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		<title>History &amp; Ideas</title>
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			<title>Even Longer Form</title>
			<link>http://www.peterjukes.com/joomla3/essays-blogs-journalism/history-a-ideas/item/215-even-longer-form</link>
			<guid isPermaLink="true">http://www.peterjukes.com/joomla3/essays-blogs-journalism/history-a-ideas/item/215-even-longer-form</guid>
			<description><![CDATA[<div class="K2FeedImage"><img src="http://www.peterjukes.com/joomla3/media/k2/items/cache/4fcf9d660236ddb62c8456017158615a_S.jpg" alt="Even Longer Form" /></div><div class="K2FeedIntroText"><p><a href="http://www.amazon.co.uk/Peter-Jukes/e/B0088AJ0QE/ref=sr_tc_2_0?qid=1414589503&amp;sr=1-2-ent" target="_blank"><img src="http://www.peterjukes.com/joomla3/images/slideshow/Books.jpg" alt="Books" /></a></p>
<p>I've written three books, the two most recent about the phone hacking scandal, trial and power of media monopolies. Both of these can be found on <a href="http://www.amazon.co.uk/Peter-Jukes/e/B0088AJ0QE/ref=sr_tc_2_0?qid=1414589503&amp;sr=1-2-ent" target="_blank">Amazon.</a>&nbsp;</p>
<p>&nbsp;</p></div>]]></description>
			<author>pdjukes@gmail.com (Peter Jukes)</author>
			<category>History &amp; Ideas</category>
			<pubDate>Wed, 29 Oct 2014 00:00:00 +0000</pubDate>
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			<title>First Review of Fall of the House of Murdoch</title>
			<link>http://www.peterjukes.com/joomla3/essays-blogs-journalism/history-a-ideas/item/195-first-review-of-fall-of-the-house-of-murdoch</link>
			<guid isPermaLink="true">http://www.peterjukes.com/joomla3/essays-blogs-journalism/history-a-ideas/item/195-first-review-of-fall-of-the-house-of-murdoch</guid>
			<description><![CDATA[<div class="K2FeedImage"><img src="http://www.peterjukes.com/joomla3/media/k2/items/cache/ffe144b59c409587b4c9211fb31afdfe_S.jpg" alt="First Review of Fall of the House of Murdoch" /></div><div class="K2FeedIntroText"><p><img src="http://www.peterjukes.com/joomla3/images/voewood_-_martin_parr.jpg" alt="voewood - martin parr" />WHEN Peter Jukes let it be known last year that he was writing a book called The Fall of the House of Murdoch, a senior Sun editor emailed him to say: "Is this a joke?"</p>
<p>But with Rebekah Brooks and Andy Coulson both now facing charges over phone-hacking, and Rupert Murdoch slowly stepping back from his British newspaper holdings, it looks like a prescient title.</p>
<p>The old adage – "Never pick a fight with someone who buys ink by the barrel" – no longer fits. Much ink has been expended on the Australia media baron, from Michael Wolff's acidic biography to Tom Watson's plodding account of the phone-hacking scandal. The Fall of the House of Murdoch is refreshing as it examines the ideas that have driven the modern western world to its current crisis.</p>
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<p>Referencing widely, from Adam Smith and George Orwell to the author's mentor, historian Tony Judt, Jukes argues that Murdoch managed to elide two seemingly uncontroversial ideas, those of freedom of the markets and freedom of the press, to toxic effect.</p>
<p>The early signs of his freedom-loving spirit were there in 1969. Just after buying the News of the World, Murdoch printed the diaries of Christine Keeler, the call girl at the centre of the Profumo scandal. It marked out Murdoch as an outsider, happy to push the boundaries, in this case to embarrass the Establishment. With the British elite on the wane by the Eighties, he found another closed shop to take on the print unions – and so became a standard bearer for the neo-liberal agenda of Margaret Thatcher and Ronald Reagan and, as his international holdings grew, a poster-boy for Tony Blair's globalisation project.</p>
<p>In an ambitious argument, it is suggested that Murdoch's brand of news even mirrored the expansion of the financial sector. Stories about politicians and celebrities were akin to derivative markets in which futures could be ramped or dumped for one's own ends, as John Major s government and stars such as Charlotte Church found to their cost, and David Cameron perhaps to his benefit. (What's a little phone-hacking and horse-riding to achieve these goals compared with Libor manipulation?)</p>
<p>Capitalism was indulged up until the 2007-8 financial crisis. Murdoch-style journalism took a bit longer to break because, as Jukes puts it neatly, "News International is not only too big to fail but also, with its government connections, too big to jail".</p>
<p>Many an economic liberal still admires Murdoch's business style, but this is part of the ideological mist. While he presents himself as a free marketeer, Murdoch's newspaper and television interests in Britain and Australia have verged on monopolies. And despite his republican stance, Murdoch runs News Corporation as a dynasty, with three children, Lachlan, James and Elisabeth, all at one time groomed as potential successors.</p>
<p>The Fall of the House of Murdoch was written in haste to catch the tail-end of the Leveson Inquiry and, as a result, is a little unpolished. Yet it is an impressive treatise on how media, money and power in the past 30 years became so locked into mutually supporting agendas that they failed to interrogate each other. If that's not enough, it is worth reading just for Jukes's account of Rebekah Brooks's flirtation with him at a party in 2006</p>
<p>&nbsp;</p>
<p><a data-mce-hrefundefined="">Scotsman 11th August&nbsp;</a></p>
<ul class="art-meta" style="font-style: italic; font-family: Georgia, 'Times New Roman', Times, serif; margin-top: 0px; margin-right: 0px; margin-bottom: 0.4em; margin-left: 0px; padding-left: 0px; list-style-type: none; list-style-position: initial; list-style-image: initial;">
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<li style="float: left; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 6px; margin-top: 0px; margin-right: 5px; margin-bottom: 0px; margin-left: 0px; border-left-width: 1px; border-left-style: solid; border-left-color: #cccccc; position: relative; left: -6px;">London Evening Standard (West End Final B)</li>
<li style="float: left; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 6px; margin-top: 0px; margin-right: 5px; margin-bottom: 0px; margin-left: 0px; border-left-width: 1px; border-left-style: solid; border-left-color: #cccccc; position: relative; left: -6px;">JOY LO DICO</li>
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			<author>pdjukes@gmail.comv15 (Peter Jukes)</author>
			<category>History &amp; Ideas</category>
			<pubDate>Tue, 31 Jul 2012 00:00:00 +0000</pubDate>
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			<title>What Norway's Terror Teaches us about Islamophobia and Online Hate</title>
			<link>http://www.peterjukes.com/joomla3/essays-blogs-journalism/history-a-ideas/item/139-what-norways-terror-teaches-us-about-islamophobia-and-online-hate</link>
			<guid isPermaLink="true">http://www.peterjukes.com/joomla3/essays-blogs-journalism/history-a-ideas/item/139-what-norways-terror-teaches-us-about-islamophobia-and-online-hate</guid>
			<description><![CDATA[<div class="K2FeedIntroText"><p><br /><img style="float: left; margin: 7px;" src="http://www.labourlist.org/uploads/0162e6cb-99a9-af94-8146-bcbab0b6f09e.jpg" alt="" width="300" />If there’s any shred of comfort that come come from the horrors of ten days ago, the bomb attacks in Oslo and massacre of dozens of teenagers in Utøya, it is scant consolation for bereft families or a nation in mourning. The biggest atrocity on Norwegian soil since World War II, and one of the biggest terrorist incidents in Europe in decades, is no occasion for political point scoring. But some good may yet come out of it: the full glare of public scrutiny (and one hopes police attention) has now been turned on the largely ignored growth of extreme right-wing Islamophobia in Europe.</p>
<p>(From <a href="http://www.motleymoose.com/diary/3201/islamophobia-the-cleansing-effect-of-daylight">Motley Moose</a> blog: This was a draft of an Essay that Appeared on <a href="http://www.labourlist.org/islamophobia-and-online-hate;">Labour List</a>&nbsp;and Daily Kos)&nbsp;</p>
</div><div class="K2FeedFullText">
<p>Nearly exactly a year ago, I wrote how Obama had bravely faced up to the Islamophobes in the US during his &lt;a href=<a href="http://www.labourlist.org/obama-and-islamophobia&gt;">http://www.labourlist.org/obama-and-islamophobia&gt;</a>;Ramadan speech&lt;/a&gt; and worried that Europe lacked such leadership.</p>
<p>&lt;blockquote&gt;The rise of Islamophobia in Europe over the last few years - expression of which I have encountered many times in the past, even on LabourList, - has filled me with a kind a foreboding I haven't felt since the early 90s and the rabid nationalism in former-Yugoslavia, which itself had an anti-Muslim component.</p>
<p>The signs are everywhere to be seen. The US have Palin's 'Ground Zero Mosque' and the threat of Koran burning. We have the French assembly voting to ban niqab, Switzerland banning minarets, and the rise of the English Defence League here in the UK, deliberately targeting Muslim communities with provocation and violence...</p>
<p>We have demagogues like Geert Wilders in Holland getting 33% of the vote by inciting fear and hatred. Meanwhile, opportunist politicians in the UK try to ride the bandwagon, putting forward legislation to ban burkas. This is hardly helped by so-called intellectuals (who should know better) talking about 'Islamofascism' or "Londonistan" and trying to yolk together a religion of universalist appeal with racist ultranationalism.&lt;/blockquote&gt;</p>
<p>Don't worry. This is not some gratuitous exercise in 'I told you so'. My hands are no cleaner than others, and in the rise of Islamophobia I have to share some blame (&lt;i&gt;more below&lt;/i&gt;). We do not know yet if Anders Behring Breivik acted entirely alone. He may yet win an insanity defence. Yet there's little doubt that both his targets and his motivation were avowedly &lt;b&gt;political&lt;/b&gt;. Both &lt;a href=<a href="http://youtu.be/rAwp2FnRmsE&gt;">http://youtu.be/rAwp2FnRmsE&gt;</a>;the video he uploaded&lt;/a&gt; and the &lt;a href="http://www.peterjukes.com/joomla3/<a href="http://www.kevinislaughter.com/wp-content/uploads/2083+-+A+European+Declaration+of+Independence.pdf&quot;">http://www.kevinislaughter.com/wp-content/uploads/2083+-+A+European+Declaration+of+Independence.pdf"</a>;&gt;European Manifesto of Independence&lt;/a&gt; he passed on to sympathisers should place that beyond doubt Though somewhat rambling and derivative, Breivik's arguments are rational and coherent. He articulates a vision of the 'Islamisation of Europe', deliberately smuggled in by Marxists spouting 'multiculturalism' as their credo. That vision, and his belief that an incendiary act of violence was needed to trigger the inevitable religious and social conflict make it indisputable: the killings on Friday 21st of July &lt;b&gt;a classic act of political terrorism.&lt;/b&gt;</p>
<p>Like many young men who search for some final battle between good and evil, Breivik was a dreamer of the absolute, who found his purpose in sacrificing himself for a cause greater than himself. In this, he resembles the extremist Jihadists he purports to despise, and like many of them, he seems to have been indoctrinated and then motivated into a medieval mindset through a quite modern source: what he read &lt;i&gt;online&lt;/i&gt;.</p>
<h1>Does the Blogosphere Breed Political Hate?</h1>
<p>The more that emerges about Breivart's relatively affluent and quiet background in Norway, the more investigators search for the sources of his warped worldview, the more abundantly obvious it is that <a href="http://www.guardian.co.uk/world/2011/jul/30/norway-attacks-anders-behring-breivik">online conversations with British extremists were a key source of ideology and inspiration</a>. This has led Nick Cohen to assert, in yesterday's Observer, that <a href="http://www.guardian.co.uk/commentisfree/2011/jul/31/rightwing-extremism-breivik-islam">Britain is the Breeding Ground for Hate</a></p>
<blockquote>Nothing about Breivik is as interesting as the people he shot, but those with the stomach to read him will find that ideas made in Britain enthralled him. He writes in English. He uses a British pseudonym – Andrew Berwick – and gives his manifesto a London dateline. He meets sympathisers in a London pub and drops strong hints that the organisation he is closest to is the English Defence League. He has a respect for at least some of the EDL's ideas because it does not go along with traditional antisemitic Nazism but agrees with Breivik that there has been a plot by the treacherous "cultural Marxists" of the European elite to undermine the nation state by flooding it with immigrants, most notably Muslim immigrants. British extremists of whatever type have the advantage that English is the language of the web that foreigners must master if they want an international audience. Breivik's references to British sources would not be surprising if all he did was quote from obscure websites and chatrooms. But Breivik did not only listen to British far rightists screaming out their hatreds in the madhouses of the blogosphere, but peppered his manifesto with citations of articles in the Daily Telegraph and other respectable conservative newspapers. Britain's mainstream media, not the fringe on the web, formed the basis of his claim that readers could find all the evidence they need of the multicultural plot to turn white, Christian Europe into a Muslim-dominated "Eurabia"</blockquote>
<p>As usual, Cohen is right about the detail but jumps to a debatable conclusion. When it comes to displaying knee-jerk suspicions of Islam, it wasn't just Murdoch's <em>The Sun</em> who assumed the Oslo attacks were Jihadist in origin: even the liberal <em>New York Times</em> jumped the gun and wheeled out its bloviating Al Qaeda experts. There's also no doubt the English speaking political blogosphere is full of cocoons of craziness and hatred. Outbursts of Islamophobia can be found anywhere. But so too can unfounded claims about Climate Change, the EU(SSR), Obama's birth certificate, or the CIA's involvement in the 9/11 attacks. It's not just on the xenophobic right where echo chambers of extremism flourish. As a regular blogger in the US, I encounter conspiracy theories and apocalyptic thinking regularly on the left too - on liberal blogs like Firedoglake or Dailykos. The internet is still dominated by the English language, and so the growth of extremist rhetoric could be something to do with the nature of politics online. Because you preselect your sites and sources - <strong>narrowcasting </strong>rather than <strong>broadcasting </strong>- the net brings the attendant dangers of confirmation bias, and a ramped up atmosphere of increasing hyperbole and extremism of expression. However, as my own experience reveals, blogging has forced me to engage with, and try to combat, generalised arguments about Muslims, Birthers, Climate Change, or the EU. Why didn't Breivik's online excursions lead him him to <em>The Guardian</em> or indeed <em>Labourlist,</em> where his ideas would have been challenged? Short answer: they probably did. But he didn't listen. The internet didn’t create extremism. It might have amplified on some occasions. But there are other example of new media - from the Murdoch scandal to the Arab Spring - where online activism has served more liberal ends. The net is basically a neutral space to share opinions. And when it comes to the recent phenomenon of Islamophobia, those opinions predate <em>Twitter </em>or <em>Comment is Free. </em></p>
<h1>A Brief History of Modern Islamophobia</h1>
<p>I'm just back from Sarajevo where the scars of the siege are still visible fifteen years later: the sniper bullet-holes in the buildings, the horrible dragon's claw mark of a mortar shell, not to mention the look in the eyes of men my age. The cataclysmic Twentieth Century was effectively launched by a bullet fired in Sarajevo in 1914 - the assassination by a Serb Nationalist of Archduke Ferdinand - and it's hard not to hear the echo of that shot in the way the century ended: the crump of a shell in the Old Town marketplace, followed finally by the first ever NATO bombs dropped in anger, as planes took out the Bosnian Serb positions around the besieged city. Just as modern Jihadism in the form of Al Qaeda came out of the Soviet invasion in Afghanistan, so too I believe Modern Islamophobia was born from the end of the Cold War (for its older incarnation check out Edward Said's <em>Orientalism</em>). The same year the Cold War ended was the same year that Ayatollah Khomeni issued his fatwa against Salman Rushdie for his <em>Satanic Verses</em> - 1989. For many liberal intellectuals, this was a sobering moment. Just as the Berlin Wall was coming down, another was erecting itself in people’s minds. Instead of Communism, perhaps religion - particularly fundamentalist religion - was emerging as the new enemy. Many thinkers turned their eyes from the dissidents fighting totalitarian repression in the Warsaw pact, and to the autocratic Arab states in the Middle East. Meanwhile, though hidden under the rock of Communism for decades, nationalist and xenophobic feelings emerged intact in much of Central and Eastern Europe. By now we all know about the tragedy of the former Yugoslavia, and the ultimate direction of the nationalist rhetoric of the Serbian President Slobodan Milosevic. Though he played on fears of the Croatian Catholic Ustashe, his initial line in the sand in Kosovo was against the 'Turks'. In his famous address on the 'Battlefield of the Blackbirds' Milosevic invoked the historic role of Serbs as the defenders of Europe against the Islamic horde. This toxic religious nationalism culminated in the slaughter of hundreds of thousands in ethnic cleansing in Bosnia and the final horror of Srebenica, when 8,000 men and boys were massacred and buried in mass graves merely because they were designated 'Muslim'. We're less familiar however, with Islamophobia in the former republics of the USSR. Apart from countless terror attacks in Russia itself, there have been two wars in Chechyna, and other ethnically-based conflicts in other former Soviet Republics, including that of my grandfather's homeland - Armenia - which was engaged in brutal conflict with Azerbaijan over Ngorno Karabakh. Meanwhile, anyone from the Caucasus (whatever their religious denomination) still faces danger in Russia itself. When I was in Yerevan three years ago I met a sculptor - barely darker than I am - who had fled St Petersburg because a friend had been stabbed to death for being too Islamic looking. It's impossible - or at least very difficult - to remove the <em>racial component</em> from Islamophobia. Though no one would recognise my Bosniak or Kosovar friends as Muslim when they walk down the street, the truth is, for most of Europe, Muslims are recognisable by their colour as much as what they wear or what beards they sport. So there's an underlying racist component to Islamophobia, and groups like the EDL (despite having a Sikh among their leadership) exploit this to the full. They say they're not racists. What they object to is <strong>fundamentalist religion</strong> - and who can object to that? But as anyone who has shared a bus with EDL supporters will attest, this racialist disclaimer is a lie. They're the same old hooligans, Paki-bashers and Nazi bully boys I recall from the 70s and 80s. But intellectually, they draw some cover from surprising sources. I remember Senior Tories, while debating why Britain shouldn't do anything in Bosnia, explaining how Islam would be the next major global struggle after defeating Communism. In this they were merely reiterating what Sam Huntingdon described in his <em>Clash of Civilisations</em>: a new conflict, a New World Order, pitting liberal values against against the intolerance of an unreformed Islam. Unfortunately, this kind of apologia was also echoed on the New Left who mourned the death of non-aligned Socialism, and saw the West 'manufacturing consensus' for intervention in Bosnia and Kosovo. They also doubted the camps in Omarska and wondered whether Srebrenica was really an act of genocide and not 'exaggerated'. Some of them formed a Committee in Defence of Milosevic. Islamisation was, to some, the secret plan of Western capitalism to destroy actually existing socialism. Add to this already toxic mix the slow-burning Intifadas in Israel's occupied territories, Hamas suicide bombers, Likudite obstructionism after the assassination of Rabin, and a perfect storm was brewing.... Then 9/11 came along. After the mind-shattering attacks on the World Trade Centre all nuance was lost. The enemy was blindingly clear: the death-loving, mass-murdering, medieval fundamentalism of Al Qaeda and the Taliban. In hindsight this traumatic over-reaction was probably inevitable. Gone was the characterisation of Islam as a multifaceted religion of 1.6 billion adherents, with its own major schisms between Sunni and Shia, or Alawites, Ismailis or Sufis. Everyone - TV pundits, newspaper columnists, novelists, playwrights - became experts on the extreme doctrine of Salafist Wahabis. The backlash was set.... For different motives, some of them almost honourable, modern Islamophobia grew out of a strange confluence of four very different currents; old fashioned xenophobic racism, atheist anti-clericalism, socialist nostalgia, and a Neo-con belief in reshaping the Middle East. When future historians ponder the fiasco of the Iraq War, the horrors of Abu Ghraib, or indeed the over reach of the initial policing operation in Afghanistan, I'm sure conclude they will conclude that for several years Osama Bin Laden achieved his objectives. After all, that's what the 9/11 attacks were meant to provoke: a massive over-reaction by the West which would lead to more polarisation, more Muslims being driven into Al Qaeda's arms when the realised the tolerance of western liberal democracy was fake, and we are all Covert Crusaders. We almost played straight into his hands. But not quite. And that's why the battle against Islamophobia is as crucial to our own security as the battle against Salafist Jihadism.</p>
<h1>Is Multiculturalism to Blame?</h1>
<p>Let us not forget, though there were numerous young Muslims at the Utøya summer camp, Breivik's target wasn't a mosque or the small Norwegian Muslim community, but what he considered their 'Marxist' enablers; young members of the ruling Labour Party, who were using 'multiculturalism' as a back door for the secret destruction of Christendom. It's a completely illogical belief: why would Marxists pretend to be social democrats to ally with Fundamentalist Islam to destroy Christianity? But it's not unheard of in the UK, and on these boards I've argued with commenters who claim that Labour deliberately 'swamped' the UK with Muslim immigrants in the rush for more votes. Despite the crazy conspiracies, Breivik's hatred of multi-culturalism is a popular them among far right parties in Austria, Holland. Switzerland, Sweden and Denmark. For the most part, especially in the Scandinavian countries, these are relatively small ethnically homogenous states and aren't multi-cultural at all. But that doesn't seem to stop them worrying about it. Unfortunately, in the last year, the 'multi culturalism' canard has been echoed by leaders of two of the largest countries in the EU: Angela Merkel in Germany and David Cameron here. As the Nobel Chair and former Norwegian Prime Minister Thorbjørn Jagland has suggested, they could be <a href="http://www.guardian.co.uk/politics/2011/jul/30/david-cameron-far-right-nobel-warning">"playing with fire"</a></p>
<blockquote>Four months ago in Munich, Cameron declared that state multiculturalism had failed in Britain, a view immediately praised by Nick Griffin, leader of the BNP, as "a further huge leap for our ideas into the political mainstream". Marine Le Pen, vice-president of the far-right National Front party in France, also endorsed Cameron's view of multiculturalism, claiming that it corroborated her own party's line.
<blockquote>"Political leaders have got to defend the fact that society has become more diverse. We have to defend the reality, otherwise we are going to get into a mess. I think political leaders have to send a clear message to embrace it and benefit from it. "We should be very cautious now, we should not play with fire. Therefore I think the words we are using are very important because it can lead to much more."</blockquote>
</blockquote>
<p>Though I think Cameron's speech was ill-advised, and a bit of a sop to the Tory right, I don't he can be at all blamed for the atrocity in Norway ten days ago. Indeed, Breivik discussed Cameron as one of his targets. I also don't think that debating 'multiculturalism' is inflammatory in itself. The problem is - as I'm willing to debate - that the term means many different things. In most of Central Europe, Multi-Kulti was a policy to deal with historic minorities of Germans, Hungarians, Czechs, Poles etc left over from the decay of three empires, and not yet cleansed by either Hitler or Stalin. As the Former Yugoslavia shows, that policy of effective segregation was neither stable nor enlightened. When Merkel uses the term 'multi-culturalism' she is part adverting to this, and arguing in favour of rights for long-standing children and grand-children of Turkish gastarbeiter (guest workers) who under the old blood-line form of German citizenship didn't have status, (though an ethnic German from the Russian Volga would). Merkel's attack on multi culturalism is partly an attack on and <a href="http://en.wikipedia.org/wiki/Jus_sanguinis">Jus sanguinis</a> and a defence of integration. However, when David Cameron used the same language, he was kicking a giant strawman. Multi culturalism has never been Government policy here and <a href="http://en.wikipedia.org/wiki/Jus_soli"> Jus soli</a> - place of birth - has generally determined citizenship. In terms of civil rights, immigration, housing and cultural policy, Britain has generally followed a path of integration, or - as David Goodhart would argue in recent years - no plan at all. Apart from the unfortunate exception of the former Mill Towns of the north, most our cities are heavily integrated compared to Rotterdam, Brussels, Paris or Berlin. No doubt much more needs to be done, but I know of no-one in the Labour Party, even during left separatist sections in the 80s, ever argue for the policy of segregationalist multi-culturalism. Since the overwhelming majority of our Muslim population are now first or second or even third generation, the question of current immigration hardly solves this point either. <em>And let us not forget, Britain has been for three hundred years a multi-national, mult-ethnic and multi-denominational nation.</em> There will be and always has been a problem between communities. But yolking together, as Cameron did, the problem of Islamic extremist and multiculturalism, is just a bit of short term blindness. Throughout my youth, the problems of integration had nothing to do with religion, unless someone wants to argue the riots in Handsworth, Toxteth, Brixton, St Pauls or Tottenham were a problem of fundamentalist Rastafarianism. Whatever the issues today in Tower Hamlets and Bow, a hundred years ago the press was filled with similar stories of terrorists and anarchists in the East End. These new immigrants dressed strangely, spoke incomprehensibly, ate weird food, and followed disturbing religious practices with their own 'laws'. It was fashionable to denounce them, in newspapers, novels, even in Nobel prize winning poetry. To many their presence in Britain was a huge threat to our way of life and security. Many inveighed against the tolerance of the government, their kowtowing to extremism. Things got so bad that fear of these strange co-religionists and their conspiracies ignited a Europe-wide movement. The tension finally erupted into major street violence, as those who opposed fundamentalist religion marched through the East End... This of course was march of Mosley's Black Shirts in 1936 and their routing at the Battle of Cable Street. These strange and alien people were Ashkenazi Jews, who had fled pogroms in Lithuania, Poland and other dominions of the Tsarist Empire and arrived in London in their hundreds of thousands at the end of the 19th Century. Anti-semitic fascism was stopped in its tracks in London that day in 1936, though it raged unabated in Europe for another ten years, leading to the destruction of Central European Jewry and the ultimate horror of the Holocaust. Though feared a century ago, in many ways redolent of the language to describe Muslims in the UK today, we now see the influx of Jews into this country not as a social problem, but a huge boost to the intellectual, social and economic life of our nation. <em>If 'multiculturalism' means this, the British history of religious and ethnic tolerance, of rejecting faith or raced based hatred as a political program, then what's wrong with it? Let me sign up.</em></p>
<h1>How do We Fight It? And How I Went Wrong</h1>
<p>For all that fighting talk, I don't actually think - especially since the modern channels of communication are more virtual - that street battles are the way to go in combating Islamophobia. Just as it has taken root so quickly online, through ideas and theories spreading across the web, our task to to tackle them in the same way: counter the arguments whenever we find them, dispel understandable anxieties with facts, replace lies with real information, and both in ourselves and among others, look for a broader exploration about what Islam really means. As I said, concluding my essay a year ago:</p>
<blockquote>For all these reasons I believe that, left unchecked, this tide of Islamophobia could be as catastrophic for this century as Anti-semitism was in the last. It strikes at the heart of the modern nation state, which was partly created as an answer to centuries of religious warfare, and gives support to extremists and religious zealots everywhere. If we want to preserve our tolerant liberal democracy, should do all we can to expose, argue, and root out Islamophobia wherever we find it - even in our own minds.</blockquote>
<p>And this leads me to a counter-intuitive conclusion: <strong>let's welcome the Islamophobes entry into the discussion</strong>. Let's not berate them. Let's not just call them names. Islamophobia is a philosophy, a simplistic and almost appealing apocalyptic philosophy that seems to explain our confusing world. Not all of those who express these ideas have thought them through. Many have arrived at them on the basis of false evidence and misinformation. Every human on this planet has a racist side - and we're all hard-wired to look for 'out group' enemies to increase our 'in group' bonding. So banning hate speak, censoring anti Islamic statements, that will not make Islamophobia go away. We should engage with the arguments, expose the contradictions, follow the ultimately dangerous and genocidal logic. Let's shed daylight on this phenomenon, because if the experience of Bosnia teaches us anything, it just flourished buried under a rock. This is where I actually think the internet, and the Anglo Saxon tradition of liberal debate does the exact opposite of what Nick Cohen suggests: it will eventually cleanse extremism with daylight. And this is where I have to share some of the blame. When encountering anti Islamic statements, I have always tried to resist equating the sin with the sinner, making a racist comment an indication of deep and abiding racism. But I have also failed to make that distinction sometimes, and therefore made the hatred unsayable, and more likely to find its outlet in violent or nefarious ways. <em>In this debate, we should be careful to separate out the separate strands of Islamophobia from the hardcore racist element.</em> <strong>To those who fear Islam in itself</strong>, let us remind them that to characterise this vast religion by the activities of Bin Laden would be as bad as characterising Christianity by the activities of Timothy McVeigh, or Judaism by those of Baruch Goldstein, or indeed Buddhism by the killings of the Aum Shurikyro cult behind the Sarin gas attack on Tokyo. Indeed, analysing modern history by medieval standards plays into the hands of the fundamentalists who, by such simplistic standards, can rightly point out that in the last couple of decades, <em>Christians killed each other by their thousands in Northern Ireland, by their millions in Rwanda and - apart from killing Muslims in Bosnia - Christians invaded with much bloodshed the Muslim states of Kuwait, Somalia, Afghanistan and Iraq</em> <strong>To the Neocons</strong>, who wanted to reshape the Middle East, and who believed Arab countries were dominated by corrupt Autocrats, we can point to the positive homegrown examples of revolution in the Arab spring, the faces of hope and resilience in Tahrir Square, the continued struggles in Syria, Libya and Bahrain, and prove that Islam is not always in love with dreams of a medieval caliphate. <strong>To the militant atheists and anti-clericals</strong>, we can point out that secularism is not just a freedom from religion, but a freedom of religion, and that Britain has - since the time of Elizabeth the First - moved progressively down the road that religion is a matter for private belief, and not to be castigated or controlled by the state. Forcing people not to believe in any God would be just as bad as forcing them to believe in One God. This is the hard core of tolerance, and cannot be defended with intolerance. <strong>Finally, to the nostalgic socialists we can say</strong>: yes you had a point. Communism did manage to repress the nationalist and religious conflicts under its iron fist. But repression, censorship, banning religious symbols, closing mosques and churches, was merely a cork in a brewing bottle of venom which, when removed, exploded with even more force. The solution to all extremism is exposure: exposure to facts, opposing ideas, diversity of debate. So those who disagree with me... please start below.</p></div>]]></description>
			<author>pdjukes@gmail.comv15 (Peter Jukes)</author>
			<category>History &amp; Ideas</category>
			<pubDate>Mon, 01 Aug 2011 00:00:00 +0000</pubDate>
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			<title>Tony Judt: A Man of his Word</title>
			<link>http://www.peterjukes.com/joomla3/essays-blogs-journalism/history-a-ideas/item/135-tony-judt-a-man-of-his-word</link>
			<guid isPermaLink="true">http://www.peterjukes.com/joomla3/essays-blogs-journalism/history-a-ideas/item/135-tony-judt-a-man-of-his-word</guid>
			<description><![CDATA[<div class="K2FeedImage"><img src="http://www.peterjukes.com/joomla3/media/k2/items/cache/be7685026070406a215779b242f1aa2e_S.jpg" alt="Tony Judt: A Man of his Word" /></div><div class="K2FeedIntroText"><p>&nbsp;Peter Jukes discusses history, life and justice with the late Tony Judt—a master of morally charged rhetoric</p>
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<p><img style="margin: 7px;" src="http://www.peterjukes.com/joomla3/images/173_arts_jukes11.jpg" alt="173 arts jukes11" width="480" height="360" /></p>
<p>Tony Judt and friend in Israel in 1967: being an ex-Zionist has helped him tackle the controversial issue of America’s relationship with Israel.</p>
<p>Tony Judt died, surrounded by his family, on the the evening of August 6th, 2010. The New York Times obituary can be <a href="http://www.nytimes.com/2010/08/08/books/08judt.html?_r=1&amp;emc=eta1">read here</a>. A full transcript of Peter Jukes’s interview—the last in-depth interview Judt undertook before his depth—can be read on our website <a href="http://www.prospectmagazine.co.uk/2010/07/tony-judt-interview/">here</a>.</p>
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<p>Though not one to run shy of controversy, Tony Judt—historian, thinker, professor; commentator on the French left, American identity politics, Israel and much more besides—has never been one of those controversialists whose opposition can be predicted. In the many times I’ve heard him speak, I have never been able to guess in advance what he would say next.</p>
<p>Part of this unexpectedness is no doubt due to his career spent dealing with the exigencies of history rather than the sweeping formulations of philosophy or cultural theory. Born in London in 1948, Judt took a doctorate in history at Cambridge before moving to Paris to study at the Ecole Normale Superieure. His first book, Socialism in Provence 1871-1914, appeared in 1979 and explored a small slice of time in forensic depth. Next came a series of essays on the French left, followed by a book on postwar French intellectuals; it was only gradually that Judt moved on to larger canvasses. As he put it to me: “My first non-academic publication—a review in the Times Literary Supplement—did not come until the late 1980s. And it was not until 1993 that I published my first piece in the New York Review of Books. So that’s a 25-year learning curve.”</p>
<p>I interviewed Tony by email earlier this year (a full transcript of this exchange is available <a>here</a>). The motor neurone disease he was diagnosed with in 2008 has rendered him quadriplegic and he dictated his replies to an assistant. Tony and I have known each other for 12 years, having met at the 1998 Remarque Forum—a conference he sponsored as professor of history at New York University and the first of what would become almost an annual institution, devised to keep the transatlantic dialogue alive after the cold war. The event itself, located at a remote retreat on the border between Florida and Georgia, was no typical academic conference but comprised an eclectic mix of writers, entrepreneurs and other European and American professionals on top of the historians and political scientists—from a former ballet-dancing Swedish cultural attache to a neuroscientist who would go on to be the CNN doctor.</p>
<p>The subject matter was “cultural policy,” something Tony confessed he knew little about. But listening to him was like watching an experienced jazz musician find a new riff, as he discoursed in sentences of considerable syntactical complexity and nuance and arrived, unbidden, at new conclusions. Since few of us then knew who Tony Judt was, we argued back in equal measure. The forum remains my first and best experience of the power of public discourse: diverse, dissenting voices, encouraged to be provocative and exploratory.</p>
<p>Given the controversy that Tony’s writings have generated in recent years, it’s easy to forget just how instrumental the Forum, and the Remarque Institute he founded in 1995, have been in encouraging others to take intellectual courage. Tony admits he is something of an “awkward customer”—a trait that may derive from his childhood in a left-wing Jewish household in London, or his youth amid the adversarial dialectics of Oxbridge. The need to go marching towards the sound of cannon fire has taken him on various journeys—most notably to Israel in June 1967 during the six days war, when he worked as a translator and driver for the Israel Defence Force. He was in Paris in 1968, and visited Prague, Warsaw and California in the 1980s.</p>
<p>By the time I met Tony he was already writing the book on European history that would consolidate his international reputation: Postwar. Largely a work of assimilation and historical consensus, it was in the appendix—entitled “The Unconscious of History”—that Tony set about unpicking one of the times’ darker and more disturbing trends: the way memories of the Holocaust have been used and abused over the last 50 years. This background paved the way for him to enter one of the most contested issues in US intellectual life: America’s relationship with Israel and Zionism.</p>
<p>A 2003 essay in the New York Review of Books, “Israel: The Alternative,” triggered the first great furore. In it, Tony made the case for “a single, integrated, binational state of Jews and Arabs, Israelis and Palestinians” rather than the “doomed” two-state solution. This argument has been heard in Israel since its foundation, but time and place are everything and Tony’s gift for saying “unpopular things in large public spaces” (his own words) brought widespread condemnation in the US.</p>
<p>Previously reticent about his background, Tony is honest about how he used his personal history to leverage this debate: “Being Jewish is not enough. Being an ex-Zionist is not enough. But being an ex-Zionist who wore the Israeli army uniform, and has a pic of himself complete with cutie and sub-machine gun [see opposite]: that helped. And in this case, the end justified the means. No one can shut me up on this subject, so they are forced to resort to cliches about self-hating Jews and the like: evidence of failure.” These revelations came at some personal cost. His op-eds disappeared for a while from the New York Times and he ceased writing for the New Republic. It’s still too early to tell whether Tony’s intervention helped or hindered productive dialogue, but he certainly opened a space to talk about middle-eastern politics which, in America at least, did not exist before.</p>
<p>And he did it with an acute sense of timing. The larger dramatic context was 9/11 and the subsequent invasions of Afghanistan and Iraq. Being a member of the Remarque Forum email list in 2001-03 was a memorable lesson in how the transatlantic dialogue was drifting apart, especially when one of the New York contributors wrote, on the morning of 12th September: “We’re all Israelis now.” This was one of the moments when not quite knowing what Tony would say was nerve-wracking.</p>
<p>The Forum had often discussed Nato military action in Bosnia and Kosovo and—to the shock of some—Tony had fairly unequivocally supported it. One would thus have assumed he was in the camp of the “liberal interventionists,” especially when he also spoke out in favour of the initial policing actions in Afghanistan. But then along came Iraq, and in the September 2006 issue of the London Review of Books Tony produced a devastating critique of the co-option of liberals by the neocons—titled, after Lenin, “Bush’s Useful Idiots.”</p>
<p>Four years later, its conclusion still resonates: “Intellectuals should not be smugly theorising endless war, much less confidently promoting and excusing it. They should be engaged in disturbing the peace—their own above all.” As he explained it to me, “My objection to all my liberal friends who ran with the Iraq hawks is that they were not making the case for liberal interventionism but for exemplary war… I don’t believe that one should have one-size-fits-all moral rules for international political action. That’s what misled [Adam] Michnik and [Michael] Ignatieff and others: because they believed in rights for Czechs and Poles they had to believe in them for Iraqis too and so had to back plans to liberate the latter.”</p>
<p>For all this, Tony remains ambivalent about his role as a public figure. “It does irritate me when I am described as a controversialist and commentator on Israel. I see myself as first and above all a teacher of history; next a writer of European history; next a commentator on European affairs; next a public intellectual voice within the American left; and only then an occasional, opportunistic participant in the pained American discussion of the Jewish matter.”</p>
<p>There’s little doubt, though, that his restless drive to pursue an idea to its proper conclusion has lost Tony friends and allies over the years. It’s not just the authority of knowledge that makes him hard to ignore—there’s also the talent for the provocative comparison or phrase. Tony admits that even during his undergraduate days at King’s College, Cambridge, in the late 1960s, “I was—and knew I was—among the best speakers and writers of my age cohort… John Dunn, my favourite King’s supervisor, once described me as ‘the silver-tongued orator’: a barbed compliment, since it suggested that I spoke before I thought and seduced rather than convinced. But I like it all the same.”</p>
<p>One of the things that entranced me at that first meeting with Tony was this ability to “speak before thinking”—or, rather, to “think while speaking.” Even before the onset of motor neurone disease in 2008, which forced him to conflate speaking and writing (his subsequent works have all been composed in his head and then dictated), Tony both talked in joined-up literary sentences and wrote with an aphoristic freshness. You can see this stylistic mastery let loose in the pieces he has been publishing this year in the NYRB: 1,700-word slices of memory and reflection about, as he put it in the first of them, “events, people, or narratives that I can employ to divert my mind from the body in which it is encased.”</p>
<p>Apart from these, the major work written under the extraordinary conditions of his paralysing illness is also Tony’s least historical and most overtly political. Published this March, Ill Fares the Land began life as a public lecture undertaken “to prove that what I had been saying about this disease—that it doesn’t affect your mind—was externally verifiable… I suppose the book would have been a little tighter and maybe more methodologically consequential if I had done it the old way. But it would surely have lacked the energy and anger.”</p>
<p>The result is an indictment of the Anglo-Saxon model of free-market economics since 1979. If there’s an element of improvisation to the book’s origin, there’s nothing ad hoc about the host of references it unlocks. The historical range underpinning Postwar is all here, but deployed to explain that government wasn’t always bad and that collective action wasn’t always tainted by the “socialist” authoritarian smear.</p>
<p>Dedicated to Tony’s two American-born sons, the text tries to address both a transatlantic and generational divide. The result is an occasionally awkward attempt to reach very different audiences, but from its opening sentence it rarely ceases to compel: “Something is profoundly wrong with the way we live today. For 30 years we have made a virtue out of the pursuit of material self-interest: indeed, this very pursuit now constitutes whatever remains of our sense of collective purpose.” Ill Fares the Land has attracted some negative reviews from both right and left for skipping over the historical failures of Keynesianism and the electoral success of the “third way.” But the financial collapse of 2008 and the way the state had to step in and “save capitalism” are pretty unassailable arguments against the status quo ante.</p>
<p>What Ill Fares the Land does not do is describe a grand project for a brand new hegemonic future—it’s much more modest than that. When I ask him about what some might see as the book’s inherently tragic vision, Tony rejects the idea: “You can’t have a tragic vision in politics: not if you wish to intervene and convince… One of the very few things that I know I believe strongly is that we must learn how to make a better world out of usable pasts rather than dreaming of infinite futures. It’s a very late-Enlightenment view that says that the only way to make a better future is to believe that the future will be better.”</p>
<p>Judt has studied, combated and even taken part in many of the radical new beginnings of the last 60 years: Zionism, the new left, deconstructionism, neoconservatism, neo-liberalism, new Labour. Yet from a deep-rooted left-wing liberal perspective, Ill Fares the Land ultimately offers a conservative conclusion. The left has lost too much in its obsession with newness and creative destruction, it argues. The “usable pasts,” with all their limitations and possibilities, have the virtue of being known.</p>
<p>One of these pasts is the lost role of the public intellectual: well-informed but willing to range beyond the ghetto of expertise—who doesn’t just observe but also tries to intervene or provoke. The economic background to Ill Fares the Land might be incomplete but the reappraising anger is just. Tony’s willingness to take on this topic—to use his fast-depleting energies on this particular stage at this particular time—is yet another dramatic intervention, combining a personal voice with a knowledge of history and sense of occasion in a way that is both responsive and responsible, timely and moral.<br /> <strong><br /> <a href="http://www.prospectmagazine.co.uk/2010/07/tony-judt-interview/">Click here</a> to read the full transcript of Peter Jukes’ interview with Tony Judt</strong></p>
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			<author>pdjukes@gmail.comv15 (Peter Jukes)</author>
			<category>History &amp; Ideas</category>
			<pubDate>Thu, 22 Jul 2010 00:00:00 +0000</pubDate>
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			<title>Shock and Awe: Apocalyptic Thinking</title>
			<link>http://www.peterjukes.com/joomla3/essays-blogs-journalism/history-a-ideas/item/122-shock-and-awe-apocalyptic-thinking</link>
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			<description><![CDATA[<div class="K2FeedIntroText"><h1><strong style="color: #444444; line-height: 1.71428571; font-size: 12px;"><img src="http://www.peterjukes.com/joomla3/images/12dream1.jpg" alt="12dream1" /></strong></h1>
<h2><strong>THE DARK WAVE</strong></h2>
<p><strong>&nbsp;</strong></p>
<p style="margin: 0cm 1.3pt 0.0001pt 36pt;"><span style="font-family: 'times new roman', times; font-size: 12pt;"><em>&nbsp;“Looking out to sea, I noticed a dark black object travelling toward the shore. At first sight it seemed like a low range of hills rising out of the water…. A second glance – and a very hurried one at that – convinced me that it was a lofty ridge of water many feet high.”</em></span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;"><strong>&nbsp;</strong></span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">That’s how a Dutchman saw the advance of a massive wave on the small Indonesian town of </span>Anjer<span style="font-family: 'times new roman', times; font-size: 12pt;">. He was also one of the few to survive and describe its retreat.</span></p>
<p style="margin-left: 36pt;"><span style="font-family: 'times new roman', times; font-size: 12pt;"><em>“The sight of those receding waters haunts me still… As I clung to the palm tree…. There floated past the dead bodies of many friend and neighbour. Only a mere handful of the population escaped... scarcely a trace remains of where the once busy, thriving town originally stood.”<strong>[1]</strong></em></span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">This description, horribly familiar after the </span>Indian Ocean<span style="font-family: 'times new roman', times; font-size: 12pt;"> earthquake of late 2004, is in fact an eye witness account of the massive eruption of Krakatoa in August 1883. Though separated by over a century these two cataclysms are closely connected. Both took place along the same plate boundary in one the most tectonically active parts of the world. On both occasions it was the subsequent sea surges rather than the original eruption or earthquake that caused the most devastation and loss of life. From a geological perspective, neither events are exceptional, just the regular release of energy from a subduction zone where the Indo-Australian and Eurasian continental plates collide. But Krakatoa marks a significant moment in human history. As Simon Winchester explains in his timely book, the development of the electronic telegraph, deep sea cabling, and the burgeoning news organisation founded by Julius Reuter, meant that news of the 1883 eruption travelled round the world within 24 hours. Krakatoa was probably the first time a natural disaster became a global news event.</span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">Over a hundred years later, thanks to advances in scientific knowledge, we understand the mechanisms of plate tectonics and can – to a limited extent – predict and mitigate their impact. But though science provides a rational explanation of natural disasters, modern mass communication can have the opposite effect. We now witness the calamity almost instantaneously. Images of terror and death come crashing through our TVs into our living rooms. With the wide availability of hand-held video cameras we also experience the scenes from a vivid personal perspective; parents screaming at their kids to back away the hotel balcony as a second wave comes; holiday-makers trying to outrun the tsunami through forests and paddy fields; and most haunting of all, a wedding video from Banda Aceh which ended with shots of a town swept away in a turbid mass of bodies, vehicles and debris.</span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">Modernity may have eliminated much of the mystery of many disasters, but it has done nothing to diminish their terror. In fact media images seem to affect our perception of the events themselves with many eye witnesses describing the experience as being ‘like a dream’ or ‘something out of movie’. A feeling of unreality is common to many survivors of such traumas, particularly children, who talk of the disaster as if it had been foretold in stories in or prefigured in dreams.[2] &nbsp;Indeed these nightmarish visions may need no real event to provoke them.</span></p>
<p style="margin-left: 36pt;"><span style="font-family: 'times new roman', times; font-size: 12pt;"><em>"I saw this image in my sleep, how many great waters poured from heaven, drowning the whole land… &nbsp;The deluge fell with such frightening swiftness, wind, and roaring that when I awoke, my whole body trembled; for a long while I could not come to myself. So when I arose in the morning, I painted what I had seen."&nbsp; <strong>[3]</strong></em></span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">This description was scrawled in 1525 by Albrecht Dürer beneath his sketch ‘The Deluge: a Vision’. Years earlier, as a young man, Dürer had made his fame and fortune as a purveyor of apocalyptic imagery. The years leading up to 1500 were filled with political and religious fervour, and Dürer’s woodcuts of the Book of Revelations are one of the first best sellers of the age of mechanical reproduction. But this impromptu watercolour is a private nightmare, more personal and disturbing. Stripped of religious imagery and symbolism, it shows large dark blob of water looming over the landscape looking prophetically like the base of a mushroom cloud.</span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">It seems, with or without direct experience, we have a deep psychological need to <em>imagine the worst</em> before it happens. These cataclysmic visions haunt our dreams and pervade our culture. But where does this fascination with catastrophe come from? To a certain extent it’s obvious: our evolutionary success as species is linked with the sudden leap in brain power which allowed us to extrapolate, imagine the future, and plan ahead. Humans are highly successful ‘scenario building machines’</span><span style="font-size: 12pt; font-family: 'Times New Roman', serif;">[4], and projecting calamities, floods, earthquakes, may be a mental early-warning system to help us prepare for the worst, act accordingly, and survive. But another dream suggests that our fascination with destruction may not always help us avoid it.</span></p>
<p style="margin-left: 36pt;"><span style="font-family: 'times new roman', times; font-size: 12pt;"><em>“I dreamed I saw a great wave climbing over green lands and above the hills. I stood upon the brink. It was utterly dark and hideous before my feet…. I could only stand there, waiting…”<strong>[5]</strong></em></span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">This was the childhood nightmare of another master of apocalyptic narrative, J.R.R. Tolkien, and shows how the dream of destruction can lead to paralysis rather than action. We are frozen, rooted to the spot, surrendering to the awe-inspiring force of nature. This feeling of acquiescence explains the almost mystical feelings people have about catastrophes: they are our contact with a power greater than ourselves – through their terror we touch the face of God.</span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">About two weeks after </span>Indian Ocean<span style="font-family: 'times new roman', times; font-size: 12pt;"> disaster, driving through the well heeled suburbs of </span>Atlanta<span style="font-family: 'times new roman', times; font-size: 12pt;"> I saw an electronic billboard advertising a service for a neighbourhood church: TSUNAMI: ARE THESE THE END TIMES?&nbsp; Here, amid the paraphernalia of modernity, the drive-by banks, Starbucks cafes, wireless networks and SUV’s, was a reversion to an older mythical way of thought. Whatever the advances of science and technology, however widely dispersed is the knowledge of continental drift and geophysics, it seems many of us are still addicted to signs and portents, to seeing in random or natural events some hidden plan or divine narrative.&nbsp;</span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">This is what I call a<em>pocalyptic thinking. </em>Sometimes this archaic but powerful narrative is as obvious as a billboard in </span>Georgia<span style="font-family: 'times new roman', times; font-size: 12pt;">. But the myth also persists I believe at an unconscious level in secular ideologies, popular culture, and contemporary politics.&nbsp; Not surprisingly, we can find the most complete account of it in religion.</span></p>
<h2><strong>RELIGION AND TERROR: DIVINE VIOLENCE</strong></h2>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">If religion is anything it is <em>totalising </em>influence, and makes claims over all of our lives, from our personal morals and social customs to explanations of how the cosmos originated and humanity began. It is in the area of <em>origins</em> that religion still regularly clashes with secularism and science – whether in the debates about the moment of conception, abortion and stem cell research, or in the continuing objection to teaching Darwinian evolution in </span>Kansas<span style="font-family: 'times new roman', times; font-size: 12pt;"> schools.</span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">One common complaint about the scientific narrative of origins is that it is cold, soulless, and reduces humanity to a series of haphazard evolutionary accidents. However, a quick look at religious accounts of origins is hardly more comforting. In most great myths, the floods in Gilgamesh, Inca and Mayan tales, or the great battles of the Mahabharata, divine creation is accompanied by conflict and cosmic turmoil. In the early Hebrew texts Yahweh also shows the same capricious divine violence, culminating in the destructiveness of the biblical flood. But once Abraham has offered his son Isaac for sacrifice, God starts controlling his temper. He intervenes more indirectly and subtly, through the rise and fall of genealogies, kingdoms and nations. As fitting for a self contained and exiled people, God becomes more remote and self contained. His main promise is in the <em>future</em>.</span></p>
<p><span style="font-size: 12pt; font-family: 'times new roman', times;">It is probably no coincidence that the three great religions that flow from this Abrahamic tradition have themselves had such an impact on world history. Judaism, Christianity and Islam all have strong messianic elements, preaching of a God that remains aloof but interested in human affairs but will one day reinstitute His kingdom and holy law. In a sense, the great innovation of these three monotheisms is that they off an explanation of future <em>ends</em> as much as historic origins [6]. But these ends are more often than not apocalyptic – as tumultuous as the collision of tectonic plates.</span></p>
<p><span style="font-size: 12pt; font-family: 'times new roman', times;">Descriptions of the Last Times vary in detail, but their significant elements remain the same.&nbsp; The usual social order is inverted. Guests are not safe. Father is set against son. Children are disobedient to their parents and show no gratitude. A wider social breakdown occurs. All respect for authority is lost. The pious seem insane while madman govern. Vice is called virtue, and vice versa. The world falls into promiscuity and enters a dreadful decadent epoch.</span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">In the countryside, the land is divided, and excessive wealth is dug from mines. Gold and iron is used a means of greed and war. Natural resources are exploited. Young and pregnant animals are killed for their skins. Forests are burnt and lakes are drained. Soon the natural order is disrupted: there is darkness at </span>noon<span style="font-family: 'times new roman', times; font-size: 12pt;">, unseasonal weather - snow in summer and drought in winter. Fruit rots on the trees, grapes on the vines. The earth turns barren. The air thickens. In the cities, luxury reigns, then gluttony then lascivious insolence. Men behave like goats and sheep, fowls and swine. &nbsp;The day of destruction nears.&nbsp; Apostates, false prophets and messiahs appear. The majority turn to idolatry, while the faithful few wait for a sign. A last battle looms, a final struggle or jihad. The tiny band of the faithful looks like it will be easily overwhelmed by the unbelievers. But then there is sign - a great wind, or a fire, or a plague, or a flood - as God finally intervenes. Mountains are separated like carded wool. Mankind is scattered like moths. The destruction is a purgation,<em> negating the negation, </em>the sweeping away the vanity of the old world for a new to appear.</span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">One can see how this messianic tradition thrived (and continues to thrive) as an underground movement through varied contexts of oppression or exile. The prophet is a social satirist, revolutionary, and </span>Hollywood<span style="font-family: 'times new roman', times; font-size: 12pt;"> movie maker rolled into one. By projecting compelling visions of Doomsday with all the twists and reversals of the genre, he is a dreamer of the absolute, providing a critique of the existing social order. For underneath the apparent fatalism and nihilism is a utopian impulse – a desire for good government and social justice. Judgement day in the prophetic tradition is not just God’s judgement on mankind, but our judgement on ourselves.</span><span style="font-size: 12pt; font-family: 'Times New Roman', serif;">[7] &nbsp;A small amendment to the words of 19<sup>th</sup> century father of anarchism, Mikhail Bakunin, shows how the central premise remained relevant in the Age of Revolutions.</span></p>
<p style="margin-left: 36pt;"><em><span style="font-family: 'times new roman', times; font-size: 12pt;">&nbsp;'Revolution [Revelation] &nbsp;requires extensive and widespread destruction, a fecund and renovating destruction, since in this way and only in this way are new worlds born...'</span> <strong><span style="font-size: 12pt; font-family: 'Times New Roman', serif;">[8]</span></strong></em></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">Since the Book of Revelation is an apocryphal addition to the Christian Bible, it is sometimes argued that apocalyptic thought is only a marginal strand of Christianity, but this ignores the messianic elements scattered throughout New and Old Testaments (especially Ezekiel and Zachariah). In the early years of the Christian church an entire branch of theology, eschatology - the study of last things - was devoted to the apocalypse and many of the great theological schisms centred round the supposed date of the day of judgement. Throughout the middle ages, well into the Reformation, millennial sects emerged to exploit or interpret times of crisis and social upheaval as signs of the second coming.[9] </span></p>
<p><span style="font-size: 12pt; font-family: 'Times New Roman', serif;">This radical tradition also took root in North America with the non-conformists who founded the early colonies. Apocalyptic prophesy flourished during Second Great Awakening in the 19<sup>th</sup> century and has remained a central tenet of many of the evangelical churches in US, particularly among The Church of the Latter Day Saints (Mormons), Seventh Day Adventists and Jehovah’s witnesses. These churches – which are some of the most rapidly expanding today – have in turn inspired a cultural movement obsessed with apocalyptic interpretation of current events. One of the most popular of these is the ‘Left Behind’ novels by Tim LaHaye and Jerry B. Jenkins which have sold over 40 million copies worldwide.</span></p>
<p><span style="font-size: 12pt; font-family: 'times new roman', times;">This brings us to a perverse aspect of religious belief. For many agnostics and atheists, the death toll of natural catastrophes is used an argument <em>against</em> divine intervention or design. The same questions were raised in the newspapers after the recent Tsunami as Voltaire asked after the </span>Lisbon<span style="font-size: 12pt; font-family: 'times new roman', times;"> earthquake of 1755: how can any benign God let such things happen? But this presupposes that God’s will is scrutable, and moreover misses one important part of his appeal: he is <em>Dies Irae </em>as well as God of Love: his power and glory is displayed in wrath and terror as well as hope. A poll soon after the Tsunami confirms this paradox. Nearly twenty per cent of respondents in </span>Ireland<span style="font-size: 12pt; font-family: 'times new roman', times;"> thought the disaster actually deepened their religious belief.[10] &nbsp;</span></p>
<p><span style="font-size: 12pt; font-family: 'times new roman', times;">I would go further and argue there is something in the Abrahamic monotheistic tradition which is inherently apocalyptic, and therefore lends itself easily to violence and terror. Martyrs are willing to sacrifice this life for the life hereafter, and as we have seen long before the advent of suicide bombers, they are often willing to take other people with them. It may be a big leap to from individual martyrdom to the extinction of earth, but in apocalyptic thinking the leap is easily made. On a purely practical level, the belief in other worlds makes us much more wanton with the one we’ve got. If the mundane material world is just a shadow play of an ideal everlasting reality, is it not more easily disposable?&nbsp; Apocalypse means 'tearing the veil' and maybe that veil has to be ripped to shreds to reveal the true order beneath. In a sense, it’s better to believe that some kind of agency is in control – even if this is manifest in the destruction of the world – than to imagine the universe is random.</span></p>
<h2><strong>UNFORGETTABLE FIRES: THE AESTHETICS OF DISASTER</strong></h2>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">Max Weber suggested that one of the great achievements of the Enlightenment was that it separated the totalising claims of religion into three distinct secular spheres; knowledge about the universe became the domain of science: codes of personal or political behaviour went to ethics and law: while the emotional solace and sensuous appeal of religion became the province of the arts.</span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">We don’t have to look far to see where the apocalyptic element survives in modern aesthetics, From <em>Birth of a Nation,</em> through the fires of Atlanta in <em>Gone with the Wind </em>to the closing napalm sequence of <em>Apocalypse Now</em>, the spectacle of destruction has been a key component of the Hollywood film since its inception. Disaster Movies like <em>Armageddon, Independence Day, The Day After </em>are typical summer blockbuster fare, and even in other genres, such the <em>Terminator </em>or the James Bond franchise, inevitably end in a big bang as the nuclear warhead is detonated or the evil mastermind’s lair is blown up. It is easy to dismiss these pyrotechnics as adolescent fantasies, but as Gaston Bachelard points out in the ‘The Psychoanalysis of Fire’, such images enthral us for a good reason: “fire suggests the desire to change, to speed up the passage of time, to bring all life to its conclusion, to its hereafter... The fascinated individual hears the call of the funeral pyre. For him destruction is more than a change, it is a renewal.” [11]</span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">It is an important insight. Disasters are not the total negation of things, but a rapid process of change from one state to another. Huge explosions are startling demonstration of matter being turned into energy. To watch buildings demolished, or even people blown up, is a perverse revelation of their inner structure. This aesthetic attraction to potent and unpredictable forces has a long a venerable tradition. In classical theory is known as the <em>sublime.<strong>[12]</strong></em></span></p>
<p style="margin-left: 36pt;"><span style="font-family: 'times new roman', times; font-size: 12pt;"><em>Bold, overhanging, and as it were threatening, rocks; clouds piled up in the sky, moving with lightning flashes and thunder peals, volcanoes in all their violence of destruction; hurricanes with their track of devastation; the boundless sea in a state of tumult… The sight of them is more attractive, the more fearful it is, provided only that we are in security; and we readily call these objects <span style="text-decoration: underline;">sublime because they raise the energies of the soul above their accustomed height… to measure ourselves against the apparent almightiness of nature<strong>[13]</strong> </span></em></span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">Kant’s description of the sublime could easily be applied to most apocalyptic imagery. So too could his caveat ‘The sight of them is more attractive… provided that we are in security’. The real appeal of disaster movies is that, no matter how close the camera gets, we as an audience are actually at a safe distance.</span></p>
<p><span style="font-size: 12pt; font-family: 'times new roman', times;">A sense of distance from the spectacle is also something that separates the sublime from one of the other great genre inherited from classical antiquity – Tragedy. For though we speak of disasters as being ‘tragic’, tragedy doesn’t need explosions, or final battles, or lightning. It happens on a smaller more personal scale and surprise is secondary for the outcome of a tragic story is rarely in doubt. The audience know in advance that Oedipus, in his high minded quest to rid </span>Thebes<span style="font-size: 12pt; font-family: 'times new roman', times;"> of its curse, will actually discover he has inadvertently murdered his father and incestuously married his mother. The same is true of Hamlet’s hesitation in avenging his father’s death, or Uncle Vanya’s inability to declare his true feelings, or Willy Loman’s failure to hit his sales targets. We know what is going to happen, and our objective awareness of the inevitability of the story gives us, in Aristotelian terms, the feeling of <em>terror. </em>But our identification with the central hero, our subjective engagement and sympathy with his with flawed intentions, compensates for this distance with a feeling of <em>pity</em>.</span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">Contrast this tragic catharsis with the sublime apocalyptic vision. Events happen in sudden unexpected shifts, usually in a massive landscape of clashing armies and thundering elements. Where individuals are depicted and some kind of empathy results, this is usually abruptly curtailed by the brutal intrusion of powerful impersonal forces. Instead of the Aristotelian catharsis of pity and terror, our main emotional response to the sublime is <em>shock </em>and <em>awe:</em> shock at the violence; awe at the forces revealed. This violence doesn’t have to be on a particularly epic in scale either. In Sophocles’ <em>Oedipus Rex</em>, for example, the hero’s self immolation takes place behind a screen. We have only Oedipus’ verbal account of his blinding and, in a sense, we <em>see</em> his blindness from the inside. At the polar opposite of this experience is the blinding in Bunuel’s <em>Un Chien Andalou. </em>We see a eye forced open – then a razor slash - then vitreous fluid pouring out of the eyeball. The sight is so graphic it is almost impossible to watch. We have objective clarity of vision, in close-up, but a subjectively we are totally blind to the human cost.</span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">It may be an abrupt shift from Greek Tragedy to 20<sup>th</sup> century surrealism, but it serves the purpose of emphasising how the apocalyptic sublime has survived in much modern art. From the salon de refusės, through cubism, Dadaism, fauvism, futurism, constructivism to modern conceptual art, there has been an avowed manifesto of iconoclasm, a consistent desire to shock the audience. If tearing the veil is an apocalyptic impulse, then this an apocalyptic aesthetics is at the heart of the <em>avant garde</em> project, both in its content and treatment of forms. Antonin Artaud expressed it in his Theatre of Cruelty ,and similar violent ruptures preoccupy film, literature, music, sculpture and poetry. But the problem with shock tactics is that they are subject to a harsh law of diminishing returns: to keep ‘challenging’ audiences artists require increasingly virtuoso performances, culminating in cows sliced up and put in formaldehyde.</span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">In such extreme artistic images the Weberian separation between science, ethics and arts begins to break down. Should our judgements be moral, aesthetic or forensic? &nbsp;&nbsp;If this confusion could just remain in the art gallery it might be classed as ‘interesting’, but the uncertainty also affects how real events are mediated. One classic case is from the Gulf War in 1991. When the CNN team reported from Al Rashid hotel on the first night of bombing of </span>Baghdad<span style="font-family: 'times new roman', times; font-size: 12pt;">, they described it ‘the most fantastic fireworks demonstration since the fourth of July’, the flak from the anti-aircraft guns as ‘like a million fireflies’. One of the reporters had to be checked when he kept on describing the beauty. The aesthetic excitement at the spectacle was undermined by the moral revulsion at the fact that people were being killed – and all this in what was supposed to be a factual objective news report. Now wonder the conflict over </span>Kuwait<span style="font-family: 'times new roman', times; font-size: 12pt;"> became known as the first ‘virtual war’, but worse was yet to come.</span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">What finally shattered the accepted norms of media coverage was the Al Qaeda attack on the World Trade Centre in 2001. Images from 9/11 are still difficult to deal with, too horrific and disturbing to be merely iconic they also have their terrible sublime beauty. The images from ground zero are probably the most widely distributed mass media images of the age, and some of the most unrepeatable and taboo. There’s also no doubt that the perpetrators of the attacks chose their targets for their symbolic publicity value as part of an avowed campaign of ‘cultural destabilisation’. The essence of a terror campaign is psychological disturbance as much as physical devastation. In religious terrorism this psychic warfare is all the more important because one is ultimately fighting for souls rather than territory. Osama Bin Laden’s achievement was not just to turn civilian planes into guided missiles, but also to transform the technology of 24 hour media coverage into a global propaganda coup. It was another escalation in the virtual war.</span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">Not long after the terrorist attacks on </span>New York<span style="font-family: 'times new roman', times; font-size: 12pt;"> and </span>Washington<span style="font-family: 'times new roman', times; font-size: 12pt;">, and over a decade after CNN was so roundly criticised for their coverage of the Baghdad Bombing, the </span>National Defense University<span style="font-family: 'times new roman', times; font-size: 12pt;"> designed a battle plan for the Pentagon. By combining a vast simultaneous attack by stealth aircraft, cruise missiles, and high altitude bombers, the aim was less to destroy military forces than to inflict a massive psychological blow to the enemy's will. The plan was called "Shock and Awe" and, to great media fanfare, was launched on </span>Baghdad<span style="font-family: 'times new roman', times; font-size: 12pt;"> on the night of </span>March 21<sup><span style="font-family: 'times new roman', times; font-size: 12pt;">st</span></sup> 2003<span style="font-family: 'times new roman', times; font-size: 12pt;">.</span></p>
<p><strong>&nbsp;</strong></p>
<h2><span style="font-family: 'times new roman', times; font-size: 12pt;"><strong>THE CLASH OF ABSOLUTES: A NEW DIVIDE?</strong></span></h2>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">In a mediated world, where moral, political and even scientific judgements can’t be separated from the imagery through which we perceive them, it’s not just Weber’s distinctions that are eroded: the whole Enlightenment edifice is under attack. Back in 1990, after the Berlin Wall fell, intellectuals from right and left were already announcing the End of History - at least history in its linear enlightenment version of progress and social advancement.[14] In a reaction against modern 'soullessness', people would turn elsewhere, seek a reunion with the dead and follow their desire for the 'beyond'. [15] In other words, religion would have its second coming.</span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">To a certain extent these prophesies have come to pass. Religion is regarded as an increasingly powerful political and historical force in first decade of the new millennium. In her book <em>The Battle for God</em> Karen Armstrong describes the rise of Christian, Islamic and Jewish fundamentalism as “embattled forms of spirituality, which have emerged as a response to perceived crisis… Fundamentalists do not perceive this battle as a conventional political struggle, but experience this as a <em>cosmic war between the forces of good and evil</em>.” &nbsp;‘Fundamentalist’ is a problematic adjective in that it implies a backward-looking, conservative force and misses the radical, revolutionary agenda. Perhaps a better term for these militant religious movements is ‘apocalyptic’.</span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">In </span>Europe<span style="font-family: 'times new roman', times; font-size: 12pt;">, with our spreading secularism and lack of church attendance, we tend to see this fundamentalist apocalyptic trend as deeply alien. It belongs to Wahabi Madrassahs on the </span>Pakistan<span style="font-family: 'times new roman', times; font-size: 12pt;"> border, Ultra-Orthodox Jewish settlements on the </span>West Bank<span style="font-family: 'times new roman', times; font-size: 12pt;"> or - perhaps more worrying – to born again Christians on </span>Texas<span style="font-family: 'times new roman', times; font-size: 12pt;">’ ranches. </span><span style="font-size: 12pt; font-family: 'Times New Roman', serif;">[16] One of the recurrent themes of the coverage of the 2004 US presidential elections was George W Bush’s religious faith: his reported belief that he was divinely ordained to lead the country through the war on terror, and that when consulting on political decisions he answered to a ‘higher father’.<span style="font-size: 12pt; font-family: 'Times New Roman', serif;">[17] The success of his strategist, Karl Rove, in mobilising the evangelical vote is often cited as the key component to of election success. Liberal commentators on both sides of the Atlantic now fear that Bush is beholden to the Christian fundamentalists on the radical right, evangelical prophets like Tim LaHaye, co-author of the ‘Left Behind’ novels, who described 9/11 as a wake up call to America: “Suddenly, our false sense of security was shaken. Now we realize we’re vulnerable. And that fear can lead many people to Christ… I see many signs of the Lord’s return.”<span style="font-size: 12pt; font-family: 'Times New Roman', serif;">[18]</span></span></span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">The only problem with this fear is that recent history does not support it. After all, it was only twenty years ago that a conservative republican president was in power with the key support of the religious right. As Gore Vidal reflected ominously at the time, this president was also infected by biblical rhetoric, talking of ‘evil empires’ and apocalyptic struggles. During a time of nuclear re-armament and conflict in the Middle East, he listened to theologians like Hal Lyndsey who believed that Soviet Union was the ‘Gog’ of Old Testament prophesy and reminded him that Armageddon is actually a village 55 miles to the north-east of Tel Aviv.[19] </span></p>
<p><span style="font-size: 12pt; font-family: 'times new roman', times;">But for all the millenarian prognostications of the faithful, and the liberal forebodings of the sceptical, President Reagan’s administration led to the end of the Cold War, the fall of the Berlin Wall and a reduction in nuclear stockpiles.</span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">Our mistake is to take the evangelical rhetoric of the American religious right at face value and, from our own history of religious wars, believe the ideology is more established and totalitarian that is actually the case. At first sight it’s paradox that the first major nation to institute a separation of church and state should boast so much religiosity in its politics, and such a thriving ‘faith based’ sector. But without the backing of the state, preachers have always had to sell themselves in the American marketplace. (Hence the attention-grabbing sign ‘Are these the End Times?’ in </span>Atlanta<span style="font-family: 'times new roman', times; font-size: 12pt;">.) We should also remember that nearly half the nation, the powerful coastal and mid-west states and city populations that voted for Kerry, share a similar sceptical belief-system about war and conflict as Europeans.[20] Meanwhile, Christianity in the remaining red states is less like an organised religion and more like a competitive market, with churches and creeds rising and falling, going big and then going bust, like any other commercial US sector. American faith, even in highly successful organisations like the Church of the Latter Day Saints, is highly unorthodox and individualistic, and the alliance of believers to their creeds probably more akin to a consumers commitment to a brand. For all the talk of end of the world and the approach of doomsday, most Americans are still optimistic and much less fatalistic than, say, Germans about their lives being controlled by outside forces.[21]</span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">A sense of history should stop us from being too pessimistic about American apocalyptic thinking. It should also prevent us from being too optimistic about European immunity to it. I hope this brief tour will have indicated how it still permeates many aspects of secular culture and ideology. The messianic fervour elicited by Bakunin runs through many supposedly secular ideologies of the 19<sup>th</sup> and 20<sup>th</sup> centuries. Both Communism and Fascism created their ‘elects’ – a vanguard of true believers – and projected the future as a series of catastrophes, whether of class struggle or some neo Darwinian racial competition. Even the religious imagery is recognisable: the SS ‘totenkopf’ skull insignia is borrowed from medieval millennial art; the heroes of Marxist Leninism in Soviet iconography look like bearded patriarchs clutching their sacred books; But the most important difference between the American and European apocalypse is much starker and more simple. Within living memory </span>Europe<span style="font-family: 'times new roman', times; font-size: 12pt;"> has an active battleground for the clash of absolutes, cities were razed, populations destroyed, for competing visions of a new world order.</span></p>
<p><span style="font-family: 'times new roman', times; font-size: 12pt;">Those living memories are fading fast, and it’s always easier to divide up the world into sheep and goats than to hold on to a complicated nuanced vision. Though most Europeans won’t go the whole way and describe the </span>US<span style="font-family: 'times new roman', times; font-size: 12pt;"> as the ‘Great Satan’, it’s not unusual to hear people now cite the </span>US<span style="font-family: 'times new roman', times; font-size: 12pt;"> as the main cause for most of the ills of the time, from ecological collapse, globalisation, unemployment, cultural decay, and the forced consumption of Starbucks cappuccinos. I have personally heard well respected intellectuals and commentators, both in the UK and Germany, suggest that the US brought the 9/11 attacks upon themselves, not because of any foreign policy blunder, but because Hollywood had already projected such disasters in movies, and the culture had at times imagined its own demise. In such a way are signs taken for wonders, causes confused with effects. Those who polarise the debate between a secular tolerant </span>Europe<span style="font-family: 'times new roman', times; font-size: 12pt;"> and a hell-bent born again </span>America<span style="font-family: 'times new roman', times; font-size: 12pt;"> are as guilty of the apocalyptic way of thinking they claim to despise.</span></p>
<p style="text-align: right;" align="right"><span style="font-family: 'times new roman', times; font-size: 12pt;"><em>Peter Jukes March 2005</em></span></p>
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<p><span style="font-size: 10pt; font-family: 'Times New Roman', serif;">[1] Quoted inSimon Winchester, <em>Krakatoa</em>,&nbsp; London 2003</span></p>
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<p><span style="font-size: 10pt; font-family: 'Times New Roman', serif;">[2] One of the acute forms of&nbsp; Post Traumatic Stress Disorder is known as ‘Omen Formation’, in which the victim sees signs and portents of the trauma everywhere.</span></p>
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<p><span style="font-size: 10pt; font-family: 'Times New Roman', serif;">[3] <em>The Deluge</em> can be seen in Kunsthistorisches Museum in Vienna. The nuclear resonances of the picture are explored by John Berger in ‘Two Dreams’, <em>The White Bird,</em>&nbsp; New York, 1985.</span></p>
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<p><span style="font-size: 10pt; font-family: 'Times New Roman', serif;">[4] See Malcolm Gladwell, <em>Blink: The Power of Thinking Without Thinking, </em>New York, 2005, but more importantly Stephen Pinker, <em>The Language Instinct</em>, New York,1994</span></p>
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<p><span style="font-size: 10pt; font-family: 'Times New Roman', serif;">[5] These lines taken from the DVD of&nbsp; <em>The Return of the King</em>. New Line Productions, 2004. In the third volume The Lord of the Rings book they are attributed to Faramir. Various biographies claim this was a childhood dream of Tolkien’s.</span></p>
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<p><span style="font-size: 10pt; font-family: 'Times New Roman', serif;">[6].In other religions this trend is not so clear. There are apocalyptic elements in some traditions of Hindu fundamentalism, especially around Shiva and his incarnations. Sri Lankan Buddhism is reported to have developed militant strands thanks to the recent civil war, and the Aum Shinrikyo sect, which launched the sarin attack on the Tokyo metro system in 1995, combined Buddhist elements with a quasi scientific belief in an imminent catastrophe.</span></p>
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<p><span style="font-size: 10pt; font-family: 'Times New Roman', serif;">[7]&nbsp; In English the original meaning of ‘doom’ and its connection to ‘deeming’ - i.e. judging – has been lost.</span></p>
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<p><span style="font-size: 10pt; font-family: 'Times New Roman', serif;">[8] Mikhail Bakunin, ‘The Reaction in Germany’, 1842</span></p>
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<p><span style="font-size: 10pt; font-family: 'Times New Roman', serif;">[9] For examples see Norman Cohn <em>The Pursuit of the Millennium, </em>Oxford, 1957; Christopher Hill, <em>The World Turned Upside Down, </em>London, 1972.</span></p>
</div>
<div>
<p><span style="font-size: 10pt; font-family: 'Times New Roman', serif;">[10] “Last month, a survey by the market research bureau of Ireland found 87% of the population believe in God. Rather than rocking their faith, 19% said tragedies such as the Asian tsunami, which killed 300,000 people, bolstered their belief.”&nbsp; Ian Sample, ‘Tests of Faith’, <em>The Guardian</em>, February 24th, 2005.</span></p>
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<p><span style="font-size: 10pt; font-family: 'Times New Roman', serif;">[11] Translated by Alan C.M. Ross, Beacon paperback, Boston, 1968.</span></p>
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<p><span style="font-size: 10pt; font-family: 'Times New Roman', serif;">[12] first defined by Dionysius Longinus in <em>Peri Hupsous</em> <em>The Art of the Sublime (1st century AD).</em></span></p>
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<div>
<p><span style="font-size: 10pt; font-family: 'Times New Roman', serif;">[13] Immanuel Kant, <em>Critique of Judgement </em>(1790), trans, J. H. Bernard, 2nd ed., London, 1931.</span></p>
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<div>
<p><span style="font-size: 10pt; font-family: 'Times New Roman', serif;">[14] Jean Baudrillard ‘Le Transparence: du Mal’ <em>Essais sur les Phenomenes Extreme</em>s, Paris, 1990. Francis Fukuyama, <em>The End of History and the Last Man</em>, New York, 1992.</span></p>
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<div>
<p><span style="font-size: 10pt; font-family: 'Times New Roman', serif;">[15] John Berger 'Keeping a Rendezvous' by, reprinted in <em>The Guardian</em>, Thursday, March 22, 1990</span></p>
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<div>
<p><span style="font-size: 10pt; font-family: 'Times New Roman', serif;">[16]&nbsp; “ In 1998 a Harris poll found that 66 percent even of non-Christian Americans believed in miracles and 47 percent of them accredited the Virgin Birth; the figures for all Americans are 86 percent and 83 percent respectively.. According to a 1999 Newsweek poll, 40 percent of all Americans (71 percent of Evangelical Protestants) believe that the world will end in a battle at Armageddon between Jesus and the Antichrist.” Tony Judt, ‘Anti-Americans Abroad’ <em>New York</em><em> Review of Books</em>, Issue Volume 50, Number 7, May 1, 2003</span></p>
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<div>
<p><span style="font-size: 10pt; font-family: 'Times New Roman', serif;">[17] Bob Woodward, <em>Plan of Attack, </em>New York, 2004</span></p>
</div>
<div>
<p><span style="font-size: 10pt; font-family: 'Times New Roman', serif;">[18]For an example of the fear see Bill Moyers ‘Welcome to Doomsday’, <em>New York Review of Books</em>, Volume 52, Number 5, March 24, 2005. Tim Le Haye interviewed by Morley Safer on <em>60 Minutes II</em>, CBS News, February 8<sup>th</sup> 2004.</span></p>
</div>
<div>
<p><span style="font-size: 10pt; font-family: 'Times New Roman', serif;">[19] See Gore Vidal, ‘Armageddon?’ <em>Essays 1983-87</em>, London, 1988</span></p>
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<div>
<p><span style="font-size: 10pt; font-family: 'Times New Roman', serif;">[20]&nbsp; Ronald Asmus, Philip P. Everts, and Pierangelo Isernia: ‘Power, War, and Public Opinion; Looking behind the Transatlantic Divide’,<em> Policy Review</em>, Number 123, February–March 2004, Hoover Institute</span></p>
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<div>
<p><span style="font-size: 10pt; font-family: 'Times New Roman', serif;">[21] “The percentage of Americans who believe that success is determined by forces outside their control has fallen from 41 percent in 1988 to 32 percent today; by contrast, the percentage of Germans who believe it has risen from 59 percent in 1991 to 68 percent today.'' From <em>Right Nation,</em> John Micklethwait and Adrian Wooldridge, New York, 2004.</span></p>
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<p>&nbsp;</p></div>]]></description>
			<author>pdjukes@gmail.comv15 (Peter Jukes)</author>
			<category>History &amp; Ideas</category>
			<pubDate>Mon, 07 Apr 2003 00:00:00 +0000</pubDate>
		</item>
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			<title>The View from Shakespeare Cliff</title>
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			<description><![CDATA[<div class="K2FeedIntroText"><p><img src="http://www.peterjukes.com/joomla3/images/shakespeare_cliff1.jpg" width="149" height="149" alt="shakespeare cliff1" style="float: left; margin: 7px;" />Until a few years ago, you could be climbing any chalk down in Southern England. Trails lead up from a council estate, past a recreation ground. On the slopes above, young men with tattooed arms walk their dogs. The grass is like an old rug, woven with wild flowers, cabbage whites and meadow browns. Then the next step you take is empty air.</p>
<p>Few cliff tops drop away so dramatically as this corner of coast where the North Downs are truncated by the Channel. Wave erosion caught the escarpment on an upswing: the sudden panorama is enough to make the heart miss a beat. Sea-level is only some 350 feet below but you can't test the overhang. Clouds could be a few feet distant, or a few miles. Even the chalk underfoot seems to shift.</p>
<p>On Shakespeare Cliff, just west of Dover, vertigo has a good precedent. In October 1604, at the time Shakespeare was probably writing <em>King Lear</em>, his company, The King's Men, visited Dover. In the tragedy, the Earl of Gloucester, blinded for his loyalty to Lear, meets an itinerant beggar 'Poor Tom' and asks him 'Know'st the way to Dover?'.</p>
</div><div class="K2FeedFullText">
<p>&nbsp;</p>
<blockquote>
<p>There is a cliff whose high and bending head</p>
<p>Looks fearfully on the confined deep</p>
<p>Bring me but to the very brim of it . . .</p>
<p>...From that place</p>
<p>I shall no leading need.</p>
</blockquote>
<p>&nbsp;</p>
<p>What follows is one of the most resonant scenes in English Literature. Poor Tom (who is really Gloucester's estranged son Edgar in disguise) leads his father part way up the 'horrible steep', convinces him that he stands on the brink. Renouncing the world, begging forgiveness from his son, the blind man hurls himself forward to a certain death. But Gloucester is deceived. He falls forward on the grass. Returning in the guise of a local peasant, Edgar persuades Gloucester he has fallen the height of ten masts. The old man's life is a miracle. He is purged of his despair. In a single scene the cathartic power of tragedy is expressed: an imaginary fall that restores us to solid ground.</p>
<p>Everything in Shakespeare's description suggests that Aycliffe, renamed after dramatist at least 200 years ago, is the setting he had in mind. Given that this is a key scene in a core work of Western Literature, one might expect it would be a favoured destination on the literary trail: a locus classicus, like the Brontë's Haworth or Wordsworth's lakes. But you are unlikely to meet a cultural tourist retracing Gloucester's steps. The cliff bears no plaques to its pedigree other than its name (and a King Lear Pub in the estate behind). While every adventitious biographical trace has been themed in Stratford-upon-Avon, the Shakespeare Industry has left this monument to the dramatist's conscious poetic powers virtually untouched.</p>
<p><br /><img src="http://www.peterjukes.com/joomla3/images/shakespeare_cliff2.jpg" width="300" height="219" alt="shakespeare cliff2" style="float: right; margin: 7px;" />The cliff may have escaped the deadening hand of the heritage business, but it has not been forgotten by history. A few hundred yards towards Folkestone are the remains of gun-emplacement. A little further on, a vast concrete acoustic ear looks out to sea, a means of detecting incoming planes before radar was invented. Behind, a Battle of Britain monument is planned. One of the closest mainland points to France, the cliff tops are studded with relics of our ambivalence to Europe.</p>
<p>The cliff is riddled with symbolism. Seven thousand years ago these chalk downs were separated from France. Now powerful forces are at work again, reversing the process. It was under Shakespeare Cliff that 2000 metres were dug of the first channel tunnel in 1880. The excavations were stopped due to fears of invasion, but coal was discovered in the process; 'Shakespeare colliery' became the first in the Kent coalfield. A century on, in 1974, tunnelling began again only to be halted by the oil crisis. Today that tunnel, which connects the upper cliff with the shoreline, is used by TransManche Link, the consortium responsible for building EuroTunnel.</p>
<p>A heap of office blocks, cars and fencing now surrounds the old tunnel entrance, the operational headquarters for TML. At the cliff foot diggers and bulldozers, scuttling around like giant steel crustaceans, have filled an artificial lagoon with almost five million cubic metres of spoil from the excavations undersea. A mile of new coastline has emerged, bringing England 250 metres closer to France. Half the chalk slopes have been scooped away.</p>
<p>On this, the most precipitous of the white cliffs of Dover, it is also possible to feel a kind of cultural vertigo. A headland that figures prominently in English Literature, that protrudes deep into national legend and dream, the view from Shakespeare Cliff looks out over the fractured myth of Englishness.</p>
<p>*</p>
<p>Most myths are compounded of cliche and inspiration, history and deceit, and the white cliffs of Dover are no exception. Bluff and obdurate, their significance hardly needs comment: they are the face Britain presents to the world: more specifically, the face England turns towards Europe.</p>
<p>The white cliffs look better from a distance. Indeed, the greater the distance the better. Walter Kent, the lyricist of their most celebrated song, who improbably put 'blue birds over/The white cliffs of Dover', was an American who had not been within 3,000 miles of the place. But reality never bothered a good myth. The cliffs loom larger, whiter, and sturdier in the imagination than they do in fact.</p>
<p>'The eyes of homecomers thank these historical cliffs', wrote Auden in the poem Dover 1937. One might add it is not only the homesick who are grateful, the sea-sick too. My own first impression was from a storm buffeted ferry in the 70s, as it fought the waves to enter Dover harbour. For an hour or more the white chalk matched the colour of my knuckles as I tried to retain my stomach contents by gripping the deck rails. In direct contrast to Gloucester's vertiginous image, from the seaward side, the cliffs have represented stability, a fixed reference point in a shifting, reeling world.</p>
<p>Their whiteness is also essential. It recurs constantly in depictions of English landscape, the plain ground on which the countryside's 'greenness' can be spread. Charles Kingsley compared the cliffs the 'soft limbs of Mother Hertha' (a Germanic earth goddess), and during the Celtic revival this whiteness is often associated with native druidic purity. A crude racial metaphor is also often at work.</p>
<p>Others have been disappointed. Sheltering in Dover Harbour just after the sinking of the Belgrano, Jonathan Raban found the cliffs 'maculated with grime, drained of colour, under a ragged fringe of green'. The whiteness can also stand for sickliness, a pallid constitution, an atrophied state.</p>
<p>Above all, the cliffs form natural defences. Julius Caesar discovered as much when he first planned invasion in 55BC and remarked 'This was no place for disembarking'. By Elizabethan times it was already commonplace to describe the cliffs as England's 'bulwarks', the channel as its 'moat'. Not that nature went entirely unassisted. Dover Castle is the most blatant military complex in the area. Later, when cannons rendered the walls vulnerable, a vast submerged Grand Redoubt was constructed on the Western Heights.</p>
<p>But this fortress mentality also had its critics. Cobbett mocked the Grand Redoubt in his Rural Rides: 'What reason had you to suppose that the French would ever come to this hill to attack it, while the rest of the country was so much more easy to assail?' Caesar caught on quickly too, and took his invasion forces to land on the shingle beach at Walmer a few miles up the coast.</p>
<p>These properties converge to make the white cliffs stand out as an evocative emblem of British Resistance. Talk to local historians and they will remind you how Dover has always been a 'front line' town, suffering Dutch Merchantmen, Papist armadas, Jacobin revolutionaries and Bosch Zeppelins.</p>
<p>It was in the Second World War that the white cliffs reached their highest emotional pitch, and again, distance flattered their effect. In 1940 an anglophile American, Alice Duer Miller, wrote a long sentimental poem called 'The White Cliffs' as part of a concerted campaign to get America into the war. It ran to eleven editions, formed the basis of a film, and encouraged other images: Churchill standing on the cliffs looking over 'Hellfire Corner', a Lancaster limping home, a cartoon showing Hitler furiously hurling his planes against the implacable white walls. Ironically, the cliffs are made into a rallying cry by Vera Lynn just at the moment air power renders them militarily redundant. Blitzkrieg placed most English cities on the front line.</p>
<p>But even geology conspires with the myth. Under a powerful microscope the white chalk is comprised of the skeletons of millions of tiny coccoliths, sea creatures laid down on the seabed some 60 million years ago. It is tempting to see the white cliffs as a kind of ancestral graveyard, white with the bones of the heroic dead, a shrine to national sacrifice.</p>
<p>If this myth has a rival, an enemy of equal symbolic weight, a tunnel to France is the obvious candidate. The fixed link was first posited by a French Farmer in 1751 and for two hundred years since, the French have been suspiciously keen, the English paranoiacally wary. From this side of the Channel, the link has been perceived as a conduit for rabies and revolution, an act of foreign subterfuge, almost rape.</p>
<p><img src="http://www.peterjukes.com/joomla3/images/shakespeare_cliff3.jpg" width="300" height="198" alt="shakespeare cliff3" style="float: left; margin: 7px;" />It is easy to overplay the symbolism. After all, the channel tunnel is merely a long overdue recognition of fifty years of European economic and political integration. But EuroTunnel does little to dispel the wider resonances. The very name itself, implying a tunnel to the Urals, is a grandiose gesture. Company publicity constantly talks in mythic terms of 'joining Britain to the heart of Europe', of a cultural abridgement, of overcoming 'the great divide'.</p>
<p>They might be right. When, by the end of this year, the first passenger service begins through the twin-bore tunnel, trains will dip underground at Santerre and emerge half an hour later north of Folkestone. Travellers will no longer hang on the horizon for the sight of white chalk, no longer suffer the turbulent currents and the relief of dry land. We are witnessing the denouement of a titanic struggle between two historic myths. In that sense, it seems only poetic justice that EuroTunnel should undermine Shakespeare Cliff.</p>
<p>Shakespeare's profile should be hewn into the chalk, just as American presidents are carved into Mount Rushmore. The dramatist is a key propagandist for Britain's splendid imperial isolation after Henry VIII had broken from Rome, Mary had lost Calais, and Elizabeth engaged in war with Spain. He is still a key component in the corporate image of the trading nation: Great Britain Plc. Henry V is quoted at Tory Party conferences as a rallying cry. John of Gaunt's speech (in Richard II) could form a good lyric for a second rap single from Baroness Thatcher, capitalising on her success with the Gettysburg Address:</p>
<p>&nbsp;</p>
<blockquote>'This other Eden, demi-paradise</blockquote>
<blockquote>This fortress built by nature for herself</blockquote>
<blockquote>Against infection and the hand of war</blockquote>
<blockquote>This happy breed of men, this little world,</blockquote>
<blockquote>This precious stone set in a silver sea</blockquote>
<blockquote>Which serves it in the office of a wall,</blockquote>
<blockquote>Or as a moat defensive to a house . . . '</blockquote>
<p>&nbsp;</p>
<p>Now the moat is broken. The fortress has been breached. There is a poetic justice - or tragic irony - to this as well. It was Margaret Thatcher who, with President Mitterand, finally signed the treaty which allowed EuroTunnel to begin. Like her other great continental initiative - the Single European Market - the project was supposed to be free trade project, to leave England's cultural identity intact. On both occasions, she now appears like Faust, conjuring with demons that would tear her apart.</p>
<p>*</p>
<p>Back on Shakespeare Cliff, on a clear breezy day, the misty symbolism of nationhood quickly evaporates. Look across, and there are white cliffs on the French coast too. The continent is only a day trip away.</p>
<p>Nevertheless, there is something distinctly English about the white cliffs. First, they are exceptionally pure, some 98% calcium carbonate. Secondly, they are surprisingly rare. There are none in Scotland or Wales: a few in France, Denmark and Germany. Such coastal chalk cliffs are only to be found in Europe, but southern England has the monopoly.</p>
<p>The geology of the cliffs also gives rise to another peculiarly English landscape: ancient chalk grassland. Formed when the downs were deforested by slash and burn, then grazed with sheep or cattle, the thin chalky soil does not allow any single type of vegetation to predominate. The result is a stunning diversity. On average, 30 species of flora pack every square metre of chalk: spider orchids, wild beat, wild marjoram. This has led some to call ancient chalk grassland England's equivalent to the rain forest.</p>
<p>Squeezed between fingers of urban Dover and an abrasive sea, a thin strip of ancient grassland persists on Shakespeare cliff. The jackdaws and the rock samphire are still here, just as Edgar describes them in King Lear. And if one had to isolate a quality that makes Shakespeare particularly English, the outcrops of patriotic bombast are beside the point. One would look for his true Englishness in the texture of his language, the mix of wildness and cultivation, roughness and delicacy, a verbal variety itself rooted in local landscapes. This is true, above all, of King Lear: the open heath in the storm, the 'poor pelting farms', the flowers with which the mad king garlands his head.</p>
<p>Some 80 percent of ancient chalk grassland has disappeared in the last fifty years. As Twyford Down shows, the habitat is under constant threat. Over the last year a tumultuous change has also taken place on Shakespeare Cliff, but with less publicity, even though the site also has its sacredness. The council estate has lost a dozen houses and a school - demolished. The once quiet valley now swarms with men in hard hats and florescent vests. You have to watch out for traffic when crossing over to the coastal path. If a modern day Gloucester wanted to kill himself, he'd be better off throwing himself under a passing JCB.</p>
<p>A great white gash, smeared by rusty bulldozer tracks currently disfigures Shakespeare cliff, has sliced it in two. Unlike the mythic battle, this devastation does not come from some external threat. It has little to do with EuroTunnel or the fixed link. TML's offices here will soon be dismantled, the site replanted with native plants. Keen to win (or buy) public opinion, EuroTunnel has sponsored numerous conservation schemes.</p>
<p><img src="http://www.peterjukes.com/joomla3/images/shakespearecliff4.jpg" width="300" height="194" alt="shakespearecliff4" style="float: right; margin: 7px;" />Our own Ministry of Transport, however, has no such qualms. Equipped with compulsory purchase orders they have bulldozed an extension of the M20 to Dover Harbour, across cliff top sites of special scientific interest, over the objections of local residents, right through the centre of Dover, severing the town from its sea promenade. All this by way of compensating the Harbour authority and the Ferry companies for any loss of trade when EuroTunnel opens. In a few months time, Shakespeare Cliff will be another noisy if spectacular motorway verge.</p>
<p>This is not the first time the cliff has been betrayed. 18,000 tons of gunpowder blew a large section away to make a platform for the Dover to Folkestone Railway in 1843. When it comes to undermining emblems of Englishness, we are our own worse enemies.</p>
<p>Yet we cling to the wreckage. Two years ago year Dover Council opened a 'White Cliffs Experience' in town: an animatronic, multi-media attraction about the 'Heritage Coast'. The so-called 'historium' recreates scenes from the Roman invasion to World War II. The ferries get a big plug, but there's no mention of Gloucester's imaginary fall. Nor is the current destruction of the clifftops touched upon. Once again, our national heritage seems to consist of elevating images while burying the facts.</p>
<p>Meanwhile, if you want the 'Gloucester Experience' there is still a little time left to climb the real Shakespeare cliff. Looking over the brim, you may recall how a blind man found his feet by a leap of faith. Or perhaps you will remember the story of Lear, a tyrannical old English King, who only awoke from his madness when his daughter arrived here with liberating forces from France. Or you might just listen out for the sea quietly milling the shingle, before the cars drown it out for ever.</p>
<p>&nbsp;</p>
<p><em><b>Published in the Independent on Sunday May 1993</b></em></p></div>]]></description>
			<author>pdjukes@gmail.comv15 (Peter Jukes)</author>
			<category>History &amp; Ideas</category>
			<pubDate>Fri, 21 May 1993 11:33:00 +0000</pubDate>
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