The slow, relentless corruption of the British political class

Just how much Government has changed since 1945 comes through very vividly from reading (again) Denis Healey’s Memoirs which I wrote about yesterday. It has changed dramatically in what it does and how it does it. And it has changed also in the nature of its political governance.

Healey reminds us of the phrase used by the Labour party in the run-up to the 1964 General Election when they talked of “the thirteen wasted years” – meaning those under Conservative rule from 1951. “But”, Healey notes wryly, “eleven of these years were wasted by the Labour Party” as it engaged in mammoth ideological struggles relating to nuclear weapons and public ownership. 

The 6 subsequent years of Labour rule from 1964-1970 were disappointing – with British membership of Europe becoming an increasingly contentious issue. Although that was finally resolved in 1975, just after Labour regained power in 1974, difficult economic issues dominated the late 1970s and paved the way for 18 years of highly ideological Conservative rule from 1979.   

During that period, a new generation of Labour politicians vowed to bring a new discipline to the party – thereby creating “New labour” which totally altered the way politics was done. The party leader became imperious; labour politicians passive; image everything; and corporate power the name of the game. The rest of Europe’s social democrats sat up and took notice – Tony Bliar became the man to copy. Any pretence at democracy disappeared (see Peter Mair’s Ruling the Void– the hollowing of western democracy; or this article on corporate power for some British examples) 

Perhaps the best critique of what has happened is a short satirical essay by Anthony Jay (the man who brought us Yes Minister) – Democracy, Bernard, it must be stopped which I've taken the liberty of reproducing on my website. It takes the form of the advice given by Sir Humphrey (the retiring Head of the Civil Service) to his replacement. It beautifully captures the mechanisms which have been used over the past 50 years to corrupt the political class. Here is the first section (the final section will follow)

The first two rules for neutralising democracy are:

1. Centralise revenue. The governing class cannot fulfil its responsibilities without money. We, therefore, have to collect as much money as we can in the centre. In fact, we have done this with increasing effect over the years, with three happy results.The first is that we can ensure that money is not spent irresponsibly by local communities. By taking 80 or 90 per cent of the money they need in central taxes, we can then return it to them for purposes of which we approve. If they kept it for themselves, heaven knows what they might spend it on.

The second happy result is that the larger the sum, the harder it is to scrutinise. The ₤6,000 or so spent by a rural parish council is transparent and intelligible, and subjected to analysis in distressing detail. By contrast, the three or four hundred billion of central government revenue is pleasantly incomprehensible, and leaves agreeably large sums for purposes which the common people would not approve if it were left to them. It also means that a saving of ₤1 million can be dismissed as 0•0000003 of annual expenditure and not worth bothering with, whereas it can make a lot of difference to the budget of Fidelio at Covent Garden.

The third result is that the more the government spends, the more people and organisations are dependent on its bounty, and the less likely they are to make trouble. 

2. Centralise authority. It goes without saying that if Britain is to remain a country of civilised values, the masses cannot be trusted with many decisions of importance. Local government must be allowed to take decisions, but we have to ensure that they are trivial.Meanwhile, we must increase the volume of laws made centrally. We have an enviable record of legislation growth, with hardly any laws being repealed, which it is now your duty to extend. If you are under pressure to provide statistics showing your zeal in deregulation, you will find many laws concerning jute processing and similar extinct industries which can be repealed without too much harm. We also ensure that, where local government has authority to act independently, there is an appropriate structure of scrutiny, review and appeal to control its excesses. I am sure you will want to protect this.You will also want to ensure that every Bill contains wide enabling powers, so that unpopular provisions can be brought in later as statutory instruments which MPs rarely read and virtually never debate. You should be able to achieve three or four thousand of these in a good year. 

The rest of the rules flow from the first two

·         capture the Prime Minister
·         Insulate the Cabinet
·         Enlarge constituencies
·         Overpay MPs
·         Appoint rather than elect
·         Permanent officials – rotating Ministers
·         Appoint more staff
·         secrecy

 3. Harness the Prime Minister. this is the most important of them. Happily, it presents no problem. Governments today are even more hostile to democracy than we are, though for a different reason. They come to power on a tide of promises and expectations which are never capable of realisation, but which have secured for them the exquisite luxuries of office, fame and power which they are desperate to retain.It is not hard to convince the Prime Minister that, to fulfil the expectations, he needs to acquire more revenues and more powers.

 4. Insulate the Cabinet. This involves more than just our standard technique of keeping ministers too busy to make a nuisance of themselves. They must be kept, as far as possible, well away from any contact with the sweaty multitude.This means avoiding public transport by use of private cars, avoiding the National Health Service by private health care, avoiding sink schools by living in affluent suburbs or by private education, travelling business class or in private planes, staying in first class hotels, and always having security staff to usher them through crowded concourses.Of course, they will affect to resist this at first, but when we point out the security risk, the tragic loss that their departure would entail, the enormous value of the time of people so important, and the possible political embarrassment of being caught on camera in confrontation with protesters, they acquiesce with gratifying rapidity.

Appropriately, the painting is a Gerog grosz again!

The post-war British social democrats

I’m cast back to the 1960s by the news of the death last week of the great folk-singer Pete Seeger - at the age of 94.

And to the lives of some of the great British social democrats it has been my privilege to know – however distantly. So this will be one of several posts…..

 I was introduced to Seeger’s radical songs by an amazing Scottish left-wing couple – Norman and Janey Buchan  – just after my election in 1968 as a local councillor in a West of Scotland shipbuilding town. I became Norman’s election agent in the 1970 General Election (he had been first elected in 1964, being a well-regarded teacher until then) – and then became Janey’s colleague in Strathclyde Region in the mid 1970s.

My rationalistic approach did not find Janey’s exuberant radicalism at all easy – but her goodness spoke strongly to me. In 1979 she became MEP for Glasgow – somewhat maverick but respected by many. Norman was an utterly dedicated socialist whose honesty and purity powered into you. He did occupy two junior Ministerial positions but never enjoyed that side of life - his commitments to popular struggles (and culture) were much stronger..... 

Coincidentally I am re-reading one of the best of British political autobiographies of the 20^th century – Denis Healey’s Time of my Life (1989). Healey was someone who did not suffer fools gladly - he famously (in acerbic tones) described the 1979 Labour Party Manifesto foisted on us by the extreme left as "the longest suicide note in history"!
Perhaps aptly, the best of the (admittedly few) reviews of his memoirs which I have come across is Clive James' (of highly-deserved Cultural Amnesia fame). It is a bit of a retrospective since he wrote it in 2008 and I make no apology for its length - both the subject matter and the reviewer deserve this courtesy!

Healey was born near London in 1917 and raised mainly in Yorkshire, as the Scholarship Boy of a hard working family. After grammar school, he gained a double first at Oxford, spent a brief period as a starry-eyed young Communist, and went on to serve in the British Army during the Second World War. At Anzio, a graduate course for those who survived it, he was Military Landing Officer for the British assault brigade. His experiences in the frustrating Italian campaign, a grim education in the art of the possible, translated readily to postwar British politics. After six years as the Labour Party's International Secretary, he was elected as Member of Parliament for Leeds in 1952, and served for 35 years on Labour's Front Bench both in power and out.
 In Government he was both Defence Secretary and Chancellor of the Exchequer, and in Opposition he was Shadow Foreign Secretary. Whatever the post, he showed such conspicuous ability that many still wonder why he was never Prime Minister, but the best answer is probably the most obvious: though he had the common touch, his superiorities were too striking. Among them was a wide range of learning, worn without pretension but not easily emulated.

………The book is a delight to read, and would be significant even if it were dull, because Healey was such a substantial representative of that generation of British left-wing idealists in the late 1930s who favoured Communism as an answer to Fascism, until they found out the hard way that the two brands of totalitarianism were effectively identical. To put it bluntly, they learned that grand plans kill. ….Delightful from start to finish, his autobiography is an education in itself, disheartening only in its implicit suggestion that it takes the near-breakdown of civilisation to produce a generation of politicians who can appreciate the value of what was almost lost.

But perhaps we should try to demonstrate its quality with an initial quotation. Try this: "I was worried by a streak of intolerance in Gaitskell's nature: he tended to believe that no one could disagree with him unless they were either knaves or fools. Rejecting Dean Rusk's advice, he would insist on arguing to a conclusion rather than to a decision. Thus he would keep a meeting of the Shadow Cabinet going, long after he had obtained its consent to his proposals, because he wanted to be certain that everyone understood precisely why he was right."That comes from page 154 of my paperback edition, and there is something to equal it on almost every other page of the book. One doesn't say that cultivation ensures political acumen. If it did, Neville Chamberlain would have been the most effective Prime Minister in British history. But an empty mind is rarely reassuring.

I've written here fairly frequently about politicians - and generally negatively. But the social democrats and civil servants who came to power in Britain in the post-war period had an experience and education which was unique............... 

A cultivated man across the whole range of the arts, Healey was a gift from war to peace. If there had been no war, the dazzling Double First in Greats might have gone on to be an academic, a scholar, a critic, a writer, a star broadcaster, or any combination of those five things. But the war sent him into politics: real politics, Labour politics, not the Communism he had briefly embraced when too young to know the difference. (Sir Isaiah Berlin once said that most of those bright young people who enrolled in the Communist Party in pre-war Britain didn't really want a revolution: they were just liberals who wanted to feel serious.)

In parliament, Healey's mere presence on the Labour front bench was enough to make the Conservatives look like philistines. Not all of them were, but few of those who weren't had a mind as well-furnished as his. Their culture was part of their inheritance. He had to acquire his, and went on acquiring it throughout his career, out of a passion that was never stilled even by the crushing, necessary boredom of political committee rooms.
 .......Nevertheless he is careful to put in plenty of self-deprecation. Opponents are allowed their opinions. If it turns out, as it almost invariably does, that Healey's opinion was better, he tries not to crow. He forgets to record that in 1945 he advised his fellow Labourites not to be panicked by evidence "that our comrades on the Continent are being extremist". ........ Pushing tolerance to the limit, Healey even has good words for Harold Wilson. At the time, Healey's contempt for Wilson's opportunism matched Wilson's fear of Healey's competence: the multilingual Healey was uniquely qualified to be Foreign Secretary, so Wilson kept him busy with every post except that.
The good words make Healey's portrait of Wilson even more devastating.

 In a Presidential system, Healey would have for certain taken the top spot, because he was dynamite on TV. In the British system, however, the party must be pleased before the people, and never since Gaitskell has an intellectual managed to please the Labour Party, unless, like Wilson, he is ready to wear disguise, or, like Michael Foot, to talk shapeless waffle on his feet in order to offset his scholarly precision on the page.
Besides, Healey was an unequivocating advocate of nuclear deterrence, and would have had a chance at the leadership only if he had equivocated. (Foot, who was helped to the leadership by his advocacy of the opposite, equivocated in the other direction in order to win the general election, and the strain helped to ensure that he clamorously lost it.) Healey never flaunted his culture, but he could not conceal it. It was there in the way he talked, and even in the way he listened. He might demolish somebody else's argument in a few sentences, but he took it in first. Healey has an ear for rhythm, and anyone who has that will hear rhythm wherever it occurs. He was delighted by every sharp mind he met. His reputation for brutality might have arisen among those who knew that they did not delight him. There was a sharp critical ability at the heart of his wide powers of appreciation, and his excellent memoirs are a reminder that we should value the kind of figure more interested in cultivating his mind than polishing his image, even though he is likely to be sidelined by a man who is better at the latter than the former.

Clive James’ own highly exuberant style of writing can be excessive – and indeed does often mar what is otherwise the incredible achievement of Cultural Amnesia which gives vignettes of various figures (mainly literary) of the 20^th Century whom James considers worthy of remembrance. Quite a few are now completely forgotten – and James is to be congratulated for bringing them back to life. A sample of his (generally) cutting comments can be read here

I always feel that James writes like a graphic artist – the sort who do the caricatures which capture the essence of a person  
The painting is "The Builders" by Stanley Spencer

In Memoriam

1 February is Remembrance Day here in Bulgaria for Victims of Communism - but has been so only since 2011. September 9^th (1944) is the date which occurs in most of the accounts I have read since it was then that the Communist takeover of Bulgaria took place and the lynching, execution and incarceration of thousands of people got underway– but it was on 1 February that

…….the death sen­tence was passed upon 147 peo­ple from the polit­i­cal elite of the Third Bul­gar­i­an King­dom, includ­ing 67 former MPs and 22 min­is­ters from cab­i­nets dur­ing 1940-1944, among them prime min­is­ters of that time Bog­dan Filov, Dobri Boz­hi­lov and Ivan Bagry­an­ov, as well as the three regents – Prince Kyr­il of Pre­slav, Prof. Bog­dan Filov and Gen­er­al Niko­la Mihov. The sen­tence was passed in the Pal­ace of Jus­tice at 4 pm on 1 Feb­ru­a­ry 1945. The same night, the best known of the defend­ants were exe­cut­ed at the Cen­tral Sofia Cem­e­tery and their bod­ies were bur­ied in a com­mon grave, but it was not before August 1996 that a Chris­tian cross was erect­ed upon it. The sen­ten­ces were jus­ti­fied entire­ly on polit­i­cal grounds. The main defend­ants had first been sent for inter­ro­ga­tion to the former Sovi­et Union and aft­er their return to Bul­gar­ia and estab­lish­ment of the Peo­ple’s Court, their sen­ten­ces were agreed upon between the Polit­i­cal Bureau of the Bul­gar­i­an Work­ers’ Par­ty (BWP) and the Sovi­et lead­er­ship. Present day research of the activ­i­ty of the Peo­ple’s Court leaves no doubt that the entire legal pro­ceed­ings were polit­i­cal­ly biased and the fate of the defend­ants was decid­ed on out­side the court­room.

August 23 was actually named as European remembrance  day for victims of communism and Nazism  - although both Hungary and Latvia commemorate the victims of communism on February 25.  
I am an outsider so should be careful about comments....I have to wonder, however, about the appropriateness of contemporary Bulgarian politicians selecting the best date for such commemoration. Most people these days would not hesitate to string the political class up (God forgive me!). I don't, of course, know anything about how the Bulgarian establishment was viewed by its public in the early 1940s - but it could be argued that it is more appropriate to remember the thousands of more ordinary people who, for a variety of (often dubious) reasons, were summarily executed in those early days of chaos.  

It was bad enough that the judiciary put its stamp on such decisions but just as appalling was the way partisans and others took justice into their own hands and bludgeoned people to death in the even earlier days of the collpase of the old regime. Many ordinary people must have been amongst the perpetrators and constitute a blot on the country's reputation. One reason perhaps why the present-day politicians prefer another date for remembrance.....

The Professional as Modern Harlot

The journal Scottish Review deserves an award for the “biggest bang for bucks” category of global journalism – and/or social comment. Its distinctive contribution is, in a few pithy clear and elegant paragraphs, to demolish the pretensions of the professional classes - whose comments and opinions (and exclusions) now reflect (if not shape) the power structures of modern societies. Forget the “filthy rich” corporate class! It’s the smooth talking of the “chattering clases” siding with (rationalising) the "power elite" which we should have been concerned about during all these decades…   (Those interested can read a full version of the classic 1956 book by C Wright Mills here)

“Cui bono” is the basic question all of us should ask of the stances taken by those who have (somehow) achieved the status of “opinion makers” – whether as academic, journalist, economist, think-tanker, politician, senior professional (civil servant, police, medic) or "quangoist" – all paid by the public (in one form or another) but choosing to lick the arses of one or other of the elite which actually pays their salary. No place for the unwashed public – except perhaps those who have made it to retirement and can afford to shoot from the hip!

And it is indeed a retired academic which lets loose in the latest issue of Scottish Review – in a piece about corporatism

One of the striking features of social change in recent decades has been the way in which diverse institutions, ostensibly serving very different purposes, have come to operate in much the same way.In the past, differences in the aims and practices of the public and private sectors, and in the management styles of employers and organisations representing workers, were clearly visible.

However, since the ascendancy of the 'third way' championed under New Labour, western democracies have embraced a form of market 'progressivism' that has blurred the old ideological divide between capitalism and socialism. This has had some interesting consequences – for the operation of trade unions, the public sector and of NGOs, for example. Many union leaders continue to employ the socialist rhetoric of the past but their actions often fall well short of the principles which motivated the pioneers of the labour movement. In this sense it is no exaggeration to suggest that they have been assimilated into the ideology which they claim to oppose. They have become part of the corporate class, whose tentacles are now evident in places well beyond the boardrooms of multinational companies.

What is the evidence for this? Leaders of trade unions now have much in common with senior executives in major companies: both groups enjoy large salaries and various benefits in kind (cars, travel, expenses, etc.) and are well insulated from ordinary members, or customers, through the protection of personal assistants, departmental managers and procedural barriers. The corporate class rewards itself disproportionately compared with ordinary employees. This is seen clearly in the private sector where share options and bonuses are used to boost already generous salaries. But it is now evident in the public sector as well. Last week two Scottish examples of this were reported. Assistant chief constables were awarded a £10,000 a year pay rise at a time when some civilian staff in Police Scotland were being made redundant. This was described by Graeme Pearson, a Labour MSP and himself a former deputy chief constable, as 'lacking in sensitivity'. The rises followed substantial hikes to the salaries of the chief constable, Sir Stephen House, and his four deputies when the new single force was set up last year.

Even stronger criticism was attached to the news that university principals had been awarded an average increase of 4% at a time when staff are taking industrial action over a pay offer of 1%. Many university principals now earn over £200,000, substantially more than the UK prime minister and Scotland's first minister. 

The manoeuvres of the corporate class within the public sector can be seen in many other areas: in the salaries and leaving packages of senior officials in local government and the health service; in the way in which complainants find themselves obstructed by bureaucratic rules and procedures, whose main function seems to be to protect the 'integrity' of the institution rather than lead to a just outcome; by the way in which organisations that are supposedly designed to facilitate proper scrutiny of public bodies (such as the Scottish Public Services Ombudsman) limit the scope of their inquiries. 

In his book, 'The Corporation', Joel Bakan states that 'the corporation is a pathological institution, a dangerous possessor of the great power it wields over people and societies'. Its mandate is to pursue its own self-interest, regardless of the harm it may cause to others. Those at the top of such institutions construct the rules to ensure that they are the prime beneficiaries (whether seen in terms of money, power or reputation).Bakan goes as far as suggesting that corporations are reshaping human nature so that self-interested materialism is not just a part of who we are, but the ultimate goal to which we should be striving.It's a scary prospect.

I’m reminded of the book  - The Third Revolution - Professional Elites in the Modern World (Routledge 1996) by Harold Perkin, Professsor of History at Lancaster and North-Western Universities (until 1999) who, in previous books, studied the rise of professional society and looks in this one at Twentieth Century elites in the USA, England, France, Germany, Russia and Japan - finding their behaviour equally deficient and morally irresponsible.

It’s a book which should be given to each individual when (s)he makes it into their country's "Who's Who" and is clearly part of the "system". It’s a story of greed - of the "haves", those who have access to the resources and prestige and how they try to retain it - with catastrophic results for the stability of their countries.
A few years earlier, a powerful but different critique of our elites had been launched by Christopher Lasch - The Revolt of the Elites and the Betrayal of Democracy. The book's title is a take-off on Jose Ortega y Gasset's The Revolt of the Masses, a reactionary work published in 1930 that ascribed the crisis of Western culture to the "political domination of the masses." Ortega believed that the rise of the masses threatened democracy by undermining the ideals of civic virtue that characterized the old ruling elites.

But in late twentieth-century America it is not the masses so much as an emerging elite of professional and managerial types who constitute the greatest threat to democracy, according to Lasch.

The new cognitive elite is made up of what Robert Reich called "symbolic analysts" — lawyers, academics, journalists, systems analysts, brokers, bankers, etc. These professionals traffic in information and manipulate words and numbers for a living. They live in an abstract world in which information and expertise are the most valuable commodities. Since the market for these assets is international, the privileged class is more concerned with the global system than with regional, national, or local communities. In fact, members of the new elite tend to be estranged from their communities and their fellow citizens. "They send their children to private schools, insure themselves against medical emergencies ... and hire private security guards to protect themselves against the mounting violence against them," Lasch writes. "In effect, they have removed themselves from the common life."

The privileged classes, which, according to Lasch's "expansive" definition, now make up roughly a fifth of the population, are heavily invested in the notion of social mobility. The new meritocracy has made professional advancement and the freedom to make money "the overriding goal of social policy." "The reign of specialized expertise," he writes, "is the antithesis of democracy as it was understood by those who saw this country as the 'last, best hope of earth'". Citizenship is grounded not in equal access to economic competition but in shared participation in a common life and a common political dialogue. The aim is not to hold out the promise of escape from the "labouring classes," Lasch contends, but to ground the values and institutions of democracy in the inventiveness, industry, self-reliance, and self-respect of working people.

The decline of democratic discourse has come about largely at the hands of the elites, or "talking classes," as Lasch refers to them. Intelligent debate about common concerns has been almost entirely supplanted by ideological quarrels, sour dogma, and name-calling. The growing insularity of what passes for public discourse today has been exacerbated, he says, by the loss of "third places" — beyond the home and workplace — which foster the sort of free-wheeling and spontaneous conversation among citizens on which democracy thrives. Without the civic institutions — ranging from political parties to public parks and informal meeting places — that "promote general conversation across class lines," social classes increasingly "speak to themselves in a dialect of their own, inaccessible to outsiders."

Lasch proposes something else: a recovery of what he calls the “populist tradition,” and a fresh understanding of democracy, not as a set of procedural or institutional arrangements but as an ethos, one that the new elites have been doing their best to undermine.

It has to be said that neither book made much impact – perhaps they were just seen as “moralizing”.  Contrast that with the impact made in 1958 by JK Galbraith’s The Affluent Society.

Has any recent book, I wonder, made the same impact? Perhaps The Spirit Level – why equality is better for everyone  by Richard Wilkinson and Kate Pickett (2009) comes closest.

Talking - not Writing....

Two very charming and unusual websites which humanise ideas and writing – first Web of Stories which consists of videos of short chats of people explaining how the creative process has worked for them   

It began as an archive of life stories told by some of the great scientists of our time. As the number of stories grew, it became obvious that some were on related topics and a web was slowly being created of connected stories. After a while we also invited famous people outside the field of science to tell their life stories.We are now opening up Web of Stories to everyone, inviting you to help make our web of stories grow. We all have wonderful stories to share, and have family and friends whose tales we would like to hear. So tell your stories, and invite others to tell theirs.

Each contribution lasts little more than a couple minutes but often you will find a series of such sessions eg from Diana Athill, a marvellous nonogarian who was a publisher and came to writing quite late in life. I was just reading her Life Class a few days ago which has an excellent Introduction by Ian Jack 

Somehow, watching and listening to a “character” speak seems to offer a richer experience. Frankly speaking, a lot of talk is drivel but, in front of a tape recorder or camera/video, people discipline themselves a bit better - while still allowing themselves the spontaneity and sidetracks which you often miss with written interviews.

The second website is a blog based on the great idea of getting together with a writer in a pub or wine bar – with the additional frisson of the context being Germany (although the text English!). The blog is called Drinking with German Writers and it really gives a marvellous feeling for one particular side of German life. Very worthwhile! It reminds me of the blog of a German journalist (whose address I will hopefully give shortly) who spent a month in each of 10 global cities and wrote a book about it – and is now doing the same thing in Germany. This month she is in Trier.

Behind the Blog

Exactly a year ago I penned a short “personal credo” to help explain the blog and some of what lies behind it

This blog doesn’t peddle any political line. It’s written by someone who has been lucky enough to be able to paddle his own canoe for more than 40 years and to write things as he saw them – no matter the jarring effect it might have on his readers. For almost 20 years I had a senior position in a powerful Scottish Region, using that position to develop community strategies and writing critically about that experience. And, for the last 22 years, I’ve led various teams of consultants in transition countries in efforts to develop  systems of “good government or good governance”. And written critically about such programmes – my website has some of the papers. I vividly remember one of my (Prussian) superiors expostulating at one of the papers - "we do not pay you to think..... but to obey!".
And all during this period, I’ve been reading avidly to try to understand how organisations get so perverted – and how we can prevent that. The blog tries to share the best of that writing 

My heroes are -

·         the little boy in the Hans Christian Anderson tale who dared to shout out that the Emperor had no clothes
·         Voltaire’s so innocent Candide as he experienced such disasters and yet was assured by experts that “everything is for the best in the best of possible worlds”
·         Marcus Aurelius in his Meditations
·         The priest who was the source in the late 1940s of the inspiring Mondragon cooperatives in Spain which now employ almost 100,000 workers in rural areas of the Basque country.
·         Robert Michels for spelling out more than 100 years ago "the iron law of oligarchy"
 I believe in people coming together at a local level to work for the common benefit - principles enshrined in communitarianism (about which I do have some reservations). I spent a lot of time supporting the work of social enterprise in low-income communities. None of this went down all that well with the technocrats or even members) of my political party - and the national politicians to whose books I contributed (eg Gordon Brown ) soon changed their tune when they had a taste of power.
But, above all, I am a passionate sceptic - or sceptical pluralist - as I put in a blogpost in September 2011 - see, for example, my Just Words?

A Guide to Bulgarian painting - or rather to books about......

My blog is now, it seems, the only one in the English language giving any sort of coverage to things Bulgarian. There used to be several young US graduates with nice sites which gave a “flavour” of Bulgaria (Sofia and Smolyan at any rate) but they’ve moved on after their statutory year or so – and, in any event, wrote chatty rather than substantive stuff (apart from one list of books with Bulgarian subjects).

My Bulgarian posts of the past 4 years have tended to be about either the distinctive charm of central Sofia for the flaneur or about the Bulgarian artisitic heritage – with only the occasional gesture to Bulgarian society. I should therefore mention that last week saw the latest (2013) EC report on the judicial systems of Bulgaria and Romania. Bulgaria emerged wounded from this analysis – as is evident for anyone who knows the (increasing) scale of the kickbacks which are needed to win projects here under the Structural Funds.

A lot of Brits still holiday in Bulgaria – but at the Black Sea (or the ski resorts) where they will not encounter the Bulgarian painting tradition. And that’s one of the things which this blog tries to cover - what paintings can tell us about the Bulgarians…..

It’s a good handle onto a country – see Peter Robb’s Midnight in Sicily for a “food and Mafia” take or Simon Winder for a “cultural” take on Germany. For example, I’ve just come across this dissertation on Bulgarian cinema - The Conformists – creativity and decadence in the bulgarian cinema 1945-1989 by one Evgenija Garbolevsky (2011) which nicely complements the recent post about recent Romanian cinema which attracted a fair amount of interest (100 hits). "The Conformists...." looks at the cinema here during the communist period -

My research focuses on the development of Bulgarian film between 1944 and 1989, as the youngest and most dynamic medium during the period. I explore several forms of subversion, such as decadence, silence and irony, among others, which fostered the creative imagination of the intellectual elite, and made the film art successful. I search for resilience in the oeuvres, in the operation of the institutions, and by looking at the views of the filmmakers and the works of the film critics.
I argue that the Bulgarian filmmakers, similar to their counterparts across the Eastern Bloc, vigorously resisted fitting into the role of lackeys of the Communist regime. Instead, the cineastes articulated their personal visions in their oeuvres by developing aesthetic practices and coded language, expressing their dissatisfaction with the status quo, and communicating their complex political and cultural views to the audiences. The filmmakers eluded censors while including the spectators as accomplices. The tension between rebellion and conformism in the cinematic discourse was intense. Despite the powerfully oppressive cultural policies of the regime, the cineastes succeeded loading their works with subversive messages. Regardless of the ideological straightjacket imposed on them, they sublimated their artistic passions and creative impulses, protested, and mocked the Establishment.

I would be interesting to see if anyone has done a dissertation on Bulgarian art during this period!
You have to work hard to assemble anything remotely like a systematic treatment of Bulgarian art even in the Bulgarian language – let alone English. Four recent publications offer a good start – although only one is freely available to download on the internet ie The Treasures of Varna City Art Gallery (2013) - all 136 pages of superb reproductions. The other three can be bought here in Sofia -

·       A Possible History – Bulgarian art through the collection of Sofia City ArtGallery . It’s 200 pages of material well organised into the various time-periods with appropriate selections of reproductions and shorDimi Gachevt (bilingual) intros to each period - costs 25 levs

·       Last year the Bulgarian Union of Artists gave us a curious 350 pages (in English) - Bulgarian Art – 120 Years (2013) with 350 pages and costing a whopping 120 levs.  It’s a history of the various artisitic associations – with reproductions – but gives absolutely no information about the individual artists. The text gives technical and very boring details of the various splits which occurred – with no attempt made to explain the significance or reasons for the chages. 

·       last week the Academy of Art offered a marvellous catalogue to accompany its current, rather small, exhibition of some of the items from its extensive archives - Painting Collection (1896–1940)  (Museum Collection of the National Academy of Art) (2014) It’s 190 full page reproductions with a very short and general (bilingual)introduction and costs a very reasonable 25 levs.

But the one problem with all of these publications is that virtually no information is given about the individual artists (in whatever language)! This is also the problem with the other three older collections you can also download free of charge -

·         The Art Collection of the National Bank of Bulgaria (2009) 143 pages of beautiful illustrations 

·         Kazanlak Art Gallery’s offerings 

·         Socialist construction in the work of Bulgarian artists (Sofia 1954) 

Four other very good and substantial collections are available if you look hard enough -

·       The Stara Zagora municipal gallery collection (2007) – about 200 pages with nice outlines of the artists (including a short English summary)

·       Bulgarian artists and Munich (City Gallery 2009) – German and Bulgarian

·       The Association of New Artists 1931-1944 (Sofia City Gallery 2012) – with short (bilingual) summaries of the artists

·      City Art Gallery's Catalogue (2003) - 500 pages of postage-size black and white reproductions and brief bilingual blurbs about the artists

Those who read Bulgarian can access a large Dictionary of Bulgarian artists which was produced some decades ago but there does not seem to be a introduction to Bulgarian art for the generalist (even Bulgarian) who wants to know something about the life of the artists – including how they dealt with communism.

The question, of course, is what exactly does information about an artists’s life add to our appreciation of his/her actual output – be it a novel, painting or piece of music? 

Most people would argue for a separation of the works from the life. One can (like Brecht or Dali) be a bit obnoxious as a person but still admirable as an artist. But I certainly enjoy biographies such as the recent one by Hilary Spurling of Matisse for the light they throw on the choices artists make or the influence of family and friends. The book on Matisse, for example, helped me understand his use of bright colours – they were the surroundings of his daily life as he grew up in a Belgian silk town! And I particularly value the black and white photographs of the artists – whether in streets or in their studios…..  

I have been accumulating a little library (most in the Bulgarian language) of detailed studies of such individual artists as 

·     Ilyia Beshkov (1983) – 500 pages of comprehensive coverage of most items with extensive diary-type text (ed by Bogomil Rainov) which makes me regret not being able to read Bulgarian

·     Marco Behar (Bulgarian Publishing House 1987) – 200 pages of great (black and white) repros and substantial text - by Ivan Mazarov

·     Alexander Bozhinov edited by Ruza Marinska (National Gallery 1999) – most beautiful and detailed 125 page treatment with an English intro and some annotations

·     Boris Angeloushev - by Atanas Stoikov (2003) – a very extensive 450 page coverage with a lot of text and what looks an almost comprehensive treatment of his works

·     Marin Ustagenov (2005) – good selections and a lot of (Bulgarian) text

·     Nikola Tanev 1890-1962 (National Gallery 2010) – two books, one (2000) by the famous art critic Ruzha Marinska, the other (2010) produced by the National Gallery to go with the special exhibition they held then for Tanev.

·     Nikola Petrov (Sofia City Gallery 2011) – small but attractive booklet

·     Vladimir Dmitrov-Maistora – the flower and the universe (National Gallery 2012) – wonderful 200 page bilingual publication!

·     Boris Denev (2013) – a superb 200 page collection of text and full-page reproductions of one of Bulgaria’s best artists. A nice feature is the black and white photos of him in his studio and with friends (such as Nikola Tanev)  

·     Jules Pascin (City Gallery 2013) – typically professional and extensive treatment by the City Gallery staff

Most – except for last five - are out of print. In the 1950s and 1960s a lot of short monographs were produced on artists such as Stoian Venev, Jaroslav Veshin and Tanko Lavrenov 

Banned artists in Bulgaria

I visited three exhibitions last week here in Sofia as the snow threatened and then arrived at the weekend – first at the National Art Academy which was showing some of their collection accompanied by a superb 200 page catalogue called Painting Collection (1896–1940) (Museum Collection of the National Academy of Art); then the excellent City Gallery which was showing a rather disappointing exhibition of Sirak Skitnik; and finally, the refurbished National Gallery which is at last showing beautiful work from its collection – at least on the second floor (and if you ignore the temporary exhibition of an artist who doesn’t even figure in the updated version of my booklet on Introducing the Bulgarian Realists – how to get to know the Bulgarians through their paintings). 

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This updated version (not yet online) includes the details of another 40 artists I've been able to add over the past year – as well as the links I discovered today to two of the books in my extensive collection of books on Bulgarian painters – the terrific production on the Art Collection of the National Bank of Bulgaria and also a link to an old book I found a year or so ago in the antique bookshops here - Socialist construction in the work of Bulgarian artists (Sofia 1954). This gives reproductions of more than 30 typical paintings of the period – glorifying the life of the worker.  

I find it remarkable how little reference I find – particularly in the art books here – to the problems artists experienced in Bulgaria both in the immediate aftermath of the communist takeover in September 1944 or in the two decades which followed. Famous artists such as Boris Denev and Nicolae Boiadjiev suffered from bans. And I stumbled today on two more examples - Konstantin Shtarkelov (1881-1961) was the most famous of a clutch of outstanding Bulgarian watercolour painters (including Pavel Francalijski; Yordan Geshev and Kriskaretz). Shtarkelov came from a very poor family and lived in poverty in Odessa and Moscow as a youth and met the key Russian artists of the time before returning in 1909 to Bulgaria. He did portraits but preferred to draw landscapes from Rila and Pirin Mountains, Sofia and Tarnovo regions (see pp 39-42 of the Bulgarian Bank book for 4 examples).  He was also a war artist in 1912–1913 and 1917. His works were exhibited in Bulgaria, the Czech Republic, Venice, Germany and Hungary.

But, after September 9 1944, his work was banned and forgotten because of "his ties with the Palace". They call him the "official artist of the bourgeois regime and royal favorite " ... Konstantin Shtarkelov was expelled from the artists’ union and spent five months in the Central Prison before living a life of destitution. According to an extensive article I found about him on the Artprice website he did eventually manage to hold a much visited exhibition of his works in 1960. It attracted mixed reviews and he died less than a year later.

I was also very pleased to come across today this little story about Vasil Barakov (1902-1991) - one of the first Bulgarian artists to show industrial landscapes 

in 1948-1949 a group of artists, including Vasil Barakovo, Zlatyu Boyadziev (one of Bulgaria’s best) and Zdravko Alexandrov were sent to paint three months in Romania, mainly in the area of ​​Baia Mare (Transylvania) and around Ploesti. Barakov returned to Bulgaria with many landscapes, portraits and sketches, which captures features of Romania. In early 1949 the group made a joint exhibition. Only three days later it unexpectedly closed. Critics accuse the authors of formalism. They do not reflect reality in brotherly Romania.
"My father - says son of Vasil Barakov - Dr. Miroslav Barakov - was mortified. He knew that the paintings were good – as did his colleagues but did not show his external feelings, did not react emotionally. But, after these serious charges in those dangerous and difficult years, something snapped in him and he almost ceased to paint… well, from time to time, he did a still life but focused instead on on film posters, book design. Often our salary saved my mother a teacher of mathematics.This went on for 10-12 years. "In 1967, however, the ice around the great master of the brush crushed. He was awarded the title of Honored Artist. In 1973, the maestro made a commemorative exhibition in gallery "Rakovski" 125 in the capital. When he went in the morning in the exhibition hall, the artist finds there the other great master of the brush - Ilia Petrov.  

Bulgaria has had a museum of socialism for a year or so which I;ve not so far been tempted to visit. But this rather superficial assessment  suggests that I should give it the once-over. Certainly "leftists" such as Ilyia Beshkov and Marko Behar had no problems flourishing in the new regime but quite a few others suffered greatly....