Political Authors From England

"You want the truth, Milo? You are a hurt 13-year-old boy. I don't know what pain you had to go through to make you so cold and distant from any feelings of compassion and basic kindness, but causing hurt makes you into the monster you are running from."

"Milo's fan club avoids honest debate and truthful argument like the plague. It's a trick. They bite every hand that reaches out to them and then play the victim when one comes back as a fist in their face. You can't shove fingers into your ears and scream “la la la, I am not listening” like children when anyone attempts to speak with you and then turn around and ask for respectful discourse when we get tired of your bullshit."

"When his comments about pedophilia/pederasty came to light, Simon & Schuster realized it would cost them more money to do business with Milo than he could earn for them. They did not finally "do the right thing" and now we know where their threshold, pun intended, lies. They were fine with his racist and xenophobic and sexist ideologies. They were fine with his transphobia, anti-Semitism and Islamophobia. They were fine with how he encourages his followers to harass women and people of color and transgender people online. Let me assure you, as someone who endured a bit of that harassment, it is breathtaking in its scope, intensity, and cruelty but hey, we must protect the freedom of speech. Certainly, Simon & Schuster was not alone in what they were willing to tolerate. A great many people were perfectly comfortable with the targets of Milo's hateful attention until that attention hit too close to home."

"So I have an intern that was raped by a priest as a young teen, was gay, has offended everyone at some point, turned his life back to Jesus and Church, and changed his life"

"Shapiro has always been deeply conservative and does not pretend to be objective. But he says his market niche is giving cleareyed reads of current events, not purely partisan rants. He is often compared to his former colleague at , Milo Yiannopoulos. On the surface, they seem the same. Both speak on college campuses. Both draw protests. Both used to work for Mr. Bannon at Breitbart. Both are young. In fact, they are very different. Mr. Yiannopoulos, a protégé of Mr. Bannon, was good at shocking audiences, saying things like "feminism is cancer." But critics say that he was empty of ideas, a kind of nihilistic rodeo clown who was not even conservative. Mr. Shapiro broke with Mr. Bannon last year, saying Breitbart had become a propaganda tool for Mr. Trump."

"They were fine with his bigotry, his in-your-face, two-fingers-up transphobia, Islamophobia and misogyny. It took his defense of relationships between "older men" and "younger boys" for their queasiness to set in. The case of Milo Yiannopoulos is indeed a parable of our time."

"His enablers deserve only contempt. It doesn’t matter whether they agree with his bigotry, because they almost certainly do not. But they are fine with it – more than fine, in fact, because it is lucrative. [...] He was "controversial", they would say with a glint in their eye. "Provocative", even. And then the very media outlets that facilitated his rise would provide a platform for chin-strokers to sagely ask: "Why is this phenomenon on the rise and who is to blame?""

"You remind me of a young, gay, alive Christopher Hitchens."

"He’s a trickster figure archetypally speaking. He’s a provocateur and a comedian. The funny thing about comedians is that they are like the jester in the king’s court. The jester was the only person who could tell the truth because he was beneath contempt."

"He's a trickster and trickster figures emerge in times of crisis and they point out what no one wants to see and they say things that no one will say."

"I do not think I had ever seen a nastier-looking man.... Under the black hat, when I had first seen them, the eyes had been those of an unsuccessful rapist."

"A buffalo in wolf's clothing."

"And this is the point at which I must part company with Mr. Wyndham Lewis. Mr. Lewis proposes a Shakespeare who is a positive nihilist, an intellectual force willing destruction. I cannot see in Shakespeare either a deliberate scepticism, as of Montaigne, or a deliberate cynicism, as of Machiavelli, or a deliberate resignation, as of Seneca. I can see that he used all of these things, for dramatic ends: you get perhaps more Montaigne in Hamlet, and more Machiavelli in Othello, and more Seneca in Lear ... Mr. Lewis, and other champions of Shakespeare as a great philosopher, have a great deal to say about Shakespeare's power of thought, but they fail to show that he thought to any purpose; that he had any coherent view of life, or that he recommended any procedure to follow."

"Every pastime has its attendant politics."

"[D]oes not all power that is real exact that it shall be visible!"

"Mr. Wyndham Lewis, the most brilliant journalist of my generation (in addition to his other gifts), often squanders his genius for invective upon objects which to every one but himself seem unworthy of his artillery, and arrays howitzers against card houses."

"Morality is of the surface. But also the values that decide whether a person is ridiculous or free from absurdity are pure conventions of a society, they exist only in a surface-world, of two dimensions."

"Yet it is true that in our democratic society flattery does take the form of saying to people that they are like other people — rather than unlike or possessing something peculiarly their own. And the personal advantages that are chosen to flatter them about are those that they share with great crowds of other people."

"Satire to be good must be unfair and single-minded. To be backed by intense anger is good — though absolutely not necessary."

"I am not in agreement with the current belief in a strained 'impersonality' as the secret of artistic success. Nor can I see the sense of pretending — as it must be a pretence, and a thin one, too — that in my account to you of what I have seen I can be impartial and omniscient. That would be in the nature of a bluff or a blasphemy. There can only be one judge and I am not he.I am not a judge but a party. All I can claim is that my cause is not an idle one — that I appeal less to passion than to reason."

"The self-feeling bears no relation, amongst quite normal men and women, to physical fact. The nature of their particular physique, is not that the last thing of which they think? Look, an intensely ill-favoured woman she will frequently behave as if she were very attractive. No one is surprised — for they in their turn are they not beauties too? stunted puny men, to turn to men, do they not possess the assurance of a champion athlete? Well then, all these people have the assurance of being what they are not: whatever happens, a something more favourable than the facts isn't it! This is the rule of the normal average."

"Being born in a stable does not make you a horse. But living in a studio produces in some persons a feeling that they should dabble and daub a little."

"I should invent very little if I were a flatterer. […] I should just encourage people to describe themselves, and use the description they seemed most to relish."

"That is the sacrosanct period-of-periods — the Victorian death, the birth of ! Ah the pioneer naughtiness of the "Naughty Nineties", that 'Made the World Safe for Homosexuality!'"

"The ideas of a time are like the clothes of a season: they are as arbitrary, as much imposed by some superior will which is seldom explicit. They are utilitarian and political, the instruments of smooth-running government."

"The puritanic potentialities of science have never been forecast. If it evolves a body of organized rites, and is established as a religion, hierarchically organized, things more than anything else will be done in the name of "decency". The coarse fumes of tobacco and liquors, the consequent tainting of the breath and staining of white fingers and teeth, which is so offensive to many women, will be the first things attended to."

"Men were only made into "men" with great difficulty even in primitive society: the male is not naturally "a man" any more than the woman. He has to be propped up into that position with some ingenuity, and is always likely to collapse."

"Wherever there is objective truth there is satire."

"Great Britain is certainly suspect to Americans. They cannot make head or tail of her. She is a stuck-up old girl who owes a lot of money - an odd thing for such a highly respectable old lady to do. She is rather flighty, which is alarming in one so old - she never seems quite serious, that is - goes into giggles all of a sudden, or smiles enigmatically, if politely. She seems to the average American slightly phoney. Let us face up to that. She has many habits which baffle and put one on one's guard - the curious way she has of speaking English with a foreign accent, for instance. Then she must be the most quarrelsome old dame which ever stepped: always - umbrella in hand - getting into scraps with her neighbours, and spitting at them over the garden wall."

"The novelty of any time enables people to pretend that they are existing in the state of society that in fact they have superseded. (It is an old political expedient to pretend to be what you have destroyed.) They will pretend that their abuses are old abuses and that only their reforms are new."

"The second cause (and this applies to a much smaller number of such people — only indeed, to the very cream and élite of them) is that some (born with a happy or unhappy knack not possessed by their less talented fellows) produce a little art themselves — more than the inconsequent daubing and dabbing we have noticed, but less than the 'real thing'. And with this class you come to the Ape of God proper. For with these unwanted and unnecessary labours, and the amour-propre associated with their results, envy steps in. The complication of their malevolence that ensues is curious to watch. But it redoubles, in the natural course of things, the fervour of their caprice or ill-will to the 'professional' activities of the effective artist — that rare man born for an exacting intellectual task, and devoting his life unsparingly to it."

"By adopting the life of the artist the rich have not learnt more about art, and they respect it less. With their more irresponsible 'bohemian' life they have left behind their 'responsibilities' — a little culture among the rest. Indeed they are almost as crudely ignorant as is the traditional painter. Besides — living in cafés, studios and 'artistic' flats — they are all 'artists' in a sense themselves. They have made the great discovery that every one wielding a brush or pen is not a 'genius', any more than they are. But they have absorbed a good deal of the envy of those who are not 'geniuses' for those who are (having in a sense placed themselves upon the same level) — and the contempt of those who are, for those who are not. The result is that they abominate good art as much as bad artists do, and have as much contempt for bad art as have good artists! There is more indifference to and often hatred of every form of art in these pseudo-artistic circles — in the studios, in short, now mostly occupied by them — than in all the rest of the world put together."

"Society is a defensive organization against the incalculable. It is so constituted as to exclude and to banish anything, or any person, likely to disturb its repose, to rout its pretensions, wound its vanity, or to demand energy or a new effort, which it is determined not to make."

"[T]he world created by Art — Fiction, Drama, Poetry etc. — must be sufficiently removed from the real world so that no character from the one could under any circumstances enter the other (the situation imagined by Pirandello), without the anomaly being apparent at once."

"[I]f within a decade and a half you massacre ten million people in war and another ten million in civil war, it is not easy after that to return to a morality that regards it as wrong to pocket a salt-spoon."

"We have the immense background of War and of Revolution. That is enough — the blood is gratis! Both the soldier and the communist enrol themselves to murder — one under militarist rules, the other under marxist disciplines. But both are homicide-clubs, you call your victim "Hun", you call him "Bourgeois", it is all one — no, wars and communes have cheapened murder."

"Certainly Mr Eliot in the twenties was responsible for a great vogue for verse-satire. An ideal formula of ironic, gently "satiric", self-expression was provided by that master for the undergraduate underworld, tired and thirsty for poetic fame in a small way. The results of Mr Eliot are not Mr Eliot himself: but satire with him has been the painted smile of the clown. Habits of expression ensuing from mannerism are, as a fact, remote from the central function of satire. In its essence the purpose of satire — whether verse or prose — is aggression. (When whimsical, sentimental, or "poetic" it is a sort of bastard humour.) Satire has a great big glaring target. If successful, it blasts a great big hole in the center. Directness there must be and singleness of aim: it is all aim, all trajectory."

"Sex was really all bluff — power the thing."

"The als ob doctrine of a sportsmanlike average, that is the perfect democrat. […] If you do not acquire this simple democratic habit of make-believe, there is no place for you in contemporary life."

"There's Wyndham Lewis fuming out of sight, That lonely old volcano of the Right."

"The Relativity theory, the copernican upheaval, or any great scientific convulsion, leaves a new landscape. There is a period of stunned dreariness; then people begin, antlike, the building of a new human world. They soon forget the last disturbance. But from these shocks they derive a slightly augmented vocabulary, a new blind spot in their vision, a few new blepharospasms or tics, and perhaps a revised method of computing time. (p. 336)"

"Lewis sought no disciples, nor does he offer a program or solution, rather his contribution is a critical discipline. Lewis is a stimulant, a mode of perception, rather than a position or practice."

"Is it with us a compensatory fact that, being more stupid in the mass, we shoot up higher, when we do shoot up, in dazzling concentrations of intellectual power and so produce what we describe as "genius"? For "genius" is with us an individual thing. Whereas all Jews are little geniuses."

"You as a Fascist stand for the small trader against the chain-store; for the peasant against the usurer; for the nation, great or small, against the super-state; for personal business against Big Business; for the craftsman against the Machine; for the creator against the middleman; for all that prospers by individual effort and creative toil, against all that prospers in the abstract air of High Finance or of the theoretic ballyhoo of Internationalism."

"The prime essential in the solution of the "Jewish problem" is to eradicate entirely from our minds all prejudice and superstition about the Jew."

"The art of advertisement, after the American manner, has introduced into all our life such a lavish use of superlatives, that no standard of value whatever is intact."

"It could perhaps be asserted, even, that the greatest Satire cannot be moralistic at all: if for no other reason, because no mind of the first order has ever itself been taken in, nor consented to take in others, by the crude injunctions of any purely moral code."

"I have been called a Rogue Elephant, a Cannibal Shark, and a crocodile. I am none the worse. I remain a caged, and rather sardonic, lion, in a particularly contemptible and ill-run zoo."

"The earth has become one big village, with telephones laid on from one end to the other, and air transport, both speedy and safe."

"I am an artist, and, through my eye, must confess to a tremendous bias. In my purely literary voyages my eye is always my compass. “The architectural simplicity” – whether of a platonic idea or greek temple – I far prefer to no idea at all, or no temple at all, or, for instance, to most of the complicated and too tropical structures of India. Nothing could ever convince my EYE – even if my intelligence were otherwise overcome – that anything that did not possess this simplicity, conceptual quality, hard exact outline, grand architectural proportion, was the greatest art. Bergson is indeed the arch enemy of every impulse having its seat in the apparatus of vision, and requiring a concrete world. Bergson is the enemy of the Eye, from the start; though he might arrive at some emotional compromise with the Ear. But I can hardly imagine any way in which he is not against every form of intelligent life. (p. 338)"