In my latest National Post column I say the Canadian state has become so profoundly incapable that when politicians and bureaucrats don’t do something they claimed they were going to, it’s nearly impossible to tell whether they didn’t want to, couldn’t, or both.
“Pilot, you’ll never get anywhere in this life if you only do what is wise.”
Lt.-Cmdr. Ninian Scott-Elliot, who had a distinguished wartime career with the Royal Navy (and uttered this phrase when warned that his plane was pursuing a U-boat too close to shore) before moving to the Solomons where he died age 86, quoted in the Ottawa Citizen April 19, 1998
“Nazism was an attempt to lie beautifully to the German nation and to the world. The beautiful lie is, however, also the essence of kitsch. Kitsch is a form of make-believe, a form of deception. It is an alternative to the daily reality that would otherwise be a spiritual vacuum. It represents ‘fun’ and ‘excitement,’ energy and spectacle and above all ‘beauty.’ Kitsch replaces ethics with aesthetics. Kitsch is the mask of Death. Nazism was the ultimate expression of kitsch, of its mind-numbing, death-dealing portent. Naziism, like kitsch, masqueraded as life; the reality of both was death. The Third Reich was the creation of ‘kitsch men,’ people who confused the relationship between life and art, reality and myth, and who regarded the goal of existence as mere affirmation, devoid of criticism, difficulty, insight. Their sensibility was rooted in superficiality, falsity, plagiarism, and forgery. Their art was rooted in ugliness. They took the ideals, though not the form, of the nineteenth- and early-twentieth-century avant-garde, and of the German nation in the Great War, and by means of technology – the mirror – they suited these ideals to their own purpose. Germany, the home of Dichter und Denker [Poets and thinkers], of many of the greatest cultural achievements of modern man, became in the Third Reich the home of Richter und Henker [Judges and hangmen]: the incarnation of kitsch and nihilism.”
Modris Eksteins Rites of Spring: The Great War and the Birth of the Modern Era
In my latest Loonie Politics column I say the American withdrawal from liberal global policeman isn’t some weird departure from their geopolitical traditions, it’s a return to business as usual pre-1945. It was the intervening 80 years that was extraordinary and if people valued it they should have been more helpful to and less unpleasant about the Pax Americana.
“… to reassure us generally of the good intentions of the average German. Eulogies are pronounced on his good-humour and domesticity, and the warlike house-burners are praised as peaceful householders. It is, perhaps, admitted that there was something tactless in torturing the Belgians. But it is regarded as the exuberance of a young nation; and an indulgence is asked for such pastimes of Prussian officers on the principle that boys will be boys. That dark and watchful enemy, the sower of tares, is represented as having merely sown his wild oats.”
G.K. Chesterton in Illustrated London News Jan. 1, 1916, quoted in “The Golden Key Chain GKC on Scripture Conducted by Peter Floriani” in Gilbert: the Magazine of the Society of G.K. Chesterton Vol. 28 #3 (Jan./Feb. 2025)
In my latest Loonie Politics column I say since nuclear weapons are a crucial feature of geopolitics including the structure of deterrence that has prevented major wars for three-quarters of a century, it’s asinine or worse to be against making sure they work the way we expect them to.
“The fascist opposition to the novel [All Quiet on the Western Front] blended often with that of the conservatives and presented many of the same arguments, but there was an essential difference in the reasoning. The fascists sanctified not so much the purpose of the war as the ‘experience’ of the war, the very essence of the war, its immediacy, its tragedy, its exhilaration, its ultimate ineffability in anything but mystical and spiritual terms. The war, as we shall see, gave meaning to fascism. Thus, any suggestion that the war had been purposeless was a slur against the very existence of this form of extremism. It is here, on the extreme right, that the most active opposition to Remarque, and to the whole wave of so-called negative war books, films, and other artifacts, assembled.”
Modris Eksteins Rites of Spring: The Great War and the Birth of the Modern Era
“of all the war books of the late twenties... Remarque’s [phenomenally successfull All Quiet on the Western Front] made its point, that his was a truly lost generation, most directly and emotionally, even stridently, and this directness and passionately at the heart of its popular appeal. But there was more. The ‘romantic agony” was a wild cry of revolt and despair – and a cry of acceleration. In perversion there could be pleasure. In darkness, light. The relation of Remarque and his generation to death and destruction is not as straightforward as it appears. In his personal life and in his reflections on the war Remarque seemed fascinated by death. All of his subsequent work exudes this fascination. As one critic put it later, Remarque ‘probably made more out of death than the most fashionable undertakers.’ Like the Dadaists, he was spellbound by war in its horror, by the act of destruction, to the point where death becomes not the antithesis of life but the ultimate expression of life, where death becomes a creative force, a source of art and vitality.”
Modris Eksteins Rites of Spring: The Great War and the Birth of the Modern Era