In their eternal quest to remake reality, a perennial target of the Left is the family: man, woman, and children, the bedrock of all human societies. The family, by its existence and by what it brings forth, mocks the Left project, and so the Left has tried to destroy it for 250 years. But only in the twentieth century did this effort gain real traction, when our elites became converts to the fantasy that sex roles as they existed were artefacts of oppression, not organic reality. What followed was mass indoctrination in falsehoods about men and women, in which this infamous book played a key role. If you see a sad wine aunt (they are all sad), and you see them everywhere, you see a small part of the resulting social wreckage.
A disease is going around. No, not the Wuhan Plague. This malady only affects the Right, and I name it Scrutonism. The symptoms of Scrutonism are a razor-sharp ability to identify one’s enemies and to understand their plans to destroy us, combined with a complete inability to imagine any way in which those enemies can be defeated. For a sufferer of this disease, his headspace is occupied by nostalgia and fear, in varying proportions—mostly the former in the late Roger Scruton’s case, mostly the latter in Rod Dreher’s case. Scrutonism’s harm is that it makes sufferers ignore the only question that matters for the Right today: what are you willing to do, given that your enemies are utterly committed to destroying you and yours?
The Outlaws is advertised to modern readers as a memoir of the post-World War I struggles between the armed German Left and Right, between the Communists and the Freikorps. But it’s not. The Freikorps appear some; the Communists little, and often when they do, as quasi-friends of some on the Right. Rather, this is a personal memoir of Ernst von Salomon’s growing up in the 1920s, and follows his life, of which Freikorps conflict inside Germany was a small part. The book instead narrates his participation in postwar government-sponsored Freikorps fighting defending the Baltic Germans; his involvement in the assassination of Walther Rathenau, foreign minister of the Weimar Republic; and his resulting time in prison. All of these are surrounded by the introspective reflections of a right-wing German of 1930, which is what makes them interesting.
Michael Anton’s latest, half analysis and half prophecy, is simultaneously terrifying and clarifying. As I have said before, I align very closely with Anton in both core politics and attitude toward politics, so naturally I am enthusiastic about a new Anton book. But in this very fluid time, he writes as nobody else seems able, making manifest where we are and where we are going. It proves his talent that in the mere two months since Anton wrote his Preface, more than one of his predictions has come true. Maybe he sold his soul in exchange for the gift of prescience, or stole a palantir. Whatever the reasons behind its no-holds-barred insights, this is an excellent book to which we all must pay close attention, to navigate the coming chaos and come out whole on the other side.
This is a special review. It is special because it is the last of its kind. I no longer intend to spend my time, and your time, on books that I know to be completely wrong, merely to show they are completely wrong. I am keenly aware of what I call “the closing door,” embodied in the words of John 9:4—“the night cometh, when no man can work,” which Samuel Johnson had engraved on the inside cover of his pocket watch. This does not at all mean that I am stopping writing, only that I will no longer write in the vein of correcting errors of the political Left. For the hour is late, and the Right has better things to do.
Starship Troopers, sixty years old, is a famous work of science fiction. As with most Robert Heinlein novels, the point is more the ideas than plot or character. Heinlein therefore often swerves dangerously close to message fiction, but it never becomes intolerable. This book is Heinlein’s vehicle to explain who he thinks should rule a society and what principles should inform that ruling class’s actions. His main goal is to attack universal suffrage as stupid, which is true enough, although his proposed alternative is too artificial. While I’m interested in the franchise today, and its relationship to aristocracy and hierarchy, I’m equally interested in secondary aspects of the book, in particular what the role of women should be, if any, in the military.
Years ago, I lived in Budapest with an elderly Hungarian relative, my grandfather’s cousin. She had lived through World War II as a young woman. One day, as we were eating lunch, she reminisced about the Russian invasion and conquest of Hungary in 1945, which she survived. She looked at me and said (in Hungarian), “Always remember, when you are grown and are a powerful man, that war is a terrible thing.” We all know this, but it is easy to forget the personal impact of war—both on soldiers and on everyone else in a society. This uneven book is a reminder of those costs, and an opportunity to ponder when they are worth paying, as civil war slouches ever closer to us.
Do any American children learn about William Tell today? Do any Swiss children learn about him? Very few, if any, I suspect. My children do, but only because last year I was reminded of William Tell by Ernst Jünger’s The Forest Passage, and so I went and bought what few children’s books are still in print about the Swiss hero. Among those was The Apple and the Arrow, winner of the Newberry Medal in 1952, which I have just finished reading to my children, to their great delight.
Almost always one reads a book of future-looking political theory long before or long after its substance has been proven or disproven. It is quite another experience to observe theory offered just yesterday as it morphs today into reality. So it is with The Decadent Society, released in February, a month ago. It sharply identifies our problems, and speaks abstractly of possible futures for both America and the rest of the world, in which our problems are solved, or not. But all changed futures require a mechanism of change, that in February we were lacking. Now, the Wuhan coronavirus, and, much more importantly, its knock-on effects, have delivered a possible mechanism, and a changed future rises in the shadows. History has, perhaps, returned.
A few weeks ago, I watched Once Upon a Time in Hollywood, and Quentin Tarantino’s movie delivered to me what I have been seeking. Namely, the exact point America careened off the path to flourishing, abandoning our long, mostly successful search for ever-increasing excellence and achievement. It was 1969. As the shadows lengthen and the darkness spreads, perhaps it does not matter when twilight fell. But why twilight fell does matter, and much of the answer can be found in the pages of Amity Shlaes’s new book, Great Society, which narrates the decade’s massive expansion of government, and of elite power, all in the service of the Left, that we were told was certain to give us Utopia, but instead destroyed our civilization.