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

BEYOND THE STREETS LONDON @ the Saatchi Gallery

This is a huge, vast, awe-inspiring, ginormous exhibition, full of riches and surprises and fun. The Saatchi Gallery is housed in a grand and spacious building just off the King’s Road. It has three floors of exhibition space (ground, 1st and second floors), some of its rooms are huge, plus little side-rooms, nooks and crannies, corridors and the stairwells you go up to move between floors.

Every inch of this space, all the rooms and all the walls are covered with wild and vivid examples of the exhibitions subject, for this is a huge, comprehensive exhibition of Street Art and Graffiti. Wow, is it big! Wow, is there a lot, a huge amount, to take in! It aims to be the most comprehensive exhibition of graffiti and street art ever held in the UK and surely it is.

The Cosmic Cavern by Kenny Scharf – a dayglo party installation, inspired by the night-clubs and discos of the 1980s in BEYOND THE STREETS LONDON at the Saatchi Gallery

To give a quick sense of the scale, here’s a list of some of the participating artists:

10Foot, AIKO, Alicia McCarthy, André Saraiva, BÄST, Beastie Boys, Beezer, Bert Krak, BLADE, BLONDIE, Bob Gruen, Brassaï, Broken Fingaz, C. R. Stecyk III, CES, Charlie Ahearn, Chaz Bojórquez, Chris FREEDOM Pape, Christopher Stead, Conor Harrington, CORNBREAD, Craig Costello, CRASH, DABSMYLA, Dash Snow, DAZE, DELTA, DONDI, Duncan Weston, Dr. REVOLT, Eric HAZE, Escif, Estevan Oriol, Fab 5 Freddy, FAILE, Felipe Pantone, FUME, FUTURA2000, Glen E. Friedman, GOLDIE, Gordon Matta-Clark, Gregory Rick, Guerrilla Girls, Gus Coral, Henry Chalfant, HuskMitNavn, IMON BOY, Jaimie D’Cruz, Jamie Reid, Janette Beckman, Jason REVOK, Jenny Holzer, Joe Conzo, John Ahearn & Rigoberto Torres, José Parlá, KATSU, KAWS, KC ORTIZ, Keith Haring, Kenny Scharf, KING MOB, LADY PINK, Lawrence Watson, Lisa Kahane, Malcolm McLaren, Maripol, Martin Jones, Martha Cooper, Maya Hayuk, Michael Holman, Michael Lawrence, Mister CARTOON, MODE 2, Ozzie Juarez, Pablo Allison, Pat Phillips, Paul Insect, POSE, PRIDE, PRIEST, Richard Colman, RISK, Robert 3D Del Naja, Roger Perry, Shepard Fairey, SHOE, Sophie Bramly, STASH, Stephen ESPO Powers, Stickymonger, SWOON, TAKI 183, Toby Mott, TOX, Tim Conlon, Timothy Curtis, Tish Murtha, Todd James, VHILS , ZEPHYR.

Site-specific mural by selected group of participating artists in BEYOND THE STREETS LONDON at the Saatchi Gallery

Room after room is packed with paintings, artefacts, sculptures, installations. There are standard gallery rooms with paintings hanging discreetly on the wall but there’s also some vivid installations, namely a mock-up of a 1980s record shop whose walls are plastered with old posters, complete with racks holding real LPs you can browse through.

Interior of Trash records, including interactive record player, t-shirts, skateboards, and a multitude of youth culture ephemera in BEYOND THE STREETS LONDON at the Saatchi Gallery

There’s a life-sized shop full of colourful clutter and bric-a-brac. There’s a corridor lined with black and red graffiti, which is illuminated in pinky-red light, giving you a full visual experience as you walk through it. One of the best bits is a room covered with dense black-and-white patterns giving you pleasantly zig-zaggy optical illusions, in the middle of which are some stands with squiggly over-coloured zoomorphic swirl sculptures. All pleasantly weird and wonderful and disorientating. Some toddlers in it at the same time as me loved it.

Into the New Realm with Felipe Pantone: installation in BEYOND THE STREETS LONDON at the Saatchi Gallery

There are 13 rooms in all and each one is given a theme, within which what seem like floods of artists are explained and displayed.

The exhibition sets out to give a historical account of the genesis and development of modern graffiti sometime in the 1960s and from then on twines the development of graffiti in basically two places, London and America, specifically Los Angeles.

Accompanying the explanation of the development of street art was a lot about contemporary music, which also came in two essential flavours. First of all there’s what I thought was a surprising amount about English punk, with several walls made up of fabulously retro old posters for scores of punk bands.

There’s a lot about the Clash who in 1980 left sleepy London town for America where they entered into all kinds of collaborations with US hip-hop and rap bands. The show includes FUTURA2000’s legendary 30-foot-long painting, made on stage with The Clash during a performance.

There’s a passage devoted to Don Letts, film director, disc jockey and musician, collaborator with the Clash among many other groups. To my surprise a whole section is devoted to bad boy impresario, Malcolm McLaren. There’s a series of photos depicting the mutations of his shop on the Kings Road, Sex, which morphed into Seditionaries and several other incarnations, and then to his post-punk attempts to stay ahead of the trend by moving to America and exploiting the new sound of hip-hop.

Wall-sized photo of Malcolm McLaren and the arted-up boogie box he’s carrying in a display case in BEYOND THE STREETS LONDON at the Saatchi Gallery

And then of course, there is hip-hop itself, with several galleries devoted to massive photos of key bands such as Public Enemy, NWA and many more rappers and DJs with colourful confrontational soubriquets, juxtaposed with the graffiti and street artists who inspired or were inspired by them.

Classic photo of Public Enemy by Glen E. Friedman in BEYOND THE STREETS LONDON at the Saatchi Gallery

I found the jumping between black American culture in the 1980s and essentially white punk culture from the late 1970s quite confusing, but in a fun, disorientating kind of way. London, punk, tower blocks and concrete subways, the Clash, Mrs Thatcher and so on, I immediately get, relate to and remember. Life in some American ghetto, bling and baseball caps, and the complex social legacy of the civil rights movement or Black Power, a lot less so. In fact, not really at all.

I guess there are two ways to approach such a funfair, such a festival of art, such an overwhelm-ment of paintings, installations, set-ups and so on: one is to read the sensible wall labels, which attempt to give a coherent account of the birth and growth of street art, and go slowly mad with the level of detail. The other is just to stroll around and react to the scores and scores of vivid, vibrant setups and displays. Here’s the cluttered shop of bric-a-brac I mentioned. What has it got to do with graffiti, what is it trying to do? To be honest, I don’t know, but I loved it.

Puppet Workshop ‘Rubbish Stuff’ by Paul Insect in BEYOND THE STREETS LONDON at the Saatchi Gallery

So far I’ve given the impression it’s mad and cluttered and busy, and some of the rooms or spaces definitely are. But others are the complete opposite, big traditional gallery spaces with sensible wood floors, white walls and all kinds of works hung on them.

Some are sets of paintings on wood (or concrete) because one of the things that comes over is that, among the 100+ artists on display, some began as street artists but have been going for 30 years or more and have evolved a more studied conventional practice. Hence a very conventional display which looks like this:

Installation view of BEYOND THE STREETS LONDON at the Saatchi Gallery

In other places, works have been sprayed directly onto the gallery walls by contemporary artists.

Wall art by Kenny Scharf, created specially for BEYOND THE STREETS LONDON at the Saatchi Gallery

Running the entire height of one of the big stairwells is what amounts to a dense wallpaper made up of hundreds and hundreds of photos of New York subways trains entirely covered with classic urban graffiti. There’s a room devoted to the work of Lawrence Watson (born 1963) who worked his way up through the New Musical Express and The Face, during which he was commissioned to do a photojournalism on the New York hip-hop school and took classic snaps of artists like Run-DMC, LL Cool J and Public Enemy.

Lawrence Watson installation featuring contact sheets and a performance video of one of the many hip-hop acts he photographed, at BEYOND THE STREETS LONDON at the Saatchi Gallery

There’s what you could call a busy but essentially orderly displays, such as this one of brightly coloured rectangles with catchy images or logos.

Site-specific poster installation LONDINIUM 2023 by C.R. Stecyk III in BEYOND THE STREETS LONDON at the Saatchi Gallery

Then there’s politics because young people are constantly rebelling, bless them, before they grow up, get married, get a mortgage and kids and vote for people like Boris Johnson or Dominic Raab.

I warmed to the rebel imagery of the English punk strand of things, and especially liked a huge long wall covered in posters for punk bands and gigs in the late 70s, mixed up with posters execrating Maggie Thatcher and weathered old copies of the magazine Class War, which I used to get when I was a student, mainly for the hilarious covers, like the satirical covers of Private Eye, only with added venom. Ah, the Miners Strike, the Battle of Orgreave, bombs in Northern Ireland, Exocets over the Falklands, those were the days, eh?

Part of the punk poster collage in BEYOND THE STREETS LONDON at the Saatchi Gallery

Some definitions

1. Graffiti

Graffiti is a name-based, usually illegal art work which can range from simple tag signatures to elaborate, multi-coloured designs.

Graffiti is probably as old as civilisation i.e. cities. We have graffiti from ancient Rome (displayed at the British Museum’s Nero exhibition). Modern-day graffiti arose in 1967 in New York and Philadelphia as a form based on repetition of the artist’s name or tag, embellished and stylised. Graffiti movements or communities arose round the increasingly popular. Generally, you gained respect the more daring and illegal your work.

Untitled by ZEPHYR, a venerable graffiti artist who’s been ‘working’ for over 50 years, in BEYOND THE STREETS LONDON at the Saatchi Gallery

2. Street art

Street art is usually illegal work that falls outside the scope of ‘graffiti’, for example, image-based posters, stickers, stencils and installations. In a modern art context, street art dates from as recently as 2000 when a critical mass of artists, many of them originally graffiti-ists, crystallised the practice and attracted attention from curators and art scholars.

3. Murals

Murals are large-scale wall art, whether legal or illegal.

Exhibition contents

Let me try to give a more structured overview of this huge, unwieldy phantasmagoria by, basically, copying the press release.

The curators’ stated aim is to zero in on exceptional moments in the history of street art. These include the emergence of punk, the birth of hip-hop (celebrating its 50th anniversary, happy birthday, chaps) and street culture’s growing influence in fashion and film.

What comes over just from that preliminary introduction is that the exhibition is nowhere near complete. These are just a tiny fraction of works from an art form or movement which was spontaneous, undisciplined and often ephemeral by its nature. It’s a tiny selection of what could arguably be seen as the only really global universal art form, found as much in urban centres in Latin America, Africa, Russia, China, the Far East, as on the mean streets of Brixton or Philadelphia.

‘Toy Alley.. after the Murder’ installation by PRIEST in BEYOND THE STREETS LONDON at the Saatchi Gallery

Anyway, the exhibition is divided into what the curators call ‘chapters’.

1. Vandal

First thing you see on entering the gallery is a graffiti-filled installation of what looks like a teenager’s bedroom, ‘The Vandal’s Bedroom’ by American artist Todd James, presumably to establish several themes: predominantly that this whole worldview is by and for youth, angry sullen teenagers and students or – in America more than England, I suspect – black kids from ghettos who felt outside all existing norms and social structures. The other theme being mess, it’s a mock-up of the bedroom of the messiest teenager in history, covered in posters and magazines and rubbish and sci-fi paperbacks but mostly festooned with scrawls and tags and ‘toons. Looked like my son’s bedroom on a good day.

Vandals Bedroom by Todd James in BEYOND THE STREETS LONDON at the Saatchi Gallery

2. Music and art converge

The socio-political turmoil of the late 1970s and 80s, where the decline of cities met artistic resistance, a shift which was felt in both the US and UK. Youth culture responded by painting graffiti on walls and public transport, creating art that reflected and reimagined the times in an explosion of expression on the streets. It was about identity in the face of oppression, self-awareness, and self-discovery in a moment of a depleted economic outlook.

3. Dream galleries

A selection of American and European originators, photo documentarians and cultural icons who helped contextualize and spread graffiti culture around the world. In André Saraiva’s Dream series, there is a visual articulation of how graffiti, street art, hip-hop, punk, fashion and break-dancing all sprung from the late 1970s and early 1980s into the 90s and today, and became a hybrid celebration of underground culture.

Featured artists also include Mister CARTOON, known for his tattooing and Los Angeles murals; a Beastie Boys installation featuring fashion and ephemera from the band’s prolific history; and LADY PINK’s feminist murals, illustrations and paintings.

Feminist mural by LADY PINK, an Ecuador-born artists who started painting New York subway trains aged 15, in BEYOND THE STREETS LONDON at the Saatchi Gallery

4. Legends

Hosts icons such as legendary NYC artist, Eric HAZE, a torch bearer for generations to come; a new large-scale painting by abstract expressionist artist José Parlá; advertisement posters by KAWS; and ephemera by Keith Haring, one of the most popular street artists of the 1980s.

5. Blockbusters

Works commissioned specifically for this exhibition by graffiti trailblazers Shepard Fairey, LA-based activist, and FAILE, a Brooklyn-based artistic duo taking over the streets of NYC since the late 90s.

6. Larger Than Life

A site-specific installation by LA-based icon Kenny Scharf, the largest version to date of his immersive and interactive installation Cosmic Cavern, consisting of Day-Glo paintings, ephemera, and reused materials found in the streets of LA (see first photo in this review). Also the signature puppet characters made from recycled materials by Paul Insect, one of London’s original street art pioneers.

7. Timeline

A deep dive into street culture history through archival photography, ephemera and fashion to examine the cross-pollination of influences across music, fashion and film. Includes a large wall vinyl by feminist collective Guerrilla Girls.

8. Art with conscience

Works by hip-hop pioneer Fab 5 Freddy.

9. Consideration into innovation

Lisbon-based artist, VHILS, who repurposes waste and found materials to reimagine city walls.

Doors by Portuguese artist VHILS , in BEYOND THE STREETS LONDON at the Saatchi Gallery

10. The Next Phase

The final ‘chapter’ is titled ‘The Next Phase’ and contains new op-art works by Valencia-based artist Felipe Pantone, whose high-contrast, geometric patterns challenge perspective, creating a distinctive digital age aesthetic.

Summary

It’s huge, and there’s loads of wall labels which are on two levels: high-level ones introducing each room and giving overviews of particular moments, themes and places (New York and London, but plenty of others); and then more specific labels zeroing in to give the biographies of the scores and scores of artists featured and descriptions of specific works. If you studied all of them you’d be here all day. It’s a feast of colour, creativity and information.

Rules and respect

The visitor handout includes 6 rules we visitors should comply with, for example ‘Respect the artworks’ and ‘Do not touch them’ etc. Rule 4 is ‘Do not sticker or tag the gallery’. Now I entirely understand why they say that – it is a very nice, clean gallery, staffed by nice, clean visitor assistants who are extremely helpful. Still – I couldn’t help finding it funny that an exhibition all about the wild, anarchic, street culture of the 70s and 80s is held in such an atmosphere of politeness and respect and silence, in beautifully maintained and utterly sterile white spaces.

Selection of works from the Afterlife Series by CRASH (2022) in BEYOND THE STREETS LONDON at the Saatchi Gallery

Where’s Basquiat?

I was surprised there was no mention of New York’s most famous graffiti artist, the devastatingly brilliant, cool and beautiful Jean-Michel Basquiat (1960 to 1988), subject of a brilliant exhibition at the Barbican.


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Chris Killip @ the Photographers Gallery

This is one of the most powerful and moving exhibitions I’ve ever been to.

Chris Killip was one of the UK’s most important and influential post-war documentary photographers. He was born in 1946 and died in October 2020. He is best known for his gritty photos of working class life in the north of England in the 1970s and 80s and we really mean ‘gritty’ – portraits of people living in the depths of poverty, immiseration, neglect, illness, marginalisation, scraping a living in grim, depressed, forgotten communities.

Spread over the top two floors at the Photographers’ Gallery, including some 150 black and white photographs as well as a couple of display cases of ephemera (magazines, posters, publicity flyers) works, this exhibition amounts to the most comprehensive survey of Killip’s work ever staged. And dear God, it’s devastating.

Helen and her hula-hoop, Seacoal Camp, Lynemouth, Northumbria, 1984 © Chris Killip, Photography Trust. All images courtesy Martin Parr Foundation

I’m going to replicate the structure of the exhibition and summarise the wall labels because it’s important to get a good understanding of time and place to really appreciate the work.

Off to London 1964

In 1963, aged 17 and living on the Isle of Man, Killip opened a copy of Paris Match looking for news about the Tour de France and instead came across the famous photo by Henri Cartier-Bresson of the little boy carrying two bottles of wine along the Rue Mouffetard in Paris. On the spot he realised he wanted to be a photographer. He bought a cheap camera and worked that summer as a beach photographer saving up the money to move to London in 1964, just at the start of Swinging London.

Here he found work as an assistant to the commercial photographer Adrian Flowers. They were heady times and he was at the heart of London, arranging commercial photoshoots for magazines, fashion, commercials.

New York 1969

In autumn 1969 he went on a visit to New York which changed his life. He went to see the exhibition of Bill Brandt photos at the Museum of Modern Art but it was the museum’s permanent collection which made his head spin. Here he saw photos by Paul Strand, August Sander, Walker Evans and others like them, documentary photographers who tried to depict the life of the common people in communities often remote from flashy urban living.

He returned to England, quit his job in flash London and returned to his homeland, the Isle of Man, a man with a mission, to photograph his truth, to record the traditional peasant lifestyle of the island before it was eroded and swept away by the very commercialism he had formerly served.

Isle of Man 1970 to 1972

Between 1970 and 1972 Killip photographed the island and its inhabitants during the day and worked at his dad’s pub by night. In 1973 he completed his book, Isle of Man.

This was the first of the long-form or long-term projects which form the basis of his achievement. the next few decades would see him applying the same in-depth approach to capturing marginalised communities on film, living in them, getting to know them, sharing their privations, getting under the skin of their physically and spiritually impoverished lives.

As you would expect, many of the photos of the Isle of man are landscapes but they are not that great, they are not as powerful as, say, Don McCullin’s louring, threatening studies of his adopted region of Somerset. But it’s not the landscapes that matter, it’s the people.

Mr ‘Snooky’ Corkhill and his son © Chris Killip Photography Trust. All images courtesy Martin Parr Foundation

My God, what a wonderful, wonderful collection of portraits, warm, humane, detailed, candid but compassionate portraits of the kind of plain-living, rural workers who were dying out as a breed even as he photographed them. You know those lines from Yeats’s poem, Easter 1916:

We know their dream; enough
To know they dreamed and are dead;
And what if excess of love
Bewildered them till they died?
I write it out in verse:

Invoking that mood of respect, it feels like an act almost of worship to write out the names of the people Killip photographed, the children, teenagers, farmers, wives and widows:

There is no God, no plan and no redemption. But images like this, full of understated dignity and wholeness on the part of the sitters, and respect and humanity on the part of the photographer, make you think maybe human love and compassion does redeem something, save something from the human wreck, raise us above our everyday lives into a higher realm blessed by more than human love.

(Note the way in the list above all the people are given titles, Mr, Mrs, Ms. It’s an old-fashioned mark of respect.)

Mrs Hyslop, Ballachrink Farm, the Braid © Chris Killip Photography Trust. All images courtesy Martin Parr Foundation

Immersion

He became an immersive photographer, living for months or more among the communities he sought to depict. His mission and his sympathies were not with the well-educated and well-heeled who run the country and write about it, but with ‘those who have had history done to them‘, the proles and chavs and pikeys and white trash who are dismissed by all commentators, make no impact on official culture, live and die in caravans or shitty council houses on sink estates at the arse end of nowhere.

Huddersfield 1972

In 1972 the Arts Council commissioned Killip to do a photo essay comparing and contrasting Huddersfield in Yorkshire with Bury St Edmunds in Suffolk for the exhibition ‘Two Views: Two Cities’. As far as I could see there was just one photo from Bury in the show, a neat-looking shot of some nice castle ruins. By contrast, as you can imagine, the rundown streets of Huddersfield with its mills, tenement housing, crappy high streets, boarded up shops and sad bus shelters grabbed Killip’s sympathies.

Playground in Huddersfield, 1974 © Chris Killip Photography Trust. All images courtesy Martin Parr Foundation

Newcastle 1975 to 1979

In 1975 Killip was commissioned to undertake a British Gas/Northern Arts fellowship. In his spare time from this commission he roved the streets and suburbs and slums of the city and as far afield as Castleford and Workington. My God, the squalor, the neglect, the decline, the decay, the old Victorian slums being demolished and the new cut-price, cheap council estates falling to pieces before your eyes. A landscape of vandalism and graffiti.

Demolished housing, Wallsend, August 1977. © Chris Killip Photography Trust. All images courtesy Martin Parr Foundation

Killip stayed in Newcastle for years, getting to know the area. For two years, 1977 to 1979, he served as director of a photo gallery, Amber’s Side Gallery. The May 1977 issue of Creative Camera was entirely devoted to Killip’s North East photos (a copy of it is one of the ephemera gathered in the display cases I mentioned earlier).

  • Children and terraced housing
  • Terraced house and coal mine
  • Two men on a bench
  • Looking East on Camp Road, Wallsend, 1975

There is a huge difference between the Manx series and this one. The Manx photos are dominated by large portraits of people who fill the screen, who are at home in their surroundings, their crofts or workshops. They’re big. They fill the photos as they fill their lives, at ease with who they are. They are fully human.

In the North East photos what dominates is the built environment. People are reduced to puppets, physically small against the backdrop of the enormous or decaying buildings. The buildings come in two types, terrible and appalling. The terrible ones are the old brick terraces thrown up in a hurry by the Victorian capitalists who owned the mines and steel works and shipbuilding yards and needed the bare minimum accommodation to keep their workers just about alive – badly built, no insulation, draughty windows, outside toilets and all.

Though Killip didn’t plan it, his time in Newcastle coincided with the wholesale destruction of the old brick terraces and their replacement with something even worse: the concrete high rises with broken lifts reeking of piss, the windswept plazas, dangerous underpasses, and oppressive network of toxic, child-killing urban highways, all the products of 1960s and 70s urban planners and brutalist architects.

May 5, 1981, North Shields, Tyneside © Chris Killip Photography Trust. All images courtesy Martin Parr Foundation

This is why I call the architects room at the Royal Academy Summer Exhibition the room of shame. Go on a tour of British cities to see for yourself the destruction of historic centres and their replacement with brutal concrete urban highways full of thundering traffic, concrete underpasses tailor made for muggers and rapists, bleak open spaces where the wind blows dust and grit into your eyes, the concrete facias of a thousand tragic shopping precincts and, looming above them, the badly built tower blocks and decaying office blocks. Concrete cancer.

This isn’t an architecture for people, it’s an architecture for articulated lorries. Thus the human beings in Killip’s harrowing photos of these killing precincts are reduced to shambling wrecks, shadows of humanity, scarecrows in raincoats, harassed mums, bored teenagers hanging round on street corners sniffing glue. This is what Killip captures, the death of hope presided over by a thousand architects and town planners who could quote Le Corbusier and Bauhaus till the cows came home and used them to build the most dehumanised environment known to man.

Killingworth new town, 1975 © Chris Killip Photography Trust. All images courtesy Martin Parr Foundation

As Philip Larkin wrote of young northern mums in their headscarves supervising their unruly children in some suburban playground:

Their beauty has thickened.
Something is pushing them
To the side of their own lives.

(from Afternoons by Philip Larkin, 1959)

It’s epitomised by the photo of the silhouette of an old lady sitting in a half vandalised bush shelter in Middlesbrough. She’s wearing a headscarf and slumped forwards because her life, in this gritty, alienated environment, is bereft.

Woman in a bus shelter, Middlesborough, Teeside © Chris Killip Photography Trust. All images courtesy Martin Parr Foundation

Compare and contrast with the proud, erect, unashamed men and women of the Isle of Man. Pretty much all the humanity has been stolen from the mainlanders.

At some point I realised a lot of these grim Tyneside photos show a disproportionate number of children, children imprisoned in squalid houses, hanging round on derelict streets, trying to play in a crappy playground overshadowed by mines and factories, left outside the crappy, rundown bingo parlour, the cheapest nastiest, knockoff 60s architecture, complete with collapsing concrete canopy. A landscape of blighted lives and stunted childhoods.

Boy outside Prize Bingo Parlour, Newcastle 1976 © Chris Killip Photography Trust. All images courtesy Martin Parr Foundation

  • Two girls in Grangetown
  • Terraced house and coal mine, Castleford, 1976
  • Terraced housing, County Durham, 1976
  • Children and terraced housing, Byker, Newcastle, 1975
  • Butchers shop, Byker, Tyneside, 1975

Skinningrove 1982 to 1984

Skinningrove is a fishing community on the North Yorkshire coast. Killip had noticed its striking landscape on a drive up the east coast back in 1974 but found it difficult to penetrate the community. In fact locals chased him off the couple of times he tried to photograph them. His way in was through friendship with a young local named Leso, who made Killip feel welcome and reassured locals of his good intentions. Between 1982 and 84 Killip documented the crappy, poor, hard scrabbling lives of Leso and his mates – Blackie, Bever, Toothy, Richard, Whippet – as they fixed nets, repaired boats and hung around bored.

Leso and mates waiting for the tide to turn, Skinningrove, 1986 © Chris Killip Photography Trust. All images courtesy Martin Parr Foundation

This is an extraordinary, remarkable, amazing portrait of a dead-end community, poverty, low expectations and young people bored off their faces. No wonder they took to sniffing glue and as the 80s moved on and adopted the punk look pioneered down in London to express some kind of sense of identity and worth, rebellion against grey-clad council houses, the grey sky and the unremitting rhythms of the grey, cold, freezing sea.

This section is given tragic force when we learn that Leso, who got Killip his ‘in’ into the community and of whom there are many photos, fixing nets, waiting round for the tide to turn, hanging with his punk mates, walking across a dirty road carrying a rifle, he died tragically during Killips’s stay.

The fishing boat he and some mates were in was overturned at sea and Leso and David were drowned, tubby Bever made it back to shore. In tribute Killip made Leso’s grieving mother an album of three dozen photos of her lost son.

Leso, Blackie, Bever, ?, David, on a bench, Whippet standing, Skinningrove, 1986 © Chris Killip Photography Trust. All images courtesy Martin Parr Foundation

Seacoal Camp 1981 to1984

Killip discovered Lynemouth, Northumberland, in 1976. It had a strange and eerie vibe because there was a massive coalmine not far from the sea and waste coal was expelled into the sea, only to be brought back to shore on the incoming tides.

And a community of travellers or extremely poor people living in caravans and using horse-drawn wagons in and near the sea had sprung up which made a living scavenging this coal, using it to heat their homes, cook food, and to sell to other locals. An entire lifestyle based on coal scavenging.

Once again Killip had trouble penetrating this closed and fiercely protective community. From 1976 when he first came across it he made repeated attempts to photograph the people but was chased away. Only in 1982 was he finally accepted when, on a final visit to the local pub he was recognised by a man who’d given him shelter from a rainstorm at Appleby Horse fair and vouched for his good intentions.

So Killip set about taking photos, delicately tactfully at first. But in winter 1983 he bought a caravan of his own and got permission to park it alongside the community’s ones. Once really embedded he was able to record all the different types of moments experienced by individuals or between people engaged on this tough work, at the mercy of the elements, permanently dirty with coal muck.

Rocker and Rosie Going Home, Seacoal Beach, Lynemouth, Northumberland, 1984 © Chris Killip Photography Trust. All images courtesy Martin Parr Foundation

In the unpublished preface to the volume of poems he was working on when he was killed in the last days of the Great War, Wilfred Owen wrote:

Above all I am not concerned with Poetry. My subject is War, and the pity of War. The Poetry is in the pity.

Same, with modifications, goes for Killip. The poetry, the deep, deep poetry of these photographs, derives from the immense love and compassion they evince, love of suffering humanity, the candour and accuracy of the shots, finding moments of piercing acuity amid the grinding poverty and mental horizons which are hemmed in on every side by slag heaps, metal works and the four walls of a cramped caravan.

Gordon in the water, Seacoal Beach, Lynemouth, 1983 © Chris Killip Photography Trust. All images courtesy Martin Parr Foundation

Photography and music

Photography is like music. Regarding music you can describe the notes and cadences, the technical manoeuvres and key changes, the invocation of traditions and forms and write at length about the ostensible subject (the Pastoral symphony, the Moonlight sonata etc). But in the end you have to let go of all of that and experience it as music, let the music do its work, what only it can do, triggering emotions, memories, fragments of feelings or thoughts, stirring forgotten moments, making all kinds of neural connections, filling your soul.

Same with these photographs. I’ve described what he was trying to do, bring respect and compassion to people right on the margins of society, the lost, the abandoned, the forgotten. He’s quoted as saying he had no idea he would end up recording the process of de-industralisation, it just happened to be going on as he developed his method and approach as a social photographer. Long essays could be written about class in England, about deindustrialisation and then, of course, about the Thatcher government which supervised the destruction of large swathes of industry and British working class life alongside it.

But at some point you pack all that way and let the photos do their work, which is to lacerate your heart and move you to tears. This is the best our society could offer to God’s children. What shame. What guilt.

Father and son watching a parade, West End of Newcastle, Tyneside, 1980 © Chris Killip Photography Trust. All images courtesy Martin Parr Foundation

The Miners Strike 1984 to 1985

A friend of mine at school in the Home Counties, his older sister was married to a copper. He told us the Miners Strike was great. They were bussed to Yorkshire, put up in army barracks, paid triple time wages and almost every day there was a fight, which he and his mates always won because they had the plastic shields, big truncheons and if things got really out of control, the cavalry. Killip apparently treated the long strike as another project with a view to producing another long-form series.

Durham Miners Gala, 1984 © Chris Killip Photography Trust. All images courtesy Martin Parr Foundation

But images from the Miners Strike project aren’t treated separately as the other projects are. Instead they’re rolled into the In Flagrante section.

In flagrante 1988

In 1985 the publisher Secker and Warburg told Killip they’d be interested in publishing his next book. This would mean access to a larger audience than previously and Killip was inspired. He worked with editor Mark Holborn and designer Peter Dyer to produce the 1988 book In Flagrante. Unlike all his previous projects which were heavily themed around specific communities and locations, In Flagrante deliberately cut his images adrift from their source projects to create a randomised cross-section of his career (although anyone who’d studied the previous projects has a good idea where each of them come from).

For the bitter bleakness and the unerring accuracy of the images, In Flagrante has been described as ‘the most important book of English photography from the 1980s.’ I was particularly taken by the set of photos of miserable English people from the 70s and 80s on various English beaches, at Whitley Bay, and so on. Narrow lives, no expectations, the quiet misery of the English working classes. They’ve come to the seaside for a break, for a ‘holiday’ and none of them know what to do there. Images of a nation at a loss what to do with the land it finds itself in.

Revolt

Respect goes to the tribes of young people who forged ways of rebelling against the poverty and low to zero expectations of their environment. In Flagrante contains a surprising number of photos of young punks who took the form to baroque extremes long after it was abandoned in London. There are lots of shots of the Angelic Upstarts of all bands, playing sweaty punk gigs in Gateshead. In fact the gallery shop has a music paper-size fanzine-style publication entirely full of shots he did of sweaty punk gigs in the mid-80s. ‘We’re the future, your future.’

The Station, Gateshead, 1985 © Chris Killip Photography Trust. All images courtesy Martin Parr Foundation

America 1991

What happened to Killip after that? America. I was disappointed to read that in 1991 he was invited to be a Visiting Lecturer at the Department of Visual and Environmental Studies in Harvard University. In 1994 he was made a tenured professor and was department chair from 1994 to 1998. He only retired from Harvard in 2017. Well, no doubt taking the Yankee dollar was the right move for him, but it meant the abrupt end of the sequence of breath-taking portfolio projects which had begun in 1970.

Summary

Killip’s oeuvre represents not only an invaluable document of social history 1970 to 1985 and, as such, a blistering indictment of an incompetent, uncaring, bewilderingly lost society – but it is also a testament to love and the redeeming possibilities of art.

The compassion and humanity of his work is embodied in its closeness and intimacy with its subjects, not the fake intimacy of eroticism, but being right there with poor suffering humanity; right up close as the dirty kids play in their abandoned playgrounds, the dispirited losers chain-smoke in a wretched bingo hall, an old lady loses the will to live in a vandalised bus shelter, bored young men sniff glue in a remote fishing town, and lost children spend all day every day clambering over filthy mounds of coal to help their mums and dads scrape a flimsy living The poetry is in the pity.

Youth on wall, Jarrow, Tyneside, 1975 © Chris Killip Photography Trust. All images courtesy Martin Parr Foundation

Levelling up

In the 50 years since Killip took these photos generations of politicians have come and gone, promising to narrow the North-South Divide and level up the whole country. All bollocks. Life expectancy for babies born in the North-East, like per household income, remain stubbornly below the national average. Pathetic, isn’t it. What a sorry excuse for a country.

Go and see this marvellous, searing, heart-rending exhibition.

The promotional video


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The Roman Republic by Michael Crawford (second edition, 1992)

No, not the Michael Crawford, star of the 1970s TV series Some Mothers Do ‘Ave ‘Em. His version of the Roman Republic would have been hilarious. “Ooooh, Brutus!”

No, this Michael Crawford is the English historian, born in 1939 and still with us, privately educated (like most classicists – St Paul’s and Oxford) who nonetheless takes a solidly socialist view of history. Page two of his preface states that:

I continue to believe that the principal reason for the destruction of Republican government at Rome was the neglect of the legitimate grievances of the population by the governing classes…

The use of ‘continue to believe’ implies that he valiantly persists in his views despite stiff opposition, an impression he goes on to compound by telling us, rather naively and over-earnestly:

…just as I continue to believe that a socialist framework offers the only eventual hope for the survival of our own world. (page vi)

‘Eventual’ is a funny choice of word and, like ‘continue’, hints at an embattled state of mind, of taking a heroic stand against a sea of opponents. (This is also an early indication of Crawford’s often idiosyncratic prose style and oblique way of describing important events.)

Crawford’s earnest socialism might have made sense in 1978 when the first edition of this book was published, but had gone out of style by 1992 when this second edition arrived – a year after the Soviet Union collapsed and the oppressed nations of Eastern Europe were freed from Russian tyranny. Mrs Thatcher had been stabbed in the back by her own MPs in late 1990 but it wasn’t until 1997 that John Major’s useless Conservative government was replaced by Tony Blair’s pazazzy New Labour – which proceeded to destroy forever the kind of socialism Crawford believed in, aligning the left with globalising neo-liberal economics, financial deregulation, public-private partnerships, university tuition fees and the galloping inequality which has brought us to our present happy situation.

Reading Crawford’s little preface makes me sad for all the good people who thought they could make the world a better place and have resoundingly failed. As a result, although the events he describes took place over 2,000 years ago, an air of forlornness hangs over the entire text.

The Roman Republic

It’s not a very good book. Crawford rushes. He squeezes too much information into gangling sentences or long paragraphs. Nothing is gone into in enough detail. Take this example:

Not altogether surprisingly, there were those in Carthage who did not regard the verdict of the First Punic War as final; the creation of an empire in Spain and the acquisition thereby of substantial military and financial resources were followed by Hannibal’s invasion of 218 (the Roman tradition attempted to make the entirely justified attack on Saguntum by Hannibal into the casus belli, in order to salve its conscience over the failure to respond effectively to the appeal by Saguntum to Rome). (p.50)

Bloody long sentence, isn’t it? And useless as factual exposition. With just a little bit more effort Crawford could have given us a separate sentence or two describing the establishment of the Carthaginian empire in Spain by Hannibal’s father, Hamilcar Barca, how Hannibal assumed the mantle of command when his father died in 228 BC, and how a series of clashes with the Romans eventually led the Carthaginians to conclude that the only way to solve the ‘Rome problem’ was a direct attack on Italy, which Hannibal launched in 218.

One more sentence could have explained the importance of the battle of Saguntum a lot more clearly. As it is Crawford devotes nearly 40 words to it but somehow manages to not only not explain what happened, but to make it more obscure than if he’d never mentioned it.

Most of Crawford’s book is like this: it contains plenty of facts but a) you can tell that a lot of context and explanation and details are missing, and b) it’s all told arsey-versey, meaning in a ‘wilfully confused and disorderly’ way.

Because I already know the outlines of the story from the other three histories of Rome I’ve read I am able to decipher Crawford’s clipped and contorted references, but it became very tiresome. He gives no sense of Hannibal’s campaign in Italy; he gives no sense of the civil war between Marius and Sulla; he gives no sense of why Gnaeus Pompeius (Pompey) was such a spectacularly successful general; his account of Caesar’s command in Gaul is so brief as to be non-existent; his coverage of the Catiline conspiracy is risible; his explanation of Cicero’s exile is impenetrable unless you happen to already know the facts and issues; his mentions of Clodius give no sense at all of the street violence unleashed by his gangs or why it led to Pompey being awarded sole power to bring peace to the streets of Rome; and so on and so on. All this is mentioned but nowhere properly explained. As a narrative history of the Roman Republic, this book is rubbish.

The Fontana History of the Ancient World

This volume is the first part of The Fontana History of the Ancient World so maybe Crawford was given a specific period and a tight page limit and this explains the text’s cramped contortions. The book has just 200 pages into which to cram a history which theoretically covered 720 years from the legendary founding of Rome in 753 BC through to the rise of Octavian in the 30s. It also has to contain a timeline, four appendices, half a dozen maps, a list of further reading and 4 separate indices. Maybe that’s why it feels so rushed and superficial. But the lack of space doesn’t explain Crawford’s strange style and often crabbed and obscure way of trying to explain events. That’s just crap.

Schematic

If the book’s weakness is its lack of narrative depth or proper full explanation of events, its strongest parts are where it is most schematic – brief and pithy as a PowerPoint presentation. The chapter headings give a sense of this high-level, schematic approach:

  1. The sources
  2. Italy and Rome
  3. The Roman governing classes
  4. From Italian power to Mediterranean power
  5. The conquest of the East
  6. The consequences of empire – the governing classes
  7. The imperial power
  8. The consequences of empire – the governed
  9. Reform and revolution
  10. Rome and Italy
  11. The end of consensus
  12. The world turned upside down
  13. The embattled oligarchy
  14. The militant dynasts

Good titles, aren’t they? But each of these chapter is too short – 10 pages on the sources, 5 and a half on early Rome’s rise to eminence among the patchwork of Italian tribes, 8 and a half on the ruling class. And the same goes for the four appendices:

  1. The Roman assemblies
  2. The Roman army
  3. Equites
  4. The special commands

They look good but they are 3-and-a-half, one-and-a-half, two-and-a-half and one-and-a-half pages long, respectively. Too short, too allusive to explain anything properly.

Main themes

Crawford tell us his main idea is that the collapse of the Republic was caused by “the neglect of the legitimate grievances of the population by the governing classes” but already in the introduction he undermines his own thesis when he attributes the collapse to two other causes, both of which are more persuasive to me, namely:

1. “The failure to develop communal institutions for the maintenance of order” – when the Senate and the tribunes or popular assemblies fell out there was no institution or way to arbitrate the disputes. Together with the absence of any police force or independent judiciary, this meant whoever ruled the streets or led the biggest army could a) seize power, as in the civil war between Sulla and Marius in the 80s BC or b) more insidiously, create an atmosphere of lawlessness and hooliganism as created by Publius Clodius Pulcher in the 50s.

2. The mad competitiveness between very rich, very ambitious members of what Crawford, throughout the book refers to as the Roman ‘oligarchy’. (Oligarchy is defined as: ‘control by a small group of powerful people.’)

Crawford quotes Aristotle as saying that, so long as it remains united, an oligarchy is impossible to overthrow – but once members fall out with each other, then collapse can come very suddenly. In Crawford’s view, the collapse came about because of:

1. The wealth generated by the hugely expanded Roman empire was unprecedented and put unprecedented power for bribery and corruption into the hands of the super-rich.

2. The long periods for which eminent generals (Marius, Sulla, Lucullus, Pompey, Caesar) led their men created super-generals, super-leaders, whose rivalries involved entire armies, and, as per point 1, the Republic simply had no way to arbitrate between them (p.25).

In the last forty years of the Republic, the Senate found itself having to award more and more special commands to leading generals (Pompey received most) to allow them to deal with logistical or military problems which were too large, spread out over too long a time period or too far away, for the existing machinery of one-year consuls and regional governors to handle.

Thus Pompey was given a special command to deal with the ongoing pirate problem in 67, immediately followed by a special command to deal with the unending war against Mithridates VI in Asia. The growing reliance on special commands was symptomatic of how the institutions of the republic couldn’t cope with the challenge of running an empire.

Who was the Roman oligarchy?

So who were the “governing classes” which Crawford refers to in his introduction? Chapter 2 gives a pithy overview.

Soon after the overthrow of the monarchy in about 510 BC, the Roman ruling class decided to ensure they were never again ruled by the caprices of one man, so they took two steps:

1. they divided executive power between two officials, the consuls and

2. they had them elected, and for one year only – enough time to carry out official duties and for one military campaign season, then their time was up and someone else took over

Those seeking election generally had to have held more junior positions in what developed into a ladder or stepping stones of official positions. These offices of ‘magistracies’ evolved over the years but, given the human tendency to multiply bureaucracies, remained surprisingly few.

They were, in rising order of responsibility, the posts of quaestor, aedile and praetor. These positions were referred to collectively as the magistracies. This sequence of public offices was called the cursus honorum. Candidates for the magistracies had to canvas the people at annual hustings. They were elected by all adult males who had property enough to be included in the regular census carried out for this purpose which had originally been established to assign men to appropriate ranks in the citizen army.

Hence another elected post, that of censor, responsible for keeping the list of citizens a) eligible to vote and b) assigned to the appropriate rank in the army, up to date.

To be eligible to join the army a citizen needed to be a member of the assidui i.e. to achieve a basic property qualification (p.97). The assidui were divided into five classis or ranks, according to their assets, and it was the job of the censors to keep this list of citizens, their property and their ranking up to date.

The senate consisted of all the men who had previously held office as a magistrate. Senate derives from the Latin word senex which simply means old man, on the assumption that mature men who had held office gave good advice.

The single most important thing to grasp about Roman politics is that the senate did not make laws. It was a solely advisory body – although it arrogated to itself certain policies, specifically financial policy and military strategy. Anybody intending to create legislation was expected to consult the senate, which could and did hold extensive debates for and against legislation, suggesting amendments, improvements or that laws be rejected. But the senate didn’t actually pass the laws. It relied on the popular assemblies to propose and vote on actual laws.

Members of the same small group of families held magistracies and eminent positions in the state for hundreds of years. These were the patricians who monopolised the important magistracies and the various religious offices and half a dozen priesthoods (which were also elected).

The patricians distinguished themselves from the plebs or plebeians, who supposedly came from more recent, less ancient and venerable families. But within a century or so of the overthrow of the kings the plebs agitated to have a say for themselves, campaigns which eventually led to the creation of an assembly where the plebs could discuss their issues, the concilium plebis, and the creation of the post of tribune of the plebs. The tribune’s original function was to protect citizens from arbitrary actions by the (mostly patrician) magistrates. Over the years the number and powers of the tribunes slowly expanded.

In 342 BC the plebs broke through a glass ceiling and won the legal right to stand for the consulship  alongside patricians. The consequence was the growth of a mixed patrician-plebeian nobility because, by the 300s, the leading plebeian families were not at all common working people but had developed into a class of very wealthy families in their own right (‘the plebeian leadership was rich and ambitious’, p.28).

This mixed patrician-plebeian nobility is what Crawford means when he (frequently) refers to the ‘oligarchy’ (‘control by a small group of powerful people.’)

The history of the Roman republic is the history of the fierce rivalry between a relatively small number of men at the core of this patrician-plebeian oligarchy, as they were forced to express it through the channels of a) election to a magistracy b) success as a military commander c) success as governor of an overseas province.

It was a complicated and sensitive mechanism which, by its last century, was riddled with bribery and corruption and, as mentioned above, fierce competition between its members for power and status which repeatedly spilled over into street violence. In the final 50 years it escalated into armed rebellion and civil war between Roman legions loyal to rival Strong Men.

Roman flexibility

Although they went on about their legends and traditions, one of the most notable things about the Roman state and culture was their flexibility.

Constitutional flexibility As provinces were acquired and something like an empire came into being, the Roman oligarchy expanded the number of magistracies sitting under the consulship, increasing the number of quaestors and praetors i.e. they were flexible in adapting their constitution.

Cultural flexibility From about 200 BC onwards the Roman elite took an increasing interest in Greek art, architecture, literature and philosophy, and frankly copied it (as in the plays of Plautus and Terence), and slowly developed their own versions and distinct styles.

Citizen flexibility But both these aspects rested on the ancient Roman custom of incorporating peoples into their state. Thus the conquest of the many tribes of Italy by one city state didn’t result in their miserable subjugation, but by the carefully calibrated award of Roman citizenship to tribes and communities around the country. When Rome went on to conquer foreign lands (starting with Sicily in the 240s) she made no demands that the population change their religion, culture or laws – they simply had to offer up young men for the Roman army (p.74).

The openness of Rome to outsiders was one of the sources of her strength in Italy (p.78)

It was this ability to incorporate foreign lands, foreign peoples, the best of foreign cultures and even their gods and religions, which underpinned a thousand years of success.

The impact of empire on the Roman ruling class

It’s worth making the minor point that all the historians talk about Rome having an ’empire’ well before the end of the Republican period and before they had actual emperors. In the talismanic year 146 BC the Romans crushed Carthage in the west and Corinth in the East, thus confirming their hegemony over the Mediterranean. The defeat of Carthage handed over the latter’s territories in north Africa and Spain to Rome, and after Rome defeated the Achaean League in 146 BC she used Greece as a jumping off point for greater involvement in ‘Asia’ (modern day Turkey) and across the sea in Egypt.

An empire in fact well before it became an empire in name.

Extreme wealth

Crawford’s thesis is simple: the phenomenal wealth which could be extracted from these overseas territories (‘generals and governors abroad had almost limitless opportunities for illegitimate enrichment’, p.74), plus the prestige attached to military success and the public triumphs awarded to victorious generals, led to increasing disparities among the ruling elite: some became phenomenally rich and successful, others less so.

The enormous power wielded by Roman magistrates operating far from senatorial oversight led to grave abuses; the wealth acquired from office by some members of the oligarchy separated them spectacularly from the rest and enabled them to bribe their own way and that of other members of their family to further office. (p.84)

The conquest of the Greek East from 200 BC onwards provided ready access to Greek artistic and intellectual skills and techniques and to wealth on a staggering scale. (p.85)

He quotes the Roman saying that a provincial governor needed to screw not one but three fortunes out of his unfortunate subjects: one to repay the money he borrowed to pay his election expenses; one to bribe the jury at the trial for corruption he would inevitably face when he got back to Rome; and the third one for the traditional reason – to have the wherewithal to fund the conspicuously rich lifestyle demanded by his class (p.171), a particularly conspicuous example being the successful general Lucius Licinius Lucullus. By the 60s:

Provincial government not only provided men with wealth and connections on a scale unimagined a generation earlier; the great commands placed in their hands for a time almost regal power and led to their being showered with symbolic honours appropriate to that power. Here again Pompeius surpassed all his predecessors. (p.176)

So, as the first century BC progressed, at the very top of the Roman oligarchy, competition for the consulship, for governorship of a province or generalship of an army overseas, became increasingly fierce and bitter because the rewards became increasingly mind-boggling.

It was bitter rivalry about who would lead the Roman military campaign against Mithridates VI of Pontus in modern-day Turkey, which precipitated the civil war between Gaius Marius and Lucius Cornelius Sulla starting in 88 BC. It was failure to agree a mechanism whereby Caesar could lay down command of his army in Gaul and transition to being a consul in 49 which led to the civil war between Caesar and Pompey. It was the failure of the centuries-old institutions of the Republic to control and mediate the rivalry between these super-powerful men, and then between Octavian and Mark Antony after Caesar’s assassination, which led, after repeated collapses, to its complete replacement by the rule of one strong man.

Seen in this light, the domestic policies of the oligarchy throughout the 2nd century and into the 1st century, consisted of the oligarchy’s attempts to moderate and police itself, to hold this power in check. It had created a machine of awesome power which it could no longer control.

The decade 59 to 49 saw competition between the leading members of the oligarchy reach such an intensity that it destroyed the framework in which competition operated or had meaning. It burst out as the naked use of force. Might could only be met with might and could only lead to the triumph of one man only, Octavian.

The land problem

This much is maybe obvious. Crawford’s left-wing perspective comes out in his insistence that the ‘people’ played a leading role in the process. He claims they did this in two inter-related ways. First, was the land problem. In a nutshell, in the last 150 years of the republic the ordinary peasant farmer was driven off the land in ever-increasing numbers. The richest patricians relentlessly bought up land, exploiting the harsh money-lending and debt laws which penalised ordinary farmers.

This explains why there were so many attempts to redistribute land and to enact some form of debt relief over those 150 years. Take C. Laelius’s proposal in 140 that land be redistributed to the needy in order to raise them up to the property qualification required by recruitment into the army, thereby improving it, (p.91). Or Tiberius Gracchus’s proposals for redistributing land from the wealthy to the landless in 133. Crawford devotes a chapter to describing in detail the process of land appropriation by the rich and the various attempts by reformers to stem the tide (pages 94 to 106).

They mostly failed and the net result was the creation of huge estates (which came to be called latifundia) owned by very rich landowners, and the driving of hundreds of thousands of peasant farmers off the land and into the towns, where they created shanty towns and formed the mobs susceptible to popular rabble rousers.

Thus the rise of the super-rich not only destabilised their own class, the oligarchy, but indirectly contributed to the rise of the mob mentality which increasingly dominated Roman politics in the last 50 years of the republic.

The lynching of Tiberius Gracchus

Crawford goes along with all the other historians I’ve read who say that the public lynching of the reformer Tiberius Gracchus in 133 BC marked a turning point because for the first time laws, justice and deference gave way to brute violence. His younger brother was similarly massacred along with hundreds of his followers a decade later, but it was really the long and bitter Social War of the 90s which led directly into the civil war of the 80s, and to the appalling politically motivated murders commissioned by both Marius and Sulla, which made politicised street violence an accepted event.

A generation later, the street violence between the gangs led by Clodius and Milo destabilised politics throughout the 50s. And it was Mark Antony’s speech in the forum the day after Caesar’s assassination, displaying Caesar’s body and reading out his will, which roused the mob to a fury and to go off and torch the houses of the conspirators, thus driving them to flee from Rome, putting them on the back foot and guaranteeing that Antony and his group in the oligarchy would triumph.

The point is these successive outbreaks of constitutional collapse were partly enabled by the growth of a large class of urban proletariat, mobs of the unemployed or underemployed, former farmers driven off their land, embittered and ready for anything. It explains the appeal of Catalina’s vague promises to overthrow the entire state and start again to large numbers of the urban poor.

And we know from Cicero’s letters that even Octavian, who was to be the last man standing at the end of this series of ruinous civil wars, went out of his way to make himself liked by the mob.

In a sentence: the population displaced from the land and herded into the cities provided the raw material of aggrieved proles which the unprecedentedly powerful and homicidally competitive oligarchs were able to manipulate for their advantage.

Slavery

There was a third element: slavery. As conquest followed conquest in the 2nd century, as entire cities and peoples were conquered and some (not all) sold into slavery, there developed a tidal wave of slavery. This had two effects: one was that the economy didn’t need the peasant farmer any more; slaves could farm huge latifundia virtually for free. Second was a ratcheting up of the luxury living of the urban rich, and even the well-off middle classes, once their houses became full of slaves who did all kinds of work and services for free. The Roman historian Appian wrote:

‘So the powerful became very rich and slaves spread all over Italy.’ (quoted on page 102)

There was probably a third effect as well, which was the slave trade itself, which Crawford says really got going in the 140s i.e after the destruction of Carthage and Corinth. Easy to overlook the slaves and the simple fact that they created a vast amount of economic value for little overhead. The trade made slave traders very rich, but transformed the lives of Roman citizens of all but the lowest classes. (p.102).

‘When the Romans became rich after the destruction of Carthage and Corinth they used enormous numbers of slaves…’ (Roman historian Strabo quoted on page 131)

The growing use of slaves led to three slave wars or risings, in 135 to 132, 104 to 100, and 73 to 71. The Greek island of Delos became the centre of the slave trade in the eastern Mediterranean . It was said it could receive, sell and dispatch tens of thousands of slaves every day! (p.131).

Conclusion

This is a poor book, which I wouldn’t recommend to anyone. Its take-home message is straightforward: it is bad, sometimes fatal, to the peace and viability of a society to let some of its members become disproportionately rich or powerful. Extreme wealth not only corrupts individuals but destabilises entire societies. A largely ignored message still relevant to us inhabitants of the ‘advanced’ economies of the West.


Roman reviews

The Crisis of Imperialism 1865 to 1915 by Richard Shannon (1974)

The Crisis of Imperialism 1865 to 1915 was written to be the eighth in the ‘Paladin History of England’ series. I read it at university back in the 1980s as background to the literature of the period.

A month ago I took it off my shelf to remind myself about the run-up to the Edwardian period (1901 to 1914) and insofar as it sheds light on the worldview of the noted Edwardian satirist, Saki, who I’ve been reading and whose stories often refer to social and political events of the 1900s.

This is a slightly odd, rather idiosyncratic book which I found strange but beguiling.

Shannon’s view of history – desperate men grappling with blind forces

Most histories describe the major events which took place during the period they cover, explain their origin and build-up, with pen portraits of the key figures involved in each issue, explaining in more or less detail who did what, what happened, what its after-effects were and why it matters. That’s the approach taken in, say, Crossroads of Freedom by James M. McPherson.

Shannon’s approach is strikingly different. If you know the board game Risk you’ll know it consists of a board representing the entire world, divided up into 40 or so territories. The aim of the game is for the 2, 3 or 4 players to seize all the territories and push the other player(s) off the board. Winner takes all.

Shannon applies a Risk approach to history. Key incidents from this crucial half century (for example, the rise of trade unions at home, the annexation of Egypt abroad, Britain’s response to Bismarck’s wars, the issue of educating the poor which became more pressing everywhere in the second half of the century) are mentioned only fleetingly, often only in passing, often barely explained, because they are not at all where Shannon’s interest lies. Shannon’s interest lies overwhelmingly in the Great Game played by the most senior political leaders throughout the period of winning power and staying in power.

Disraeli’s calculations logically centred on…immediate parliamentary advantage. (p.66)

Shannon doesn’t see politics as a set of logical and understandable events which can be clearly explained, which were clearly understood at the time, and to which rational solutions were offered. Instead he sees human history as the product of blind, inchoate forces – economic, industrial, financial, cultural and demographic – which propel societies forward, willy-nilly, whether planned or understood or not.

The aim of politics, in Shannon’s view, is to harness chaotic human events in order to stay in power.

From time to time Shannon does sound for a few pages like a ‘traditional’ historian. He gives a brisk summary of some of these social changes, with an appropriate blizzard of statistics, particularly in the short opening introduction which is a handy anthology of stats about population increase, migration abroad or into British cities, the rise in agricultural wages and productivity, the doubling of GNP per capita and much more, during his chosen period. It is, for example, striking to learn that during the 1860s, in the UK, agricultural workers and the labouring poor ceased to make up the majority of the population for the first time in any country, ever; for the first time in human history (p.30). All very interesting, but then he gets back to his real, underlying worldview:

These were the blind forces at work, unconscious and undirected. Conscious or directed aspects of the social system – broadly, ‘politics’ – did not relate to these blind forces in a neat one-to-one ratio. Very often indeed the relationship was at best tangential…

And:

The picture as a whole is not that of a society moving surely and confidently in self-possession of its destiny. Rather, it is the story of a society at odds with itself, the blind forces working very often at cross-purposes with the conscious wishes and efforts of those who felt it their task to define the ends, the purposes, to which the ‘movement’ would best be directed…

And:

During the fifty years before the outbreak of the First World War in 1914, the forces of conscious purpose and design in Britain struggled to avert the threats of the blind, largely uncontrollable internal forces and of the dangerously uncontrolled external forces. (Pages 15 to 16)

And:

Domestic debate ceased comparatively to be free as the blind forces moving society imposed irresistible pressures. (p.36)

Why I mention Risk is because, for any one of the five decades his book covers, Shannon’s focus is almost entirely on the highest of high politics and on the handful of men who clawed their way to the top of the main political parties (being the Conservative and Unionist Party and the Liberal Party) only to find themselves caught up in the melée, in the maelstrom of these ‘blind’ forces and thrown into the high stakes game of risk management, opportunity and gamble, which is how Shannon conceptualises all high politics. He sees all of political history as a very complicated game of Risk. All tactics are permitted. Winner takes all.

Shannon’s fundamental idea is that people like Gladstone and Disraeli (the famous antagonists from the early part of his period) came to power with little or no idea what to do with it. They came to power by exploiting the forces at large:

  1. internationally
  2. within British society with its changing and emerging economic and political forces
  3. within British political society i.e. within the complex and often contradictory traditions and ideologies of the nation’s two ruling parties
  4. within the intensely power-hungry, jostling Machiavellian milieu of Parliament itself (made up of the very different institutions of the House of Commons and the House of Lords)

Gladstone, Disraeli and their successors were caught up in a game much more complicated than Risk, more byzantine than three-dimensional chess, a terrifyingly complex game in which the rules are continually changing and all the goalposts move overnight. Shannon makes a number of references to chess, talking about the pieces ‘on the political board’ and how those who had scrabbled into positions of power sought to move them to their best advantage.

For example, the book opens with the death of Lord Palmerston in 1865. Palmerston’s death ‘opened up the board’ after 10 years of his political dominance.

Palmerston acted as checkmate. His position on the political board was such that so long as he remained a force no other forces were either strong enough or sufficiently motivated to free the board for manoeuvres. (p.20)

And:

This situation on the political board is the key to all the complicated manoeuvrings of 1866 and 1867. (p.22)

So what makes this book unusual, distinctive and even a little odd are two things: one, Shannon’s casual disinterest in what actually happened (i.e. the events of the period) in preference for extended descriptions of the Great Game of Westminster politics.

And the second thing is Shannon’s extreme scepticism about the effectiveness of these Westminster politics, his belief that society is moved by blind, inchoate social forces which no-one understands, least of all the men who manipulate their way to the top of the greasy pole.

Shannon goes to great lengths to show that even when they get there, Britain’s politicians often had no idea what is really going on, generally act according to old fashioned ideas, out of date notions, either their own or their party’s, in the search for a correct alignment or balance of social forces which repeatedly turns out to be a chimera, a delusion.

Disraeli imagined that there was a ‘normal’ posture of things which could be got back to without too much trouble. The story of Disraeli’s great ministry is how both kinds of normality evaded him… (p.102)

Lowe’s misguided fears of 1866 were the consequences of applying middle-class intellectual calculations to working-class situations. (p.104)

They certainly take advantage of political opportunities to create new coalitions and alliances, to co-opt elements of broader society or of the seething Westminster cauldron to secure power and then try to pass laws or formulate foreign policy. Shannon describes at length the continual manoeuvring and regrouping of political forces, of conjunctions and alignments of different interest groups, he even talks at one point about ‘the Gladstonian matrix’ (p.53).

And then he tries to assess whether their ‘solutions’ are adequate to the challenges and problems thrown up by a society undergoing continual massive social and economic change. And concludes, on the whole, that no, the politicians were heirs to complex political traditions and alliances, moved in a world of sophisticated political theorists and commentators (John Bright, John Stuart Mill, Walter Bagehot) and yet routinely failed to understand what was really going on or to solve the problems they faced. It is a chronicle of bungling and muddling through.

Like dinosaurs at the onset of a new and uncongenial epoch, the generation at its prime in the 1860s, still at the head of affairs in the 1870s and 1880s, groped about in the wreckage of their familiar landscape, already being transformed and imposing new conditions of adaptation and survival. (p.199)

Domestic versus foreign affairs

At several points Shannon distinguishes between the relative limitedness of the chaos in the domestic as opposed to the international sphere. Put simply, there was less scope for choice or disagreement about domestic policy: by 1870 something quite obviously needed to be done about educating the general population, extending the vote, regulating the power of trade unions, about providing sewerage and clean water to the unhygienic cities and so on. In the big picture, the squabbles between parties about these were often trivial.

It was in foreign affairs that there was real scope for differing opinions. As Shannon puts it, Britain was not ‘free’ to begin to lay the foundations of what later became known as the welfare state (all European nations were doing something similar; something similar obviously had to be done here) in the same way that it was ‘free’ to choose whether to go to war in  South Africa in 1899 or with Germany in 1914, in both of which we had the ability to say No right up till the last minute (p.36).

This greater scope in foreign affairs for a variety of choices and actions is one reason why the period from the 1880s to 1914 saw foreign affairs acquire a greater and greater importance and intrude its issues and decisions more and more into domestic political considerations.

A token of this was the rise of the word ‘imperialism’, which only took on its modern meaning during this period, specifically in the 1890s, and whose claims became a major dividing line between the parties, and between different factions within each of the parties (p.77).

Above all, Shannon presents the high politics of the period not as something carried out by powerful men in full command of the facts who had a well-worked-out series of policies to enact; but as the shambling attempts of men under tremendous pressure to keep their parties and supporters onside while responding to events whose significance they often didn’t understand at all.

They were almost always motivated by the quixotic attempt to restore some kind of equilibrium or political stability which they remembered from their youths, but in most instances were laughably out of date and irrelevant. Thus:

An analysis of British foreign policy between 1865 and 1885 reveals essentially the persistence of received traditions and attitudes, attempts to reassert policies based on assumptions inherited from the past… [There was] an inability to understand why policies which had hitherto appeared to answer requirements with complete satisfaction had suddenly ceased to carry conviction and credibility. (p.41)

Documenting the search by politicians of this period for this illusory balance or equilibrium is the key theme of Shannon’s account.

Avoiding teleology

The 1860s, 70s and 80s were not straining to become the 1890s and 1900s. They had no idea what the future held in store. With hindsight many things are obvious to us, now. Nobody knew them, then. Shannon’s attempt is to recreate the mindset of each decade, each year, in order to make clear the context in which the politicians fought for power.

One must above all be careful to avoid teleological assumptions about the nineteenth century… It is obvious, looking back from the twentieth century, that the blind forces at work in the nineteenth century inevitably caused profound changes in political behaviour… But this was not at all the context of consciousness in which the debate of 1866-7 took place… 1867 was not a promise to the future that happened; it was an attempt to settle questions left over from the past, and a promise in another sense to a future that aborted, that never happened. (p.59)

Their concerns are not our concerns. In fact we struggle to make sense of their concerns. The debates around the extension of the franchise in 1867 didn’t see it (as almost all of us today do) as a stepping stone to the nirvana of universal suffrage, but instead were around finding a new equilibrium which would generate the best outcomes for the ‘national interest’ and avoid pandering to narrow class interests. One recurring argument put by people on all sides was that the 1832 settlement had produced a nice balance between the interests of the landed aristocracy, the new business-based bourgeoisie, and the skilled working class. It wasn’t extending the franchise to the lower middle classes and rest of the working class they objected to, it was upsetting this delicate balance by giving too much prominence to one particular part of the population.

Shannon sheds a brilliant bolt of light on our present situation by saying that almost all mid-19th century thinkers would have been appalled at the late 20th and 21st century assumption that democratic politics is about governments bribing particular sections of the electorate with promises of tax cuts or benefit increases and so on. That would have been seen as the ultimate in political immorality.

Their debates were about how best to arrive at the best expression of the ‘national interest’, debates which, of course, clashed over the notion of what the national interest was and who was best qualified to identify it and to implement it. Disraeli knew what it was: the landed aristocracy who he had glamorised in his novels of the 1830s:

Like Palmerson, Disraeli wanted to be able to call on the support of many interests as a means of preserving the one great interest, ‘the national interest’, which he identified centrally with land. (p.68)

I was very interested to learn that the famous social philosopher John Stuart Mill (who himself became an MP) did not want universal suffrage; he wanted a limited suffrage arranged in such a way that the balance of power would shift from (what he regarded as) a limited, unintelligent and reactionary landed aristocracy to a well-educated, modern, business-minded intelligentsia.

Shannon’s warning not to think teleologically makes explicit the notion that we live amongst the countless ruins of the plans and ideas and schemes and manifestos to build a better country and a better political system which have been worked out and proposed with such passion and sincerity by so many of our ancestors, and which came to nothing. So many futures, which never took place.

Disraeli

We can illustrate Shannon’s approach in his portrayal of Benjamin Disraeli (1804-1881; leader of the Conservative Party from 1868 till his death in 1881). Shannon paints Disraeli as a man who started his political career facing one central political challenge which was how to repair the catastrophic fragmentation of the Conservative Party caused by the highly divisive campaign to repeal the Corn Laws which reached its climax in 1846 (p.48).

Conditions…since 1847 had made a Conservative majority virtually impossible. (p.73)

The Corn Law campaign had split the Conservative Party down the middle and the chaotic political scene which ensued was exploited by Lord Palmerston who rose to become Prime Minster for the next 9 or so years. Palmerston had combined elements of different political traditions in order to create a very distinctive power base held together by the force of his personality. When he died this particular matrix of forces collapsed leaving a vacuum which presented a complex opportunity for his successors (most notably the two ‘coming men’ of the younger generation, William Gladstone and Benjamin Disraeli) to reorganise and redefine the various political strands and traditions into new combinations.

Disraeli wanted to be a politician, he wanted to be a success, he wanted to be prime Minister, but following Palmerston’s death, he faced the huge challenge of trying to give the Conservative Party a new identity or direction whereby it could once again represent the entire ‘nation’ and represent what Shannon calls the ‘national’ policy.

Disraeli’s task was to manoeuvre the Conservative Party into the posture of natural and legitimate exponent of the ‘national’ policy. (p.52)

In the coming years, Disraeli would scavenge solutions to this challenge from anywhere; he would use any opportunity to try and repair the breaches among the ruling class opened the Corn Law debacle and create a workable majority in the House of Commons and consolidate the in-built Conservative majority in the House of Lords.

For Disraeli, and therefore for Shannon, it doesn’t matter what these issues are, whether it be the administration of India after the great rebellion of 1857, the correct line to take towards the American Civil War (1861 to 1865) or to Bismarck’s series of wars starting with Prussia’s war with Denmark in 1864.

Disraeli’s approach wasn’t about taking a consistent or principled line. It was about analysing each event or crisis and assessing what was the best outcome for the Conservative Party and for himself. What would play best among the (still very limited) electorate? How would a given policy play to the landed aristocrats in the House of Lords? Could it be reconciled with the need to win over support among the factory owners in the House of Commons?

The governing Liberals were traditionally the party of small government and non-intervention abroad. Classical Liberalism, as defined by the Manchester school of Richard Cobden and John Bright, thought that left to itself, universal free trade would connect all nations in fair and equal economic arrangements and thus war would not be required. That is why they had founded the Anti-Corn Law League in 1838, in order to abolish the restrictive tariffs which kept the price of corn artificially high (in order to benefit the landed aristocracy) thus making the price of food substantially cheaper in order to feed the populations of the new industrial cities.

By contrast with the Liberals’ boring ideas of universal free trade, as the 1860s turned into the 1870s Disraeli realised there was a big opportunity here to position the Conservatives as the party of imperial adventure and derring-do. Thus Disraeli is most remembered for two flashy, publicity-seeking gestures, buying up shares in the Suez Canal when the owner, the Khedive of Egypt went bankrupt in 1875, and awarding Queen Victoria the title Empress of India, much to her satisfaction, in 1876. Both hugely popular, both the swift seizure of opportunities.

But none of this implies that Disraeli had a fully-worked out foreign policy. Far from it. These were mere chance opportunities which he grabbed with the instinct of a true opportunist. Only later would succeeding leaders and theorists of the Conservative Party (Disraeli died in 1881) concoct the convenient idea that Disraeli had formulated some Grand Theory of Imperialism. Disraeli had no such thing. And his heirs only did this because this fiction helped them in their times (the 1880s through the 1900s) try to make sense of the ‘blind forces’ at work in the domestic and international spheres of their era. They were looking backwards for clues and ideas, just as Disraeli had been, in his day.

Similarly, when the Liberals brought forward plans to extend the franchise (the vote) from about 1.4 million men to 2.4 million men in 1866, Disraeli again spotted an opportunity, first of all to defeat the Liberals by assembling coalitions of reactionary forces against them. And then, quite hilariously, once the Liberal government resigned after losing a vote on the  reform bill, and the Queen was forced to appoint Disraeli her Prime Minister, he brought forward more or less the same bill, this time persuading reactionaries in the Commons and Lords that a carefully defined and carefully managed extension of the vote wouldn’t hand it to the illiterate mob but would do the opposite; would win over for the Conservatives the grateful lower-middle-class and skilled working class who would benefit from it. And that is, in fact what happened, once the new Reform Act was passed in 1867.

So Victorian politics wasn’t about ‘principle’, having grand theories and manifestos. It was all about shrewdness and adaptability, and adeptness at climbing to the top of what Disraeli very aptly described as ‘the greasy pole’ – and then using any event, and harnessing whatever social forces, and rethinking whatever traditions and schools of thought necessary, to stay in power.

A propos the 1867 Reform Act I was a little staggered to learn that in the election which followed, in 1868, only about half the seats were contested by both parties. We are talking about in which the interest of the Conservatives in country constituencies and of the Liberals in urban constituencies, was so definitive, that it wasn’t even worth contesting half the seats (p.73). Although it later came to be seen as highly symbolic that the high-minded, if eccentric, Liberal John Stuart Mill, lost his Westminster seat to W.H. Smith, the news agent, a harbinger of the rise of the new suburban middle and lower middle class vote which was to become a mainstay of Conservative elections and flavour much of national culture going into the 1880s and 1890s (p.73).

Power politics

Hopefully this example gives you a flavour of the way Shannon’s book takes you right into the heart of power, assessing how leaders like Gladstone and Disraeli (and later on, Lord Rosebery, Campbell-Bannerman and the rest) struggled to:

  1. understand what was going on
  2. fit events into the framework of their own personal ‘beliefs’
  3. fit events into the framework of the ideologies and traditions of the parties they purported to lead (often at odds with their own personal beliefs)
  4. and then try to manage coalitions and constituencies of voters out there in the country, and their representatives in Parliament, in such a way as to a) take meaningful action b) all the time ensuring they remained in power – in a process of endless risk and gamble

That is what this book is about; it is less about the actual events of the period than how the successive leaders used these events to claw their way to power and then how they manipulated the traditions and ideologies, assembled and broke coalitions, recruited this or that member of the party into their cabinet, kept important players onside by offering them this or that reward, and so on.

Gladstone himself, in a note written at the end of his life, in 1896, tried to analyse what it was that distinguished him from the other politicians of his time. He wrote that what it boiled down to was the way Providence had endowed him with a special gift of being able to see, to analyse, right into the heart of situations.

It is an insight into the facts of particular eras, and their relations to one another, which generates in the mind a conviction that the materials exist for forming a public opinion, and for directing it to a particular end. (Quoted p.71)

This book focuses exclusively on the highest of high politics, which explains why there’s little or no social history, very little about people’s lived experiences, little or no gossip about kings and courtiers, very little about new technologies or food or sport or fashion, very little about the regions, or even Scotland or Wales (although Ireland bulks large for obvious reasons).

Instead, the focus is very narrowly on Westminster and the power politics played out between a tiny handful of men at the top, detailing their schemes and strategies to gain and hold on to power. So if you’re looking for any kind of social history or lots of colourful anecdotes this is emphatically not the book for you. To give a fashionable example, in the Edwardian section of the book, there is almost no mention of the suffragettes or any kind of portraits of their leaders or their cause; the emphasis is entirely on the how they were just one of 3 or 4 social and political issues which Edwardian leaders were trying to assess and juggle in order to pursue the endless quest to stay in power.

Preserving the balance

So little or no social or economic history, then. What the book is good on is political theory. At what you might call the academic end of the spectrum, Shannon gives accounts of the political thought of Liberal ideologues such as John Bright and John Stuart Mill, showing how the latter in particular derived from his Utilitarian mentors and then evolved to reflect the times (not least in Mills’s powerful defences of women’s rights).

Shannon refers to the at-the-time well-known collection Essays on Reform, published in 1867 as ‘part of the propaganda of the “advanced party” for a “more national Parliament”‘. In the Essays leading political commentators made suggestions about how to improve the franchise and the voting system. Shannon dwells on the contribution of John Morley (1838 to 1923), nowadays a forgotten figure, but who was not only an influential journalist and editor but went on to be a reforming politician in his own right from the 1890s through to the 1920s, and who in the 1880s consciously positioned himself as the heir to Mill (who had died in 1873) as chief ideologue of classical Liberalism (p.98).

Some of the writings in Essays on Reform turn out to be disconcertingly relevant today, 150 years later. Shannon quotes Lesley Stephen, in his essay on reform, proposing that England is an essentially conservative country with an instinctive liking for the established order of things which led all the upper classes, a lot of the middle classes and a surprising number of the working classes instinctively deferential and reluctant to change. This leapt right off the page and spoke to me now, in 2021 as I read endless articles about why Labour lost the 2019 election so badly and why so many people continue to support the Conservative Party despite it so obviously being led by corrupt fools and incompetents. Reading Stephen’s words suggest the short answer is because it’s always been like that; because that’s what England is like.

But theorising and essay writing wasn’t only done by intellectuals and the higher journalists. Politicians also made speeches or wrote articles, and thus Shannon liberally quotes from speeches or articles by the likes of Disraeli, Gladstone and their heirs, to indicate what they said they believed and what they thought they were trying to do.

The thing is, though, that Shannon rarely takes them at face value. In line with his basic credo about the ‘blind forces’ driving society, Shannon is not shy of pointing out when these figures got it completely wrong.

In practically every respect Gladstone’s assumptions about the shape of the future were belied by events, just as were Disraeli’s assumptions about the possibilities of perpetuating a traditional Palmerstonian past. (p.70)

It would take nearly twenty years for Gladstone to reconcile himself to the inadequacy of his assumptions of 1868. (p.79)

The politicians of the period were engaged in what Shannon calls:

A contest in misapprehension. (p.70)

Or, more likely, were writing articles and making speeches not to convey eternal political truths, but to play the game and position issues or ideas in such a way as to maximise the author’s appeal, not necessarily to the bulk of the population (who couldn’t vote), but to key stakeholders or constituencies or even to specific individuals whose support they need.

As well as 1. intellectual ideas and 2. the strategic ideas promoted by politicians for political gain, there is a third category, 3. underlying commonplaces and beliefs.

These are the ideas which aren’t necessarily articulated in their own day and yet exist as widely accepted commonplaces and traditional values in all political parties (or social organisations such as the Anglican Church). Shannon is very good at  bringing these underlying Victorian beliefs out into the open and so helping you understand not just what the Liberal and Conservative leaders said they stood for, but what the crusty old supporters of both parties actually believed they stood for, which was often very something completely different.

Put more simply, Shannon is a really interesting guide to the ideologies and values which underpinned not only high politics but also the political culture of the times, and which was often not very well expressed at the time.

For example, I found his summary of Matthew Arnold’s 1869 book, Culture and Anarchy: An Essay in Political and Social Criticism, very useful. Arnold, Shannon explains, like so many of his contemporaries, didn’t want to leap forward into a radical future, he wanted to preserve the best elements of the past in troublesome times.

Arnold’s fear was that Britain was moving away from reliance on the disinterested morality of the landowning aristocracy and at the same time losing its religious faith, and that this collapse risked the triumph of the Philistines, the name he gave to the rising middle classes, the factory owners and entrepreneurs who knew the price of everything and the value of nothing.

Arnold’s solution was that literature, art and culture should be promoted as the way to defeat the tide of philistinism and preserve the ‘sweetness and light’ of traditional culture, which he defined as ‘the best that has been thought and known’. In effect, ‘culture’ was to replace religion as the great binding glue and underpinning ideology of society (p.33).

This notion was to have a phenomenal impact and arguably to hold sway across the arts until well into the 1960s. I think it affected the way I was taught my literature degree in the 1980s. But reading it in the context of Shannon’s hard-headed exposition of power politics gives it a whole new meaning.

Arnold is just one of many Victorians who were looking backwards, who were trying to preserve what they idealised as a kind of balance or equilibrium between forces in society, which they hoped would solve all social issues and return life to the idyllic days of their youths.

Shannon shows in detail that Gladstone and Disraeli were, in this way, just the same, both men trying to return Britain to an imagined land of peace and plenty of their youths. Both men only promoted supposedly ‘radical’ policies (such as extending the franchise or extending state support for education in the 1870 Education Act) because they thought it would shut down dissent, end the debate, and restore this mythical equilibrium.

The essence of the question of reform [in 1867]…was a problem of striking a settlement that would satisfy the country and provide the point of rest and stability for a reconstituted Victorian equilibrium. (p.62)

The second stage of the Liberal effort to create a new Victorian equilibrium in the Liberal image fulfilled itself in the great programme of reforms between 1869 and 1873. (p.76)

The essence of the conduct of affairs in the decade 1874-85 was the effort of both Conservative and Liberal governments to operate on the basis of a desired and assumed Victorian equilibrium. Conservatives interpreted this equilibrium to mean a return to ‘normal’ procedures as defined in Palmerstonian pre-1867 terms… Liberals of most strains interpreted the equilibrium in terms of a revised dispensation required by the country to fulfil the potential of 1867… (p.101)

Some later Victorian schools of political thought

Maybe ‘theory’ is too grand and French a word to use for British political thinking, which has always been pragmatic, ad hoc and short term. As I read some of Shannon’s summaries of Victorian schools of thought, it crossed my mind that it might be useful to list and briefly summarise them:

Matthew Arnold

Arnold believed religion had been wounded by science, old aristocratic ideals damaged by democracy. He suggested replacing them with a new national ideology based on Culture which he defined as the best which has been thought and written, meaning, essentially, English literature.

John Stuart Mill

Mill helped define the ‘harm principle’ of freedom, namely that citizens should be free to do just about anything so long as it doesn’t harm, or cause harm to, others. He strongly defended complete freedom of speech on the basis that society could only progress if all ideas were freely expressed and openly discussed, confident that good opinions would defeat bad opinions. (p.32) Under the influence of his wife he became a fervent advocate of women’s rights, and spoke in favour of votes for women in the 1860s.

But Shannon takes us beneath the popular image of Mill as champion of modern human rights, to show how odd and of his time much of his thought was. For Liberals in the 1860s the issue wasn’t about steering the country towards universal suffrage: the pressing concern was to wrest power from the landed aristocracy, the estimated 10,000 or so families who essentially ran Britain, not in order to create a mass democracy, but to relocate power to the Most Intelligent people in the nation who Mill, not surprisingly, identified with himself and his friends.

In other words, Mill didn’t want to abolish the mindset of deference as so many Radicals did. He simply wanted to shift the focus of the population’s deference from the (in his opinion) worthless aristocracy, to the forces of liberal industry and economy and intelligence.

Leslie Stephen

Stephen believed that occult and unacknowledged forces kept England a predominantly aristocratic society, the majority of the population liking to keep things as they are and to defer to their betters. (p.28) (If you wanted to think big, you could say this attitude goes back to the Norman Conquest and the establishment of a two-tier society which, in many occult and unacknowledged ways, endures to this day. Being able to speak French or drop French tags into conversation, for example.)

Whig aristocrats

believed that only possession of land could guarantee independence and freedom. A tenant is forced to vote the way his landlord tells him. The owner of vast acres can, by contrast, stand up against almost any authority (including, back at the origin of the Whig Party, during the Glorious Revolution of 1688, the king himself). English freedom therefore depends on the existence of a well-educated and independent aristocracy, and their existence depends on respect for property. From this perspective, any attempt to tax, confiscate or redistribute someone’s land represents not an attack on them or even the propertied class, but on the entire basis of English freedom and this explains the attitudes and speeches of most MPs and ministers from the landed aristocracy (p.26).

The Manchester School

The Manchester school of economic and political theorists, led by John Bright and William Cobden, believed that free trade between nations would maximise everyone’s wealth and guarantee peace, because eventually every nation would be so tied  together by international trade that war would wreck their own economies. After the death of Palmerston in 1865, the Manchester School thought that Britain’s foreign policy should be one of complete non-intervention, showing the rest of the world by the example of how free trade led to prosperity. The Manchester School passively supported the attempts by peoples across Europe to liberate themselves from foreign (generally reactionary) oppressors, such as the struggle for Italian Unification, completed by 1871, because this would lead them all, in time, to have a constitution and economy as glorious as Britain’s, but we must on no account intervene in those struggles (p.43)

Castlereagh’s foreign policy

The Conservative view looked back to the aftermath of the Napoleonic Wars when Britain had a vested interest in never letting a continent-wide dictator arise again, and so was active in creating and supporting a supposed ‘balance of power’ in Europe, creating a ‘concert of powers’ between France, Prussia, Austro-Hungary and Russia, without ever actually joining sides. (pages 43 and 47).

Unfortunately, the illusion of this concert was seriously damaged by the Crimean War (1853 to 1856) in which a lot of Britons were surprised to find themselves fighting with Muslim Turkey against Christian Russia. And then Bismarck definitively wrecked this model by defeating Denmark, Austria and France in order to create a unified Germany in 1871, from which point the old theories became increasingly irrelevant and British leaders, both Conservative and Liberal, had to cast around for a new model and a new role for Britain in Europe (p.45).

Beneath the surface of a general retraction of diplomatic initiative following the Denmark fiasco, the phase from 1865 to 1874 is characterised by a great deal of manoeuvring and regrouping of political forces… (p.53)

The Crimean System

The Crimean War was fought to contain Russian expansionism, to prevent Russia extending its control right through the Balkans to threaten Constantinople and the Straits i.e. the Bosphorus, where the Black Sea joins the Mediterranean.

If Russia attained control of the Straits it would allow her navy to enter the Mediterranean at will and hugely shift the balance of power in the Eastern Mediterranean and Eastern Europe. Therefore Britain found itself fighting alongside Turkey and propping up the Muslim Sultan against a Christian European power. Many people at the time thought it was a mistake in principle and the actual mismanagement of the war confirmed their worst expectations.

The war ended with the 1856 Treaty of Paris and this goal of propping up Turkey in order to contain Russia became known as the Crimean System, which British politicians then tried to maintain for decades, way after it had become irrelevant to the changing realities on the ground.

Shannon’s theory of drag – the way politicians look backward, trying to maintain or recreate the systems and equilibriums they fancy existed in their youths – explains why, 20 years after the war, Disraeli, when Turkey carried out a brutal suppression of Bulgarians seeking independence in 1876, could only conceive of maintaining the ‘Crimea System’ and so continued to prop up a Turkey which had become notably more feeble and maladministered in the interim. Which in turn gave Gladstone the opportunity to score a massive public hit with his speeches giving gruesome details of the Turkish massacres of Bulgarian villagers, the so-called ‘Bulgarian Atrocities’, and decrying Disraeli’s immorality in defending them.

Politics isn’t about principles. It is about attacking your opponent at their weakest point until they collapse. It is about seizing opportunities for political gain.

Liberalism

One of the fundamental ideas of Liberalism, of the classical kind advocated by Cobden and Bright, was that different social groups and forces can, ultimately, be reconciled, not least by the growing science of society – sociology – by the use of reason and good will. It is optimistic about society’s prospects for eventually finding balance and peace (p.31), and the same belief in extends into a foreign policy which believes that free trade between nations is the best way of ensuring peace.

Nonconformism

It is difficult for many moderns to grasp the importance of religion in British politics until relatively recently. Certainly it was of vast importance in the Victorian period. The religious scene still bore the marks of the civil wars and the 1688 revolution which followed it. Basically the Church of England was the settled theological and organisational basis of the Establishment, of most of the landed aristocracy, of Oxford and Cambridge and the elite professions it produced.

After the restoration of Charles II in 1660 an Act of Uniformity and a series of Test Acts were put in place to ensure that nobody could hold any formal office or take a degree unless they swore to uphold the theology of the Anglican church and enforcing episcopal appointment of all ministers of religion.

Now the civil wars of the 1640s and 50s had brought out into the open, and into public life, a large minority of devout Christians who could not swear to the theology of the Anglican Church. They either disagreed about the entire idea of an ‘established’ church, or disagreed with the fact that its leaders, the bishops, were appointed by the civil power i.e. the monarch, or disagreed on a wide range of theological points. Before and during the wars they were known as ‘Puritans’ but the wars’ freedom to debate and define their positions led to a proliferation of sects then and in the decades after 1660, including Presbyterians and Congregationalists, plus Baptists, Quakers, Unitarians and (originating in the 18th century) Methodists.

Because they refused to ‘conform’ to the Act of Uniformity and the various Test Acts they became known as the Nonconformists and came to form a distinct element of British society, large in England, probably a majority in Wales. There’s a lot of ongoing debate about whether the Nonconformists caused the industrial revolution, but there’s no doubt that, because they were excluded by law from holding civil posts (in local or national government) or entering any of the professions, Nonconformists were forced into business and into the worlds of science and industry.

The Test Acts were repealed by 1830 in what amounted, in its day, to a social and political upheaval, alongside Catholic Emancipation i.e. the removal of similar restrictions from Roman Catholics.

The point of all this for our period is that the Nonconformists, despite being split into various sects and subsidiary groupings, by and large formed a large part of British society.

A census of religion in 1851 revealed Nonconformists made up about half the number of people who attended church services on Sundays. In the larger manufacturing areas, Nonconformists clearly outnumbered members of the Church of England. (Wikipedia)

And this large body of Nonconformists constituted a bedrock element of the Liberal Party which they hoped would continue to remove obstacles to their full legal rights, many of these hopes focusing on the (utopian) wish for the disestablishment of the Church of England, so that it would become merely one more religious grouping among many.

But their presence in large numbers meant that the Liberal leader who emerged after Palmerston’s death, Gladstone, had to always take the Nonconformist vote into account when devising his policies and strategies.

You might have thought the Nonconformist influence, like religious belief generally, was slowly declining during the nineteenth century, but it was the opposite. The 1868 general election led to an influx of Nonconformist MPs, the largest cohort ever, who from now onwards had to be taken into all political considerations, and added a substantial layer of complexity to a host of policies, especially regarding Ireland, the disestablishment of the Anglican church in Ireland and then all the discussions about Irish Home Rule.

With the result that 40 years later the coming man in the Liberal Party, David Lloyd George, still had to cultivate and maintain Nonconformist support in the 1900s.

I was really surprised to learn about the tremendous complexity of passing the 1870 Education Act which was caused because of the conflict between the Church of England which ran the majority of state schools and the Nonconformists who wanted more state schools to be set up but not run by the Church and certainly not funded from local rates, a very English, very muddled situation which led to an unsatisfactory and patchy solution, the establishment of ‘Board schools’ which ‘became one of the great shaping factors of later nineteenth century society’ (pp.86 to 92).

In summary, it is impossible to understand a lot of political events between 1868 and the Great War unless you have a good feel for the importance of the Nonconformist interest in politics and in Britain’s broader cultural life.

Thomas Henry Huxley (1825 to 1895)

Although famous as a vigorous defender of Charles Darwin’s theory of evolution by natural selection, Huxley was solidly on the side of the angels and made speeches and wrote articles (notably Evolution and Ethics) pointing out that just because nature works through violent competition and extermination, doesn’t mean that humans have to. In fact humans have the capacity to do the exact opposite and use the reason evolution has handed us in order to devise rational and compassionate solutions to social problems which transcend the whole vulgar notion of nature ‘red in tooth and claw’.

Gladstone

Shannon credits Gladstone with realising that politics had to move on from the old notion that it was about balancing categories of ‘interest’ (for example, trying to frame policies which reconciled the landed interest and the industrial interest, and so on) to categories of ‘morality’ (p.55).

In making this shift of the basis of politics the essential task of the Liberal party Gladstone made it into a vehicle of political moralism. (p.55)

Hence the intensely moralising tone Gladstone adopted as he came to political prominence from the 1860s onwards, the increasing emphasis on judging government policies and bills on the grounds of social morality and hence Gladstone’s long, high-minded lectures which many found inspiring, but many (including, famously, Queen Victoria herself) found patronising and infuriating. Maybe Gladstone was the first mansplainer.

Reasons for losing

The Liberal government, convinced of its own virtue and its mission to reform and rebalance society, was flabbergasted when it lost the 1874 general election badly. Lots of commentators and the Liberal leadership itself were deeply puzzled why this had happened. Gladstone took it very personally and resigned the Liberal leadership in 1875. Journalist and soon-to-become politician John Morley wrote a book, On Compromise, giving his explanations for the defeat:

  • the example of French demagogy i.e. populism; appealing to the vulgar mob
  • the intellectual trend of the ‘historical method’ which had undermined the moral authority of the Bible
  • the corruptions of the popular press
  • the influence of the reactionary Church of England

But the deepest cause, Morley thought, was the material prosperity which had mushroomed during these years and had impaired ‘the moral and intellectual nerve of our generation’ (p.98). A generation later, the Liberal commentator Charles Masterman would attribute Tory victory to flag-waving jingoism and imperialism which rallied the uneducated masses to the Conservative cause.

Sound strangely familiar don’t they, these excuses for losing an election, 150 years later. No reflection on your own policies: instead, blame the electorate for being uneducated, venal and easily corrupted.

The Victorian balance unravels

Between 1865 and 1915 a devil of a lot of things happened, but from Shannon’s narrow focus on power politics, he places almost everything within the context of one overriding thesis.

This is that the High Victorian period (1850 to 1870) had been characterised by balance, by a synthesis of opposing forces, by what you could call the Liberal conviction that conflicting beliefs, ideas, ideologies, policies and political movements would, in the end, be reconciled, and the less interference by government, the quicker these solutions would come about.

Thus in the realm of culture, even critics of traditional Christian theology thought that the shocks of the Higher Criticism originating in Germany academia and, in a later generation, the discoveries of Charles Darwin and the geologists, could be absorbed by society, maybe into a new science of society, maybe into the new ideas of positivism articulated by August Comte. Scientific optimism.

In society at large the rise of working class militancy (the Chartists) was largely contained, an extension of the franchise in 1867 drew the sting from anti-establishment protest, a new education act in 1870 looked set to address long-running concerns about the shameful illiteracy of the underclass.

In foreign affairs Britain’s navy had unparalleled control of the seas, underpinning British possession of a huge range of colonies, while affairs on the continent of Europe remained mostly peaceful (apart from the relatively small skirmishes surrounding Bismarck‘s campaign to unify Germany under Prussian control) and the blundering shambles of the Crimean War which didn’t take place in Europe.

The entire worldview was underpinned by the immense pomp and circumstance surrounding Queen Victoria who was made empress of India by a grovelling Disraeli in 1877.

But by the 1880s this optimism was under strain in every direction. Working class militancy increased. Journalism and charitable work exposed the appalling poverty in Britain’s cities.

Abroad, trouble in the Balkans as the power of the Ottoman Empire declined led to flashpoints at the meeting points of the Russian and Austro-Hungarian and Ottoman empires. Britain watched and then became involved in various attempts to set up alliances and pacts to ensure security, all of them unstable.

The colonies grew restive. There was a religious uprising against British rule in Egypt led by Muhammad Ahmad bin Abd Allah in 1881. The Indian National Congress was founded in 1885.

The really big colonial issue was on Britain’s doorstep as the pressure for Irish Home rule grew relentlessly, and this brings us to a really big theme of the period, which is, the splitting up of the major parties by huge political issues.

Even more than the first half, the second half of the book views all the political developments through the lens of attempts to retain or restore this mythical social and political ‘balance’.

Shannon’s view is that social and political events presented a challenge and that the two main political parties, and their successive leaders, struggled to address these challenges. It explains the structure he gives to the last three parts of his book as he first of all enumerates the problems facing later Victorian society and then weighs the responses of, first the Unionist Party, then the Liberals, and finds them both, in the end, inadequate to the task.

Part III: The forming elements of a modern society

  • Social dynamics 1886 to 1895
  • The politics of Unionism and Home Rule 1886 to 1895
  • New directions in external problems 1886 to 1895
  • Victorianism and Modernism: cultural themes and variations in the 1880s and 1890s

Part IV: The search for adequate responses: the Unionist version 1895 to 1905

  • The Unionist domestic bid 1895 to 1902
  • Unionist efforts to save the external situation 1895 to 1905
  • The Unionist impasse 1903 to 1905

Part V: The search for adequate responses: the Liberal version 1905 to 1915

  • The Liberal domestic bid 1905 to 1911
  • Liberal responses in foreign affairs 1905 to 1911
  • The Liberal impasse 1912 to 1915

As the Victorian equilibrium and Liberal confidence that social problems would, basically, sort themselves out, both unravelled in the 1880s, two really major themes come to dominate the book, namely the ruinous impact of trying to conceptualise and implement Irish Home Rule from the 1880s onwards, and the equally divisive attempt led by Joseph Chamberlain to create an Imperialist party and policy, which coalesced around the policy of tariff reform in the early 1900s.

The really striking thing about both issues is the extent to which:

  • they dominated political discussions and calculations from the 1880s through the 1900s
  • they ended up fatally dividing existing political parties, with the Liberals splitting over Home Rule and the Conservative party splitting over tariff reform
  • and that both issues ended in abject failure

The failure of Liberalism

The 1885 general election resulted in a parliament where Home Rule MPs from Ireland held the balance of power. This helped crystallised the great leader of Liberalism, William Gladstone’s, conviction that Ireland deserved home rule, in effect a revision of the terms under which Ireland formed part of the United Kingdom since the merger of the kingdoms in 1800. Gladstone made Irish Home Rule a central policy of the Liberal Party.

But a large number of traditionalist Liberals disagreed and, in 1886, broke away to form the Liberal Unionist Party which soon found a leader in the charismatic figure of Joseph Chamberlain. Eventually, the Liberal Unionists formed a political alliance with the Conservative Party in opposition to Irish Home Rule. The two parties formed the ten-year-long coalition Unionist Government 1895 to 1905 but were swept to defeat by a Liberal landslide in the 1906 general election.

But not only did the precise nature of Home Rule stymie Gladstone in the final years of his political career (he died in 1898) but it returned as a major political crisis at the end of the Edwardian era and it is always striking to be reminded that, as Europe rushed towards war in August 1914, the British cabinet was far more concerned about the possibility of real civil war breaking out in Ireland between the nationalist majority and the Protestant die-hards of Ulster.

In other words, long and very complicated and tortuous as the issue of Irish Home Rule was, the liberal Party failed to solve it.

The failure of Unionism

The Conservatives successfully positioned themselves as the party of the British Empire during Disraeli’s leadership (mostly, as we have suggested, out of sheer opportunism). Imperial ambition reached its peak with the attempt from the turn of the century by Joseph Chamberlain to promote a policy of Tariff Reform designed to bind together the major Anglo-Saxon colonies (Canada, Australia, New Zealand and South Africa) into a protectionist trading bloc.

The policy had a rhetorical or branding appeal to the imaginations of many, but it hit at least two very big rocks which were:

  1. It would almost certainly lead to higher prices for basic foodstuffs for most Britons; hence its opponents could set up lobbying groups with names like the Free Food organisation.
  2. Chamberlain organised a series of conferences attended by the Prime Ministers of the Anglo colonies, but they never got anywhere near agreeing trading terms – it was a nice idea, but never fleshed out in practice.

A third aspect was the disastrous showing of the British army in the Boer War, 1899 to 1902. This had the effect of discrediting the Unionist government which was in power at the time and, although Britain ultimately defeated the Boers on the battlefield, in the years that followed, the Boers won back all their political rights and more. It was a colossal moral defeat.

Obviously there’s a lot more detail, but overall it was widely felt, by 1906, that the Imperial project of the Unionists had failed. This is what is explained in detail in Shannon’s chapter, ‘The Unionist impasse 1903 to 1905’.

High numbers

The naive and simple minded think that democratic politics is about ideals and principles. This is why they are continually disappointed by actual political events, because what politics is really about is numbers.

From 1885 to 1915, Shannon’s history shows how a huge amount of political energy went into detailed political calculations about how to win and maintain power and that these boiled down again and again to the numbers: will you get enough votes in a general election? (GEs were held in 1885, 1886, 1892, 1895, 1900, 1906 and twice in 1910). Will a high enough percentage of voters turn out?

Is it necessary to do deals with other parties, as the young Labour Representation Committee did in the 1906 election when the LRC won 29 seats because of a secret pact between its leader, Ramsay MacDonald, and Liberal Chief Whip, Herbert Gladstone, to avoid splitting the anti-Conservative vote between Labour and Liberal candidates?

If you extend the franchise (as the UK did in 1867 and 1884 and 1918), how will it affect your vote? This was one of the elements in the government’s calculations about whether to bow to suffragette pressure and extend the vote to women. If so, which women and how many and what would be the impact on the balance of power? It wasn’t about principle. It was about calculating the numbers.

Would the growth of trade unions affect the working class vote? Would legalisation of trade unions garner support for the party (Liberal or Conservative) which did it, or would it lead to the creation of a new radical party?

And you may be able to form a government, but do you have a big enough majority to pass all the laws you want to? Will you have to make alliances with other parties (as the Liberals did with Irish Nationalists and the small Labour Party in 1910 to get is social policies and radical budget passed)?

If the House of Lords refuses to pass laws which have been approved by the House of Commons, will having a second general election (as there was in 1910) increase or decrease your majority? Will you be able to persuade then king to create so many new Liberal peers that they will swamp the House of Lords and guarantee the passage of your bill (as the Liberal government threatened to do in 1910 to get its contentious Finance Bill past an obstructive House of Lords)?

And within so-called parties, will you be able to win round some groups or elements in an opposition party to your way of thinking, without alienating too many members of your own party?

High finance

Another way in which politics is obviously all about numbers is the finances and the basic, entry-level question: how are you going to pay for your fancy policies?

This is why almost all policies are, in the final analysis, subject to the control of the Treasury and the Chancellor of the Exchequer and why there often end up being such fierce rivalries between the Prime Minister, who is in charge of policy and strategy and creating alliances and support for policies; and his Chancellor who has great power to wreck all these plans if the figures don’t add up.

If you plan mighty new policies who is going to pay? Take the famous naval rivalry between Britain and Germany which took a leap in intensity after Britain launched its first Dreadnought class warship in 1906. The initial dreadnoughts cost £1,783,000, compared to £1,540,000 for the previous largest ships, but eight years later the new Queen Elizabeth class was costing £2,300,000 each. Who was going to pay for them?

In 1909 David Lloyd George wanted to complete the Liberal agenda of tackling poverty in the shape of caring for the elderly and for the unemployed, so he introduced the so-called People’s Budget. Half the attention given to it by historians concerns the way its provisions began to lay the foundations for what, a generation later, would be called the Welfare State. But Shannon is more interested in the numbers, namely who was going to pay for this new state largesse? A central point of the budget was that it introduced unprecedented taxes on the lands and incomes of Britain’s wealthy (it introduced higher rates of income tax, higher death duties and a 20% tax on increases in value when land changed hands).

No wonder the members of the class very obviously targeted by these changes, who populated the House of Lords, rejected it, which led to a great constitutional crisis, which pitted the House of Commons and ‘the will of the people’ against the representatives of the landed elite.

Déjà vu all over again

One of the pleasures of reading history and, in particular, fairly recent history (i.e. not medieval or ancient history) is to read the past through the prism of the present, or read the past with the issues and pressures of the present in mind. In this respect, it never fails to amaze me how some things never change. Thus we read that:

1. Why did we lose?

The high-minded Liberals just couldn’t understand how they could lose the 1874 election to the elitist, land-owning and greedy and reactionary Conservative Party. The best reasons they could come up with was that the voting public had been corrupted by a new, more aggressively populist press and by a new and unprecedentedly high standard of living. They were wallowing in luxury and had forgotten their high-minded responsibility to build a better, fairer society, instead the sustained prosperity of the 1850s and 60s had caused:

‘a general riot of luxury in which nearly all classes had their share…[in which] money and beer flowed freely.’ (p.97).

Which sounds to me very like the excuses the Labour Party made about losing three successive elections to Mrs Thatcher in the 1980s and, again, about their thumping defeat in the 2019 election.

2. The progressive coalition in disarray

As Shannon is at pains to demonstrate, the Liberal Party had only recently been founded – the conventional date for its establishment is 1859 – and was made up of a diverse coalition of forces: the traditional land-owning Whig aristocracy; urban Radicals; Irish nationalists; high-minded Anglicans like Gladstone but also a very large number of Nonconformists who Gladstone conscientiously courted. During its ministry from 1868 to 1874 the Liberal government had achieved much but also alienated many of these key constituents.

3. Cosmopolitans versus patriots

I was fascinated to read that in his landmark speech at Crystal Palace in 1872, Disraeli attempted some political positioning and branding, by accusing the Liberals of being elite and out of touch with the ordinary voter, but in particular of being ‘cosmopolitan‘, meaning too quick to truckle to foreigners, not willing to defend the ‘national’ interest, which, of course, Disraeli strongly identified himself and the Conservatives with (p.53). The Conservatives had lost touch with the people and ‘cosmopolitan’ doctrines had been imported from the continent and foisted on the innocent British public under the guise of ‘Liberalism’. The Liberals had tried to ‘substitute cosmopolitan for national principles’ (p.95).

During this period Disraeli tried to reposition the Conservatives as the party which would defend a) the constitution and the great historic institutions of England, b) our national interests, our place as a Great Power, and combine these with c) a comprehensive programme of social reform.

The combination of flag-waving patriotism with the promise of robust reform and prosperity for all sounds very reminiscent of the 2019 Conservative Party under Boris Johnson, another unprincipled but eerily successful chancer.

4. Working class conservatism

Shannon emphasises that British trade unions didn’t want to overthrow the system, they just wanted a greater say in the fruits of the system and a share in its profits for their members (p.29). The majority of the great unwashed just wanted to be left alone, without a nanny state sticking its nose in their business and insisting they were ‘improved’, whether they wanted to be or not (p.103).

Again, resentment at the tendency of high-minded Liberals to poke their noses into people’s private affairs and educate and inform them and force them to become more progressive sounds eerily similar to the resentment in at least some parts of the 2019 electorate towards the urban, college-educated cadres of the modern Labour Party who want to force everyone to be more aware of racial issues and feminist issues and transgender issues and LGBTQ+ issues and take the knee and defund the police and fight for justice for Palestine. Many people, then as now, just want to be left alone to get on with their lives and not be continually hectored and lectured, thank you very much.

5. The sorry state of English education

In the 1860s education in England lagged far behind standards on the continent, especially by comparison with Germany, especially in the area of technical education. Lots of committees wrote lots of reports. Lots of commentators agonised (including the wordy school inspector, Matthew Arnold) (pages 86 to 95). 160 years later, has much changed or does the UK still languish behind the best in Europe in its maths and literacy and technical education?

6. Ireland

Obviously Irish nationalism evolved throughout the 19th century, taking many forms, and characterised by different leading elements from Daniel O’Connell’s Catholic Association and Repeal Association of the 1840s to the violent tactics of the Irish Republican Brotherhood led by Michael Davitt.

It is a vast subject with a powerful mythology and huge literature of its own which I don’t have any space to go into. I’m just making the point that I’m reading about Gladstone’s attempts to solve the Irish Question in the 1870s and 1880s in July 2021 at the same time I am hearing on the radio about the issues caused by Brexit, the Northern Irish Protocol and its possible breaches of the Good Friday Agreement. In other words, it’s hard to avoid the conclusion that the ‘Irish Question’ will be with us (and the Irish) forever.

Credit

The Crisis of Imperialism 1865 to 1915 by Richard Shannon was published in 1974 by Hart-David, MacGibbon Books. All references are to the 1976 Paladin paperback edition.


Related links

Ill Seen Ill Said by Samuel Beckett (1981)

For the last time at last for to end yet again…

Ill Seen Ill Said is a short prose text by Samuel Beckett. It’s 33 pages long in the modern Faber paperback edition. It was first published in French as Mal vu mal dit in 1981, and then published in Beckett’s own English translation in 1982.

Its immediate predecessor in Beckett’s prose works, Company, consisted of 59 paragraphs, printed with enough space between them to create the sense that each paragraph is almost a freestanding unit. Ill Seen Ill Said continues this layout, with 61 paragraphs in total. A revealing aspect of this paragraph-ness is that it’s quite difficult to quote individual sentences from the piece. They all read much better when given in the full context of their entire paragraph, testament to the way each paragraph is carefully crafted and assembled.

Late Beckett prose style

The paragraphs sort of describe, or appear to describe, an old woman alone in a cabin, who, at various points, watches the evening and the morning star, and ventures out apparently only to visit a grave. But that gives the completely misleading impression that there is some kind of a plot. There isn’t, not at all. But the point is not the plot or story (which doesn’t exist). The points are, or include:

  • Beckett’s late-in-life, continuing experiments with a prose which is pared to the bone, and yet dominated by the repetition of key words or phrases, images and… strange perceptions
  • a sort of muted fantasia of other elements which infest the ostensible ‘story’, for example, the recurrence of a sort of all-seeing ‘eye’ through which we see much of the changing scene, or the occasional presence of a mysterious set of twelve ‘guardians’
  • above all, a sustained obliqueness of approach to the entire concept of ‘narrative’ which means that, although the words flow by in an apparently orderly fashion, quite regularly and sometimes for long stretches, the reader has no idea what is going on

Late Beckett prose is pared to the bone. The text is not made of long, rangey, descriptive sentences, no sir. Commas and all other punctuation except full stops are conspicuous by their absence. Instead the text is built of generally very short sentences, often with their subject surgically removed.

There was a time when she did not appear in the zone of stones. A long time. Was not therefore to be seen going out or coming in. When she appeared only in the pastures. Was not therefore to be seen leaving them. Save as though by enchantment.

These relatively simple omissions create a version of what used to be called telegraphese (which the internet defines as: ‘the terse, abbreviated style of language used in telegrams’ ) and that’s certainly an obvious and negative effect, the removal of unnecessary words.

But there are positive effects too. Removing pronouns and unnecessary words highlights what remains and contributes to what you could call a kind of cluttering effect created by the deployment of unexpected syntactical patterns. The text enjoys staging little car crashes of nouns and pronouns, often deliberately creating difficulties or ambiguities.

She is drawn to a certain spot. At times. There stands a stone. It it is draws her. Rounded rectangular block three times as high as wide. Four. Her stature now. Her lowly stature. When it draws she must to it.

‘It it is draws her.’ Presumably this means: ‘It is this which draws her to the spot’, and you can imagine traditional authors, from Dickens to Hardy, elaborating further: ‘It is this worn and weathered ancient stone which attracts the lonely old woman to his bleak and isolated location…’ or some such colourful locutions.

But for Beckett, in 1981, this has been worn down to just: ‘It it is draws her’. The language itself has been worn and weathered down to a kind of stump.

And making sense of those five words requires the reader to stop and parse the syntax. The repetition if ‘it’ causes the mind to stumble for a moment, till it gets its bearings, and a lot of the text is like this – like the mind stumbling over very uneven terrain, strewn with rocks, continually having to come to a dead stop and work out the way forward.

I suppose a sentence like ‘It it is draws’ can also be categorised as a sort of word game. Repeating a word or phrase, one after the other, but with a different syntactical weight.

Last example the flagstone before her door that by dint by dint her little weight has grooved.

Saying ‘dint by dint’ would make a sort of sense, albeit an unusual phrase. But ‘by dint by dint’ really forces you to stop and work out the syntax of what is going on in these four short little words.

So Beckett makes his prose sparser and barer by:

  • using short sentences
  • removing verbs
  • removing pronouns
  • removing the definite or indefinite article (‘the’ or ‘a’)
  • unusual repetition of the remaining elements to create numerous syntactical challenges

All of which result in a really strange, super-charged prose.

Mysteries

Then there are moments, many moments when, by combining this fairly familiar set of tricks, he makes the prose suddenly mysterious and unfathomable.

What is it defends her? Even from her own. Averts the intent gaze. Incriminates the dearly won. Forbids divining her. What but life ending. Hers. The other’s. But so otherwise. She needs nothing. Nothing utterable. Whereas the other. How need in the end? But how? How need in the end?

‘The other’s’? What other? What other’s?

This paragraph goes right over the edge into new territory. I don’t understand any of the sentences. I mean I can read them, but I have no idea what they’re referring to. They don’t seem to refer to anything in the preceding text apart from ‘her’, the ostensible female subject.

But language can never be empty, its purpose is to convey meaning, so each word conveys meaning – can be read – it’s just that arrangement of words into these sentences conveys no clear or definable meaning. Therefore you end up in this situation where you can read it – easily read it because there are no hard words involved – but have no idea what it really means.

This is why I sometimes use the word incantation or spell about Beckett’s prose because, although you can understand the individual words, the way they are combined works to evoke or create a kind of uncanny otherspace in your mind. Personally, I find this rather delirious and quite addictive sensation is often almost unrelated to the ostensible subject matter of the prose (although it obviously helps that the subject matter is spare and bare and bleak and simple). The subject matter, in its colourless, passionless minimalism abstractness is merely the vehicle which enables the prose to reach out into their entirely unexplored, strange and hypnotic otherspace.

Imagery

As to the piece’s content and imagery, this interests me quite a bit less than the language, not least because so many of the images are actually repeats. A few reviews ago, I looked at Beckett’s short prose piece One Evening in which an old woman dressed in black has ventured out to pick flowers to adorn the tomb of her husband and comes across the body of a young man, dead in the grass. Well, here in Ill Seen Ill Said we have another old woman dressed in black fussing about the tomb of her husband.

Beckett published One Evening about the same time as another short prose piece, Heard In the dark 1, which describes a narrator going out for a long walk in the snow and mentions the lambs which have just been born, a passage which was incorporated entire into the longer, later work, Company. Well, here in Ill Seen Ill Said we have another solitary figure trudging through snowy fields empty except for a few lambs.

In Fizzle 7 a man sits at a window in a small upright wicker chair with armrests, just like the narrator in As the story was told who also describes himself as sitting in a cane chair with armrests. Well, in Ill Seen Ill Said the old woman spends at least some of the time sitting in a comfy chair looking out of the window, or one of the two windows there seem to be in her room.

Sitting in a chair looking out the window. Trudging through the snow. A gravestone. The young lambs – all these images recur in Ill Seen, Ill Said, reshuffled, tumbled into a slightly new order. It is a reminder that the subject matter in Beckett is often stupefyingly banal, almost bland. A woman sits in a chair in her ‘cabin’ and likes to see the evening star rise. During the cold days she goes walking in the snow. It comes as no surprise to learn that the manuscript was initially titled, very simply, ‘The Evening or the night’.

Bear in mind this was written in 1980, Mrs Thatcher, Ronald Reagan, a huge social shift to the right in politics, re-ignition of the Cold War, mass unemployment and social unrest across the Western world, strikes and race riots. But in Beckettworld… he conceives images of this old woman at night in her cabin staring out the window, during the day trudging to the grave of her dead husband, a ring of 12 ‘guardians’ sometimes appearing to maybe menace her… and, stepping up from that level, the text appears to comment on itself, describing some sort of ‘eye’ which is observing the action, or contributing to it, although at other moments it seems to simply be the eye of the old lady herself as she shuts it to go to sleep or doze or opens it to take in the sight of her bare room in the gathering dusk.

In other words, Ill Seen Ill Said is, first and foremost, an imaginary landscape utterly detached from the real world. And what is clear from a bare consideration of just the imagery, the non-existence of any ‘plot’, and the flatness of the original title, is the immense amount of effort Beckett must have put in to transforming a set of very banal images and half a dozen gestures (looking out the window, going for a walk in the snow, eating from a bowl) into the strange, very challenging and delirious experimental prose piece it has become.

The author struggling

As with so many other Beckett texts, this one appears to include the author as a figure struggling to make sense of his own creation. In this paragraph he appears to be saying how much simpler it all would be – thinking and writing about her – if she were just a pure figment, a fictional construct, ‘cooped up’ in ‘the madhouse of the skull’ along with ‘the rest’.

Already all confusion. Things and imaginings. As of always. Confusion amounting to nothing. Despite precautions. If only she could be pure figment. Unalloyed. This old so dying woman. So dead. In the madhouse of the skull and nowhere else. Where no more precautions to be taken. No precautions possible. Cooped up there with the rest. Hovel and stones. The lot. And the eye. How simple all then. If only all could be pure figment. Neither be nor been nor by any shift to be. Gently gently. On. Careful.

I take ‘madhouse of the skull’ to be Beckettian hyperbole for the confusion within the creating mind which, at times, borders on mental illness. And I take ‘with the rest’ to refer to all the other creations of his mind, and half expect him to rattle off the list of familiar characters, Murphy, Watt, Malone, Molloy and so on.

But she can’t, she can’t be this simple. The authorial voice shares with us how much he is struggling to manage his material and then… makes what is probably the Beckettian manoeuvre: declares he must go on. He wants it to stop, the living, the breathing, the voices, the questions, God he wants it all to stop:

If there may not be no more questions let there at least be no more answers…

But, as Beckett characters have been declaring ever since he gave the notion its classic formulation at the end of The Unnamable (1953), something in him fights to continue, to go on:

I can’t go on, I’ll go on.

Only it is 30 years later and that ringing statement has been worn down like her husband’s gravestone, and like Beckett’s prose, to the bare stump:

On.

The eye

One way of going on is to move sideways and stop taking responsibility for the text. Thus the text slowly begins to mention the presence of some kind of ‘eye’, as if there is an organ of visual perception which is observing the action and the creation of the text enacting the action, but which at the same time is detached from the author, as such, and from the narrating voice and, apparently, from any other entity within the text.

The ‘eye’ becomes a kind of freestanding device with which the author can shuffle off his responsibility to own or control or complete the text:

  • Let the eye from its vigil be distracted a moment…
  • The eye rivets the bare window…
  • The eye breathes again but not for long. For slowly it emerges again. Rises from the floor and slowly up to lose itself in the gloom…
  • Here without having to close the eye sees her afar…

At some moments it seems to be the old lady’s eye, looking up at the ceiling in the gloom of the cabin? But then the difference is made clear:

  • Weary of the inanimate the eye in her absence falls back on the twelve…
  • While the eye digests its pittance. In its private dark…

Whose eye? How can it have a private dark of its own?

‘The eye’ is like another character, or another point, another focus. Having read Beckett’s later television plays, and the screenplay for his one and only film, Film, I know how very very precise he was at envisioning the camera’s precise position vis-a-vis the action, and how much effort he clearly out into visualising the events he was creating, first from this point of view, then from that, and so on. Well, that’s what the appearance of this ‘eye’ in the text reminds me of, at some moments, anyway: a kind of TV director’s point of view.

  • The eye closes in the dark and sees her in the end.
  • Seated on the stones she is seen from behind.
  • The hands. Seen from above. They rest on the pubis intertwined. Strident white.

And this feeling is reinforced in a couple of places where Beckett uses explicitly filmic terminology:

  • Close-up of a dial. Nothing else.

But it would be wrong to give the impression this screenplay terminology is consistent or easily comprehensible. The metaphor of the eye only sometimes appears to be televisual or filmic. In the text its precise meaning swims all over the place, from being, at one extreme, the actual eye of the old lady, at the other, the mechanical eye of a camera, while in other places it is sort of the eye of the narrator. Its definition and meaning are, in other words, radically uncertain, and one more factor destabilising the text and the reader’s efforts to situate themselves within it.

The intrusive author gives up

The intrusive author is traditionally associated with comedy, with the comic interventions into their own plots of novelists such as Laurence Sterne or Henry Fielding or early Dickens or William Thackeray.

Beckett reinvents the tradition as the voice of an author within the text, as he struggles to manage his own content, struggling to understand what he is seeing or hearing or experiencing. This explains, for example, the repeated one-word sentence ‘careful’. I take this to be the voice of the author telling himself to proceed carefully, as if the narrative itself is proceeding on a knife-edge, is in peril. As if it is dicing with dangerous material…

  • Was there once a time she did? Careful.
  • Gently gently. On. Careful.
  • What if not her do they ring around? Careful.
  • What forbids? Careful.
  • Dead still on her back evening and night. The bed. Careful.
  • With what one word convey its change? Careful.

The narrator is quite clearly telling himself to be careful about the way he conjures details into existence – but, as these details are by and large very banal, it’s clearly not them, the details, which are at stake.

South gable no problem. But the other. That door. Careful.

Here’s an example where he shares with us his indecision about precisely what posture to place the woman in:

Suddenly in a single gesture she snatches aside the coat and to again on a sky as black as it. And then? Careful. Have her sit? Lie? Kneel? Go?…

Thus the repeated phrase ‘careful’ builds up the sense that the narrator’s mind is in a very fragile state and that any sudden shocks or unexpected… slips in what he is fabricating, in what he is writing, inventing and describing, might tip him over the edge. But what edge? And why?

This sense of authorial jeopardy becomes especially vivid in one paragraph where the author appears to give up altogether, dismissing the whole attempt to write anything, to imagine anything, as a pitiful fiasco, dismissing all the details then the solar system itself, the entire universe he has invented, as a pitiful waste of time.

Such – such fiasco that folly takes a hand. Such bits and scraps. Seen no matter how and said as seen. Dread of black. Of white. Of void. Let her vanish. And the rest. For good. And the sun. Last rays. And the moon. And Venus. Nothing left but black sky. White earth. Or inversely. No more sky or earth. Finished high and low. Nothing but black and white. Everywhere no matter where. But black. Void. Nothing else. Contemplate that. Not another word…

Except that… there is always another word. Beckett’s characters and Beckett the author may repeatedly express the devout wish to cease, to end, to reach the end, to achieve completion. But humans can’t do that, the human condition is endless flux, consciousness won’t let up, the words won’t stop, the voices won’t be silent.

And so, after this moment of authorial collapse, this moment of authorial panic, the narrative picks up the pieces and carries on, doing what Beckett likes to do in moments of crisis, which is move to a systematic description of something trivial, in this instance the appearance of the old woman’s hands in her lap as she sits still:

Panic past pass on. The hands. Seen from above. They rest on the pubis intertwined. Strident white…

‘Panic past’. And so it continues, because it has to, like life.

Ghost stories

In my reviews of works like Eh Joe, Footfalls and Rockaby I’ve developed the notion that Beckett was writing ghost stories. Not deliberately, he is not consciously invoking the tradition of M.R. James et al. But in my opinion, although starting from a very different place, although starting from the rumbustious comic tradition of Rabelais which combines excessive interest in bodily functions with mockery and parodies of high philosophy, nonetheless Beckett has arrived in a place where he is obsessed with the evanescence of existence, with consciousnesses passing in and out of perception, of minds aware of multiple minds within themselves, containing multitudes of voices, voices in the darkness, voices from within the skull and maybe from elsewhere, who knows…

Times when she is gone. Long lapses of time. At crocus time it would be making for the distant tomb. To have that on the imagination! On top of the rest. Bearing by the stem or round her arm the cross or wreath. But she can be gone at any time. From one moment of the year to the next suddenly no longer there. No longer anywhere to be seen. Nor by the eye of flesh nor by the other. Then as suddenly there again. Long after. So on. Any other would renounce. Avow, No one. No one more. Any other than this other. In wait for her to reappear. In order to resume. Resume the – what is the word? What the wrong word?

A lot is going on in this paragraph but for my purposes I want to focus on:

But she can be gone at any time. From one moment of the year to the next suddenly no longer there. No longer anywhere to be seen. Nor by the eye of flesh nor by the other. Then as suddenly there again. Long after.

Someone appears to be watching the cabin where the old lady lives and knows that she disappears, or appears to disappear (this playing with words is contagious!) for periods of time. In my mind’s eye I see this filmically, dissolves with snow falling over an isolated rural cottage, and it appearing empty most of the time, only for the old woman, somehow, spookily, to reappear.

She is there. Again. Let the eye from its vigil be distracted a moment. At break or close of day. Distracted by the sky. By something in the sky. So that when it resumes the curtain may be no longer closed. Opened by her to let her see the sky. But even without that she is there. Without the curtain’s being opened. Suddenly open. A flash. The suddenness of all! She still without stopping. On her way without starting. Gone without going. Back without returning. Suddenly it is evening. Or dawn. The eye rivets the bare window. Nothing in the sky will distract it from it more. While she from within looks her fill. Pfft occulted. Nothing having stirred.

‘Gone without going. Back without returning.’ Creepy! Later on she seems to disappear even as we’re watching her, in the middle of eating from a bowl, she simply fades away.

But before she can proceed she fades and disappears. Nothing now for the staring eye but the chair in its solitude…

Or take the paragraph describing the buttonhook the old lady uses to lace up her boots before going out. The point is that:

It trembles faintly without cease. As if here without cease the earth faintly quaked…

Just this one object, alone in the whole cabin, very faintly, continually trembles. Why? It is like the detail from countless ghost/horror movies, he scene where you see otherwise inconsequential household objects suddenly start to shake…

And then there is the role played by ‘the twelve’. There are twelve, twelve somethings, presumably humans. Who, what why? They appear. They seem to circle the lady. Why?

What if not her do they ring around? Careful. She who looks up no more looks up and sees them. Some among them. Still or receding. Receding. Those too closely seen who move to preserve their distance. While at the same time others advance. Those in the wake of her wandering. She never once saw one come toward her. Or she forgets. She forgets. Now some do. Toward but never nearer. Thus they keep her in the centre. More or less. What then if not her do they ring around? In their ring whence she disappears unhindered.

Being circled, being at the centre of a ring of spooky, ghostly, spectral beings is another classic ghost story trope. Later they are suddenly referred to as ‘the guardians’, an even more obvious, spooky trope:

The guardians – the twelve are there but not at full muster.

The twelve are guardians? Of whom, of what? Why? Mystery. There is a great deal of text about stones, about the stoniness of the environs of the lady’s cabin, about how white bleached stone is encroaching on the pasture. Possibly the twelve are menhirs, dolmen, ancient standing stones and their movement closer and further is something to do with fog or mist. Or maybe with the old lady’s failing eyesight. Eye. Sight.

My suspicions about ghost story were bolstered when another ghost story word makes an unusual appearance, unusually explicit, short-circuiting the often impenetrable vagueness of the text with a bolt of obviousness:

The long white hair stares in a fan. Above and about the impassive face. Stares as if shocked still by some ancient horror…

‘Ancient horror’ eh. Sounds like Bram Stoker or Conan Doyle at their cheesiest.

Time slowing down. A haunted cottage. An old woman at the centre of a ring of twelve silent guardians. Staring as if shocked by some ancient horror…

It’s not by any means all that’s going on in this text, and it may well not have been Beckett’s primary concern or intention at all… But I think Ill Seen Ill Said takes its place in what I’m coming to think of as Beckett’s late-period ghost stories…

The title

The phrases ‘ill seen’ and ‘ill said’ are dropped into the text with increasing frequency as it moves towards its ending, and have complex resonances, not least because ‘ill’ can be both an adverb and a noun, so that ‘ill seen’ can mean both ‘something evil which is observed’ and ‘badly seen’.

But, to take ‘ill’ as an adverb one fairly obvious interpretation, is that ‘things’, ‘it’, ‘the world’, ‘reality’, can never be perfectly seen (or understood) and never perfectly expressed. Any human perception is necessarily very imperfect and incomplete. The world, in other words, can only, at best, be ‘ill seen’. And all human expression is similarly partial, incomplete, doomed to inadequacy. Even the best words can only hope to be ‘ill said’.


Related link

Samuel Beckett’s works

An asterisk indicates that a work was included in the Beckett on Film project, which set out to make films of all 19 of Beckett’s stage plays using leading actors and directors. The set of 19 films was released in 2002 and most of them can be watched on YouTube.

The Second World War 1939 to 1945

*Waiting For Godot 1953 Play

Awarded the Nobel Prize for Literature 1969

Running Wild by J.G. Ballard (1988)

‘Well done, Jeremy!’

This is a very short book, a macabre and gruesome little shocker which is barely a novella, really just a long short story, just about stretching to 106 pages in the big-print Flamingo paperback version. It took me just an hour and a half to read it.

It’s a first-person narrative told by a doctor (if I had a pound for every Ballard protagonist who is a doctor), in this instance, Dr Richard Greville, Deputy Psychiatric Adviser for the Metropolitan Police.

Greville has been called to help investigate a murder. Well, not so much a murder as a massacre. Early on the morning of 25 June 1988, all the adult inhabitants of a luxury, gated community for upper-middle-class professionals, named Pangbourne Village, were murdered in a variety of gruesome ways.

Some were electrocuted in their bath, or on their exercise bicycle, many were shot, some were stabbed to death, a couple were crushed against their garage by their own Porsche, some were shot with crossbow bolts. The phone cables to the outside world had been cut and all the cables from the estate’s numerous CCTV cameras to the central Security lodge had also been severed, and the security guard asphyxiated in a complicated kite-cum-tourniquet device developed by the Viet Cong in Vietnam.

Ten families lives in the community, each in a perfect, luxury home, many with indoor gyms and swimming pools and tennis courts in the grounds. All twenty of the parents were executed, along with twelve staff, including au pairs, tutors, gardeners and the two security guards.

And the thirteen children whose parents were murdered? Have disappeared. Vanished without trace.

The media go wild and there’s an explosion of theories as to what happened, from a random terrorist attack, to a mass suicide on the lines of the Jonestown Massacre, maybe an attack by Russian Special Forces at key managers of vital British infrastructure… all the way to the lunatic fringe who claim the parents were murdered and the children abducted by aliens. There’s always a few…

Greville sets about investigating the massacre systematically, and so does Ballard. The text is presented in a very neat format, divided into clear, precise sections chronicling events and developments, as Greville investigates – reviews a police video of the crime scene, reviews the history of the gated community, reads profiles of its residents, reviews all the theories, then visits the scene, where he is shown round by Sergeant Payne of Reading Police CID, has a breakthrough, tests his theory, and comes to his conclusions.

Structure

These are the titles (and sub-sections) of the (short) chapters:

  • The police video
  • Pangbourne Village
  • The Residents
  • The Murdered Staff
  • The Missing Children
  • The Massacre: Various Theories
    • Lone assassin
    • Thrill killer
    • A misdirected military exercise
    • The political dimension: Foreign powers
    • International Terrorism
    • Organised Crime
    • The Parents as Killers
    • The Domestic Staff
    • Bizarre Theories:
      • Soviet Spetznaz commandos attack the wrong location
      • Experimental nerve gas bomb falls on the estate by accident and drives the inhabitants mad
      • The parents were brainwashed foreign agents who, when their work was done, were triggered to murder each other
      • The parents were murdered by aliens from outer space who took the children as specimens
      • The parents were murdered by their own children
  • A Visit to Pangbourne: August 29, 1988
  • The Psychiatrists’ Home
  • Marion Miller, the First ‘Hostage’
  • The Television Film
  • Return to Pangbourne Village: October 17, 1988
  • The Pangbourne Massacre: The Evidence
  • The Pangbourne Children
  • The Great Ormond Street Kidnapping
  • The Pangbourne Massacre: The Murderers Identified
  • A Tentative Explanation
  • The Trigger
  • June 25, 1988 – The Reconstruction
  • Disappearance of the Children
  • POSTSCRIPT, DECEMBER 8, 1993

Spoiler alert

The kids did it. The thirteen children formed a tight-knit conspiracy, laid intricate plans, and then murdered their parents, house by house, over an intense half hour period starting at 8.15am.

they stated with the murder of Mrs Miller on her exercise bicycle, followed swiftly by the murder of Mr Miller, who is sitting in his bath when his 8-year-old daughter Marion plugs a hairdryer into a nearby power socket and drops it into the bath. While Miller’s body is spasming in electric shock, his son, Robin, stabs him to death with a kitchen knife.

The Miller children then signal to the children in the house opposite, who proceed to murder their parents, and so on in a domino effect throughout the estate, with the security guards taken out separately, and then all the ancillary staff – au pairs, tutors etc – cold-bloodedly shot dead.

These events are actually described twice – once at the start, when Dr Griffiths watches the police video of the crime scene which shows all the dead bodies splayed around their houses – and once near the end, when the narrator walks us through his detailed, grisly and disgusting reconstruction of the massacre.

I had begun to suspect it was the kids by page 10. When I read the long list of possible theories, the last one – that the kids did it – leaped out at me. Greville suddenly realises the kids did it on page 50 i.e. exactly half way through the book.

So there is an element of suspense for the first 40 or 50 pages, but that isn’t really the point: the point of the book is investigating the reason Why.

It’s because the children were pampered to within an inch of their lives and eventually rebelled in order to find some freedom.

Their parents sent them to posh private schools, but not boarding schools, day schools, so that the kids returned home every evening, and so that every aspect of their lives could be monitored and enthusiastically supported by this parents.

Their parents told them what to read, what they should watch on TV, and organised drama societies and chess clubs in which they supported and encouraged their children all the time.

In the seventeen-year-old Jeremy Maxted’s room Griffiths and Payne discover that the boy’s computer is wired up so that his parents can send him loving, encouraging messages at any time of day or night, especially about his favourite hobby, swimming.

Payne pressed the computer keyboard, tapping out a simple code. The screen lit up with a message dated May 17, 1988:
_47 lengths today!_
There was a pause, and then:
_Well done, Jeremy!

The members of staff who weren’t on shift on the fateful day and so missed the massacre, all testify that:

The murder victims were enlightened and loving parents, who shared liberal and humane values which they displayed almost to a fault. The children attended exclusive private day schools near Reading, and their successful academic records reveal a complete absence of stress in their home lives. The parents (all of whom, untypically for their professional class, seem to have objected to boarding schools) devoted long hours to their offspring, even to the extent of sacrificing their own social lives. They joined the children in various activities at the recreation club, organised discotheques and bridge contests in which they took full part, and in the best sense were guiding their sons and daughters toward fulfilled and happy lives…

And that is the point. As a psychiatrist, Griffiths speculates that the children were smothered – cribbed, cabined and confined by their own parents, with no possibility of escape anywhere from the utter smothering of every single instinctive or spontaneous feeling, thought or emotion.

This emerges powerfully during Griffith’s second visit to the village, when Sergeant Payne shows him evidence which sheds more light on the children. They all kept secret diaries or journals but it went beyond that. There was a newsletter – The Pangbourne Pang – just for the estate’s thirteen children, which, when you looked carefully at it, revealed an almost screaming level of boredom and frustration. Two of the girls, Gail and Annabel Reade, kept elaborate secret journals which described Jane Austen-style fine ladies and gentlemen, only with a lot pf pornography thrown in. Jeremy Maxted had a porn stash in his cupboard (what healthy 17-year-old boy doesn’t) but Sergeant Payne shows Griffiths that this was just a conventional cover. Hidden deeper was a collection of magazines about guns and weapons – they were Jeremy’s real pornography. But exhibit A is

the curious home video, filmed by Amanda Lymington and Jasper Ogilvy, which at first sight appeared to be a matter-of-fact documentary of daily life at Pangbourne Village. Some seventeen minutes long, it was made with the happy cooperation of the parents, and adopts the style of a real-estate developer’s promotional video. With its glossy colour and tableau-like settings, it depicts the parents sitting in their drawing rooms, having dinner, parking their cars. The commentary is warm and affectionate… There is a certain gentle leg-pulling at the parents’ expense – the camera lingers on Mrs. Sterling as she mistimes a swallow dive, and on Mr. Garfield as he drops his cocktail shaker. Extracts of the film were shown to the parents and often screened for the benefit of visitors.

However, the final version that secretly circulated among the children was very different. This carried the identical jovial sound track, but Jasper and Amanda had added some twenty-five seconds of footage, culled from TV news documentaries, of car crashes, electric chairs and concentration-camp mass graves. Scattered at random among the scenes of their parents, this atrocity footage transformed the film into a work of eerie and threatening prophecy…

There you have it. All the time they took part in the happy affectionate life of the community, the children were going mad with frustration. But it was much more than that and towards the end of the short text Griffiths attempts a deeper psychological explanation:

My own view is that far from being an event of huge significance for the children, the murder of their parents was a matter of comparative unimportance. I believe that the actual murders were no more than a final postscript to a process of withdrawal from the external world that had begun many months beforehand, if not years.

As with the Hungerford killer, Michael Ryan, or the numerous American examples of crazed gunmen opening fire on passersby, the identity of the victims probably had no special significance for them. More than this, I would argue that for such killings to take place at all, the deaths of their victims must be without any meaning.

By a grim paradox, the instrument of the parents’ deaths was the devoted and caring regime which they had instituted at Pangbourne Village. The children had been brainwashed, by the unlimited tolerance and understanding that had erased all freedom and all trace of emotion – for emotion was never needed at Pangbourne, by either parents or children.

Denied any self-expression, and with even the most wayward impulse defused by the parents’ infinite patience, the children were trapped within an endless round of praiseworthy activities – for nowhere were praise and encouragement lavished more generously than at Pangbourne Village, whether earned or not.

Altogether, the children existed in a state closely akin to sensory deprivation. Far from hating their parents when they killed them, the Pangbourne children probably saw them as nothing more than the last bars to be removed before they could reach out to the light.

I remember the experiments in sensory deprivation that I attended at the School of Aviation Medicine at RAF Farnborough, and the great dangers to the laboratory staff presented by these deeply desensitized volunteers. The attempt to help them from their soundproof immersion tanks could be fraught with risk. On numerous occasions the volunteers had injured themselves and even attempted to strangle the laboratory staff while under the impression that they were warding off stray equipment that had intruded into their zero world.

The same schizophrenic detachment from reality can be seen in the members of the Manson gang, in Mark Chapman and Lee Harvey Oswald, and in the guards at the Nazi death camps. One has no sympathy for Manson and the others – an element of choice existed for them all – but the Pangbourne children had no such choice. Unable to express their own emotions or respond to those of the people around them, suffocated under a mantle of praise and encouragement, they were trapped forever within a perfect universe.

In a totally sane society, madness is the only freedom.

The cradle of terrorism

Is that it? No. There’s a Postscript written five years later. Griffiths had speculated towards the end of the initial text that fanaticism of the type necessary to bond these thirteen individuals in the worst crime known to humanity won’t just fade away. They have become fanatics, and fanatics obsessed with overthrowing authority figures, leading him to make a melodramatic statement to the much more phlegmatic Sergeant Payne.

‘The Pangbourne children are a Baader-Meinhof gang for the day after tomorrow.’

And so it is that, in this postscript, Griffiths shares with us the news that five years after the Pangbourne Massacre an assassination attempt was made on a certain woman Prime Minister who had retired to a luxury house in Dulwich (he must mean Mrs Thatcher although, possibly for legal reasons, he refrains from mentioning her). An armoured truck was driven at high speed through the gates of the house and there followed a massive explosion which rocked the neighbourhood. The ex-PM was miraculously unharmed, the blast was put down to a gas mains explosion, and the lady herself was photographed by the press handing out cups of tea to police and firemen.

But one of the ex-PM’s bodyguards gives a description of one of the attackers which matches perfectly with the appearance and strange mannerisms of Marion Miller, the only one of the children who was ever found and identified after the massacre and who was kidnapped by some of the other children in a daring armed raid on Great Ormond Street Hospital, which is described in detail in the middle chapters of the book.

Anyway, this incident is added so as to reinforce Griffith’s point that an excess of smothering love desensitises children and risks turning them into emotionless zombies. Children need risk, and risk involves failure, it involves disobeying parents and being told off, and learning to cope with it. It means being introduced to all the ups and downs of adult life. Which these pampered, over-loved children never had.

Comments

On the back of the paperback edition there’s a quote from a laudatory review by novelist Jonathan Coe, who writes:

As a malevolent gesture in the direction of facts which we prefer to ignore, it provides a salutary chill.

Many blurb writers and reviewers are given to describing Ballard as a ‘prophet’ (maybe because they don’t know how else to categorise him) but I bridle at this description, I don’t really think he is ‘prophetic’. What struck me about Running Wild was:

  1. how old-fashioned the book seemed
  2. how inaccurate its social analysis is

1. Old fashioned

By ‘old-fashioned’ I simply mean that many of the phrases, and the entire concept of the text being notes from a doctor’s diary about a world-famous ‘case’, come straight from the pen of Arthur Conan Doyle in his Sherlock Holmes stories. Here’s the opening of Running Wild:

So much has been written about the Pangbourne Massacre, as it is now known in the popular press throughout the world, that I find it difficult to see this tragic event with a clear eye. In the past two months there have been so many television programs about the thirty-two murdered residents of this exclusive estate to the west of London, and so much speculation about the abduction of their thirteen children, that there scarcely seems room for even a single fresh hypothesis.

Compare and contrast with the opening of a typical Sherlock Holmes case:

The Lord St. Simon marriage, and its curious termination, have long ceased to be a subject of interest in those exalted circles in which the unfortunate bridegroom moves. Fresh scandals have eclipsed it, and their more piquant details have drawn the gossips away from this four-year-old drama.

It is the same lofty, confident, educated, man-of-the-world tone, and it is the same fundamental structure: a well-balanced, educated professional taking us for a foray into the dark underbelly of society, as Dr Watson does in so many of the 60 Sherlock Holmes short stories.

Prophetic

1. I don’t deny that there’s a lot about Ballard’s contemporary ‘urban disaster’ novels (CrashConcrete IslandHigh Rise and this one) which feel urgent and relevant because they describe a highly urbanised environment, dominated by concrete flyovers and council high rises, which people many people now live in. It’s a worldview which is easy to subscribe to if you’re a troubled teenager, or an over-thoughtful student, or an academic paid to write papers and books about urban alienation, and yet…

When you look really closely, Ballard’s view is not really that ‘prophetic’, and on several levels.

At its simplest, there may well have been a steady increase in the number of gated communities for the rich all over the industrialised world over the past thirty or so years but, far from providing a cradle for psychotic terrorist, children brought up as the pampered children of the rich… seem to enjoy it. Is Ivanka Trump a psychotic murderer? No. The children of the rich turn out, by and large, to be living a fabulous, jet-setting, luxury yacht and Manhattan apartment kind of life, thank you very much.

I’m not aware of the kind of massacre Ballard describes having happened anywhere in the world. It is a science fiction fantasy and exaggeration, for moralising or propaganda effect.

2. At a more grass roots level, Is the trouble with British society in 2020 that there are too many pampered children of the rich growing up in stiflingly loving families? Not really. Yesterday there was an article in the Guardian about the growing problem of child hunger and malnutrition, about the number of children who are now reliant on food banks and the larger number who are just above that level, but are still not getting enough food.

3. The book ends with the dramatic suggestion that it is from the children of the pampered middle-classes that the most ferocious terrorist groups emerge, and Ballard cites the well-known case of the Baader-Meinhof Gang, all of whom came from secure middle-class homes. But it seems to me that he is once again, writing about the past and not the future. The wave of middle-class terrorists who rocked Western Europe in the 1970s (the Angry Brigade, the Red Brigade, ETA, the Baader-Meinhof etc) had died off by the 1980s (although the independence movements of ETA and the IRA continued their bombing and shooting campaigns), but European middle-class terrorism had, for the most part, run its course.

What the world was trembling on the brink of was a new type of Islamist terrorism. Many people forget that the 9/11 airplane attacks on the World Trade Centre weren’t the first time the buildings had been attacked.

The 1993 World Trade Center bombing was a terrorist attack on the World Trade Center, carried out on February 26, 1993, when a truck bomb detonated below the North Tower of the World Trade Center in New York City. The 1,336 lb (606 kg) urea nitrate–hydrogen gas enhanced device was intended to send the North Tower (Tower 1) crashing into the South Tower (Tower 2), bringing both towers down and killing thousands of people. It failed to do so but killed six people and injured over one thousand. The attack was planned by a group of terrorists including Ramzi Yousef, Mahmud Abouhalima, Mohammad Salameh, Nidal A. Ayyad, Abdul Rahman Yasin, and Ahmed Ajaj. They received financing from Khalid Sheikh Mohammed.

To be blunt, the ‘psychotic’ element of Running Wild, the details of the cold-blooded mass killing feels sort of modern, but the format – the Sherlock Holmes-style casebook format – and above all the location and personnel – nice, middle-class professionals who are merchant bankers and TV producers – felt very dated. I live not far from Streatham High Street where two weeks ago a young Muslim man took a knife from his back pack and started stabbing all the passersby he could get to, before being shot dead by the police. British prisons are hotbeds of Islamic radicalisation. Every week Islamist murderers or plotters are released back into the community to resume their murderous activities, while at the same time, unprecedented numbers of British children need food aid just to get the basic nutrition they require to grow.

So in my opinion, Ballard isn’t ‘prophetic’ of any aspect of our contemporary situation. The reverse: his anxieties about the gated communities of the rich and the desensitising impact of cable TV seem distinctly quaint and old fashioned. I think the claim that he is ‘prophetic’ can only be made and sustained by humanities academics who, in this as in so many other areas of society, culture and politics, have been shown to be wildly out of touch with the actual reality of the society they live in.

Credit

Running Wild by J.G. Ballard was published by Hutchinson in 1988. References are to the 1997 Flamingo paperback edition.


Related links

Reviews of other Ballard books

Novels

Short story collections

High Rise by J.G. Ballard (1975)

For the next hour Royal continued his search for his wife, descending deeper into the central mass of the high-rise. As he moved from one floor to the next, from one elevator to another, he realized the full extent of its deterioration. The residents’ rebellion against the apartment building was now in full swing. Garbage lay heaped around the jammed disposal chutes. The stairways were littered with broken glass, splintered kitchen chairs and sections of handrail. Even more significant, the pay-phones in the elevator lobbies had been ripped out, as if the tenants, like Anne and himself, had agreed to shut off any contact with the world outside. (Chapter 9, Into the Drop Zone)

This is a brilliant, visionary, compelling and terrifying vision of urban decay, psychological catastrophe mixed with the voyeuristic thrill of watching the reversion of the poshest and snootiest in society to feral barbarism.

High Rise is the third of Ballard’s so-called ‘urban trilogy’, following on from Crash and Concrete Island in being set resolutely in the present day, with realistic characters in realistic settings. Where the Ballard factor comes in is the way that these straight, upper-middle-class white men and women go completely mad.

Plot summary

Dr Robert Laing (if I had a pound for every Ballard protagonist who’s a doctor) is one of the last guests to move into an enormous 40-storey, 1,000-apartment, luxury tower block, complete with not one but two swimming pools (on the 10th and 35th floors), cinema, shopping centres, primary school and so on. The occupants are all well-off professional people, lawyers and doctors and TV producers and publishers and actors and so on, the impeccably bien-pensant, liberal chattering classes.

The book describes in compelling detail how little tiffs and squabbles almost immediately emerge among the 2,000 inhabitants, leading to pushes and shoves, and then acts of violence and revenge and, before anybody understands why, the entire huge complex has descended into violence and barbarism.

It starts with half-playful gestures like the dropping of empty wine bottles from the top floors onto the balconies below. Then, in rapid succession, violence breaks out in the halls and stairways, unruly children are threatened, someone’s Afghan dog is drowned in a swimming pool.

Occupants of the lower floors throw bottles and ice cream off their balconies to damage and deface the cars of the rich occupants which get to park their posh motor closest to the building. For reasons no-one can identify the electricity for entire floors starts simply switching off. The air conditioning becomes sporadic and then, as a result of sabotage by someone, starts spewing out cement dust into everyone’s apartments, forcing a general retreat onto the balconies. The hallways and lobbies of the building become slowly covered with graffiti, indecipherable codes and signs legible only to their authors but full of menace to outsiders. Unknown persons vandalise the schoolrooms, resentful of yapping children. Their parents decide it’s better to keep them in their apartments for the foreseeable future…

A turning point comes when a rich jeweller falls or is thrown to his death from his penthouse – not because of the death as such but because, as TV documentary-maker Richard Wilder discovers to his amazement on returning to the block after a three-day absence, no-one has reported it to the police. The occupants of the building know something is going terribly wrong but… feel compelled to keep it to themselves, to keep up appearances, to wait and see what happens…

We follow all this through the lives of three key occupants of the building:

  • Dr Laing, on the rebound from a divorce, with his eye on one or two of the divorced eligible women in the building, who is among the first to realise what is going on, to study the slow spread of the malaise, observing it in himself
  • the architect Anthony Royal who designed the building and lives on its top floor, recovering from a serious car accident, but always dresses in a white suit and is accompanied everywhere by his loyal Alsatian dog
  • Richard Wilder, a TV producer from the bottom floor who, as the mayhem increases, settles on the increasingly irrational ambition of fighting his way to the top of the building

Laing and Wilder are only some of the many inhabitants who find it increasingly difficult to leave the building and report to their day jobs, which they find increasingly unreal. Only as they return to the block, through the growing piles of garbage bags and broken bottles, do they feel they’re returning to what matters in their lives, to what is important.

So it’s not the events as such, what makes the book so compelling and convincing is the way Ballard gets right under the skin, right inside the slowly dementing minds of these well-educated types as they jostle each other in the crowded lifts, or tell each other’s bloody kids to shut up, or carelessly toss wine bottles off their balconies, or harass anyone from the lower floors who has the temerity to go to the upper floors.

Hence the paradox that they continue with their lives in the world outside as if nothing is amiss, clinging all the while to the hope of making sense of the technological landscape they have helped to create, even as it crumbles around them

Sustained achievement

I think the most impressive thing about the book is the way he manages to sustain what is a one-line idea (‘occupants of a luxury high rise descend into barbarism’) over 200 pages. He does this by:

  1. very carefully creating incidents which are marker points, stepping stones along the timeline of decline
  2. and spreading these out between his three main protagonists, giving each of them different but overlapping characters and psychopathologies, so that their individual experiences shed light on the communal plight

A new type

Ballard is not backward in commentating on his own fiction, and here he is quick to editorialise, speculating that in these vast new impersonal high rises a new kind of human being is being forged:

A new social type was being created by the apartment building, a cool, unemotional personality impervious to the psychological pressures of high-rise life, with minimal needs for privacy, who thrived like an advanced species of machine in the neutral atmosphere. This was the sort of resident who was content to do nothing but sit in his over-priced apartment, watch television with the sound turned down, and wait for his neighbours to make a mistake… (Chapter 3, Death of a Resident)

And

These people were the first to master a new kind of late twentieth-century life. They thrived on the rapid turnover of acquaintances, the lack of involvement with others, and the total self-sufficiency of lives which, needing nothing, were never disappointed.

Anomie – “in societies or individuals, a condition of instability resulting from a breakdown of standards and values or from a lack of purpose or ideals.”

The regular Ballard reader is tempted to point out that, far from being a new kind of person, these sound very much like the same kind of person that Ballard had been describing for twenty years, since his first story was published in 1956, alienated urban inhabitants who have lost all feeling and empathy for their neighbours and fellow citizens.

And also, just about everyone who writes about High Rise feels compelled to invoke the example of Lord of the Flies, published back in 1954. The basic idea of posh people going to pieces – or the way that just under the veneer of civilisation lurks the savage – is hardly a new one, it’s a central theme of 20th century fiction.

But in this novel Ballard treats it exceptionally well, with terrifyingly plausible insight, and in a previously neglected setting.

Freud

In my comments on Ballard’s Preface to the French edition of Crash I pointed out Ballard’s touchingly literal and naive interpretation of Freud. Freud is a fascinating teller of stories but a poor guide to actual life and real people. Relying too much on glib psychoanalysis can lead Ballard to give rather shallow backstories and psychologies to his characters.

This is most obvious in the characterisation of the burly TV producer Richard Wilder who, we are told in several pages of digression, was molly-coddled by his mother far beyond the end of childhood, and so acquired his invincible sense of self-confidence. It is then explained how his confidence ran into trouble when he married a smart and sassy TV Production Assistant who wouldn’t slot into the role created by his mother i.e. adoring devotee, and how their marriage foundered. Later there’s some cheapjack psychology explaining why Wilder is ascending the building so steadily and determinedly; it is to have a final confrontation with Anthony Royal who has become a father figure to him.

This feels like psychology-by-numbers. Maybe it’s necessary to use these shallow psychologisations for Ballard to organise and think through his characters and plots, but they’re the bits I tend to skip, in order to enjoy more the uncanny, eerie and weird way he can get inside the minds of his increasingly deranged characters and make their descent into mania seem believable and right.

‘It’s a mistake to imagine that we’re all moving towards a state of happy primitivism. The model here seems to be less the noble savage than our un-innocent post-Freudian selves, outraged by all that over-indulgent toilet-training, dedicated breast-feeding and parental affection — obviously a more dangerous mix than anything our Victorian forebears had to cope with. Our neighbours had happy childhoods to a man and still feel angry. Perhaps they resent never having had a chance to become perverse…’ (Chapter 11, Punitive Expeditions)

Three stages of barbarism

1. Constant parties – the inhabitants have been consumed for months with loud socialising, but with the arrival of the last occupant a new level of hysteria kicks in, drunken shouting, chucking around of bottles and then screams down stairwells which may be from drunken pranks or something darker.

2. Three tribes In the middle phase, as more people start to get beaten up, as a gay man is urinated on by a gang, after Wilder is set upon by a group of men with baseball bats, as the women increasingly cower in their apartments terrified – slowly there emerge three groups divided by floors i.e. a lower, middle, and upper floor tribe, each represented – the reader comes to realise – by the characters Wilder, Laing and Royal. This evolves into a clan system in which warlords or clan chiefs lord it over their serfs, pushing people about, organising harems of women. Our threesome aren’t necessarily the leaders – the leader of the mid-floors is TV newsreader Paul Crosland who – bizarrely – still goes off to work each day, reads the evening news – then returns to the high rise-cum warzone to lead his men in raiding parties on the lower floors.

3. Nomadic cannibalism In time even this much system collapses, giving way to smaller groups based around near neighbours. That’s to say of the survivors or those brave enough to come out of their barricaded apartments. In this final phase society breaks down utterly into solitary individuals achieving mental states of total dissociation and who, like animals, are focused entirely on security, food and sex.

Random details

Laing’s apartment is on the 25th floor. He bought it on the rebound from his divorce.

Like many Ballard stories High Rise starts at the end, with Laing squatting on the balcony of his studio apartment over a fire made from telephone directories roasting the body of a dead dog – in other words, an image of a man reduced to primitive savagery – and from t his beginning then cuts back three months to when he first moved in to the city in the sky, in order to tell the story of that three month descent into the inferno.

The high rise is the first of five planned to be built on derelict dockland. It was designed by architect supremo Anthony Royal. The shells of the other four can be seen slowly being built, the nearest four hundred yards away across the concrete car park.

It’s striking how things go wrong right from the start of the text, right from the word go there are tensions and jostlings, leading quickly to the discovery of a drowned pet dog in one of the swimming pools – because the presence of the dogs, mostly owned by upper floor inhabitants, vexes lower floor inhabitants. A class division was implicit right from the start between uppers, who are regarded as snooty and fair game, and downers – including three recurrent air hostesses – who have loud parties. In other words, we are thrown into the helter-skelter descent almost immediately. It’s one of the factors that makes it so compelling.

In chapter 5 the TV producer Wilder envisions a 60-second camera zoom starting with the entire building in shot and then slowly zooming in till the camera is focusing on just one apartment. This was to be the subject of The Sixty Minute Zoom.

Thoughts

The setting Pre-fabricated concrete high rises weren’t new. Councils had been putting them up to replace demolished slum terracing for at least twenty years (the first tower block in Britain was opened in Harlow, Essex, in 1951) and Ballard mentions some of this along with the way that, as they decayed, tower blocks had become victims of urban blight i.e. vandalism, people pissing in the lifts.

The mutiny of these well-to-do professional people against the building they had collectively purchased was no different from the dozens of well-documented revolts by working-class tenants against municipal tower-blocks that had taken place at frequent intervals during the post-war years… (Chapter 7, Preparations for Departure)

But the idea of luxury apartments, containing all mod cons and inhabited solely by the professional and chattering classes was more of a new thing, as was situating the story in Docklands which was only just beginning its transformation from heart of working class terraces to the playground of international bankers it was to become in the 1980s.

The prose strategy For me High Rise marks Ballard’s turn away from experimental to more traditional bourgeois writing.

1. Backstories One sign of this is the way the narrative drifts away from action to give digressions about each of the characters. Thus:

  • When early on Laing is having lunch with a divorcée he fancies, Charlotte Melman, the narrative drifts away, first to give us background about Charlotte and her marriage and divorce, and then to a reminiscence about Laing’s own ill-fated marriage, before the text finally returns to where we are, at lunch in Charlotte’s apartment.
  • As mentioned above, before Richard Wilder makes his first attempt to battle through the growing picket lines to the top of the building on a weird, personal, quixotic quest, we are treated to a lengthy explanation of how his strong-willed mother molly-coddled him to produce this burly, self-confident man.
  • And, as things become increasingly fraught and Anthony Royal prepares to leave the tower block with his wife, Anne, we are subjected to a lengthy disquisition about her childhood, pampered daughter of a provincial industrialist who raised his family in ‘finicky copy of a Loire chateau’ along with servants and maids (!)

The point is – I don’t care. This fill-in-the-background stuff is the strategy of conventional bourgeois literature which is mostly concerned with people’s lives and family relationships and feelings and so on. In earlier Ballard fiction we didn’t get people’s boring backstories, we got their weird psychic experiences described in the here and now. So it feels like a shift in technique for Ballard to give this much backstory.

2. Posh They’re all so posh! Raised in a copy of a Loire chateau? Then we learn that Royal was himself a champion tennis player. We are entering the world of later Ian McEwan where everyone is a fabulously successful surgeon and a senior civil servant with a brilliant career and a top lawyer with an international reputation blah blah blah.

3. Class Thus the story takes place entirely among the London chattering classes: the narrator makes a point of emphasising how the high rise is inhabited solely by professional classes, lawyers, tax consultants, doctors, TV producers and so on. Somehow in his earlier novels and stories the characters had a kind of 1960s classlessness. It seems to me, reading his stories in sequence, that social class becomes an issue in his stories from about this point onwards.

I know they’re as unlike as chalk and cheese, but this new focus on class and class demarcation reminded me of the cartoon strips of Posy Simmonds, which I summarised in great detail a few months ago. One of the interesting things about her comic strip from the 1970s was the way that a nouveau riche class of self-satisfied professionals keen on fine wine and holidays in France and private school for the kids and buying a nice holiday home in the West Country had appeared in English society before the election of Mrs Thatcher i.e. much earlier than I’d realised.

Mrs T was just encouraging a trend which was already well underway. High Rise is a satire on this new kind of with-it, smug, managerial middle class which didn’t seem to exist in the 1960s. Before this period Ballard’s writing had been about lots of things, weird and wonderful: from about this point onwards, it seems to me, Ballard’s writing becomes more about that great English obsession, class, in both style and content, and becomes less and less sympathetic or interesting.

4. Drunk And the way all these rich privileged people – TV producers and presenters, film critics and theatre designers – are drunk all the time doesn’t feel radical, it just feels corrupt and, worst of all, boring. They are drunk all the time like Kingsley Amis characters are drunk all the time.

Wildly deranged

At least those were my impressions from the first half or so of the book, but they are soon swamped in the violence and savagery which explodes and goes on to give a vivid and relentless portrait of complete psychological and social collapse. As things fall apart the book fills up with unforgettable images.

Behind the barricade a second figure appeared. A young woman of about thirty, probably the daughter, peered over the old woman’s shoulder. Her suede jacket was unbuttoned to reveal a pair of grimy breasts, but her hair was elaborately wound into a mass of rollers, as if she were preparing parts of her body for some formal gala to which the rest of herself had not been invited. (Chapter 17, The Lakeside Pavilion)

He waited as Steele calmly smothered the cat, destroying it under the curtain as if carrying out a complex resuscitation under a hospital blanket. (Chapter 11, Punitive Expeditions)

The gynaecologist was in high excitement, waving the last stragglers up the staircase like a demented courier. From his mouth came a series of peculiar whoops and cries, barely articulated grunts that sounded like some Neanderthal mating call but, in fact, were Pangbourne’s rendering of the recorded birth-cries analysed by his computer. These eerie and unsettling noises Royal had been forced to listen to for weeks as members of his entourage took up the refrain. A few days earlier he had finally banned the making of these noises altogether — sitting in the penthouse and trying to think about the birds, it unnerved him to hear the women in the kitchen next door emitting these clicks and grunts. However, Pangbourne held regular sessions in his own quarters at the opposite end of the roof, where he would play through his library of recorded birth-cries for the benefit of the women crouching in a hushed circle on the floor around him. Together they mimicked these weird noises, an oral emblem of Pangbourne’s growing authority. (Chapter 15, The Evening’s Entertainment)

Cannibalism

Wilder’s long drawn-out quest to reach the top of the building sounds ridiculous but becomes utterly compelling, as his mental state deteriorates, as he takes shelter in various boarded up apartments along the way, dodges attack by armed gangs, all the time carrying the cine-camera with which he initially intended to make a jolly BBC documentary about the high rise and has, by the end, become a meaningless talisman of a forgotten world, strapped to his almost naked body which he has, by this stage, covered in painted bars and stripes denoting his warrior status.

In the climax, Wilder stumbles out onto the roof of the high rise, originally the preserve of the upper classes who held elite cocktail parties here. Then, as the chaos kicked in, it became the private fiefdom of Anthony Royal who tethers all the dogs of the block to the railings around the children’s playground he built there, long since abandoned by any children. And then it becomes the roost of hundreds and hundreds of gulls, savage pecking animals which allow Royal to walk among them but occasionally rise in great flocks and fly down into the building to attack the unwary venturing among the long wide mezzanines.

And now, as a bewildered and considerably psychologically damaged Wilder finally emerges onto the sunlit rooftop, after the long arduous trek which we have followed every step of the way, it is to discover the ground of the children’s playground and the railings around it wet, wet with… he pulls his hand away… blood. He sees little naked children running in and out of the playground, their bodies covered with blood red markings and up ahead a couple of women wearing long medieval gowns building a fire. As he walks towards them he becomes aware of other women dressed identically appearing on all sides of him and slowly converging, and forming a circle. And then they pull out the razor sharp knives from their gowns.

We realise that they are some kind of coven, that they are all of one mindset, that they are bringing up the children communally, and that they are cannibals. What makes it a moment of peculiarly entrancing horror is Wilder’s reaction. He is so far gone, so exhausted, and has travelled so far back into some kind of psychotic pre-zone that he isn’t at all frightened.

In front of him the children in the sculpture-garden were playing with bones. The circle of women drew closer. The first flames lifted from the fire, the varnish of the antique chairs crackling swiftly. From behind their sunglasses the women were looking intently at Wilder, as if reminded that their hard work had given them a strong appetite. Together, each removed something from the deep pocket of her apron. In their bloodied hands they carried knives with narrow blades.
Shy but happy now, Wilder tottered across the roof to meet his new mothers. (Chapter 18, The Blood Garden)

‘To meet his new mothers’. Wow. This sends a genuine frisson of horror down the reader’s spine. It’s the same genuinely demented mood in which we return to that opening scene, of Laing sitting on the balcony of his 25th floor apartment, completing the roasting of the dog over a home-made fire of telephone directories. The dog is Anthony Royal’s. As he had arrived at the penthouse, Wilder had been confronted by his father figure Anthony Royal who threw his silver topped cane at him in fear, prompting Wilder to shoot him in the chest, before stepping over his dying body and out the penthouse door to meet his fate among the sharp-knived mothers.

It was by chance that Laing had met Royal on the 25th floor where he was scavenging for firewood. The architect had staggered all the way down from the 40th floor and Laing goes to help him. There is a terrible stench and Royal points to the former swimming pool which, we now see, is piled high with skulls and bones, a Khmer Rouge swimming pool.

Laing naively thinks they must be the bodies of the older occupants who passed away of natural causes and have been savaged by dogs. But we have just been up on the roof with the mothers. We know these the swimming pool is full of the bones of eaten people. He tries to help him towards the next set of stairs but Royal insists on going and sitting in a cubicle by the pool, and there Laing leaves him, relieving him of his dog which he proceeds t kill and is now roasting over the open fire. He presents the food to the two malnourished women who are now living with him, who bicker and kvetch at him all day long, but whose company Laing now enjoys.

And here’s the Ballard touch: as he sits there, half naked and emaciated, a born again savage living in a kingdom of cannibalism – Laing reflects how now, at last, ‘everything was returning to normal.’ Maybe he’ll go back to the medical school and take up his teaching post again. Only we know how demented that idea is, but it’s testament to Ballard’s brilliant insight to realise that that’s how the mad think, pondering banal and ordinary questions while they try to fly or murder someone.

In the book’s brilliant final paragraph, he looks over at the next of the four remaining high rises to have been completed and to have slowly filled up with occupants while his one went berserk.

Dusk had settled, and the embers of the fire glowed in the darkness. The silhouette of the large dog on the spit resembled the flying figure of a mutilated man, soaring with immense energy across the night sky, embers glowing with the fire of jewels in his skin. Laing looked out at the high-rise four hundred yards away. A temporary power failure had occurred, and on the 7th floor all the lights were out. Already torch-beams were moving about in the darkness, as the residents made their first confused attempts to discover where they were. Laing watched them contentedly, ready to welcome them to their new world. (Chapter 19, Night Games)

Is this science fiction? Or the bleakest of black satire? Or plain horror?


Related links

Reviews of other Ballard books

Novels

Short story collections

Other science fiction reviews

Late Victorian
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
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

1900s
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

1910s
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

1920s
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, where they discover…

1930s
1930 Last and First Men by Olaf Stapledon – mind-boggling ‘history’ of the future of mankind over the next two billion years – surely the most sweeping vista of any science fiction book
1938 Out of the Silent Planet by C.S. Lewis – baddies Devine and Weston kidnap Oxford academic Ransom and take him in their spherical spaceship to Malacandra, as the natives call the planet Mars

1940s
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

1950s
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  Foundation Trilogy, which describes 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 until one fireman, Guy Montag, rebels
1953 The Demolished Man by Alfred Bester – a breathless novel set in a 24th century New York populated by telepaths and describing the mental collapse of corporate mogul Ben Reich who starts by murdering his rival Craye D’Courtney and becomes progressively more psychotic as he is pursued by telepathic detective, Lincoln Powell
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
Some problems with Isaac Asimov’s science fiction
1956 They Shall Have Stars by James Blish – explains the invention, in the near future, of i) the anti-death drugs and ii) the spindizzy technology which allow the human race to colonise the galaxy
1956 The Stars My Destination by Alfred Bester – a fast-paced phantasmagoria set in the 25th century where humans can teleport, a terrifying new weapon has been invented, and tattooed hard-man, Gulliver Foyle, is looking for revenge
1959 The Triumph of Time by James Blish – concluding novel of Blish’s ‘Okie’ tetralogy in which mayor of New York John Amalfi and his friends are present at the end of the universe
1959 The Sirens of Titan by Kurt Vonnegut – Winston Niles Rumfoord builds a space ship to explore the solar system where encounters a chrono-synclastic infundibula, and this is just the start of a bizarre meandering fantasy which includes the Army of Mars attacking earth and the adventures of Boaz and Unk in the caverns of Mercury

1960s
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 The Drowned World by J.G. Ballard – Dr Kerans is part of a UN mission to map the lost cities of Europe which have been inundated after solar flares melted the worlds ice caps and glaciers, but finds himself and his colleagues’ minds slowly infiltrated by prehistoric memories of the last time the world was like this, complete with tropical forest and giant lizards, and slowly losing their grasp on reality.
1962 The Voices of Time and Other Stories – Eight of Ballard’s most exquisite stories including the title tale about humanity slowly falling asleep even as they discover how to listen to the voices of time radiating from the mountains and distant stars, or The Cage of Sand where a handful of outcasts hide out in the vast dunes of Martian sand brought to earth as ballast which turned out to contain fatal viruses. Really weird and visionary.
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 space-travelling 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
1962 Mother Night by Kurt Vonnegut – the memoirs of American Howard W. Campbell Jr. who was raised in Germany and has adventures with Nazis and spies
1963 Cat’s Cradle by Kurt Vonnegut – what starts out as an amiable picaresque as the narrator, John, tracks down the so-called ‘father of the atom bomb’, Felix Hoenniker for an interview turns into a really bleak, haunting nightmare where an alternative form of water, ice-nine, freezes all water in the world, including the water inside people, killing almost everyone and freezing all water forever
1964 The Drought by J.G. Ballard – It stops raining. Everywhere. Fresh water runs out. Society breaks down and people move en masse to the seaside, where fighting breaks out to get near the water and set up stills. In part two, ten years later, the last remnants of humanity scrape a living on the vast salt flats which rim the continents, until the male protagonist decides to venture back inland to see if any life survives
1964 The Terminal Beach by J.G. Ballard – Ballard’s breakthrough collection of 12 short stories which, among more traditional fare, includes mind-blowing descriptions of obsession, hallucination and mental decay set in the present day but exploring what he famously defined as ‘inner space’
1964 Dr. Strangelove, or, How I Learned to Stop Worrying and Love the Bomb by Peter George – a novelisation of the famous Kubrick film, notable for the prologue written as if by aliens who arrive in the distant future to find an earth utterly destroyed by the events described in the main narrative
1966 Rocannon’s World by Ursula Le Guin – Le Guin’s first novel, a ‘planetary romance’ or ‘science fantasy’ set on Fomalhaut II where ethnographer and ‘starlord’ Gaverel Rocannon rides winged tigers and meets all manner of bizarre foes in his quest to track down the aliens who destroyed his spaceship and killed his colleagues, aided by sword-wielding Lord Mogien and a telepathic Fian
1966 Planet of Exile by Ursula Le Guin – both the ‘farborn’ colonists of planet Werel, and the surrounding tribespeople, the Tevarans, must unite to fight off the marauding Gaal who are migrating south as the planet enters its deep long winter – not a good moment for the farborn leader, Jakob Agat Alterra, to fall in love with Rolery, the beautiful, golden-eyed daughter of the Tevaran chief
1966 – The Crystal World by J.G. Ballard – Dr Sanders journeys up an African river to discover that the jungle is slowly turning into crystals, as does anyone who loiters too long, and becomes enmeshed in the personal psychodramas of a cast of lunatics and obsessives
1967 The Disaster Area by J.G. Ballard – Nine short stories including memorable ones about giant birds, an the man who sees the prehistoric ocean washing over his quite suburb.
1967 City of Illusions by Ursula Le Guin – an unnamed humanoid with yellow cat’s eyes stumbles out of the great Eastern Forest which covers America thousands of years in the future when the human race has been reduced to a pitiful handful of suspicious rednecks or savages living in remote settlements. He is discovered and nursed back to health by a relatively benign commune but then decides he must make his way West in an epic trek across the continent to the fabled city of Es Toch where he will discover his true identity and mankind’s true history
1966 The Anti-Death League by Kingsley Amis
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 a 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’ – earning enough to buy mechanical animals, since all real animals died long ago
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 they are involved in an explosion on the moon
1969 The Left Hand of Darkness by Ursula Le Guin – an envoy from the Ekumen or federation of advanced planets – Genly Ai – is sent to the planet Gethen to persuade its inhabitants to join the federation, but the focus of the book is a mind-expanding exploration of the hermaphroditism of Gethen’s inhabitants, as Genly is forced to undertake a gruelling trek across the planet’s frozen north with the disgraced native lord, Estraven, during which they develop a cross-species respect and, eventually, a kind of love
1969 Slaughterhouse-Five by Kurt Vonnegut – Vonnegut’s breakthrough novel in which he manages to combine his personal memories of being an American POW of the Germans and witnessing the bombing of Dresden in the character of Billy Pilgrim, with a science fiction farrago about Tralfamadorians who kidnap Billy and transport him through time and space – and introduces the catchphrase ‘so it goes’

1970s
1970 Tau Zero by Poul Anderson – spaceship Leonora Christine leaves earth with a crew of fifty to discover if humans can colonise any of the planets orbiting the star Beta Virginis, but when its deceleration engines are damaged, the crew realise they need to exit the galaxy altogether in order to find space with low enough radiation to fix the engines – and then a series of unfortunate events mean they find themselves forced to accelerate faster and faster, effectively travelling forwards through time as well as space until they witness the end of the entire universe – one of the most thrilling sci-fi books I’ve ever read
1970 The Atrocity Exhibition by J.G. Ballard – Ballard’s best book, a collection of fifteen short experimental texts in stripped-down prose bringing together key obsessions like car crashes, mental breakdown, World War III, media images of atrocities and clinical sex
1971 Vermilion Sands by J.G. Ballard – nine short stories including Ballard’s first, from 1956, most of which follow the same shape, describing the arrival of a mysterious, beguiling woman in the fictional desert resort of Vermilion Sands, the setting for extravagantly surreal tales of the glossy, lurid and bizarre
1971 The Lathe of Heaven by Ursula Le Guin – thirty years in the future (in 2002) America is an overpopulated environmental catastrophe zone where meek and unassuming George Orr discovers that is dreams can alter reality, changing history at will. He comes under the control of visionary neuro-scientist, Dr Haber, who sets about using George’s powers to alter the world for the better with unanticipated and disastrous consequences
1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic, leading to harum scarum escapades in disaster-stricken London
1972 The Word for World Is Forest by Ursula Le Guin – novella set on the planet Athshe describing its brutal colonisation by exploitative Terrans (who call it ‘New Tahiti’) and the resistance of the metre-tall, furry, native population of Athsheans, with their culture of dreamtime and singing
1972 The Fifth Head of Cerberus by Gene Wolfe – a mind-boggling trio of novellas set on a pair of planets 20 light years away, the stories revolve around the puzzle of whether the supposedly human colonists are, in fact, the descendants of the planets’ shape-shifting aboriginal inhabitants who murdered the first earth colonists and took their places so effectively that they have forgotten the fact and think themselves genuinely human
1973 Crash by J.G. Ballard – Ballard’s most ‘controversial’ novel, a searingly intense description of its characters’ obsession with the sexuality of car crashes, wounds and disfigurement
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 in one of the most haunting and evocative novels of this type ever written
1973 Breakfast of Champions by Kurt Vonnegut – Vonnegut’s longest and most experimental novel with the barest of plots and characters allowing him to sound off about sex, race, America, environmentalism, with the appearance of his alter ego Kilgore Trout and even Vonnegut himself as a character, all enlivened by Vonnegut’s own naive illustrations and the throwaway catchphrase ‘And so on…’
1974 Concrete Island by J.G. Ballard – the short and powerful novella in which an advertising executive crashes his car onto a stretch of wasteland in the juncture of three motorways, finds he can’t get off it, and slowly adapts to life alongside its current, psychologically damaged inhabitants
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?
1974 The Dispossessed by Ursula Le Guin – in the future and 11 light years from earth, the physicist Shevek travels from the barren, communal, anarchist world of Anarres to its consumer capitalist cousin, Urras, with a message of brotherhood and a revolutionary new discovery which will change everything
1974 Inverted World by Christopher Priest – vivid description of a city on a distant planet which must move forwards on railway tracks constructed by the secretive ‘guilds’ in order not to fall behind the mysterious ‘optimum’ and avoid the fate of being obliterated by the planet’s bizarre lateral distorting, a vivid and disturbing narrative right up until the shock revelation of the last few pages
1975 High Rise by J.G. Ballard – an astonishingly intense and brutal vision of how the middle-class occupants of London’s newest and largest luxury, high-rise development spiral down from petty tiffs and jealousies into increasing alcohol-fuelled mayhem, disintegrating into full-blown civil war before regressing to starvation and cannibalism
1976 Slapstick by Kurt Vonnegut – a madly disorientating story about twin freaks, a future dystopia, shrinking Chinese and communication with the afterlife
1979 The Unlimited Dream Company by J.G. Ballard – a strange combination of banality and visionary weirdness as an unhinged young man crashes his stolen plane in suburban Shepperton, and starts performing magical acts like converting the inhabitants into birds, conjuring up exotic foliage, convinced his is on a mission to liberate them
1979 Jailbird by Kurt Vonnegut – the satirical story of Walter F. Starbuck and the RAMJAC Corps run by Mary Kathleen O’Looney, a baglady from Grand Central Station, among other satirical notions including the new that Kilgore Trout, a character who recurs in most of his novels, is one of the pseudonyms of a fellow prison at the gaol where Starbuck serves a two year sentence, one Dr Robert Fender

1980s
1980 Russian Hide and Seek by Kingsley Amis – set in an England of 2035 after a) the oil has run out and b) a left-wing government left NATO and England was promptly invaded by the Russians – ‘the Pacification’, who have settled down to become a ruling class and treat the native English like 19th century serfs
1980 The Venus Hunters by J.G. Ballard – seven very early and often quite cheesy sci-fi short stories, along with a visionary satire on Vietnam (1969), and then two mature stories from the 1970s which show Ballard’s approach sliding into mannerism
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, basically the 1950s
1981 Hello America by J.G. Ballard – a hundred years from now an environmental catastrophe has turned America into a vast, arid desert, except for west of the Rockies which has become a rainforest of Amazonian opulence, and it is here that a ragtag band of explorers from old Europe discover a psychopath has crowned himself President Manson, has revived an old nuclear power station in order to light up Las Vegas, and plays roulette in Caesar’s Palace to decide which American city to nuke next
1981 The Affirmation by Christopher Priest – an extraordinarily vivid description of a schizophrenic young man living in London who, to protect against the trauma of his actual life (father died, made redundant, girlfriend committed suicide) invents a fantasy world, the Dream Archipelago, and how it takes over his ‘real’ life
1982 Myths of the Near Future by J.G. Ballard – ten short stories showing Ballard’s range of subject matter from Second World War China to the rusting gantries of Cape Kennedy
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
1984 Neuromancer by William Gibson – Gibson’s stunning debut novel which establishes the ‘Sprawl’ universe, in which burnt-out cyberspace cowboy, Case, is lured by ex-hooker Molly into a mission led by ex-army colonel Armitage to penetrate the secretive corporation, Tessier-Ashpool, at the bidding of the vast and powerful artificial intelligence, Wintermute
1986 Burning Chrome by William Gibson – ten short stories, three or four set in Gibson’s ‘Sprawl’ universe, the others ranging across sci-fi possibilities, from a kind of horror story to one about a failing Russian space station
1986 Count Zero by William Gibson – second in the ‘Sprawl trilogy’
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
1988 Mona Lisa Overdrive by William Gibson – third of Gibson’s ‘Sprawl’ trilogy in which street-kid Mona is sold by her pimp to crooks who give her plastic surgery to make her look like global simstim star Angie Marshall, who they plan to kidnap but is herself on a quest to find her missing boyfriend, Bobby Newmark, one-time Count Zero; while the daughter of a Japanese gangster who’s sent her to London for safekeeping is abducted by Molly Millions, a lead character in Neuromancer

1990s
1990 The Difference Engine by William Gibson and Bruce Sterling – in an alternative version of history, Charles Babbage’s early computer, instead of being left as a paper theory, was actually built, drastically changing British society, so that by 1855 it is led by a party of industrialists and scientists who use databases and secret police to keep the population suppressed

The World Exists to Be Put On A Postcard: artists’ postcards from 1960 to now @ the British Museum

Last year the writer, curator (and sometime expert on The Antiques Roadshow) Jeremy Cooper donated his quirky collection of 1,000 postcards designed by artists from the 1960s to the present day, to the British Museum.

This FREE exhibition presents a selection of 300 works from the collection, and features a wide range of artists and artist collectives from the past five decades including Gilbert & George, Richard Hamilton, Yoko Ono, Guerrilla Girls, Tacita Dean, Andy Warhol, Bruce Nauman, Dieter Roth, Carl Andre, Claes Oldenburg, Gavin Turk, Rachel Whitehead and many more.

The collection – which took 10 years to assemble – now means that the British Museum has one of the world’s leading collections of this rather unexpected art form. I, for one, certainly hadn’t realised how widespread and flexible an art form ‘the postcard’ had become.

Dada Land (1975/1977) by Bill Gaglione and Tim Mancusi. Reproduced by permission of the artists

The idea is that, since the radical conceptual and political breakthroughs of the 1960s, artists have found the postcard to be a cheap, flexible, democratic, accessible and fun format to present a whole range of ideas, whether satirical, subversive, silly or surreal.

Hence, if only at the level of invitation to an art show, many of the most famous artists of the past years have used the format, while others have gone to town with whole conceptual explorations of its possibilities.

The exhibition is divided into the following categories or headings:

Richard Hamilton (1992 to 2011)

In an early work such as Whitley Bay 1996, Hamilton used details of commercially produced postcards in his pop collages. Two years later he produced a concertina, ‘pull-out’ postcard. You unclipped it and eight postcard-sized unfolded, each showing a commercial image of Whitley Bay, which was progressively blown up larger and larger until the image became just an abstract blur of dots and patches.

Dieter Roth (1930 to 1998)

Swiss-born Roth produced various postcard art. He collaborated with Richard Hamilton on paintings made in Spain, and then produced postcards depicting the paintings, but conceived of as artworks in their own right. In a series titled 120 postcards Roth overpainted and reworked a clichéd tourist image of Piccadilly, to create a set of independent artworks.

Fluxus

The Fluxus art movement drew in a large number of artists, composers, designers and poets during the 1960s and 1970s who engaged in experimental art performances. Japanese artist On Kawara made a series titled ‘I GOT UP’ in which he simply sent postcards to hundreds of friends around the world marked with a date stamp declaring ‘I got up at…’ and then the time and date. He continued the series from 1968 to 1979.

An example of the I Got Up series by On Kawara (1979)

These postcards now fetch extraordinary sums at auction. The one above, sent in 1979, was part of a lot of On’s I GOT UP postcards which sold for £162,500. Wish I’d known him and he’d sent me one! As with so much ‘subversive’ art which was going to change the world, it is now bought and sold by Russian oligarchs and Chinese billionaires for sums you and I can only gawk at.

Ben Vautier created a postcard titled The Postman’s Choice with an address box and stamp space on both sides, so you filled in two addressees. Who should the post office send it to?

I liked the extended-size postcard, Beached, by Lawrence Wiener (b.1942). It was made to publicise a video he made in five sections of himself throwing, pulling, lifting, dragging, and levering natural materials to make a sculpture on a beach in Holland.

Beached by Lawrence Weiner (1970)

Feminism

Postcard art was a way for women artists of the 1960s and 70s who felt excluded from the male art world to bypass the traditional gallery system.

From 1971 to 1973 American artist Eleanor Antin (b.1935) sent fifty-one postcards of her hundred-boots project to a thousand people in the art world. During a two-and-a-half year roadtrip round California she placed the hundred boots in various incongruous settings and photographed them. What a brilliant idea!

Four details from 100 Boots (1971-73) by Eleanor Antin

Lynda Benglis (b.1941) and Hannah Wilke (b.1940) made postcards of themselves naked.

Lynda Benglis nude postcard

They were working to ‘challenge the idea of female objectification, often using their own bodies to explore sexuality in their work’.

Ponder-r-Rosa series by Hannah Wilke (1977)

Yes, I always find that pictures of naked young women help me to stop thinking about women in terms of their appearance or sexuality. Male gaze duly obliterated.

Performance

Stelious Arcadiou (b.1946) grew up in Melbourne, Australia, changed his name to Stelarc in 1972, and specialised in self-inflicted performances in which his body was suspended from flesh hooks. And his preferred way of promoting these performances was via photos on postcards distributed to other artists, galleries and critics.

Stelarc, Event for lateral suspension (1978)

In 1979 artist Chris Burden gave an art performance in which he described his relationship with a truck named ‘Big Job’, while clutching a gigantic wrench, and sent out postcards recording the event.

Big Wrench by Chris Burden (1979)

Conceptual I

This category includes Carl Andre – who made postcards of bricks or sections of concrete arranged in urban and landscape settings – landscape art by Richard Long, showing photos of places he’s visited and sculptures he’s made from natural materials in remote locations – and quite a few by Gilbert and George in a variety of settings and with text subverting their own status as artists and the whole point of art. Silly but oddly compelling, as usual.

Gilbert and George in a rural setting (1972)

Richard Long’s postcards of artworks he’d made as part of his long treks, in places as different as rural Devon and Mongolia, struck me as clever use of the medium. Some of his artworks were temporary, made of mud or stones which would decompose or be assimilated back into the landscape. Some resulted in no tangible work whatever, just the record of the walk. Long’s postcards were, therefore, postcards from nowhere, mementos of things which never existed or would soon cease to exist. One of the things I’ve loved about Richard Long’s walking art since I first came across it is the way he captures the spooky, empty, vanishing nature of long-distance walks. You are intensely here, now, in this place. And yet half an hour later you are a mile away, over hill and dale, and the hereness and the nowness… are just memories… or photographs… or postcards…

Conceptual II

American artist Geoff Hendricks (b.1930) made a series of seven postcards depicting beautiful photographs of clouds. He styles himself a ‘cloudsmith’. Very relaxing.

Sky Post Card #7 by Geoff Hendricks (1974)

Endre Tót

Born in Hungary in 1937, Endre Tót trained as a painter but became involved with the Fluxus group. He is represented by possibly the best works in the exhibition, a 1974 series titled One Dozen Rain Postcards.

In these Tót made Xerox copies of photos from newspapers, printed them in purple, and then typed dots and dashes onto the surface of the copies in order to give the effect of rain. Each variation of the rain motif is deliberately humorous: some show heavy rain falling in just one place, or it raining indoors, and so on.

One of the One dozen rain postcards by Endre Tót (1971 to 1973)

These were all very witty – with other subjects including horizon rain (the dashes all running horizontally parallel to the horizon of a sea postcard) and new rain/old rain – but they also struck me as a genuinely innovative use of the size and shape of the postcard format.

Paradise regained

American photographer Duane Michals (b.1932) made a series of six postcards which starts out with a fully clothed couple in a modern office and, in each one, items of clothing are removed from the people while the office becomes more full of pot plants and foliage, until they are naked in an apparent forest.

Paradise regained by Duane Michals (1968)

Graphic postcards

Some of the most innovative postcard art comes in graphic form i.e. text only, or text over minimal imagery. Hence the bold declarative text The World Exists To be Put On A Postcard by Simon Cutts which gives the show its title. Personally, I liked the extreme minimalism of this graphic postcard, made all the funnier by that fact that it required not one but two modern artists to create it, Peter Doig and Matthew Higgs.

There’s a painting on the wall by Peter Doig and Matthew Higgs (1996)

Postcard invitations

In a more traditional use of the format, artists often sent out invitations to art exhibitions (or happenings or performances) in the shape of postcards, detailing the location and time of the exhibition. Many of these were treated like ephemera and lost, only years later did collectors start to value them.

Invitation to Holy Cow! Silver Clouds!! Holy Cow! (1966) by Andy Warhol © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by DACS, London

There’s the original invitation card for the now legendary Freeze exhibition organised by Damien Hirst which introduced the world to the (YBAs) (Young British Artists), and a funky 3-D postcard Julian Opie sent out as an invitation to his 1996 exhibition Walking Dancing Undressing Smoking showing the cartoon of a trim woman in his trademark strong black outlines, but done in that process where, if you shift your point of view, the figure appears to move.

Political postcards I

Because they are cheap and, by their very nature, designed to be distributed, postcards have been an appropriate format for all kinds of artists promoting their political agendas. Using the postal system they can easily be circulated thereby evading traditional gallery and museum networks, which is why many postcard artworks were often politically subversive or carried a social message. Images satirising and lambasting Ronald Reagan and Mrs Thatcher abound.

Thatcher Therapy Dot-to-Dot Puzzle No. 1 (1984) by Paul Morton. Reproduced by permission of the artist. Courtesy Leeds Postcards

There’s a post-card designed by John Lennon and Yoko Ono with the simple text WAR IS OVER. Its optimistic innocence is counterpointed by a completely different pair of postcards by photo-montage artist Peter Kennard of a) some cruise missiles plonked on the back of the hay cart in Constable’s painting The Haywain and b) the super-famous montage of Tony Blair taking a selfie against the backdrop of Iraqi oil wells going up in flames.

There’s another really vivid one with the big angry text I DON’T GIVE A SHIT WHAT YOUR HOUSE IS WORTH (by Leeds Postcards, 1988).

Political postcards II: Feminism

Back in the gritty 1970s artist Alison Knowles and composer Pauline Oliveros published a set of cards commenting on the outsider status of women in the world of classical music. The idea was to take photos of women composers and to attach a big text describing each classical male composer with the kind of derogatory comment they felt women composers were all-too-frequently dismissed with e.g. she’s a lesbian.

Beethoven was a lesbian by Pauline Oliveros with Alison Knowles (1974)

Similar outsider anger is the unique selling point of the Guerrilla Girls collective with their well-known poster slogans such as ‘Do women have to be naked to get into the Met Museum?’

But best of all is the set of works by Jill Posener who, in the 1980s, sprayed witty graffiti ‘with political, feminist, lesbian and anti-consumerist themes’ onto billboards, defacing irritating, sexist and patronising advertising campaigns with hilarious jokes.

Saw his head off by Jill Posener (1981)

Altered postcards

Because they’re so cheap and cheerful artists have felt free to manipulate, transform, burn, cut up, deface, collage, paint over and generally muck about with postcards. Yoko Ono published a white postcard with a little hole in the middle for you to look through at the sky. Ray Johnson cut up, pasted and wrote over whatever printed material he could find. Genesis P/Orridge made a series of postcards in which the same black and white images of his mum and dad were positioned closer and closer to each other, until they merged.

In the 1980s Michael Langenstein (b.1947) made a series titled Fantasy and Surreal Postcards, collages of commercial postcards in which iconic images are made to do funny things, for example the Statue of Liberty is shown on her back in the Hudson River apparently dong the backstroke, or Concorde is shown having flown into and got stuck half-way through one of the great pyramids at Giza.

Excalibur by Michael Langenstein (1986)

Excalibur by Michael Langenstein (1986)

Portrait postcards

Portraits often appeared on exhibition invitations, for example there’s one of David Hockney inviting to an exhibition in the 1960s. American artist Carolee Schneeman (1939 to 2019) and Anthony McCall made their own Christmas postcards. Again, the best of the bunch was, for me, the funniest one, which showed British artist Peter Hutchison (b.1930) being showered with foot-high letters in a work titled Struggling with language from 1974.

Struggling with language by Peter Hutchison (1974)

Recent postcards

Despite being overtaken by digital technology, emails, texts and numerous forms of social media, the postcard continues to thrive, in the real world out there, as well as in the art world. This last section showcases recent postcard art by Tacita Dean and Frances Alÿs, by Braco Dimitrijevic and Alison Wilding, Gillian Wearing and Jeremy Deller.

Sarah Lucas and Tracey Emin are pictured wearing scruffy anoraks and each holding a pair of big balls, in the tradition of the smutty seaside postcard. Meanwhile, Rachel Whiteread – an avid collector of postcards, apparently – has punched holes into innocuous scenic postcards thus turning them into miniature sculptures.

Untitled (2005) by Rachel Whiteread. Photograph © 2018 Rachel Whiteread

Thoughts

Who knew so much work existed in this area, who knew that ‘the postcard’ was a modern art genre in itself. Sceptical to being with, I am now totally converted. The categories I listed above aren’t exhaustive: there were quite a few one-off creative and experimental projects which come under no particular category but are also included.

A test of an exhibition is whether, at the end of it, you want to go round again, and I did. Having gone round once carefully reading the labels, I then went round again, just for fun, stopping at the ones which made me smile or laugh out loud (smiling at the rain postcards, guffawing at Jill Posener’s brilliant anti-sexist cards from the 80s).

It’s fun and it’s FREE. Pop along for an entertaining and enlightening experience.


Related links

Other British Museum reviews

The Taylor Wessing Photographic Portrait Prize 2018 @ the National Portrait Gallery

Always look on the bleak side of life

Rule one is that, in modern photography, it is forbidden to smile. Photographing anyone smiling instantly leads to your cameras being confiscated. Photographing anyone laughing leads to instant banishment.

Grifton from the series Perfect Strangers by Nigel Clarke © Nigel ClarkeGrifton from the series Perfect Strangers by Nigel Clarke © Nigel Clarke

Grifton from the series Perfect Strangers by Nigel Clarke © Nigel Clarke

Photography is a serious business. Life is all about being isolated and alienated. A tragic affair. None of the sitters in the 57 photographic portraits on show in the Taylor Wessing Photographic Portrait Prize 2018 is smiling, let alone laughing. Most have expressions of mute despair, sullen passivity, stare plaintively at the camera or mournfully off into the distance.

Portrait of Marta Weiss and her daughter Penelope from the series Artfully Dressed: Women in the Art World by Carla van de Puttelaar 2017 © Carla van de Puttelaar

Portrait of Marta Weiss and her daughter Penelope from the series Artfully Dressed: Women in the Art World by Carla van de Puttelaar 2017 © Carla van de Puttelaar

Remember that awful movie, Dumb and Dumber. This is a display of Serious and Seriouser.

Greta and Guenda by Guen Fiore © Guen Fiore

Greta and Guenda by Guen Fiore © Guen Fiore

Teenagers are good, because they come with built-in sulkiness (which, as the owner of two teenagers, I know only too well).

Eimear by Trisha Ward 2017 © Trisha Ward

Eimear by Trisha Ward 2017 © Trisha Ward

A number of the sitters are actually crying, this guy because he’s just been given a beating in a kids’ boxing competition. Yes, life is a tragic business.

Runner Up from the series Double Jab ABC Show by Sawm Wright 2017 © Sam Wright

Runner Up from the series ‘Double Jab ABC Show’ by Sam Wright 2017 © Sam Wright

I wonder if anyone submits photos of people smiling, laughing, joking or having fun, and the judges systematically weed them all out to produce this uniformly glum set of portraits. Or whether clued-up entrants know from their photography courses (by far the majority of snappers in the competition have degrees in photography) that happiness is not art.

Africa

It’s a shame the selection on display makes such a cumulatively negative and depressing impact because, taken individually, there are lots of absolutely brilliant photos here.

And the locations, ages and types of sitter are pretty varied and interesting. It’s true that, as last year, there is a heavy bias towards British photographers (over half) and Americans (about 10 out of 57). But they get around a lot – especially to Africa, which was the setting for a brilliant couple of photos by Joey Lawrence.

Portrait of 'Strong' Joe Smart from, the series Tombo's Wound by Joey Lawrence © Joey Lawrence

Portrait of ‘Strong’ Joe Smart from the series Tombo’s Wound by Joey Lawrence © Joey Lawrence

This portrait won third prize. Another image which drew me further in the more I looked, was of a teenager called Sarah in Uganda, photographed by Dan Nelken.

Sarah, aged 13, carries a five gallon jerrycan of water home three times a day from the series the Women of Rutal Uganda by Dan Nelken © Dan Nelken

Sarah, aged 13, carries a five gallon jerrycan of water home three times a day from the series The Women of Rural Uganda by Dan Nelken © Dan Nelken

In fact, the winning photo was one of a series by Alice Mann taken of drum majorettes in South Africa.

Keisha Ncube, Cape Town, South Africa 2017 from the series Drummies by Alice Mann © Alice Mann

Keisha Ncube, Cape Town, South Africa 2017 from the series Drummies by Alice Mann © Alice Mann

About 24 of the 64 or so sitters featured in the photos are black. Precisely 32, half the sitters, are white.

Stories

The three photos above, and the suggestive titles of the series which they’re from, raises the matter of the stories behind the photos.

Because the exhibition doesn’t just show 57 photos cold – each one comes with two wall labels, one telling us quite a bit of biography about each photographer (like the fact that most of them are British and most of them have studied photography at university or art college).

And another, often quite lengthy label, telling us about the sitter and the circumstances behind the photo. In some cases these stories are more interesting and thought-provoking than the photos themselves. They say a picture is worth a thousand words, but sometimes a thousand words can say as much or more than a picture.

Take the first of the three black kids, above: we learn that the photo of ‘Strong’ Joe Smart was made in the remote village of Tombohuaun in the Eastern Province of Sierra Leone where Joey Lawrence (Canadian b.1989, self taught) was working with the charity WaterAid. It interested me to learn that Joe had made this mask while playing with his mates, and in between shots mucked about and giggled. It says a lot for the aesthetic of modern photography that no photos were taken of these high spirits. Instead he is depicted like a Victorian angel staring sensitively and seriously into the philosophical distance.

The photo of Keisha Ncube, a nine-year-old drum majorette, is by Alice Mann (b.1991 South Africa, studied photography at the University of Cape Town). It’s one of a set of four on show here (from a much bigger series) all of which are composed beautifully and taken with pin-point digital clarity. The wall label explains how many of these girls come from very poor backgrounds but how saving up for, or making, the costumes, and taking part in the activities gives them a strong sense of dignity and self worth.

Similarly, the photo of Sarah, aged 13, carrying a five-gallon jerrycan of water on her head is a strong image to begin with but gains immeasurably from learning more about the village and her background. The photographer, Dan Nelkin, was born in 1949 in New York.

Unsmiling kids

I counted 64 people in the 57 photos, of whom 31 are children (plus two babies).

Kids give you instant pathos. Especially if you tell them to stop smiling, laughing and fooling around, stand still and look mournful. The wall label explains that Lo Pò (b.1979 studied photography at the London College of Communication) had spent a long frustrating day trying to photograph a racehorse in Sardinia, packed it in and went for a meal at a local pizzeria. Coming out he spotted this pale freckled girl playing with friends. He asked her parents if he could photograph her and placed her against the warm plaster wall which brings out the tones in her skin and hair. It’s an amazing and striking photograph. But it did make me laugh that the first thing the photographer did was stop her playing with her friends. Now, now, none of that laughing and smiling: this is art! Instead she is carefully posed in the soulful, intense, rather numb expression which is the visual style of our age.

Girl outside the pizzeria at night by Andy Lo Pò 2017 © Andy Lo Pò

Girl outside the pizzeria at night by Andy Lo Pò 2017 © Andy Lo Pò

Charlie Forgham-Bailey (b.1989, based London, studied French and Philosophy at uni) is represented by a set of four photos of boy footballers, who were taking part in the Danone World Cup four unsmiling, stern looking young dudes.

Ditto this photo of ‘Rishai’, snapped by Meredith Andrews, sitting sternly unsmiling on his bike. ‘Don’t smile kid – this is art!’

Rishai from the series After School by Meredith Andrews © Meredith Andrews

Rishai from the series After School by Meredith Andrews © Meredith Andrews

Two particular photos of kids take the art of seriousness to new levels; by Richard Ansett (b.1966), they are from two series, one titled After the Attack (The Manchester bombing) showing a teenager in her bedroom who witnessed the bombing and has had difficulty leaving her house, since; and one titled Children of Grenfell, whose subject matter you can probably guess.

Old people

But it isn’t just kids who can look grim and unsmiling. Images of old people, the more vulnerable the better, can always be relied on for instant pathos.

Nan, Hafen Dag Sheltered Scheme, Mid Glamorgan from the series Old Age Doesn't Come By Itself by Rhiannon Adam 2017 © Rhiannon Adam

Nan, Hafen Dag Sheltered Scheme, Mid Glamorgan from the series Old Age Doesn’t Come By Itself by Rhiannon Adam 2017 © Rhiannon Adam

Even famous old people. There’s a dazzling photo of Hollywood legend Christopher Walken (although can anyone name a movie he’s been in since the Deer Hunter?) Against a jet black background, his aged haunted face looms pale and haunted. It’s fascinating to learn that the session took only a few minutes, the photographer Anoush Abrar (b.1976 Tehran, masters degree in photography) setting up, just the two of them in the room, the photos taking just moments to take.

Christopher Walken by Anoush Abrar 2018 © Anoush Abrar

Christopher Walken by Anoush Abrar 2018 © Anoush Abrar

Katherine Hamnett is featured. Who? The fashion designer who hit the headlines way back in 1984 when she was invited to meet the Prime Minister, Mrs Thatcher, and wore a white t-shirt of her down design emblazoned with the words ‘58% don’t want Pershing’ referring to Ronald Reagan’s siting of cruise missiles at Greenham Common. Ah, I remember it well. So I was a little surprised to see that she’s still alive, not so surprised to learn that she’s spent a lot of the intervening 34 years making more t-shirts with ‘political’ slogans on them, and not in the slightest bit surprised that the latest one is anti-Brexit photo by Pedro Alvarez (b.1972 took a degree in photography at Blackpool Uni).

Katharine Hamnett by Pedro Alvarez 2018 © Pedro Alvarez

Katharine Hamnett by Pedro Alvarez 2018 © Pedro Alvarez

Ordinary adults

But most people aren’t babies, kids, teenagers or pensioners. Most people belong to the age range 18 to 65. But this age group, what you might call ordinary everyday people, the kind you go into a work environment and see, or see on the Tube at rush hour.

In contrast to serious children, sensitive artists and sad old people I liked some of the photos of blokes. Here’s a geezer, Conor, with his dog Levi, snapped by Tom Cockram (b.1986, BS Hons in photography from Manchester Metropolitan University).

Conor and Levi from the series British Boxing by Tom Cockram 2018 © Tom Cockram

Conor and Levi from the series British Boxing by Tom Cockram 2018 © Tom Cockram

The more I looked at this, the more I liked it, though it took a while to figure out why. First, the subject does not fill the frame (compare and contrast with all the images, above). He is set in a landscape, which just makes it visually more interesting. And the landscape itself is intriguing, the way the heavy mist obscures the trees on the horizon, and teases you to try and decipher the types of buildings behind them – hotel, council estate, I think that’s a petrol station on the right. And then there’s the visual relation between one man and his dog, the way the sloped back of the politely sitting dog makes a line which, if you extended it, would touch the man’s head, in other words together they form a triangle, hidden, concealed in the photo, but which, I think, subtly gives it a unity of composition.

Also featuring a bit more background than usual, and an intriguing one at that, is this photo of a ‘guest at a graduation party’ by Adam Hinton (b.1965).

Guest at a graduation party by Adam Hinton 2018 © Adam Hinton

Guest at a graduation party by Adam Hinton 2018 © Adam Hinton

The wall label tells us that Hinton had travelled to Plovdiv in Bulgaria to document the largest Roma community in Europe and came across a party celebrating the graduation of several young women from the local university.

I liked this photo because it is not of a serious-looking child, nor of a frail and vulnerable old lady, nor of a high-minded liberal fashionista. It captures the spirit and culture of the huge number of people across Europe, who aren’t educated, don’t read new novels, go to the opera or art galleries, who just make a living trading horses, dealing in scrap metal, working as seasonal labourers, fixing up cars, running second hand TV shops, men who try to do the best for their wives and kids, and on special occasions dress up in bling and greased hair.

It reminded me of some of the photos I’ve seen at the Calvert 22 Foundation, which focuses on art and photography from East European countries, or the absolutely brilliant photos of men and landscapes around the Black Sea taken by Vanessa Winship and featured in a recent exhibition at the Barbican.

I liked all these because they are unusual.

By contrast when I read that one of the photographers on display here had set off on a 1,000 mile roadtrip round America on a Harley Davidson bike, photographing the weird and eccentric people she met, my heart sank. If I never see another black and white photo of weird and kooky, provincial, backwoods, redneck characters from America, it will be soon.

Rinko Kawauchi

There is absolutely no requirement for the exhibition as a whole to be representative of everything. I just like counting, noting data sets, trends, numbers. My day job is a data analyst for a government agency.

Thus I couldn’t help noticing the complete absence of images from India or China which, between them, have 2.7 billion people, 38% of the world’s population. Also because I’m still savouring the exhibition of works by Vasantha Yogananthan at the Photographers’ Gallery. It’s a big country, India. Lots of people. Very colourful. Not here at all (there is one photo of a British Sikh).

I wonder why. Don’t Indians apply? Do Westerners not go looking for colourful subjects in India any more (as they obviously still do in Africa, from the evidence here)?

A country which was specifically represented was Japan, in the form of a special feature – a wall of eleven works by Japanese photographer Rinko Kawauchi. Kawauchi’s work came to prominence with the simultaneous publication of three books: Hanako (a documentary of a young girl of the same name), Hanabi (which translates as ‘fireworks’) and Utatane (a Japanese word that describes the state between wakefulness and sleep. In 2002 Kawauchi was awarded the Kimura-Ihei-Prize, Japan’s most important emerging talent photography prize, following the publication of her first photobooks.

Her photos are about delicacy. She shoots in a way which lets in so much light that the photos are almost over-exposed, have a milky misty quality. And her subject appears to be the everyday life of her family – ‘small events glimpsed in passing’ – including a couple of striking images of adults holding a tiny, tiny baby.

Untitled by Rinko Kawauchi

Untitled by Rinko Kawauchi


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