April 2025

THE HOOD ALWAYS SHOWS:

Marine Le Pen’s favourite far-Right philosopher Dominique Venner preached the virtues of de-demonisation (Theo Zenou, July 6, 2024, UnHerd)

In the silence of his prison cell, as Dély explains in his book, Venner came to a realisation that would change the course of French politics. In hindsight, it seems obvious. But, at the time, it represented a paradigm shift. The far-Right would never be the same again.

His realisation was that the far-Right would never gain power through insurrection. Instead, if it hoped to govern someday, it had to win at the ballot box. In modern democracies, violence wasn’t only inefficient — coups, as Venner knew first-hand, could easily fail — but it also turned ordinary people off. The OAS hadn’t managed to keep Algeria in French hands or even boost the cause of French Algeria. “Indiscriminate terrorism is the best way to cut yourself off from a population,” Venner wrote. “It’s a desperate act.”

The far-Right, Venner now believed, had to forsake violence if it was serious about one day implementing its violent project. Drawing on Lenin, he argued that revolution was “less about seizing power than about using it to build a new society”. To do that, the movement needed to develop a coherent ideology and create an organisation to spread that ideology in society.

But — and this is the most important part — the far-Right couldn’t be transparent about its ideology. The reason: ordinary people were brainwashed. “Through permanent one-way propaganda, to which everyone is subjected from childhood,” Venner wrote, “the regime, in its many forms, intoxicates the French people.” The far-Right had to outwit the regime. “A revolutionary struggle, a fight to the death against an all-powerful, wily, experienced adversary, must be fought with ideas and cunning rather than force.”

As such, it was necessary for the far-Right to hide its true nature. People weren’t ready for it. Instead, without abandoning its core tenets, it should adapt its appearance. In Dély’s pithy phrase, the far-Right should “know how to change its attire to better reassure and seduce”.

“It was necessary for the far-Right to hide its true nature. People weren’t ready for it.”
Venner had been mulling this strategy for a while. Back in 1959, when he had founded the Nationalist Party, a violent group which would soon be dissolved, Venner had told new recruits that they should be careful about what they said in public. “Never discuss subjects that may shock newcomers by the way you present them,” he had warned them. “For example, the métèque problem must never in a presentation or a conversation be approached with the perspectives of the crematorium or the soap dish.” In other words, never say that you ultimately want to exterminate all métèques. When you are a fascist, you can kiss but you can never tell.

Shortly after leaving jail in 1962, Venner published his pamphlet. Titled Pour une critique positive (Towards a Positive Criticism), it became a self-help manual for generations of French far-Right activists, for whom Venner is the closest thing they have to an Antonio Gramsci. With his bold, iconoclastic text, he laid the ideological groundwork for the National Rally to become the most popular party in France. And he pioneered the strategy of dédiabolisation that has been at the heart of Marine Le Pen’s political career.

For years now, commentators have marvelled at how Le Pen detoxified the party she inherited from her father, Jean-Marie, a convicted Holocaust denier. In 2015, she even expelled him from the party for making antisemitic comments. Since then, Le Pen has worked hard to soften her rhetoric. For instance, she doesn’t use the loaded term “Great Replacement” anymore; instead, she talks about “mass immigration”. And unlike her erstwhile rival Eric Zemmour, she doesn’t limit herself to talking about the threat of “Islamic extremism”. She has spent considerable time talking about economic issues.

Le Pen has also nurtured a new generation of far-Right leaders who don’t raise their voices or go off-script. With their tailored suits, they look like respectable politicians.

And then you accuse Haitians of eating house pets…

OPERA BOUFFE:

American Faust: On Ali Abbasi’s ‘The Apprentice’ (Brian Pascus, Apr 18, 2025, Metropolitan Review)

Abbasi’s Apprentice tells a far different story, with three scenes that mirror the grand bargain between Goethe’s Faust, a fictional scholar who received everything the world could offer, yet remained unsatisfied, and Mephistopheles, the agent of Lucifer, a cunning, demonic force, who made a bet with God that he could purchase the soul of Faust in return for wealth, fame, power, and all the pleasures of the flesh, even Helen of Troy, before being taken down into Hell, where a long awaited payment could finally be collected.

The first scene that demands our attention occurs about 28 minutes into the film, when a young Trump — played almost perfectly by Sebastian Stan in an Oscar-nominated performance — is initiated by Cohn into the dark arts of power after witnessing blackmail and extortion. Donald (he is not yet Trump, or even Faust, for that matter) sits inside Cohn’s townhome, silent, speechless, unable to process the use of such flagrant immorality. “I don’t know what I just saw,” he mumbles, rationalizing his own complicity as he sits far away from Cohn on the couch, in a lame attempt to remain pure. Cohn orders him to come closer as he prepares the first of many lessons: This is a nation of men, not laws, and men can be bullied, shamed, bribed, threatened, and seduced. “There is no right or wrong,” Cohn tells Donald. “There is no morality, there is no Truth, with a capital T. It’s a fiction, a construct. It is man made. Nothing matters except winning — that’s it.”

The conversation, which pulls the veil from 27-year-old Donald’s eyes over the worthiness of virtue, recalls the admission Mephistopheles makes to Faust upon appearing inside Faust’s study, out of a vaporous cloud, when he introduces his wondrous abilities to God’s once faithful servant: “Let foolish little human souls / delude themselves that they are wholes / I am part of that part, when all began / was all there was / part of Darkness before man / Whence light was born, proud light, which now makes futile war / To wrest from Night, its mother, what before / was hers, her ancient place and space.”

In both cases, while terms of an agreement have been established, a pact requires consecration. Midway through the film, a critical exchange of values between Donald and Cohn is illustrated in a short burst of scenes. Donald stands on the cusp of his breakthrough project, renovating the dilapidated Commodore Hotel in Midtown, having convinced Hyatt’s Jay Pritzker that he has already secured a generous property tax abatement from the City’s Board of Estimate. Of course, this is untrue, so Donald rushes over to his mentor’s home in the middle of the night, frantic, helpless, desperate to secure the greatest favor yet from his patron. “I’ll do anything, whatever you want,” Donald begs. “You can’t turn fishes into loaves,” Cohn replies, about to slam the door on his subject. “I’m begging you, Roy. I believe in this. I’m begging you, Roy, please, just make the call.” Donald is vulnerable and frenzied. His fate lies in Cohn’s hands; only Cohn’s voice — a call to a higher power — can make a difference in his life. Cohn hesitates before telling Donald that he’ll use his influence on the mayor the next morning. “Be glad he owes me,” he nods before they embrace. Donald, near tears, in an uncharacteristic show of gratitude, whispers, “I love you. I love you.”

A complete unknown stands before his benefactor, promising anything he wants in return, so long as this dark force uses his mysterious powers to influence the direction of his life. Have we not seen this before?

IT STARTED OUT THAT WAY:

How Anti-Woke Went Intellectually Bankrupt Look who’s elite now. (Ross Barkan, Apr. 19, 2025, UnHerd)

For those who made a great deal of money and attracted large followings over the last half-decade or so railing against all things woke, this is an uncertain moment. Unless they want to lie to themselves, they can’t pretend it’s still 2020 and millions are marching in the memory of George Floyd.

What do those aforementioned two paths look like in practice? They are probably best represented by two prominent activists, Christopher Rufo and Richard Hanania. Rufo rose to fame as the leader of the movement against critical-race theory, and he has found great influence in the second Trump administration. A longtime conservative, Rufo is now proudly MAGA. Trump’s attacks on higher education are ripped straight from Rufo’s playbook. If he still pretends woke is more dominant than it actually is — to a hammer, everything is a nail — he is at least openly supportive of Trump and understands that what he reaps is what he sows: an administration willing to violate free speech and due process in the name of combating socially progressive causes.

Hanania is, like Rufo, a warrior of anti-woke. Even more extreme, in some ways, he once posted pseudonymously on several white-supremacist and misogynistic websites. If he disavowed that era of his ideological development, he still could be called, based on his public writings, a racist and misogynist. Hanania’s story has a new twist: He is now, unlike Rufo, explicitly anti-Trump. “I think there’s a level of corruption here, a level of blatant sort of corruption to the way government is working that is unprecedented, at least in our recent history,” Hanania recently told Vox. Admitting, on “pure policy,” there was much he liked when he it came to Trump’s war on DEI, “if you’re looking at where the movement is going, [when it comes to] how political movements and how people in power should behave and act in their relationship to truth and the relationship to the rest of society, I think it’s gotten pretty bad.”

Is anti-MAGA a new grift for Hanania? Or is he earnest? It doesn’t matter much; he, like Rufo, has made his public pronouncements, and he is taking the action he sees fit. The more intellectually confused position may be best represented today by Bari Weiss’s Free Press, which can neither strongly denounce Trump like Hanania nor, like Rufo, transition to being a full-throated arm of the conservative movement, like almost all right-wing media. Before Trump was inaugurated again, the Free Press had an obvious niche: There were a good number of centrists and left-leaning liberals who had grown disenchanted with the progressivism of the late 2010s and early 2020s. In retrospect, it was absurd that an opinion piece published in the Times by a sitting senator could trigger the effective firing of a top editor and mass revolts among staff. The performative aspects of woke were exhausting, and they did chill free speech.

But now it’s the federal government plainly attacking speech and behaving lawlessly.

The anti-Woke schtick was never anything more than a denial that racism, generally, still existed and that systemic racism, in particular, no longer had any effect, if it ever had. The character of those preaching this always exposes their own racism. And it is neverr limited to blacks.

POSTMODERNISM IS JUST A RETURN TO PREMODERNISM:

The Postmodern Poetry of J.R.R. Tolkien: a review of The Collected Poems of J.R.R. Tolkien: Three-Volume Box Set By J.R.R. Tolkien. Edited by Christina Scull & Wayne G. Hammond (Michael Lucchese, 4/20/25, University Bookman)

Postmodernism is more often associated with black-turtlenecked intellectuals smoking cigarettes in Parisian cafés than tweedy Oxford dons puffing on pipes. But Gerald Russello, the late editor of The University Bookman, drew a connection between conservatism and postmodernism, especially in the thought of Russell Kirk, this publication’s founder and another of the twentieth century’s great Christian writers. He argued that Kirk’s emphasis on imagination and sentiment constituted a rejection of modern rationalism. In his book The Postmodern Imagination of Russell Kirk, Russello wrote:

Sentiment assumes a larger importance in Kirk’s work because of his assertion that the coming (post)modern age will be an Age of Sentiments, superseding the old, modern, liberal Age of Discussion. The Age of Sentiments will be more concerned with the power of image on the heart, rather than that of logical discourse on the mind. Kirk thought that rhetoric—the creation of image through language—was a critical art for conservatism to perfect. And according to Kirk, rhetoric is only effective at creating those images if it pays careful heed to the sentiments of both the speaker and the audience.

This is exactly the kind of conservative postmodernism Tolkien mastered.

The Anglosphere avoided the tragedy of Modernism, following Hume’s rejection of Reason.

DARWINISM WAS JUST AN EXCUSE FOR COLONIALISM:

‘Biological reality’: What genetics has taught us about race (Adam Rutherford, 4/20/25, BBC)

When scientists unveiled the first draft of the Human Genome Project 25 years ago, it seemed to deliver the final word on some antiquated myths about race. It provided definitive evidence that racial groupings have no biological basis. In fact, there is more genetic variation within racial groups than between them. Race, it showed, is a social construct.

But despite that fundamental finding, which has only been reinforced as work on human genomes has continued, race and ethnicity are still often deployed to categorise human populations as distinct biological groups. These are views that can be found circulating in the pseudoscience on social media, but they also still creep into scientific research and healthcare systems.

There’s no such thing as species.

AND THEN ONE OF THEIR WIVES HAS AN AFFAIR…:

Are We Really Living in a Materialist Age?: Let’s just say that I am skeptical. (Kit Wilson, 4/18/25, Hedgehog Review)

Reductive materialism is the view that all of reality can be explained by, and ultimately reduced to, the purely physical. Whatever cannot be accounted for in this way—consciousness, morality, free will, feelings—must be illusory. As the biologist Francis Crick likes to point out, this includes even you: “‘You,’ your joys and your sorrows, your memories and your ambitions, your sense of personal identity and free will, are in fact no more than the behavior of a vast assembly of nerve cells and their associated molecules.”

The basic rationale is well rehearsed: that physics, having been remarkably successful at toppling superstitions up to now, must naturally go on to conquer every last corner of reality. The problem with this argument—that it means eliminating not just angels and ghosts but also the very things on which scientific knowledge itself depends, such as reason, free will, and abstract thought—appears not to have occurred to the reductive materialists until too late.

For this reason, to call reductive materialism a “belief” is perhaps a bit misleading. Plenty of people—the biologist Richard Dawkins, the neuroscientist Robert Sapolsky, and the physicist Lawrence Krauss among them—piously recite its creed: I do not exist, life is meaningless, morality is an illusion. But do any of them really believe it?

Certainly, they don’t act as though they do.

WE ARE ALL GORSUCHIAN:

Make Congress Great Again: We need to unite around our Constitution, not be divided by party politics. (Mickey Edwards, Apr 17, 2025, American Purpose)


The real danger of this moment is not about any individual policy but the accretion of unchecked power in the hands of a single man. The essence of American constitutional government is twofold: the balance of powers between the federal government and the states; and the division of federal powers between equal and competitive branches, of which the greatest power—because it is most representative of the will of the people—rests in the people’s Congress. This power structure rests on both norms of behavior and a framework of institutions designed to ensure a continuing commitment to the nation’s foundational principles, including liberty, justice, security, and equality—all of which are currently under attack.

Breaching of due process (searches without warrants, arrests without charges, criminalization of speech, the elimination of Congress as a meaningful participant in government decisions) eliminates many of the core freedoms that lured our parents and grandparents to come to America, often at high risk—to be part of this land of promise, this land that men and women have died to protect on battlefields from Bunker Hill to Berlin.

Here is how we think outside the box.

First, recognize that the courts alone cannot stop the flood of constitutional breaches flowing from the White House: the judicial process is slow and limited in its powers. The one force equal to that of the presidency is the Congress of the United States. But both parties are executive-centric and focus their political strategies primarily on the election of a president who mirrors their own beliefs and goals. Members of both parties have long records of acquiescing to presidents of their own party and stretching the limits of constitutional permissibility to achieve a desired political goal. In the end, it is one party—its agenda, and its desire for political dominance—that supersedes the constitutional separation of powers that was designed to protect against exactly the kind of dictatorial threat we now face.

The primary focus now needs to be on reasserting Congress’s Article One role as maker of laws, decider of policies, distributor of funds, designer of taxation—and ensuring the election to Congress of men and women who recognize their constitutional obligations to check the ambitions of would-be kings.

Actually, that is the box.

THE ANGLOSPHERIC DIFFERENCE:

Dylan’s gospel songs make a fitting soundtrack to Holy Week (Kenneth Craycraft, April 15, 2025,, Our Sunday Visitor)


The title track of “Slow Train Coming” is a lyrical indictment of the moral and social pathology of American political life. It describes both various aspects of moral decadence and corruption, and the false gods and solutions invoked to address it. “Sometimes I feel so low-down and disgusted,” the narrator begins the song, setting the tone for a catalogue of various social and political maladies. The source of his disgust, however, is less the particular ills he describes than the assertion that we can save ourselves by our own effort. He asks of his companions, “Are they lost or are they found? / Have they counted the cost it’ll take to bring down / All their earthly principles they’re gonna have to abandon?”

Many people who hailed Jesus’ triumphant entry into Jerusalem on Palm Sunday fundamentally misunderstood the nature of his kingdom. Expecting a violent insurrection against imperial Roman rule, many welcomed Jesus to Jerusalem only as a political liberator. He was greeted not as the eternal savior, but rather as a political revolutionary. They reduced Jesus’ role to a this-worldly political hero who had come to replace one kind of coercive earthly politics with another. They sought a human solution to a divine problem.

CAIN ALWAYS BEATS ABEL:

The Fighting Temeraire: Why JMW Turner’s greatest painting is so misunderstood (Matt Wilson, 4/17/25, BBC)

In Constable’s iconic 1821 painting The Hay Wain, an archaic cart rolls gently away from the viewer into a bucolic English landscape. Turner’s The Fighting Temeraire gives us the exact opposite, putting the spectator on a collision course with the unstoppable force of industry.


This reflected contemporary reality. At the time The Fighting Temeraire was painted, the Royal Navy was increasingly using steamboats for towing bigger vessels. Moves were already afoot to replace its sail-powered fleet with new steam frigates. But the demise of the Temeraire didn’t reflect a routine upgrade in armaments. This was a one-of-a-kind revolution in seafaring. Sailors around the world had relied on wind-and-sail or oar-propulsion for thousands of years. Now, steam engines could allow seafarers to overcome the vagaries of gusts, shallows and tidal patterns – to supersede nature itself. The future was steam-powered, but how this was going to affect the future of transport, trade and naval combat was still anybody’s guess in the 1830s. What Turner did know was that as far back as Homer’s Odyssey, sailing functioned as a profound symbol of the life journey in art and literature. And so, by hitching the old and the new so unforgettably in his painting, he shows us a compelling metamorphosis – the beginning of a new, post-industrial lifecycle in human history.

Turner was awake to the responsibility of artists in times of irreversible historical change. For him, the age-old skill of depicting wooden sailing ships, their rigging, sails and ornately carved figureheads was becoming obsolete. The challenge for every artist (and every member of society) in the modern age, he realised, was to discover beauty and significance in newness, and in artefacts that had not previously been depicted in art, like iron funnels, pistons, valves, and paddle wheels. In The Fighting Temeraire, his rise to this challenge is captured in a very memorable and uncompromising symbol.

THE NOVELIST AT THE eND OF hISTORY (profanity alert):

The Great Neoliberal Novelist (Geoff Shullenberger, April 15, 2025, Compact)

In his early career, Vargas Llosa was a left-wing radical, and he wrote Conversation in a period when he was being regularly fêted in Fidel Castro’s Havana. Yet it is clear from the moral complexity and tragic sensibility of this and other novels that he never found such answers satisfying. To be sure, he never shied away from any of the dark facts of his country’s history. For instance, The Green House (1966), the novel he wrote before Conversation, depicts the kidnapping of indigenous children by Christian missionaries and the brutally exploitative rubber trade in the Amazon. But he refused to portray Peru and Peruvians as mere victims of foreign exploitation, or as anything but the agents of their own destiny.

Given this deeply held sensibility, his break with the Latin American left was probably foreordained. Its precipitating event was what we would now call the “cancellation” of the Cuban poet Heberto Padilla, who in 1971 was accused by the official national writers’ union of “exalting individualism in opposition to … collective demands” and promptly jailed by Castro. This led Vargas Llosa to organize an open letter protesting Padilla’s treatment. In the aftermath, he fell out with many of his fellow writers and intellectuals, most notably with his former close friend (and eventual fellow Nobel laureate) Gabriel García Márquez.

If Vargas Llosa’s early rebellion against the stifling mores of the Peruvian haute bourgeoisie had prompted him to embrace Marxism and the Cuban Revolution, his later rejection of the groupthink of Latin American intelligentsia led him to a new set of lodestars: Popper, Hayek, and Thatcher. While the political essays that resulted from this conversion often amounted to a rehashing of “classical-liberal” nostrums, the same can’t be said of the novels that marked his neoliberal turn: The War at the End of the World (1981) and The Real Life of Alejandro Mayta (1984) number among his greatest achievements, and among the finest political fiction of the past century.

Both novels deal with failed revolutions: the first with the real historical events of the Canudos War in late 19th century Brazil, where a messianic sect of peasants revolted against the newly proclaimed republic; the second, a fictionalized version of an abortive communist revolution in 1950s Peru. Both stories expose the deep disjunction between elites and the masses in Latin America. In War at the End of the World, Brazil’s progressive reformers are shocked to find that many of the rural poor they hope to lift out of backwardness view their secular republic as a blasphemous abomination and prefer a restoration of monarchy; in Mayta, a hapless urban intellectual leads a doomed uprising of Andean peasants, in a tragicomic foreshadowing of the horrors of the Shining Path war that was tearing Peru apart as Vargas Llosa was writing the novel.

The author faced his own real-life version of the same disconnect when he ran for president of Peru in 1990. His highbrow neoliberal reformist platform, derived from his first-hand observations of Thatcher’s England and readings of Hayek and Friedman, failed to win out over the wily populist appeals of the outsider candidate Alberto Fujimori. Ironically, after his victory Fujimori went on to implement much of his rival’s proposed economic program of shock therapy and privatization, while also installing himself as dictator and engaging in staggering levels of corruption and violence. Nonetheless, decades later Fujimori retains enough of a mass following to this day that his daughter Keiko will be a leading contender in Peru’s next presidential election.