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Blending Truth and Fiction – Review of ‘Taliesin’ and ‘Merlin’ by Stephen Lawhead

Blending Truth and Fiction – Review of ‘Taliesin’ and ‘Merlin’ by Stephen Lawhead

Blending fiction and truth can be fractious at times. Fiction is the story that hasn’t happened. Yet it can be true. We read stories of kings and hobbits, of ice witches and the Lion, and we feel the truth of our own world, of the great story of fall, of sin, of God’s redemption.

These famous ‘fictional’ tales are analogies on deep imagined canvases. They are other worlds designed to shine with the truth of this real one. But what of fiction which may have moments of analogy, or more subtle strands of truth, but be more completely a fiction? There the writer needs to tread with care. Any writer worth his salt will have felt the responsibility and the challenge in making their imagined world ‘true’ in the truest sense of the word.

To the review part of this article, of Stephen Lawhead’s first two books in the Pendragon Cycle (I’ve only read the first two of the six in the series), which tell the imagined back-story to the rule of King Arthur. The first thing to say is that there is a lot of Christian truth in Taliesin and Merlin. There is also a lot of blending between historical sources, Celtic myth, and the spread of Christianity in the British isles.

(Spoilers to come) Taliesin is a bard, found in the earliest surviving collections of Welsh literature, here reimagined as the adopted son of Elfin – another character from Welsh history and myth. They are skilfully sewn into an origin story that will lead eventually to Arthur, but realised vividly as protagonists in their own right. Merlin, is of course the Merlin of Arthurian stories over the centuries, more regularly known culturally in book and on screen. Lawhead combines the mythical, the literary, the historical, and the Christian into his reimagining in these novels, in quite dramatic and memorable stories. They powerfully proclaim the Gospel in many places and the characters discover ‘the true light’ of Jesu, in often beautifully written prose. It is so refreshing to read of these characters embracing the love of God and the truth of his Word in this historical setting, as Rome recedes from Britain’s shores, and the islands’ peoples chart their path toward Christendom.

Yet, there is also plenty to unsettle in how the novels blend the truth with a re-historicized version of Celtic culture, of druid religion, of faerie, and Atlantean settlers. Here is the challenge of how to write truly and where to draw your lines.

Too often, I have to say, Lawhead creates a kind of syncretism – meaning where two separate religions or beliefs are merged, and typically diluted or distorted in the process. Taliesin, in the first novel, taught by druids of ‘the old religion’, finds there was ‘truth’ in their teachings, which when interpreted correctly are shown as being in line with Biblical revelation. In his conversion to Christianity he is really discovering the full truth of which his mentor Hafgan saw only part. Hafgan, former chief druid, does also gladly become Christian, where other druids return to darker ways. These conversions to Christianity of Taliesin, Hafgan, and also Atlantean Charis, are indeed beautifully, convincingly, and powerfully told; and yet the syncretism that is carried over, leaves a troubling taste.

Like Hafgan and the druids before him, Taleisin takes drug-laced chestnuts in order to enter the ‘other-world’, a spirit-realm, in which a Christ figure appears to him. The presentation of magic-mushroom-like induced states as leading to godly visions and a genuine spiritual dimension, is a huge distortion of the true Biblical revelation of spiritual reality. In Merlin this continues, with the eponymous character seeing visions of the future by firelight and when his ‘arwen’ descends. The faerie-world is likewise written as real, peopled by ‘hill-folk’. This is not analogy, but part of the story-world’s co-existing depiction of reality. The pagan and the Christian overlap.

The stories refreshingly refer to ‘the great light’ – a welcome description, though in repetition it can tend to render God vague and impersonal. Yet Lawhead takes Biblical concepts of the coming Messiah and reuses them in the context of the coming Arthur who is destined to bring ‘the Kingdom of Summer’ to Britain. Salvation gathers and builds throughout the storytelling to become by Arthurian legend, and less by Christ and His grace. The Gospel salvation is sidelined, present in the narrative, but reduced to a supporting role, more complementary to the hope of Merlin’s God inspired kingmaking.

It is something all writers of fiction should face: how to show the truth of God in representations of this world; in representations of action and thought and plot; of fallen characters, written by fallen writers. How to express the blazing, unconquerable, utterly pre-eminent Truth, with a poetic, subtle touch that can softly communicate in moments, and flame in others; that can miss nothing and yet not clobber the non-Christian reader too starkly; that can show action and reaction, the imperatives of physical drama, and yet reveal the ever-present eternal, invisible meaning of it all. We all fail to see sometimes where our own stories and emphases get lost, within the stories as they are told, within our own desires and passions that do the telling.

The world is not syncretistic; it belongs to the Lord God. The Truth is His alone. History is His. It’s all about Him, even when we’re writing about people who don’t realise it. This is the challenge of fiction, and the joy of writing and reading, when it becomes stunningly and gloriously clear.  

Review – Colonialism: a Moral Reckoning, by Nigel Biggar

Review – Colonialism: a Moral Reckoning, by Nigel Biggar

This is an exemplary account of the complexities of the British Empire, a weighing of the moral standards and actions thought, permitted, and committed by those within it, and simply good, honest historical writing.

I thoroughly recommend it. Colonialism was not one big mass that can be assigned blame, but something carried out for various reasons, good or bad, and specific to cultural situation. Here, Nigel Biggar examines British colonialism and empire, carefully considering historical detail, letters and comments from the time, and views since. It is a fascinating study, and reveals so much about the British colonial period that many readers, like myself, will find new and interesting.

Part of the reason for this is that so much relevant to the current declarations on present guilt for long-past wrongs and the tearing down of statues, is obscured and ignored. What Biggar does so well is maintain an even hand as he surveys the evidence and asks what a moral and just understanding of the past means. He looks fairly at the crimes and the oversights, and also the care and diligence of British overseas rule. One thing that becomes very clear is just how dishonest and biased so much of what is passed as scholarly writing really is. Time and again the writings of those who criticise the British empire the most are easily revealed to be illogical and unbalanced in their use of evidence and the conclusions they have predetermined to reach.

For those interested in genuinely thinking morally about the British colonial period, its causes, and its effects – up to the present time – this is a great book.

Review – Dune I and Dune II

Review – Dune I and Dune II

Watching Dune I there is an uncomfortable feeling of being fed a messiah story – irreverent to the real Messiah story, but perhaps with some analogy to Christ; or a science-fiction that takes disrespectfully from the true original, like so much of modern western culture, from Superman to Star Wars to The Matrix. These stories make a blueprint of the story that has defined western culture – of the greatest possible story – and while they might strike a few brief chords of reminiscence, they sully it. They make the superman of early 20th century futurism, or the Buddhist-dominated-hybrids set on other planets, and digitised. The past two decades of film and television has been awash with these ever more diluted saviour figures, secularised and pantheistic in the liberal Marvel worldview.

Dune I kept its cards close to its chest, perhaps deceptively so. The role of the quasi-religious characters was not fully revealed, only hinted at; the governing story-world rules were kept under wraps. There are filmmaking reasons for delaying the surprise of the storyline, but this toyed with salvific ideas too readily. The protagonist, Paul, seemed to be charting the course of Joseph Campbell’s mythic story tropes of the hero. He might discover his purpose as he faced challenges on his quest, and as he met the girl he saw in visions. I write this, having not read the original novel, and I wonder if the concubine Chani (not thought of as a concubine in the film) and the Hollywood storyline that so entwines romance, religious imagery, and destiny, also drives the narrative there.

These visions which build through the storyline are troubling. They seem to refer to Paul’s death, and some kind of resurrection – which never occurs, and only in the vaguest metaphorical sense. It plays loose with the holy.

In Dune II the actual nature of this story-world becomes increasingly clear. The internal-logic – which only holds together so long as you don’t think, and remain transfixed in only what the screen shows – paints an unpleasant picture.

This is a world, a universe, in which the strings are pulled, entirely, by the ‘Bene Gesserit’. Their religion is fake; they strive for power and use their advanced mental-psychic abilities to control and coerce, to implant their imagined prophecies in the masses and to direct events on global, multiple-global scales. And in this story-world, they can do it. Like Isaac Asimov – writing in the same mid-century era – Frank Herbert wrote a storyline built on the idea that human psychology could be so all-knowing and supreme in its assessments, calculations, and the strategies resulting, that the course of human history could be manipulated and charted. Here there seems to be the influence of Freudian psychoanalytical notions, that everything in a person can be explained by understanding their past – in Dune II this includes ancestors and lineage somehow; and there is likely some Marxist influence as well: a view of human beings as comprising impersonalised blocks, moveable on a materialist, predictable scheme of history.

It is worth thinking a moment about the worldview you have been immersed in for several hours; about the logic you have seen spelled out in action, cause and effect on screen, and which you have had to believe to some extent, in order to care about character and conclusion. Narrative, story-telling, and the appearance of reality – academics call ‘verisimiltude’ – is a potentially dangerous thing.

What these films do not do is present God’s real world and universe. God alone moves empires and royal houses. God alone moves individuals. The purposes are His.

Dune presents the belief that humans can control fate.

The religion in the movies is false. It is also based on psychedelic drugs. I was slow to see this, until reading that Frank Herbert tried magic mushrooms. The novels and movies are of the 1960’s era in this way too. The ‘spice’ that is mined from the sand of the planet Dune is made seem rather innocuous, as it floats in the air, flickers when it catches the light, and is inhaled without knowing. It is made to appear that Paul is not actually taking a drug. Similarly, when the film’s bright blue liquid poison is imbibed in a shamanic ritual by Paul’s mother, and later Paul – a liquid that has been sucked from a sand worm – it is called ‘the water of life’.  

This is a story of a false messiah and a false religion, controlling empires, and all based on use of psychedelic drugs and the supremacy of human psychological potential to foresee and determine destiny.

It puts the human in control and has no room for the Lord God.

Review – Matrix Resurrections

Review – Matrix Resurrections

(Spoilers ahead)   

The difference between 1999 and 2022 can be seen in the difference between two Matrix films.

The 1999 film could be heralded from multiple sides. As Neo Anderson (New Man) dodged bullets and bent space-time, it was possible to read the film from a Christian viewpoint: there was a vague Christ figure, ‘the one’; there was the awakening to the lies of mass culture and modern society. There were cool shades, black leather and fast bikes, stylised shots of bullets exploding concrete: an amoral reading could also attach without too much trouble. For a classical reference there was Morpheus, ancient Greek god of dreams. For the Buddhist, or the New Ager who liked the sound of Zen, there was vague spoon-bending and non-reality. It was a metaphor waiting to be interpreted. A poster-film for postmodernism, with ground-breaking CGI.

The 2021/22 version is The Matrix remade, but with the woke-progression-of-postmodernism added in. So heavy-handed has this culture become that the open plotting – which still let us read and revise from a range of cultural inputs – has been swamped.

The direction we are supposed to think is telegraphed throughout. Matrix Resurrections is at once an homage to the 1999 original, founded on references and flashbacks, a replica cast and a closely mirrored storyline, and an attempt to imprint a new meaning onto what has become culturally familiar. The ‘red pill’ of this remake is not readily interpreted as an awakening from liberal, politically-correct, culture and brain-washing (as it has been widely referenced in online Conservatism for two decades), but is an awakening into extreme liberalism. The character of Trinity must free herself from her false husband and children (the Christian root of the character’s name is a long way away from this remake); at the finale she announces her intention to remake the world as one of ‘rainbows’ – in an on-the-nose pro-LGBTQ reference. The ship’s crew of camp men and lesbian-leaning women are the new norm.

This film is very much the remake of Lana (formerly called Larry) Wachowski. It seems he wasn’t content with the original and wanted to pull it into what he now envisages reality to be. We are given regular, unsubtle nudges that Neo and Trinity need to find their true selves, and not be controlled by what society has put upon them. Is Trinity a mother and wife (in the fake world) she wonders, because she was made to feel she must be? Did she choose? In this new Matrix, what is queer, and left-wing-liberal, is choice – the meaning of which being simultaneously, and conversely – unmistakeable, unalterable identity, that you must discover; every other idea is a hegemonic false reality (taking from Gramsci and Adorno’s Neo-Marxism). In the 2021/22 sequel, freedom from the matrix means liberal-left wing, progressive, identity politics.

And yet, it is, for some reason, the love of Neo and Trinity that is the spiritual, technology-defying key to bringing down all this machine-controlled hegemony. The story doesn’t know why. That these rebuilt clones (not resurrections) of Neo and Trinity are machine made, also doesn’t seem to factor. We are shown a materialist and presumably soulless view of humanity on the one hand, and on the other, a fatalistic, all-conquering, immutable love as salvation, upon which the storyline wholly depends.

The film fails to work because its ideas do not stand, and cannot go together. It tries to present a story of escaping false reality (including family and morality), for a real reality that is clearly false. If we can choose our postmodern identity, then the notion of Neo and Trinity being joined unfailingly, timelessly together can’t be true; if Neo and Trinity’s love is true and has the power to reshape the matrix, then the film’s ‘choose your identity rhetoric,’ is not. Queer theory, Gender theory, social constructs, and Marxism do not fit, at all, with a great redemptive love. They fundamentally cannot. The result, in Matrix Resurrections, is a film that feels hollow: it simply doesn’t ring true, because the two realities presented – both matrix and real world – are false; because a ‘progressive’ conception of the person is one without grace or hope; one that inextricably denies the need for redemptive love.

It’s sad that the filmmakers have not understood the reason for the original 1999 film’s success. It worked as a narrative because – in spite of a mishmash of ideas and inconsistent meanings – there was room enough to see amongst the shades, bullet-time, and cryptic-babble, a story of freedom and love and destiny against evil control. The new attempt to reshape the story speaks moreover, of a desire to shackle that basic metaphor to a particular current of liberal-left wing consensus on identity and politics. To be freed from the Matrix in this sequel, is not to be freed at all.

Copyright © 2022 by Dominic Graham

Review of Mothers Swam

Review of Mothers Swam

As I prepare the new edition of Mothers Swam for release, here’s one of my favourite reviews:

 

Mr. Richard Lw Bunning

5.0 out of 5 stars War, Survival and a Love that Transcends the Greatest of Cultural and Social Divides

Reviewed in the United States on 23 January 2018

Verified Purchase

Such a good read! Well told story of one man’s war, fought against the Japanese and a ghost, a guilt, from the past. A story of that same man that fought in the jungles of Burma, survived as a prisoner-of-war, and then as a prisoner on the run across Korea with an escaped ‘Comfort Girl’ that would later, eventually, become the very heart of his life. Then this same couple in a struggle against one Japanese, samurai sword wielding, sadistic, devil incarnate doctor.

This is an outstanding read, especially when one catches the rhythm of the prose, which then seem to dance through the desperation of tragic, blood-stained, battering chapters. I couldn’t put this book down until the return in 1946 to battle weary Britain, only to briefly draw breath while looking into the post-war character of the ever-changing, ever the same, Britain. Graham looks deep into the souls of those bruised, prejudiced, broad-shouldered, struggling survivors, as they slowly come to terms, or not, with their ever-changed country. Then still recovering the reader is thrown back to Korea, to the terrible war between North and South, and renewed struggles simply to survive. The climax of the book is desperate, as we cling to the hope that at last all will eventually come right for those tortured souls that so deserve happiness together.

This is a book by an English born writer whom so well draws on his understanding of the North-East Midlands of Britain, and of East Asia, where he currently lives and works. He has clearly read a great deal about the WWII history of South-East Asia, and I believe listened a great deal to the now passing generation to which we all owe so much. This is more than a war story, this is a drama about what it felt like to wear the shoes of those that lived the terrors that started for many in the 1930’s and only ended on the DMZ of the Korean Peninsula in 1953. The message of the book is one of hope, that eventually different cultures can finally walk our lands together. We must still live in that hope and do our individual best to combat those that ever carry the mindset of this book’s sick, elitist, doctor. There is after all only one true war, that between those that fight for a vision of nurturing humanity and those that remain ever jealous, selfish, cruel, elitist animals that willingly destroy all that would restrict them.

Fin de siècle – different settings

Fin de siècle – different settings

Posted on Goodreads: https://www.goodreads.com/author_blog_posts/19387231-fin-de-si-cle—different-settings

I’m writing this from China in the midst of the Coronavirus shutdown. I’ve just had a great holiday with my parents, starting in Singapore and travelling by cruise-ship up the coast. I saw the outbreak beginning on news reports, but it was another thing to arrive at HongKong airport. My flight to Shanghai was cancelled, and on the next morning’s flight the combined group of passengers filled not a fifth of the three-hundred seat plane.

This is a city, a country, of surgical masks. You can’t buy them anywhere, and if you don’t have one on your face you are regarded as a danger. I got mine from the cruise-ship’s medical bay before leaving.

I travelled to the safest supermarket in the city centre – and had my forehead scanned by temperature gun. The streets are almost deserted, just occasional people at a distance. The subway trains are running, where we sit at intervals, facing no one opposite; the buses carry one or two, still driving their routes along empty streets. This is Shanghai – debatably – the largest city on the planet. I was at People’s Square, where once horses raced around the oval track, watched by Europeans from their tree-lined concessions, and where the Municipal government now sits. The sky is frequently pollution-grey in this land, lasting for days, weeks.

Before my holiday I had been working hard to complete the revision of an article on Thomas Hardy, which will soon be published. I find the nineteenth century a fascinating time, as the period of history which set the stage for so much of the modern world. The second half of the century, in particular, captures my attention, as it leads to the ‘fin de siècle’. The French came up with the term, and the sense of despair about which it refers. Literally, it means ‘the end of the century’. It caught on, and has come to be applied to literature, the arts, and society in general. You can trace its development, building – or collapsing – in the writing of Hardy, Conrad, and others, such as those of the Decadent movement. Essentially, people felt like everything was slipping away, that chaos was gathering storm-like, around and through ‘civilisation’; too few of them, I would argue, saw their own role clearly in dismantling it. This is Edvard Munch and his ‘Scream’; this is existential angst. They tore at the foundations, even as they screamed at the sensation of collapse.

What came at the end of the long-century was World War I, Europe – the Old World – destroying itself, and the tumult and change which followed. Yet, as many have discussed, that sensation of things coming apart, is by no means original to the 1890s. I would say it is of fallen humans, and we destroy with ease; even as we arrogantly pronounce to ourselves and others that we build and achieve.

Perhaps one of the things I find fascinating about 19th century literature is that the words still contain the hope and vision of a foundation holding aloft. There is a beauty and a tragic tension in the work of writers who glimpse, but often fail to recognise it.

An Easter Poem

An Easter Poem

Jesus Arrested

 

He spoke and all torch fire, clubs weld, they collaps’d

He stood man-God; brow bled in prayer this night.

They soldiers, priests repeat the Name despatch’d

Who’s he? All know; his Words through dark are sight

 

Jesus, Messiah, “I told you I Am he”

How many dug seed wells then dirt and down?

As olive bark crowds eyes beneath the tree

Then rise, arms hung, lit leaf and face and crown

 

His friend’s kiss; where soon palms will turn by plan

The grounded step, stand back, oh see or flee!

To look so close at God, and not know the Man.

Empire and Jew holds breath, one word it may be

 

He loses none given, he will be seiz’d

“Buy Sword”, The Rock for King will learn to fight

Blade thuds, ear lifts as dirt, belief receiv’d?

They lead him bound to drink the cup in Might!

 

The Garden pressed and caught on back and knee

Cloak weave and under nail, Gethsemane

That night of torch, dark soil, plant light as day

Did tumble memory as brushed away

at barrack, court and wood post three?

Twig or fruit, recall, you fell, you can be free

 

Did some who collaps’d under olive leaves

carry sapling dirt, see God and believe?

 

It’s Finished.

 

His legs won’t break, won’t kneel; pierced heart, crown, hand and heel.

The Gardener knelt with towel the very day before

with dust and feet, the Branch; Dead, then never dead more.

 

 

 

(the poem is inspired in particular by John: 18)

 

Copyright © 2019 by Dominic Graham

 

On Colonialism and Japan

On Colonialism and Japan

If you walk around Hiroshima in Japan you can experience a particular history. There is the one the ground beneath your feet speaks of in the form of absence: where once searing flames roared across the landscape, burning people, dogs, buildings, and possessions; where atomic winds blew through wooden houses and the people within them. You can stand outside the ruins of one landmark building that wasn’t felled: a heavy stone hall of industry, still there with its broken dome and blackened walls, and get an ever-insufficient sense of the terror and devastation. The information on display around the memorial park tries to give direction to your senses: it tells of staggering loss, of how many and how much, and of a great tragedy for humanity. Yet there it stops. The direction refuses to go further. It never says sorry on behalf of Japan; neither does it ever exactly say the Americans shouldn’t have done it. Instead, it tells of war as awful results, not of causes. It does not admit origins, blame, guilt, or culpability.

 

Hiroshima seems in fact to be a memorial in denial, a place where a history is told which seeks to exist simultaneously as a thing to regret, and as no action to be regretted.

 

Across Asia wounds remain, and the distinction has often been observed, that whereas in Europe, Germany hung its head, weighed heavy with accepted blame, Japan has been consistently reluctant to fully do likewise.

 

In a 1995 Sunday Times article on the semi-autobiographical, Empire of the Sun, J.G. Ballard gave a profound endnote to his novel of a young boy starving in a Japanese prison camp near Shanghai:

 

“American power had saved our lives, above all the atomic bombs dropped on Hiroshima and Nagasaki. Not only our lives had been spared, but those of millions of Asian civilians and, just as likely, millions of Japanese in the home islands. I find wholly baffling the widespread belief today that the dropping of the Hiroshima and Nagasaki bombs was an immoral act, even possibly a war crime to rank with Nazi genocide.

During their long advance across the Pacific, the American armies liberated only one large capital city, Manila. A month of ferocious fighting left 6000 Americans dead, 20,000 Japanese and over 100,000 Filipinos, many of them senselessly slaughtered, a total greater than those who died at Hiroshima.

How many more would have died if the Americans and British had been forced to fight for Singapore, Saigon, Hong Kong and Shanghai?

… Some historians claim that the war was virtually over, and that the Japanese leaders, seeing their wasted cities and the total collapse of the country’s infrastructure, would have surrendered without the atom-bomb attacks. But this ignores one all-important factor – the Japanese soldier. Countless times he had shown that as long as he had a rifle or a grenade he would fight to the end. The only infrastructure the Japanese infantryman needed was his own courage, and there is no reason to believe that he would have fought less tenaciously for his homeland than for a coral atoll thousands of miles away.

The claims that Hiroshima and Nagasaki constitute an American war crime have had an unfortunate effect on the Japanese, confirming their belief that they were the victims of the war rather than the aggressors. As a nation the Japanese have never faced up to the atrocities they committed, and are unlikely to do so as long as we bend our heads in shame before the memories of Hiroshima and Nagasaki.”

 

With the war in Europe concluded several months previously, the United States had given serious thought to sending more of its bombers to the far east. They decided against it and in favour of the two atomic weapons. Had they instead doubled the size of their conventional bombing capabilities over Japan, then that nation’s cities would have suffered far greater total devastation and loss of life than the two targeted but profound warheads brought. Had they chosen the slow, protracted attrition of fighting island by island, then young boys in prisoner-of-war-camps would likely have starved, or been executed as the defeat and humiliation crept up on Japanese soldiers.

 

Should the innocent have died in these camps, rather than the two bombs have been dropped? In this horrific situation some people had to die, and in huge number, before Japan would surrender. Can we reach any other conclusion than to say the dead ought to have been Japanese rather than American, the wrongful aggressors, rather than the wrongfully attacked?

 

There is though, an argument sometimes heard, that Germany, Japan, and Italy, have been hard-done-to by the narrative of western history. Were they not the last of the colonial expansionists, doing largely what others had benefited from before them? Were they not unfortunate to find themselves at a turning point of history, when aggression was out of vogue and the immutable nation state was in? The British had established the American colonies, Australia, South Africa, Indian rule, and more; they had relocated, and fought indigenous populations; Germany had formerly colonised Rwanda, Botswana and other African countries, as well as Pacific islands (they were governed by other powers after defeat in World War I, and the Treaty of Versailles). Belgium had made a disaster of the Congo. France. The Netherlands. Spain, Portugal. Everyone who was anyone had colonised.

 

Two and a half millennia ago the Greeks had found the farming on their narrow coastland insufficient for growing populations and had settled colonies around the Mediterranean. On the Island of Thera, each Greek family had watched one adult son sail away to the African coast, founding Cyrene. Across the shores of modern day Italy, Spain, and France, colonies struggled and thrived. Massalia (Marseilles) is one colonial name to survive. When the Roman Empire eventually wrapped the Mediterranean coastline, it was essentially an imperial collection of ancient colonies. And when Rome built their own straight roads and blood-spilling amphitheatres, founding Florence, Bonn, London, and numerous other cities, they continued the imperative of colonialism. In fact, it is highly likely that you are reading this from the location of a famous colony. It could even be argued that the spread of human civilisation and culture is effectively synonymous with the action of colonisation.

 

However, academia and the media now routinely proclaim that ‘colonialism’ is something to be regretted, to be stopped, to be fought against and opposed. If someone is ‘colonial’ it is meant as a slur; if a nation behaved colonially, however long ago, it needs to repent in the present. Colonial statues need to be torn down. The descendants of colonists need to pay reparations. According to this understanding, Germany and Italy and Japan were wrong in the twentieth century because they had a colonial, racist and fascist ideology (these terms often being used interchangeably). ‘Colonial’ equals criminal by default.

 

But, if ‘colonialism’ is at heart something so integral to human culture as, ‘leaving home and setting up a new home somewhere else,’ then we cannot reasonably state that the wrongs of World War II were attributable to this word and be done and dusted with the case.

 

Even if we use a narrower definition, and frame the sin of colonialism as, rather, ‘the taking of land or home which belongs to someone else, without their due consent,’ we don’t reach anything which can rationally hold water. Instead we immediately get into a quagmire of self-refutations because we must argue ‘human rights,’ ‘land laws,’ and rules and obligations of ‘nations,’ which may seem universal, but are very much derived from western culture. We are in effect criticizing long dead colonisers using concepts which neither they nor those who lived in colonised lands would have adhered to. The case falls apart.

 

Is the taking of land where someone else lives, a guaranteed crime?

 

Take, as example, the now much-maligned British Empire. It is a blind-man’s broad-brush stroke that seeks to delineate British colonialism under the same sweep as Japanese – though that is now commonly what is done. It is not that the British Empire was not guilty of great wrongs – few historians would evade this admission – but that it is not reasonable to compare its conduct or intent with that of the Japanese or German empires:

 

The British Empire brought trains and institutions of governance to the world; the Indians still use those British railways lines, and many parts of the world rely on British parliamentary and civil service derived institutions. India, and numerous other countries, also retained English as an official state language long after colonialism’s end. As examples of law and order, justice and civilian life, the British hunted down and wiped out the Thugee cult – murderous robbers who strangled travellers across India and made any journey life-threatening – and put an end to ‘sati,’ the widespread practice whereby women were expected to set fire to themselves on their husband’s funeral pyre. Christian missionaries were often key to such beneficial changes, and journeyed beyond the empire’s boundaries, telling the gospel to diverse cultures.

 

The Japanese also took trains – British-derived technology – to parts of Asia and Korea, alongside Japanese governance. The Koreans still use the Japanese railway routes, but not much else from those days of the Empire of the Rising Sun. The Japanese attempted to supplant and eradicate Korean names and the Korean language, but Koreans returned to their own language as quickly as possible at the end of occupation. Attendance at State Shinto shrines had been made compulsory, but shrines were soon brought down. The ‘Korean National Shrine’ in Seoul was removed after war’s end, and notably a Christian Seminary was constructed where it had stood.

 

Is it not the qualities of the culture to be colonised and of that which does the colonising, which define how the action and its result are to be appraised? Teach Polynesian cannibals about the message of the Bible, and lands where men gnawed human bones can become lands where hymns and spires point to heaven. But, construct ‘comfort’ houses of prostitution for occupying soldiers and you strip souls beside the train tracks.

 

It is extremely counter-cultural these days to say what is obvious, but plainly, no two cultures are equal. Cultural relativism can only be the proclamation of someone in denial of real, historical and experienced culture – it is itself a particular ‘correct’ and ‘unrelative’ view, which claims it knows best: a self-defeating argument like so many others from postmodernity. For history does not reveal a story of purely materialist oppression upon oppression as Marx said, nor of relativism nudging harmlessly against relativism, where all cultures are of equal value – and thereby, no discernible value. What history shows is a story of cultures of different values battling for what is valuable, and of claims as to the good or evil of those cultural values. It’s about right and wrong.

 

This is what most of us actually know deep down. Should a wife die on a funeral pyre, or live free? Should a road be built between cities, or people remain isolated? Should medicine be brought to an Amazonian tribe, or disease reign? Should devilish cannibalism rule an island, or the authority of Jesus Christ? Should fascism rule Europe, East Asia, or ultimately America? These are questions of value and truth; they involve that truth being taken from one place and person to another. Or not being.

 

Japan and Germany and Italy were truly wrong before and during the Second World War, not because of their ‘colonialism,’ but because of the heart with which they conducted it. A colonial outlook is not necessarily a mistake.

 

After all, it was the vast British Imperial Empire and its colonised cousin, America, which were able to hold back and ultimately defeat the colonising Japanese and German Empires. You are free to agree or disagree because the colonials with the better values, won.

 

Copyright © 2018 by Dominic Graham