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I have just watched the latest Sherlock. The chances are good that if you live in the UK, so have you.
You know how first videos, then DVDs, then the multiplication of channels and on-demand telly internet replay thingummies killed off the simultaneous collective experience of television?
It’s back. Not, I hasten to add, that I would know anything about Twitface from personal experience, but there are plenty of people nowadays who simply must watch Sherlock or Dr Who live so that they can talk about it on the internet the minute it is over.
Thanks to a recent Instapundit link, I found my way to an essay by Benjamin H. Barton, entitled Harry Potter and the Half-Crazed Bureaucracy, which deserves to be linked to for its title alone. It is about the decidedly libertarian and not very sub anti-government-bureaucracy sub-text that Barton finds in the Harry Potter books generally, and in Harry Potter and the Half-Blood Prince in particular.
The truly surprising aspect of The Half-Blood Prince is how effortlessly Rowling covers the questions of the nature, role and legitimacy of government in what is ostensibly a work of children’s literature. I must admit that when I sat down to reread the Harry Potter books in light of The Half-Blood Prince I did not expect to find the overwhelming skepticism of government that seeps through Rowling’s work.
Barton’s argument is that Rowling presents the Ministry of Magic as a classic Public Choice Theory bureaucracy, staffed by selfish power-seekers rather than by selfless servants of the public good. Barton further suggests that Rowling’s own experiences as a welfare-recipient might have radically lowered her opinion of state welfare as an actual purveyor of welfare.
I read the first Harry Potter book a long time ago but have read none of the subsequent Potter books, so I have no independent opinion about how right or wrong Barton is about these books, and in particular about The Half-Blood Prince, which I have in particular not read. Comments from libertarians who have read all the Harry Potter books would be especially welcome.
One of the big reasons why I have not read more than one of the Harry Potter books, aside from the fact of me now being a childless old man, is that there are so many other books that I want to read. However, I have long suspected that JK Rowling, while not exactly an overt libertarian, might well be some kind of quasi-libertarian useful not-idiot, so to speak. One of the many items on my current to-read list is Rowling’s own (non-children’s) novel, entitled The Casual Vacancy, which I already possess and which I did make a start on earlier this year, before other reading intervened. This seems to be a story about the interaction of politics with the welfare system, about the people who do the politics and who have the welfare done to them and about how these two groups interact.
If I had to guess, I’d guess that Rowling is one of those people whose understanding of state socialism is that it tends not to supply “socialism” of the sort she would like, rather than as any kind of root-and-branch opponent of state socialism as such. Which is a good start. Socialism is, among other things, a huge and hugely false promise. Realising that it comprehensively fails to achieve even its own declared objectives – never mind any other worthwhile objectives – is a huge step in the right direction.
But that is an ignorant guess, and I now definitely intend to finish reading The Casual Vacancy, and then maybe also Rowling’s new detective novel. She wrote this detective novel, The Cuckoo’s Calling, under an assumed name, but was then outed, surprise surprise. The name that Rowling the detective novelist has assumed is: “Robert Galbraith”. This name was, as I have just learned by following the above link, “partly inspired” by the name of Robert F. Kennedy. This would suggest to me – summarising ruthlessly, as befits my ignorance of the matter – a lady who mostly wants government to do better rather than one who mostly wants government to do less.
There something about politics that makes people mad.
– Doris Lessing looks back on her foolish Communist youth, while talking with Alan Yentob, during Yentob’s TV show about Lessing in his “Imagine…” arts series for BBC One.
She wrote science fiction. I did not know this.
The Sanctuary
Visit the Alton Towers Resort from 16 March and experience The Sanctuary, a terrifying scare maze!
The Sanctuary has been closed to patients for almost 50 years, but appointments are now being taken at the newly opened establishment as a controlling force, known only as the Ministry of Joy launches a series of trials, recruiting advocates for its new 2013 project. What starts out as a rejuvenating check up at The Sanctuary soon takes a turn for the worse.
Will you make it out with a smile on your face?
I like the Festival of Britain style graphics on the first link.
What does it mean that a theme park horror ride takes its inspiration from the visual style of a public information film issued by the Ministry of Information circa 1946?
When I were a youngling, fanfic was a despised genre. The internet has made it less despised, more common and apparently more nearly legal in a “don’t ask, don’t tell” sort of way. To quote the link from TV Tropes above:
No statement on the legality of fanfic has ever been given in American formal law or in its courts. Some argue that it’s a form of copyright infringement; however, see “Legal Fictions: Copyright, Fan Fiction, and a New Common Law”, and note the above precedents.
Authors often have conflicted reactions to fan fiction set in “their” universe, which sometimes leads to a Fanwork Ban. J. K. Rowling has largely embraced Harry Potter fan fic, albeit with certain limitations, for example, and Tamora Pierce advises aspiring writers that fan fiction can be a good way to hone one’s writing skills. By contrast, Sir Terry Pratchett acknowledges it exists and is cool about it, pointing out that everything works so long as people are sensible about it. He adds two caveats: anyone doing Discworld fanfic shouldn’t even think of doing it for money, and authors should take care not to put it where he might see it. George R. R. Martin, author of the epic fantasy series A Song of Ice and Fire, expressed his disdain for the practice, saying that “creating your own characters is a part of writing.” He’s even gone so far as to threaten legal action should he become aware of any fan fiction set in the Westeros universe. In contrast, writer/journalist James Bow makes a rather firm case for supporting fan fic, pointing out that it forms a stepping stone towards creating your own characters and setting. As far as media businesses are concerned, reactions have ranged from Archie Comics demanding immediate removal to Paramount Pictures taking some of the better Star Trek fanfics and having them published in print books.
My impression is that fanfic has become like music downloads, a tide that washes past all breakwaters of law or justice. What do you think? What do you recommend? Come on, out with it! – what have you written?
But another story provided a fun distraction from all the hard work campaigning for tax cuts: it is the thirtieth anniversary of the first NOW! That’s What I Call Music album. There’s no bigger ‘Now’ fan than our Political Director Jonathan Isaby who has a complete set of all 86 albums! He spoke to Sky News and other TV stations about his collection.
– Matt Sinclair of the TaxPayers’ Alliance provides a little light relief, in the latest TPA mass email. (Link in the quote added.)
I realise that the sums of money that get spent on “culture” are very small potatoes indeed when set beside other sorts of government extravagance.
Nevertheless, I can’t help thinking that there is a connection between this report about France’s “new wave of culture-focused building projects”:
A Napoleon III villa in a Parisian suburb, squatted by artists and musicians; a cathedral-like hangar, the vestige of Dunkirk’s naval industry that used to define the life cycle of the entire city; a new, 240m-long bridge in the French Alps. This is just a sample of France’s recent crop of architectural projects, and they have at least one thing in common: they are all cultural facilities that offer a draw both through their content and their site.
… and reports like this one from the BBC about French economic pessimism, or this one entitled Is France the new Italy?
Hollande’s Socialist administration faces protests over taxes and burdensome regulation not just from business leaders, as you might expect, but also from farmers, shopkeepers, teachers, truck drivers and soccer players. …
Leaning heavily on higher taxes, the government has been slow to get public spending under control. France’s ratio of public spending to gross domestic product is now 57 percent – the highest in the euro area.
As Instapundit likes to say, what can’t go on forever won’t.
What, I wonder, will those new culture palaces end up being used for?
Although I am only posting this at midday, I wrote most of it at three o’clock this morning.
I did this because I am now suffering from severe Ashes Lag (The Horror! The Horror!), and also because it is in the spirit of the news I am passing on, which is that soon, London will be experiencing (no doubt some would prefer to make that “enduring”) all night underground train service at weekends:
For better or worse, London is on the way to becoming a city that never sleeps, leaving other British cities even further behind.
Not the District Line, though. That’s one of the lines I often use late at night, and I would have liked that one also to be going round the clock. The other line I use, but less often late at night, is the Victoria, which will be all round the clock at the weekend.
But this is only a start. And it is only at the weekend. What has long puzzled me is why London has not, for the last several decades, been a city that never sleeps, but is instead only groping slowly towards one day becoming such a city. London always comes near the top of those lists of the world’s greatest cities, yet for much of the time London is almost entirely asleep, unlike one, in particular, of its most famous rivals (immediate music warning – don’t click on that if you wish to go on listening to something else). All that frighteningly expensive office space, basically doing nothing for about a third to a half of every day, and nothing at all at the weekends, since for ever. Why? Modern electronics means that there is always someone wide awake to be doing business with, somewhere in the world. So, why no big night shift activity in the City? It can’t take all night just to keep those places clean.
Maybe there is lots of City of London night shifting going on already, and I merely haven’t been told about it. After all, night shifters mostly only need transport when they start and when they finish, which they already have. I can see why they are starting this at the weekend, for people for whom the difference between getting home at 4 am rather than at 8 am is all the difference.
Talking of London staying awake all night, there was a time, in about 1941, when a lot of it did just that, for quite a while. This was when London Pride got itself written. Take that, Sinatra. Someone (can’t find who – anyone know?) once said something like: there are many more tunes to be written in C major. I don’t know the key of London Pride, but it is one of my favourite tunes ever, and it always makes me think of that remark.
Don’t buy cheap gates.
– On a Top Gear repeat on Dave TV this afternoon, the celebrity guest was Sir Cliff Richard. Sir Cliff talked about the difficulty of driving out of the gates of his London estate onto the main road outside. Clarkson asked about these gates because, he said, his didn’t work properly. The above was Sir Cliff’s reply.
Wise words.
“Whenever you listen to musicians of a certain age, they’ll always tell you how much better and more real everything was in the old days. This is only natural – because that’s when they were younger, with more energy and more dexterous fingers and a greater vocal range than they can manage today. And it’s also because if there’s one thing that obsesses them above all else, it’s authenticity: a quality, of course, that was abundant in the days when they were playing to two men and a dog in toilet venues, but which no longer applies when you’re filling stadiums.”
– James Delingpole.
Pretentiousness is one of the besetting sins of some music folk. I occasionally like to wind up my more earnest friends by pointing out that one of my favourite albums is Thriller, by Michael Jackson. This is particularly effective among more ostentatiously “conservative” types. Just watch those paleocon jaws hit the floor.
Incoming from David Thompson:
Wondered whether the discussion linked here – about art and public funding – might be of interest to Samizdata readers.
Here are some of my objections to taxpayer-funded arts subsidies:
– It is immoral to steal money to subsidise other people’s hobbies.
– The greatest art seems to happen when high art and low art combine, in the form of something that is superficially entertaining and stirring and popular, and also as profound as profundity seekers might want it to be. Arts subsidies harm art by dividing it into less good entertainment art, paid for by punters, and less good high art, paid for with subsidies. Arts subsidies in Britain are now being cut somewhat. The result will be somewhat better art.
– Arts subsidies turn art into political agitprop, in favour of subsidies for art and for everything else that the subsidising classes consider to be worthy, and at the expense of everything productive that the subsidising classes consider to be unworthy. This is why abolishing arts subsidies is politically and ideologically so much more important than the relatively small sums of money involved, compared to other subsidies, would suggest.
If you want more from me about this, see also this and this, from way back.
LATER: … and this, here, quite recently.
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