Review
Culture
Economics
Politics
10 min read

The book Keir Starmer says you must read

Will Hutton’s This Time No Mistakes surveys the thinking that could solve Britain’s ills.

John Milbank is a theologian, philosopher and poet. A co-founder of the Radical Orthodoxy movement, he is an Emeritus Professor of the University of Nottingham.

Kier Starmer sits on a sofa, leaning forward and holding papers he is reading. Rachel Reaves sits and looks on.
Starmer and Reeves.
Labour Party

In the aftermath of a historic election, one could do worse than read Will Hutton’s second big ‘state of the nation book’, recently published. This Time No Mistakes is worth reading just for the succinctness and clarity of its politic-economic history of the United Kingdom since the industrial revolution, which it provides in its central chapters. Indeed, Keir Starmer says it is a ‘brilliant book... read it if you haven't already It may well take a sophisticated journalist to be able to do this so well: too often, even the best of academics cannot see the public wood for their private-obsessional trees.  

But it is doubly and mainly worth reading for Hutton’s prognosis of our ills and his recommendations for solving them. The new Labour government could do far worse than try to carry through Hutton’s proposals, which almost anyone of common sense and goodwill (including all Tories) ought readily to endorse. Indeed, if the next government managed to initiate even a half of what he suggests, this country could be placed back upon the right tracks.  

As to the history, which is crucial to the ultimate diagnosis: Hutton contends quite simply that Britain has been self-deceived by the peculiar nature of its industrial revolution, which was the first in history. It was largely a matter of private enterprise, partly enabled and later cushioned by empire, whose possession encouraged us to support an unqualified doctrine of free trade.  

However, all other nations, including the United States, both when they sought to catch up with the steam and rail revolution, and when they later co-pioneered the ones based on gas and electricity, and ultimately on nuclear and digital, from the outset depended much more upon state intervention to promote needed expertise, education and investment. The United Kingdom, by contrast, remained captivated by the mythical glory of its initial take-off.  

As a result, not just Conservative governments, but also Labour ones, right up to the New Labour one, and including the catastrophically misguided work of Margaret Thatcher (Hutton is admirably unqualified here) remained far too captivated by the norms of economic laissez-faire, ‘balancing the books’, a primacy of finance over production and obsessive Treasury concern with money, rather than productive wealth.  

The exceptions to this were the pre-World War one Liberal government and the post World War Two Labour one. Yet all the strong ideas implemented by the latter came from ‘New Liberal’ thinkers and not Labour ones: notably from Keynes and Beveridge. Labour on its own, by comparison, has tragically and disastrously oscillated between a desire to replace capitalism with some sort of command economy on the one hand, and simply leaving capitalism as it is, with a bit of welfare tinkering, on the other. More recently this has been seen in the contrast between Corbyn and Blair. 

It is at this juncture that Hutton proceeds to complement his political-economic diagnosis with a more purely political one. The split on the ‘progressive left’ is a catastrophe that has kept the Tories unfairly in power for much of a century. This split is both caused by and has prevented any reform of the first past the post voting system, which urgently needs to go.  

For this reason then, political economy and constitutional reform go together.  

As to the latter, we need proportional representation which would allow more reasoned debate instead of the inter-party squabble, alongside legally guaranteed local government and a different kind of informed, rather than overweening executive.  

As to the former, we need flexible planning, public-private partnership in investment, a national wealth fund, sectional trade union bargaining, the breaking up of cartels and monopolies and required social purpose and stakeholding, for every business and financial enterprise. 

One is tempted just to say hurray! But there are some historical and theoretical questions to be posed that may have hidden practical consequences.  

Better than trying to ‘balance’ the private and the collective, as if the self and society were in rivalry, is to take the more Continental (and early Blairite!) course of stressing that we are always ‘persons in relation’.

Hutton now backs Tawney besides Keynes. But do they say the same thing? For the latter, capitalism is a wild, amoral and dynamic beast that can nonetheless be politically tamed. In certain phases of the capitalist cycle only (as Hutton rightly sees) this will be about boosting demand, but in others it can mean lessening it and temporarily hurting workers.  

But Tawney, and Hutton clearly agrees with him, wanted a market economy permitting only useful and not merely acquisitive wealth. Given this ethical purpose it was for him possible for the market, aa a socialist market, to reach equilibrium, beyond extrinsic and always precarious state ‘management’.  

Just how precarious was seen in the 1970s. For Hutton, the lapse of Keynesianism in this decade was simply a matter of the triumph of the wrong ideas. To a large degree this is surely right, and yet it is not the whole story. Were it the latter, then neoliberalism might not have spread beyond Anglo-Saxon lands to Europe and South America.  

The other aspect is surely the reality that capitalism of its nature, as driven by the amoral search for profit, resists any prospect of a stable, social market. Achieving that and extending the corporatist order of negotiation between state, business and unions would have been the alternative way, instead of Hayekianism, to deal with ‘stagflation’. Rather than a competition between capital, labour and consumer for money that wasn’t there at the time, a fair division of spoils could have been consistently instituted by legally and culturally re-framing the firm and the market, something that would have immediately favoured a renewed degree of growth.  

Really, almost everything that Hutton writes indicates agreement with this sort of thing, including the recognition that of itself, capitalism is not actually dynamic (that comes from technology and culture) but tends to build up sterile finance in the interests of the few, rather than productive growth in the interests of the many. But in that case ‘ethical socialism’ is not just a set of ideals, as he tends to imply, but a mode of achievable practice.  

Similarly, a general mutualist national insurance approach to welfare, which he rightly favours, was not just a New Liberal advocacy as he claims, but deeply rooted in co-operative socialism and in Christian (especially Anglican) social thinking whose influence -- except silently in the case of Tawney -- goes unmentioned. Yet the very phrase ‘welfare state’ is Archbishop William Temple’s and Tawney’s social analysis, intended for the general public, concluded with an unabashed High Church ecclesiology! 

It is relevant here that Hutton speaks of the need to combine the ‘I’ with the ‘We’ and yet he clearly does not endorse just any old exercise of ‘individual agency’, even if he sometimes appears to do so, when defining the operation of the price mechanism as necessarily ‘wild’, after Adam Smith’s exclusion of commercial transactions from the immediate operation of social sympathy. Better than trying to ‘balance’ the private and the collective, as if the self and society were in rivalry, is to take the more Continental (and early Blairite!) course of stressing that we are always ‘persons in relation’ – at once within and outside each other, in a constant creative weave.  

Nothing could be further from Keynes’ despising of the proletariat and favouring of learned leisure, that John Ruskin’s revolutionary mystique of the artisanal. 

There are two deeper questions about Hutton’s approach. First, his excessive ‘idealism’, as with his analysis of the Seventies switch, may still underrate the difficulty of overcoming the power of entrenched interests – the need indeed not so much for class, as for popular warfare against plutocracy.  

Secondly, he tends to underplay a theoretical tension between secular and materialist thinkers, including New Liberals, on the one hand, and religious and Idealist thinkers like the first ‘New Liberal’, T.H Green on the other.  

The latter was much more like Alasdair Macintyre or Michael Sandel than like John Rawls, as Hutton claims: for by human ‘self-realisation’ he meant the ‘positive liberty’ of pursuing the objectively true ends of human flourishing: religious contemplation, artistic creation of genuine beauty, active citizen participation.  

By contrast, the secular New Liberals, including Keynes, tended to reduce the ethical good to the negative liberty of rights, private friendship and utility – often leading them to favour eugenics and to indulge in racism. Nothing could be further from Keynes’ despising of the proletariat and favouring of learned leisure, that John Ruskin’s revolutionary mystique of the artisanal.  

Hutton tends to express surprise that a Tory like Ruskin, or a reactionary like Carlyle, should have favoured the cause of the worker – and indeed in Ruskin’s case also espoused ‘communism’, as Hutton elides from the picture. But this is to fail to see how Tory Radicalism and even paternalism is actually a third strand in the kind of transformative thinking that we continue to need, was always a crucial influence on Labour and was a crucial element of the postwar settlement.  

If these thinkers indeed favoured ‘hierarchy’, then that was in part because they wanted more interpersonal and mediated chains of command, rather than brutally centralised and mechanical ones. Surely Hutton wants that also, as his excellent reservations about the use of Artificial Intelligence would indicate? 

There is a recognition that economic individualism usually ‘on the right’ is actually matched and encouraged by a cultural individualism usually ‘on the left’. 

This is perhaps the limit of talking in terms of ‘progressive’ versus ‘conservative’. Hutton harks back to the norms of the Enlightenment. Yet, as Richard Whatmore has shown, all the great British enlightenment thinkers came to think that pure enlightenment was failing.  

They saw its anti-religious fanaticism stance as challenged by the rise of new secular, nationalist and direct democratic fanaticisms, as supremely with the French Revolution. By ‘populism’, as we might now say! 

But they also already recognised that the breakdown of a rational peace had been encouraged by excessive consumer greed and by the over-implication of commerce in state borrowing (whose pre-enabling of industry in Britain, Hutton does not mention) and so also in war and empire.  

It was exactly in this context that the enlightenment thinker Edmund Burke began to consider the virtues of the longer-term embedding of enlightenment in Christianity and the importance of the medieval ‘gothic’ legacy of a corporate order binding social body to social body, rather than individual to individual via contract, mediated by the market and backed up by the state.  

In Burke’s wake, for example with the radical William Cobbett, much of the Nineteenth Century critique of economism, to which Hutton is the heir, was of a ‘Romantic’ and often ‘neo-medieval’ rather than purely enlightenment cast. (Hutton at times wrongly reads medieval ‘feudalism’ as ‘absolutist’ – a specifically early modern phenomenon.) This matters, because this tradition contains a stronger recognition that the centralising state (which the Enlightenment favoured as a substitute for the Church) can be just as alienating and anti-social as the uprooting market – even if, as Karl Polanyi later saw, one needs the power of the state today in order to restore the primacy of the social and of inter-human fellowship.  

Within the same current, there is a recognition that economic individualism usually ‘on the right’ is actually matched and encouraged by a cultural individualism usually ‘on the left’. And here Hutton is perhaps inconsistent – he definitely sees this, mentioning the dubious overriding of the universal by identitarian concerns,  and yet also recognises it somewhat uneasily, as it challenges certain ‘progressivist’ assumptions. 

 As a result, he rather disallows the validity of some populist concerns – ironically rather like the incomprehension of the older enlightenment in the face of the new revolutionary era. For example, concerns with the normative primacy of the heterosexual family and the enabling of family and children, with regional and national identity, with the academic ‘woke’ trashing of the entire Western legacy, with the exploitation and cultural disruption of excessive immigration, with ecological policies that simply override current human needs while doing little to assist the future of nature.  

The danger of these partial blind spots could be a continued failure of the roughly ‘communitarian’ Left, or the sensible Right, to win over the mass of the people to their cause. For they must be won over if not just the United Kingdom, but humanity as a whole, is to have a decent future.  

Towards building that future, no one has contributed more, or more valiantly, than Will Hutton.  

  

 

Review
Culture
Film & TV
Monsters
5 min read

Here’s what Death of a Unicorn gets very wrong

‘The unicorn was a Christ-allegory’ and other lies.

Iona is a PhD candidate at the University of Aberdeen, studying how we can understand truth. 

A tapestry depicts a unicorn resting within a fenced enclosure.
The Unicorn Rests in a Garden (from the Unicorn Tapestries).
Public domain, The Met Museum.

I don’t do horror or gore. And yet, I just saw the gory creature feature comedy horror Death of a Unicorn. I have not seen such a clichéd movie in a very long time (probably since Don’t Look Up…). Death of a Unicorn gives us a strained father-daughter relationship, the artsy young girl with silver rings on every finger and dyed hair, cartoonishly evil rich people, their creepy but stupid blonde son, the put-upon butler… and… the unicorn. However, the biggest cliché of them all is perhaps the desperate attempt to subvert expectations and tell a new story about a familiar trope… and failing.  

Given the title of the film, one would be forgiven for assuming that unicorns play a significant role in it. One would be mistaken. The conceit of killer-unicorn is a fun one. I wish the film had played with it more. Instead, the unicorns themselves barely feature and are not particularly interesting or subversive. The perception of the unicorn that is put forward by the characters likewise is trite and tired.  

The film features another classic scene: the ‘plucky young woman digs out her laptop and falls down a google rabbit hole to research paranormal/fantastical phenomenon’. In her research Ridley comes across a set of medieval tapestries depicting a unicorn hunt. These tapestries do exist in real life and are indeed now housed at The Met. The Met’s fictional website in the film informs Ridley that the fifth tapestry in the series ‘The Unicorn Surrenders to a Maiden’ only survives in fragments (true) and that scholars believe the missing part of the tapestry most likely showed the unicorn going on a murderous rampage (very much not true). From this, Ridley deduces that, since unicorns do indeed appear to be real, the warnings of old ought to be heeded. In the film, Ridley is proved right, the unicorns do turn out to be murderous monsters out for the blood of those who would abuse the remains of their dead foal.  

While the real Met website does indeed show us the torn tapestry, it features no such conjecture about the gory violence the unicorn might have inflicted prior to being subdued by the maiden.  

In one of her desperate attempts to reason with the megalomaniacal pharmaceutical tycoons, Ridley slips in a sentence about the unicorn serving as an allegory for Christ. This is a claim that is repeated all across the internet in various fora, fan sites, even some old scholarship. But that is exactly what this theory is: outdated scholarship… mixed with a healthy (unhealthy?) dose of paternalistic attitudes towards the past and half-misremembered folklore about Christian symbolism. It is true that medieval art is rich in symbolism. It is also true that medieval European cultures were deeply steeped in Christian religious traditions. However, as Barbara Drake Boehm writes in her recent book on the tapestries ‘the Cloisters Hunt for the Unicorn tapestries have … fallen victim to a tendency to perceive Christianity in every stitch’. The fact that one of the hunters has a scabbard that invokes the ‘Queen of Heaven’ (the Virgin Mary), or that another carries rosary beads, are most likely simply indicative of the fact these were common items ‘within the majority-Christian society in which the tapestries were created’. (A Blessing of Unicorns, The Metropolitan Museum of Art, 2020).

This contrived and at the same time lazy interpretation speaks of a deeply patronising and arrogant attitude to the past. 

One doesn’t need a degree in art history to figure out that such an allegorical relation would make no sense either. If the unicorn was representative of Christ and the hunt of his Passion, why does the unicorn fight back? If the untouched maiden in whose lap the unicorn reposes is the Virgin Mary, mother of Christ, why does she help the hunters trap and kill the unicorn? The tapestry that supposedly shows the unicorn resurrected and at peace in its captivity does not even appear to belong to the same narrative as the other tapestries. And why would a resurrected Christ-figure be shown in supposed captivity?  

This contrived and at the same time lazy interpretation speaks of a deeply patronising and arrogant attitude to the past. ‘Ah, well, back then they were all religious fanatics that believed in silly things like Jesus and unicorns.’ The implication being that in our modern, enlightened state we couldn’t possibly be accused of believing in silly simplistic mythical accounts of the world… Yeah. Not only is this of course false, it also distract from the very real things we could learn from the past.  

The film in the end wants to have it both ways. It wants to ridicule medieval people (based on lazy stereotypes) as well as perpetuating some of the most backward attitudes woven into the tapestries. So, what is the real true meaning of the tapestries and of unicorns? I don’t know. I can’t offer ‘real true’ interpretations (because they don’t exist). What I can offer is a careful and close engagement.  

What strikes me about the myth of the unicorn is what the unicorn does stand for. Over the centuries the unicorn has been used as a symbol for purity, innocence, humility, and sometimes fertility. In medieval poetry the (male) bard would often cast himself as the unicorn, beguiled by his beautiful lady, desiring nothing more than to rest his head in her lap. Little of this particular metaphor has survived into the modern pop-culture. What seems to have survived is the strong connection with young virgins. This particular trope features heavily in the film too though the film makers attempt to gloss over the sexual implications of ‘virgin’ by speaking only of ‘maidens’ (which still means the same thing but doesn’t have the same sexual baggage for modern ears).  

Now, that is indeed an interesting aspect worth unpacking. Why is it that unicorns are so attracted to young women who have not had sex? Why the obsession with virginity and the implied association that – for a woman! – having sex sullies something pure? What does it mean that both the hunters in the tapestries and the rich people in the film use a woman’s body and sexuality to trap the unicorn and commit their violence? Where’s the film that deals with those questions? Until they make that one maybe I’ll stick with My Little Pony, I’m told that has significantly less disembowelment.  

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