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Why we need a gentle radical revolution

Our social arrangement needs to prioritise human relationships, argues MP Danny Kruger.

Danny Kruger is the Conservative MP for Devizes.  He is the author of Covenant: The New Politics of Home, Neighbourhood and Nation.

A group of people stand in a field by a fence and a railway footcrossing.
Danny Kruger with a campaign group in his Devizes constituency.

Democracy divides us. The political system best calculated to hold together a diverse society is also one that exacerbates differences and obscures our common opinions and interests. A two-party system - and all Western politics is largely binary, split between conservative and progressive parties or groups of parties - encourages vicious disagreement across the aisle, and polarises opinion in the country.  

The paradox is that, despite our party disagreements, the most popular opinion with the public is that ‘they're as bad as each other’. The view held in common across the country is that ‘they’re all the same’; that ‘there’s nothing to choose between them’. And deep down, the public is right, but in a good way. Fundamentally the parties share a worldview, which derives from our common inheritance as the heirs of the Christian tradition. 

That tradition taught us that individuals are intrinsically, personally, valuable, without reference to the identities of sex, household, tribe or race which, in pagan cultures, gave people their only worth (or for most people, their lack of it). It also taught us that, despite our individual personal value, our mission in life was other-facing. Our object of worship was outside the self. God’s will was made material and meaningful through the institutions of our common life, in what we came to call civil society. These institutions in turn, especially the institution of the law, worked to protect the individual and make diversity safe.  

This tradition split into two parts in the modern age, as an old, anti-Christian idea, which Christianity had expunged, crept back in. In my book Covenant I call it ‘the Idea’, as opposed to what I call ‘the Order’. The ‘Idea’ is that I am god, with the creative power to order reality and decide for myself what is right and wrong. This ancient heresy has been refreshed in our times precisely by the principle of individual rights and freedoms that Christianity gave us. This is because we have steadily degraded the other side of the Christian bequest: the other-facing, institutional life that gave individuals a more textured sense of who they were, i.e. members of a community with something to live for outside themselves. The consequence is both the narcissism of self-worship and the rise of identity culture - a return to the pagan belief that your value is determined by your sex, race or tribe.  

In the age of tech we can create a decentralised, responsive and personalised system that will give us both belonging and agency. 

Individual value and dignity, made safe and meaningful by a social arrangement which emphasises solidarity, peace and care for the stranger - these are the elements of what I call the ‘Order’. They are not absolute principles: even individual rights to life and liberty must be constrained in certain circumstances, and other-facing generosity likewise needs to be limited in order to be sustained. To take a current example, ‘care for the stranger’ does not, in my view, mean offering a home in the UK to anyone who manages to arrive on our shores and claim asylum. It does mean treating every asylum seeker humanely, whether we admit them or remove them, and it means committing part of our wealth and power to preventing, or mitigating the effects of, war and natural disaster in other parts of the world.  

How does such a covenantal politics approach other policy areas? The principles that Graham Tomlin set out in the report he compiled after the Grenfell Tower fire, after listening to local voices, are a helpful guide. We need to ‘humanise welfare’, dismantling the inefficient bureaucracies which see people as units to be managed, rather than as people to be helped and given responsibility and agency, and build instead relational systems of social support. We need to ‘provide homes’, which means so much more than the sterile term ‘housing’: it means attractive, affordable, safe buildings where people can live both with privacy and in community. As this suggests we need to help people ‘become neighbours’, with the means and the motivation to connect with others who belong to different identity groups. We should ‘notice faith’: as happened after Grenfell, it is local community faith groups which more than any official agency provide support, belonging, cohesion, and practical change at a local level.  

And lastly, overall, we need to ‘renew democracy’. In Graham’s words, ‘we need to find ways to enable people, especially in more deprived areas, to have more of a say in issues that directly affect their lives, rather than politics happening at a distance by competing parties remote from local life.’ The sense of this is both deeply conservative (small-c) and deeply radical. Of course, we need power to be close to the people; this was the traditional way of things before the Durkheim and his followers  decided that the centralised state, not local civil institutions, was the proper place for managing human services. In the Middle Ages, according to Robert Tombs’ history of England, fully a third of men, of all classes, played a responsible role of some kind in the management of their neighbourhood. Yet a return to this model would be radical, because it involves upending Durkheim’s assumptions - shared by his heirs in the school of New Public Management beloved of the Blairites - about the proper arrangement of society. 

We need a gentle revolution: a return to some old ideas about social organisation that prioritise human relationships, the organic and the natural over utility, efficiency and equality of outcome; ideas which actually lead to a more useful, more efficient and genuinely more equal system. These are the ideas of what I call the Order, derived from theories of the social covenant that lie deep in our history but which are also best fitted to the modern world.  

In the age of tech we can create a decentralised, responsive and personalised system that will give us both belonging and agency. We can recreate a more localised economy, but this time more fair, equal and capable of supporting a larger and more diverse population than the pre-modern world knew. And we can make a democracy that more closely reflects the principle that we all, whether progressive or conservative, share a common inheritance and belong to a single political community. 

 

Covenant: The New Politics of Home, Neighbourhood and Nation is published by Forum Press. 

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America
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5 min read

Trump: from apprentice to master of contempt

The Trump biopic is a morality tale for our times
An 1980s business man looks contemptuously at the camera.
Sebastian Stan as a young Donald Trump.
Scythia Films.

He won. Donald Trump is, once again, the President of the United States. The controversial property tycoon, controversial ‘billionaire’, controversial reality TV star, and highly controversial one-term (or so it seemed) President, has done it again! Sweeping not only the Electoral College but also the popular vote, Trump will have another four years to ‘Make America Great Again’…whatever that means. The question on most pundits’ lips today is: how? The man who was written off from the first moments he descended into his campaign on that golden escalator; the man who was guaranteed to lose his first (let alone his third!) Presidential bid; the man who has been mired in sexual, financial, constitutional, and legal scandal…how could he win again!? 

Rather than seek answers in the election coverage of last night I went to an alternative source of information. I popped down to my local cinema to watch The Apprentice, Ali Abbasi’s biopic of Trump’s rise to power and prominence, focusing on his ‘apprenticeship’ under pugnacious, pugilistic, flamboyant, and flamingly foul-mouthed lawyer and mentor Roy Cohn. Whether consciously or not – and believe me, it’s so consciously on the nose as to feel like a punch to the nose – the film draws a ruler-straight line from Trump’s early days as Cohn’s disciple to his electoral success in 2016…and now in 2024. 

How did Trump win, not once but twice…? 

…by selling his soul to the Devil. 

We meet Trump and Cohn in an exclusive New York Members Club. Trump is shy and awkward – none of the bombast we know him for – clumsily trying to impress his date by mentioning how he is the youngest member to ever be admitted. Cohn is holding court with some mob-coded friends. Cohn stares at the handsome, golden-haired ingénue (Trump, not his date) across the room through sunken domes. He invites Trump to join him for dinner. The date has gone to ‘powder my nose’ and seemingly has made a lucky escape through the lavatory window. Trump joins Cohn. Cohn bloviates, always with his hand firmly gripping Trump’s thigh. Trump is enamoured…smitten…in love. Cohn becomes his lawyer and Trump his protégé. 

The film goes on to chronicle how, under Cohn’s tutelage, Trump becomes the man we now know. Cohn is committed to winning – under the guise of being committed to America. He teaches Trump his three rules for success:  

  1. Attack, attack, attack. 
  2. Admit nothing. Deny everything. 
  3. Even in defeat, claim victory.  

There is a nice bit of mirroring in the final scene as we see Trump regurgitate these rules, introduced pithily and wittily in the first 30 minutes of the film, in his final exaggerated and bloviated style to a ghost-writer employed to write The Art of the Deal. This is how Trump wins. Throughout the film we watch Trump evolve from the nervous young man, protective of his alcoholic brother and under-the-thumb of his overbearing father, into a monstrous, ad absurdum form of Cohn…a man who will demand absolute submission to his will. 

The film, I wager, is partly a morality tale. It gives us a (slightly) sympathetic young Faustus, and chronicles his descent into Hell, but without a hint of real redemption or pity.

The film is sickeningly enjoyable. Sebastian Stan gently invites us to root for Trump in his timidity, and transforms with a subtlety which leaves the audience questioning their own culpability. Maria Bakalova brings a good-natured innocence to Ivana Trump (née Zelníčková) which steals the few scenes she’s afforded. Jeremy Strong – always watchable – brings his magnetic charisma to the screen. His Cohn is akin to Pacino’s John Milton in The Devil’s Advocate: delightfully chewing the scenery and ingratiating himself to the viewer while being hateful. The film is just over two hours long but doesn’t feel it. Never dragging, never boring. The soundtrack revels in the period, and the needle-drops are near perfect. It’s a really rather fun watch. 

However. 

The film is not nourishing. It is the cinematic equivalent of the junk food that leads to Trump’s expanding waistline (and the liposuction scene that is so difficult to watch). The film painstakingly draws parallels between Trump’s early success and his later political career. Cohn’s rules, Reagan’s campaigning slogans, the arrogance, the (sexual!) violence…everything we associate with Trump today is found in its nascent form in his 1980s career. Yet, none of it really matters because we have no character we want to attach ourselves to. No one, except perhaps Trump’s mother and his first wife, neither of whom have the chance to make enough of an impact, is likable or redeemable. Cohn is slime personified, until a sudden AIDS related conversion to conscience, and we don’t see nearly enough of the pathetic and put-upon Trump to care about his descent into the demonic realm of absolute self-absorption. The script is razor-sharp, but not incisive. The characters are riotously funny, but nowhere near emotionally engaging enough. 

The film, I wager, is partly a morality tale. It gives us a (slightly) sympathetic young Faustus, and chronicles his descent into Hell, but without a hint of real redemption or pity. Mortality makes Cohn recognise the monster he has been the Dr Frankenstein to, but in about ten minutes. We see a relative innocent made villain, but barely having had the chance to care for him in his infancy. No amount of slick script or genuinely bravura performance (Jeremy Strong deserves an Oscar) can make up for the cold and emotionless lens that the film has. In a sense, this gives us a more realistic explanation of Trump’s victory than the film seeks to muster…disdain. 

Like Trump, I deployed ‘alternative facts’. 

I lied. 

I did watch some of the election coverage in the early hours of the morning. As the Trump victory became inexorable, I watched pundit after pundit – who had been excoriating Trump supporters as either stupid or malign only 24 hours before – earnestly explain that it was a lack of engagement with middle-America which had lost it for the Democrats. Tony Hinchcliffe may have made a predictably unpleasant joke about Puerto Rico being a ‘garbage island’, but it was Biden calling even reluctant Trump voters ‘garbage’ which swung the election. We live in a new polarised age where the genuine concerns of the ordinary man or woman, if they can be associated with someone as aesthetically and morally compromised as Trump, make them functionally fascist.  

The Apprentice, simply by being unable to empathise with anyone not in favour, gives us the secret to Trump’s victory. It wasn’t Cohn’s rules. It was his overactive ability to demonstrate his contempt for everyone, and therefore seem to have contempt for no one. His detractors demonstrated the reverse. In the end Trump hasn’t needed to attack, or deny, or claim illegitimate victory. He simply has had to be himself. 

Saaaad. 

 

**** Stars