Eruditorum Press

Christmas and Easter nihilists

winston churchill

This Irregularity Has Been Recorded

, , , , , , , , , , , , , , , , 4

Doctor Who frequently did stories which critiqued capitalism to one degree or another.  But there’s an interesting dialectical twist to this, which is that it usually cloaked such critiques in the aesthetics of (for want of a better term) ‘totalitarianism’.

It begins, arguably, with ‘The Macra Terror’… though so much of what that story does ‘first’ is actually just being done openly and consciously for the first time.  Other examples include (most graphically) ‘The Sun Makers’, ‘Vengeance on Varos’, and ‘The Happiness Patrol’.  I’d argue for a few others to go on the list, but these are the most obvious examples.  ‘The Beast Below’ carried on the tradition, as did ‘Gridlock’ before it (albeit mutedly).  Yet many of these stories have been subject to readings which interpret them as right-wing and/or libertarian attacks on aspects of socialism and/or statism (often assumed to be synonymous).  I might even (overall) support such a reading in some cases.  ‘The Beast Below’, for example, is a story which critiques aspects of the capitalist world, but which (to my mind) ends up supplying more alibis than indictments – partially through its use of totalitarian/statist tropes.  I think the thing that leaves them open to such readings is their ‘totalitarian’ aesthetic.  The (myopic, ideologically-distorted) view of socialism which sees it as inherently coercive and statist can grab hold of the aesthetically magnified symbols of statism which litter these stories.

I think this tendency to wrap critiques of capitalism in totalitarian aesthetics comes from the influence of the Nigel Kneale / Rudolph Cartier TV version of Nineteen Eighty-Four, which starred Peter Cushing.

 Stylistically, this production appears to have been deeply influential to the rising generation of programme-makers who would write and design Doctor Who in the 60s.  The totalitarian affect pioneered visually in that production gets embedded in Doctor Who‘s internal semiotic repertoire as a stock way of expressing worries about social freedom.

This isn’t surprising at all, since the aesthetics of totalitarianism have proven a popular and enduring way of expressing such worries in the wider culture, as the proliferation of SF dystopias has shown.  They’re now almost a basic, fallback position for YA books and films.

But we need to do more than just gesture to a particularly influential production.  That’s not enough.  It’s not an explanation.  You can’t just say ‘this production here was influential’.  That’s just begging the question.  The real question is: why was it influential?  What was it about it that made its aesthetics stick so hard?

I think the answer actually lies back in the book.  Much of the horror of the book is the everyday horror of squalor – whether it be the squalor of coldness and dirt and forced ‘healthiness’, or the moral squalor of everyday ideological management.  Orwell gets the former from his experiences of public school (which he wrote about elsewhere with loathing) and the latter from his experiences of working within the BBC.  Even Newspeak is derived from work he did for the BBC World Service in India. …

Continue Reading

May is Macra Madness Month (Shabcast 5)

, , , , , , 2

Fraternal May Day greetings to all workers by hand or by brain, all socialists, and all anarchists.  Have a good one, comrades.  And implacable hatred, opposition and ill-will to all capitalists and their class allies.  Boo, hiss, etc. 

This month, both the Pex Lives Podcast and the Shabogan Graffiti Podcast are covering the classic 60s Doctor Who adventure ‘The Macra Terror’ by Ian Stuart Black, sadly junked long ago, and represented nowadays only by a soundtrack and a reconstruction. 

Shabcast 5 (download or listen here) sees me joined by my longstanding online buddy, actor Elliot Chapman, who also happens to have recently been cast as the new Ben Jackson by Big Finish.  The Early Adventures will be available soon, and will feature Elliot alongside Anneke Wills and Frazer Hines.

Elliot is so smart and erudite that he seems to be on some kind of mission to singlehandedly disprove the old stereotype about actors being thick.  And he likes my blog, which proves he’s clever.  Our chat was fantastic fun, and I’ve had to edit it down savagely to make the episode anything approaching a reasonable length… but this means I’ve got loads of good offcuts, which may appear in later Shabcasts as something in the manner of ‘deleted scenes’.

This Shabcast is possibly the most shabgraffy Shabcast yet, i.e. lots of Doctor Who and lots of politics… as well as unrestrained ramblings from both of us about stuff as diverse as complicity, conspiracy, CRPGs, The Prisoner (of course), Herbert Marcuse, Universal horror films, Abbott and Costello, Marshall Berman, the Nazi’s Degenerate Art Exhibition and The Fresh Prince of Bel Air.

Should keep you nice and distracted as you toil in the pits.

Shabcast 6 (which will be along later this month) will be Phil Sandifer and myself continuing our discussion about the fascists and the Hugo awards.

Also look out for our forthcoming commentary tracks for ‘The Three Doctors’.

Shabcast 7 is already recorded and waiting for its June release.  That’s going to be a special one.

*

Here’s my previous writing about ‘The Macra Terror’, a story I appear to be slightly obsessed with:
  
Skulltopus 3: Yes We Have No Macra

Skulltopus6: Macra Revisited

Happy Workers

32

*

Also, here are links to all my previous audio stuff:

Shabcast 4 (Second part of my interview with Josh Marsfelder)
Shabcast 3 (the emergency anti-fascist Hugo-awards edition with Andrew Hickey and Phil Sandifer)
Shabcast 2 (First part of interview with Josh Marsfelder)
Shabcast 1 (Interview with Phil Sandifer)

‘Mind Robber’ commentaries (I join Phil)
‘The Rescue’ commentaries (I join Phil)
These are best listened to while watching the stories, as long as you’ve seen them once before.  If you’re very familiar with the stories, you can listen to them on their own.

Pex Lives Frankenstein podcast (I join Kevin and James, and Gene Mayes)
Pex Lives TV Movie podcast (Myself and Josh join Kevin and James) …

Continue Reading

Victory of the Icon 4

, , , , , , , , , , , 1

At the time, the liberals and the left thought of World War II as a battle between civilisation and barbarism, between progress and reaction.  This is still the mainstream view today.  But the leaders of the Allies did not think this way, if they were honest.  For instance…

The Churchill who demanded a no-holds-barred prosecution of the war was the same Churchill who had been present during the butchery at Omdurman, sent troops to shoot down striking miners in 1910 [this is probably not true], ordered the RAF to use poison gas against Kurdish rebels in British-ruled Iraq [this is arguable], and praised Mussolini. He had attacked a Conservative government in the 1930s for granting a minimal amount of local self government to India, and throughout the war he remained adamant that no concessions could be made to anti-colonial movements in Britain’s colonies, although this could have helped the war effort. ‘I have not become the king’s first minister’, he declared, ‘to oversee the dismemberment of the British Empire.’ He told Roosevelt and Stalin at Yalta, ‘While there is life in my body, no transfer of British sovereignty will be permitted’.

In the Second World War, many – probably most – ordinary people thought of themselves as fighting the evil of fascism, but

the motives of the rulers remained very different from those of their peoples. This was shown in the conduct of the war.  Between the fall of France in the spring of 1940 and the Allied landings in southern Italy in 1943 most of the fighting by British armies was in northern Africa. Why? Because Churchill was determined to hang on to the area with the Suez Canal and the oilfields. His worries were not just about Germany but also the US, as was shown by a bitter diplomatic tussle between him and Roosevelt over Saudi Arabia. 

The invasion of Italy was itself a consequence of Churchill’s obsession with re-establishing British hegemony in the Mediterranean.  He refused pleas from both Russia and the US to open a second front in France at the time when the most vital battles of the war were being fought in western Russia. Instead he claimed that Italy and the Balkans constituted ‘the soft underbelly of Europe’—despite mountainous terrain which was bound to mean bloody battles and a very slow pace of advance.

Churchill’s refusal to concede the principle of independence for India meant that in 1942, while the decisive Battle of Stalingrad was taking place, thousands of British-led troops were brutally crushing demonstrations in India instead of fighting the Nazis, and that an Indian ‘liberation army’ was formed to fight on the side of Japan. It also led to a famine which killed three million people in Bengal.

The quotes are from Chris Harman’s, A People’s History of the World.…

Continue Reading

Victory of the Icon 3

, , , , , , , , 2

I have a massive, endlessly-lengthening list of books, old and new, that I want to get around to reading.  Donny Gluckstein’s new book A People’s History of the Second World War just went straight in near the top of the list.

Gluckstein’s argument seems to be that WWII was actually two wars, fought in parallel.  One was an imperialist squabble between established empires and up-and-coming imperialist nations that were set to clash with them.  Britain, France, Russia and America (which was already a continental empire and was ready to expand globally) found themselves violently competing for hegemony with Germany, Italy and Japan.  Running beneath this conflict there was a people’s war against fascism (the form taken by the new empires) underpinned by dreams of freedom and democracy.  The imperialists running the first war knew that had to appeal to the priorities of the people fighting the second war in order to enlist their support, hence the democratic rhetoric.

I mention this here because Gluckstein has done an interview for New Left Project, in which he has some things to say about Winston Churchill, the subject of my irregular ‘Victory of the Icon‘ posts.

Churchill was always very clear that his mission in the war was to defend the British empire, not promote the interests of ordinary citizens. He was not ideologically committed to destroy fascism. He made statements such as the following when he met Mussolini in 1927: ‘If I had been an Italian I would have been with you from the start in your struggle against the bestial passions of Leninism’. During the Spanish civil war he backed Franco (whose survival depended on Hitler and Mussolini’s massive material support), and afterwards he defended Franco when some argued that his regime was the unfinished business of WWII. Churchill also backed the Japanese invasion of Manchuria before the war.

During the war itself Churchill was very resistant to the notion of opening a second front (a landing in France) to relieve pressure on Russia. The focus of British strategy until 1944 was to avoid confronting the Nazis in Europe, and instead defend the imperial routes. That is why the main fighting was in North Africa (Tobruk, El Alamein). When the tide turned on the Eastern Front and it looked like Russia would sweep across Europe Churchill suddenly threw his efforts into the D-Day landings.

For ordinary British people the war had a very different meaning. It was a war against Nazism and fascism, for liberation and democracy. Churchill was fighting to defend the status quo of 1939 which, at home, had meant mass unemployment, appalling poverty and deprivation. The majority were not going to put their lives at risk to continue with that. Nor would they be duped with the sort of propaganda issued in the First World War (such as Lord Kitchener’s famous poster – ‘Your country needs you!’) They had seen what imperialist war meant.

And:

Churchill was an important figure in the sense that the British ruling class was divided about what to do with Germany.

…

Continue Reading

Victory of the Icon 2

, , , 2

Winston Churchill was the British Secretary of State for War in 1920.  As such, he was the British politician most directly and personally responsible for the Black and Tans, the notorious ‘special policemen’ (paramilitaries really) sent in to help the Royal Irish Constabulary put down the revolt against British rule.  The Irish people had rejected Home Rule in a referendum… only to find that the British were going to try to impose it by force.  This triggered the conflict – a nationalist revolt met by imperial repression – that is known as the ‘Anglo-Irish War’.

The Black and Tans went on a rampage of violence, targeting civilians alongside anyone suspected of involvement in the revolt.  Indiscriminate reprisals and revenge killings were the order of the day.  Many whole towns and villages were besieged and sacked, often simply as collective punishment for the killings of RIC officers.  They beat, shot, starved and tortured people.  They tore out people’s fingernails in front of their families.  ‘Murder squads’ disguised in civilian clothes roamed the streets.  The Tans sacked Cork and left the city centre in smoking ruins.  The RIC murdered the Mayor in front of his wife and son.

All this horror on the authority of Lloyd George and Winston.  An officer veteran of the Cork ‘campaign’, the man later to become famous as Field Marshall Montgomery, wrote later that it “never bothered me a bit how many houses were burnt.”

Churchill was once challenged about the behaviour of the Tans by Sir Henry Wilson.  Wilson recorded a conversation between himself, Churchill and Major General Henry Tudor (who was running murder squads) on 23rd September 1920:

Tudor made it very clear that the Police and the Black and Tans and the 100 Intelligence officers are all carrying out reprisal murders. … At Balbriggan, Thurles and Galway yesterday, the local Police marked down certain SFs (Sinn Feiners) as in their opinion the actual murderers or instigators and then coolly went and shot them without question or trial. Winston saw very little harm in this but it horrifies me.

Wilson was later assassinated by the IRA… but before we weep for him, we should bear in mind that he wasn’t against shooting people just for being in a political party opposed to British rule… he just thought it should be done ‘officially’.

In Ireland, 1920 was known as the ‘year of terror’.

Mind you, some of the atrocities often attributed to the Black and Tans were actually the work of the regular RIC, or of a different force of British paramilitary terrorists known as the Auxiliaries.  The idea of the ‘Auxies’ seems to trace back to Churchill.  He proposed the idea to a conference of ministers in May 1920.

The Auxies were smaller in their numbers than the Tans but were generally considered cleverer, more ruthless and more violent.  They were involved in the infamous ‘Bloody Sunday’ massacre at Croke Park in November 1920.  RIC men, aided by Auxies, indiscriminately sprayed bullets into the crowd at a football game, fatally wounding 14 civilians.…

Continue Reading

How Curses Work

, , , , , , , , , , 1

We’ve all seen him.  He’s swarthy, usually (though not always) with a dark beard.  He’s often wearing a fez (no, I’m not going to say it) and robes of some kind.

A fanatic.  And friend.

Sometimes, he leaves his home desert and comes to England.  He may be dressed in Western clothes and live in a house with Western furnishings, but he’s got a secret room, or a shrine, or a sanctum behind a billowing curtain, in which he keeps his infernal idols amidst clouds of suffocating incense.

He’s…

(cue dramatic music)

…the Egyptian Fanatic!

When he comes to England, he becomes the mirror image of the English Explorer Who Has Just Returned from Egypt (henceforth, the Explorer).  This man goes to Egypt for the love of antiquities and discovery, and comes back enchanted and bewitched by the place (by the place, mind, not the people); filling his big, wood-panelled home with Egyptiana.  The question of whether the Explorer has any right to this Egyptiana is raised only by the Egyptian Fanatic in England (henceforth, the Fanatic).

The Fanatic has come to England from his native land in search of something, some inscrutable justice, some devilish retribution.  He nurses a grudge.  He clothes himself in Anglo, middle-class normalcy.  He speaks impeccable English, albeit in a heavy accent.  (It doesn’t have to be an ‘Egyptian accent’, just a generic foreign one will do.)  He is usually treated with courtesy (at first) by the bemused English middle classes amongst whom he mixes by default because of his wealth.  These people may come to suspect and despise him, but they’re often tolerant enough at the start, though a working class or yokel character may get to utter some ignorant dislike of “strangers”.  The middle class characters may even initially tut at this sort of hostility (what with them being so open minded and everything) but it will turn out that the yokel’s xenophobia was (accidentally) quite justified.

I’m a racist stereotype.  Racist stereotypes are cool.

Because the Fanatic is there to cause trouble.  To raise the mummified body of a long-dead Egyptian High Priest from its slumber inside a sarcophagus and set it the task of killing all those infidels who dared to trespass upon the sacred resting place of the Pharaoh, etc.  The Explorer will be the target of the Fanatic’s superstitious rage (it will continue to be looked upon as superstition, despite the fact that the spells work and the mummy really does come to life).  The Explorer was just trying to further the cause of science and knowledge, to preserve the ancient Egyptian past, perhaps to delve into mysteries Better Left Undisturbed… sometimes the Explorer has been arrogant in his treatment of the Egyptians, sometimes he was rude and dismissive to the particular Egyptian Fanatic who is now persecuting him, usually when said Egyptian Fanatic turned up and begged him not to open the pyramid / break the seal on the scroll / disturb the body / take the mummy to display in England. …

Continue Reading

Balanced and Objective

, , , , , , , , 0

The BBC doing what it does best: “In Iran’s iconography of villainy, Britain holds a special place. The UK is seen as the mastermind behind the overthrow of previous Iranian governments. Conservative hardliners believe Britain has in its blood the desire to decide who rules Iran.”  Textbook stuff from James Reynolds “BBC Iran correspondent”.

Make it all a matter of opinion: “is seen as”.  Put it down to someone at the so-called ‘extreme’: “hardliners”.  Pathologise the unacceptable view, make it sound like childish paranoia, sneer at it under your hand: “Iran’s iconography of villainy”.

Fact is, if people in Iran feel that way about us, they are justified.  The British government, lead by Winston Churchill, were the original movers in the plot to overthrow the democratically elected government of Mossadegh, because he wanted to nationalise the Anglo-Persian Oil Company, which funnelled oil profits out of Iran to Britain (in other words, he had the temerity to think that Iranians should benefit from Iranian resources).  Churchill put up the money.  The CIA took over the plot.  They hired mobsters and Nazi collaborators in Iran.  CIA agents started riots.  They started a coup which lead to the ascension of the Shah’s dictatorship and the reign of the SAVAK secret police, described by Amnesty as the worst human rights violators in the world.  Murder, terror, torture, tyranny.  But Western oil companies kept their revenue, so that’s okay (though the Americans elbowed Anglo-Persian – now BP – out somewhat in favour of an international consortium in which they had hegemony).

Now we and the Americans are once again gearing up to attack this country that we have already harmed so badly.  For the hegemony of the American empire and the desperate, clawing need of the tottering neoliberal system.  I don’t know what shenanigans have lead to our closure of the British Embassy in Tehran and the expulsion of Iranian diplomats from the UK… but you can be sure it’s got less to do with outrage at Iranian protestors and more to do with imperialist scheming.

And why?  Because Iran has a nuke program?  Well, maybe.  But why, precisely, are we allowed to have nukes, the Americans are allowed to have nukes (they’re the only people who’ve ever used them on another nation, remember) and Israel (a brutal, racist, apartheid state) is allowed to have nukes… but we mustn’t let barbarians like Iran have them… because they’d impinge on Western imperial domination.  Why are we the ones who can be trusted?  Because we’re the good guys.  We – the ones who nuked Hiroshima, organised that coup I was just talking about and have bankrolled the horrific treatment of the Palestinians – we are the civilised people.  This is the objective and balanced assumption underlying the BBC’s coverage.

Well, truth is not balanced or objective.…

Continue Reading

Victory of the Icon

, , , , , , , , , , , 9

In the course of preparing myself [to play Churchill in a biopic]… I realized afresh that I hate Churchill and all of his kind. I hate them virulently. They have stalked down the corridors of endless power all through history…. What man of sanity would say on hearing of the atrocities committed by the Japanese against British and Anzac prisoners of war, ‘We shall wipe them out, every one of them, men, women, and children. There shall not be a Japanese left on the face of the earth’? Such simple-minded cravings for revenge leave me with a horrified but reluctant awe for such single-minded and merciless ferocity.

– Richard Burton. (He got banned from the BBC for writing that. Which must’ve really burned him as he lounged around in Hollywood with Elisabeth Taylor’s head in his lap.)

In ‘Victory of the Daleks’ by Mark Gatiss, Winston Churchill is depicted as a wiley and cantankerous old fox, as a twinkly-eyed yet determined fighter against the Nazi menace, as a moral force, as an impish and roguish but unequivocally good man. This is very much the mainstream view of Churchill, in both ‘pop culture’ and in much of the trash that masquerades as history in our society.

Moreover, Churchill is an old mate of the Doctor’s. They go way back. In other words, he gets the endorsement of Our Hero, the narrative and moral locus of the series.  Here is Gatiss’ reasoning:

I think in the end it came down to sort of printing the Churchill of legend, because Doctor Who is not the place, really, to examine those sorts of things, except wherever possible, as it were, in the gaps, in the shadows, you can suggest his pragmatism. So in this episode when the Doctor, despite the fact that the Doctor’s telling him that the Daleks are the worst thing in the entire universe, he thinks ‘I can end the war quicker, I can save lives’. So that sort of thing was interesting to play with. But I did, you know, it just isn’t the place to try and have those conversations, because it’s an adventure series.

This reminds me of a page at the BBC website about whether Churchill was “as good as we think?”. As ever, “we” is left undefined. The page lists Pros and Cons. The best Cons they can come up with are a couple of military blunders, the return to the gold standard and Yalta. In other words: was he as marvelous as “we” apparently all believe or did he sometimes make mistakes? The big one on the list is Yalta, so the worst thing he can be accused of is handing much of Europe over to the real evildoers. Pravda would have been proud of such framing.

(The Yalta thing seems especially unfair to Churchill. He assumed that Russia would renege on the agreed post-war frontiers of Europe and advocated ‘Operation Unthinkable’, a lunatic plan to launch an unprovoked attack upon Russia as early as July 1945, thus starting a new war against one of his own allies.)…

Continue Reading