The dark ages

This review of Francis Wheen’s wonderful book about the 1970s, Strange Days Indeed, appears this week in the New Statesman.
Writing in Harpers and Queen in January 1978, the cultural critic Peter York took the temperature of his times. “The real keynotes of the Seventies,” he declared, “are fragmentation . . . and paranoia.” Even though he does not cite this account of the peculiar admixture of gloomy resignation and fevered anxiety that enveloped Britain in the late Seventies, Francis Wheen makes York’s keynotes his own in his hugely entertaining new book about what he calls “the golden age of paranoia”.

“Nowhere”, Wheen writes, “is the abnormality [of the Seventies] more head-achingly apparent” than in the diaries of Bernard Donoughue, the academic plucked from obscurity at the London School of Economics by Harold Wilson to work in the Downing Street Policy Unit after Labour’s general election victory in February 1974. (The two volumes of those diaries contain almost unimaginable riches for any student of the political psychopathology of the period, and Wheen mines them assiduously - as indeed did Andy Beckett for his recent book about the Seventies, When the Lights Went Out.)

Donoughue records that when Wilson resigned a little over two years later and James Callaghan took over as prime minister, staff at 10 Downing Street immediately began to breathe a little more easily. The Callaghan regime was “sane, sensible and balanced”, whereas Wilson’s reign had been characterised by a kind of generalised “hysteria” - much of it concentrated in the person of his theatrically awful political secretary and amanuensis, Marcia Williams. (Wheen describes the dramas of Wilson’s kitchen cabinet as resembling “a Strindberg play punctuated with scenes from Who’s Afraid of Virginia Woolf?”.)

Though Donoughue would later declare himself bemused by allegations that Wilson made in retirement about the activities of MI5 while he was in office - the “most incredible part” of an interview the ex-prime minister gave to the Observer in July 1977 was “the paranoia it revealed”- he himself at the time hadn’t been immune to the contagion. Suspecting that his room had been bugged and his phone tapped, Donoughue admitted that he had “tried to resist the kind of paranoia which surrounded HW and Marcia. But the evidence is growing.”

Naturally, it would be dangerous to try to deduce a national mood from the craziness of Williams’s and Wilson’s tortured imaginings, not least because we now know these to have been an effect of incipient dementia. (The account of Wilson’s precipitous mental decline is one of the more melancholy strands of the tale told here.) Yet the evidence Wheen has assembled from multiple sources is so deftly patterned, as to smother any such misgivings and to evoke with remarkable vividness the widespread sense of what even sober observers at the time, such as the Guardian columnist Peter Preston, were ready to call “civilisation’s collapse” - an apocalypse presaged by endless strikes, racial tension, runs on sterling, IMF loans and bomb scares, not to mention the actual bombs in British cities that followed the Provisional IRA’s decision to bring its “war” to the mainland.

Wheen, who works for Private Eye, is a journalist, not a professional historian, and his preferred mode is the vignette rather than the argument. This is not to say that there is no analytical heft to the story he tells - his most considerable intellectual debts are to the American historian Richard Hofstadter and the great Italian Marxist Antonio Gramsci. From Hofstadter, Wheen has borrowed the idea of a “paranoid style” in politics, a style that “traffics in the birth and death of whole worlds, whole political orders, whole systems of human values”. The political paranoid, in other words, is a catastrophist, and there were a lot of them around in the Seventies. And not just in Britain, either: Wheen writes about the greatest paranoid fantasist of them all, Richard Nixon, and also about the terrorist groupuscules that proliferated in the early Seventies, whose motivations were “as much psychological as political”.

From Gramsci, Wheen takes a line which, he says, “could serve as the epigraph for Britain in the mid-Seventies”: “The crisis consists precisely in the fact that the old is dying and the new cannot be born; in this interregnum a great variety of morbid symptoms appears.” At that time, the “old” was the accommodation between capital and labour. Today, we are also living through an interregnum: neoliberalism is dying, but we do not know what will take its place. One day, another Francis Wheen will have to catalogue the morbid symptoms of its demise.
Strange Days Indeed
Francis Wheen
Fourth Estate, 344pp, £18.99

A sense of the past

R. G. Collingwood

This review of Fred Inglis’s biography of R.G. Collingwood appears in the current issue of the Literary Review.


Fred Inglis
History Man: The
Life of R.G. Collingwood

Princeton University Press, 400pp, £23.95

Gilbert Ryle, the grey eminence of Oxford philosophy during its heyday in the 1950s, used to say that the correct way to read the great philosophers of the past was to treat their work as if it had appeared in the previous month’s edition of the journal Mind. Read in this fashion, Plato’s Parmenides, for example, turns out to have been an attempt at a theory of types of the sort perfected two millennia later by Bertrand Russell. And lurking in the “transcendental idealist” undergrowth of Kant’s Critique of Pure Reason is a modest little essay in what Ryle’s colleague Peter Strawson called “descriptive metaphysics”.

The widespread acceptance of this method of “rationally reconstructing” philosophical classics so as to make them speak to contemporary concerns -often at considerable cost to the internal coherence of the works concerned- completed a process described by the late Bernard Williams as the “complete obliteration … from the collective local consciousnes” of Ryle’s predecessor as Waynflete Professor of Metaphysical Philosophy at Oxford, R.G. Collingwood. For it was one of Collingwood’s most fiercely held intellectual principles that to attribute to a historical author views he never actually held (or, alternatively, to chastise him for failing to hold views one held oneself) was like “planting treasonable correspondence” in someone’s coat pocket.

Despite the existence today of a thriving academic cottage industry devoted to his work, Collingwood’s reputation has never really recovered from the damage done to it after his death in 1943. The hegemony of Ryle, J.L. Austin and the other “linguistic philosophers” in the years following the Second World War was confirmed in 1958, when a survey of English Philosophy Since 1900, written by Austin’s ammanuensis Geoffrey Warnock, contained not a single reference to Collingwood.

Fred Inglis’s vividly written biography is devoted, therefore, to “bring[ing] up the light” on its subject. However, it is also a reminder that, despite his academic achievements (he acceded to the Waynflete in 1935, having been narrowly beaten seven years earlier, at the age of only 39, to the White’s Chair in Moral Philosophy), Collingwood had in fact begun to fade from the “collective local consciousnes” long before he died.

In what Inglis rightly describes as his “best-known and surely classic work”, An Autobiography, published in 1939, Collingwood frankly acknowledged that the corollary of his considerable social and professional success was more or les complete intellectual isolation. As Inglis observes, Collingwood was cut off from both the group of philosophical revoltés that in the mid -’30s had gathered around Austin (and which included Isaiah Berlin, Stuart Hampshire and A.J. Ayer) and an older generation of “realist” philosophers loyal to the shade of John Cook Wilson.

Collingwood began his career attacking Cook-Wilsonian realism for its indifference to the history of philosophy. He developed in its place something he called the “question-and-answer” method, the gist of which was that in order to grasp the meaning of a proposition, or a historical text for that matter, one must know the question to which it is an answer. In other words, propositions and linguistic utterances do not wear their meanings on their sleeves.

The implications of this method for the study of historical texts were obvious. When a philosophical treatise, say, becomes a “classic” -when, that is, the author’s contemporaries are long dead- the question to which it is an answer is forgotten. Excavating that question requires, Collingwood thought, the “exercise of considerable historical skill”. The alternative to such hard labour is to treat the the author as one’s contemporary - or else to take it for granted that philosophical questions are eternal and unchanging; that our preoccupations are the same as Plato’s.

Inglis’s great achievement in this book is to apply the question-and-answer method to Collingwood’s biography, the “interpreted life” being no more susceptible to instant appraisal than the interpreted text. (With attractive modesty, he describes History Man as merely an “extended gloss” on the story Collingwood himself tells in his autobiography.) He recreates not only the long-forgotten intellectual milieu of Oxford in the 1920s, but also the circumstances of Collingwood’s extraordinary upbringing: until the age of 13, he was educated at home in the Lake District by his artist parents, who were friends and devotees of Ruskin. That “alternative education”, Inglis argues, goes some way to explaining the isolation and marginalisation that Collingwood would feel so keenly later in life.

Collingwood’s separateness was partly self-imposed, however, as Inglis recognises when he considers the remarkable final chapter of An Autobiography. That “ringing sermon” against the political accomodations and complacencies of his contemporaries, delivered in the midst of the “gravest crisis” in the country’s history, reveals Collingwood as, in the words of his biographer, “one of Britain’s best, lost intellectuals of the 1930s”. But as Oxford prepared to vote in the “appeasement” by-election of October 1938, this intellectual manqué was leaving Birkenhead aboard a steamer bound for Java - and leaving Britain “to the care of appeasers with every appearance of eager anticipation of his first extended departure from Europe.”

Equality of what? On Amartya Sen

I’ve profiled Amartya Sen in the latest issue of the New Statesman. I’ve also started blogging, with my colleague Daniel Trilling, at the new NS arts and books blog, Cultural Capital. Do pay it as a visit.

How the left lost its language

iris-murdoch-1

From last week’s New Statesman:

Fifty years ago, the novelist and philosopher Iris Murdoch wrote a rather gloomy essay about the state of the “socialist movement” in Britain. There was, she said, a “moral void in the life of the country”, and on the left in particular. Where the left had once been the source of an animating vision of the good society, now it was the repository of a drearily technocratic utilitarianism. An obsession with central planning and the streamlined organisation of social relations had triumphed over older, more explicitly ethical traditions: Christian socialism, say, or the critique of injustice that had driven early Marxism (before it, too, had gone technical and scientific).

Read the rest here.

Public philosophy

20090605_2209sandel_w

Urban legend has it that the man chosen by the BBC to deliver this year’s Reith Lectures was the real-world inspiration for a character in The Simpsons. Montgomery Burns, the desiccated and occasionally malevolent owner of the Springfield Nuclear Power Plant, is said to have been modelled, in his phy­sical characteristics if nothing else, on Michael Sandel, Bass Professor of Government at Harvard University. Many Simpsons writers have been Harvard alumni, and giving Mr Burns, one of Springfield’s least morally upstanding citizens, Sandel’s broad forehead and thin lips was a kind of Harvardian in-joke: for nearly 30 years now, Sandel has taught the university’s most popular undergraduate course – “Justice”.

My profile of Michael Sandel, this year’s BBC Reith Lecturer, appears in the current issue of the New Statesman.

The sorcerer’s apprentice

holger2

Recently in this magazine, Holger Czukay recalled attending the first performance, in Bremen in 1968, of Kurzwellen (“short waves”), Karlheinz Stockhausen’s work for piano, electronium (an early monophonic synthesiser), tam-tam gong, viola and four short-wave radio receivers.

Read the rest of my review of Holger Czukay’s recent show at the Roundhouse in this week’s New Statesman.

On Anne Michaels

My review of Anne Michaels’ very fine new novel The Winter Vault appears this week in the New Statesman.

Fight for your rights

ben-wilsonThis review Ben Wilson’s book What Price Liberty appears in the May issue of the Literary Review:

At the centre of St George’s Circus, in a traffic-choked corner of south London close to the Elephant and Castle, stands an obelisk. On one side, and rather crammed in beneath the date the structure was built (’The XIth year of the reign of King George the Third’), is inscribed the name ‘Brass Crosby Esquire/Lord Mayor’. Aside from a blue plaque affixed to Crosby’s former home near Bromley in Kent, this is the only public commemoration of a man whom Ben Wilson describes in his splendid new book as a ‘liberty-loving guerrilla’ - one of a band of ’seedy adventurers’ to whom we owe the civil liberties we enjoy today.

The fact that most of those who pass the obelisk on the Number 63 bus each day won’t have heard of Crosby tells us, Wilson argues, something important about liberty in this country: about how it was achieved and about our attitudes towards it.

Brass Crosby merits a place in Wilson’s pantheon of ‘bloody-minded’ heroes of British liberty for a provocation he colluded in with John Wilkes in 1770. Wilkes was an alderman of the City of London and Crosby Lord Mayor. The two men decided to test those provisions in the Bill of Rights protecting parliament from criticism by encouraging a printer based in the City to flout them.

When the Speaker sent the Serjeant at Arms to arrest the printer, Crosby had him arrested and ruled that the emissaries of the Commons had no jurisdiction within the Square Mile. Crosby was sent to the Tower of London for his trouble. His eventual release was met with public rejoicing, however, and, according to Wilson, parliament subsequently learned to ignore, or at least to endure, newspaper reports of its activities.

It is one of the many merits of What Price Liberty? that its author has excavated forgotten stories like Crosby’s - and that of John Entick, a journalist who sued the King’s Messengers when they raided his home in 1762 looking for evidence of seditious libel, prompting the Lord Chief Justice to rule that ‘every invasion of property’, even when committed with government sanction, ‘is a trespass’.

For Wilson, the significance of such episodes is twofold. First, they remind us of the close connection in British history of what today we call ‘civil liberties’ with private property rights. Second, they show that, historically, such liberties have been arrived at in Britain inductively, read off from the experience of obscure and chippy individuals like Entick and Crosby, as opposed to being deduced from abstract principles.

In reading the history of political freedom in this way, as a story of uneven and laborious struggle rather than a serene and ineluctable convergence on a set of inalienable rights, Wilson is being decidedly un-Whiggish. For him, liberty in this country has always been hard won, the fruit not of some providential design but of what he describes as ‘calculated provocation and opportunism’. And in this respect, Wilson is closer in temperament and method to Hume than he is to great Whig historians of liberty like Macaulay or Henry Hallam. For Hume, moral and political gains were always to be regarded as precarious and vulnerable - not only to despotic usurpation, but also to benign neglect or indifference.

This last point is particularly important for Wilson, who believes that we have become dangerously insouciant about our liberties, and clearly intends his book as an intervention in current political debates. He writes approvingly, for example, of David Davis’s resignation from the Shadow Cabinet over the proposed extension of detention without charge to forty-two days, and observes, with some justification, that the debate over the Counter-Terrorism Bill was unhelpfully polarised as a choice between the rights of the individual on the one hand, and security on the other.

Wilson cites more than once Milton’s famous line about people preferring ‘bondage with ease’ to ’strenuous liberty’. And this is a reminder that many of the struggles over liberty have been struggles over its meaning. For Milton, the word ’strenuous’ referred to the nature of liberty itself, as well as to the way in which it was won.

Milton was writing in the ‘civic republican’ or ‘neo-Roman’ tradition, in which, as Wilson points out, ‘freedom is given meaning by one’s participation in the political life of the nation’. Republicans like Milton, and his contemporary James Harrington, valued ’strenuous’ civic engagement over slothful apathy, and government through popular deliberation over deference to crown or state. Drawing on the work of intellectual historians such as J G A Pocock and Quentin Skinner, Wilson brings out very sharply the difference between this neo-Roman conception of civic participation and the idea of liberties as ‘desiccated rights’ bestowed by some benevolent authority or other.

Instead of the Whiggish story that the English have liked to tell themselves, in which ‘liberty always triumphed in the end’, Wilson tells a much more complicated tale of how, after the Restoration, the republican association of freedom with civic virtue gave way to what he calls ‘licentious liberty’ - an idea of liberty as consisting merely in the absence of external interference in the lives of individuals. As John Stuart Mill put it, by the middle of the eighteenth century the ‘cry of the people was not “help us”, “guide us” … the cry was “let us alone”.’

Republican freedom didn’t disappear altogether, though: it crossed the Atlantic and ran like a red thread through the arguments of the American colonists. And for all that the word ‘liberty’ has been traduced in the intervening two centuries or more, the republican inheritance survives, not least in the rhetoric of President Obama, who won a historic victory in November with the promise of a politics of public participation and the common good.

Of course, redeeming that promise is another matter altogether - especially in countries like the US and Britain, where, Ben Wilson reminds us, an etiolated notion of ‘economic liberty’ has hollowed out the structures of ‘meaningful participation and public service’.

Prophet of collapse

The writer and political thinker John Gray is in the Bloomsbury offices of his agent and is talking about the world financial crisis. He recalls the critical reaction to a brief treatise on “the delusions of global capitalism” that he wrote a little over a decade ago.

My profile of John Gray appears this week in the New Statesman.

Making an Elephant

This review of Graham Swift’s non-fiction collection Making an Elephant appears in the new issue of Prospect.

Making an Elephant
By Graham Swift (Picador, £18.99)

There is a famous photograph, taken by Lord Snowdon in 1983, of Granta magazine’s first cohort of “best young British novelists.” Ian McEwan and Martin Amis, their shoulders rubbing collusively, are perched on stools slightly to one side, as if in premonitory acknowledgment of future distinction. Julian Barnes stands in the middle, at the back, powerfully projecting every inch of his six-foot- odd frame. And at the front, beside a startlingly youthful-looking Kazuo Ishiguro, sits the shyly bespectacled Graham Swift.

That same year, Swift was shortlisted for the Booker Prize, for his
third novel Waterland. He didn’t win, though he would eventually do
so in 1996, with Last Orders. Yet, for all his public recognition—as
well as the Booker, Swift has a Guardian Fiction Prize and the
Winifred Holtby Award on his CV, while both Waterland and Last Orders
have been turned into films—Swift’s career in the intervening 25
years has been conducted at an altogether lower temperature than
those of the more celebrated others captured in that picture.

One reason for this is that, as the novelist John Banville noted
approvingly in his review of Last Orders, Swift has always kept
himself at a distance from “what Gore Vidal witheringly refers to as
‘bookchat’.” Unlike Amis or Barnes, Swift has written little
journalism and—as far as one can tell—no criticism whatsoever. What’s
most immediately striking about Making an Elephant, in fact, is just
how occasional Swift’s non-fiction has been. The book is a jumble of
assorted fragments of memoir, interviews, a single piece of reportage
(by his own admission, the only such piece he has ever done), and 40
pages worth of poems.

Away from fiction, Swift’s natural element seems to be what he
describes in a short piece about the year he spent as an English
teacher in Greece in the early 1970s as the “self-protective”
atmosphere of “voluntary exile.” He had pitched up, he tells us, at
the Strategakis School of English in Volos, a port on the east coast,
after a three-year subterfuge during which he’d passed himself off as
a PhD candidate at the University of York in order to find the time
to write—or, rather, to find out whether he actually had the talent
to write (which is not at all the same thing). It was in Greece that
Swift wrote his first novel, later destroyed, and there that he came
to know “for certain [that he] would be a writer”.

It’s hard to imagine his contemporaries having to discover that about
themselves, but for Swift the discovery seems to have been hard-won
and somehow provisional, and thus something to be guarded—against
Grub Street, book parties and other temptations of the metropolitan
literary life. Among other things, therefore, Making an Elephant is
an account of the material conditions of the professional writer’s
life in the early 21st century, and an examination of the extent to
which that life has to be lived in public. One essay deals with the
structuring paradox of the public reading, an essential part of
modern book-PR that clearly sits uneasily against Swift’s preference
for the “unseen contact” of private reading: “I suspect most people
go to readings out of curiosity. Authors are not very visible and the
reading public has an urge to witness these usually closeted creatures.”

It’s not only the public with whom Swift has had a less ostentatious
relationship than his illustrious contemporaries. “For a long time”,
he writes, “really till Waterland, I knew virtually no other
writers.” And, for all the affectionate portraits here of his various
“writer-friends” (Ishiguro, Rushdie, Caryl Phillips), one gets the
sense that he could still happily do without the company of other
writers. He writes admiringly of JM Coetzee, who won the Booker the
year Waterland was shortlisted and pulled off the “brilliant tactical
stroke” of being “serenely absent” from the award ceremony.

Of course, no serious writer readily admits to enjoying such
occasions, but in Swift the urge to disappear runs deep. One of the
longest pieces in Making an Elephant, originally written for Granta,
is about an invisible man: the Czech author Jiri Wolf, whom Swift was
dispatched to Prague to track down, in the midst of the Velvet
Revolution in November 1989. Those momentous political events figure
as a kind of sideshow to Swift’s increasingly desperate attempts to
find Wolf, a dissident who had recently been released from prison.
“He was a writer,” Swift notes, “but he appeared to have no standing
in contemporary Czech literature.” It soon becomes clear that he
admires the recalcitrant Wolf much more than he does Václav Havel,
who he observes “being sucked into events at some cost to himself, a
writer uprooted from his true vocation.”

Again, in an interview with the novelist Patrick McGrath, Swift is
asked about the “fatalistic” theory of history developed in
Waterland. It’s a theory expounded by the narrator and protagonist of
the novel, Tom Crick, a history teacher eking out his last days in
the classroom sharing memories of his childhood in the Fens when he
should be telling his charges about the French revolution. Swift
bristles slightly at the suggestion that the ideas in the novel are
his: “You can call this sophistical if you like, but it’s my
character who says those things, it’s Tom Crick who holds those views.”

Waterland carries more obvious intellectual freight than the later
novels, but it resembles them not only in having a first-person
narrator, but also in Swift’s attempt there to subordinate his own
style to the style of his characters. As a novelist, he observes,
“you are vital to the whole enterprise… yet you are also redundant.”
By his own account, he has come closest to achieving this redundancy
or superfluity in his last three novels, Last Orders, The Light of
Day
and Tomorrow. Each of those books is an experiment with ordinary
speech, in which Swift takes a wager on a narrator (or narrators) who
is not conventionally eloquent or articulate. As the critic James
Wood has pointed out, there is considerable risk, not to mention
daring, in this approach, for it requires of the novelist a
commitment to the clichés and “thinned repetitions” of everyday
language.

The final piece in Making an Elephant is an introduction Swift wrote
to an edition of Montaigne’s Essays, a writer whom he admires almost
as a negative image of his own writerly self. Where the novelist
ought to disappear, he argues, the essayist is present in every line:
the “real joy” in reading Montaigne lies in the “little gift of
personality” and the author’s “unwithdrawing” proximity. In Swift’s
non-fiction, such gifts are severely rationed—but that is because he
is saving himself for his characters.