I am an accumulator rather than a collector, and my library grows according to a bad Malthusian principle: I buy books geometrically and read them arithmetically, with the most obvious consequences for shelf-space. Furthermore, at my age I should be shedding possessions rather than still accumulating them: but I have this strange reluctance to get rid even of books that I shall never look at again and were no good in the first place.
However, I never buy a book without intending to read it, and intention is, if not nine-tenths of accomplishment, at least some portion of it.
Theodore Dalrymple, “Sufficiently Educated to Embrace the Simplistic”, The Iconoclast, 2020-09-24.
December 28, 2020
QotD: Book accumulation
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December 27, 2020
QotD: Charles Dickens
They “protest” things that, indirectly, they learnt to protest from the kind-hearted Dickens; subjective hysterias about the world being unfair. Of course it is unfair, as it has always been, and to everyone who has been living in it. But unfairness is a whim, compared to sound moral judgements, and the reticence that should accompany them. We cannot make the world “more fair” by rioting. Dickens, incidentally, agrees with me on that.
He was among the writers (and artists generally) who contributed subtly to our post-Christian worldview, based on emotion, not remorseless thought. Who made, say, Christmas about giving presents to little children, rather than centrally about the birth of Christ. That doesn’t mean his works should be suppressed. On the contrary, they should be read and enjoyed, with this thought in mind. He moralizes, but in a way that may actually subvert morality, by substituting “feelings” for the hard truths, which are to die for.
David Warren, “Retractiones”, Essays in Idleness, 2020-07-29.
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December 26, 2020
Legends Summarized: The Journey To The West (Part VIII)
Overly Sarcastic Productions
Published 25 Dec 2020Journey to the West Kai, episode 5: Fishy Business and Mountaineering Madness!
Danger! Intrigue! Sandy fights a carp! Pigsy gets two makeovers! Monkey reunites with several old frenemies, and Tripitaka gets less screentime than the horse!
(merry christmas)
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December 19, 2020
History-Makers: Ibn Khaldun
Overly Sarcastic Productions
Published 18 Dec 2020Big thanks to our friend Al-Muqaddimah for his help with this video. The look of this video’s maps is an homage to his wonderful mapmaking style. For more Islamic History, check out his channel here: https://www.youtube.com/channel/UCf0O…
From the coast of Tunisia across the Straits of Gibraltar, over the Atlas Mountains, and east to the Nile of Egypt, Ibn Khaldun had certainly seen history at work. That experience came in handy as he wrote The Muqaddimah, a genre-defining masterwork of Historiography — not just retelling the events of the past, but explaining their causes and effects through the lens of human behavior and sociology.
SOURCES & Further Reading: Ibn Khaldun: An Intellectual Biography by Irwin, The Muqaddimah
This video was edited by Sophia Ricciardi AKA “Indigo”. https://www.sophiakricci.com/
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December 7, 2020
Churchill and the Bengal Famine of 1943
In The Critic, Zareer Masani debunks a recent book’s claim that British PM Winston Churchill was responsible for the Bengal famine during the Second World War:
Prime Minister Winston Churchill greets Canadian PM William Lyon Mackenzie King, 1941.
Photo from Library and Archives Canada (reference number C-047565) via Wikimedia Commons.
A favourite trope of the current Black Lives Madness and its left-liberal white apologists has been the alleged infamy of Britain’s most cherished hero, Winston Churchill, charged with everything from mere racism to actual genocide. The worst accusation is that of deliberately starving four million Bengalis to death in the famine of 1943.
The famine took place at the height of World War Two, with the Japanese already occupying Burma and invading the British Indian province of Bengal, bombing its capital, Calcutta, and patrolling its coast with submarines.
The famine raged for about six months, from the summer of 1943 until the end of that year, and estimates of its victims range from half a million upwards, depending on whether one includes its indirect and long-term effects. Most famine experts agree that famines can be caused by both nature and human agency, but never by any single individual. So how has a 67-year-old British prime minister in poor health, 5,000 miles away, fighting near-annihilation in a world war, come to be charged with causing such a cataclysmic disaster?
The attempt to lay this at Churchill’s door stems from a sensationalist book by a Bengali-American journalist called Madhusree Mukerjee. As its title, Churchill’s Secret War, indicates, it was a largely conspiracist attempt to pin responsibility on distant Churchill for undoubted mistakes on the ground in Bengal.
The actual evidence shows that Churchill believed, based on the information he had been getting, that there was no food supply shortage in Bengal, but a demand problem caused by local mismanagement of the distribution system. Ironically, his view found unexpected support in a 2010 exchange between Mukerjee and the Nobel Prize-winning economist Amartya Sen, the world’s foremost expert on famine in India.
Commenting in the New York Times, Sen said of Mukerjee, that “she seems satisfied with little information” and that her data came from only two rice research stations, and those in only two out of 27 districts in Bengal. “The analysis I made,” countered Sen, “using data from all districts … indicated that food availability in 1943 (the famine year) was significantly higher than in 1941 (when there was no famine) … There was indeed a substantial shortfall compared with demand, hugely enhanced in a war economy … but that is quite different from a shortfall of supply compared with supply in previous years … Mukerjee seems to miss this crucial distinction, and in her single-minded … attempt to nail down Churchill, she ends up absolving British imperial policy of confusion and callousness.”
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December 1, 2020
QotD: Elon Musk as a real life Delos D. Harriman
The shock of recognition will, I promise, flip your lid. The story is, inarguably, Musk’s playbook. Its protagonist, the idealistic business tycoon D.D. Harriman, is what Musk sees when he looks in the mirror.
“The Man Who Sold The Moon” is the story of how Harriman makes the first moon landing happen. Engineers and astronauts are present as peripheral characters, but it is a business romance. Harriman is a sophisticated sort of “Mary Sue” — an older chap whose backstory encompasses the youthful interests of the creators of classic pulp science fiction, but who is given a great fortune, built on terrestrial transport and housing, for the purposes of the story.
Our hero has no interest in the money for its own sake: in late life he liquidates to fund a moon rocket, intending to take the first trip himself, because he is convinced the future of humanity depends on extraterrestrial expansion of the human species. (Also, the guy just really loves the moon.)
The actual stuff of the story consists of the financial and promotional chicanery that Harriman uses to leverage his personal investment. Harriman uses sharp dealing with governments, broadcasters, political groups: he plants fake news about diamonds on the moon to blackmail (a disguised version of) the de Beers cartel, and terrorizes companies with the threat of using the moon to advertise for competitors. He is, in short, not afraid to use questionable means to achieve a worthwhile higher end, and does not — Musk haters take note! — recoil from actual fraud.
Heinlein didn’t provide for live broadcasting of his imagined lunar mission, which is almost an afterthought in his Great Man business yarn. TV cameras were, like computers, one of his blind spots. But if he had thought to make Harriman the owner of a fancy-sportscar manufacturing concern, and if he had thought to have Harriman put a car in solar (trans-Martian!) orbit as one of his publicity stunts, that would have been there in “The Man Who Sold The Moon.” Selling the moon is just what Musk is doing. Except the moon is a tad worked-over as a piece of intangible property, so we get Mars instead.
Colby Cosh, “Heinlein’s monster? The literary key to Elon Musk’s sales technique”, National Post, 2018-02-12.
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November 29, 2020
An unusually sympathetic biography of George III
Andrew Roberts reviews a new biography of King George III for The Critic:
King George III in his coronation robes.
Portrait by Allan Ramsay (1713-1784), original in the Art Gallery of South Australia via Wikimedia Commons.
Over the past six years, Penguin have been publishing their excellent Monarchs series in which a leading historian writes a 30,000-word book on a king or queen from Athelstan to Elizabeth II. There are now 45 of them (including David Horspool on Oliver Cromwell, who sneaks in despite the monarchical rubric, and Jonathan Keates who reasonably enough lumped William III and Queen Mary together). These extended essays are attractively produced, can be read in a couple of hours, and many are true gems, from historians such as Tom Holland, John Guy, Tim Blanning, Norman Davies, Roger Knight, Jane Ridley, Richard Davenport-Hines, David Cannadine — you get the idea.
Now Professor Jeremy Black gives us a full-throated defence of the monarch who is only really generally known as the king who went insane and who lost the American colonies, and who now prances around in the camp-yet-sinister show-stopping song in Hamilton: The Musical. “When considering George III’s mistakes,” Black argues, persuasively, “it is important to assess the parameters of the possible and to consider comparisons.” With his expertise in eighteenth-century European history, Black is able to place George III in the wider context of contemporary monarchs such as Catherine the Great, Frederick the Great, Louis XVI and Napoleon.
“In contradiction to the Whig and American image of George as a tyrant, or at least a would-be tyrant,” Black states, “he had a strong conviction of the value of limited monarchy and was a willing student of the lessons of the Glorious Revolution and the subsequent Revolution Settlement.”
Black brilliantly demolishes the paranoiac Whig view of George as trying to accrete powers to himself unconstitutionally. The George who emerges is a far more attractive figure than the Whig historians depicted, let alone Thomas Jefferson with his 28 histrionic and inaccurate accusations against George in the Declaration of Independence, and especially Lin-Manuel Miranda’s hilarious but profoundly historically incorrect caricature.
Instead, Black portrays a monarch with “a strong religious faith, a passion for hunting and an interest in art, architecture, music, astronomy and exploration”. He was a Renaissance man with an Enlightenment viewpoint, although Black also lists his failings, which were obstinacy, self-righteousness and a certain amount of priggishness when young. Black calls him a “fogey”. These were hardly cardinal sins, and a world away from the lust for dictatorship of which he has been accused.
Jeremy Black — who is fast becoming a national treasure in his own right, having written well over 100 books — takes a refreshingly unmodish stance towards George (as you might have guessed from listing hunting amongst the king’s attributes). “His qualities are easier to understand for those who prize commitment, duty, and integrity,” he concludes, “than in a modern age when scorn and satire, even hatred of the nation’s history, are often prominent.”
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November 25, 2020
Jan Morris, RIP
By an odd co-incidence, I began reading the third volume of Morris’s British Empire trilogy just last night and today I discovered that she recently died at age 94. The particular edition I have has Morris’s original male name on the cover, but her female name in the “note about the author”:
Jan Morris, who died last week at the age of 94, may have lived one of the more various and accomplished lives on record. She was, in turn, a soldier, a newspaper correspondent with a number of scoops to her name, a fine memoirist, and a writer of books whose scope encompassed the world.
Any dutiful obituarist must also note something else which happened fifty years ago. It is likely for ever to feature in the first paragraph, if not the first line, of everything written about Morris. She was born a man, named James by her parents, and underwent what her publishers and profilers term “a change of sexual role” in 1972 – back when such a thing was a rarity and rather dangerous to accomplish.
I hope to leave that subject aside for a moment while contemplating her place in letters. By the end of her long life, Morris had become something of a national treasure and an institution. Her quixotic obsessions – a personal, mythical interpretation of the Welsh side of her family and her home in that country, and the late First Sea Lord Jackie Fisher – became the subject of stories shared by friends, editors and admirers.
She gave wise and funny interviews to the papers about savouring mussels without dignity and why whether what one is doing is kind ought, in a good world, to be the modest test applied to action.
Other profilers note her long companionship with Elizabeth (née Tuckniss) – first through marriage, then a legally-divorced close friendship, and finally a civil partnership, with the ceremony witnessed by a local couple who afterwards invited the two for tea. Elizabeth survives Jan, but a visiting journalist or two was shown the headstone which is planned for both of them. They will lie on a Welsh island they owned in the Dwyfor, a river that runs by their home. The stone reads: “Here lie two friends, at the end of one life”.
These are beautiful stories, but they should not retroactively colour in fully our impressions of Morris. Nor should a sense – repeated in some otherwise careful obituaries – that as “James”, Morris’s “written voice always sounded certain”. Whereas as Jan, her writing grew more introspective and aware of the ways that time and tide conspire to decay the facades of men as much as they do institutions and places. This was exhibited notably in her Pax Britannica trilogy, which chronicled Britain’s imperial decline.
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November 24, 2020
The History of Fabric Is the History of Civilization
ReasonTV
Published 23 Nov 2020Virginia Postrel’s new book explores economics, politics, and technology through textiles.
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—————-The Fabric of Civilization: How Textiles Made the World, a new book by former Reason editor in chief Virginia Postrel, is a rich, endlessly fascinating history of the remarkable luck, invention, and innovation that made our fabric-rich world possible.
The book aims to make the mundane miraculous. Consider cotton. Most of the cotton we grow today is descended in part from a plant species that evolved in Africa and somehow got over to what is now Peru, where it mixed with New World strains.
“The fact that we have cotton at all, that it exists anywhere, is amazing,” says Postrel. “It happened long before there were human beings, but much more recently than when the continents were together. So we don’t know. It could have gotten caught up in a hurricane. It could have floated on a piece of pumice. So it’s this random, very unlikely happening that had tremendous world-changing consequences.”
The story of textiles is rife with attempts at protectionism and prohibition. In 17th and 18th century Europe, countries banned the importation of super-soft, super-colorful cotton prints from India known as calicos because they threatened domestic producers of everything from lower-quality cotton fabric to luxury silks. “For 73 years, France treated calico the way the U.S. treats cocaine,” Postrel says. “There was this huge amount of smuggling, and they were constantly ratcheting up the penalties [so] that they got quite grotesque, at least for the major traffic.” Some of “the earliest writings of classical liberalism are in this context, people saying not only is this not working, but … it is unjust to be sentencing people to the galleys in order to protect silk makers’ profits.”
Postrel also documents how the Luddites, the 19th century English textile workers famous for smashing the power looms threatening to put them out of work, owed their jobs to an earlier technological breakthrough: the spinning machines that emerged in the late 1700s.
“If you go back to that earlier period, when spinning machines were introduced, the same thing happened,” she says. “They had their own period of rebelling against the new technologies and saying they’re putting people out of work.”
The book also upends some contemporary myths, such as the claim that commercial production of hemp for clothing was a casualty of the war on drugs. “Hemp historically was a very coarse kind of fabric for poor people who didn’t have an alternative,” says Postrel. “It was replaced by cotton for good reasons. Cotton was also affordable, but it was soft and washable and just a much better fabric.”
“Human beings live in history and we inherit the legacies, positive and negative, of that history,” says Postrel, whose previous books include The Power of Glamour, The Substance of Style, and The Future and Its Enemies. Discussing the large themes of her work she says, “All you can do is start from where you are and try to do better from where you are.”
Narrated by Nick Gillespie. Edited by Isaac Reese.
Music: “Thoughts,” by ANBR
Photos: World History Archive/Newscom; The Print Collector Heritage Images/Newsroom; The “Réale” returning to port, Med/CC BY-SA 3.0; Smithsonian National Museum of African American History and Culture/CC0; Battle of Grand Port, Rama/Wikimedia Commons/CC BY-SA 2.0 FR; Fine Art Images Heritage Images/Newscom; Seton, M., Müller, R., Zahirovic, S., Gaina, C., Torsvik, T., Shephard, G., Talsma, A., Gurnis, M., Turner, M., Maus, S., and Chandler, M., 2012, Global continental and ocean basin reconstructions since 200 Ma: Earth-Science Reviews, v. 113, no. 3-4, p. 212-270
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November 22, 2020
Douglas Murray’s Bosie: The Tragic Life of Lord Alfred Douglas
Melanie McDonagh reviews the re-released early work by Douglas Murray:
It would probably have been better for Lord Alfred Douglas to have died young. Had he died when he was still beautiful and youthful looking, he would have remained forever the gilded youth Oscar Wilde loved. That golden Alfred Douglas survives in the famous photograph on the front of Douglas Murray’s book, with Wilde sitting near Bosie, his arm extended behind the boy with something like possessiveness. Instead the boy survived until 1945, worn, lonely and poverty-stricken, his looks withered, his nose pinched, contemptuous of modernity, but still with a redemptive, blistering integrity.
Twenty years after it was first written, Douglas Murray has reissued his fine biography of Bosie: his first book, written in his gap year before he went to Oxford. Looking back now on his precocious work, he thinks he overdid a little his enthusiasm for Douglas’s poetry, understated his toxic anti-Semitism and didn’t quite do justice to the pederastic element of his early sexuality – as Bosie preferred to put it, his tastes were for youth and softness. In practice this could mean 14-year-old boys, even younger, at a time when he and Wilde had reunited following Wilde’s release from prison. Actually, I think Murray’s original estimate of Alfred Douglas’s sonnets was absolutely right; they vary in quality, but as he said, at their best they equalled the poets he most venerated.
Trouble is, not many people think of Alfred Douglas as a poet, even though they might unknowingly quote perhaps his most famous line, about the love that dares not speak its name. But there were literary critics in his own day who compared him to Shakespeare as a writer of sonnets. Remarkably he has fallen almost entirely off the literary radar now, known only as a player in Wilde’s drama, and it is a pity that the success of this biography hasn’t changed that.
One of the services Douglas Murray performs in his biography is simply to reproduce some of his finest verses so we can judge it for ourselves. Indeed, while writing the book he managed to persuade the Home Office to release the copybook in which Alfred Douglas wrote his prison verses, In Excelsis, which the authorities refused to do in his lifetime.
Even in his own time, most people thought of him as the lover of Oscar Wilde, a byword for a bugger, the boy who brought about Wilde’s destruction through the vengeful malice of his unbalanced father. That perception was powerfully reinforced by Wilde’s terrible letter written from prison, De Profundis, in which he empties his bitterness against the youth he loved in an outpouring of emotion which was in many respects unjust and untrue, especially about Bosie’s financial support for Wilde. Fatally, the letter was never given to him by Robert Ross, Wilde’s friend, and only released in full during a devastating court case.
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November 14, 2020
The Decline of the Great Library of Alexandria
The History Guy: History Deserves to Be Remembered
Published 27 Mar 2019Presented by Ms History. The Great Library was a center of knowledge. Its decline was not the single cataclysmic event that may seem to think, but its slow decline is perhaps, even more tragic. It is history that deserves to be remembered.
This is original content based on research by The History Guy. Images in the Public Domain are carefully selected and provide illustration. As images of actual events are sometimes not available, images of similar objects and events are used for illustration.
All events are portrayed in historical context and for educational purposes. No images or content are primarily intended to shock and disgust. Those who do not learn from history are doomed to repeat it. Non censuram.
Ms. History Guy is an avid reader and former reference librarian, and reviews around 100 books per year. Feel free to follow her progress or befriend her on Goodreads where she goes by the name “Heidi the Reader”: https://www.goodreads.com/MsHistory
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November 9, 2020
QotD: The Children of Men becomes disturbingly real in Japan
In Lady James’ speculative fiction, pets are doted on as child-substitutes, and churches hold christening ceremonies for cats. In contemporary Japanese reality, Tokyo has some 40 “cat cafés” where lonely solitary citizens can while away an afternoon by renting a feline to touch and pet for a couple of companiable hours.
In Lady James’ speculative fiction, all the unneeded toys are burned, except for the dolls, which childless women seize on as the nearest thing to a baby and wheel through the streets. In contemporary Japanese reality, toy makers, their children’s market dwindling, have instead developed dolls for seniors to be the grandchildren they’ll never have: You can dress them up, and put them in a baby carriage, and the computer chip in the back has several dozen phrases of the kind a real grandchild might use to enable them to engage in rudimentary social pleasantries.
P.D. James’ most audacious fancy is that in a barren land sex itself becomes a bit of a chore. The authorities frantically sponsor state porn emporia promoting ever more recherché forms of erotic activity in an effort to reverse the populace’s flagging sexual desire just in case man’s seed should recover its potency. Alas, to no avail. As Lady James writes, “Women complain increasingly of what they describe as painful orgasms: the spasm achieved but not the pleasure. Pages are devoted to this common phenomenon in the women’s magazines.”
As I said, a bold conceit, at least to those who believe that shorn of all those boring procreation hang-ups we can finally be free to indulge our sexual appetites to the full. But it seems the Japanese have embraced the no-sex-please-we’re-dystopian-Brits plot angle, too. In October, Abigail Haworth of The Observer in London filed a story headlined “Why Have Young People in Japan Stopped Having Sex?” Not all young people but a whopping percentage: A survey by the Japan Family Planning Association reported that over a quarter of men aged 16–24 “were not interested in or despised sexual contact.” For women, it was 45 per cent.
Mark Steyn, The [Un]documented Mark Steyn, 2014.
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November 6, 2020
QotD: When you use a racist lens, everything looks like racism
If DiAngelo’s friends had told her not to live in the neighborhoods because they had black and brown residents, she could call them out for overt racism. But even when her friends made no mention of race whatsoever, DiAngelo attributed their warnings to racism as well. There was no way for her friends to mention the neighborhood’s high crime rates without DiAngelo finding them guilty of racism.
DiAngelo also supports her theory that all white people are racist by interpreting ambiguous events to support her conclusions, despite other plausible explanations. In one anecdote, DiAngelo describes an incident in which a white female teacher had two black students at her desk. The teacher prefaced something she said with the word “girl.” One student felt that the use of the word “girl” was racist. The other student disagreed, saying that the teacher called all her students “girl” regardless of their race.
Any reasonable person would conclude that if the teacher called every student — white, black, Asian, Latinx — “girl,” the teacher’s use of the word resides somewhere between “not racist” and “open to interpretation.” But DiAngelo reached a different conclusion, demonizing the teacher’s lack of concern for the offended student’s feelings, and calling the teacher arrogant for thinking the use of “girl” was not racist. To be clear, while teachers should listen to their students’ concerns, there is no proof this teacher’s word choice was racially motivated. And ironically, DiAngelo is guilty of everything she criticizes the teacher for because DiAngelo arrogantly ignores the other black student who did not think the comment was racist.
David Edward Burke, “The Intellectual Fraud of Robin DiAngelo’s White Fragility“, The Logical Liberal, 2020-06-13.
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October 31, 2020
Atun-Shei’s Dracula
Atun-Shei Films
Published 30 Oct 2020🎃 Get 50% OFF 👉🏻 your first 6 months of Babbel 🕰 limited time only! HERE: http://bit.ly/AtunSheiFilms
An in-depth analysis of Dracula, the original 1897 book by Bram Stoker, possibly the most influential horror novel ever written. Why has the Count enjoyed such longevity in popular culture? What made Dracula so scary for Victorian readers? And what – pray tell – makes vampires so attractive?
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Twitter ► https://twitter.com/atun_shei~REFERENCES~
[1] “Dracula Movies” (2016). IMDB https://www.imdb.com/list/ls058255047/
[2] Leslie S. Klinger. The New Annotated Dracula (2008). W.W. Norton & Company, Page xvi
[3] Klinger, Page xxi
[4] Dr. Andrzej Diniejko. “Slums and Slumming in Late-Victorian London.” The Victorian Web http://www.victorianweb.org/history/s…
[5] Gill Davies. “London in Dracula; Dracula in London” (2004). Literary London: Interdisciplinary Studies in the Representation of London, Volume 2 Number 1 http://www.literarylondon.org/london-…
[6] Klinger, xxxii-xli
[7] “An 1897 Review of Bram Stoker’s Dracula” (2019). Literary Hub https://bookmarks.reviews/an-1897-rev…
[8] “The Spectator‘s Review of Dracula, 1897″ (2012). The Spectator https://www.spectator.co.uk/article/t…
[9] olly Furneaux. “Victorian Se•ualities” (2014). British Library https://www.bl.uk/romantics-and-victo…
[10] Klinger, Page xvii-xviii
[11] Greg Buzwell. “Daughters of Decadence: The New Woman in the Victorian Fin De Siécle” (2014). British Library https://www.bl.uk/romantics-and-victo…
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Halloween Special: Edgar Allan Poe
Overly Sarcastic Productions
Published 30 Oct 2015Happy halloween! Today we’re looking into the mind of one of the most well-known horror writers, Edgar Allan Poe!
On today’s roster: “The Pit And The Pendulum”, “The Mask of Red Death”, “The Cask of Amontillado”, and “The Tell-Tale Heart”.
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