The horrors and atrocities of history have been edited out of primary and secondary education except where they can be blamed on racism, sexism, and imperialism — toxins embedded in oppressive outside structures that must be smashed and remade. But the real problem resides in human nature, which religion as well as great art sees as eternally torn by a war between the forces of darkness and light.
Liberalism lacks a profound sense of evil.
It is clear that the left is enjoying something of a moment, not just in the UK but across most of the West. It has reduced universities to censorious leftist monocultures, is busy imposing its ever more deranged zombie religion of political correctness in public debate and is so effusively full of confidence in its command of the cultural moment that ‘Acid Corbynism’ has caused quite a stir at this year’s Labour Party conference (fringe). Meanwhile the right-leaning press is full of gloomy arguments discussing the Tories’ oncoming demographic Armageddon and crisis of political confidence.
Mulling this over, it strikes me as strange that conservatives should feel thus on the back foot, when there is so much to preserve, so much to care for and pass on to the next generation. The whole of Western civilisation, in fact. Why, then, are conservatives so embarrassed about wishing to conserve?
The doctrine of postmodernism, which advances a wedge of dilettante erudition ahead of its jackhammer of angry philistinism, has used its assault on the concept of canon to leave the best part of three decades’ worth of Western university graduates with barely a piecemeal grasp of their cultural heritage. Even this is filtered for them by their tutors through a lens of guilty identity politics, that reduces everything it touches, no matter how sublime or beautiful, to an ugly scrum for power under ‘cisheteropatriarchy’.
The result is three decades of graduates that simply do not see anything worth conserving. Where conservatism sees our culture as a collective endeavour worth contributing to and continuing, a flame that we all help to carry, the graduates of postmodernism see it as a monolithic engine of marginalisation. A pervasive, miasmic, indestructible force for perpetuating in-groups and injustice, to which the only legitimate reaction is resistance and subversion, and the amplification of voices deemed marginalised. It is in this fundamental perception that much of the ‘snowflake’ stereotype resides, for today’s university students naturally wish to align themselves with the marginalised rather than their imaginary plutocratic oppressors. This leads in turn to the strange phenomenon of Ivy League students, arguably some of the most privileged young people on the planet, throwing public tantrums when their pain and oppression is not validated.
But I digress. My argument is that conservatism’s crisis of confidence lies in the fact that even conservatives have been infected with postmodernism’s anxiety about whether Western civilisation really is worth saving. How could it be otherwise, when we study at the same universities, participate in (to an extent) the same public discourse, live and work with those who would take a hammer to our past? And if it isn’t worth saving, what are are conservatives but a bunch of intransigent junk-hoarders? Or perhaps conservatives just really dig the cisheteropatriarchy? Perhaps they just get off on shitting on marginalised groups and exploiting the poor?
You can see where the current leftist narrative about conservatism originates, and perhaps you begin to see why conservatives struggle to articulate counter-narrative. Because a counter-narrative to this nihilistic, pomo 21st-century mutation of leftism would require saying: I reject your basic premise. Western civilisation is a remarkable collective achievement of some five thousand years and deserves our humble appreciation and positive contribution, not this childish window-smashing. Everything I believe in stems from this premise, while you seem to believe progress can only come about when we tear it all down: the statues, the literature, the music, the architecture, the very notion of high culture itself. And as long as conservatives have even the shadow of a fear that the pomo nihilists might have a point, there is nothing to defend. Nothing to conserve. And if that is true, conservatism really does degrade merely to cheerleading for free-market capitalism or else embittered white nationalism, frothing on Twitter about Islam.
There is something worth conserving. We must say it. Own it. What is Acid Corbynism to the Parthenon, to Rilke, to the sweep of English literature from Beowulf to The Waste Land? To Beethoven’s Ninth? Chartres cathedral? We must fight for our heritage, speak proudly of it, put effort into knowing and sharing it. Don’t let it be destroyed by petty, envious philistinism disguised as radical egalitarianism. In embracing and loving our cultural heritage, and arguing without shame for its continuation, we anchor conservatism in something greater than market capitalism or nativism: in the astonishing sweep of many thousands of years of cultural achievement. A flame worth our helping to carry it on.
What are British values
Freedom, tolerance, gender equality?
Compared to the power of a theocratic Game of Thrones drama, it’s laughably weak
But the Euro elites’ response to each Islamist atrocity is the same – no passion or pride for country because that’s just what the enemy wants.
Obsessive clinging to a bloodless ideal of what Europe is, underpinned by a generalised fear of nationalism and pervasive guilt about our past deeds and present wealth; everyone wants to come here, but we ourselves are forbidden to be proud of it.
Americans recite the oath of allegiance, salute the flag, hang flags everywhere. In Britain the same level of patriotism would be seen as incitement to racism, a foible of the working classes to be tolerated with a shudder.
No wonder radicalism is able to flourish here: the intelligentsia of the country of Shakespeare, Austen and Wordsworth, Watson and Crick, Darwin, Sir Christopher Wren and indeed Sir Norman Foster is ashamed of its past and culture.