Showing posts with label Herbert Read. Show all posts
Showing posts with label Herbert Read. Show all posts

Friday, 3 November 2017

George Orwell Statue


A STATUE of the writer and social critic George Orrwell is to be unveiled at the BBC HQ in London this coming Tuesday.  Orwell worked for the BBC from August 1941 to September 1943.  He was placed in the BBC's Overseas Service as a talks assistant, with other outsiders such as the anarchist art critic Herbert Read.

When the Freedom anarchist, George Woodcock, in Partisan Review in 1942 criticised Orwell, while Orwell was working for the BBC, for being 'the preacher of a doctrine of Physical Courage as an Asset to the Left-wing intellectual...' and 'conducting British propaganda to fox the Indian spendemasses'.

To which Orwell pointed out that 'Most of our broadcasters are Indian left-wing intellectuals, from Liberals to Trotskyists, some of them bitterly anti-British'.

He mentions as an example Herbert Read as a broadcaster, and others included T.S. Eliot, E.M. Forster, Reginald Renolds, Stephen Spender, J.B.S. Haldane, Tom Wintringham.


Wednesday, 28 October 2015

LETTING IT ALL HANG OUT ...


The article below was published on page 10 of the last edition of Private Eye:

 SINCE it was founded in 1886 by the Russian geographer Peter Kropotkin, the anarchist journal Freedom has included among its contributors and supporters George Orwell, Alex Comfort, Augustus John, Herbert Read, Benjamin Britten, and Cliff Harper.  For almost 50 years it has owned its own building, next to the Whitechapel Art Gallery in east London. 

However, after the death in 2001 of Vernon “Vero” Richards, who had presided since the days of the Spanish civil war, it was run into the ground:  first  under the editorship of Toby Crowe, who was more hardline Marxist  than anarchist and eventually packed it in to become an Anglican vicar; then under a young thruster called Simon Saunders, whose consuming passion is for computer games. 

Last October the paper closed down altogether, with a final edition that bizarrely boasted:  'Never mind, Kropotkin might have started it but we fucking finished it!' 

The build at Whitechapel High St, recently valued at £1.1m, is now occupied by a bunch of scribblers, activists and Class War enthusiasts who style it an 'anarcho-hang-out' and call themselves the Freedom Collective – though one veteran Freedom supporter tells the Eye it's less a collective than 'a bunch of oiks and morons' whose anarchism seems to consist largely of swearing a lot.  One denizen rejoices in the moniker Gawain 'the Cunt' Williams. 

Needless to say, there was much jubilation at Class War's '#fuckparade' assault  last month on a nearby hipster cafe selling breakfast cereal. 'The Cereal Killer cafe is a legitimate target,' the Freedom Collective's website declared.  'Yes hipster businesses aren't the actual problem  - capitalism and landlords are – but it is certainly a good thing that these people are made to feel unwelcome.' 

But will the oiks themselves be made unwelcome soon?  The building owned by a formerly constituted company, Friends of Freedom Press Ltd, and under its articles of association its board is obliged to sell if the magazine ceases regular publication, and to use the proceeds for other editorial ventures. 

The hitherto somnolent board of FFP Ltd – mostly old-style anarchists – will meet in London on 21 October to initiate formal eviction procedures.  Meanwhile, despite having spectacularly failed to publish a newspaper, the occupants of the anarcho hang-out refuse to recognise the board's authority and claim ownership of the building 'on behalf of the movement'. 

Regular visitors to Whitechapel Art Gallery can anticipate some lively impromptu performance-art next door in Angel Alley in the coming months. 
And, naturally, a lot of swearing.  

Tuesday, 10 March 2015

Postmortem on one of the oldest papers in England

WHAT follows on the next post on this Blog is a postmortem assessment or examination of FREEDOM newspaper by the cultural and arts correspondent for Northern Voices, Christopher Draper.  Mr. Draper has produced a remarkable and insightful autopsy on the corpse of FREEDOM, which at the time of its death last year was one of the oldest political newspapers England, if not the world.  Many distinguished figures wrote in it including Augustus John, George Orwell, Herbert Read, John Arden, Colin Ward, Nicolas Walter, Peter Turner, Bill Christopher, John Hewetson, Geoffrey Ostergaard, Philip Sansom, George Woodcock, and Vernon Richards.  Northern Voices believes Mr. Draper has done us a great service by his investigative research into who killed FREEDOM.  What follows here is merely the first installment of a series of articles uncovering what happened to FREEDOM over the decades of its existence.  We believe this will now be the historic documented record of what happened at Freedom Press.

Wednesday, 26 February 2014

Political Credentials & Northern Voices

Avoiding the lunatic fringe!

DAVID Goodway, in his book 'Anarchist Seeds Beneath the Snow:  Left-Libertarian Thought & British Writers from William Morris to Colin Ward' (2006), wrote in an introduction:
'This book was strongly recommended to the commissioning editor of one of Britain's best-known firms by a reputable historian whose latest work he was publishing...', the editor reluctantly refused. 

Mr. Goodway believes it was to do with the subject matter of 'anarchism' because he writes: 
'...anarchism [in Britain] continues to engender at the beginning of the twenty-first century the passionate opposition it aroused at the end of the nineteenth and early-twentieth centuries when it became irretrievable associated with bomb-throwing and violence, a violence that has re-erupted in recent years with the widely publized activities of self-professed anarchists in anti-globalization and similar movements.'

Herbert Read, the art critic and poet, relates how he found himself at a diner party sitting next to 'a lady well known in the political world, a member of the Conservative party', who 'at once asked me what my politics were, and on my replying "I am an anarchist"... cried, "How absurd!", and did not address another word to me during the whole meal' [see 'Anarchy & Order:  Essays in politics'].

In her history of 19th century slums in London's East End (see 'The Blackest Streets' [2008]), Sarah Wise writes on this demotion of 'anarchism' in this country to a political 'lunatic fringe':
'The fiery invocations being published in the Commonweal (in 1893) were relegating Anarchy to the lunatic fringe of British politics - an exile from which it has yet to return.'

Despite this bad press for British anarchism, Northern Voices still identifies itself as 'anarchistic', and we do this because we consider that good journalists should avoid a party-line by being spiritually anarchist, agnostic and sceptical.  That is why we avoid identifying even with affiliated anarchist organisations such as the 'Anarchist Federation' (A.F.) because that would commit us to a party-line.  

George Orwell in his review of Mairin Mitchell's book 'Storm Over Spain'  about the Spanish Civil War wrote:
'The Anarchists and Syndicalists have been persistently misrepresented in England, and the average English person still retains his eighteen-ninetyish notion that Anarchism is the same thing as anarchy.'
Orwell then points out that in Spain, in December 1937, 'the pity is that so much of what the Anarchists achieved (in Spain, especially in Catalonia) has already been undone...

In England anarchism, as David Goodway notes, has never had anything like the status it had in Spain or even in much of Europe.  The insignificance of the anarchists as a political force in this country is related to a lack of maturity and the insistence of many English anarchists in behaving as if they were a caricature or the inmates of comic strip.  Some of this may be traced back to the 19th Century as Sarah Wise suggests above, and Gerald Brenan in his book has something to say about why the Spanish anarchists were different from the English and others in northern Europe in his book 'The Spanish Labyrinth':
'The assassination of the Czar in March 1881 by Russian Social Revolutionaries caused a profound sensation all over Europe.  The Anarchist Congress which met in London four months later debated under its shadow.  Many of its delegates were, in Stekloff's words, "isolated desperadoes, lone wolves, infuriated by persecution and out of touch with the masses"Others, the most violent of all in their proposals, were police spies.  Others again represented the new theories of "anarchist communism".  But resolutions were passed accepting "propaganda by deed" as a useful method ...' 

The Spanish delegate returned to Madrid, but Brenan writes that the violent methods proposed in London were not suited to Spain:
'Spaniards lived then at a great distance from the rest of Europe.  Besides, anarchism had still a large following.  Under such conditions terrorist  action was madness and would not find any encouragement among the workers.  The new Regional Federation had in any case no need to appeal for violent methods.  Its progress during the first year or two of its existence was rapid.  A Congress held in Seville in 1882 represented some 50,000 workers, of whom 30,000 came from Andalusia and most of the rest from Catalonia.'

Compared to the Spanish anarchist movement from the 19th century onwards to the present day, the movement in this country appears as an half-baked hole-in-the-corner affair that has little or no popular support.  There was a brief flowering of interest in the 1960s; during the time that the peace movement was growing there was a knock-on effect on the anarchists and those who identified with left-wing libertarianism.  This had an impact and the publication 'Anarchy', edited by Colin Ward, gained some influence among academics and intellectuals.  The peaceful direct action of the Committee of 100 also suited the libertarian left and it briefly entered the life-blood of British culture before it was submerged again by the activities of the Angry Brigade in the 1970s.

Our free association with the NAN (Northern Anarchist Network) is based on a belief that it has been an open forum that seeks to include libertarians and applies its ideas to everyday life situations, rather than indulging in political panaceas and mixing with smelly little orthodoxies.   Many of the people who call themselves 'class struggle anarchists' can't comfortably talk to genuine working folk, and as Orwell said many who proclaim themselves for rural collectives wouldn't know a White Leghorn hen or Anglo-Nubian goat if they saw one:  The only time I saw such distinguished Manchester militants as Mr. and Mrs. Miller on a picket-line was in 2004 at the Manchester Arndale, when they wanted to pass through the blacklisted electricians to get their car.  But they are not unique in this the British left in general is a fag-end affair and not worth much serious consideration. 
Fortunately, as Jim Pinkerton once said 'anarchism doesn't depend on the "anarchists" anymore than Christianity depends on the Christians'

David Goodway in his book 'Anarchist Seeds Beneath the Snow', writing about art critic Herbert Read:
'After remarking that in coming out for anarchism he had "forfeited any claim to be taken seriously as a politician" and excluded himself from "the main current of socialist activity in England", Herbert Read continued:  "But I have often found sympathy and agreement in unexpected places, and there are many intellectuals who are fundamentally anarchist in their political outlook, but who do not dare to invite ridicule by confessing it".'

George Orwell's practical and political experiences during the Spanish Civil War persuaded him that at least the Spanish and Catalan anarchists were worth taking seriously though he seems to have been somewhat less impressed with the English anarchists and libertarian friends he knew.  Northern Voices annoys many people on the left in this country because it takes an independent line, and doesn't shy from attacking anarchists and socialists when we believe they behave badly.  Anyone decent person who doesn't agree with us can always write to us and complain as the brother of Cyril Smith did some years ago, and we will publish their complaint as we did with Norman Smith.  Otherwise the danger is, as Sarah Wise wrote, we will forever see the great British public forever 'relegating Anarchy to the lunatic fringe of British politics - an exile from which it has yet to return.'

Thursday, 20 June 2013

Norman Potter: Dissident Anarcho-Designer

ENGLISH folk reputably tend to over-cook their vegetables but somehow manage to end up with a politics that is nothing if not half-baked. This is particularly the case among the English anarchists where one always feels one is residing with the runt of the political litter, and recent research into English anarchism would bear this out since it appears that half of the so called English anarchist movement are employed as civil servants or teachers on a State stipend, or alternatively have been stuck on state benefits (see Martin Gilbert's interesting posting on this Blog: 'Washing dirty Anarchist linen in public' 4th, Oct. 2012). 

The Northern historian, David Goodway, has written:
'... anarchism - or left libertarianism ... is a long-established political position and ideology, associated with a substantial body of necessary, radical thought.  In other countries this is taken for granted and intellectual respect is paid to anarchism ... but it has never been in Britain and the other Anglo-Saxon nations.'

For this reason many lower-middle-class English anarchists live double lives with 'subterannean' identities and often use so many aliases they must forget the names they were christened with when they were born.  Herbert Read said:  'In calling [my] principles Anarchism I have forfeited any claim to be taken seriously as a politician, and have cut myself off from the main current of socialist activity in England.'

And yet, for the journalist, the designer or the artist in this country it may be positively an advantage to be labelled 'an anarchist'; in so far as one has no obvious party political bias to uphold or party-line to follow.  Herbert Read survived and prospered despite his anarchist connections and David Goodway hasn't done badly as an 'anarchist historian'.  It is perhaps not surprising, therefore, to read an article this week in the International Herald Tribune by its distinguished design critic, Alice Rawsthorn, on an exhibition in Bristol inspired by Norman Potter and assembled by Susanne Kriemann entitled 'Norman Potter, a heroic rogue'.

The Arnolfini Exhibition:
Susanne Kriemann: Modelling (Construction School)
Saturday 04 May 2013 to Sunday 07 July 2013, 11:00 to 18:00
Free →

Norman Potter was a designer and poet who set up the Construction School for experimental design in Bristol in the mid-1960s.  In his book 'Anarchist Seeds Beneath the Snow', the historian, David Goodway, referred to Potter in his chapter on the famous anarchist art critic Herbert Read wrote:
'Potter ... an anarchist from his teens who has been described as "the English Rietveld" - the reference is to the great Dutch furniture-maker and architect, Gerrit Rietveld - point[ed] out how much Read's work and example had meant to him, especially as a young man.'

As for the artist Susanne Kriemann, her works look at specific examples of documentary images, from early photo history to surveillance cameras, and how they shaped our understanding of reality. With playful and inventive moments, the artist suggests a reading of pictures that asks for their meaning in the present. 

For the exhibition at Arnolfini, Susanne Kriemann develops a new series of work that respond to the history of the Construction School in Bristol. The history of the Construction School has been extensively researched by designer James Langdon, who provided the original material for the exhibition. The Construction School existed from 1964 to 1979 as part of the West of England College of Art and Design (now UWE) and was an attempt to establish an experimental design school, similar to the Bauhaus and the HfG Ulm, in a local English context. The Construction School’s history is closely bound to the career and concerns of its founder Norman Potter, an anarchist and practitioner on the margins of mid-twentieth century English design culture. Potter resisted the increasing emphasis on specialisation in design education and worked to encourage practical collaboration between disciplines. Susanne Kriemann’s exhibition will look at materials from the Construction School archive and their legacy of protest and change for today. 

The exhibition by Susanne Kriemann is organised by Arnolfini in connection with a series of events about the Construction School, initiated by James Langdon in collaboration with Spike Island. At Spike Island, Langdon will present a performance of a play by Norman Potter, In:quest of Icarus, and a purpose-built space for the archive of the Construction School.

The exhibition is closed on Mondays (except Bank Holidays).

The graphic designer, James Langdon says:
'I think Potter's image is very heroic ... [h]is workshop at Corsham and his teaching in Bristol were defined by their being so unlikely, and requiring such conviction and energy to bring into existence.  It was very bold to attempt such a radical and uncompromising program in a provincial English context.'

That is the difference between the kind of artistic anarchism represented by Norman Potter as opposed to the typical English political hanger-on one might meet, the former is bold and committed, while the latter is often furtive and sly. 
_________________________________________________________

The current printed issue of NORTHERN VOICES No.14, is now available for sale with a review by Derek Pattison of Dave Goodway's book 'The Anarchist Seeds Beneath the Snow: from William Morris to Colin Ward', Northern Voices can be obtained as follows:
Postal subscription: £5 for the next two issues (post included). Cheques made payable to 'Northern Voices' should be sent c/o 52, Todmorden Road, Burnley, Lancashire BB10 4AH.

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