Sunday, 11 July 2021

The Interest: How the British Establishment Resisted the Abolition of Slavery

A myth - one of many to do with Britain and her history - exists to do with slavery. Ask a man in the street about it, and they will more often then not proudly proclaim that 'Britain was the first country in the world to outlaw the practice.' What is true is that in 1807 Britain stopped its legal involvement - I hesitate to go as far as to say abolished, considering that other countries continued the trade - in the transatlantic slave trade. A grass-roots campaign, waged over twenty years, resulted in Parliament finally legislating to stop that particular aspect of the horrors of human enslavement.

Another myth exists to do with British involvement in slavery. That myth holds that from 1807 slavery itself was in decline in the British Empire. Once again, were you to ask the average man on the street (or, to use the legal jargon, the man on the Clapham omnibus) they would tell you that slavery declined to nothing, and that this was because of the benevolence of the British state.

The fact that neither of those myths are true would never occur to the average British citizen. That is through no fault of their own.

Recent times have seen the so-called 'culture wars' break out. Pitching what on the outside appears to be traditional orthodoxy, celebrating British achievements in a nationalistic fervour, against a 'woke' revisionism that simply attacks any kind of British achievement, they reached their apogee last summer, as the statue of Edward Colston was upended and pitched head first into Bristol harbour by - depending on which polar opposite view you happen to hold - concerned citizens determined to erase the stains of the past from modern life, or a rabid mob attempting to wipe out history. As for the powers that be, on one hand, we are told that slavery was a great evil and that Britain can be proud of stamping it out; on the other, we're told to respect the statues and monuments built to men who profited from the forced labour of their fellow man. No wonder many people take the simplest and shortest path to understanding, even if that understanding is fundamentally wrong.

As Michael Taylor demonstrates in this excellent book, the British state should take no pride in its role in abolishing slavery itself. Instead, the credit belongs to others: from the grass-roots campaigners in Britain who played a crucial role in twisting arms, to the enslaved men and women themselves who rose up to force the West Indian planters to live in constant fear of those they had incarcerated. The British establishment, for all it now tells us that it gave men and women their liberty, actively conspired against the abolitionish lobby. Only when it was politically expedient did Parliament legislate. And even then, it was only after reform at home.

Yes, many of the protagonists were products of their time. Take the Duke of Wellington. The hero of Waterloo, a decorated soldier, fighting in Britain's interests abroad and a pragmatic politician. He's a man who, if he was learned about in school, would have been learned about for those qualities; there's no reason to doubt them. But if we hold a microscope to him and view his achievements and qualities with modern eyes, we start to see how problematic he was. Yes, he emancipated the Catholics despite being personally opposed, but he was also a supporter of the West India Interest, the cabal of planters who wanted to keep slavery. He was opposed to reform. No democrat, he served the interests of a section of British society; a part, and not the whole. Also take William Gladstone. The Liberal PM of the mid- to late-nineteenth century has a reputation as a great statesman - alongside his unusual nocturnal activities - beloved by many in society. He was certainly more of a democrat than Wellington, and yet his family made its riches as a direct result of slavery. He was a supporter of slavery himself in his early years, when he was more Tory than Liberal. Yes, he may have reformed. Yes, his background may have informed his beliefs. But when you consider that these were the great and the good - the men who held power and refused to release it - it becomes all the more clear that the establishment resisted the ending of slavery.

Even today the establishment is squeamish about its involvement in slavery. There has been no unqualified apology for the evils Britain unleashed on millions of black men and women. In 2015, David Cameron - a relatively enlightened Conservative, as these things go, who had been responsible for the great social revolution of gay marriage, against his party and the Church of England's wishes - failed to make an apology on an official visit to Jamaica. Tony Blair had also failed to do the same. Despite both men acknowledging the evils of the practice, neither was prepared to ask for forgiveness for Britain from the descendants of those it had exploited.

What Michael Taylor exposes is how the British establishment has manipulated the realities of what may fairly be termed a genocide in order to suit its own ends. Despite the fact that it held up the abolition of slavery, we are expected to be proud of the fact that it eventually caved to overwhelming pressure against its own interests, and even then chose to compensate itself rather than those it had exploited, it has somehow turned the abolition into a great British achievement. In truth, abolition was against the interests of those in power until after the Great Reform Act 1832, when Britain underwent a process of democratisation that sidelined the West India Interest.

This is an important book, that serves as a refreshing counterpoint to official narratives. Taylor shows just how abolition was resisted at every step, and only took place when it was no longer in the ruling political class's interests to maintain the status quo. At every step, the institutions of Britain fought to uphold slavery. It's important that we understand this.

Sunday, 24 January 2021

Summer of Night


 By the time you reach the end of a horror novel, all suspense has often been lost. Answers to the puzzle have been provided, and all that remains is the resolution. A good example of this is It, which rumbles along for 1,300 pages of increasing tension and drama, until the end, which resolves loose threads and gives us an ending that, as much as anything, reassures.

I say this not to lambast It - it has become one of my favourite novels, with memorable characters, pulse-pounding drama, a plot that wends this way and that - but to provide a contrast.

Dan Simmons has been someone I've held up as a master of horror for quite some time. If King's books shock and provoke occasional terror, Simmons' books linger and haunt. Song of Kali is like that, and it's like that because, unlike It, it doesn't give us the reassuring conclusion. It speaks to our fears that no, it won't be all right. King does that from time to time: Pet Sematary is just one example of him flipping the expectation that things will be all right on its head. But more often than not the survivors find themselves in a better place. The Stand. It. Even, to an extent, 'Salem's Lot and Misery. Simmons, however, gives us lingering doubt.

Take The Terror. Despite what seems, for a time, to be a cut and dried ending, there's the coda which throws doubt on so much, and lends to the horror from before. The sailors could have been all right. Francis Crozier saved himself, but did he betray his men into the bargain? And as for the Tuunbaq: is it ever really not a threat? Was it real, or spiritual? That uncertainty is as horrifying as any of the violence that went before.

And this is where Summer of Night is so successful. While perhaps not as accomplished or engrossing as It or The Terror - for one thing it's only 600 pages rather than 1,300 or 900 - it still fills the reader with a sense of doubt at the conclusion. This is after the constant dread in the build-up. There is a constant sense of danger. It's a book you can't let your guard down with; after all, if you're alone and you let your guard down, terrible things will happen.

Summer of Night bears comparison with It on a deeper level than 'it's a horror novel'. Like It, Summer of Night follows a group of children in a small American town as they battle a horror through a summer holiday. In this regard, it is arguably the weaker book: there's a bond between the characters in It that never quite seems present in Summer of Night, and the characters, unusually for Simmons, can be a little two-dimensional. On the other hand, the bond that is forged never quite feels safe, and this insecurity just adds to the horror.

Where Summer of Night excels, though, is in the uncertainty. The writing is superb, but at times it is somewhat vague. It sows doubt in the reader's mind. Is this really happening? Where King leaves the reader in little doubt - yes, this is scary, you're right to feel fear - Simmons always has that lingering sense that you could be wrong. Maybe there's nothing to fear. But then again, if there is... Unlike King, there's rarely a sense of catharsis when a threat has disappeared, simply another building tension. There can be no doubt at all that Simmons is a modern master of horror. He makes you feel uncomfortable.

I can highly recommend Summer of Night. Anyone with an interest in horror should read it for its small town America vibes and fears. It is a study in how to write horror, and how to leave the reader in fear and wanting more, even at the end.

One final thing before I depart: If you have not read The Hyperion Cantos by the same author, what are you doing? Your life will be better for it, particularly Hyperion and Fall of Hyperion.

Friday, 1 January 2021

The Reading Year 2021

2020 was a year. I got married. My wife and I found out we are having a baby. I suffered throughout from chronic depression. The world was locked down. At some point, I might have breathed.

Perhaps it's unsurprising, then, that I read more than normal. Time was one commodity that did exist in the first half of the year, moreso than in other years. In total, I completed 100 books, many of which were towards my personal target of reading more books either by people of colour, or about different cultures around the world. If you can't go out and experience the wider world, the least you can do is understand the experiences of others.

2021 is starting with something similar: A Corner of a Foreign Field is a book on cricket in India. But that isn't all: it's a book about Indian social and political history since about 1850. It's another book to help me understand another culture - or, I should probably be honest about this, about the many different cultures of India. Let's remember, the modern nation of India is a product of a colonial past, far more than it would have been if let to its own devices.

India promises to feature heavily in this year's reading. For Christmas, my wife bought me William Dalrymple's The Anarchy, a history of the East India Company and its corporate colonisation of the subcontinent. I also intend to read Michael Wood's The Story of India. A few new ideas will keep me going.

But other than that, do I intend to set targets? Not really. Setting myself targets, partly for my own self-improvement, probably puts me under more pressure than I strictly speaking need to put on myself. My only target is this:

ENJOY WHAT I READ.

This means a return to science fiction. This means completing those series which have been sat on the Kindle for months, or (in some cases) years (perhaps that means the Joe Abercrombie sitting in the background). It means reading Ann Leckie, Adrian Tchaikovsky, RJ Barker. It means returning to old faithfuls after years away. It means Foundation and The Farseer Trilogy. It means revisiting the Norman Conquest and spending time in Anglo-Saxon England.

Life is too short to read things I don't enjoy. May 2021 bring enjoyment.