her journal in which she talks about coming out, working in a care home, and the experience of going under anaesthetic.

The work’s title comes from the neolithic goddess, Bridgit, whose name and associations have altered across time and location. She is not only a sort of presiding spirit over some of the Scottish locations Prodger films, but an example of the way ‘identity’ is unstable and fissiparous.

Still from Bridgit by Charlotte Prodger

Still from Bridgit by Charlotte Prodger

I walked in just as Prodger was reading part of her journal:

Names themselves weren’t codified as personal descriptors until the Domesday book. The idea behind taking a name appropriate to one’s current circumstance was that identity isn’t static. The concept of one’s public and private self, separately or together, changes with age or experience (as do the definitions of public and private); and the name or label or the identity package is an expression of that concept.

Now, 1. I’m not sure that’s true about Domesday. I just happen to have been looking at the Domesday book a few weeks ago in the British Library’s fabulous exhibitions about the Anglo-Saxons and whereas Anglo-Saxon churls may not have recorded names, I’m pretty sure the Norman aristocracy had very clearly defined names, and names, and nicknames, which often defined their roles. William the Conqueror.

And 2. It was just like being back at school with a teacher at the front of the room lecturing me. Or in a lecture hall back at college, and being lectured about the ideology of queerness and identity politics.

It always amuses me how the more PC art curators and artists will accuse the Victorians of heavy-handed moralising – but then praise to the skies the kind of art included in this show as radical and subversive when, quite clearly, it is equally committed as the Victorians to promoting, sustaining and forwarding the values of the day, the ideologies of our era – jam packed with ‘important’ and urgent social and moral messages.

The content may change but the Urge To Preach is an enduring feature of a certain kind of art, and is lapped up by a certain type of critic.

Thoughts

The most obvious conclusion from the show is that ‘art’ is being swallowed by ‘news’.

What was once the specialist field of news and current affairs journalism is now slap bang centre stage in three of the four works shortlisted for Britain’s biggest art prize.

The judges and some critics I’ve read called this ‘a political show’, maybe ‘the most political selection the Turner has ever made’.

I think that flatters both artists and jury. They can attend their gala champagne prize-winning dinner, funded by Banque National Paris (the eighth largest bank in the world), hand out the cheques for twenty-five grand, and still be under the flattering delusion that they are ‘radicals’ who are ‘changing the world’.

But there is a very big difference indeed between politics and news. News flashes onto our TV screens, laptop and mobile phone screens in a blizzard of outrage and anger. Twitter storms. Social media hurricanes. Trump says something stupid. Corbyn says something sexist. Black man shot in Los Angeles. Riots in Paris. Brexit latest. Ukraine latest. Jose Mourinho latest.

News is about making a big splash with sensational or tricksy coverage of essentially ephemeral incidents. News is here in a great flurry of excitement and then… gone, forgotten, yesterday’s tittle-tattle, only good for wrapping up chips.

Politics, on the other hand, is defined as:

the activities associated with the governance of a country or area, especially the debate between parties seeking or trying to maintain power

Politics requires long-term planning to organise large bodies of people behind mass movements working for well defined social and economic ends, usually laid out in a manifesto or campaign pledges. It takes a lot of planning and involves mobilising millions of people.

If there is a spectrum with news at one end and serious, mass movement politics at the other, all the exhibits in this show are at the news end.

Moreover, when it comes to the use of video as a medium, the movement of news reporting away from newspapers and magazines, and its dominance by television coverage, has been one of the notable aspects of the past fifty years (with much lamentation from old-school journalists). Flashy footage of missiles taking off or people rioting has, during my lifetime, replaced the more sober analysis of events which you used to get in newspapers and news magazines. (They still exist, obviously, but their readerships have steadily declined.)

In this respect too – by virtue of the simple fact that all four entries consisted almost entirely of video footage – the Turner Prize hasn’t become more political – it has become more like the news.

Therefore, for what it’s worth, in my opinion this year was not particularly political. It was intensely newsy. It made big headlines with tricksy and inventive ways of covering essentially ephemeral stories.

In fact, even as news, the stories fall short.

The subjects tackled in these videos may epitomise long-running political issues – American police are racist, refugees have a hard time, the Israeli security forces can get away with killing unarmed Arabs – but none of these stories actually is news. They are the opposite of news. They are in fact very old stories. They were well-established tropes when I was growing up in the 1970s.

Given all this, you could sum up the Turner Prize exhibition as a selection of yesterday’s news.

Even though there are good moments in all the presentations, even though Thompson’s hauntingly silent black victims, or Forensic Architecture’s amazingly detailed and techno-savvy reconstructions, or Naeem Mohaiemen’s airport man or Charlotte Prodger’s standing stones all have their moments – there’s something about the medium of video itself which feels insubstantial, cheap, and unrewarding.

It may be all-consuming while you watch it — but then is almost immediately forgotten. Just like the TV news. Watch it, be horrified by this, scandalised by that, chuckle at the final comedy item, go to bed – forget all about it.

Prodger’s very personal film was the exception, so maybe that’s why she won. Footage of beautiful Scottish scenery. Footage of her cat. Footage of a sea ferry. All shot very badly with her fingers over the lens half the time. Edited deliberately clumsily. And with a voiceover telling us identity is flexible and fluid and that people have to be free to express themselves.

Maybe it was the very familiarity of these tropes which made the piece seem so already-seen, like a hundred other home-made art-school efforts lecturing us about queer identity – which gave the judges such a reassuring sense of familiarity. The stretches of it which I watched were certainly very restful.

Videos of the four finalists

There are short videos devoted to each of the four finalists.

Naeem Mohaiemen

Forensic Architecture

Luke Willis Thompson

Charlotte Prodger

A brief promo video for the whole show.


Related links

More Tate Britain reviews

Iron Curtain by Anne Applebaum (2012)

‘Every artificially inseminated pig is a blow to the face of imperialist warmongers.’
(Stalinist slogan quoted on page 426)

The full title is Iron Curtain: The Crushing of Eastern Europe 1944-56 and that’s what the book narrates in grim detail. Applebaum is already well known for her magisterial account of the Soviet network of prison camps or ‘gulags’. This account of the Soviet takeover of Eastern Europe builds on her expertise, and benefits from the opening up of archives in both the Soviet Union and the countries which it subjugated.

There were eight countries in ‘the Eastern Bloc’ (if you accept that the Baltic states, Latvia, Lithuania and Estonia were simply swallowed whole by Russia and ceased to exist as separate entities): East Germany, Poland, Czechoslovakia, Hungary, Romania, Yugoslavia, Bulgaria and Albania. Applebaum’s account focuses in detail on just three – East Germany, Poland and Hungary. I was a little disappointed by this, as I feel I’ve read lots of books and seen plenty of movies about East Germany whereas I know next to nothing about Bulgaria or Romania. But she’s right to say these three provide a selection of types of country which demonstrate the way different histories and experiences were subjected to the same murderous Soviet approach.

Each of the chapters then takes a topic or aspect of the crushing of Eastern Europe and describes its application in each of the three chosen countries:

Zero Hour

Paints the devastation of a continent after the war. Her account supplements Savage Continent: Europe in the Aftermath of World War II by Keith Lowe. We’ve all seen photos of the ruined cities. It’s the scale of human displacement which is difficult to grasp. Between 1939 and 1943 some 30 million Europeans were dispersed, transplanted or deported. Between 1943 and 1948 a further 20 million were moved (p.11) Levels of theft, looting, violence and murder were orders of magnitude greater than they had been before the war. In many places civil society had completely collapsed.

Victors

The path of the Red Army across Eastern Europe was marked by wanton destruction and mass rape, especially once they’d crossed into Germany. Hundreds of thousands of German women were gang-raped, many then murdered. Alongside individual acts of looting, the Soviet apparatus systematically denuded European countries of their industrial infrastructure. Tens of thousand of factories, trains and railway line, were ripped up and shipped back to Russia. They packed up Leipzig Zoo and sent it East.

Communists

Applebaum profiles the men who were to become the leaders of communist Poland, Hungary and East Germany – Boleslaw Bierut, Matyas Rakkosi and Walter Ulbricht, respectively. They were uniformly from poor backgrounds and badly educated.

Ulbricht was the son of a poor tailor who left school early to work as a cabinet maker before being drafted into the Army. In 1918 he was galvanised when he discovered communist texts which explained the world in simple terms and he never lost his faith. Like the other leaders, he benefited from the way the between-the-wars communist parties, as Stalin’s influence grew, purged many of their brightest and best members. Only the less bright, the more dogged, the more unquestioningly devoted, remained. (Of the thirty-seven original members of the Polish Communist Party’s central committee, no fewer than 30 were arrested in Moscow and shot or sent to labour camps.) This explains the poor intellectual calibre of the leaders of the communist bloc; the clever ones had been liquidated.

Moreover, these ‘leaders’ implemented a social, political and policing model straight from the Soviet template. They all copied the Soviet hierarchy of Politburo, Central Committee, regional committees, and local party cells. In all the countries, regardless of local political or economic conditions, they tried to apply the same political and economic straitjacket.

Because all were ‘Moscow communists’. This meant that during the troubled years of the 1930s and the war, they had all fled to Russia where they were soundly indoctrinated in the One True Way by the Comintern. The Soviets were deeply suspicious of any communists who’d spent any time anywhere else, especially any who had been based in the West. Once the communist regimes were in place, many of these non-Moscow communists were themselves arrested and sent to prison or labour camps – just in case they had divisive or alternative views. About anything. Only the most faithful of the faithful were allowed to take power.

Applebaum points out that, quite apart from notions of social justice or ideological convictions, membership of this small, élite band held two kinds of more tangible rewards: psychologically, it made you feel part of a chosen elite; and in practical terms, both in Moscow and back in their home countries, they lived an elite lifestyle, able to shop at party shops, stay in party hotels, relax in party dachas and send their children to party schools.

Policemen

The most obvious area where the European communist parties simply copied Soviet model was in the creation of their own versions of the Soviet secret police, the People’s Commissariat for Internal Affairs (Narodnyi Komissariat Vnutrennikh Del or NKVD).

Applebaum portrays the chillingly efficient way that communist secret police apparatuses, which had been preparing and training for years, were flown in ready-made as each Eastern country was ‘liberated’ by the Red Army, to become the Polish UB, the Hungarian AVO, the East German Stasi.

For a few years most of the liberated countries were allowed to have a facade of democratic politics, with a number of political parties and even free elections. This was because the Soviets knew from experience that democratic politics is a sham: real power lies in the secret police and the prisons. Given complete control of these instruments the political system can be seized overnight simply by arresting everyone.

Applebaum shows how the secret police mentality had been shaped by intense ideological training in the USSR to believe that everyone not in the communist party was a potential enemy spy or saboteur, who consequently had no rights. Anyone could be arrested and she shows how, in the early months of Hungary’s liberation, the new security police was under instructions to deliver fixed quotas of ‘traitors’ and so quite literally arrested anyone they could find in the streets, including children.

And often, of course, even people inside the communist party turned out to be traitors. Absolutely everyone had to be watched, and as far as possible, everyone had to be made a collaborator of the secret police. Hence the extraordinary size and depth of the Stasi’s files when they were revealed to the public in 1990, and the dismaying discovery that a huge percentage of the population routinely reported on their neighbours, friends, and even wives and partners.

Violence

The Comintern knew exactly what they were doing. The liberated countries were to be slowly strangled. Other parties could be included in initial elections and be given various government departments – but the communists always and everywhere controlled the ministries of the Interior, of Defence and the secret police – i.e. all the mechanisms of violence. From the word go they ruled through arrests, beatings, executions and labour camps.

Between January and April 1945 the NKVD arrested 215,540 people in Poland. Most were in fact ethnic Germans who were deported to Germany. The 40,000 Poles were all sent to prison camps in Russia, where some 5,000 died. Between 1945 and 1953 some 150,000 people were incarcerated in NKVD camps in Eastern Germany. A third died due to appalling conditions. There was no heating, no medicines, no doctors, often no food. After the ‘liberation’ of 1945 between 140,000 and 200,000 Hungarians were deported to Russian labour camps.

The arbitrariness of many of these arrests, combined with the careful targeting of specific voices of dissent, worked exactly as the Soviets intended – terrifying entire populations into silence and acquiescence.

It is particularly chilling to learn that, such was the need of the new communist regimes for prison camps, that wherever possible they started reusing the Nazi death camps. Sachsenhausen, Buchenwald and even Auschwitz, became prison camps for the ever-multiplying categories of traitors, spies and saboteurs which the communists quickly detected everywhere.

Ethnic Cleaning

The years after the Second World War were marked by the truly epic relocation of peoples. The largest group were Germans, with over 12 million Germans being expelled from Poland, Hungary, Czechoslovakia and other East European countries. Admittedly this was partly because many had moved to those countries during the war, as part of Nazi settlement plans, and also because the borders of Poland were drastically moved westwards by Stalin, effectively engulfing a large part of East Germany. But ethnic groups who now found themselves in the ‘wrong’ country were kicked out of all the EE nations. Applebaum’s account of the savage civil war between Ukrainians and Poles in south-east Poland is particularly shocking.

She also explains that anti-Semitism, although part of the hated Nazi ideology, was always liable to be revived in Eastern Europe. Many of the communist leaders were self-conscious about either being Jews themselves or that the party contained lots of Jews and tried at various points to recruit more Volkisch members. The whole issue was revived in the last 1940s as Stalin himself became clinically paranoid about Jews and in particular Jewish doctors, who he thought were trying to poison him, which led to many Jews being rounded up in the purges and arrests of 1949.

As usual, Applebaum conveys the infamy of all of this by telling the heart-breaking stories of individuals caught up in the madness. While all the nations of Eastern Europe set about ethnically cleansing themselves, expelling non-local-speaking languages back to their new ‘homelands’ – Czechs being kicked out of Hungary, Poles kicked out of Ukraine, Germans kicked out of Poland and so on – all these peoples could at least travel to a nominal home country. So this vast panorama of ethnic cleansing adds a kind of fateful inevitability to the increasingly urgent efforts made by Jews all across the East, and in Russia, to travel to their homeland, the newly-founded state of Israel.

Youth

I didn’t know that the Boy Scouts movement was as widespread and popular in Eastern Europe as Applebaum shows. It is just one of the many independent organisations which the communist parties all across the East slowly strangled and co-opted into official party organisations. For example in July 1946 the communist Interior Minister of Hungary, László Rajk, banned over 1,500 organisations.

Why? In the introduction Applebaum has several pages discussing the nature of totalitarianism, invoking the quote associated with Mussolini, that it can be summarised –

All within the state, nothing outside the state, nothing against the state.

This chapter shows what nothing outside the state means in practice and it really is terrifying. Absolutely everything which we refer to nowadays as civil society – all charities, church groups, youth groups, hobbies and associations – every single way in which people got together had to be either banned or subject to communist control.

The relentless horror of this was brought home by the story of the 17-year-old Polish girl from Lublin who invited members of her old scouts group to get together to form a discussion group. She and seven friends were arrested and sentenced to between two and five years in prison. Nobody was allowed to associate together in any way lest even the slightest form of association create the germ of oppositional politics.

Applebaum points out that the focus on youth movements reflected Soviet and Marxist belief that human beings are blank sheets to be moulded and created at will, in this case to produce a new species, Homo sovieticus.

This is the background to Stalin’s expression that writers and artists should be ‘engineers of the human soul’, the human soul being something which can literally be redesigned and rebuilt to suit the needs of the proletarian revolution. Hence also Stalin’s rejection of modern genetics – because it appears to assert the profoundly fixed basis of human nature – and his promotion of the crackpot Lamarckism of Russian geneticist Lysenko, an apparently academic dispute which in fact had catastrophic consequences when it was applied to Soviet agriculture.

My ears pricked up when Applebaum points out that this view of human nature was prevalent in left-wing circles across Europe, because I have just been reading about Jean-Paul Sartre whose fundamental position is our utter freedom to create and shape ourselves. This contrasts sharply with his ‘frenemy’, Albert Camus’s position, that there is a human nature, its core element being revolt against our condition, against destiny and fate.

Which made me reflect that this is one axis along which to draw the divide between fundamentally left wing and right wing mentalities: on one side the belief that human beings can be changed and improved; on the other the knowledge that human nature is fixed, fallen and must be policed.

Radio

Newspapers were important and had to be controlled, but the easy way to do that was ration or cut off the supply of paper. Radio, however, was a potentially universal disrupting factor, and this explains why the political apparats parachuted in from Moscow already had training in how to use the radio for propaganda purposes. In many cases the Red Army was told not to damage the radio buildings of the enemy, notably the big radio studios on the outskirts of Berlin, virtually the only building left standing, as the Red Army was under strict orders to seize it intact, so that communist propaganda broadcasts could begin even during the last days of the war.

But – in line with the communist clampdown on absolutely every aspect of private life – woe betide anyone who had an unauthorised radio. In October 1944, Bolesław Bierut who would become the president of communist Poland, declared that anyone who owned a radio without a licence would be sentenced to death.

Politics

Detailed account of the way the communist regimes inched their way to power. At first they allowed other parties to exist, organise and publicise but the plan was always to persuade and then bully them into coalitions, where they could be controlled and then strangled.

It is striking to learn that in all the liberated nations the communist parties expected to win free and fair elections. They thought the populations would naturally be grateful to the Red Army for liberating them from the Nazis, and – indoctrinated with Soviet ideology – they also believed the working class would awaken to its historical destiny and realise the future was communist. But it didn’t.

Typical was the Hungarian General Election of November 1945, which was won by the Smallholders Party with 57%, followed by the Socialist Party with 17.4% and the Communist Party with 16.9%. The Soviet commander in Hungary, Marshal Kliment Voroshilov, refused to allow the Smallholders to form a government. Instead Voroshilov established a coalition government with the communists holding all the key posts while the communists set to work to undermine and eventually abolish the Smallholders Party. In February 1946 its General Secretary, Béla Kovács, was arrested, and sentenced to life imprisonment in Siberia for the usual trumped-up charges of treachery and counter-revolutionary activity i.e. anything which in any way could remotely damage communist domination (p.224).

In all the EE countries the same thing happened: the communists were beaten into third place in the only free elections they ever held, promptly cancelled any further elections, and set about intimidating their opponents. Opposition meetings were broken up, newspapers banned or prevented from printing, leaders were threatened and, in some cases, arrested, tried and executed. In Bulgaria the leader of the Agrarian Party, Nikola Petkov, was arrested, tried and executed in the summer of 1947 (p.219). Many of them fled their countries.

The hoped-for democratic gaining of power turned into violent coups.

Economics

The most notable thing about communist economics is that they don’t work. This chapter deals with land and business. Land reform was popular across the East after the war, partly in response to the amazing inequities of landholding, much of which dated back centuries. Still there was surprising resistance to wholesale land redistribution and it was carried out with characteristic inefficiency and inequity and, to the communists’ dismay, even after being given land, most peasants refused to vote for the communists, but preferred the parties set up precisely to represent peasants and small landholders. Until they were abolished.

As to ‘the market’ communists had been taught to abolish it and crack down wherever it appeared. This meant banning privately owned businesses and shops. In Poland between 1947 and 1949 the number of private trading and distribution firms was cut by half (p.248). But the communist apparatus was not able to fill the gap. The result was predictable: a vast increase in the black market and a general shortage of goods. These were to characterise all the communist economies, including the mother economy of the USSR, for the rest of their existence.

What the 45 year experiment showed is that central planning a) is not as responsive to consumer wishes as a free market b) because its monolithic nationalised industries and departments are top-heavy, bureaucratic, slow and inefficient and c) manned by the dimmest, most conformists sections of society. She explains how the cult of ‘shock workers’, i.e. super workers who heroically over-delivered on their quotas (the most famous example being the Russian coal miner and Hero of Socialist Labour, Alexey Stakhanov) paradoxically undermined efficiency, because so many workers were incentivised to copy their examples that quality across all products plummeted.

Pricing is also related to quality. If the factory can only charge one price whether its goods are designed by a team of top designers and engineers, or are the most basic product imaginable, it will opt for the basic model.

The result: empty shops and furtive bargaining down back streets, the permanent shortages and crap quality of all the so-called consumer goods produced in the USSR and all its European satellites. And the typically bleak Soviet jokes:

What is the definition of Socialist Amnesia?
Standing outside a bread shop with an empty bag, not knowing whether you’re in the queue or have just been served.

(In an interesting aside, Applebaum points out that, once an industry is nationalised, for workers to complain about working conditions or pay, is to protest directly against the state. This gives background to my boyhood in the 1970s which were marked by an endless stream of mass strikes in the nationalised iron, steel, rail, coal and car industries, and makes Mrs Thatcher’s move to privatise them seem not only part of her ideological return to free market capitalism, but also an elementary form of political protection. A government which nationalises an industry makes itself directly vulnerable to criticism by the very people it sets out to help)

High Stalinism

This is a brief summary of the topics discussed in part one of the book. The second part looks at the period between the communists’ full establishment of power, around 1948, and the death of Stalin in 1953 – the era of High Stalinism. It is even more shattering and terrifying than part one and covers topics like the rise of Socialist Realism in art and architecture, the creation of Ideal Communist Cities, and the ongoing crushing of internal dissent, among the opposition but also within the communist parties themselves, with waves of purges and executions.

1948 was a swing year. After four years the communist authorities had for the most part established a stranglehold on political structures and civic society, and yet the economies of the Eastern bloc were visibly failing. To anyone with contact with the West, it was obvious the East was falling behind, and fast. 1948 saw the commencement of the Marshall Plan to give American aid to any European countries who requested it, and the foundation, in May, of the state of Israel. As a result of these events, Stalin:

  • embarked on another round of purges and show trials, designed to create scapegoats for the failings of the communist economy
  • embarked on a round of anti-Semitic purges
  • launched the blockade of Berlin on June 1948, which led to the year-long Berlin Airlift by the Allies

In 1949 China went communist and Russia detonated its first H-bomb. In 1950 North Korea invaded South Korea. It was in incredibly fast-moving environment.

I read books, watch TV documentaries and go to all the main art exhibitions in London and regularly feel overloaded with information and nostalgia about the 1960s – about 60s pop, the 60s social revolution, 60s fashion, design, art and all the rest of fit.

But the more I consume these cultural products, the more I feel they amount to an almost deliberate neglect of the far more important and decisive years after the Second War and on into the grey 1950s when much more of vital historical importance took place, and when the freedom of the West, which we all take for granted, was secured in the face of terrifying opposition.

Conclusions

1. By trying to control every conceivable aspect of society, totalitarian regimes turn every conceivable aspect of society into potential points of revolt. Thus the logic of ever-increasing repression, to crack down on every form of expression. But hence also, eventually, a society completely riddled with cracks and fissures. Which explains what history has in fact shown us – that apparently monolithic totalitarian regimes can disintegrate with surprising speed.

2. At bottom the Soviet and East European communist regimes based their entire legitimacy on the promise of future prosperity and higher living standards which were to be guaranteed by ‘scientific’ Marxism. In this one central aim they failed spectacularly. By the time of Stalin’s death in 1953 it was plain to the Soviets and to informed citizens of Eastern Europe that the West was pulling away in terms of technology, consumer goods and living standards at amazing speed. It’s not even that totalitarian communism is morally wrong or artistically repressive or psychologically damaging or violent and cruel, although it was all these – it just didn’t work.

All the issues discussed in Applebaum’s text are vividly illustrated where possible by the fate and experiences of named individuals – so many of them individuals, both communist and non-communist, who thought they could change, influence or improve their countries and who, without exception, were arrested, tortured, sent for long sentences to sub-Arctic camps in Russia, or simply executed. So many worthy people, so cruelly snuffed out by such evil scum.

Indeed, for the book she conducted extensive interviews in person with survivors of each of the three regimes, who are named in an appendix, I counted 90 of them, whose stories and quotes thread through the narrative giving a real sense of what it was like to try to live and think under these suffocating regimes. It’s this detail, this working through of exactly how the communists clamped down on every aspect of human life which we consider valuable, which chills the blood.

On the back cover biographer A.N. Wilson comments that this is the best work of modern history he has ever read. It is certainly among the most important. How many thousands of histories, school textbooks, movies and TV documentaries are devoted to the Nazis and ensuring that never again can such a maelstrom of racial hatred and state violence begin to rear its head in any civilised country?

But there are still legal communist parties all over Europe and communist intellectuals who are listened to. My daughter is being taught Marxism in her Sociology A-Level and I know it is still taught on countless Literature and Humanities courses.

In this respect, for showing what life in a communist state really involves, and the slow but steady way all our civic freedoms can be undermined, Iron Curtain: The Crushing of Eastern Europe 1944-56 is a vital and outstanding achievement.


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