A historian talks about Palestine’s deep history

History is rarely as tidy as the stories we tell about it. Places acquire names long before they acquire nations; peoples inherit memories they did not themselves create; languages, religions and identities change without ever quite erasing what came before. Palestine may be one of the world’s most conspicuous examples of this historical palimpsest, a place where ancient geography, successive civilisations and modern national identities have become so entangled that disentangling them can itself seem political.

That is partly why I have always valued William Dalrymple. He is a historian who understands that the past is inhabited by people, not merely populated by dates and events. His recent conversation about Palestine prompted me to revisit not only what he said, but what he left unsaid: the complicated process by which a population became a people, a geographical name acquired a modern national meaning, and history became memory – and memory, in turn, became identity.

It also led me back to a broader fascination of mine: the relationship between history, travel and place, and to writers who understand that landscapes are not backdrops to history but repositories of it.

The featured image at the head of this post? When last In Ramallah, de facto administrative “capital” of that part of the West Bank governed  by the  Palestinian Authority – Area A of the Oslo dispensation – we visited the cultural centre of Dar Zahran, a beautifully restored Ottoman house just south of the city. By fortunate serendipity, Dar Zahran was hosting a small exhibition of paintings by the late Palestinian artist Ismail Shammout. This large painting pictures the skyline of Jerusalem – Al Quds with its mosques and churches and the infinite variety of the Palestinian people, was front and centre. [In In That Howling Infinite, see Visualizing the Palestinian Return – the art of Ismail Shammout]

Talking about Palestine and Palestinians

There are some historians whose books I buy almost automatically. British historian William Dalrymple is one of them. I have read many of his works over the years, from his debut, In Xanadu, through From the Holy Mountain, The Last Mughal, Return of a King and The Anarchy (see, in In That Howling Infinite, Bad company – how Britain conquered India, the story of the rise and fall of the notoriously rapacious British East India Company).

Dalrymple is well-educated, well-read, and well-travelled, having had his boots on the ground and its dust on those boots. He is what we call a “popular” historian and not an academic in the narrow sense, writing with enthusiasm, empathy, and the authority of someone who has visited the places he describes. And, to borrow from Bob Dylan, he knows his song well before he starts singing. His aim, refreshingly, is to educate, not to inculcate.

What has always appealed to me is not simply the depth of his scholarship but his refusal to become anyone’s court historian. His admirers come from different directions, and his critics do too. The old Empire loyalists dislike him because he writes unflinchingly about the violence and arrogance of imperialism. Progressives often embrace him for precisely that reason, yet they, too, sometimes seem disappointed when he refuses to enlist in their causes. Dalrymple has always struck me as someone who hoes his own row. He follows the evidence where it leads rather than where his audience might wish it to go.

That quality was on full display in his recent interview with Palestinian journalist and British resident Ahmed Alnaouq on the chat show Palestine Deep Dive, discussing his forthcoming, and as yet unfinished, book on the Palestinians. I encourage reader to take the time to watch the video below before reading the detailed appraisal that follows; but the time poor may nevertheless find it of interest.

To anyone familiar with the history of the region, little of the story itself is unfamiliar. Nor, contrary to some popular assumptions, has this history been ignored by Israeli historians. Ilan Pappé’s A History of Modern Palestine remains one of the best examples of a history that restores Palestinians to the centre of their own story, particularly those who rarely appear in conventional political histories: the villagers who cultivated the land, often on estates owned by absentee urban families or tribal elites who harvested much of the wealth.

That, perhaps, is the real significance of Dalrymple’s project. It belongs not simply to Middle Eastern history but to the much broader revolution that historians call social history. For centuries history was largely the story of rulers, wars, dynasties and diplomacy. Ordinary people appeared only fleetingly. Their lives belonged, if anywhere, to anthropology or sociology. Only relatively recently have historians begun asking what history looked like from the fields rather than the palaces.

Yet there is another trap which Dalrymple carefully avoids.

It has become fashionable to speak of the inhabitants of Palestine as though they constituted an unchanged people stretching seamlessly from biblical times until today. That is no more convincing than similar claims made by almost any nation.

Palestine has always been one of the great crossroads of civilisation. Long before the Philistines and the Hebrews there were other peoples. Afterwards came Assyrians, Babylonians, Persians, Greeks, Romans, Arabs, Crusaders, Mamluks, Ottomans and countless others, accompanied not merely by armies but by settlers, merchants, pilgrims, labourers and refugees. Even in the late Ottoman and British Mandate periods, economic opportunity attracted migrants from throughout the Levant. The Suez Canal, the expansion of Haifa, the Hauran railway, and later British infrastructure projects all drew workers from neighbouring lands. Family names such as al-Misri, al-Shami, Homsi and Halabi quietly preserve those journeys.

And yet Dalrymple is equally correct when he points to the growing body of genetic evidence demonstrating profound continuities across the centuries. Human populations do not simply replace one another like changing tenants. They absorb, intermingle and endure. DNA reveals not racial purity but remarkable persistence.

One aspect of the interview that particularly caught my attention was Dalrymple’s discussion of religion – not as an immutable badge of identity but as another thread in the long weaving of Palestinian society. Conversion, he observed, was rarely a single dramatic event. More often it was gradual, pragmatic and deeply human. Families embraced Christianity under Byzantine rule, Islam under the Caliphates and the Ottomans, sometimes from conviction, sometimes because new rulers brought new opportunities, and often because children simply inherited the world into which they were born. Nor was the movement one way. Jews became Christians; Christians became Muslims; communities adapted over centuries rather than changing overnight.

Language followed much the same path. Arabic became not merely the language of religion but of administration, commerce, literature and everyday life. It gradually supplanted earlier tongues without erasing the peoples who spoke them. Identity, like language itself, accumulated layer upon layer.

His brief reference to Yossef Rapoport’s Becoming Arab particularly caught my attention because I suspect it offers an important clue to the intellectual architecture of the book he is writing Rapoport’s central thesis is that peoples are not born fully formed; they become. It exercised a profound influence on my own essay One Land, Two Peoples: History, Memory, Continuity, and Inheritance. See also, Becoming Arab … the myth of fingerprints

There is a quiet subversiveness in Becoming Arab because it quietly removes the ladder that every competing nationalism insists upon climbing. By demonstrating that Arab identity in medieval Palestine emerged through a long process of linguistic, cultural and social transformation rather than existing unchanged since antiquity, Rapoport undermines the comforting assumption that any modern national identity is primordial and immutable. The implication extends well beyond Palestinians. Jews, too, have continually reinvented themselves through exile, diaspora, return and statehood. Israelis and Palestinians alike remain peoples in the making.

Belonging, then, rests less upon ancient blood than upon lived continuity, accumulated memory and attachment to place. Rapoport gently redirects us away from the sterile question, “Who was here first?”, towards the infinitely richer question, “How do people come to belong?” It is an insight I have found equally illuminating when thinking about the British, the Americans, and even the tangled histories of Russians and Ukrainians. It also underpins what I have elsewhere called the “myth of fingerprints”: the mistaken belief that nations possess fixed and immutable identities when, in truth, every people is a palimpsest, written and rewritten over centuries without ever completely erasing what came before.

Dalrymple also highlighted the remarkable role of churches and monasteries across successive eras – Byzantine, Arab, Ottoman and British. They were far more than places of worship. They were centres of learning, repositories of manuscripts, guardians of memory and, eventually, pioneers of modern education. During the Mandate years, Christian schools became among the first institutions to embrace European models of education. It is therefore hardly surprising that Christian Arabs were disproportionately represented among the intellectual architects of both Arab nationalism and the emerging Palestinian national movement. This, too, complicates the modern tendency to reduce the story to a simple contest between Jews and Muslims. The reality, as always, is richer and more textured.

Dalrymple’s passing reference to George Antonius was equally telling. Antonius remains one of the most poignant figures of the Mandate years. Urbane, multilingual and deeply cultivated, he believed there remained a path towards accommodation between Arab and Jewish aspirations. Alongside moderates such as Musa Alami, he searched for political middle ground as extremism steadily crowded out compromise. Increasingly isolated, distrusted by radicals on both sides and ultimately ignored by the great powers, he watched the possibility of reconciliation slip away. He died in Jerusalem in 1942, disappointed and politically alone. There is something profoundly melancholy about his story. Men such as Antonius devoted their lives to preventing the catastrophe that would later be remembered as the Nakba. History tends to remember the militants, the revolutionaries and the generals; it is far less generous to the moderates who failed. Yet, with the benefit of hindsight, it is often those failed moderates who seem to have understood the coming tragedy most clearly. [See The first Intifada … Palestine 1936]

There is, however, a significant historical link missing from Dalrymple’s account.

To speak of Palestinians as a people with a distinctive heritage, history and culture is entirely legitimate, but it also raises the prior question of when and how that collective identity emerged. The people we now call Palestinians did not arrive in Palestine as a discrete nation from elsewhere; they emerged over centuries from the settled populations of the region, predominantly Arabic-speaking Muslims and Christians alongside smaller Jewish and other communities, whose identities under Ottoman rule were more likely to be local, familial, religious, Ottoman or broadly Arab than specifically Palestinian. A modern Palestinian national consciousness crystallised only in the late nineteenth and, more decisively, the first half of the twentieth century, amid the decline of the Ottoman Empire, the rise of Arab nationalism, British rule, Zionist immigration and the intensifying struggle over the land.

Nor should “Palestine” itself be confused with a Palestinian nation: the name is far older, deriving ultimately from Greek and Roman Palaestina and subsequently used in various forms by Roman, Byzantine, Islamic and European writers; under the Ottomans, the territory was not a sovereign province or nation-state called Palestine but was divided among administrative districts. None of this makes Palestinian identity artificial. Like most modern national identities, it is both modern and genuine, rooted in an older population and a deeply layered attachment to place.

Perhaps Dalrymple simply takes this history as read. More likely, it is unmentioned because the interviewer did not ask about it. He does write about it in a piece published in The Guardian in August 2025 (republished below). But his readers and particularly an audience hearing a relatively compressed interview – may not. When the process by which a people acquired a modern national identity is left unstated, audiences tend to fill the gap with their own assumptions: some hearing an ancient, continuous Palestinian nation, others an identity recently invented from nothing. Both are historical distortions. The point is not to diminish Palestinian peoplehood but to locate it accurately: between the much older history of the land and the modern political history that transformed its inhabitants into distinct national communities.

As with Israeli identity, Palestinian identity belongs to the modern age while drawing upon memories, attachments, communities and histories that are considerably older. That distinction is essential if the Palestinian story is to be understood rather than simply enlisted in one of the competing narratives of the conflict.

It was telling that, despite repeated invitations from his interviewer, Dalrymple steadfastly refused to enter the contemporary ideological battlefield. He would not be drawn into pronouncements about settler colonialism, the legitimacy of Israel or competing national claims. He remained a historian.

Dalrymple displayed the same intellectual discipline when discussion turned towards the future. His interviewer clearly hoped he would venture predictions. He declined. Historians, he observed, can tell us what happened; they are far less qualified to say what will happen. The future delights in making fools of prophets.

Anthony Eden supposedly reduced politics to three words: “Events, dear boy, events.” Orwell supplied the darker warning through the Ministry of Truth: “Who controls the past controls the future. Who controls the present controls the past.” That remains one of the great cautions against allowing history to become merely another instrument of political mobilisation. Less bleakly, Robert Fisk – another writer I greatly admired – offered the wisest answer of all: “My crystal ball is broken.” Those who confidently predict the future almost invariably discover that history has other ideas. [See The Night of Power – Robert Fisk’s bitter epilogue ]

One curiosity remained with me after the interview. Dalrymple remarked upon young Israeli soldiers carrying rifles almost everywhere, yet the obvious question went unexplored: why? I have wondered about this myself ever since my first visit to Israel. I can still picture my late friend Avi’s rifle standing against the hallway wall in his parents’ home in Ramat Gan after he returned from reserve duty during the 1973 war. On my most recent visit I asked Israelis directly. Unless a weapon can be securely stored, soldiers are required to keep it with them. Our friend Shmuel’s son, serving as an army medic, once absent-mindedly left his rifle on a military bus after an exhausting exercise. His reward was several weeks in military prison. What appears to outsiders as a symbol of militarisation is, to many Israelis, simply one more expression of a society shaped by permanent insecurity.

Dalrymple also refers to the annual Jerusalem Day march, an event that commemorates the IDF’s capture of the Old City in June 1967 and the “unification” of the city. We happened to witness similar scenes ourselves near the Western Wall only days beforehand. They were ugly, confronting and impossible to dismiss as merely social media caricature.

I look forward to reading the finished book. Not because I expect it to settle the argument—history almost never does—but because the best historians enlarge rather than narrow our understanding. They remind us that identities are not fossils buried in the earth waiting to be excavated, but living things, fashioned over centuries by conquest and coexistence, faith and language, migration and memory. They leave us with fewer slogans and more questions; fewer certainties and greater humility. In an age increasingly addicted to binaries, that may be the most subversive act of all.

Travelers’  tales

There is a thread that runs through much of my writing, though I did not always recognise it at the time. It is a thread woven from history, travel, memory and place, and it connects figures as seemingly disparate as Jan Morris, Robert Fisk and William Dalrymple. They are very different writers, with different perspectives and different temperaments, but they share a quality that I have always valued: they do not simply describe places; they allow places to speak.

During my early encounters with the history and culture of the Middle East at London’s School of Oriental and African Studies – the “Madrasat al-Jawāsīs”, the “School of Spies”, as Arab friends would jokingly call it – I became fascinated by a trio of British writers whose books transported me into the worlds they described.described. Gertrude Bell, Freya Stark and Jan Morris each approached the region differently, yet all possessed that rare ability to convey not merely information but atmosphere: the smells of markets, the rhythms of streets, the weight of history embedded in landscapes.

Jan Morris was perhaps the greatest exponent of this art. Her genius was not merely as a chronicler of empire, nor simply as a travel writer, but as someone who understood that places possess personalities. She once wrote, “All my life I have felt in places, in landscapes as in cities, an allure that seems to me actually sexual, purer but no less exciting than the sexuality of the body.” It is a remarkable observation because it captures something that many travellers experience but few can articulate: that certain landscapes exert a pull beyond geography, that cities and countries can possess a kind of emotional and even sensual presence.

Bell, the archaeologist, traveller and administrator sometimes called the “Queen of the Desert”, was present at the creation of the modern Middle East after the First World War. Stark travelled through the region in the middle decades of the twentieth century, recording a world already beginning to disappear. James Morris, later Jan Morris, chronicled the rise and decline of British imperial confidence and the uncertain transition into a post-imperial age.

What makes Jan Morris such a fascinating figure is that her personal transformation occurred alongside the transformation of Britain itself. The end of Empire and the discovery of a new identity unfolded in parallel. The writer who chronicled the fading grandeur of British power was also undergoing a profound reimagining of self. Her Pax Britannica trilogy remains an extraordinary work, though it is also deeply complicated. Morris’s relationship with empire was neither a simple condemnation nor an uncomplicated celebration. She recognised its violence and arrogance, yet she was also fascinated by its energy, ambition and sense of adventure. Empire, in her telling, was a vast human drama: magnificent, destructive, creative and cruel.

The Suez Crisis of 1956 represented the moment when that imperial illusion finally collapsed. Morris described it as a kind of tombstone for British power and a crisis of British masculinity. The old confidence had disappeared. The imperial actor who had once imagined himself striding across the world stage was suddenly confronted with his own limitations. “Old forces were dying and new energies emerging,” she wrote. “Patterns that had seemed permanent were falling into chaos.” That insight resonates far beyond Britain. History repeatedly teaches us that identities and institutions which appear permanent are often temporary arrangements. Empires, nations and cultures are not fixed monuments but living things, constantly being reshaped by events.

This is why William Dalrymple’s work has always appealed to me. Like Morris, he understands that history is not simply about dates, battles and rulers. It is about people in places. His great strength is that he belongs to no faction. He follows the evidence, and he makes his own judgments. He resists the temptation to reduce history to contemporary political arguments. Instead, he explored the deeper processes by which societies and identities emerge.

As we have noted above, his observations intersect with Yossef Rapoport’s Becoming Arab, a work that has greatly influenced my own thinking. Rapoport challenges the assumption that national identities are ancient, fixed and immutable. Arab identity in Palestine, he argues, emerged through centuries of linguistic, cultural and social development. This does not diminish Palestinian identity; rather, it explains how all identities are formed.

The same applies elsewhere. Jewish identity has also evolved through exile, diaspora, return and statehood. British identity, American identity, Russian identity and Ukrainian identity are all products of history rather than timeless inheritances. Peoples are not fingerprints stamped permanently into existence. They are palimpsests, written and rewritten across generations, retaining traces of what came before while continually becoming something new.

This is also why Dalrymple’s observations about religion are significant. Faith, like language, is not simply inherited unchanged through the centuries. Communities converted, adapted and transformed. Jews became Christians, Christians became Muslims, and Arabic gradually became the dominant language of administration, commerce and culture. Churches and monasteries served not only as places of worship but as centres of learning and memory. During the British Mandate, as we have noted above, Christian schools were among the pioneers of modern education, and Christian Arabs played a disproportionately important role in the development of Arab nationalism and Palestinian political consciousness.

Again, the lesson is one of complexity. The history of Palestine cannot be reduced to simple categories. It is a story of migration and continuity, faith and adaptation, conflict and coexistence.

A personal coda

I make no comparison between my own experiences and those of writers such as Morris or Dalrymple, who devoted years of their lives to the places they studied. My own travels have been measured in days and weeks rather than prolonged residence, and I possess neither their linguistic gifts nor their local knowledge. Yet they have taught me some of the same lessons.

Over the years I have wandered through mosques and basilicas, monasteries and synagogues, castles and catacombs, museums and markets. I have traced the layers of history in weathered stones, walked streets that have changed little for centuries, and watched successive civilisations leave their marks upon the same landscape. Everywhere, the faces, languages and faiths have reminded me that history is one of mixture rather than purity, continuity rather than replacement. it is this extraordinary diversity that makes these lands so compelling.

Israel and Palestine affected me more deeply than almost anywhere else. I have read widely, but books can only take one so far. I have stood at checkpoints, seen the separation barrier close up and, witnessed the daily inconveniences, restrictions and humiliations that accompany life under occupation. Equally, I have spoken with Israelis and Palestinians whose lives have been shaped by generations of fear and insecurity, and come to understand, even if not always to agree with, the fears that underpin so many aspects of everyday life. By design, good fortune or simple caution, I have never witnessed the violence itself. But I have seen enough to understand that both peoples live with histories that cannot simply be dismissed.

Travel has not made me an idealist, nor has it turned me into a partisan. If anything, it has left me increasingly suspicious of certainties. The longer one spends amidst places where history is layered one civilisation upon another, the harder it becomes to accept simple stories about pure origins, immutable identities, uniquely righteous causes, and uncomplicated heroes and villains. Reality is almost always more complicated – and more human – than that.

Perhaps that is the enduring lesson of writers like Jan Morris, Robert Fisk and William Dalrymple. They remind us that landscapes have longer memories than nations, that stones often preserve truths that politics attempts to conceal, and that history is rarely a straight line. It is a conversation across centuries, written by countless hands.

In the forward to East – an Arab anthology, republished below, I wrote: “these are the lands of testament and prophecy, of sacrifice and sacrament, of seers and sages, of vision and vicissitude”. Their histories are “carved in stone, mysteries locked in stone”. And perhaps that is why they continue to draw us back: because beneath every empire, every ideology and every argument lie the enduring traces of ordinary human beings who lived, loved, fought, worshipped and dreamed in the same places we walk today.

Paul Hemphill and In That Howling Infinite, August 2026

For more on the Middle East in In That Howling Infinite see: A Middle East Miscellany and East – an Arab anthology; and, most recently: Maps, memory, and the myth of fingerprints.

Eastward, aye, he wandered

Forward to East – an Arab anthology  of poems by Paul Hemphill
In these troubled times, I look back on a part of the world that has captivated much of my intellectual life. I was drawn to the Middle East in another age, when it was the land of myth and magic, of dreamers and adventurers, of quixotic tilters at windmills, of pioneers who would make the deserts bloom, of dissemblers and deceivers bearing false promises. The ancient lands of the Bible, the fabled realm of A Thousand and One Nights, the restless quests of Richard Burton, Charles Doughty, and TE Lawrence; the pulp-fiction fantasies of Frank Herbert, James Michener, and Leon Uris; the celluloid myths of Peter O’Toole, Omar Sharif, and Paul Newman.
These are the lands of testament and prophecy, of sacrifice and sacrament, of seers and sages, of vision and vicissitude, of warriors and holy men. The spiritual and the temporal have melded here since time immemorial. We still see the remnants of ancient empires and the echoes of their faiths. We can chart their decline and fall in monuments and mausoleums, in the “tumbled towers and fallen stones, broken statues, empty tombs,” where “ghosts of commoners and kings walk the walls and catacombs of the castles and the shrines.” Histories carved in stone, mysteries locked in stone, as “canyons and castles pass ageless and ageing and captive in time.”
I first travelled through these lands when the gaze of our Western world was directed elsewhere. The big stories then were the Vietnam quagmire and the Cold War, words made flesh when Brezhnev’s Red Army euthanised the Prague Spring – much as Nikita Kruschev crushed Hungary’s short lived revolution a decade earlier. Then plucky little Israel – that’s how the world viewed the Jewish state back in the day – made its pre-emptive blitzkrieg against the braggadocio of Egypt, and the dubious martial prowess of Syria, Jordan, and Iraq, and put the Middle East back in the news again.
And there it has stayed, with hijackings, hostages, terrorism, the Oil Crisis and OPEC, civil war and invasion in Lebanon, Gulf Wars One, Two, and Three, the Twin Towers, the Wars of American Vengeance. And so to the present day, the brief Arab Spring giving way to a long and bloody Arab Winter, and the demolition of the Sykes-Picot dispensation with Daish’s redrawing of the map of the Middle East, the Abraham Accords with their promise of Arab-Israeli “normalisation” – an opaque and controversial word in this box canyon of false hopes – the fall of the Assad regime and the prospect of a revived Syria, and, in the endgame of many Israeli incursions into Hamas’ Gaza autocracy, the pogrom of October 7 and Israel’s biblical vengeance.
There is a place for dissertations on the state of the world and the tectonic movements that continue to reverberate and ricochet through these most antique of lands. And this is not one. But they have been the inspiration for much of my writing, and this volume is an anthology of those pieces. And unavoidably, they reflect and comment upon ideas and incidents, actions and accidents, memories and monuments.
I wear the weave of history like a second skin, as though each stone, each ruin, each sun-baked wadi, each vibrant soul has pressed itself into my being. As the Irish novelist John Banville wrote, “the past beats inside me like a second heart,” and in these lands, it beats with a particular resonance – ancient and immediate, mythic and human. The Middle East is not merely a subject of study or a theatre for politics; it is a history and geography I have walked through, a landscape I have viewed, a culture I have carried with me in the dust of its deserts, in the sounds and scents of its streets, in the quiet of its mosques, churches and synagogues, and its ruins.
My poems and songs have mirrored what I have carried in memory, and carry still. The cadence of markets and mosques, the call to prayer, the silence of the canyons. the desert wind, remind me that these lands live not only in history books but in lived, sung, remembered experience of all who have passed through They recall centuries of triumph and loss. The past is not distant; it rises in waves, song lines across stone and sand, linking the footsteps of pilgrims, soldiers, merchants, and wanderers with my own.
I know the Old Cities of Jerusalem and Damascus like my own neighbourhood. I’ve promenaded down the Street Called Straight and the Suq Al Hammadiyeh many times; shopped in the ancient Aleppo Souk – before it was destroyed; walked though the deserted Dead Cities of the North – which became later refuge for the homeless; climbed the Masada massif twice, once in the full heat of high summer, and again one time in predawn darkness to watch the sunrise over the Dead Sea and Moab; traveled overland through the Judean Desert to the old monastery of Mar Saba Stood; stood atop the battlements of Krak de Chevaliers; slept a ledge overlooking Petra, the Rose City and walked the Siq both ways three times; rode in a jeep through the canyons of Wadi Rum; traveled on the famous Nairn Express from Damascus to Baghdad, and an old bus through the Khyber Pass; stood by the Euphrates at Babylon, the Nile at Karnak, and the Ganges at burning ghat of Varenesi; visited Palmyra and watched the sunset atop Qala’at Fakhe al Din al Ma’ani.
All of these, now memories, carry the stories of centuries: the echo of prophets, conquerors, poets, and common folk whose lives have risen and fallen in patterns invisible yet inscribed in every wall, every minaret, every crumbling mosaic. The present weighs upon them as heavily as the past: geopolitics, ideology, oil, invasion, and resistance all leave their marks, mingling with the dust of empires long gone. Yet amid it all, the pulse of life persists—bright, stubborn, and singin – reminding me that beauty and despair coexist in ways the mind alone can scarcely contain.
These lands, as I first knew them, were the lands of story, legend, and lore; of pilgrims and explorers; of warriors and sages. And now, reading, writing and singing their echoes through books, prose and verse, I understand that memory, imagination, and presence are inseparable. One cannot approach the Middle East without the awareness that history is embodied, tactile, insistent: in the sun upon skin, the dust on boots, the voices of markets, mosques, and alleys, and in the pull of ruins that hold the ghosts of kings and commoners alike.
Writing about the Middle East, I am reminded that story, song, and memory intertwine. The poems and songs I carry are part of this landscape, as much as the stones and winds themselves, shaping how I see, feel, and reflect. Their cadence is my compass, their imagery my guide, the echoes, the pulse of lands that refuse abstraction. Here, history and the present are inseparable; the past is alive in the dust, the stone, the sun, and the song.
I wear its dust, I carry its past, I feel its presence. In prose and in song, in memory and in presence, I am tethered to these lands. And in this tethering, I find the resonance that drives the writing in this anthology: an awareness of the Middle East not as a distant object but as a living, breathing interlocutor, shaping thought, reflection, and imagination with the weight, warmth, and insistence of centuries.
Decades later, I wrote about my early travels in Tanks for the memory – how Brezhnev changed my life.It encapsulates very much how I travelled in those gone days:

“I’d like to think that perhaps it is something intrinsically part of my software – an ability to adapt, accept, empathize, and, as far as it is indeed possible for a stranger, to become one with the scenery and slip into the machinery, and, to put it bluntly, take it all at face value. As a “stranger in a strange land”, I accepted what I saw, observed, heard and learned, moved on – to quote American beat poet Lawrence Ferlinghetti – like “a mirror walking down a strange street’. For this is how I traveled in those roving years, leaving very little by way of words and pictures of my travelling. All I saw, heard, observed, felt and learned was mostly stashed away on my own, internal hard-drive to be accessed in latter years – waiting, perhaps, for the advent of social media, blogs and highly portable electronic devices”.

For more about these journeys, see Song of the Road (2) – The Accidental Traveller

One of the oldest urban centres: Gaza’s rich history in ruins

The Guardian,17 Oct 2025

In October 2025, William Dalrymple wrote this  fine piece on the long, entangled history of Gaza in The Guardian, publicizing a forthcoming multi-episode series on his excellent Empire podcast. He wrote of how the territory’s ancient heritage has too often been ignored. As we mourn incalculable human losses, learning about its past can help us better understand the present

As a ceasefire brings a measure of peace to the Dresden-like hellscape that Gaza has become, it is time to take stock of all that has been lost. The human cost of what the UN commission of inquiry recognises as a genocide is of course incalculable, but fewer are aware of how much rich history and archaeology has also been destroyed in these horrific months. This is bolstered by the widespread assumption that Gaza was little more than a huge refugee camp built on a recently settled portion of desert. That is quite wrong. In reality Gaza it is one of the oldest urban centres on the planet.

Golda Meir famously declared that “there was no such thing as Palestinians”, but the reality is very different. Palestine is actually one of humanity’s oldest toponyms, and records of a people named after it are as old as literacy itself. Palestine was an established name for the coast between Egypt and Phoenicia since at least the second millennium BCE: the ancient Egyptian texts refer to “Peleset” from about 1450BCE, Assyrians inscriptions to the “Palashtu” c800BCE, and Herodotus c480BCE to “Παλαιστίνη” (Palaistinē). This was all brought home to me as I worked, with my co-presenter Anita Anand, on a 12-part series on Gaza’s history for the Empire podcast.

Gaza was first referenced as a strategic prize in an Egyptian inscription of Thutmose III in the 15th century BCE, where it is referred to as Ghazzati. It is also one of the most fought-over and contested spaces: for more than 4,000 years this area has been an ethnically mixed crossroads, linking Africa with Asia, and the desert with the Mediterranean. It has also been a crucial strategic and economic hub: an often incredibly rich and prosperous port from which the spices, incense, perfumes and wines of western Asia were exported to Greece and Rome, the end of the caravan route from Arabia via Petra. As well as a fortress guarding the strategically crucial route leading from the eastern Mediterranean coastline to Egypt.

Travellers who visited Gaza over the centuries have often remarked on the fecundity of its vegetation and the diversity of its agriculture, both of which are the products of its underground waters and the Mediterranean climate. It is this that enabled Gaza to grow the excellent grapes that for many centuries were made into a much celebrated sweet wine, the Château d’Yquem of the classical world. An exhibition of the salvaged antiquities of Gaza currently showing at the Institut du Monde Arabe in Paris opens with a fabulous display of the distinctive “torpedo jars” in which the Gazans exported their wine. As late as the sixth century AD, these amphorae were reaching both Merovingian France and Anglo-Saxon England.

Each successive power in the Middle East has always wanted to own Gaza, and to conquer it, and over the centuries we hear of a succession of empires – first the Egyptians, Assyrians, Babylonians, Persians, Greeks and Romans, and later the Umayyads, Mamluks, Turks and the British – coming through and fighting to seize it. More difficult to see in the chronicles of conquests and sieges are the locals who have always lived hereabouts, century after century, whose faith has slowly evolved from paganism to all three of the Abrahamic faiths, and whose dominant language has moved from Aramaic to Greek then from Greek to Arabic.

Archaeology shows that the DNA of the different peoples who lived here has remained fairly consistent throughout the centuries: the modern inhabitants of this land, both Jewish and Palestinian, share much the same mix of DNA groups as the peoples who lived here in the bronze age, and whose skeletons have been tested in contemporary labs. The small Samaritan and Palestinian Christian minorities, the latter descendants of the first Christians, exhibit genetic patterns that are especially close to those extracted from ancient skeletons.

Although the town remained a robust centre of paganism long after many other cities in the region, its beachfront was also the home to the earliest monasteries of Palestine, as followers of St Antony of Egypt migrated there bringing the monastic movement to the Levant; soon “the desert became a city” as monasteries sprang up across the region. In 406 the Empress Eudoxia provided the funds for a cathedral for Gaza, and by the end of the sixth century, the celebrated church of St Sergius was built.

The Arab conquest used to be considered a major turning point in the region’s history, but according to many historians and archaeologists who specialise in this period, the conquest is almost invisible archaeologically. Surviving documents from the period indicate that for many years after, Gaza continued as an administrative centre of the region, and Greek-speaking Christians continued to run the bureaucracy. The son and grandson of two of the early chancellors of the Ummayad Caliphs, St John of Damascus, ended his life in the monastery of Mar Saba not very far from Gaza in the Judean desert. In time, the inhabitants of Palestine accepted the language, government and religion of their new masters; but it was a gradual process of transition, over many centuries, not a sudden catastrophic end of civilisation. The Arab conquerors were a small military elite; the local people remained much the same.

The site of Saint Hilarion monastery, Deir al-Balah, June 8, 2022. Mahmud Hams/AFP/Getty 

Gaza continued to flourish through the Crusader period, when it was given over to the Knights Templar to guard the frontier with Egypt; and even more so after the Mamluks expelled the Crusaders and filled Gaza with fine mosques and caravanserais. During the Ottoman period, Jaffa and Acre took over from Gaza as the most prosperous ports of the region, out of which Galilee cotton and Jaffa oranges were exported; but Gaza remained an important regional centre.

Though Gaza now dominates news bulletins for the worst reasons, it is a place about which we have traditionally learned remarkably little; we are not taught its story in movies or TV documentaries, let alone as part of formal education. Yet it is something we obviously badly need to know in order to grasp current events.

This month sees the publication of several new books addressing that absence. As well as the catalogue of the brilliant Paris exhibition, Trésors sauvés de Gaza: 5,000 ans d’histoire (Saved Treasures of Gaza: 5,000 Years of History) historian Anne Irfan has just produced an excellent primer, A Short History of the Gaza Strip, while Jean-Pierre Filiu has published a supplement to his wonderful Gaza: A Historycalled A Historian in Gaza. In it, he writes: “The Gaza I knew, and whose length and breadth I’ve travelled, has ceased to exist.” All three count as essential reading for those hungry to know more about this ancient territory so as to better understand the current, desperate chapter in its history.

A Short History of the Gaza Strip by Anne Irfan (Simon & Schuster, £18.99). To support the Guardian, order your copy at guardianbookshop.com. Delivery charges may apply.

A Historian in Gaza by Jean-Pierre Filiu (C Hurst & Co Publishers, £16.99). To support the Guardian, order your copy at guardianbookshop.com. Delivery charges may apply.

 

The Geography of Faith: America and the Gospel of Power

America is a country where you can drive from Damascus to Jerusalem via Jericho and Bethlehem without leaving the United States. Its map is littered with biblical names – geography of faith transplanted onto a new continent.

That was no accident. From the Puritans’ “city upon a hill” to Manifest Destiny and today’s Christian nationalism, Americans have repeatedly imagined their country as something more than a nation: a providential project, a New Jerusalem, a civilisation with a sacred inheritance.

But there is another America – the constitutional America, deliberately wary of the fusion of church and state; the pluralist America in which Christianity is one inheritance among many; and the America whose power is increasingly viewed abroad with scepticism.

This essay explores the curious convergence of a renewed intellectual interest in Christianity and Western civilisation, the muscular Christianity of the contemporary American Right, the crusader imagery of its warriors, the spectacle of the television evangelist, and the extraordinary political theology surrounding the Trump era.

At the heart of it is a simple question: what happens when a nation with immense material power begins to clothe that power in sacred language?

New Jerusalem

Look at a map of the United States and you can almost read the Bible in the place names. Bethlehem appears here, Jerusalem there; Jericho, Damascus, Nazareth, Salem, Shiloh, Zion, Hebron, Canaan, Goshen, Galilee, Gilead and Lebanon are scattered across the American landscape. Some are little more than dots on a map; others grew into substantial towns and cities. Together they form something more than a collection of quaint biblical echoes. They constitute a kind of geography of faith: a continent renamed, in part, through the vocabulary of Scripture.

America did not merely settle a new continent. It imagined itself within an ancient story.

The idea goes back to the earliest European settlers, particularly the Puritans, whose understanding of the New World was saturated with the language of Exodus, covenant, wilderness and the Promised Land. The voyage across the Atlantic could be imagined as an escape from bondage. The wilderness became a place of testing. The new settlement could become a covenanted community. America was not simply somewhere to live; it might become somewhere to begin again.

John Winthrop’s famous 1630 sermon, A Model of Christian Charity, gave the idea one of its enduring metaphors: the new community would be “as a city upon a hill”, watched by the world. The original meaning was less a declaration of American superiority than a warning about American responsibility. A people claiming a covenant with God would be judged by how it behaved.

Over time, however, the warning became a boast. The city upon the hill became the shining city upon the hill; the beacon became a claim to exceptionalism; and the American experiment acquired an increasingly providential character. The United States came to imagine itself not merely as a nation among nations but as a nation with a special mission.

This is one reason the idea of a New Jerusalem has such a deep resonance in the American imagination. The Book of Revelation promises a new heaven and a new earth, with the New Jerusalem descending from heaven. The old order passes away; the world is renewed; God dwells among humanity. It is the ultimate story of restoration.

America was, in a secular and political sense, another version of the same story: the old world left behind, a new world discovered, history apparently offering a second chance.

Europe had its cathedrals, dynasties, wars and accumulated centuries. America had the wilderness and the future.

And the wilderness was not empty.

That is where the mythology becomes more complicated. The promised land was already inhabited. The New Jerusalem was built through the displacement and dispossession of Native peoples. The language of Providence accompanied conquest. Manifest Destiny transformed territorial expansion into something that could be understood not simply as geopolitical ambition but as providential destiny.

The American frontier was therefore conquered with the Bible as much as the gun. The gun supplied the means; the Bible supplied, for many, the story.

This should not be reduced to cynical propaganda. Many of the people who settled the frontier genuinely believed that Providence was guiding them. They read their lives through Scripture. They named their settlements after biblical places. They understood victory and defeat, drought and harvest, migration and death within a scriptural framework. The preacher and the gunfighter could inhabit the same cultural universe.

The extraordinary thing is how durable that religious imagination has proved. The United States has repeatedly retold its national story in the language of fall, decline, threat, renewal and redemption. The names and metaphors change, but the narrative structure persists.

America sins; America suffers; America forgets itself; America is threatened; America awakens; America is restored.

It is almost a biblical narrative translated into political mythology.

From the city on the hill to muscular Christianity

This is the historical backdrop against which the contemporary revival of Christian language in American conservatism needs to be understood. It did not begin with Donald Trump, nor is it reducible to the phenomenon now labelled “Christian nationalism”. There has always been an American civil religion in which God, nation, freedom, sacrifice and destiny overlap.

What is new is the intensity with which some contemporary conservatives are seeking to recover Christianity not simply as private belief but as an explicit source of civilisational identity.

There has been, in parallel, an intellectual rediscovery of the Christian inheritance among thinkers who are not conventionally understood as theologians. British historian and co-host of the popular podcast The Rest is History, Tom Holland’s Dominion is perhaps the best-known example. His argument is essentially historical: many of the moral assumptions that modern secular Westerners regard as self-evidently universal – the dignity of the individual, the moral significance of the weak, equality before God, concern for the marginalised and suspicion of arbitrary power – were profoundly shaped by Christianity. See in In That Howling Infinite, Getting back to the garden – Tom Holland’s Dominion. The illustration at the head of this essay is taken from the cover of this thought-provoking book.

Historian Niall Ferguson and others have approached the question from somewhat different directions, examining the decline of Western confidence, the institutions and habits that made the West successful, and the possibility that societies can lose the cultural foundations that sustain them.

There is much to respect in this argument. Christianity did profoundly shape the moral and intellectual architecture of Western civilisation. To deny that is to indulge in a curious form of historical amnesia. But there is a distinction worth preserving between Christianity as an inheritance and Christianity as a political identity.

The West is Christian in its historical formation, but it is not only Christian. It is also Greek and Roman, Jewish and Islamic in important respects, Renaissance and Reformation, Enlightenment and scientific, liberal and socialist. Its civilisation emerged through argument as much as inheritance. Indeed, one of the defining characteristics of the West may be its capacity to argue with itself.

The danger begins when recognition of the Christian inheritance becomes a claim to Christian superiority, and when civilisational confidence becomes civilisational self-certainty.

For there is an awkward historical fact that every honest account of Western civilisation has to accommodate: the civilisation that produced the Sermon on the Mount also produced religious persecution, slavery, colonialism, racial theories, imperial conquest and industrialised warfare. It proclaimed universal human dignity while repeatedly deciding that some humans were more equal than others.

The West has produced some extraordinary moral ideals. It has also repeatedly failed to live up to them. That is not an argument against the ideals. Quite the reverse. It is an argument for taking them seriously.

JD Vance, Marco Rubio and the recovery of a sacred inheritance

The contemporary American conservative project – propagated by the current Us administration- therefore has an interesting intellectual spectrum.

At one end is the civilisational argument: the West has forgotten its inheritance and must recover confidence in the ideas and institutions that made it what it is. Christianity is not necessarily proposed as a state religion but as the moral and cultural foundation of Western civilisation.

The Catholic dimension is particularly interesting. The conversion of vice-president JD Vance, for example, has given his political thought an intellectual vocabulary that differs from the older Reaganite fusion of individual liberty, free markets and traditional morality. Catholic social thought permits a critique of atomised individualism and places greater emphasis upon family, community, solidarity, responsibility and the common good.

Secretary of State Marco Rubio’s formulation is similarly civilisational. His argument for Western renewal encompasses reindustrialisation, secure borders, a more restrained conception of the international order and, most importantly, recognition of what he describes as the Christian “sacred inheritance”.

This is not necessarily the same thing as theocracy. It is an argument that a civilisation requires more than institutions and material prosperity. It needs a moral vocabulary, a sense of purpose and some conception of the good.

That proposition is not absurd. Indeed, the secular West has been wrestling with precisely this problem for decades: What happens when a society loses the stories that once gave meaning to sacrifice, obligation, family, citizenship and responsibility?

But then comes the other end of the spectrum: muscular Christianity.

Come the Crusader

Here the intellectual argument becomes physical.

The language is martial. The imagery is martial. The body itself becomes part of the message: warrior tattoos, biblical inscriptions, fighter jets, missiles, military ceremony, prayer and the rhetoric of providence.

The Defence Secretary Pete Hegseth’s invocation of the Psalm, “Blessed be the Lord, my rock, who trains my hands for war and my fingers for battle”, is emblematic. Christianity is no longer merely being invoked as the moral inheritance of a civilisation. It is being placed beside the instruments of American military power.

There is a long tradition of Christian soldiers, Christian chaplains and religiously motivated warriors. Christianity has never been pacifist in any simple historical sense. The just-war tradition emerged precisely because Christians had to confront the moral problem of political violence.

But just-war thinking is an attempt to restrain power. It is not a licence to sanctify it. The distinction is crucial.

A soldier may quite properly pray before battle. A soldier may believe that God gives him courage. But when the institutions of the state begin to present military action in explicitly sacred terms, a different question arises: is God being invoked as a source of personal conscience, or as a source of political legitimacy?

The difference between “I believe this war is just” and “God has sanctioned this war” is enormous. The first is political conviction. The second approaches theological authority.

And once the military becomes wrapped in sacred language, the danger is that the moral uncertainty inherent in war disappears. The enemy is no longer merely an adversary whose motives and humanity must be understood. He becomes an obstacle in a providential drama.

That is where the crusader metaphor becomes more than colourful rhetoric. The crusader did not merely fight. He fought under a sacred sign.

Television evangelists and the politics of spectacle

There is another strand of American religious culture that belongs in this story: the television evangelist.

The old televangelists perfected a distinctive synthesis of faith and spectacle. Religion became mass entertainment, personal testimony became political mobilisation, the preacher became a celebrity and the audience became a constituency. The language was often intensely personal: belief, victory, persecution, redemption, prosperity, enemies and deliverance.

It is difficult not to see an echo of that culture in contemporary American politics.

President Donald Trump is not, in any conventional sense, an ideological theologian. He is transactional, improvisational and instinctively theatrical – and narcissistic, vindictive and profane to boot. His politics are based less upon a coherent doctrine than upon loyalty, grievance, performance, personal authority and the promise of restoration.

Yet he has proved extraordinarily compatible with the religious imagination of parts of the American Right. The convergence is almost anthropological. The televangelist says: You have been betrayed. The world is against you. I understand your grievance. Follow me and we can restore what has been lost. The populist politician says much the same thing, replacing salvation with national restoration.

There is consequently an uneasy resemblance between the culture of the television evangelist and the politics of Trumpism: personality, spectacle, grievance, loyalty, money, performance and the promise of redemption.

The difference, of course, is that the televangelist claims to speak for God while the politician claims to speak for the people. When those two claims begin to reinforce one another, however, politics acquires some of the characteristics of religion. It acquires saints and sinners, martyrs and enemies, rituals and sacred gatherings, heretics and converts, betrayal and redemption.

That phenomenon was visible in the extraordinary response to the murder and memorialisation of the charismatic, popular and divisive conservative activist Charlie Kirk. The point is not whether the grief manifested across the rightwing media-verse was sincere – it plainly was – nor whether the religious language was genuine. It was both. The more interesting observation is that the death of a political activist can be absorbed into a larger narrative of sacrifice, persecution, martyrdom and national renewal.

This is where political movements can begin to acquire a religious emotional architecture.

And it is worth being careful here. Political martyrdom is not uniquely Christian. Communists, fascists, nationalists, revolutionaries and liberation movements have all created martyrs. But Christianity supplies an especially powerful vocabulary of sacrifice, blood, witness, redemption and resurrection. The political temptation is obvious.

The American paradox

And yet all of this muscular Christianity, civilisational renewal and providential rhetoric is unfolding against a remarkable backdrop: America itself is deeply divided about what America is.

It is one of the most diverse societies on earth. It contains multiple religious traditions and enormous numbers of people who are secular or non-religious. Its politics have become intensely polarised. Its cultural conflicts are increasingly existential in tone.

Christian nationalism therefore confronts a paradox of its own making. It seeks to define a pluralistic country through one of its historical traditions. It can say, with considerable historical justification, that Christianity helped shape America. But it cannot simply turn that historical fact into a constitutional proposition that America belongs to Christians.

The American founding contains a deliberate tension here. Religion was important to the cultural environment in which the Republic developed, but the Constitution did not establish a Christian state. The genius – and perhaps the fragility – of the American experiment was that a profoundly religious society attempted to construct a political order in which different religions, and ultimately non-belief, could coexist.

The city upon the hill was never a single-denomination clubhouse.

That makes the contemporary rhetoric of Christian nationalism both understandable and problematic. It is partly a response to a genuine sense of cultural dislocation: secularisation, demographic change, immigration, declining institutional trust, economic insecurity, the collapse of older forms of community and the sense among many people that the country they knew has disappeared.

Grievances require ideology before they become political mobilisation. Christian nationalism can provide that ideology. It offers an explanation of what has gone wrong and a story about how it might be repaired. But the story can become dangerous when “America” and “Christianity” are treated as interchangeable terms. For then criticism of America can begin to sound like criticism of Christianity, and criticism of Christianity can be interpreted as hostility to America.

That is not a recipe for pluralism.

The constitutional counterweight

There is an important American corrective to all this biblical geography and civilisational rhetoric: the Constitution. America may have imagined itself as a chosen people building a city upon a hill, but the republic’s founders did not establish a Christian state. The First Amendment famously prohibited Congress from establishing a religion while protecting the free exercise of religion. That distinction was fundamental. Religion was not to be banished from public life; neither was the state to acquire a church.

This is one of the great American paradoxes. The country was profoundly shaped by Christianity, yet its constitutional architecture deliberately separated religious authority from governmental authority. The separation of church and state was not an act of hostility towards religion. It was, among other things, a recognition that a society of competing faiths could not remain free if the state became the arbiter of religious truth.

The distinction matters today because it separates two propositions that are increasingly liable to be conflated. The first is historical: Christianity profoundly influenced the formation of American institutions, habits and moral assumptions. The second is political: therefore, the American state should embody Christianity. The first is plainly defensible; the second is precisely the proposition against which the constitutional settlement was designed to provide some protection.

There is an irony here that reaches beyond America. The Christian tradition itself contains a long and complicated argument about the proper relationship between spiritual and temporal power. “Render unto Caesar” is not a complete constitutional theory, but it establishes a distinction that has proved remarkably fertile. Christianity may speak to the conscience of the citizen without becoming the official ideology of the state.

And perhaps this is where the larger philosophical movement: the extraordinary evolution of Western thought from an admiration for the mighty to an ethic increasingly concerned with the meek. The ancient world admired strength, glory, conquest and heroic virtue. Achilles is the archetype, particularly for the likes of Hegseth (absent, of course, the arguably homoerotic Patroclus undertone): muscled and magnificent, wrathful, proud and formidable. Christianity did something extraordinarily disruptive to that moral hierarchy. The mighty are sidelined,  placing the weak, the poor, the humble and the suffering much closer to the centre of moral concern.

The Sermon on the Mount turned the conventional hierarchy upside down. Blessed are not necessarily the conquerors, the powerful and the triumphant, but the meek, the merciful and the peacemakers. Over centuries that moral inversion seeped, unevenly and imperfectly, into Western law, politics and social thought. It eventually became possible to imagine that the legitimacy of power should be measured not simply by what the powerful can accomplish, but by how they treat those without power.

That is a remarkable development in the history of political civilisation. And it provides an interesting test for contemporary muscular Christianity. The question is not whether Christianity can coexist with strength. Of course it can; Christianity has done so for two millennia. The more searching question is whether the Christian inheritance is being invoked to restrain power or to sanctify it.

That distinction brings us back to the Constitution. The American founders did not solve the problem of religion and power, but they constructed a political system in which neither church nor state was supposed to possess the whole truth. The republic was to remain secular in its institutions precisely so that its citizens could remain religious — or not religious — in their consciences.

The city upon the hill, in other words, was never meant to be a theocracy. It was an experiment in self-government.

And perhaps that is one of the more enduring contributions of the American experiment to the Western story: not the claim that America had discovered the New Jerusalem, but the much more modest proposition that people of different faiths could attempt to build a political community without first agreeing upon God.

What the rest of the world sees

There is also an international dimension that American civilisational rhetoric can easily overlook.

The United States remains the world’s pre-eminent military power, one of its largest economies and the centre of an extraordinary network of alliances and institutions. Its technology, universities, culture, financial system and military reach remain formidable.

But power and credibility are not the same thing. A hegemon can compel without inspiring.

And American power depends upon something more intangible than aircraft carriers and dollars: other countries must believe that American commitments mean something, that alliances are durable, that Washington understands the difference between interest and principle, and that its rhetoric about democracy, freedom and the rules-based order has some relationship to its conduct. That is where the present moment becomes particularly awkward.

When the world’s most powerful democracy speaks in the language of Christian civilisation while its president behaves, to a sceptical foreign observer, like a transactional television personality – opportunistic, self-promoting, bullying and apparently indifferent to ideological consistency – the result can be a peculiar dissonance.

The United States says values. The world watches behaviour. America says leadership. Others see transaction. America invokes faith. Others wonder whether they should still have faith in America.

That word “faith” is not accidental. International relations has its own definition. Alliances depend upon confidence. Treaties depend upon credibility. Soft power depends upon the willingness of others to believe that the power being exercised is legitimate, or at least predictable. But once confidence begins to disappear, it is remarkably difficult to restore.

And this is where the Christian rhetoric can become counterproductive. If America presents itself not simply as a powerful state but as the guardian of Western civilisation and Christian values, it raises the moral expectations by which its conduct will be judged. If it invokes God, the world can ask whether its conduct reflects the qualities attributed to God. If it invokes civilisation, the world can ask whether its conduct is civilised. If it invokes the rules-based order, the world can ask whether the rules apply to Washington as well as to everybody else.

The higher the rhetoric, the greater the distance when behaviour falls short.

An American pontiff  in Washington’s shadow

The election of an American pope adds an extraordinary complication.

Pope Leo XIV is, by definition, an American product of the culture, but he does not belong to America in the political sense. The Catholic Church is universal, and the papacy represents an authority that transcends national interest.

His evident reservations about aspects of the Trump administration, particularly its treatment of migrants and its harder-edged nationalism, are therefore significant. The Pope cannot simply be absorbed into the American civilisational project because Catholicism itself contains a competing conception of universality.

That is perhaps one reason the current “Catholic moment” is so interesting. American Catholicism is simultaneously being courted by the nationalist Right and reminded by its own universal tradition that Christianity is larger than the nation. The Pope’s position effectively asks a question that Christian nationalism finds difficult to answer: where does Christian allegiance end and national allegiance begin?

The answer cannot simply be “wherever America says it does” because the Christian faith, at least in its Catholic conception, does not stop at the border. Nor does the stranger cease to be a human being when he crosses it.

The return to faith  – and a Mahatma moment

In the intellectual world, therefore, something genuinely important is happening beneath the politics.

A number of intellectually serious people are rediscovering Christianity because they have come to understand that the supposedly secular values of the modern West are not as self-explanatory as they once assumed. They are asking where ideas of human dignity, equality, compassion, sacrifice and moral obligation came from, and whether a civilisation can sustain them once it forgets their genealogy. This is a worthwhile conversation, but there is a danger in turning it into a story of Western vindication.

The West has an extraordinary inheritance. It also has an extraordinary record of failing to live up to it.

This is where an  apocryphal quip by Mahatma Gandhi becomes unexpectedly useful. Asked what he thought of Western civilisation, Gandhi is supposed to have replied: “I think it would be a good idea.” He almost certainly did not say it. But the joke survives because it captures something profound.

The West has produced ideals of extraordinary moral power. It has also spent much of its history demonstrating how difficult those ideals are to practise. The point is not to discard the inheritance. Quite the opposite. It is to take it seriously enough to judge ourselves by it.

Perhaps the proper response to the rediscovery of Western civilisation is therefore neither triumphalism nor self-loathing, but gratitude without complacency – acknowledging the Christian foundations of much Western moral thought without pretending that Christianity has a monopoly on virtue. We can recognise the achievements of the West without denying the violence that accompanied them. We can defend liberal democracy without pretending that every Western action has been liberal or democratic.

And perhaps the deepest lesson of the Christian inheritance is that being “chosen” is not a certificate of moral superiority. The biblical prophets spent an extraordinary amount of time telling their own people that God’s favour did not exempt them from judgement.

Indeed, the Bible that gave America its language of Exodus, Promised Land and Manifest Destiny also gave it the prophets. And the prophets were not particularly polite to powerful people who believed themselves righteous. They asked who was being excluded, who was being oppressed, how the stranger was being treated, what happened to the poor, the widow and the orphan, and what became of justice when power convinced itself that it was acting in the name of God.

That is why the phrase “What would Jesus do?” has more bite than its sometimes saccharine popular usage suggests. It is not merely a question about personal kindness. Applied seriously to statecraft, war and national power, it becomes an interrogation of the entire project.

What would Jesus make of the stranger at the border? What would he make of the poor? What would he make of vengeance? What would he make of the worship of strength? What would he make of the powerful congratulating themselves on their righteousness? What would he make of the Sermon on the Mount?

And, most awkwardly for the muscular Christian, what would he make of: “Blessed are the peacemakers”?

The great American story may therefore not be that America is the New Jerusalem. It is that America has repeatedly imagined itself becoming one. The city upon the hill was an aspiration before it became a boast. The New Jerusalem is an eschatological promise, not a national certificate. Civilisation is something to be practised, not possessed.

Which brings us back to that wonderfully mischievous Gandhi line. “Western civilisation?” “It would be a good idea.”

Perhaps that is the most useful way of understanding the contemporary return to faith. Christianity may indeed be one of the great sources of the moral vocabulary by which the West understands itself. But the test of a civilisation is not the grandeur of its inheritance. It is what it does with it.

The Bible gave America a map, a mythology and a moral vocabulary. The gun helped conquer the continent. The Constitution tried to establish the rules by which its people might live together. The pulpit supplied the language of providence. The television evangelist transformed faith into spectacle. The politician discovered the mobilising power of grievance, identity and redemption. The soldier discovered that Scripture could be placed beside the missile.

And now the most powerful country on earth is once again asking the world to believe in its exceptional mission. The world, understandably, is watching what it does.

Perhaps that is the ultimate irony of the city upon the hill. The higher the hill, the more visible the conduct of those who live upon it. And if America wants to invoke the Bible as its civilisational inheritance, it inherits not only the stories of Exodus and conquest, but the uncomfortable questions of the prophets.

Or, to put it in the irreverent vernacular of an old, sceptical observer:

What would Jesus do?

Paul Hemphill and In That Howling Infinite, August 2026

This essay was written in conversation with books I’ve read, ideas formed and half-formed, and, more recently, in sustained dialogue with an AI language model, which contributed to drafting, phrasing, and conceptual articulation. What appears here is not unmediated thought, but considered thought: selected, tested, revised and revised again, and owned.

See also in In That Howling InfiniteA Political World – Thoughts and Themes, The Wrath to Come. Gone With the Wind and America’s Big Lie and My country, ‘tis of Thee – on matters American

My country, ’tis of thee – on matters American

 

 

 

 

Smyrna 1922 and the Ottoman endgame

History has a habit of turning up unexpectedly in everyday life.

Some fifteen years ago, a muso friend of ours told us about his family’s Greek origins in Ottoman Smyrna. We were in the Black Sheep wine bar in King Street, Newtown, sitting down with a Greek Australian who’d just finished a great set of blues and soul standards talking about events that occurred almost a century earlier. Nationality, language, religion and ancestry did not always fit the neat boxes into which the twentieth century subsequently tried to place them.

We visited Smyrna – now modern İzmir – in May 2014. We walked along the harbourside promenade, looked across the Aegean Sea, and took photographs that we  sent them to our friend. They were ordinary holiday snaps, in one sense: the waterfront, the sea, the city behind us. But they carried something else with them. We were standing in a place from which his Greek forebears, had once looked towards the same water in circumstances unimaginably different from ours.

It is one of the peculiarities of history that the past can sometimes feel closer through a family anecdote or a photograph than through a library full of books. The old cliché about history leaving fingerprints is, perhaps, not entirely a cliché. Places retain traces of people who have gone, even when almost nothing visible remains of the communities that once inhabited them.

Smyrna is an especially powerful example.

It was once an Ancient Greek city located at a strategic point on the Aegean coast of Anatolia, and was actually two successive settlements: Old Smyrna, founded around the 11th century BC as an Aeolian settlement before being taken over and developed by the Ionians during the Archaic Period, and Smyrna proper, the new city founded from the 4th century BC onward, whose establishment is associated with Alexander the Great. Due to its advantageous port conditions, its ease of defence, and its good inland connections, Smyrna rose to prominence, reaching metropolitan proportions under the Roman Empire, with most of its surviving remains dating from that era, largely following reconstruction after a 2nd-century AD earthquake. Since 1930, the city’s official name has been İzmir.

Modern Izmir, May 2014

In September 1922, the city’s waterfront became the final refuge of tens of thousands of Greek and Armenian civilians as Turkish nationalist forces entered the city and violence and fire engulfed its Christian quarters. Within a few years, the overwhelmingly Greek character of one of the great cities of the eastern Mediterranean had largely disappeared. But Smyrna was not the beginning of this story. It was one of the last chapters in the extraordinarily violent disintegration of the Ottoman Empire.

The story reaches backwards through the Balkan Wars, the Ottoman-Russian conflicts, the massacres of Armenians in the 1890s, the First World War and the destruction of Armenian and Assyrian communities, and forwards through the Greek Turkish and War, the Treaty of Lausanne and the compulsory exchange of populations. It is a story of imperial collapse and national self-determination, but also of refugees, massacres, deportations, competing territorial claims and the brutal desire of emerging nation-states to make populations conform to political borders.

It is therefore tempting to reduce it to a morality tale. There is certainly no shortage of moral horror in the record. But moral judgement and historical explanation are not alternatives. The challenge is to understand how a multi-ethnic empire that had survived for centuries gave way, through war and revolution, to a collection of more nationally defined states — and why that transformation was accompanied by such extraordinary human suffering.

That is the longer story of Smyrna, and of the Ottoman endgame.

The leaving of Smyrna, September 2022

Smyrna and the Ottoman Endgame

In September 1922, the cosmopolitan city of Smyrna became the final, terrible act in a drama that had been unfolding for more than a decade. The city’s waterfront filled with Greek and Armenian refugees as Turkish nationalist forces entered the city and Christian neighbourhoods were engulfed by fire. Behind them lay the ruins of communities that had existed in Anatolia for centuries; ahead was the Aegean and, for many, an uncertain escape to Greece.

The familiar account of Smyrna begins here, with the fire, the refugees and the ships of the Allied powers lying offshore, apparently unable or unwilling to intervene in one of the final acts in a war that they had effectively lost. But history did not begin in Smyrna. Nor did the destruction of Anatolia’s Christian communities begin with Turkish commander Mustafa Kemal’s nationalist movement. To understand what happened in 1922, one has to go back through the Balkan Wars, the Ottoman defeat in the First World War and, before that, the increasingly violent crisis of the Ottoman state’s relations with its subject peoples.

This is the broader story told, with considerable geographical and archival range, by Sean McMeekin in The Ottoman Endgame. It is also the story explored in In That Howling Infinite’s The fall of the Ottoman Empire and the birth of Türkiye : the dissolution of an empire was not a single event but a succession of wars, revolutions, occupations, expulsions and attempts at national reconstruction. The First World War was the central episode, but it was also part of a much longer Ottoman endgame.

The wars before the war

It is convenient to imagine Europe as peaceful until August 1914. It was not. The Ottoman Empire had already been fighting for its survival.

Italy went to war with the Ottomans in 1911, seizing Tripolitania and Cyrenaica, the territories that became Libya. Then came the Balkan Wars of 1912–13, in which the Ottoman Empire lost almost all its remaining European territories. Greece, Serbia, Bulgaria and Montenegro expanded at Ottoman expense, while Albania emerged as an independent state. Romania, often included rather casually in this account, was already an independent kingdom, although it acquired territory from Bulgaria after the Second Balkan War.

The Balkan Wars were particularly important because they demonstrated what the disintegration of a multinational empire could mean in an age of nationalism. Armies advanced, borders changed and populations moved. Christians were expelled from territories conquered by Muslim powers and Muslims were expelled from territories conquered by Christian states. Villages were destroyed, civilians massacred and refugees displaced on a large scale. The demographic transformation of the Balkans was already underway before the First World War began.

This matters because the later violence in Anatolia did not occur in a political vacuum. Ottoman Muslims, many of them themselves refugees from the Balkans and the Caucasus, had seen their homes and communities disappear. The Ottoman state increasingly came to regard the survival of its Muslim population as a matter of national security. At the same time, Christian minorities – particularly Armenians and Greeks – increasingly looked beyond the empire towards their own national movements and, in some cases, to foreign powers.

The result was a vicious feedback loop. Nationalism encouraged separatism; separatism encouraged repression; repression encouraged further separatism. War made the whole process considerably worse.

Armenians and the First World War

The Armenian catastrophe has to be treated separately from what happened to the Greeks and Assyrians, although there were connections between them.

The massacres of Armenians during the reign of Sultan Abdulhamid II in 1894–96 were already a warning of what could happen when imperial authority, Muslim majoritarian sentiment and fears of territorial disintegration collided. Hundreds of thousands of Armenians were killed in massacres and associated violence. The Young Turk revolution of 1908 initially raised hopes of a more constitutional and inclusive Ottoman order, but those hopes deteriorated rapidly as the empire suffered military defeat, territorial losses and political crisis.

When the Ottoman Empire entered the First World War in late 1914 on the side of Germany and the other Central Powers, the Armenian question acquired an altogether more dangerous dimension. Ottoman forces were fighting Russia in the Caucasus, and some Armenian organisations and volunteers did indeed cooperate with the Russians. Armenian soldiers fought in Russian formations, while armed Armenian groups operated behind Ottoman lines. Ottoman fears of an Armenian fifth column were therefore not entirely invented.

But this context does not explain what followed, still less justify it.

In 1915 the Committee of Union and Progress government – what we know as The Young Turks (now a common term to describe ambitious young upstarts) – began the systematic deportation of Ottoman Armenians. Armenian political and community leaders were arrested and killed. Men were separated from their families and frequently murdered. Women, children and the elderly were deported southwards, many towards the Syrian desert. Deportation became a mechanism of destruction.

The death toll remains debated in detail, as such figures inevitably are, but the broad historical conclusion is not seriously in doubt: hundreds of thousands, probably well over a million Armenians, died through massacre, deportation, starvation, disease, exposure and deliberate deprivation. Many women and children were forcibly converted or absorbed into Muslim households. Sexual assault was commonplace. Armenian property was confiscated. An ancient community was not merely displaced; its institutional, demographic and economic foundations were systematically dismantled.

The Ottoman government and its successors have contested the term genocide and have emphasised the extraordinary circumstances of wartime collapse, Armenian collaboration with Russia and the deaths of Muslim civilians. Those Muslim deaths were real and often horrific. But they do not negate the evidence for the organised deportation and destruction of the Armenians. Nor does acknowledging Armenian collaboration with Russia turn an entire ethnic population into a legitimate military target.

The same period brought massacres and deportations of Assyrian Christians in southeastern Anatolia and northern Mesopotamia. The historical record is less comprehensive than for the Armenians, but the destruction of Assyrian communities belongs to the same wider story of wartime demographic violence.

The Greek catastrophe was different – and connected

The fate of the Ottoman Greeks followed a somewhat different chronology.

Greeks had lived throughout the Ottoman domains for centuries. In Anatolia they were concentrated particularly along the Aegean and Black Sea “Pontic” coasts, but Greek communities were also found in the interior. They were not simply recent immigrants or colonial settlers. They were part of the social and economic fabric of the late Ottoman Empire.

During the First World War, some Greek communities were deported or otherwise subjected to coercion and violence. In the Pontic region of the Black Sea, Greek nationalists and armed groups also became involved in conflict with Ottoman authorities and later with Turkish nationalists. The question of Greek communities in Anatolia consequently became entangled with the wider struggle over what would replace the Ottoman Empire.

The decisive change came after the Ottoman defeat.

The Armistice of Mudros in October 1918 effectively ended Ottoman participation in the war. Allied forces occupied strategic parts of the empire, including Constantinople. The victorious powers then contemplated a drastic settlement of Ottoman territory. The Treaty of Sèvres in 1920 proposed a severely truncated Ottoman state and envisaged Greek control or influence over substantial parts of western Anatolia.

The Greek military landing at Smyrna in May 1919 was therefore not an isolated act of Greek aggression. It occurred within the post-war Allied occupation and with Allied approval. Greece, was encouraged by its wartime territorial ambitions and by the vision of the Megali (great) Idea, – a Greek nationalist and irredentist vision that emerged after Greek independence (1821–1829) that  called for the revival of the Byzantine Empire by uniting all regions with significant Greek populations – including parts of the southern Balkans, Anatolia, and Cyprus – still under Ottoman rule into a single Greek state.

Greece believed that it had an opportunity to incorporate territories containing substantial Greek populations and places of enormous symbolic importance to Greek history. But the settlement soon collided with another nationalism:  Mustafa Kemal and the Turkish counter-revolution

Mustafa Kemal Pasha, the Ottoman commander who had become famous at Gallipoli, emerged as the principal leader of the Turkish nationalist movement. The movement rejected the partition of Anatolia contemplated at Sèvres and sought to establish national sovereignty over the Turkish heartland.

Mustafa Kemal and other Ottoman officers at Gallipoli

This was not simply an Ottoman army fighting a foreign invader. The Ottoman government in Constantinople accepted the Allied settlement; the nationalist movement centred in Anatolia rejected it. Turkey therefore experienced something approaching a war of national liberation combined with civil conflict.

The Greek army advanced deep into Anatolia. For a time, it appeared that Greece might achieve a substantial territorial settlement. But Turkish resistance stiffened. The nationalists defeated the Greek advance and, in August–September 1922, launched the offensive that drove the Greek army back towards the Aegean.

The Greek retreat was accompanied by atrocities and destruction on both sides. Turkish nationalist forces and irregulars committed massacres and expulsions against Christian civilians; Greek forces and retreating troops were themselves responsible for atrocities against Muslim civilians during their occupation and withdrawal. None of this is usefully understood through a simple morality tale in which one side was innocent and the other intrinsically barbarous.

There was, however, an important asymmetry in the final outcome: the Turkish nationalist victory made possible the consolidation of a Turkish nation-state in Anatolia, while the Greek population of much of the region was about to disappear.

Smyrna, September 1922

The events at Smyrna remain among the most contested episodes of the war, particularly regarding responsibility for the city’s fire and the precise number of people killed. The broad outlines are clearer.

Turkish nationalist forces entered Smyrna on 9 September 1922. The Greek Orthodox metropolitan, Chrysostomos, was murdered. There followed widespread looting, violence and attacks on the city’s Christian population. On 13 September a fire began in the Armenian quarter and subsequently consumed large parts of the Greek and Armenian districts.

The city contained a large Muslim population as well as substantial Greek and Armenian communities, and the precise course of the fire remains disputed. What is not disputed is the appalling predicament of the refugees trapped along the waterfront. Tens of thousands, probably far more, sought escape by sea. Allied warships were present. Their crews could see the fire. Their governments were reluctant to intervene militarily in what had become a Turkish nationalist victory and were constrained by the political circumstances of the time. Some Allied personnel and ships did rescue refugees; the larger failure was that the international presence did not prevent the catastrophe.

Smyrna was therefore both an atrocity and a symbol. It marked the end of a substantial Greek and Armenian presence in one of the great cities of the eastern Mediterranean.

But it was not, strictly speaking, the moment when that population vanished. Much of the Greek population had already fled or been displaced during the preceding years, and the final settlement was still to come.

The leaving of Smyrna, September 2022

The population exchange

The Treaty of Lausanne in 1923 replaced Sèvres and internationally recognised the sovereignty of the new Turkish Republic over Anatolia and eastern Thrace. Mustafa Kemal, now Atatürk, had won the war.

Lausanne also gave international legitimacy to the compulsory exchange of populations between Greece and Turkey. Approximately 1.2 million Orthodox Christians were transferred from Turkey to Greece, while roughly 400,000 Muslims were transferred from Greece to Turkey, subject to various exemptions, including the Greek population of Constantinople and the Muslim population of western Thrace.

The exchange was presented as a solution to the problem of minorities. In reality, it was the formalisation of a demographic revolution already substantially achieved through war, massacre, deportation and flight.

It is important not to describe this simply as the expulsion of Christians from Anatolia. Muslims had also been expelled from territories lost by the Ottoman Empire during the Balkan Wars, and the compulsory exchange itself displaced Muslim as well as Christian populations. Nor was the exchange an exclusively Turkish initiative: Greece and Turkey agreed to it, and the victorious European powers incorporated it into the Lausanne settlement.

It was nevertheless an extraordinary admission of failure. The ideal of a multi-ethnic Ottoman political order had effectively given way to the principle that stability could be achieved by separating populations according to religion and, increasingly, nationality.

The irony was profound. The Ottoman Empire had survived for centuries precisely because it did not require everyone within its borders to be Turkish, Arab, Greek, Armenian, Serbian or Bulgarian. Its subjects belonged to overlapping religious, linguistic and local communities. The nineteenth and early twentieth centuries progressively replaced that imperial pluralism with nationalism. By the 1920s, population transfer had become one of the instruments by which the new states sought to make their populations conform to their national boundaries.

The longer Ottoman endgame

This is why I find McMeekin’s The Ottoman Endgame such a useful corrective to the conventional Western story of the First World War.

The war in the Ottoman world was not merely a sideshow to the trenches of France and Belgium. It stretched from Gallipoli to Gaza, Baghdad to Baku, the Caucasus to the Arabian Peninsula. Its consequences extended from the Balkans through Anatolia and the Levant to Mesopotamia. And it was intimately connected with the Russian war, the Russian revolutions and the subsequent Russian Civil War.

The Ottoman collapse also cannot be reduced to the familiar caricature of Britain and France simply carving up an otherwise coherent Middle East according to the lines of the Sykes–Picot Agreement. Sykes–Picot was real and consequential, but it was one of several competing wartime schemes for the disposition of Ottoman territory. Russia, too, had imperial ambitions. Constantinople had long been an object of Russian strategic and religious aspiration. France had its own ambitions in the Levant. Britain was concerned with India, Egypt, Mesopotamia, the Persian Gulf and the routes linking them.

And the Arabs, Armenians, Greeks, Kurds, Turks and other peoples of the empire were not merely passive pieces on a European chessboard. They had their own political ambitions, national movements and armed organisations.

The same complexity applies to Gallipoli. The campaign was certainly a military disaster, and Churchill was one of its principal advocates. But it was not simply Churchill’s personal folly, as the mythology subsequently suggested. It emerged from a much wider strategic debate about how best to defeat the Ottoman Empire and assist Russia. Its failure helped establish Mustafa Kemal as a military leader of consequence.

That matters because the man who became the founder of modern Türkiye was not an outsider who suddenly appeared after the Ottoman collapse. He was an Ottoman officer, a product of the imperial military system and a veteran of the Balkan Wars, Libya and Gallipoli. The Turkish Republic was born not from a clean break with the Ottoman past but from its ruins.

A demographic revolution

There is a tendency, particularly in polemical accounts of this period, to describe the destruction of Anatolia’s Christian communities as a single uninterrupted campaign stretching from the Hamidian massacres through the Armenian genocide to Smyrna. The chronology is more complicated than that.

There were massacres under Abdulhamid II. There were the catastrophic deportation and destruction of the Armenians under the wartime Committee of Union and Progress. There were attacks on Assyrian communities. There were violence and displacement affecting Ottoman Greeks during and after the First World War. There were massacres of Muslims during the Balkan Wars and the Greek occupation and retreat in Anatolia. There was the Turkish nationalist war against Greece. There was Smyrna. Finally, there was the compulsory population exchange.

These events were not identical. Their perpetrators, political circumstances and immediate objectives differed. Nor should the existence of Muslim suffering be invoked to dilute the particular historical responsibility for the Armenian genocide.

But they belong to the same larger transformation: the violent passage from empire to nation-state.

What disappeared was not literally a civilisation that had remained unchanged for two thousand years. Anatolian Christianity itself had changed enormously over those centuries. Byzantine Christianity, Armenian Christianity, Syriac Christianity and Greek Orthodoxy had their own histories and communities. Ottoman society was neither a paradise of tolerance nor a permanent state of persecution. It was a hierarchical imperial order in which religious communities possessed considerable autonomy while remaining unequal before the state.

What disappeared in the early twentieth century was that plural Ottoman world.

By the middle of the 1920s, the Armenian presence in Anatolia had been largely destroyed; the great majority of Anatolian Greeks had gone; Assyrian communities had been devastated and dispersed; and millions of Muslims displaced from the Balkans and Caucasus had been absorbed into the Turkish heartland. The new Republic of Türkiye inherited an Anatolia that was considerably more homogeneous than the Ottoman Empire had been.

The transformation was accompanied by enormous human suffering and the appropriation of property on a vast scale. It also produced the demographic foundations of the modern Turkish state.

The wars of Ottoman succession

Seen from this distance, the Balkan Wars, the First World War and the Turkish War of Independence can be understood as parts of a longer sequence: the wars of Ottoman succession.

The Ottoman Empire had once encompassed much of southeastern Europe, the Middle East and North Africa. Its disappearance created a succession problem of extraordinary dimensions. Who would inherit its territories? Russia, Britain, France, Greece, Italy and the emerging Arab states all had answers. So did the Turks. The Balkan peoples had already answered the question in their own way before 1914.

The wars did not end neatly in 1918. The Ottoman defeat was followed by the Greek-Turkish war; the Russian Revolution and Civil War transformed the Caucasus; Britain and France established mandates in former Arab Ottoman territories; the Turkish Republic emerged from the nationalist victory; population exchanges attempted to impose demographic order upon territories in which communities had been intermingled for centuries.

That is one reason the consequences remain visible today.

The modern Middle East was not simply invented at a European conference after the First World War. Nor was it simply the inevitable product of ancient ethnic and religious hatreds. It emerged from the interaction of imperial collapse, nationalism, local political movements, European intervention, Russian expansion, war, revolution and demographic engineering.

Smyrna was therefore not the beginning of the story, and neither was it quite the end. It was one of the last great convulsions of the Ottoman endgame.

The ships in the harbour in September 1922 were looking at more than a burning city. They were looking at the consequences of a political order that had been collapsing for generations. Behind the flames lay the Balkan Wars, the deportations of 1915, the battles between Greeks and Turks, the Russian-Ottoman struggle in the Caucasus, the Allied occupation, Sèvres and the nationalist revolt led by Mustafa Kemal. Ahead lay Lausanne, the population exchange and the Republic of Türkiye.

The Ottoman Empire had gone. The Greek presence in Anatolia had largely gone with it. So too had the Armenian communities that had survived there for centuries.

But the story was not one of an ancient world simply disappearing beneath the flames. It was the much messier story of modern nationalism being born from the wreckage of empire.

And that is perhaps the more uncomfortable historical lesson. Empires can suppress national conflict without resolving it. When they collapse, the suppressed conflicts do not necessarily disappear. They can return in a more radical form, as competing peoples attempt to turn mixed imperial territories into national homelands. Borders are drawn; populations move; minorities become suspect; refugees become instruments of politics; and, in the worst circumstances, demographic homogenisation becomes a military objective.

The Ottoman Empire was not the only empire to discover this. The Habsburg, Romanov and German empires would suffer their own violent disintegration. Timothy Snyder’s later description of the lands between Germany and Russia as the “Bloodlands” has a broader resonance here. The territories left behind by the collapse of Europe’s great empires became some of the most violent political spaces of the twentieth century.

The Ottoman endgame was one of them. And it is still playing its echoes.

Izmir, May 2014

When we stood on the Izmir waterfront in 2014, there was little to suggest what had happened there ninety-two years earlier. The promenade was busy; the Aegean glittered beyond the harbour and modern İzmir was very much a Turkish city looking confidently towards its future. There was no visible boundary between the city that had been and the city that is.

Yet somewhere in the photographs I sent to our friend back home in Australia was a connection between those two worlds. His family’s roots lay in a city whose Greek population had once been large enough to constitute one of its defining communities. The people themselves had gone, their neighbourhoods transformed, their institutions dispersed, their descendants scattered across Greece and the wider diaspora. But the sea remained.

That is the strange persistence of history. People disappear; places survive. Names change, buildings are demolished, languages fall silent and populations are exchanged. Yet descendants carry fragments of the vanished world with them. Sometimes it is a family story, sometimes a photograph, sometimes a surname whose meaning has travelled further than its bearers ever imagined.

A Greek family descended from Smyrna and living in Sydney is itself a reminder of the untidy human geography of the Ottoman world. It tells us something that maps coloured in the clean shades of modern nation-states cannot: people moved, intermarried, converted, fled, were expelled and reinvented themselves. Their identities were rarely as tidy as the borders that eventually enclosed them.

The history of Smyrna is therefore not simply the story of one massacre or one burning city, terrible though those events were. It belongs to the much larger history of the collapse of empires and the rise of nationalism. The Balkan Wars, the First World War, the Armenian genocide, the destruction and displacement of Assyrian and Greek communities, the Greek advance into Anatolia, the Turkish nationalist victory and the compulsory population exchange were different episodes, with different actors and circumstances. Together, however, they transformed the demographic and political landscape of the eastern Mediterranean.

The Ottoman Empire had not been a harmonious multicultural paradise, and its dissolution did not produce violence from nowhere. But its disappearance removed an imperial framework within which different communities had lived, however unequally, alongside one another. The national states that replaced it promised sovereignty and security. Too often they sought both by making their populations more homogeneous.

That is the uncomfortable lesson of the Ottoman endgame. The twentieth century did not simply replace old empires with neat national democracies. It also produced refugees, minorities without homelands, homelands without their former minorities, and borders drawn through landscapes inhabited for generations by people who had never imagined themselves foreigners.

And yet history is not entirely erased by political transformation.

The harbour is still there.

In 1922, people crowded along that waterfront desperate to escape across the same Aegean. In 2014, an Australian friend of Greek Smyrna ancestry received photographs of that same waterfront from another traveller, standing there in very different circumstances. Between those two moments lies a century of catastrophe, migration and memory.

Perhaps that is what the old phrase about history leaving fingerprints really means. The fingerprints are not always found in monuments or memorials. Sometimes they survive in a surname, a family story, a photograph sent from a distant city — or in the simple recognition that, although the people have gone, you are standing where they once stood.

Roots and fruits.

The empire is gone. The city has changed. The people have dispersed.

But the fingerprints remain.

© Paul Hemphill, August 2026.

The old and the new in modern Izmir, May 2014

Also, in In That Howling Infinite, The fall of the Ottoman Empire and the birth of Türkiye; Ottoman Redux – an alternative history; Sailing to Byzantium; The Watchers of the Water; Cha-cha-cha-changes; People watching in Sultanahmet; and on displacement, Modern history is built upon exodus and displacement

For more on the Middle East, see A Middle East Miscellany

The Great Unravelling – modern history is built on exodus and displacement 

Maps, memory, and the myth of fingerprints

Palestine Mapped. From the River to the Sea in Early Geographic Thought
Thomas Suárez

Tom Suarez is one of the most meticulous and careful researchers on Palestine and Zionism although he is relatively unknown. His first book, which the Zionists did their best to prevent being publicized, disrupting his speaking tours, The State of Terror was a majestic tour de force of the Zionist terrorism that created the Israeli state and their strategies for the future ethnic cleansing of Palestine.

Suarez’s second book, ‘Palestine Hijacked – How Zionism Forged an Apartheid State from the River to the Sea’ was another tour de force. As Ilan Pappe wrote, Suarez showed how “The use of terror was deliberate and sustained, carried out or supported by the same leaders who then established and led the Israeli state. We are still living this history: The book proves that Israel’s regime of Apartheid against the Palestinians and the continued expropriation of their country are not the result of complex historical circumstances, but the intended, singular goal of Zionism since its beginning.

It is not surprising that Suarez’s latest book is in the tradition of his previous books even if it concentrates mainly on the visual rather than the verbal.

Palestine Mapped guides the reader through the Greek and Roman concepts of Palestine, the various medieval Mediterranean civilizations and the European Christian “Holy Land” mapping that has dominated since the Reformation and continues to inform modern political thought. This isn’t simply a book about cartography or map making but how notions of the ‘Holy Land’ and Palestine informed the maps and visual representations that were produced.

 

 

 

 

 

 

 

 

 

 

 

 

A beautifully illustrated book on the mapping of the river to the sea might seem a luxury disconnect given that Palestinians are being massacred daily. Suárez is very much aware of this. He explains in his Introduction why the ongoing genocide in fact makes the topic all the more relevant. Perhaps key to this is the subtitle’s final word, geographic thought.

Much of the West’s fanatical support for Israel is rooted in Evangelical messianism, the psychosis (to use the author’s word) that the Israeli state is the place in the Biblical Genesis, “placing it apart from the realm of all other earthly nations and securing wide Christian devotion.”

Suarez argues that this collective elite and religious mindset is powered by our own geographic wiring, and that the book is intended in part as an antidote to what he calls the “mapping of the Holy Land” narrative.

al-Idrīsī, map of the Levant, mid-12th century, this copy c1250. (National Library of France; image Library of Congress)

Al-Idrīsī, map of the Levant, mid-12th century  (National Library of France; Image Library of Congress)

Since the book is organized roughly chronologically, its real-world relevancy is borne out mostly in the final chapter — though the Israeli state’s manipulation of ancient maps is already demonstrated with the sixth century ‘Madaba’ map.

The book begins with the earliest extant mapping of the Levant, that of the Greeks and Romans, then devotes two chapters to the medieval period. The first addresses mapping by Europeans in which Palestine is a focus: those from the distance of the Church, and that of on-the-scene pilgrims.

The interior of the Church of St. George, Madaba, Jordan. Part of the floor is the remains of a mid-6th century mosaic map of the Levant.

The interior of the Church of St. George, Madaba, Jordan, and the remains of a mid-6th century mosaic map of the Levant.

The second addresses mapping in which Palestine was not the focus, but through which the mapping — and Western perception — of Palestine nonetheless evolved: sea charts, advanced world maps, Ptolemy’s Geography, and what the author calls ‘Arabic’ mapping, a term used in place of the usual ‘Islamic’ mapping of academia, which he considers to be flawed terminology.

The book then arrives at what is described as the pivotal year of 1500. Three revolutions of the period are said to influence Palestine’s future: Europeans’ dramatically widened world view, the advent of printing, and above all, Lutheranism.

World map in the Fasciculus temporum of the Carthusian monk, Werner Rolewink, 1484. Woodcut.

World map in the Fasciculus Temporum of the Carthusian monk, Werner Rolewink, 1484. Woodcut.

The future stage is set during that century, and Suárez gives short shrift to the years 1600-1800, other than to establish the rise of proto-Zionist ideology.

European mapping of Palestine during that period is said to be stuck in a time warp, Biblically oriented no matter the variety of renderings, in stark contrast to Europe’s mapping of the rest of the world, which was a quest for the latest, the most accurate. It is, however, here that today’s manipulation of geographic thought is first addressed, because a 1714 work of one Adriaan Reland is cited today to erase Palestinians (for which Reland is said to be blameless).

The final, long chapter begins at the year 1800, at which simmering Christian Zionist ideology takes active form with the confluence of Christian millennialism, Western imperialism, and advanced mapping techniques.

The end of the century brings of course Theodor Herzl and the advent of Political Zionism. Suárez cites both Herzl’s 1896 Der Judenstaat and a map from his 1897 newsletter, Die Welt, to argue that Herzl failed to understand the opportunity Christian Evangelicalism offered his project. I’m not so sure that this is true. One of his main supporters was William Hechler, the Chaplain at Britain’s Vienna Embassy, where Herzl was living.

Star of David with a map of the eastern Mediterranean, on the heading of the weekly Die Welt, June 4, 1897.
Star of David with a map of the Eastern Mediterranean, on the heading of the weekly Die Welt, June 4, 1897.

Hechler believed firmly that the Jews must be enabled to resettle in Palestine in order to hasten the second coming of Christ. He was constantly looking forward to a fulfillment of Biblical prophecy along these lines. He presented a memorandum to Lord Salisbury, the British Prime Minister, urging him to take up the cause of the Jewish return to Palestine even before he had met Herzl or read the “Jewish State”.

Hechler had been a tutor to the Grand Duke of Baden, and he introduced Herzl to him and also to the ex-Kaiser Wilhelm II. He also accompanied Herzl to Palestine where he met Kaiser Wilhelm II in Jerusalem.

Herzl had an instructive meeting with the Grand Duke April 23 1896 in Karlsruhe and he noted in his diaries that Grand Duke

‘took my project for building a state with the utmost earnestness. His chief misgiving was that if he supported the cause, people might accuse him of anti-Semitism’.

As Francis Nicosia, the Raul Hilberg Professor of Holocaust Studies at Vermont University observed:

‘whereas today non-Jewish criticism of Zionism or the State of Israel is often dismissed as motivated by a deeper anti-Semitism, in Herzl’s day an opposite non-Jewish reaction, one of support for the Zionist idea, might have resulted in a similar reaction.’

With Herzl’s death, Zionism continued to receive the enthusiastic endorsement of Christian Zionism and its millenarian supporters. Prominent supporters included Arthur James Balfour who combined antisemitism and Zionism effortlessly.

The 1947 UN Partition map receives its due attention: the author deconstructs it as a scam intended to produce the opposite result.

Suarez analyses the manipulation of geographic thought employed by Israel’s propagandists and argues that the ‘pro-Palestine’ community defeats itself by engaging with this propaganda on its own terms.

Put in its crudest form, when Zionists say ‘there was never such a place as Palestine’, we respond with an old map in which the entire land is called ‘Palestine’, or other such ‘evidence’.

Suárez argues that this is a mistake, a trap, the result of cultural conditioning:

we are geographically hard-wired to accept [that] the ancient origins of a place-name has the power to grant or deny personhood today, to justify the expulsion of anyone to whom that geographic name is or is not attached.

This is a heavily cross-disciplinary work, and it is hard to imagine anyone with Suárez’s background in the Palestinian issue who is so experienced in the history of cartography. It strikes me that this might be a book that can bring the Palestinian issue to a wider audience: Everyone, it seems, loves old maps, and perhaps this book is the perfect Trojan Horse gift for acquaintances who believe they are fair-minded but can’t quite make the break from Israel.

The reader is disarmed by the earlier ‘apolitical’ part of the book, gradually drawn into cultural conditioning addressed in the middle part, and already long engrossed when encountering the final chapter. But it is also a cautionary work for those long active in the issue of Palestinian liberation, who, as with all aspects of the issue, often disempower themselves by responding to Israel’s propaganda on its own terms.


Tony Greenstein
Tony Greenstein is a longstanding Jewish anti-Zionist and an anti-fascist activist from Brighton. In 1982 he was a co-founder of Britain’s Palestine Solidarity Campaign. Tony was suspended from the Labour Party in 2016 and expelled in 2018 as a result of the antisemitism witch-hunt–the first Jewish person to be expelled. Tony is the author of The Fight Against Fascism in Brighton and the South Coast. He has written extensively on Palestine and Zionism for, amongst others, the Guardian’s Comment is Free, the Journal of Holy Land and Palestine Studies, Tribune and the Weekly Worker. Tony was the child of an Orthodox Jewish Rabbi and when young a member of the religious Zionist Bnei Akiva, now part of the Greater Israel movement.

Historical Atlases

My collection of Collins and Harper Collins historical falls into five broad groups:

General World History

  1. Collins Atlas of World History – Geoffrey Barraclough, Collins
  2. HarperCollins Atlas of World History – Geoffrey Barraclough, HarperCollins
  3. History of the World in Maps: The Ultimate Cartographic Exploration of Our Past – Philip Parker, Collins
  4. The Times Complete History of the World – The Times / Collins

Military, Political and European History

  1. The Times Atlas of the Second World War
  2. Atlas of the Crusades – edited by Jonathan Riley-Smith
  3. Atlas of European History

Archaeology and Exploration

  1. Past Worlds: The Times Atlas of Archaeology – also published as the HarperCollins Atlas of Archaeology
  2. The Times Atlas of World Exploration

Biblical History and Geography

  1. HarperCollins Atlas of Bible History – James B. Pritchard
  2. HarperCollins Atlas of the Bible
  3. HarperCollins Concise Atlas of the Bible

5. Biblical Geography  – Evangelical Reference

  1. NIV Atlas of the Bible –  Zondervan / HarperCollins

There are 13 titles, although a couple represent different editions or titles of essentially the same work: The Collins Atlas of World History and the HarperCollins Atlas of World History are essentially the Barraclough atlas in different editions/imprints [Henry Barraclough was a renowned  British historian, historiographer, and medievalist. I read his The Meaning of History back when I was in Sixth Form at Moseley Grammar School] Past Worlds and the HarperCollins Atlas of Archaeology anre  alternative titles/editions of the archaeological atlas. The HarperCollins Atlas of the Bible and Concise Atlas of the Bible are related but distinct editions. The  HarperCollins Atlas of Bible History is a separate, more specialised biblical-history work.

In chronological and subject breadth the collection isn’t simply a collection of history books with maps. It is almost a cartographic library of human history:

Prehistory → Archaeology → Ancient Near East → Biblical world → Greece and Rome → Christianity → Crusades → European kingdoms and empires → exploration → global history → the Second World War → the modern world.

And that perhaps explains why the physical atlases mattered to me in the first place. Their great virtue was not merely the information contained in them but the ability to see history spatially: peoples moving, empires expanding and contracting, frontiers shifting, trade and exploration routes opening, armies advancing and retreating, and religious and political worlds overlapping.

They are heavy both literally and figuratively, providing a way of understanding history that a conventional chronological narrative often cannot: history as movement across landscape and time.

Echo of the Steppes … history’s long shadow

For our old friend and co-founder of HuldreFolk, the acclaimed bandurist Victor Mishalow, Ukrainian composer Hryhory Kytasty’s Echo of the Steppes (Гомін Степів) was much, much more than a piece of music; it was an evocation of a lost homeland.

It was Victor’s signature piece, and when introducing it in our concerts – an eclectic combination of stories, songs and music – he would describe the boundless Ukrainian steppe: waves of tall grass bending beneath an endless wind, and beneath it all the legendary black chernozem, among the richest soil on earth, so deep it seemed almost without end. In his telling, the bandura was “the soul of Ukraine”, its shimmering strings giving voice to the wind, the grasses, the little creatures that dwelt within them, and the immenseness of the plains.

The music also carried folk memory: of open frontiers where the Kozaks once found refuge from oppression, where freedom could still be breathed beneath an enormous sky, and where the landscape itself became part of the nation’s identity. Listening to Victor play, one did not simply hear an instrument; one heard the echo of the steppes – a vast, living landscape in which earth, wind, history and people were bound together in a single, resonant voice.

Fingerprints, ghosts and the long arm of History

In an illuminating essay in the e-zine Unherd, republished below, former war-correspondent Aris Roussinos begins an extensive and expansive review of  Australian archeologist Warwick Ball’s The Eurasian Steppe with three mute stone figures – Cuman balbals – standing beside the road between Sloviansk and Bakhmut in Donetsk, watching the endless movement of armies across what is now Ukraine’s disputed and devastated Donbas. They are ancient witnesses in a landscape where Russians and Ukrainians now fight over ground that, for most of human history, belonged to neither, and yet, for countless people over millennia, became pasturelands and polities, battlefields and burial grounds.

This is history as I like it: the historian as storyteller, where landscapes become characters and the past refuses to remain buried.

Long before Slavic speech reached these plains, the steppe was the domain of nomadic peoples: Scythians, Sarmatians, Alans, Huns, Turks, Mongols and many others whose empires rose and vanished like storms over the grasslands. They left few cities and fewer written records, but their fingerprints are everywhere: in languages, military traditions, political institutions, myths and identities. The grass remembers what libraries often forget.

Roussinos’ central argument is that we have misunderstood Europe by looking too exclusively westward, towards Rome. The steppe was never merely a barbarian wilderness beyond civilisation, waiting to burst through the gates. It was one of the great engines of European history. Europe was shaped not only by the legacy of Rome and Christianity but also by repeated encounters with the peoples of Inner Asia. The old frontier between “Europe” and “Asia” dissolves under closer inspection. What appears on a modern atlas as a dividing line was, for centuries, a vast zone of movement, exchange, conquest and adaptation.

The present war in Ukraine unfolds across precisely this ancient geography. The early Russian thrust towards Kyiv moved through forests and marshes that belonged historically to the old Slavic world. The grinding war of attrition in the east is being fought across the open “Wild Fields”, the immense Eurasian grasslands where mounted nomads once travelled with astonishing speed and where empires repeatedly collided. Roussinos draws parallels with the mechanised battles of the twentieth century – Kursk, Kharkiv, Stalingrad – where tanks replaced horses, but the strategic significance of the landscape remained unchanged. Geography, as Napoleon is said to have observed, is often the most enduring ally in war.

It is an enticing argument because it encourages us to look beneath the familiar surface of European history. Perhaps Europe itself carries far more of the steppe within it than we usually acknowledge. Hungary and Bulgaria were founded by peoples of the steppe. The Polish nobility cultivated a proud Sarmatian ancestry. The Magyars’ memory of their eastern origins helped shape nineteenth-century nationalism. Even the nation state, so often presented as an entirely European invention, may owe something to political traditions carried westward across the grasslands by mounted confederations whose influence extended far beyond the horizon they inhabited.

There are historical echoes scattered throughout this story. The Sarmatians and Alans revolutionised warfare with armoured cavalry, heavy lances and mounted tactics that would eventually blossom into the chivalric traditions of medieval Europe. Even the Arthurian legend may preserve a distant resonance of the steppe in the enduring image of the sword planted in the earth, waiting for the rightful king to draw it forth.

Filmmakers, naturally, could not resist. The 2004 film King Arthur, for example, stitched together Romans, Celts, Sarmatians, Picts and enough historical liberties to make any medievalist wince. Clive Owen wandered through a fictional Northumbria Britain as a brooding half-Roman, half-Sarmatian Arthur, while Keira Knightley appeared as an improbably glamorous and scantily clad Guinevere whose Pictish origins seemed less convincing than her plummy English accent. It was glorious nonsense, but enjoyable, nonetheless. The Irish landscapes were striking, the horses magnificent, the ‘Knights’ (the picture at the head of this essay) with their “Rus! Rus!” war cry (and they actually do sit at a round table) improbably photogenic. A battle fought across a frozen lake owed as much to Eisenstein’s Alexander Nevsky as it did to any surviving historical source. Ridley Scott later recycled much the same visual conceit in his disappointing Napoleon. History often survives in cinema not because the facts are accurate but because certain images possess extraordinary emotional truth.

The Cossacks offer a far more convincing example of the cultural blending that characterised the frontier. They emerged not from ethnic purity but from mixture. Runaway serfs, adventurers, escaped peasants and soldiers settled the borderlands, adopting the customs, military practices and vocabulary of the Turkic peoples who had occupied the steppe before them. Even the word “Cossack” derives from a Turkic root meaning “to roam”. The frontier was never a wall separating civilisations. It was a workshop in which entirely new identities were forged.

It is here that Roussinos, following Warwick Ball, arrives at his most provocative claim. Muscovite Russia, he argues, cannot be understood without recognising the formative influence of the Mongol world. Moscow’s rise was anything but inevitable. The Golden Horde required dependable tributaries capable of collecting taxes, maintaining order and supplying troops. The princes of Moscow proved remarkably efficient servants of the khans and, in doing so, transformed what had once been a relatively insignificant Rus’ principality into the nucleus of a future empire. The irony is delicious. Mongol domination helped create the very Russian state that would eventually conquer the steppe itself.

The fingerprints remain visible today. Administrative practices, institutions of government, systems of taxation and even elements of the Russian language bear traces of Mongol influence. Yet fingerprints are curious things. They tell us that contact occurred; they do not tell us everything that followed.

That question lies at the heart not only of Ball’s thesis but also of historian Orlando Figes’ The Story of Russia, which, by happenstance, I am reading at the moment. It is one of those literary coincidences in which two writers, approaching the same landscape from different directions, find themselves asking precisely the same question. What made Russia, Russia?

Figes is, in many respects, the perfect companion to Roussinos because he shifts our attention from inheritance to interpretation. He readily acknowledges that the Mongol conquest of the Rus’ principalities in the thirteenth century was one of the defining ruptures in Russian history. It destroyed Kyiv’s political centrality, subordinated the northern principalities to the Golden Horde and created the circumstances in which Moscow could eventually emerge as the dominant power. Like Roussinos, he recognises the profound irony that Mongol domination did not simply interrupt Russian state formation but helped shape its eventual character.

Yet Figes is ultimately less interested in what Russia inherited than in what Russia chose to become. The Mongols bequeathed methods of rule: taxation, military organisation, communications and a conception of authority that differed markedly from Western feudalism. Russia’s imagination, however, was nourished elsewhere. Orthodox Christianity, Byzantine political theology, the doctrine of Moscow as the “Third Rome” and the almost mystical conception of the Tsar as God’s anointed gave Russia a vocabulary through which it understood itself. Its civilisation emerged not from a single source but from the convergence of many.

This distinction is important because it rescues history from determinism. Fingerprints reveal contact; they do not reveal intention. They cannot tell us why someone picked up the knife, wrote the letter or opened the door. Likewise, cultural inheritance explains possibilities, not inevitabilities.

Figes presents Russia as a civilisation assembled from multiple traditions: Slavic, Byzantine, Mongol, European and imperial. The country’s enduring paradox is that it has persistently imagined itself as both European and somehow apart from Europe. Peter the Great attempted to drag Russia westward, shaving beards, importing European science, founding St Petersburg (a German name, which was changed to Petrograd during World War I for the same reasons the British royal house changed its German name to Windsor) embracing Enlightenment ideas. Yet beneath these reforms older structures of autocracy survived. Later generations reversed the argument entirely. Slavophiles celebrated Russia’s uniqueness while Westernisers lamented its failure to become sufficiently European. The debate has never really ended. It merely changes its vocabulary.

Maps have always encouraged these arguments. A glance at any atlas suggests that Russia occupies an almost impossible position: a European power that expanded across Asia until it became the largest contiguous empire on earth. The geography itself tempts us into historical mythology. Is Russia European? Asian? Eurasian? The answer has varied according to who was asking and what political purpose the answer was intended to serve. Geography creates opportunities, constraints and temptations. It does not dictate outcomes.

Figes’ also explores of recurring Russian archetypes: the Holy Tsar, the Holy Fool, the suffering nation, the belief that Russia possesses a unique historical destiny. These are not immutable characteristics embedded in some mystical national DNA. They are stories Russians have told about themselves across the centuries – including Vladimir Putin’s house ideologue, philosopher Aleksandr Dugin. Stories matter because people act upon them. Nations, no less than individuals, become attached to narratives that explain who they are and why they exist.

Juxtaposed against Ball, Roussinos and Figues is a comment on Roussinos’ essay by Alexander Morrison, a historian of Russian history at Oxford University. Every grand historical narrative requires its sceptic. Elegant theories are seductive precisely because they reduce complexity to a single organising principle. Morrison accepts much of Ball’s argument while quietly resisting its more deterministic conclusions. It is an exemplary piece of historical criticism because it neither dismisses nor genuflects. Instead, it refines.

He readily acknowledges that Muscovy inherited important administrative practices from the Mongol world and points out that Russia was far from unique. The Ottomans, Safavids, Mughals and Qing all incorporated Chinggisid or Timurid political traditions alongside older local institutions. Borrowing across Eurasia was commonplace. Civilisations have always learned from their neighbours, even while claiming absolute originality.

Where Morrison parts company with Ball is over the temptation to confuse influence with destiny. Muscovy borrowed bureaucratic structures connected with taxation, communications and administration. Indeed, the Russian language still preserves Mongol echoes in words such as kazna for treasury, den’gi for money and yam for the postal relay system. Yet the ideological foundations of the state remained overwhelmingly Byzantine and Orthodox. Ivan IV became Tsar by invoking the legacy of Caesar and the vision of Moscow as the Third Rome, not by presenting himself as the heir of Genghis Khan. Administrative inheritance did not erase cultural identity.

That distinction becomes even more important when considering the modern world. It is tempting to explain Putin’s Russia by reaching back to the Mongols, Ivan the Terrible or some timeless Russian soul. Such explanations possess an undeniable elegance because they transform political choices into historical inevitabilities. Morrison rejects this outright. Contemporary Russia, he argues, is shaped above all by decisions made by particular elites drawing upon nineteenth-century nationalism, memories of the Soviet collapse, selective readings of Russian history and modern political ideology. The past provides the vocabulary; it does not dictate the speech.

His discussion of Ukraine is equally persuasive. Southern and eastern Ukraine were settled comparatively recently by a remarkable mosaic of peoples: Ukrainians, Russians, Greeks, Jews, Armenians, Bulgarians and many others. The region’s history is therefore extraordinarily layered. Yet historical complexity does not undermine modern sovereignty. Ancient settlement patterns explain why memories remain contested, but they do not invalidate internationally recognised borders. History illuminates’ claims; it does not automatically legitimise them.

This strikes me as one of the most important lessons historians can offer our own age. We are living through a period in which politicians, nationalists and activists increasingly seek legitimacy by reaching deeper into the past. Ancient kingdoms, medieval battles, archaeological discoveries, linguistic survivals and genetic studies are all recruited into contemporary arguments about identity and territory. History becomes less an investigation than a courtroom brief.

Yet the past is a notoriously unreliable witness.

Landscapes accumulate memories without issuing verdicts. The Donbas bears the fingerprints of Scythians, Greeks, Sarmatians, Goths, Huns, Khazars, Mongols, Tatars, Cossacks, Russians, Ukrainians, Jews, Armenians and countless others. None of those fingerprints constitutes a title deed. They testify to presence, movement and encounter. They remind us that almost every place we imagine possessing an eternal identity has, in reality, been shaped by successive waves of migration, conquest, adaptation and coexistence.

Perhaps that is why I find Roussinos’ essay so compelling. Like the best historical writing, it restores movement to landscapes that modern maps often freeze into static national colours. It reminds us that frontiers have rarely been fixed and that civilisations have always been more entangled than their later myths would admit. Europe did not simply civilise the steppe. The steppe helped create Europe.

Equally, Morrison reminds us that historical explanation should never become historical imprisonment. Institutions endure, languages preserve old borrowings, myths outlive empires and landscapes retain astonishingly long memories. But people still make choices. Nations inherit the consequences of the past without becoming its captives.

The three weathered balbals still stand beside the road to Bakhmut. They have watched Scythians ride westward, Huns descend upon Europe, Mongol tumens disappear into the distance, Cossacks patrol the frontier, imperial armies march beneath Romanov eagles, Wehrmacht panzers advance across the wheatfields, Soviet tanks return in triumph and, today, drones circle silently above the same ground. Every generation has believed its struggle to be unique, its empire enduring, its victories permanent. The stones know otherwise.

History leaves fingerprints everywhere. It leaves them in words, in institutions, in ruined cities, in forgotten roads, in songs, in legends and in the memories of peoples who continue to argue about what happened centuries before they were born. Those fingerprints deserve to be studied because they tell us where we have come from and how our worlds were made. But fingerprints are not destiny. They record contact, not ownership; inheritance, not inevitability; memory, not command. The ghosts of the steppe still whisper across Eurasia, but they do not write the future. That task, as it always has been, belongs to the living.

Coda. The myth of fingerprints.

History leaves fingerprints.

That may seem an odd metaphor, but I have found myself returning to it again and again. Archaeologists brush them from shards of pottery, linguists discover them buried inside forgotten words, historians recognise them in institutions, laws, customs and myths. They are the traces left behind whenever peoples encounter one another, whenever empires rise and fall, whenever civilisations borrow, conquer, imitate or remember.

Fingerprints fascinate us because they appear to promise certainty. In a criminal investigation they identify who touched the weapon. Yet they tell us remarkably little about what actually happened. A fingerprint cannot reveal motive, explain intention or determine guilt. It records contact, not consequence.

History is much the same.

Every landscape is covered with fingerprints. They survive in place names and languages, in ruined cities and forgotten roads, in religions, legal systems, songs, frontiers and collective memory. The three ancient balbals still standing beside the road to Bakhmut are surrounded by them. For nearly a thousand years they have watched Scythians ride westward, Huns descend upon Europe, Mongol tumens disappear into the distance, Cossacks patrol the frontier, imperial armies march beneath Romanov eagles, Wehrmacht panzers cross the wheatfields, Soviet tanks return in triumph and, today, drones circle silently overhead. Every empire believed its moment would endure. Every generation imagined itself to be the culmination of history. The stones know otherwise.

And this is where I arrive at what I have come to think of as the Myth of Fingerprints.

The fingerprints themselves are not mythical. They are real. History leaves them everywhere. The myth begins when we misunderstand what they are telling us.

A fingerprint is evidence that someone was here. It cannot tell us why they came, whether they belonged, whether they acted justly or what rights their descendants may possess centuries later. In a court of law, a fingerprint may place someone at the scene; it cannot, by itself, decide the case. History works in much the same way. It explains how we arrived here, but it cannot by itself determine who ought to possess the future.

Too often we ask it to do precisely that.

Ancient maps become modern borders. Archaeological discoveries become political manifestos. Genetic inheritance becomes moral entitlement. Historical suffering becomes an enduring licence for vengeance. We confuse explanation with justification, inheritance with ownership, memory with legitimacy. That confusion – the transformation of historical evidence into historical entitlement—is what I mean by the Myth of Fingerprints.

It is a myth because it is one of the oldest stories nations tell themselves. Every people constructs narratives from the traces left by earlier generations. Sometimes those stories preserve genuine memory; sometimes they simplify; sometimes they become propaganda. But they all begin with the same temptation: to believe that because history explains the present, it therefore authorises it.

This question lies beneath far more than the current war in Ukraine. It echoes through the history of Palestine and Israel, through Australia’s History Wars, through debates over monuments, migration, frontiers and national identity. Again and again we encounter the same temptation: to search the past not for understanding, but for permission.

That is why Aris Roussinos’ essay on Warwick Ball’s The Eurasian Steppe struck me so forcefully. Ball demonstrates how profoundly the Eurasian steppe shaped Europe. Orlando Figes traces the inheritance of Byzantium, the Mongol world and the frontier in the making of Russia. Alexander Morrison reminds us that inheritances are never destinies. Together they illuminate a larger truth. Geography creates opportunities. Culture bequeaths inheritances. Myths provide meaning. Only human beings make choices.

The ghosts of the steppe still whisper across Eurasia, just as the ghosts of every civilisation whisper through the landscapes they once inhabited. Historians should listen carefully to those whispers, for they reveal how the world came to be. But they should resist the temptation to mistake echoes for commands. The past deserves understanding rather than obedience.

History leaves fingerprints everywhere. They are among our most valuable clues to the human story. They reveal connections, influences, migrations and memories that would otherwise be forgotten. Yet they are not title deeds, nor verdicts, nor chains binding the living to the ambitions of the dead. They explain inheritance without dictating destiny.

That is the real lesson of the Myth of Fingerprints.

Paul Hemphill and In That Howling Infinite, August 2026

This essay was written in conversation with books I’ve read, ideas formed and half-formed, and, more recently, in sustained dialogue with an AI language model, which contributed to drafting, phrasing, and conceptual articulation. What appears here is not unmediated thought, but considered thought: selected, tested, revised and revised again, and owned.

The concept of the Myth of Fingerprints originated in a long essay with regard to what is probably the most intractable conflict in modern times: One Land, Two Peoples: History, Memory, Continuity, and Inheritance. In That Howling Infinite has published many articles regarding the historical movement of peoples. For example: Modern history is built upon exodus and displacement. 

For more on Russia, Ukraine and the Soviet Union, see Russky Mir – Russian history’s long shadow. 

I highly recommend Ukrainian scholar Serhii Plokhy’s The Gates of Europe, a well told and fascinating story of the origins of Ukraine and Belarus, and how their histories were intertwined, and entwined with those of of Poland, Lithuania (which was a large and powerful state once) and Russia. Ukraine has historically been the border between the catholic west and the orthodox east, the division running virtually down the middle. The name Ukraine is Slav for border land. Its geopolitical location and natural resources have led to the land being inflicted by invaders, civil wars, man-made famine and repression. See, in In That Howling Infinite, Borderlands – Ukraine and the curse of mystical nationalism

And, finally, who or what were HuldreFolk? Named for the mythical and mystical ‘hidden people’ of Icelandic legend, for two years in the early nineteen eighties, they played throughout Australia. Their fame was short-lived; after two years they pursued their own paths and projects. But during the following decades, they would pop up in unexpected places, like their namesakes, in ones, twos, threes, and on occasions with guest HuldreFolkies. Their last outing as a trio was in October 2007 at the North By Northwest Poetry And Folk Club. Google the videos on YouTube. See also, Yuri The Storyteller … We’ll sure miss the old bastard! 

Roussinos’ essay follows, and also, for readers with time on their hands, more on Figes’The Stiry of Russia and on Morrison’s critique.

The fate of Europe lies in the steppes Warwick Ball: ‘The Eurasian Steppe’

Aris Roussinos, Unherd 28 July 2022

The fate of Europe lies in the steppes

Genghis has won (Dean Conger/Corbis via Getty

On the road between the frontline cities of Sloviansk and Bakhmut, in Ukraine’s eastern Donbas region, three stone statues stand mutely by the side of the road, observing the coming and going of military traffic with impassive detachment. Known as balbals, they are funerary monuments erected by the Cuman Turks, known in Russian archaeology as the Polovtsians, who once ruled this vast sea of grass, long before Russian or Ukrainian speech was ever heard in this region.

For thousands of years, the empty, spreading steppe, stretching from Hungary to Mongolia, was the home of nomadic peoples, speakers of Iranic, Turkic and Mongolic languages, who drove their herds across the vast plains in search of fresh pastures. They founded great empires, which time and the steppe grasses would soon swallow up, leaving barely a trace. Their constant irruptions into Europe sounded the death knell in turn for other, settled civilisations, part of the endless cycle of growth, invasion and collapse that has shaped our continent’s history.

The war in Ukraine has taken place in two very different climatic and cultural zones: its initial phases saw Russian armour wend its way through the dark forests and marshes of northern Ukraine, the ancient homeland of the first Slavic peoples, to be destroyed in close fighting on the narrow wooded roads in a stunning and unexpected Ukrainian victory. Yet the gruelling war of attrition in the country’s east is taking part in a very different landscape, in the open steppe that was once the home of nomadic peoples.

The expansion of Slavic peoples, both Ukrainians and Russians, into the open steppe was a very recent historic event, broadly contemporaneous with the European settlement of the Americas, its fertile plains, now the breadbasket of the developing world, Europe’s equivalent of America’s Midwest. These open plains, the “Wild Fields” of local historiography have always been a contested space, where great empires wrestled for control: in the great Second World War battles of Kursk, Kharkiv and Stalingrad, Europe’s entire fate hinged on the battle between the two great tank armies wheeling and clashing like nomad hordes.

But then, as The Eurasian Steppe by the archaeologist Warwick Ball makes clear, rather than a semi-wild anteroom to the continent, “the history, languages, ideas, art forms, peoples, nations and identities of the steppe have shaped almost every aspect of the life of Europe”. Europeans from further west have for centuries been prone to viewing the steppe as the haunt of wild tribes, and the source of occasional, fearsome destruction.

But what if the Europe of today is in fact the product of steppe dynamics? As Ball argues, rather than being a product of 19th century nationalism, some historians trace the origin of Europe’s oldest nation states to the steppe, observing that “Peoples newly arriving from the east were also among the first to create nationally defined states, such as kingdoms of the Bulgars or Magyars”. “In some ways,” Ball argues, “the incipient idea of a nation state might have been stronger with the nomadic groups from the steppe, who were bound more closely by tribal loyalties” than among the polyglot peoples of the imperial Roman successor states they conquered.

Did the steppe peoples then create the fractious patchwork quilt of nationalities that we understand as Europe? Ball cites the archaeologist Hyun Jin Kim who claims that: “The political and cultural traditions of Inner Asia brought to Europe by Central Asian immigrants, the Huns and the Alans, were just as fundamental to the formation of western Europe as the rich legacy left behind by the Roman Empire. The political and cultural landscape of early medieval Europe was shaped by the fusion of Roman and Inner Asian influences.”

While Hungary and Bulgaria were directly founded by steppe nomads, the influence of steppe rulers also helped shape the political forms taken by Poland (whose szlachtanobles claimed Sarmatian descent well into the 19th century), Bohemia, Denmark and even, it is claimed, France. Even into the 19th century, as Ball notes, it was the Hungarian awareness of their steppe Magyar ancestry that helped bring about the rise of nationalism which shook apart the great Austro-Hungarian empire. “In the long evolution of the idea of the nation state,” then “from their beginnings in late-antique Europe to their emergence in the nineteenth century, we must look east as well as west”.

Viewed in this light, the war in Ukraine, a battle between a European nation-state and a vast Eurasian empire, is resonant with all manner of strange echoes of the steppe’s dimly-understood history. The colossal earthern ramparts of the “serpent walls” outside Kyiv, erected by early Slavic kingdoms to guard against invasion by steppe nomads from the Huns to the Mongols, fulfilled their ancient role admirably earlier this year when they prevented the movement of Russian armour towards the capital’s suburbs, corralling the latest wave of invaders into killing zones to be picked off at leisure by guided missiles.

The Cossack heritage both sides claim is the result of earlier Slavic peoples, runaway Ukrainian and Russian serfs, claiming the freedom of the open steppe and adopting the customs, lifestyle and much of the vocabulary of their nomadic Turkic predecessors. The very word Cossack, Ball notes, “derives from the Turk root qaz, ‘to roam’”, and is cognate with the ethnonym Kazakh further east, as the Cossacks “comprised mainly Russians — usually renegades, escaped serfs or criminals — but they also included Turks, Tatars and remnant Polovtsi.” Even now, Ukrainian is sprinkled with Turkic words, a legacy of the two cultures’ long history of interaction and competition. One Ukrainian commander I met went by the nom de guerre “Duman, or fog, deriving from the Turkic word for smoke or mist. Even now, Ukrainians refer to Russians with the dismissive Turkic epithet Katsab, or butcher.

On the Russian side, the war effort has been marked by the use of steppe peoples as infantry, with many of the heaviest casualties borne — and apparently some of the worst war crimes committed by — the Buryat Mongols of the Russian steppe, along with the Kalmyks of the lower Volga, Europe’s only Buddhist nation, who once watered their horses as far west as Paris following the defeat of Napoleon. Similarly, among the many subject peoples of the Russian empire deployed to Ukraine are Ossetians from the Caucasus, a tiny Iranic-speaking nation who are all that remain of the Alans, who once fought the Romans across Central Europe, settling as far west as France and Spain: some of their descendants, now Magyarised, still live in Hungary as the Jasz people. Their Iranic speech is now heard in Ukraine’s steppe for the first time in a thousand years, dragged along into a war of European conquest by another great Eurasian empire.

The very concept of chivalry which defined Europe’s medieval history was the product of Iranian-speaking steppe peoples like the Sarmatians and the Alans, whose innovations in the use of cavalry — stirrups, lances and long chainmail coats — changed the face of late Roman warfare and set the stage for the knights of the High Middle Ages. Even our own medieval romances may owe something to their distant steppe traditions, after the border forts of what is now northern England became the garrison home of Sarmatian levies in Roman service. As Ball notes: “Sarmatian warrior worship of a sword fixed in the ground has been suggested as furnishing the origin of the Excalibur legend. This appears to have been a long steppe warrior tradition: Ibn Rusta in the tenth century, for example, describes how the Viking Rus ruler — whom he calls by the steppe title of Khagan or khāqān — would plant a naked sword in the earth pointing towards his newborn son.” Perhaps it is not mere coincidence, then, that the Azov Regiment’s torchlit ceremonies in the southern steppe city of Mariupol took place beneath three giant swords embedded in the ground, a striking symbol that has now become the group’s emblem.

Again and again, these strange resonances between the steppe’s ancient nomad past and its bloody present swim to the surface like long-forgotten memories. The great statue to Mother Russia, sword in hand, that rises above Stalingrad’s Hill 102, where tens of thousands of Soviet and German soldiers were ground into the soil by artillery possesses the grim grandeur of some ancient steppe monument. And indeed, Hill 102, the crucial position of the battle that decided the war’s outcome, is perhaps better viewed by its alternate name as the Mamayev Kurgan, the burial tumulus of a long-forgotten Tatar khagan. From the ancient past to now, Russia’s history was written on the steppe, and without the steppe Russia’s imperial past and present is simply impossible to understand. Indeed, as Ball observes, without the historic domination of steppe nomads, there would be no Russia as we understand it.

As Ball observes: “The future of Russian greatness was both a response to and a legacy of the Mongols… Indeed, to a large extent Muscovite power was a creation of the Golden Horde: the khans required a stable central authority as a client state which could be relied upon to raise auxiliaries for the khan’s armies and to collect and deliver taxes and tribute. Moscow fitted the bill, so the Golden Horde deliberately strengthened it against the other Russian cities and appointed its prince as their chief tax collector.” Without the Mongol-enforced primacy of Muscovy, the land that is now Russia may well have remained a series of disunited kingdoms and city states, just like medieval Italy or Germany: “The Mongols, in other words, brought about the emergence of Russia.”

Even the great king Sviatoslav of Kyivan Rus, whose legacy is claimed by both Ukraine and Russia, extended his rule across the steppe by defeating the great Jewish Khazar kingdom and in doing so, “adopted the techniques and warfare of the steppe nomad: in other words, Kievan Rus was at first simply another steppe nomad state, albeit with a Scandinavian element. Sviatoslav never decisively defeated the Pechenegs and was killed by them in 963, and his skull was made into a cup in steppe tradition.” Medieval Russia was, then, as much a steppe polity as a European state, perhaps more so. After all, “up until 1480 Muscovite coins still carried inscriptions in Arabic. As late as 1531 Vasili III of Moscow was still paying tribute to the successors of the Golden Horde: Crimea, Kazan and Astrakhan”, and the eternal symbol of Russian power, Moscow’s St Basil’s Cathedral, was modelled on Kazan’s Great Mosque, in thanks for the conquest of the great Tatar capital.

Tracing Muscovy’s traditions of governance, and then those of imperial Russia, to the Mongol and Tatar customs of the inner steppe, Ball observes that “Even by the fourteenth century the civil and military institutions of Muscovy ‘were overwhelmingly Mongol in origin’… Ivan IV, the first Russian to proclaim himself Tsar (in Russian the title is actually Tsezar), added Ulugh Khan, ‘Great Khan’, to his titles.” Though he dismisses the “Mongol Yoke” hypothesis of Russian historiography, Ball nevertheless traces Russia’s unique and terrible form of autocratic rule to steppe customs, deep into the modern period: “Ivan also adopted the Mongol policy of ‘collective guilt’ where all male relatives and retainers of a guilty man would be executed, a policy even extended to entire communities. Stalin’s similar policy was a continuation of this.” The steppe’s long influence stretches deep into the cultural DNA of our modern world: even such a giant 20th century figure as Lenin, destroyer of one great Eurasian empire and founder of another, was of part-Kalmyk descent, after all.

Imperial Russia’s second largest minority after the Ukrainians, whose post-independence relationship with their giant neighbour is today a source of such bloodshed, was the Muslim Tatars, from whose Russified nomad aristocracy some of the greatest names in Russian culture — Rachmaninoff, Turgenev, Nureyev and Akhmatova — claimed descent. “The list [of Tatar surnames] covers all walks of Russian life: artistic, religious, scientific, literary, military, political and royal. The list is virtually endless,” Ball notes, and even today “the descendants of the Mongol ‘hordes’ — the Tatars — are the second-largest minority in Russia after the Russians themselves, and the Republic of Tatarstan is the second-largest republic in European Russia.”

Written for a general audience, Ball’s book nevertheless synthesises the latest archaeological research and historical debate on the steppe’s ancient and modern peoples, archaeological research on the steppe’s history, delving back into the deepest mists of time. The burgeoning community of esoteric archaeology and anthropology posters on Twitter will surely appreciate his summarising of the latest research on the origins of the Indo-Europeans, the fate of the Khazars and the birth and decline of the great Scythian kingdoms, who’s exquisite goldwork was the highlight of the British Museum’s recent blockbuster exhibition.

Noting that St Petersburg’s great Hermitage Museum was founded primarily as a place to store the newfound Scythian treasures unearthed by Russian colonists in Crimea, Mariupol and the rest what is now Ukraine’s contested southern steppe, and alert to the theft of Scythian treasures from Ukrainian museums by their new-old Russian conquerors, we realise that the relentless cycle of history has brought a new relevance to Ball’s book, even since its publication last winter. Just as in the Middle Ages and in the bloodiest battles of the Second World War, the fate of Europe is once again being written on the endless, grassy steppe.

Aris Roussinos is an UnHerd columnist and a former war reporter.

Orlando Figes’ The Story of Russia

That is a very happy coincidence, because Roussinos’ essay and Figes’ The Story of Russia are really circling the same enormous question from different directions: what made Russia Russia?

Figes is, in many ways, the antidote to the more sweeping “fingerprints of the steppe” argument. He certainly does not deny the Mongol inheritance  – quite the opposite. The Mongol conquest of the Rus principalities in the thirteenth century was one of the decisive ruptures in Russian history. It destroyed Kyiv’s old political centrality, subordinated the northern principalities to the Golden Horde, and created the conditions in which Moscow could eventually rise. The irony, as both Roussinos and Figes emphasise, is that the Mongols did not simply delay Russian state formation; they helped create the particular form of state that emerged.

But Figes is interested less in what Russia inherited than in what Russia made of those inheritances. The Mongols supplied mechanisms of rule – taxation, military organisation, hierarchy, a relationship between ruler and subject that was very different from Western feudalism. Yet Russia’s self-understanding was built around other ideas: Orthodox Christianity, Byzantium, the idea of Moscow as the “Third Rome”, and the notion that the Tsar was not merely a monarch but a sacred figure.

This is where it links beautifully with Morrison’s critique. The danger is that we see the Mongol “fingerprints” and assume they explain everything. But fingerprints do not tell you why the person picked up the knife, wrote the letter or opened the door. They tell you something about contact and inheritance; they do not reveal intention.

Figes’ Russia is a civilisation built from multiple inheritances: Byzantine, Slavic, steppe, European and imperial. The great Russian paradox is that it has often defined itself simultaneously as both European and apart from Europe. Peter the Great famously tried to drag Russia westward — shaving beards, building St Petersburg, importing European science and manners — yet the deeper structures of autocracy, hierarchy and imperial expansion remained. Later Slavophiles rejected the West and celebrated a distinct Russian path, while Westernisers argued that Russia’s tragedy was precisely its failure to become sufficiently European.

This also connects with our earlier discussion of maps and historical memory. Russia is, geographically, an extraordinary historical anomaly: a European state that expanded across Asia until it became a continental empire. The map itself creates the tension. Is Russia Europe? Asia? Eurasia? The answer has shifted depending on who was asking and what political argument they wanted to make.

One of the things I suspect you will appreciate in Figes is his attention to recurring Russian archetypes: the Holy Tsar, the Holy Fool, the tension between obedience and rebellion, the recurring belief that Russia has a unique destiny. These are not “genes” or immutable cultural DNA; they are traditions — stories Russians told about themselves. And stories matter enormously because people act upon them.

That brings us back to Roussinos’ evocative phrase, “the echo of the steppes”. Echoes are fascinating precisely because they are not the original sound. They are altered, refracted and carried forward. The Mongol conquest echoed through Muscovy; Byzantium echoed through the Tsars; Soviet power echoed through Putin’s Kremlin. But each generation chooses which echoes to amplify.

There is also a pleasing connection with your earlier fascination with maps and atlases. A physical map of Russia looks almost inevitable: the enormous landmass stretching from Europe to the Pacific. But Figes and Morrison both remind us that geography creates possibilities, not destinies. The Russian Empire was not simply “there” waiting to happen. It was built by choices — by princes, tsars, revolutionaries and commissars who made decisions within particular historical circumstances.

So perhaps the combined lesson of Figes, Roussinos and Morrison is this:

Russia is not merely a European country contaminated by Asia, nor an Asian empire wearing European clothes. It is a civilisation formed in the meeting place of worlds. The tragedy is not that it has a complicated past; all great civilisations do. The tragedy comes when a complicated past is reduced to a single myth of inevitable destiny.

Which, interestingly, brings us back to your recurring theme: the power  – and danger –  of maps. Every map is an argument about the past. Every empire is a story it tells about itself. And every story leaves fingerprints. The historian’s job is to work out which ones are real, which ones are imagined, and which ones have been deliberately placed there.

Alexander Morrison’s critique

Alexander Morrison, a historian of Russian history at Oxford University, specialising in the Russian conquest of Central Asia, commented on Roussinos’ essay in Unherd. Here it is in full.

Roussinos, seems to have made good use of Ball’s research. Some of these arguments are completely uncontroversial when applied to the Asian neighbours of the Eurasian steppe in the early modern period: the Ottomans, the Safavids of Iran and the Qing all made use of Chinggisid and TImurid political repertoires in building their states alongside other elements (Byzantine heritage for the Ottomans, the existing Chinese imperial tradition in the Qing case, Sufi religious charisma for the Safavids). The Mughals were of course actually of Timurid (and in the female line of Chinggisid) descent, and it was at the core of their dynastic ideology in India.

However the steppe political tradition seems to have produced ever larger polities in Asia, which makes it hard to explain why it would instead produce political fragmentation in western and Central Europe – I think that part of Ball’s argument is a bit overstretched.

The Muscovite example seems to fit the Asian pattern better, and Roussinos is spot on in saying that it was the willingness of the Princes of Moscow to act as particularly loyal and effective satraps and tax collectors for the Golden Horde that allowed what had previously been a minor Rus’ princedom to rise to pre-eminence.

However we need to be clear about what it was that Muscovy took from the Mongols: it was largely bureaucratic structures linked to taxation or communication. This why key Russian words such as kazna (treasury), den’gi (money) and yam (postal service) are of Mongol origin. On the cultural side the ruling ideologies of the state were all to do with Orthodox Christianity and the semi-mythical link to Byzantium (the ‘Third Rome’), which was what Ivan IV (the Terrible) was evoking when he took the title of Tsar (Caesar) – he may have added the title of khan for good measure but this was largely for the purposes of communication with steppe peoples.

Many Tatar nobles of Chinggisid descent did become incorporated into the Muscovite aristocracy after the fall of Kazan in 1552, but you need to be careful about 19th and 20th-century claims to this ancestry, which are often bogus (it was fashionable at the time). In the case of Akhmatova it was her nom de plume (she was born Anna Gorenko – in fact a Ukrainian name). In any case Chinggisid descent did not give you any kind of claim to the throne of Muscovy, which had its own dynastic legend in the Rurikids. A better guide to the relationship between Muscovy and the Mongols than Ball is Donald Ostrowski.

There is also a bit too much cultural determinism in all of this to my liking – it suggests that neither Russia nor Ukraine can ever shake off this bloody past etc. etc. Nowhere in the world is simply a prisoner of its past. What is happening now is a result of very specific political choices made by Vladimir Putin and Russia’s ruling elite. Their thinking is rooted partly in their reading of 19th-century Russian historians (who first came up with the idea that Russians and Ukrainians were the same people), vicious forms of anti-semitic Russian nationalism of the early 20th century and the emigration (the Black Hundreds, Ivan Il’in), a particular, tendentious interpretation of both Soviet history and their own memories of the Soviet collapse.

What is perhaps more relevant is that this steppe past means that most of southern and eastern Ukraine was only relatively recently settled – not just by Russians and Ukrainians, but by the whole range of peoples of the empire (Greeks, Jews, Bulgarians, Armenians…probably also some Ossetians). They are certainly not ‘ancient Russian lands’ as Putin has claimed, but they are part of Ukrainian territory under international law and the Budapest memorandum assuring the country’s territorial integrity which Russia signed.

A couple of other corrections – the Buryats are not a steppe people, they live East of Lake Baikal. I am a bit queasy about the implication that they and the Kalmyks are disproportionately represented in the ranks of the Russian army because of their ‘savage’ steppe nature – it is simply because these are some of the poorest parts of the Russian Federation, and because the Russian regime is very deliberately trying to avoid recruiting troops from metropolitan regions of European Russia whose families might cause political trouble or have ties to Ukraine.

The ethnic Russians who are fighting are also disproportionately from Siberia or the Altai. The regiment which committed the atrocities at Bucha was from Khabarovsk in the Russian Far East, and its commander appears to have been originally from Karakalpakstan. Most Ossetians speak Russian these days, and have long identified with Russian rule. A good piece though – not many outlets would allow as thorough and as thoughtful a review of a work on Eurasian History.

Morrison’s comment stands apart from most of the thread because it does what the best scholarly criticism should do: it accepts the broad thesis where the evidence supports it, corrects errors where necessary, and resists the temptation to replace one grand narrative with another.

The essence of Morrison’s critique is this:

He accepts the central proposition that Muscovy inherited important features from the Mongol world. Indeed, he strengthens it by pointing out that similar borrowing occurred across Eurasia. The Ottomans, Safavids, Mughals and Qing all incorporated Chinggisid or Timurid political traditions into their own states. Russia was therefore not unique in absorbing institutions from the steppe.

Where he parts company with Ball is over determinism. Ball appears to argue that steppe political culture explains not only Muscovy’s rise but much of Russia’s subsequent history and perhaps even Putin’s Russia today. Morrison thinks this stretches the evidence too far. Administrative institutions can endure for centuries; they do not imprison nations forever. Modern Russia, he argues, is the product of choices made by a particular elite, drawing on nineteenth-century nationalism, Soviet memories and contemporary ideology, rather than the inevitable flowering of Mongol political culture.

He also introduces some valuable nuance. Muscovy borrowed bureaucratic techniques—taxation, communications, administration – from the Golden Horde, but its ideological heart remained Orthodox and Byzantine. Ivan IV’s claim to be Tsar rested on the idea of Moscow as the “Third Rome”, not the successor of Genghis Khan. Even the Russian language preserves this administrative inheritance in words such as kazna (also in Arabic,treasury), den’gi (money) and yam (postal relay), all of Mongol origin, illustrating that institutional borrowing need not imply cultural subordination.

Morrison is equally careful about ethnicity. He rejects romanticised claims of Chinggisid ancestry, notes that many were fashionable nineteenth-century inventions, and cautions against portraying Buryats or Kalmyks as somehow naturally warlike. Their prominence in today’s Russian army is explained far more convincingly by economics and recruitment policy than by any inherited “steppe mentality”. That is a useful reminder that socio-economic factors often explain what cultural stereotypes merely decorate.

His discussion of Ukraine is similarly restrained. Southern and eastern Ukraine were indeed settled comparatively recently by a mosaic of peoples across the imperial period, making simplistic claims of ancient ethnic ownership difficult to sustain. Yet that historical complexity does not undermine Ukraine’s internationally recognised borders or Russia’s commitments under the Budapest Memorandum. History explains; it does not necessarily justify.

Finally, Morrison performs the historian’s essential task of distinguishing influence from destiny. States inherit institutions, myths and habits, but they are not condemned to repeat them. This is perhaps his strongest point. It is tempting to explain Putin’s Russia by reaching back to the Mongols, Ivan the Terrible or the “Russian soul”, just as earlier generations invoked “ancient Balkan hatreds” to explain Yugoslavia. Such narratives are elegant because they reduce contingency to inevitability. Historians, however, are generally suspicious of elegant explanations.

His recommendation of Donald Ostrowski is also telling. Ostrowski’s work has long argued that Muscovy’s relationship with the Mongol world was one of selective adaptation rather than wholesale inheritance. That is a subtler – and probably more persuasive – account than one that sees Russia as simply Europe’s most successful steppe empire.

In short, Morrison doesn’t demolish Ball’s thesis. He refines it. He accepts that the steppe mattered enormously, but insists that institutions are not destiny, that cultures borrow selectively, and that political choices remain more important than historical determinism. It is precisely the kind of intervention that lifts an online discussion from polemic into genuine historical

What  Unherd Readers had to say about Roussinos’ essay

The comments divide into several broad themes rather than converging on a single interpretation, and in many ways become a debate about contemporary Russia as much as about history.

Many readers found the article fascinating and praised it for opening an unfamiliar chapter of Eurasian history. Several immediately ordered Christopher Ball’s book, while others supplemented the discussion with examples ranging from the Kalmyks’ influence on Austrian costume to the chess capital of Elista, the legacy of the Mongols in Central Europe, and the wider political traditions of the Eurasian steppe. A number of contributors recommended additional works, notably Peter Frankopan’s The Silk Roads and Donald Ostrowski’s scholarship on Muscovy.

A second group challenged aspects of the historical argument. Critics argued that the article overstated the influence of steppe culture on later European political development, confused mythology with history in discussing Poland and Hungary, and oversimplified the origins of the Cossacks and the Azov Regiment’s symbolism. Others objected to what they saw as cultural determinism: the suggestion that Russia’s present behaviour is somehow an inevitable product of its Mongol inheritance. Several historians in the discussion -Morrison particularly, stressed that Muscovy certainly inherited administrative and fiscal practices from the Golden Horde, but that its religious ideology and dynastic legitimacy remained fundamentally Byzantine and Orthodox. They argued that modern Russian policy reflects political choices by Vladimir Putin and his circle, not an inescapable historical destiny.

As often happens, the historical discussion quickly became a proxy for arguments over the war in Ukraine. One camp maintained that Ukraine is an artificial state whose disputed regions deserve internationally supervised referendums, criticising NATO expansion and Western military support while advocating diplomacy. The opposing view rejected these claims as Russian propaganda, pointing to Ukraine’s overwhelming vote for independence in 1991, insisting that no genuine referendum is possible under military occupation, and arguing that Russian aggression – not Western policy – is the central issue. A more extreme minority advanced familiar pro-Kremlin narratives, portraying NATO as the true aggressor and Russia as a defensive victim, provoking vigorous rebuttals from other commenters.

There was also a meta-debate about free speech. An inflammatory remark describing Russians in derogatory terms prompted accusations of hate speech and counter-accusations of “crybullying”, illustrating how discussions of Russia often slide into arguments over acceptable language as readily as they do over history.

The most substantial contribution came from historian Alexander Morrison, whose lengthy critique was widely praised by other readers. Morrison broadly accepted the article’s central insight – that Muscovy’s rise owed much to its role within the Mongol imperial system – but argued that the thesis was pushed too far. He emphasised the distinction between administrative inheritance and cultural identity, corrected numerous historical inaccuracies, warned against deterministic readings of history, and reminded readers that modern events stem from contemporary political decisions rather than immutable civilisational characteristics. His intervention effectively became the intellectual centre of the comment thread, with several readers declaring that it improved upon the article itself.

Overall, the discussion reveals both the appeal and the risks of grand historical narratives. Most readers accepted that the Eurasian steppe profoundly shaped Russia’s development. Where they diverged was over the extent to which that past explains the present, and whether history should be read as a story of enduring civilisational patterns or of contingent political choices. The resulting debate ranges from thoughtful historiography to contemporary geopolitics, with occasional excursions into conspiracy theory and internet polemics.

Alexander Dugin versus Sydney Sweeney

As a longtime student of русские вещи (russkiye veshchi or things Russian) – I have written about Russia long and often in In that Howling Infinite. And I have only seen Sydney Sweeney in her controversial jeans ad and in the new series Americana (she’s gorgeous). But I found this article by English journalist Richard Godwin in the British e-zine Unherd, republished below, an absolute hoot.

This witty article about a Russian philosopher raging over a pulchritudinous American actress becomes an exploration of the deeper currents shaping Putin’s Russia. Beneath the absurdity lies an old and dangerous idea: that Russia is not simply a nation, but a sacred civilisation with a providential mission, locked in a metaphysical struggle against a decadent West.

The result is a reflection on mystical nationalism, the enduring patterns of Russian history, and why understanding Putin requires more than headlines about geopolitics. As Dostoevsky recognised, the West’s excesses are real enough – but Russia’s historical answers have too often been empire, repression and violence.

Sometimes a pair of blue jeans can reveal more about competing visions of civilisation than a thousand diplomatic communiqués.

Godwin’s piece is, in one sense, a very English performance: clever, arch, amused by its own wit, delighted that Alexander Dugin – apostle of Eurasian apocalypse, prophet of the “Third Rome”, self-styled metaphysician of Russian destiny, often referred to as Russian president Vladimir Putin’s philosophy – can be reduced to a furious old man rage-posting about a pneumatic American in denim.

The article toggles between HBO, geopolitics, and philosophical anthropology. The juxtaposition itself is the joke. Dugin, who dreams of civilisations finds himself triggered by Euphoria, a very popular television series – which I have not watched.

And yet, Godwin actually stumbles onto something real, something many Western commentators still fail to grasp about Russia, and especially about the ideological ecosystem around Putin. Namely: that this is not merely nationalism in the ordinary sense. It is eschatological nationalism. Mystical nationalism. A civilisation-sized grievance narrative infused with theology, imperial memory, humiliation, and metaphysical longing.

Godwin traces the intellectual genealogy well. Dugin is presented not simply as “Putin’s brain” (a lazy cliché Western journalism loves) but as a mutant synthesis of older Russian currents: Slavophilism, Eurasianism, Orthodoxy, anti-liberalism, anti-modernism, and what my old tutor Tibor Szamuely long ago identified as the Russian tendency to transmute suffering into destiny. Russia, in this worldview, is never merely a country. It is always a mission. A vessel. A redemptive civilisation standing athwart decadence and chaos.

Which brings us to Sydney.

Sydney Sweeney has good jeans

But first, that advertisement.

The image captures why even before Dugin weighed in has become such a cultural Rorschach test. A fashion advertisement featuring a conventionally attractive blonde woman wearing denim. The campaign’s wordplay – great jeans”- was intended as a marketing pun. But for critics, the combination of the pun with a blonde, blue-eyed model evoked older ideas about beauty, heredity, and genetic desirability. Some argued that, whether intentionally or not, it echoed themes historically associated with eugenics and racial hierarchy.

Supporters of the campaign saw the backlash as wildly overblown –  an ordinary denim ad, using a common advertising trope (attractive people selling clothes), while critics read ideological meaning into something fundamentally mundane. The controversy therefore became less about the advertisement itself than about competing assumptions. One side asked, “How could a ‘great genes’ slogan attached to this image not carry historical baggage?” The other asked, “How could anyone look at a jeans ad and immediately see eugenics?”

In that sense, the image is indeed the controversy in a nutshell: a glamorous denim advertisement that some people see as completely ordinary and others see as freighted with cultural and historical symbolism. The argument is not really about the jeans. It is about what people bring with them when they look at the picture.

Back to Dugin and Euphoria.

As Godwin puts it (I cannot comment) it is not just television. It is civilisational evidence. The series –  with its atomised sexuality, fluid identities, drug culture, commodified intimacy, and aestheticised despair – appears to him not as critique but confession: the West displaying its own spiritual decomposition in public. Hence his fury. Hence the almost medieval language of pollution, nihilism, perversion, and annihilation.

What Godwin understands is that Dugin’s horror is not primarily racial, though race lurks around the edges of his rhetoric, nor merely political. It is metaphysical. Liberal modernity itself is the enemy. The autonomous individual severed from church, nation, family, hierarchy, and historical continuity is the enemy. The “postmodern West” becomes, in Dugin’s imagination, a civilisation of non-being.

In That Howling Infinite been circling precisely this terrain for years: the strange fusion of Russian spiritual grandeur and Russian historical trauma. The sense that Russia oscillates eternally between monastery and prison camp, icon and tank, Dostoevskian compassion and Ivan-the-Terrible brutality.

Godwin captures fragments of this, but we approach it from a deeper historical melancholy rather than fashionable bemusement. Putin’s worldview is not Soviet nostalgia in the simplistic Western sense. He is not trying to resurrect Marxism-Leninism. If anything, he sees the Soviet Union as one historical vessel of Russian power among many –  Tsarist, Soviet, Orthodox-imperial, Eurasian. The constant is not communism but empire, sacred geography, and strategic depth.

Hence Kyiv.

Kievan Rus is not merely history to Russian nationalists; it is sacred ancestry. The baptism of Vladimir in 988 functions almost like a Russian civilisational nativity story. Which is why Ukraine’s independent identity is experienced by men like Putin not merely as geopolitics but as metaphysical amputation. If Kyiv is “the mother of Russian cities”, then Ukrainian sovereignty becomes, in this fevered imagination, an ontological rebellion against history itself.

This is where Dugin becomes useful to Putin – not because Putin is his puppet (that has always been overstated), but because Dugin articulates, in exaggerated mythic form, impulses already embedded deep within Russian political culture: the siege mentality, the cult of suffering, the suspicion of liberalism, the idea of Russia as spiritually unique and perpetually humiliated by the West.

To Godwin, the irony is that Dugin himself is a creature of the very decadent global culture he condemns. He doom-scrolls X. He watches HBO. He rants about Marvel films. Like many reactionaries, he is parasitic upon the civilisation he despises. He requires Western decadence as both enemy and spectacle. One suspects, Godwin infers, that he consumes Euphoria with the same horrified fascination medieval monks reserved for demons in illuminated manuscripts.

And here the article becomes unexpectedly revealing about the West too.

Because Godwin is right that Americans, especially, often underestimate the degree to which Russia possesses its own universalist narrative. Americans assume universalism belongs to liberal democracy. But Russia has long imagined itself as universal in a completely different register: not the end of history, but the resistance to history’s dissolution. Not liberal pluralism, but sacred continuity. Not the autonomous self, but sobornost –  the mystical organic unity of the people.

That tradition runs from the Slavophiles through Dostoevsky to Solzhenitsyn and into Putinism, albeit increasingly vulgarised.

But there is another irony here – one Dostoevsky himself understood better than Dugin. The Russian critique of Western atomisation is not entirely wrong.

Walk through parts of Los Angeles, London, or indeed Sydney – the loneliness, the commodification, the performative identities, the endless monetisation of the self – and one can understand why Russian conservatives see pathology. The Crystal Palace frightened Dostoevsky for a reason. He sensed modernity’s capacity to flatten the soul into consumer mechanism long before algorithms and influencer culture existed.

The problem is that Russia’s answer to this crisis has historically involved autocracy, censorship, mystical nationalism, and redemptive violence. The village commune too easily becomes the mass grave. The sacred empire becomes the Donbas. The organic unity becomes enforced conformity.

As Tibor Szamuely emphasised and elaborated in his posthumous opus The Russian Tradition, in Russia there was indeed nothing new under the sun. The forms change – Tsars, commissars, oligarchs, Eurasianists – but the pattern recurs: humiliation transmuted into destiny; suffering elevated into proof of moral superiority; expansion justified as spiritual necessity.

Which brings us back, absurdly enough, to Sydney Sweeney in jeans: the philosopher of a nuclear-armed civilisation denouncing HBO actresses as emblems of the Antichrist while simultaneously inhabiting the digital architecture of the global capitalism he claims to despise. One can imagine those iconic Russian  authors smiling grimly somewhere in the background.

Yet beneath the farce lies something dangerous and deeply old: the conviction that liberal civilisation is spiritually illegitimate and therefore expendable. That history itself is a holy war between “being” and “non-being”. Once politics becomes metaphysics, compromise becomes heresy.

And that, other essays in In That Howling Infinite repeatedly suggest, is where mystical nationalism ceases to be merely eccentric – and becomes lethal.

Paul Hemphill, In That Howling Infinite, and an AI language model, May 2026

For more on Russia, Ukraine and the Soviet Union in In That Howling Infinite, see Russky Mir – Russian history’s long shadow

Alexander Dugin versus Sydney Sweeney

Putin’s philosopher despises Western decadence

Richard Godwin, Unherd, 27 May 2026

Sydney Sweeney has upset a lot of people in her short career. Since rising to fame playing “crazy Cassie” in the edgy Gen Z drama, Euphoria, the 28-year-old American actor has been variously accused of degrading the morals of a generation (passim), spreading Nazi propaganda (she appeared in a jeans commercial), supporting genocide (she wore a dress by an Israeli designer) and worst of all, disrespecting Taylor Swift (she was briefly involved with pop uber-villain, Scooter Braun). 


Now, should the worst come to pass – should Western civilisation be erased from the face of the earth – then those of us who make it to the fallout shelter will be able to add another crime to the list. Annihilation will also be Sydney Sweeney’s fault. A culture that can produce a scene like the one in Euphoria season three — in which Sweeney’s character performs sex-cam work while dressed as a baby — apparently deserves all the hydrogen bombs coming to it.
The HBO drama appears to have been the final straw for the influential ultra-nationalist Russian “philosopher” Alexander Dugin, who earlier this month launched into an extraordinary rant on X, apparently inspired by his late-night TV viewing. “Look: is there at least one argument why the US shouldn’t be erased from the face of the earth?” he asked. To those who might respond: “Sydney Sweeney in American Eagle jeans”, Dugin offered short shrift. Sweeney may be a MAGA darling — she is, after all, blonde haired and blue-eyed and comes from a Republican-coded family — but to a committed Russian nationalist, this is irrelevant. “You are not the people,” he wrote. “You are stupid slaves on the Epstein’s menu of cruel cannibal elites. You are eaten, your brains are. It is why you watch Euphoria. Because all of you are perverts. Disgusting civilization. No reason to exist. Please, die.”
Thanks – we’ll take that on board. 

It’s not too hard to see why Euphoria — with its interracial, intersex, into-absolutely-anything cast — would be a particular trigger for the Kremlin’s on-off court philosopher. Born in the Khrushchev era, Dugin spent his youth vaguely agitating against communism before the break-up of the Soviet Union deeply wounded his national pride. Like every fascist before and since, he became obsessed with the idea of humiliation. He co-founded the National Bolshevik Party — the “Natbols” — with Eduard Limonov in the Nineties. The party’s flag was a Nazi-style white circle on a red background — only instead of a swastika, it had a black hammer and sickle. Russians aren’t generally fans of the Nazis; Dugin admired both the Nazis and the Bolsheviks for their Nietzschean will to power. It was the liberal West, with its dangerous ideas like human rights and free speech, that he regarded as the true evil. A hairy ogre of a man, Dugin conveyed his ideas with charisma and force. He was a hard drinker and a rich storyteller with a deep resonant voice in which he delivered mesmerising monologues about the destiny of Russia to the eager young jackbooted Natbols. 

“It’s not too hard to see why Euphoria – with its interracial, intersex, into-absolutely-anything cast — would be a particular trigger for the Kremlin’s on-off court philosopher.”

For all his mad array of influences – Hitler, Stalin, Guy Debord, Terminator, Lao Tzu, Mishima, Rosa Luxemburg, René Guénon — and his fondness for terms like “rhizomatic” and “hermeneutic circle”, Dugin’s philosophy is actually pretty simple. In Foundations of Geopolitics (1997), he argues that Russia must reverse the humiliation of the Soviet collapse by rebuilding itself as the core of a new Eurasian empire that is destined to challenge and ultimately dismantle Western (i.e. American) hegemony. America and the EU in this vision are not merely political rivals like China, India or Iran, say — but decadent forces, intent on dissolving Russia’s identity and historical purpose. Beneath the book’s strategic language lies a messianic strain: a wounded civilisation is redeemed through expansion, action, spiritual renewal and permanent struggle. Only Russia, with its spiritual depth, its powers of endurance, its capacity for hard action, is capable of saving the world from the liberal antichrist. The book has become a set text for Russian military leaders and seems to have guided Vladimir Putin’s strategy in Ukraine. Asked what policy Russia should take towards its Western neighbour as early as 2014, Dugin’s response was: “Kill! Kill! Kill! There can be no other discussion.” 

Dugin’s pronouncements became more deranged following the assassination of his daughter Darya in a car bomb in 2022, and his targets have become a little more scattergun. He has a particular hatred of the popular Russian cartoon character, Cheburashka, for example — “the concentrated expression of that very feeblemindedness against which I have battled my whole life” — and frequently rails against Marvel movies, McDonalds, and various other symbols of American cultural power.

But Euphoria — in which literally every character is performing sex work to support their crystal meth addiction and/or gender reassignment surgery — would strike Dugin as a representation of everything evil and degrading in Western culture. And the fact that America permits this depiction of itself — indeed, that Euphoria has launched the careers of some of its most lauded stars, including Sweeney, Jacob Elordi and Zendaya — is further evidence of the moral degeneracy of a culture. In his fawning interview with that useful American idiot, Tucker Carlson, Dugin declared that the dystopian futures depicted in Hollywood movies like The Matrix and Terminator were not warnings, but actual visions of where the West was heading. Why do American filmmakers never depict happy families or thriving communities in their future visions, he asked. It’s because Americans are willing on this apocalypse. Thus Euphoria’s self-loathing, atomised, narcotic, nihilistic, multi-racial hell is basically a warning — this is what America would impose on the rest of the world, a staging post on the way to Skynet. 

What’s interesting about all this — and what Russocurious American conservatives like Carlson often seem to miss — is the strain of messianism in Russian thought. Americans are so accustomed to thinking of their culture as the envy of the world and their eccentric conception of “freedom” as the universal absolute that the idea Russia might have its own global vision seems not to have occurred to them. They are more comfortable patronising Russia as a backward, violent, pitiful place — much of which goes back to those images of Russians in the Eighties queuing for Big Macs in Red Square and going crazy for Levis (which clearly made Dugin furious). Thus Carlson could tour a Moscow supermarket in 2024, simply amazed that they have affordable groceries. But this cultural complacency frequently leads non-Russians to miss Russian critiques of the West (say, of American racism) and to underestimate the very real strain of messianism in Russian thought — that is, Russia’s own mission to save the world.

So as ludicrous as Dugin often appears, there is a coherent set of ideas behind his philosophy — and in any case, recent history tells us that it is the ludicrous people we need to take most seriously. To understand where Dugin is coming from you need to understand the Eurasianist tradition of which he is a mutant 21st-century outgrowth, as well as Russia’s dual conception as both an Asiatic and Christian civilisation. There are many ways this dichotomy manifests. You can see it in the rivalry between the two capitals: St Petersburg, constructed by Peter the Great as a “window onto Europe”, and Moscow, the older Slavic centre of Orthodoxy and imperial memory. But there are two key moments in Russian history that the Eurasianists have drawn upon to lend grandeur to their vision.

The first is the Battle of Kulikovo in 1380, when the forces of the Russian principalities defeated the Tatar army of the Golden Horde and began to free their lands from their Mongol oppressors. In the Russian cultural memory, this event has mythic significance: the point at which Russia begins to define itself through resistance to, and absorption of, the steppe world. “Our path runs through the steppe – and boundless anguish / Your anguish, O Russia!” wrote the symbolist poet Aleksandr Blok in his cycle On the Field of Kulikovo (1908), which conjures a “holy banner” and the “Khan’s sabre” rising against a blood-red horizon. The idea this animates is Russia as a land formed of Mongol violence and Christian redemption — with a destiny of, hurrah, “boundless anguish”. 

The influential Central Asian scholar (and virulent antisemite) Lev Gumilev — son of the appallingly persecuted poets Anna Akhmatova and Nikolai Gumilev, both acquaintances of Blok — built an entire civilisational theory from this image. He argued that the Mongol period had not merely been an occupation but a formative synthesis. Rather than seeing Tatar horseman rampaging through Russian villages, raping Russian women, burning Russian crops as a catastrophe, he reframed it as a creative ethnogenesis. The Russian “ethnos”, in Gumilev’s formulation, emerges from a fusion of Slavic and Turkic elements, formed through long cycles of what he calls “passionarity” — a kind of heroic fusing of land, soul and idea. Gumilev developed an entire theory around this “ethnos”, arguing that this was no mere abstract theory but a “biophysical reality”. 

From here comes the notion that it is actually the liberalising, secularising, Enlightenment Europeans who are actually the dangerous ones — since they want to flatten out all ethnoi into one rainbow coalition of consumerism. Or as Dugin had it in his rant on X: “Whites? They are destroyed the world and themselves. To be white means to be nihilist. It is self hatred race. It caused so meany troubles to others and to itself. It lost the right to be something. No arguments to support their existence.” (He is said to speak 15 languages, and you have to wonder if his grammar is as bad in the others.)

The second foundational moment was the fall of Byzantium in 1453, when Constantinople was conquered by the Ottoman Turks. From this rupture emerges one of the most consequential ideas in Russian political theology — of Moscow as the “Third Rome”. As Philotheus of Pskov argued in the 16th century: “Two Romes have fallen, but the third stands, and there will be no fourth.” Rome itself had fallen into heresy (i.e. Catholicism), Constantinople to conquest, which meant that Moscow remained as the final guardian of true Orthodoxy. This notion would guide Russia’s self-conception not only as a state, but as a providential civilisation — the nation destined to preserve and ultimately redeem Christendom itself and, certainly, its near neighbours like Ukraine and Georgia. So, Russia is no mere country but a vessel of sacred history, a restraining force against chaos — a katechon holding back dissolution; the dissolution of Sydney Sweeney, Zendaya, Jacob Elordi and friends. 

This is the deeper ideological field upon which later debates about Russia’s destiny take place. Whenever “Westernisers” have argued that Russia should reform itself along liberal, democratic, secular lines (Dugin would say “white” lines), there are always “Slavophiles” to argue that this is not the Russian way. In the 19th century, Slavophile philosophers like Aleksey Khomyakov and Ivan Kireevsky argued passionately against European modernity, insisting instead that Russia’s strength lay precisely in what Europe had lost: Orthodoxy, communal life, and a form of spiritual wholeness they called sobornost — a notion of organic unity in which truth emerges not from isolated individuals but from a living moral community.

There are traces of this in many of the great 19th-century Russian novels. Fyodor Dostoevsky, indeed, had his own Euphoria moment when he visited London in 1862 and was appalled by what he saw. “Everyone is drunk, but drunk joylessly,” he wrote. “Everyone is in a hurry to drink himself into insensibility…” But what unsettled him most was not vice but order — or rather, the promise of a new kind of world order. He was one of millions of international visitors to the Great Exhibition in Hyde Park, which featured 28,000 exhibitors from dozens of nations showcasing steam engines, telegraphs, leech barometers, machine tools, Japanese prints, American cocktails — the whole world assembled in one glass pyramid. Forever after, the “Crystal Palace” recurred in Dostoevsky’s work as a horrifying hallucination of mankind forced into rational order through science, commerce and industrial progress. Where Western visitors might have seen a vision of global harmony, Dostoevsky saw spiritual erasure: atomisation, loneliness, the reduction of human beings to interchangeable units in a vast rational machine. If you have ever toured the shopping malls of Los Angeles or Dubai, you may have experienced a similar shudder. 

“All Europeans try to attain one and the same goal,” Dostoevsky later wrote — that is, “the universally human ideal”. But in striving toward this abstraction they dissolve the very cultures that give human life meaning. Only Russia, he concluded, had the spiritual vigour to withstand such a fate. Russia possessed “a distinct peculiarity of its own” — a “talent for universal reconciliation, universal humanity”. This is the essence of sobornost: a paradoxical unity that preserves difference within a shared spiritual whole. This idea is the great theme of Dostoevsky’s Pushkin speech of 1880, where he presents the Russian national character as uniquely capable of absorbing and reconciling all cultures while remaining spiritually intact. It is also a theme Dugin resumes in his X commentary: “To be on the side of Russia, of Iran, of China, of multipolarity is to be on the side of the being against the non-being. The (post)modern West is the citadel of the non-being, of nihilism.” Liberalism, in his reading, is a project to liberate the individual from any form of collective identity — be it Church, family, nation, empire, even gender (trans-related scare stories are a particular source of horror).

So Russia’s mission is to save the world from all this — and especially its near neighbours in the so-called Russkiy Mir, a telling phrase. Mir in Russian means “world” and also “peace” — but it also has a connotation of a peasant village community (as opposed to svet, which means “light” but also high society). So when Putin appeals to the Russkiy Mir he is not merely referring to the Russian-adjacent peoples of Belarus, Georgia, Kazakhstan, etc — but harking to an idea of organic peasant communal life. Come back to the village-empire! (Mir is, of course, also what Russians call the International Space Station. The progenitors of the Soviet space program often referred to the idea that the USSR, owing to its enormous spiritual depth, was the most suitable nation to represent Earth in the cosmos.)

All of this would be wonderful if Russian peasant life were not famously brutish, miserable and subject to ultraviolence from on high. In Dostoevsky’s The Brothers Karamazov, Alyosha recounts the story of an eight-year-old peasant boy who accidentally injures his master’s favourite hunting dog while throwing stones. The landowner orders the child to be stripped naked and spend the night in a miserable hovel. In the morning, he is torn apart by hunting dogs in front of his mother and the whole village. For Alyosha the story represents the failure of any kind of system — Christian, political, philosophical — to account for human suffering: “If the sufferings of children go to swell the sum of sufferings which was necessary to pay for truth, then I protest that the truth is not worth such a price. I don’t want the mother to embrace the oppressor who threw her son to the dogs! She dare not forgive him!” In other words, any system or theory that tries to justify or excuse the suffering of the innocent is obscene. The realism of Dostoevsky’s depiction of this horrific event — and the social hierarchy that permits it — serves as a convincing repudiation of any argument that could be used to justify it. 

Indeed, it is never entirely clear what the Russian Utopia actually looks like — beyond “eternal anguish”, that is. Nor have I ever seen any of these thinkers truly spell out what those in the Russkiy Mir are supposed to get from their spiritual communion; the millions of Kazakhs who starved during collectivisation, for example, or the Siberian tribes slaughtered as the Russian Empire marched eastward; or for that matter the more than 350,000 young men (predominantly from the Muslim-dominated monotowns of the South) who have died fighting to impose brotherhood on the disobedient Ukrainians. A vision of nationhood that promises redemption through suffering is quite useful when you want to explain away millions of dead. The hardest pill to swallow for many following the Soviet collapse was the idea that all of that suffering meant nothing — hence the ever-escalating need to put all the famines, all the wars, all the purges and sieges and atrocities into the service of some higher ideal.

Still, rather like the oligarchs of America who romanticise honest blue-collar work but have no idea what it actually consists of, the great romantics of ordinary Russian life tended to be from the svet as opposed to the mir. Most of the Slavophiles were serf-owning aristocrats. Putin’s legitimacy, such as it is, is largely predicated on his ability to provide shopping malls and farmers’ markets for a Moscow elite who are quite happy to shuttle back and forth to their villas in Dubai, Zurich, London, Nice and Cyprus when it suits them. Dugin himself seems to spend an awful lot of his time watching HBO and scanning social media — and, I would suggest, not enough time reading Dostoevsky. 

It seems outside of Dugin’s philosophy that Euphoria might itself be a critique of precisely the kind of societal atomisation that capitalism produces — and that this capacity of Western democracies to critique themselves might indeed be a source of strength. Putin has been careful to provide modern capitalist comforts to Russian elites, but he has meanwhile cranked up the state censorship machinery to pre-Glasnost levels, so any Russian who attempts anything like an honest depiction of Russian life will soon be censored, banned, banished, imprisoned, or voluntarily exiled, like the recent Cannes Grand Prix winner, Andrei Zvyagintsev. It’s not as if Russian youths are all happily singing patriotic songs as they march towards the drones of the Donbas. 

Meanwhile, the third season of Euphoria does gesture towards redemption. After she winds up in the home of a family of Texan true believers, the character of Rue (played by Zendaya) experiences a growing religious obsession — culminating in an epiphanic vision of God and a hint that there is, in fact, a higher meaning, beyond lonely pleasure-seeking. As Dostoevsky wrote: “Love is such a priceless treasure that you can redeem the whole world by it, and expiate not only your own sins but the sins of others.”

“Corrupt on Earth” … Death in Sanandaj

The mass and majesty of this world, all
That carries weight and always weighs the same
Lay in the hands of others; they were small
And could not hope for help and no help came:
What their foes liked to do was done, their shame
Was all the worst could wish; they lost their pride
And died as men before their bodies died.
WH Auden, The Shield of Achilles

Among the many phrases that echo through modern Iranian history, few are as chilling – or as elastic – as the charge of “corruption on Earth” (mofsed-e-filarz). Rooted in Islamic jurisprudence but broadened by revolutionary courts into a political instrument, it has served as one of the Islamic Republic’s most powerful and feared accusations.

It was among the charges levelled against the eleven Kurdish prisoners executed at Sanandaj Airport in August 1979, their deaths immortalised in Jahangir Razmi’s Pulitzer Prize-winning photograph. In the years that followed, the same accusation would be invoked against Kurdish activists, political dissidents, monarchists, communists, members of the Mujahedin-e Khalq, protesters, and others deemed enemies of the revolutionary state. The charge’s very vagueness became its strength. To be declared “corrupt on Earth” was not merely to have broken a law; it was to be cast as a threat to the moral and political order itself.

Nearly half a century later, the phrase remains woven into the fabric of Iranian political life. It resurfaced during the prosecutions that followed the Woman, Life, Freedom protests of 2022–23, and again in the trials and executions that have followed subsequent unrest and acts of political violence, and particularly, in the wake of the demonstrations and subsequent massacres of January 2026 and the US-Israeli aerial assault the began a month later. Governments change their rhetoric, revolutions age, and generations pass, yet certain words endure. In Iran, “corruption on Earth” has become more than a legal charge. It is a window into how revolutionary states define legitimacy, identify enemies, and justify the use of ultimate power.

The story that follows is, in part, the story of that phrase – and of the people whose lives have been shaped, and often ended, by its invocation.

Iranian photographer Jahangir Razmi’s famous image, later known as “Firing Squad in Iran,” won the 1980 Pulitzer Prize for Spot News Photography. It remains the only Pulitzer awarded to an anonymous photographer. Razmi’s identity remained concealed for twenty-seven years before being publicly revealed in 2006 with his consent. The photograph endures as one of the defining visual records of the violence that accompanied the consolidation of the Islamic Republic.

The Revolution Devours Its Own

The Red–Green Alliance, Iranian Edition

In early June 1983, the Kurdish city of Mahabad awoke to grim news. Fifty-nine Kurdish prisoners had been executed by the Islamic Republic of Iran. Many were young. Some, according to Kurdish human-rights sources, were still school students. Their crime was not murder, terrorism or armed insurrection in any conventional sense. Their offence was opposition to the revolutionary order that had emerged from the upheavals of 1979.

Amnesty International later documented the executions as part of a wider campaign of repression that was sweeping across Iran. By then, the Islamic Republic had moved beyond the revolutionary euphoria of its founding years and into a phase familiar to students of revolutions throughout history: the consolidation of power. The idealism, pluralism and competing visions that had animated the overthrow of the Shah were being replaced by something far narrower and far less forgiving.

The executions in Mahabad were not an aberration. They were part of a pattern.

History offers many examples of revolutions that begin as broad coalitions and end as monopolies of power. The French Revolution consumed Girondins, Hébertists and Dantonists before eventually turning upon Robespierre himself. On the scaffold, Manon Roland is said to have exclaimed “O Liberté! O Liberté! que de crimes on commet en ton nom”. The Bolsheviks devoured Mensheviks, Socialist Revolutionaries and later their own Old Guard (see in In That Howling Infinite, Stalin’s Great Terror). Revolutions often unite disparate forces against a common enemy; once victory is achieved, the question becomes who will rule. At that point, yesterday’s allies can quickly become today’s enemies.

Iran followed a similar trajectory.

The revolution that overthrew Mohammad Reza Shah Pahlavi in 1979 brought together an unlikely alliance. Liberals sought constitutional government. Nationalists hoped for greater independence from foreign influence. Marxists and socialists imagined a future shaped by class struggle and social justice. Religious activists envisioned an Islamic state guided by clerical authority. What united these groups was opposition to the Shah, whose increasingly authoritarian rule, close alignment with the United States and powerful security apparatus had generated widespread resentment.

Yet while many revolutionary factions viewed the alliance as temporary, Ayatollah Ruhollah Khomeini and his followers possessed something their rivals lacked: a coherent vision of power and an organisational structure capable of seizing it. The mosques provided a nationwide network. The clergy enjoyed enormous social legitimacy. Religious symbolism offered a language that resonated far beyond university campuses and political cells.

Many on the secular left underestimated this advantage.

For some Marxists, political Islam appeared less as an ideological rival than as a useful partner in the struggle against imperialism and capitalism. The Shah was seen as a pillar of Western influence in the Middle East; therefore, any force capable of helping to overthrow him could be accommodated. The expectation, explicit or implicit, was that once the revolution succeeded, history would proceed along more familiar revolutionary lines. The clerics would either moderate, share power or eventually be superseded.

Events unfolded differently.

By 1980, universities were being purged and “Islamised” during what became known as the Cultural Revolution. Liberal and nationalist opponents were marginalised. Independent centres of authority were systematically dismantled. The Tudeh Party, Iran’s principal communist organisation and one that had initially supported the new regime, was outlawed. Its leaders were arrested, imprisoned and in some cases executed. Former revolutionary allies appeared on television delivering forced confessions. Political prisons filled. Revolutionary courts handed down death sentences with alarming speed.

The process was not unique to the Iranian left. Kurdish movements that had sought autonomy found themselves facing military campaigns. Women’s organisations that had supported the revolution discovered that many of their aspirations were incompatible with the state’s vision of Islamic governance. Student activists, secular intellectuals and minority groups encountered similar realities. The coalition that had overthrown the Shah steadily narrowed until meaningful opposition became impossible.

The Kurdish experience was particularly harsh. In regions such as Mahabad, Sanandaj and other Kurdish centres, resistance to central authority was met with military force and mass arrests. The executions of June 1983 were one episode in a larger struggle between the Islamic Republic and Kurdish political movements. For the families involved, ideological debates about revolution and anti-imperialism mattered little. The reality was imprisonment, exile and death.

The broader lesson is not confined to Iran, nor is it simply a story about the mistakes of the political left. Rather, it is a warning about the dangers of defining political movements primarily by what they oppose rather than by what they seek to build.

Opposition to a monarchy did not tell Iranians what kind of state would emerge after the Shah. Opposition to Western influence did not answer questions about civil liberties, minority rights, women’s equality or democratic institutions. Those questions remained unresolved until power was won—and by then it was largely too late.

This is one reason why the history of the Iranian Revolution continues to resonate.

Across the political spectrum there remains a temptation to view movements through the lens of a single conflict. If a regime opposes one’s enemies, its internal character can seem less important. If it stands against a disliked power, its treatment of dissidents, minorities or political opponents may receive less scrutiny than it deserves. Such thinking is hardly confined to any one ideology. Throughout modern history, people of varying political persuasions have excused authoritarianism when it appeared to serve a larger strategic or ideological purpose.

Iran offers a cautionary example of where that logic can lead.

Many who helped create the revolution imagined themselves as partners in a broad project of national liberation. Some believed they could influence its direction. Others assumed that shared opposition to the Shah guaranteed a shared future. Instead, they discovered that revolutionary coalitions are often marriages of convenience rather than communities of principle.

The tragedy of Mahabad, and of countless similar episodes in revolutionary history, is that those who helped bring down one form of authoritarianism often found themselves confronting another.

The revolution had succeeded. Then it began to consume its own.

Every picture tells a story

The story of Jahangir Razmi’s photograph is worth including because it captures, in a single frame, the moment when revolutionary justice gave way to revolutionary terror.

On 27 August 1979, at Sanandaj Airport in Iranian Kurdistan, eleven prisoners—most of them Kurdish militants or activists—were brought before a revolutionary tribunal. The proceedings reportedly lasted little more than half an hour. The charges ranged from weapons trafficking and murder to inciting unrest against the new Islamic Republic. There was no meaningful due process, no opportunity for appeal and no delay between verdict and sentence. Convicted by the revolutionary court, the prisoners were taken directly to a dusty section of the airfield, blindfolded and lined up before a firing squad.

Jahangir Razmi, a young photographer working for the Iranian newspaper Ettela’at, was present. Managing to position himself slightly behind and to one side of the execution squad, he captured the exact instant the rifles fired. The resulting image is extraordinary and horrifying in equal measure. Some of the condemned are already collapsing; others remain momentarily upright, suspended between life and death. The executioners stand almost casually, performing what the revolution had already normalised as an administrative task. There is no drama in the cinematic sense. That is precisely what makes the photograph so unsettling. It records death not as a battlefield tragedy but as bureaucratic routine.

The image appeared in Ettela’at the following day without a photographer’s credit. The omission was deliberate. In the volatile atmosphere of post-revolutionary Iran, public association with such a photograph could have endangered Razmi’s life. The picture was subsequently distributed internationally through United Press International and quickly became one of the defining images of the revolution’s aftermath. In 1980 it was awarded the Pulitzer Prize for Spot News Photography—the only Pulitzer ever granted to an anonymous photographer.

For more than a quarter of a century, the identity of the man behind the lens remained a secret known only to a handful of people. It was not until 2006 that Wall Street Journal reporter Joshua Prager traced the photograph’s origins and revealed, with Razmi’s consent, the identity of the photographer who had captured one of the twentieth century’s most haunting images.

Placed alongside the executions in Mahabad four years later, the photograph acquires an even deeper significance. It was taken not at the end of the Islamic Republic’s consolidation of power but near its beginning. The victims at Sanandaj were among the first casualties of a revolutionary process that would soon expand far beyond Kurdish militants to encompass liberals, communists, students, women’s activists, ethnic minorities and former revolutionary allies. In retrospect, the image serves as an early warning. The firing squad at Sanandaj was not an isolated excess. It was one of the first visible signs that the revolution had begun to devour its own.

As photographs go, it possesses the rare quality of becoming more disturbing the longer one studies it. It is not merely a record of eleven deaths on a Kurdish airfield. It is a glimpse into a larger historical pattern: the moment when a revolution, having seized power, turns from overthrowing its enemies to eliminating its competitors. The rifles are aimed at eleven men, but the photograph foreshadows the fate of thousands who would follow. In that sense, Razmi captured not just an execution but a prophecy.

Firing Squad in Iran. Jahangir Ramzi’s Pulitzer winning photo, 1980.

Death in the camera’s eye

The photo reminds me of Robert Capa’s The Falling Soldier (1936), the death of a republican soldier taken during the Spanish Civil War, and Eddie Adams’s photograph of a South Vietnamese general executing a Viet Cong prisoner on a during the1968; Offensive. [These pictures are not shown here so as not to detract from the immediacy and tragedy of Razmi’s photograph.

The comparison is a fascinating one because all three photographs have become shorthand for entire conflicts, yet each captures a very different relationship between photography, truth and death.

Robert Capa’s iconic photograph taken during the Spanish Civil War, purportedly shows the exact moment a Republican militiaman is struck by a bullet and collapses backwards. It became one of the most famous war photographs ever taken, embodying the courage and vulnerability of those fighting fascism. Yet for decades historians have debated whether the image was genuine, staged, or a reconstruction. The controversy has never been fully resolved. Ironically, the photograph’s power derives not only from what it may show, but from the uncertainty surrounding it. It sits on the uneasy border between journalism, art and myth.

Eddie Adams’s photograph of South Vietnamese General Nguyễn Ngọc Loan executing a Viet Cong prisoner on a Saigon street during the Tet Offensive in 1968 occupies the opposite end of the spectrum. There is no ambiguity about what happened. Adams captured the precise instant the bullet entered the prisoner’s head. The image is shocking because it is so immediate and undeniable. For millions of viewers, it crystallised the brutality of the Vietnam War. Yet Adams himself later lamented that the photograph reduced a complicated human story to a single frozen moment. The prisoner had allegedly participated in killings during the offensive; the general spent the rest of his life defined by one fraction of a second. “The general killed the Viet Cong,” Adams later wrote, “I killed the general with my camera.”

Jahangir Razmi’s photograph from Sanandaj belongs in the same company. Like Adams’s image, it records an actual execution rather than a symbolic representation of one. Like Capa’s photograph, it came to symbolise an entire conflict and a wider historical struggle. Yet there is something uniquely unsettling about Razmi’s image. Adams shows a single victim and a single executioner. Razmi shows eleven condemned men and a firing squad acting in concert. The killing is not spontaneous or personal. It is institutional. The state itself is pulling the trigger.

Viewed together, the three photographs almost form a visual history of modern political violence. Capa’s image represents the romantic age of ideological struggle, when young men went off to fight for causes larger than themselves. Adams’s photograph captures the moral chaos of Cold War counterinsurgency, where certainty dissolves into horror. Razmi’s image depicts something colder still: the machinery of revolutionary justice transforming human beings into categories—“counter-revolutionary,” “enemy of God,” “corrupt on Earth”—before extinguishing them.

All three photographs freeze the instant between life and death. But they also remind us of something else. Photographs rarely explain. They reveal, they shock, they haunt—but they do not provide context. Capa’s militiaman may or may not have been dying. Adams’s prisoner and general carried histories invisible to the camera lens. Razmi’s eleven Kurds had been reduced by the revolutionary court to a handful of accusations and a death sentence. The photograph records their end, but not the complexity of their lives.

And perhaps that is why such images endure. They force us to confront history in its most compressed form: a single irreversible moment, laden with all the arguments, ideologies, hopes and hatreds that brought it into being. The photograph captures the second. Understanding the story behind it can take a lifetime.

In That Howling Infinite, June 2026

Other articles about the Islamic Republic in In That Howling Infinite: Messing with the Mullahs – America’s phoney war?, The quality of mercy … looking beyond Iran’s ghost republic, “Because of …” Iran’s voice of freedom, and The end of the line … an epitaph for a tyrant

A Chilling Photograph’s Hidden History

Twenty-six years ago, a picture of an execution in Iran won the Pulitzer Prize. But the man who took it remained anonymous. Until now.

December 6, 2006, The Wall Street Journal

Firing_Squad_in_Iran.high.jpeg

TEHRAN — On Aug. 27, 1979, two parallel lines of 11 men formed on a field of dry dirt in Sanandaj, Iran. One group wore blindfolds. The other held rifles. The command came in Farsi to fire: “Atesh!” Behind the soldier farthest to the right, a 12th man also shot, his Nikon camera and Kodak film preserving in black and white a mass execution.

Within hours, the photo ran across six columns in Ettela’at, the oldest newspaper in Iran. Within days, it appeared on front pages around the world. Within weeks, the new Iranian government annexed the offending paper. Within months, the photo won the Pulitzer Prize.

Taken seven months after Islamic radicals overthrew the U.S.-backed Shah, the photo remains one of the most famous images of Iran. It is an icon of government terror, invoked in critiques of the regime from the 1979 poem “Screaming,” to the 1986 music video “Speak To Me From My Land, Iran” to the 1997 book “Kurdistan.” Davood and Davar Ghassemlouie, brothers who operate a photo shop in Los Angeles, say they have made tens of thousands of reprints for demonstrators, including 200 in late September when Iranian President Mahmoud Ahmadinejad visited the U.S.

Says Shahrokh Hatami, a pioneer of Iranian photojournalism: “It is the most revealing photograph of the beginning of the Iranian revolution.”

Ettela’at, however, didn’t print the photographer’s name, fearing his safety. The Pulitzer was officially awarded to “an unnamed photographer of United Press International,” the news service that distributed the photo in the U.S. It remains the only time the award has ever been given to an anonymous recipient.

In the years since, several people have falsely claimed to be “Anonymous.” When Iran’s most famous photographer died in 2003, his obituaries were filled with mentions of a Pulitzer some say he had insinuated winning. Last September, another prominent Iranian photographer living in France was quoted in Paris Match magazine claiming credit for the work.

In fact, nearly three decades after the epochal photograph first appeared, almost no one knows who took it.

Jahangir Razmi grew up in the industrial city of Arak, in central Iran, the first child of a housewife and military clerk. Governed by the Shah, the nation was at peace. The boy was shy and happiest in a local photo shop helping a cousin develop film and shoot portraits of brides and soldiers. In 1960, at the age of 12, he bought a Russian Lubitel-2 camera.

He quickly put it to use. When one day a boy shot a girl dead outside his studio, a reporter urged Jahangir to photograph the scene. He did, the skirt and shirt of a bloodied school uniform preserved in the newsprint of Ettela’at.

When his father died, Mr. Razmi says he found work in a Tehran photo shop. When he served in the army, he found reprieve from military drills in a darkroom on base. When he photographed a 20th birthday party, he found a wife. And when Ettela’at — Farsi for “Information” — hired him in 1973 to shoot breaking news, he found a career.

“Although we were colleagues and there was a competition, his pictures were better,” says Jafar Danyeli, then one of seven staff photographers. Razmi, as everyone called him, paid attention to composition and chiaroscuro, the interplay of light and shadow. He sat at the desk closest to the stairwell. “I was always the volunteer to go,” says Mr. Razmi, then 25. “I was quick. I was young. I was braver than anyone else.”

On Jan. 16, 1979, the Shah fled Iran following mass demonstrations protesting his rule. Sixteen days later, Ayatollah Khomeini, a radical Islamic cleric, returned from France and seized control. Mr. Razmi photographed Mr. Khomeini in his Qom headquarters so regularly that he came to greet the imam with a handshake. Using his favorite Nikon lens, a 28mm wide-angle lens with automatic exposure, Mr. Razmi chronicled the conversion of Iran to theocracy from autocracy.

By August, about 500 alleged counter-revolutionaries and officials of the former regime had been executed. The judiciary decreed it illegal to criticize Islam and Iran’s spiritual leaders. A holding company formed by the regime appropriated Kayhan, the only newspaper in Iran larger than Ettela’at. Journalists who pushed back at censorship under the Shah were petrified.

“Under Khomeini they would kill you,” says Amir Taheri, then editor of Kayhan and now a political analyst living in England. “It was a different ballgame.”

On Aug. 16, Mr. Khomeini called on Iranian troops to suppress restive Kurds hoping for autonomy. Thousands of soldiers headed 300 miles northwest to the Iranian province of Kurdistan. Mr. Razmi and Khalil Bahrami, an Ettela’at reporter, followed.

Ten days later, Mr. Bahrami received a tip that a judge he had befriended was set to try Kurds in an antechamber of the municipal airport at Sanandaj, the capital of Kurdistan. The reporter, then 37, had worked at Ettela’at for 22 years and was thankful he was paired with the young Mr. Razmi, whose father had lived in Sanandaj and had raised his son to admire the Kurds and their traditions. “He knew his responsibility,” says Mr. Bahrami, who lives in Iran and is retired. “And he was quicker than the others.”

At the airport, Mr. Razmi stood ready outside the makeshift courtroom as 10 handcuffed men filled a wooden bench before the judge, a black-bearded Shiite cleric named Sadegh Khalkhali. An injured 11th prisoner lay on a stretcher beside the door.

The judge removed his turban, Mr. Bahrami recalls. He removed his shoes. He put his feet on a chair. Scanning the prisoners through thick eyeglasses, he asked their names. Officers of the court told of the defendants’ alleged crimes — of trafficking arms, inciting riots and murder. The prisoners, some with leftward or nationalist leanings, denied the accusations.

No evidence was presented, Mr. Bahrami says. “It was pure speculation.” After roughly 30 minutes, Mr. Khalkhali declared the 11 men “corrupt on earth” — mofsedin fel arz — the Koranic phrase he cited before issuing a sentence of death. A few of the men cried.

Mr. Bahrami summoned his colleague Mr. Razmi. “It was Razmi’s luck that day that he was with me,” the reporter says.

Mr. Razmi withdrew from his green canvas shoulder bag a 35-80mm lens and attached the zoom to his Nikon FE. The handcuffed men were blindfolded. Each put his hand on the shoulder of the man before him and together they walked single-file through the airport’s concrete lobby, through a metal doorframe and toward an open airfield. Mr. Razmi darted ahead and shot, untroubled by security forces: “I was totally free,” he says. Unbeknownst to Mr. Razmi, a soldier present also was taking pictures, which were never published.

The caravan passed roughly 30 airport workers, both men say. Up front walked Mr. Razmi. In the rear, both men say, was Ali Karimi, one of the judge’s bodyguards, wearing white shoes, white pants, white shirt, sunglasses and twin hip holsters. After about 100 yards, an officer halted the condemned on a plain of dry dirt. All but one of the executioners tied about their own heads Iranian shawls called chafiyehs. Both the faces of the Shiites and the eyes of the Kurds were now concealed.

Mr. Karimi asked the prisoners if they had last words, the two journalists recall. The men didn’t, all silent save a man Mr. Bahrami later reported to be Essa Pirvali, who wept aloud. A sandwich maker, he belonged to no political party but possessed a handgun and had been accused of murder. “He was scared,” Mr. Razmi says. “He wouldn’t stand.” The soldiers instructed a fellow prisoner to hold him.

An afternoon sun shone behind the prisoners and Mr. Razmi reached for his 28mm lens. He sidled in behind members of the firing squad, who stood in brown leather boots laced to the calf. He thought, he says, only about “speed and angle.” The prisoners stood in plainclothes. The firing squad crouched in camouflage.

“Afrad mosallah!,” yelled the commanding officer, calling his troops to attention. His charges aimed their G3 rifles at the midsections of the men standing little more than a body’s length away.

Standing farthest to the right, Naser Salimi, an employee of the Sanandaj health department, raised his right hand to his chest. It was bandaged, injured in a street fight that had led to his sentencing, according to contemporary newspaper reports. Opposite him, the only soldier who wore no chafiyeh raised his rifle.

Mr. Razmi stood a few feet behind this unmasked gunman. He raised his camera. At 4:30 p.m., the command came to fire: “Atesh!” Eleven guns discharged. Eleven bodies dropped. “When they fell, it was dusty,” Mr. Razmi says. The photographer lowered his camera.

The soldiers eyed Mr. Karimi, the judge’s bodyguard, lifting a pistol off his right hip. Not all of the men were dead, the photographer recalls. The bodyguard leaned over Ahsan Nahid, the injured prisoner on the stretcher, and fired one bullet into his head. Mr. Razmi snapped his Nikon. Mr. Karimi stepped to the next man and shot him, too. He proceeded along — one bullet per body, both journalists say. (Recent efforts to locate Mr. Karimi were unsuccessful.)

WITHIN MINUTES, ambulances ferried away the 11 bodies, airport workers returned to work, the huddle of soldiers thinned and Mr. Razmi stowed his two rolls of Kodak 400 film in a pocket of his canvas bag. After a helicopter flight landed the pair too late to cover a second execution, Mr. Razmi left his colleague, flagged a passing minibus and returned to the airport in Sanandaj, where at 8 a.m. the only daily flight to Tehran departed.

The photographer fell asleep. He was awakened at a checkpoint by shouts from airport officers, the same men who had shared their lunch with him the previous afternoon as they awaited the Kurdish prisoners. “It’s me!” yelled Mr. Razmi. “Jahangir!” The men held their fire. Mr. Razmi told them he had film and an article that had to get back to Tehran. “I put it in an envelope and gave it to the flight attendant,” he says, needing to continue his work in the region.

Mr. Razmi called Ettela’at, which dispatched a courier to the airport. The man picked up the white envelope from Tehran airport and delivered it to the newspaper. Ali Akbar Moradi, head of the paper’s darkroom, says he knew the 70 exposures were taken by Mr. Razmi and that he turned them into two contact sheets with the help of a technician. An office runner gave them to the photo editor, the late Fereydoun Ebrahimzadeh, who marked the frames he wished turned into prints and delivered them to Mohammed Heydari, the chief Ettela’at editor, Mr. Heydari says.

Mr. Heydari was examining the layout of that day’s front page and flipped through the stills. At about noon, he says, he stopped, overwhelmed by a single image of the moment when some of the squadron had fired and some hadn’t. Bodies fell. Dust rose.

Mr. Heydari, then 35, had little time to think — the afternoon paper was about to go to print. He says he told himself that the country was conflicted over the killing of the Kurds and angry over censorship. He decided to publish the photograph, although not in the edition distributed in the Kurdistan province, where it would be tantamount to a call to arms. “Considering the political climate, I knew I could get away with it,” Mr. Heydari says.

The Ettela’at editor made another snap decision. The photograph would run with no credit. “I was aware that if I published his name, he would be in danger,” Mr. Heydari says. “I wanted to protect Razmi.”

By 2 p.m., newsstands across Tehran trumpeted word of the Kurdish executions. The banner headline read: “Forty People Executed in Sanandaj, Marivan and Saqqez.” The accompanying photograph was a sensation, the seven months of Iranian firing squads distilled to one image.

Copies of Ettela’at sold out and representatives of international news agencies hustled to Khayam Street to buy prints. The photo editor, Mr. Ebrahimzadeh, “sold it to everyone like he was selling French fries,” says Alfred Yaghobzadeh, 47, then a photographer for the Associated Press, now a photojournalist based in France.

The first to arrive at Ettela’at was Sajid Rizvi of United Press International. Mr. Rizvi, then 30, had seen the newspaper at his home, ordered a copy by phone and sped off in the company’s pistachio-colored sedan. He picked up the photo roughly 15 minutes later inside the Ettela’at newsroom.

“It was almost wet when I took it,” says Mr. Rizvi, now editor of an arts publishing house in London. “I don’t think I have ever seen a picture as moving as that,” he says. “It is a picture between life and death.”

Mr. Rizvi asked who had snapped it. “They said, ‘better not to give out the name of the photographer.’ ” Once home, he walked into the bathroom he had converted into a darkroom, dried the photo with a hairdryer, composed a caption on his yellow Olympus typewriter, phoned the UPI desk in Brussels and transmitted the print.

Genghis Seren, a photo editor in Brussels, sat transfixed beside the company UniFax. “The drama of that machine was that the picture took 15 minutes to complete,” recalls Mr. Seren, then 25 years old and in his first year at UPI. “It came a 10th of an inch after a 10th of an inch…. It was something!” Mr. Seren forwarded the photo to UPI bureaus in Africa, Europe and the Middle East, and to company headquarters in Manhattan.

“It was transmitted to us with no name,” says Larry DeSantis, the UPI managing editor who received the photo 11 stories above 42nd Street. “Not knowing who made it interested me.”

At about 3 p.m., several armed agents from the Islamic Revolutionary Council arrived at Ettela’at, ascended four flights and entered the office of the editor, Mr. Heydari. They asked for the negative of the photo and asked to speak with the photo editor, Mr. Heydari recalls.

Mr. Heydari refused. “I said, ‘No. I am the editor. I take full responsibility.’ ” Mr. Heydari says he told the men: “If I am arrested, the negative consequences will outweigh the effect of this photo.”

The chief agent backed off. Both men telephoned government and religious officials, and the judge who ordered the executions radioed the agent seated beside Mr. Heydari, the editor says.

Mr. Khalkhali, the judge, declared the photo a fabrication and told the agent to arrest the editor, Mr. Heydari says. He says he responded by offering to show the negatives to the agent “as long as you agree not to use force to confiscate them.”

The agent agreed and viewed the negatives with two fellow officials. “They were astonished,” recalls Mr. Heydari. The agent made another call and told Iran’s attorney general that “the newspaper has been considerate to only publish this one,” Mr. Heydari remembers. The agents left with one proviso: Upon their return from Kurdistan, Messrs. Bahrami and Razmi should come in for questioning.

THAT SAME DAY, Mr. DeSantis, the UPI editor, had prints of the photo distributed by motorcycle to the New York papers and by telephoto machine to thousands of papers across the country. On Aug. 29, the New York Times, Washington Post, Der Tagesspiegel in Berlin and the Daily Telegraph in London were among the many newspapers to run it. Nearly all credited UPI.

“Our play was fabulous,” exults Mr. DeSantis, now retired. “It was a once in a lifetime…. Like it was a movie set. One guy kneeling, aiming. One guy falling. A mass execution.”

Mr. Razmi remained in Kurdistan, where at a Sanandaj newsstand he came across a copy of Ettela’at featuring one of his other photos showing the blindfolded men standing in wait. He understood why his more incendiary photographs were unprinted but nonetheless was disappointed. “I expected my name to be published,” he says.

Two days later, reporter and photographer returned to the Ettela’at office in Sanandaj. The office manager lifted from his desk the Tehran edition of the paper that had reported the execution, they recall. He said copies brought to Kurdistan were selling for more than double the cover price. The manager was a Kurd and Mr. Razmi recalls him saying: ” ‘We have to build a statue of gold of you.’ And because of what he told me, I understood that this photo was dangerous.”

Close readers of Ettela’at could have surmised Mr. Razmi was the photographer. On Aug. 26, the day before the execution, the newspaper named him as one of three employees it had sent “to the Western portion of the country.” An Aug. 29, the day after the photo ran, the paper reported on its front page that he and Mr. Bahrami had been “sent to Kurdistan.”

Home in Tehran, after a long shower, Mr. Razmi spoke about the execution to his wife and again the next morning to curious colleagues in the newsroom. He says he asked Mr. Heydari why his photo had carried no credit and didn’t object when the editor explained his worry. “I told him jokingly that you would have also been executed in Kurdistan on the spot,” Mr. Heydari says.

Mr. Razmi walked to the newspaper darkroom and saw for the first time what had been the 18th exposure of his first roll of film. “There I realized what I had taken,” he says. Turning on the red safelights in the studio, the photographer made prints of eight stills and preserved on a contact sheet 27 of his 70 photographs.

Mr. Razmi asked the darkroom supervisor for his negatives and locked them in the middle of his three metal drawers together with his other prints. A few days later, he slipped the contact sheet and stills into the fold of a newspaper and hid them in his home, “somewhere no one would have noticed,” he says. The next morning, he returned to Kurdistan.

On Sept. 9, the Islamic Revolutionary Council published a notice in the Islamic Revolution newspaper: “we hereby draw your attention to the picture which was published on the front page of [Ettela’at] on 6/6/1358 and was objected to harshly by the public.” It continued: “If this occurs again, serious decisions will be made.”

A serious decision already had been made. The day before, the Foundation for the Disinherited — the holding company that in August had swallowed Kayhan, Iran’s largest paper — also seized Ettela’at. Overnight, the paper, privately held since 1920, became state-owned.

The image continued to spread. Reza Deghati, then 27, a free-lance Iranian photographer, had seen the photo. It is “the most stirring execution picture in the history of photojournalism, of the human being,” he says. Mr. Deghati says he procured five additional photos of the execution from an Ettela’at employee and mailed them to SIPA, the Paris agency that had been publishing his own photos since the revolution.

Goksin Sipahioglu says he received the prints from Mr. Deghati at his agency on Paris’s Rue Roquepine. Even though UPI had already published one, Michele Sola, photo editor of Paris Match magazine, paid 14,000 French francs (about $10,000 today) for the additional prints. Mr. Sipahioglu forwarded half that sum to Mr. Deghati in Tehran.

The magazine went on sale in Paris days before its Sept. 21, 1979, cover date. About 2,600 miles east, readers in Iran turned to page 66. Titled “Les Kurdes, sous les balles d’Allah” (“The Kurds, under Allah’s bullets”), the photos spread rapidly. People paid 20 times the cover price for the magazine, and dozens of Iranians tacked the photos about town.

No one, however, neither Mr. Razmi nor the Iranian brain trust, seemed to notice the magazine’s erroneous credit — “Reza (Sipa)” — printed in the lower left corner of the index page. “When someone sends a picture to us,” explains Mr. Sipahioglu, “we always credit him.”

Mr. Deghati says he sent SIPA a letter saying he didn’t take the photos and that SIPA sent out a news release via the AP retracting his name. Representatives at SIPA, Paris Match and the AP don’t recall Mr. Deghati clarifying the matter and didn’t find such a release in their archives.

Mr. Razmi returned from Kurdistan in late September and Mr. Ebrahimzadeh approached him at his desk. The photo editor asked for the negatives of the 70 photos and extended his hand. “I couldn’t protest,” Mr. Razmi says. “It belonged to him.” He unlocked his metal drawer. Mr. Ebrahimzadeh told the photographer the police wished to speak to him in Tehran’s Evin prison, Mr. Razmi recalls.

Mr. Razmi says he arrived at the prison with Mr. Bahrami and two Ettela’at editors, and quickly found himself alone with the late Asadollah Lajevardi, a future warden of the prison already notorious for torturing inmates. As part of his newspaper duties, Mr. Razmi had often photographed men housed in Evin whom the state would soon execute. “I had a right to be nervous,” he says.

Mr. Lajevardi asked him who had photographed the Sanandaj execution, Mr. Razmi says. When Mr. Razmi said he had, the guard asked why he had hidden his negatives in the drawer. “So that no one would take them,” Mr. Razmi recalls answering.

He told Mr. Lajevardi that he had permission from the judge to shoot the scene and that he hadn’t sent the pictures overseas. The interrogation was soft, and it became apparent to Mr. Razmi that he wouldn’t be harmed. Mr. Razmi returned to the paper, and a few weeks later was consumed with work when, on Nov. 4, Iranian students took hostages inside the U.S. Embassy.

The next month, UPI managing editor Mr. DeSantis sat down to submit his newswire’s best work of the year for awards. At the top of his list was the execution photo. “I was a very good picture editor,” Mr. DeSantis says, “but on this one you could be a dumb dog and pick this out.”

That neither he nor anyone at UPI knew who took the photo was of little concern. The agency had been the first to provide it to the press and presented it as the work of an unnamed UPI photographer, which, says Mr. DeSantis, he assumed it was. “It came on the UPI wire,” he explains.

“Because of the present unrest in Iran,” wrote the editor to the Pulitzer committee, “the name of the photographer cannot be revealed at this time.”

Mr. Razmi didn’t know his photograph had been nominated for the Pulitzer. He didn’t know the jury nominating finalists for Spot News Photography was overwhelmed by the entry UPI titled, “Firing Squad in Iran.” Robert Duffy, then an editor at the St. Louis Post-Dispatch and chairman of the jury, says he informally lobbied a member of the Pulitzer Board that spring to pick the photo. “We were hell-bent on giving the prize to ‘Anonymous,’ ” he says.

On April 14, 1980, seven days after the U.S. severed diplomatic relations with Iran, ‘Anonymous’ won the Pulitzer Prize. Mr. Heydari told Mr. Razmi the news. But the same people who, in effect, had ordered the execution now owned his employer. Mr. Heydari says he was fired two months later. Representatives of the paper cancelled an August 2005 appointment at their Tehran head office and declined to be interviewed for this article.

Ettela’at didn’t report news of its prize-winning employee. Mr. Razmi says he “didn’t have the guts to celebrate.”

UPI did. The newswire flew its Tehran bureau chief Mr. Rizvi to the U.S. and had him speak to subscribers. “They were trying to show me off,” he says. Asked about the anonymous photographer, Mr. Rizvi recalls answering: “Eventually it will be revealed.”

IN THE SPRING, Ettela’at promoted Mr. Razmi, then 32, to photo editor. Iraq attacked Iran in September and Mr. Razmi covered the war. A mortar deafened his right ear in 1987. When months later Ettela’at asked him to work in Iraq, he decided he was tired of war. He quit his employer of 15 years, sold the home he had built by himself in a leafy neighborhood of northern Tehran, bought an apartment and opened a photography studio.

Forty years old, the photographer had come full circle, developing film and shooting portraits as he had as a boy. Says Mr. Razmi: “I was looking for a peaceful life.”

Mr. Razmi called the studio “Abgineh,” the Farsi word for glassware, which he says connoted for him the clarity of water. He didn’t advertise the studio. Still, six days a week, brides in gowns flocked to the shop, looked at Mr. Razmi and smiled.

Mr. Razmi thought often of Sanandaj. In his shop, he hung a large portrait of a boy wearing a Kurdish shawl and sash. Every summer, during the month of Shahrivar, he locked himself in his bedroom and looked at the execution photographs he had hidden.

On Aug. 3, 1997, three weeks before Shahrivar, Mohammad Khatami took office as president of Iran and hired Hashem Taleb to head his public relations. Mr. Razmi had met Mr. Taleb years before and saw a business opportunity. He drove to the office of the president, pronounced the headshots of Iranian officials unbefitting their rank and “suggested I take photographs of the president and the cabinet,” he recalls. Mr. Taleb hired him.

Days later, Mr. Razmi, the first “Official Photographer of the President and his Cabinet,” set up his flash umbrellas inside the Iranian presidential residence at the intersection of Palestine and Pasteur streets. He shot pictures of the new government. He developed the color portraits. Before mailing the prints to the president’s office, he stamped his name on the back of each.

The name Jahangir Razmi, however, remained unconnected to his most famous photograph. Monir Nahid, mother of two of the executed men, who has since settled in Los Angeles, says over time, “10, 20 people came to me and said, ‘I took the picture.’ ”

Among them, say Mrs. Nahid and her daughter, was Mr. Deghati, the stringer who in 1979 sent the photo to Paris Match. Mr. Deghati, who left Iran in 1981 and today lives in France working for Webistan Photo Agency, says he has never met the Nahids. Last September, Paris Match magazine quoted him saying he took the photo, adding in French that Mr. Khomeini “was furious.” Mr. Deghati says he knows Mr. Razmi took the photo, and that the magazine misquoted him.

Mr. Razmi says he first learned about a decade ago that others were claiming his work. Kaveh Golestan, Iran’s best-known photographer, reported to him that Mr. Deghati had said as much at a European photo exhibit. Mr. Razmi didn’t know that Mr. Golestan also had taken credit for the photo in classes he taught, according to several of his photojournalism students at Tehran University.

When Mr. Golestan died in 2003, after stepping on a landmine in Iraq, newspapers around the world reported that he had won a Pulitzer Prize. His widow, Hengameh Golestan, says her late husband never took credit for the photo and that the obituaries were mistaken. Mrs. Golestan says she knows Mr. Razmi took the photo.

On the fourth floor of a cement apartment building in northern Tehran, Mr. Razmi sat on a dimpled leather couch. His living room walls were barren of his work. Beside him on his couch, his son Ali sat rapt, tamping down a pinch of Cavendish tobacco in his father’s pipe. Mr. Razmi struck a match and puffed.

“My sons have told me a lot of times that I should go and prove that I am the photographer,” Mr. Razmi said, his voice soft and his eyes cast down. “I said, ‘No. Better not.’ ”

It is understandable why he feared claiming credit for such a public indictment of the Islamic Revolution. The hardline Mr. Ahmadinejad, elected in June 2005, shuttered Shargh, the country’s last large reformist newspaper, three months ago. Mr. Razmi also was still the official government photographer and returned the next morning to the presidential residence to shoot Mr. Ahmadinejad’s cabinet, including the defense minister who in 1979 helped quell the Kurds.

But Mr. Razmi, who is now 58, said part of him always wanted to step forward. He was disappointed when he first saw that his photo didn’t carry his name. He was irked when others took credit, people who “never feel the danger,” he said. And all the time, he was weighted by his secret, that of an ordinary man witness to extraordinary events. “Without this picture,” he said, “I wouldn’t be anything.”

Emboldened by time and dismayed by the opportunism of his fellow photographers, Mr. Razmi decided the moment was right to tell his tale after this newspaper approached him. “My name should be there,” he said.

Minced lamb and baghali polo — a dish of green rice and beans — awaited Mr. Razmi at home, and he sat down to eat with his wife and sons, his sister, two nephews and his father-in-law. They talked about Mr. Razmi identifying himself, for the first time, as the anonymous photographer.

Mr. Razmi had done nothing wrong, they reasoned. He photographed the execution with the permission of the judge. He turned over his negatives to the photo editor. He described his work to the prison guard. He wasn’t the one who sent the six images abroad. He didn’t earn a single rial or credit from his photo, the rights to which had passed from UPI to the Bettmann Archive to Corbis Corp.

The family approved of his decision to come forward. Voicing hope that it wouldn’t harm Mr. Razmi, eight people around the table spoke as one: “Inshallah,” if Allah wills it.

Past midnight, Mr. Razmi retreated to a bedroom closet and lifted his canvas camera bag by the faded strap that had hung over his shoulder during the 1979 revolution. Here in pale black ink on the inside flap of a pocket was written in Farsi, “Jahangir Razmi, Ettela’at, 328 331” — the newsroom number to phone in the event of his death.

Mr. Razmi returned to his living room. He had unearthed his contact sheet and stills for his annual look back at the execution. “I have pictures that have never been published,” he said.

The photographer held in his right hand a sheaf of black-and-white photographs, 27 images that were 26 years, five days old. He withdrew from a plastic sleeve a furling photo of the sandwich maker who cried as he waited to be shot.

Mr. Razmi thrust it forward. “Who has this picture?” he asked, his voice rising. “Nobody.” He thrust forward a photo of the dust that rose over 11 fallen men. “Who has this picture?” he asked. “Nobody.” He thrust forward a photo of the bodyguard surveying the men he had shot. “Who has this picture?” he asked. “Nobody.”

Mr. Razmi returned the photos to the sleeve that had held them since 1979. And for the first time since he had secreted them home in a folded newspaper, he put them in a Samsonite briefcase he had long used to store chosen photos from his career.

Says Mr. Razmi: “There’s no more reason to hide.”

Copyright © 2006 The Wall Street Journal. All Rights Reserved

The wild ride of Nestor Makhno

Revolution, civil war and the horseman of the Steppe

The Russian Civil War was one of the great catastrophes of the twentieth century, although it is often overshadowed by the world wars that framed it. Between 1917 and 1922, across the vast territories of the collapsing Russian Empire, perhaps ten million people died from combat, famine, disease, terror, and reprisal. Reds fought Whites, Whites fought Greens, and Greens fought everyone. Autocrats fought anarchists, nationalists fought internationalists, peasants fought cities, and villages fought armies.

The conflict stretched from Poland to Vladivostok, from the Arctic Ocean to the Caucasus, and drew into its vortex Russians, Ukrainians, Jews, Cossacks, Tatars, Armenians, Greeks, Mennonites, Germans, Czechs, Poles, and dozens of other peoples caught between competing visions of the future. and foreign powers inserted themselves into the chaos including Britain, Australia, the United States, and Japan.

As I wrote in an earlier essay, Red and white terror – the Russian revolution and civil war, this was not one war so much as many wars occurring simultaneously. It was less a civil war than a kind of World War 1.2: a continental struggle in which the old order died, and several incompatible new worlds attempted to be born.

The civil war was infamous for its cruelty, Fratricidal wars are bound to be cruel because of the lack of definable front lines, because of their instant extension into civilian life, and because of the terrible hatreds and suspicions which they engender. The fighting ranged right across the Eurasian landmass was violent beyond belief, especially the unspeakable cruelty of the Cossack atamans in Siberia.

All too often, whites represented the worst examples of inhumanity, yet on that score, the Bolsheviks were unbeatable. Reds and Whites are both revealed as more than comfortable burning villages, shooting traitors, suspected or real, and torturing and massacring prisoners, and men women and children caught in the crossfire.

There were many instances of racist violence mainly on the White side – particularly towards Jews. The Whites’ antipathy towards Jews was to some degree due to their perception that most senior Bolshevik were Jewish, but mostly it was that old devil that never went away, antisemitism. Retreat from the major cities brought out the worse in the Whites, with terrible massacres of Jews – although they were not the only perpetrators. It is estimated that there were some 1300 anti-Semitic pogroms in the Ukraine during the civil war, with some 50000 to 60000 killed by both sides. There were pogroms in Belarus also, but these were not nearly as murderous as in Ukraine. A Soviet report of 1920 mentions 150,000 dead and as many again badly injured.

Among the prophets, executioners, bandits, ideologues, adventurers, warlords, saints, opportunists and dreamers thrown up by that upheaval, few were more remarkable than Nestor Ivanovych Makhno: charismatic Ukrainian anarchist insurgent, peasant revolutionary, cavalry commander, military opportunist, libertarian idealist, and larger-than-life folk hero.

Unlike so many of his contemporaries, he survived. He survived the firing squads, the battlefields, the prisons, the epidemics, and the purges. Survived the tuberculous contracted in jail before the revolution and the many wounds inflicted throughout the war. The man who fought Germans, Austro-Hungarians, Ukrainian nationalists, Cossacks, White armies, Red armies and assorted local warlords eventually died not with a rifle in his hand but in a Paris hospital bed, impoverished and tubercular, an exile far from the black-earth steppe that had made him famous.

Or perhaps infamous – because Makhno belongs to that category of historical characters who stubbornly resist classification. The Whites hated him because he was a revolutionary peasant insurgent. The Bolsheviks hated him because he was a revolutionary peasant insurgent who refused to obey them. Ukrainian nationalists distrusted him because he placed anarchism before nationalism. Landowners feared him. Foreign occupiers hunted him. Even fellow anarchists sometimes regarded him with suspicion. Yet somehow this peasant from Huliaipole (now in the Zaporizhzhia Oblast of Ukraine) acquired an almost mythological stature.

A century later, artists still paint him, films are made about him, rock bands commemorate him. political activists still claim him, and historians still argue about him. Wikipedia’s entry about Nestor Makhno, is long, thorough, and extensively detailed, but makes for exciting reading with its comprehensive account of his colourful career during, before and after the civil war, and even, beyond the grave.

The two manga-style illustrations that prompted these reflections are themselves evidence of that enduring fascination.

Nestor Makhno, the Legend

The first thing one notices is that the artists are not attempting strict historical realism. The Makhno of these images is tall, windswept, and handsome, somewhere between a Cossack ataman, a samurai, and a western gunslinger. The black banner streams dramatically behind him. His gaze is fixed on some distant horizon. One expects a swelling Russian chorale to surge in the background panning across limitless grasslands.

The real Makhno was another man. Contemporary photographs show a relatively short, compact man, often clean-shaven, intense rather than imposing. His contemporaries remembered not his stature but his energy. He seemed perpetually in motion. Charismatic, restless, impulsive, brave, reckless, idealistic and pragmatic in equal measure. The sort of man who appears during periods of social collapse and seems almost generated by the turbulence itself.

Yet the artists understand something important: historical memory rarely preserves people as they actually were. It preserves them as they are remembered. The artwork therefore depicts not so much the historical Makhno as “Makhno the Legend”, the anarchist rebel rider of the Ukrainian steppe. And legends tell us as much about those who create them as they do about their subjects.

The flag in the first picture identifies his force as the Revolutionary Insurgent Army of Ukraine. One speech bubble proclaims: “My ne khochemo zavoyovaty vladu – my khochemo zruynuvaty yiyi nazavzhdy!”  – “We do not want to seize power- we want to destroy it forever!” A poster declares: “No to authority! No to the Party! No to the State! Long live the free community!” Another slogan advocates “Free councils of free people.”

One can almost hear every bureaucrat in history grinding their teeth. For Makhno was that rarest of political creatures: an anarchist who genuinely seemed to mean it. Here was one who would have signed to Denearys Targaryen’s vow not to join the wheel but to break it.

A Kaleidoscope of Lost Futures

The popular memory of the Russian Civil War tends to reduce it to a struggle between Reds and Whites. Bolsheviks versus monarchists. Revolution versus reaction. Reality was considerably messier. The conflict resembled a kaleidoscope more than a chessboard.

The collapse of the Romanov Empire unleashed a bewildering array of competing visions. Monarchists wanted restoration. Liberals hoped for constitutional government. Socialist Revolutionaries dreamed of a peasant democracy. Bolsheviks sought proletarian dictatorship – with themselves as it unchallenged ruler. National movements emerged across the empire’s periphery. Foreign powers intervened. Countless local strongmen pursued their own ambitions. Entire regions changed hands repeatedly.

The lands between the Dnieper and the Don were particularly complex. They were never inhabited solely by Russians and Ukrainians in the neat modern national sense. These were borderlands in the deepest historical meaning of the word. Cossacks rode the steppe. Mennonite farmers cultivated colonies founded generations earlier. Jews lived in market towns and cities. Greeks inhabited settlements along the coast. Tartars maintained ancient communities. Armenians traded. Germans farmed. Merchants, smugglers, soldiers, pilgrims, revolutionaries and dreamers moved constantly through the landscape.

Every modern nation prefers neat origin stories. But history seldom cooperates.

Makhno emerged from this world of overlapping identities and competing loyalties. His Free Territory in southeastern Ukraine represented perhaps the most improbable political experiment of the entire Civil War: an attempt to create a libertarian society amidst one of the bloodiest upheavals in modern history.

Whether it could ever have survived is doubtful. The twentieth century belonged to states, bureaucracies, standing armies, intelligence services, and industrial administration. It rewarded those who could organise railways, requisition grain, count factory output and maintain prisons. Anarchism, though long part of Tsarist Russia’s political kaleidoscope, was a forlorn hope.

Makhno the Anarchist war lord had a precarious relationship with the ultimately ascendant Bolsheviks. Vladimir Lenin at one time looked upon him favourably. Leon Trotsky, commanding the Red Army, regarded him as a dangerous adventurer, an undisciplined partisan commander whose independence threatened revolutionary unity. Makhno regarded Trotsky as a would-be dictator masquerading as a liberator. Both men were, in their own ways, correct.

Their uneasy alliance against General Wrangel’s White Army in Crimea remains one of those moments when history briefly forces bitter enemies onto the same side before restoring them to mutual hostility. The Makhnovists helped defeat the Whites, but once that task was accomplished, the Bolsheviks turned on their troublesome allies.

The logic was almost inevitable. The Bolsheviks sought power. Makhno sought freedom from power. Those two projects could coexist only temporarily.

My old tutor Tibor Szamuely would undoubtedly have seen the episode as another illustration of what he called the Russian Tradition. Revolutions changed slogans and symbols, but the underlying gravitational pull of centralised authority remained remarkably constant. The old autocracy vanished. New forms emerged. Yet power continued to accumulate at the centre. The names changed. The structure endured. [See, in In That Howling Infinite, The Russian Tradition – Russia, Ukraine and Tibor Szamuely]

Yet for a brief moment Makhno’s movement offered a glimpse of a different possibility. That possibility was ultimately crushed, first by necessity, then by power, and finally by history itself.

Makhno and Anarchism

Makhno did not emerge from a vacuum. Like so much in Russian and Ukrainian history, he was both a product of his time and the inheritor of a much older tradition. The black banners that fluttered above the villages of southern Ukraine during the Civil War carried ideas whose roots stretched back decades, even centuries, nourished by peasant rebellion, intellectual dissent, and a deep suspicion of distant authority.

Russian anarchism emerged in the nineteenth century as a radical critique of both Tsarist autocracy and the centralising tendencies of socialism. Its two great theorists were Mikhail Bakunin and Peter Kropotkin, figures who remain among the most influential anarchist thinkers in history. Bakunin, the aristocratic revolutionary who spent years in prison and exile, rejected all forms of state power, arguing that liberation could never be achieved through a dictatorship, even one claiming to act on behalf of the workers. Kropotkin, the geographer and scientist, developed a more constructive vision, emphasising voluntary cooperation, mutual aid, and federations of free communities. Against the harsh Social Darwinism fashionable in his day, Kropotkin argued that cooperation was as important to survival as competition. Human beings, he believed, were capable of organising society without kings, bureaucrats, or party commissars.

These ideas found fertile ground in the Russian Empire. The vastness of the state, its bureaucratic inefficiency, and its often brutal methods of rule encouraged a culture of resistance. Anarchism attracted intellectuals, workers, and, perhaps most significantly, peasants. Long before Marxism became dominant, populist movements such as the Narodniks had romanticised the peasant commune as a foundation for a more egalitarian society. Although not anarchists in the strict sense, they helped create a political culture in which local self-government and suspicion of central authority were deeply valued.

The revolutionary years between 1905 and 1921 provided anarchism with its greatest opportunity. Across the empire, workers established councils, peasants seized land, and local militias sprang up with little regard for official authority. In the great cities anarchist groups were active among factory workers and sailors. The Kronstadt sailors, who would later revolt against Bolshevik rule in 1921 under the slogan “Soviets without Bolsheviks,” reflected many anarchist principles even if they were not uniformly anarchist in ideology.

It was in this turbulent environment that Nestor Makhno emerged. Born in 1888 into a poor peasant family in Huliaipole, a town in the steppe lands of southeastern Ukraine, Makhno encountered anarchism as a young man. Arrested for revolutionary activities after the 1905 Revolution, he spent years in Tsarist prisons where he came under the influence of anarchist intellectuals and immersed himself in the writings of Bakunin and Kropotkin. Prison served as his university.

When the Russian Empire collapsed in 1917, Makhno returned home and transformed theory into practice. His achievement was remarkable. Amid the chaos of civil war he helped create what became known as the. Makhnovshchina (loosely translated as “Makhno movement”), a vast anarchist experiment encompassing large areas of southern Ukraine. Villages elected their own councils. Land was redistributed. Local communities enjoyed a degree of autonomy rare in wartime. Makhno’s Revolutionary Insurgent Army of Ukraine ,often called the Black Army, defended these territories against a bewildering array of enemies: German occupiers, Ukrainian nationalists, White armies, and eventually the Bolsheviks themselves.

Military historians continue to marvel at Makhno’s campaigns. His forces perfected the use of the tachanka – a machine gun mounted on a horse-drawn cart – which allowed extraordinary mobility across the open steppe. His army repeatedly outmanoeuvred larger and better-equipped opponents. In 1919 and 1920, Makhno’s forces played a crucial role in defeating General Anton Denikin and later Baron Wrangel, two of the most formidable White commanders. Ironically, these victories helped secure the survival of the Bolshevik regime that would ultimately destroy the anarchist movement.

Makhno was not alone. Other anarchists left significant marks upon the revolutionary era. Volin (Vsevolod Eikhenbaum), an intellectual and organiser, sought to develop anarchist theory and worked closely with the Makhnovists. Lev Chernyi advocated individualist anarchism and was later executed by the Bolsheviks. Grigori Maximoff became a leading anarcho-syndicalist thinker in exile. Internationally, figures such as Emma Goldman and Alexander Berkman, both born in the Russian Empire, carried anarchist ideas to global audiences and later became disillusioned critics of Bolshevik authoritarianism.

Yet none combined military leadership, mass peasant support, and revolutionary vision quite as successfully as Makhno. His closest parallels are perhaps not found in Russia but elsewhere: Emiliano Zapata in Mexico, Buenaventura Durruti in Spain, or even the medieval peasant rebels who periodically erupted across Europe. Like them, Makhno embodied a recurring historical phenomenon: the attempt to create freedom from below rather than impose it from above.

The tragedy of Russian anarchism was that it found itself squeezed between two powerful forces. The Whites regarded it as revolutionary chaos; the Bolsheviks regarded it as a rival source of legitimacy. Both sought centralised authority, disciplined armies, and hierarchical control. Anarchism offered something messier and more elusive: local autonomy, voluntary association, and a belief that ordinary people could govern themselves. In the brutal arithmetic of the Civil War, such ideas proved difficult to defend.

Yet the legacy endured. Makhno became a folk hero to some, a bandit to others, and a symbol of resistance to authority for generations of radicals. His black flag bearing the slogan “We wish for freedom” represented more than a military movement. It expressed a persistent current in Russian and Ukrainian history – a stubborn refusal to accept that power must always flow from the centre, from the capital, from the party, or from the state. In a land famous for tsars, commissars, and strongmen, that may have been the most revolutionary idea of all.


Makhno (centre) with other Insurgent command staff in Huliaipole (1919)

The Black Banner and the Long Shadow of Empire

Makhno’s story emerged from one of the great turning points of modern history: the collapse of empires. The Russian Civil War was not simply a struggle between Reds and Whites. It was also a struggle over what would replace the Romanov Empire. Across the former imperial territories, peoples sought to determine their own futures. Finns, Poles, Estonians, Latvians, Lithuanians, Georgians, Armenians, Azerbaijanis, Ukrainians and many others attempted to carve nation-states from the wreckage of imperial collapse. Some succeeded. Others failed. All became caught up in the wider maelstrom.

The tragedy of the twentieth century is that many of those hard-won freedoms proved fleeting. The new states born from the ruins of the Romanov, Habsburg, Hohenzollern and Ottoman empires found themselves trapped between larger and more powerful forces. First came the Nazi storm. Then came the Soviet one. Much of Central and Eastern Europe spent decades living under one form of domination or another. The promise of national self-determination so evident in the years immediately following the First World War often ended in occupation, dictatorship or subordination.

Yet history did not stop there.

The Soviet Union eventually followed the Romanov Empire into the graveyard of failed political systems. One by one, nations that had disappeared behind the Iron Curtain re-emerged as sovereign states. Flags long hidden returned to public squares. Languages once marginalised regained official status. Historical memories suppressed for decades resurfaced. The old imperial map dissolved once again.

Seen from this perspective, the present war in Ukraine is not simply a dispute over territory. It is part of a much longer historical argument about empire, sovereignty and identity.

A century after Reds, Whites and Greens fought across the same black-earth steppe, war once more rages in the lands where Makhno made his name. Huliaipole itself has found itself close to the front line. Mariupol, Melitopol, Berdyansk, Donetsk, Zaporizhzhia and Kherson appear both in histories of the Civil War and in contemporary battlefield reports. The same landscape that once carried cavalry columns, tachanki those iconic horse drawn machine gun wagons )and, as this is Russia, sleighs), and armoured trains now carries tanks, drones, missile batteries and mechanised brigades.

The present conflict is not a replay of the Russian Civil War. Historical analogies are useful servants but dangerous masters. Yet the recurrence is striking. Once again Ukraine finds itself at the centre of a struggle shaped by the afterlife of empire.

At its heart lies a question that has echoed through East European history for more than a century: who has the right to determine Ukraine’s future?

An increasingly irredentist Russia, drawing heavily upon imperial memory and historical grievance, has launched an assault upon a former imperial possession that insists upon its own sovereignty and right to choose its own path. The arguments are framed in terms of security, history, ethnicity and geopolitics. Beneath them lies a much older issue. The Russian Empire fell. The Soviet Empire followed it. Must Ukraine forever remain part of another state’s historical imagination, or may it exist fully as itself?

It is impossible today to read about the Russian Civil War without occasionally experiencing moments of historical déjà vu. The geography is hauntingly familiar. Kharkiv. Kherson. Mariupol. Melitopol. Odesa. Kyiv. A century ago, armies advanced and retreated across these landscapes. Reds, Whites, Greens, nationalists, foreign interventionists and local militias fought for possession of the same territory. Entire populations found themselves trapped between competing visions of political destiny.

The circumstances are very different today and historical analogies always have limits. Yet the persistence of geography and geopolitics is striking. The lands between the Dnieper and the Don remain what they have long been: a frontier between competing narratives of the past and competing visions of the future.The same rivers flow. The same cities endure. The same questions of identity, sovereignty, memory and belonging continue to reverberate across the region.

History does not repeat itself exactly. But it often revisits old addresses.

One suspects Makhno would have found the question both familiar and irritating.He was never a nationalist in the conventional sense. Unlike Bandera and later Ukrainian nationalists, Makhno did not fight for a Ukrainian nation-state. He fought for something simultaneously larger and smaller: local autonomy, peasant self-government and anarchist freedom. He distrusted all states, whether Russian, Ukrainian, Bolshevik, White, German or otherwise.

This has made his legacy awkward for modern Ukraine. States generally prefer heroes who wanted states. Makhno wanted free councils of free people.

As a consequence, he occupies an unusual place in Ukrainian memory. Unlike Bandera or Shukhevych, he has never become a central pillar of official state mythology. Unlike the controversial legacy of the OUN-UPA or the Waffen-SS Galicia Division, debates surrounding Makhno are not primarily about nationalism. Instead, he exists in several overlapping forms at once: the historical insurgent commander, the libertarian icon celebrated by anarchists across the world, the regional folk hero of southern Ukraine, and increasingly, the son of Ukraine who resisted domination from distant centres of power.

None of these versions fully captures the man.

The historical Makhno remains elusive. His movement opposed antisemitic pogroms more consistently than many contemporary forces and included Jews within its ranks, yet it operated amidst the appalling violence and carnage of the Civil War and was never entirely untouched by it. His Free Territory represented one of the most ambitious anarchist experiments in modern history, yet it was also shaped by the brutal necessities of war. Admirers romanticise him. Critics emphasise the contradictions. Both have evidence on their side.

Perhaps that ambiguity explains his enduring fascination.

The unknown artist who created the image at the head of this essay gave his Makhno a modern Tryzub or trident belt buckle, a symbol of today’s Ukrainian resistance and resilience. It is a striking touch and a thoroughly anachronistic one. The symbol derives from the seals of Volodymyr the Great and modern Ukrainian statehood. Makhno himself never wore it.

The artist is making a statement. This is not merely Makhno the anarchist. This is Makhno the Ukrainian hero. The image therefore fuses three different figures into one. There is the historical insurgent Makhno of the 1918-21 Civil War. There is the anarchist her of libertarian mythology. And there is the modern Ukrainian patriot Makhno recruited into the story of national identity – retrospectively enlisted into a national story that he himself might have regarded with considerable scepticism. He spent much of his life rejecting national labels in favour of anarchist ones.

The anachronisms are historically dubious but symbolically powerful. But history rarely asks permission before appropriating its characters in an ongoing contest over memory.

Makhno in Red Army uniform, 1919

Twilight in Paris

And then there is the final act.

What happens after the war is over? Most stories conclude when the hero rides away. Real life begins afterwards. Makhno’s cavalry charges, victories, defeats and escapes belong to legend. The more intriguing question is what became of the dream once the banners were lowered.

Defeated but not destroyed, Nestor Makhno escaped the fate that overtook so many of his contemporaries. Unlike countless White and Red commanders, he did not perish on a battlefield, before a firing squad, or later in Stalin’s Great Terror. Unlike John Brown, Custer, and Davy Crockett or the Australians Ned Kelly and another horseman Harry “the Breaker” Morant, he did not die with his boots on. Miraculously, given the odds against him, he survived.

And improbably, the horseman of the steppe ended his days in Paris.

One imagines him there during the 1920s and early 1930s, sitting in smoky cafés among White émigrés, ex-Bolsheviks, anarchists, monarchists, refugees and stateless wanderers arguing about futures that had already vanished. The thunder of cavalry had faded into memory. The revolutionary epic had dissolved into reminiscence.

Nestor Makhno died on 25 July 1934 at the age of forty-five, worn down by tuberculosis, old wounds and years of hardship and, latterly, poverty. He was cremated and his ashes placed in the columbarium of Père Lachaise Cemetery. Not beneath a black banner. Not in the black earth of the Ukrainian steppe. Not in the town where his rebellion began. His ashes were placed not in the Ukrainian black earth but in niche 6686, a small compartment among thousands of others.

There is something wonderfully ironic, literary even, about that. The anti-clerical anarchist who spent his life fighting states, hierarchies and institutions, who once commanded tens of thousands of insurgents and rode across southern Ukraine pursued by enemies on every side, ends his journey among the famous dead of France, surrounded by poets, musicians, revolutionaries and dreamers.

History possesses a sense of humour.

Yet perhaps the final irony belongs to memory itself. For the world has turned another circle since his death.

The Black Army vanished and the Free Territory of the Makhnovshchina disappeared. They survive only in memory. Stalin’s Soviet Union rose and fell. The nations that struggled for freedom amidst the ruins of empire endured decades beneath first Nazi and then Soviet domination before re-emerging as sovereign states. The world that produced Makhno  passed into history, and now, in the lands where Makhno once rode beneath a black banner, another war is being fought over questions of empire, identity, memory and self-determination.

What would Nestor Makhno make of it all?  We cannot know. But one suspects he would recognise the landscape immediately. And perhaps that is why he refuses to stay buried. The ashes remain in Père Lachaise. The legend still rides the steppe.

There is a Russian word, toska, which Nabokov famously described as a spiritual anguish without precise object. A longing for something absent. A yearning that cannot quite be named. One suspects Makhno understood it. So did Chekhov. So did many of the exiles who haunted Paris in those years. For what is exile if not a prolonged conversation with vanished possibilities?

The revolutionary epic dissolved into memoirs, arguments and recollections. The thunder of cavalry became stories told over coffee and cigarettes. The dream survived. The dreamers grew old.

Yet Makhno remains. Not exactly as he was. Not exactly as he would have wished to be remembered. But alive nevertheless in paintings, songs, novels, political arguments, historical debates, and manga-inspired artwork.

The artist who gave him a Tryzub belt buckle and the physique of a cinematic hero understands something essential. Historical memory is not an archive. It is a conversation between past and present. Each generation creates the figures it needs. And so the anarchist who rejected states has become part of a national story. The peasant insurgent has become a folk hero. The historical man has become a legend.

The ashes rest quietly in Père Lachaise. The legend still rides the steppe. And somewhere beyond the horizon, beneath a black banner snapping in the wind, Nestor Makhno continues his endless charge toward a freedom that history never quite allowed him to reach.

Paul Hemphill, June 2026

For more on Russia, Ukraine and the Soviet Union in In That Howling Infinite, see Russky Mir – Russian history’s long shadow

Makhno, 1921. Wikipedia

Author’s note

For the dear departed, Père Lachaise is the best address in Paris. Some 300,000 people reste ici. A cavalcade of French cultural and political history, with a few foreign entombments, including the playwright Oscar Wild and Doors front-man and zeitgeist icon Jim Morrison.

I have always loved the place. I have wandered its avenues among the celebrated and the forgotten, the visited and the unvisited. It occurs to me that perhaps there is a verse yet to be written about those whose names draw no pilgrims and whose flowers have long since withered. Next time I find myself there, I think I shall seek out niche 6686 and offer a quiet dobryi den to the old anarchist.

The singers, and the dancers, and the actors, and the chancers,
The rebels and the statesmen, and the fallen communards,
Napoleonic Generals and politicians’ wives.
The poets and the dreamers, all those other famous lives.

Paul Hemphill, Chanson – living next to Jim

Coda: The Wall

History occasionally produces coincidences so perfect that a novelist would be accused of over-writing them.

Nestor Makhno spent his final years in Paris and today rests in the columbarium of Père Lachaise Cemetery. Visitors come to see Oscar Wilde, Jim Morrison, Édith Piaf, Chopin, Proust and a host of other luminaries. Few seek out the old anarchist from Huliaipole. Yet not far from where his ashes lie stands one of the most potent revolutionary monuments in Europe: Le Mur des Fédérés, the Wall of the Federals.

It was here, on 28 May 1871, that the last defenders of the Paris Commune made their final stand. After a week of savage street fighting- the Semaine Sanglante, the Bloody Week – surviving Communards retreated through the eastern districts of Paris, fighting among the tombs and avenues of Père Lachaise itself. Cornered among the graves and monuments, they were overwhelmed. One hundred and forty-seven prisoners were lined up against the wall and shot. Thousands more would be executed in the days that followed.

The image possesses an almost unbearable symbolism. Revolutionaries making their last stand in a cemetery, fighting among the dead before joining them.

For later generations of socialists, communists and anarchists, the Paris Commune became something far greater than its brief seventy-two-day existence. Marx regarded it as the first example of proletarian government. Lenin studied it obsessively. Trotsky drew military lessons from its failure. Bolshevik revolutionaries saw in the Commune both an inspiration and a warning. It represented what revolution could achieve, but also what happened when revolution hesitated.

When the Bolsheviks seized power in 1917 they consciously invoked the Commune’s memory. Lenin famously noted with satisfaction when the Soviet regime survived longer than the Commune’s seventy-two days. Soviet propaganda elevated the Communards into secular saints of the revolutionary tradition. Streets, factories and institutions were named in their honour. Their red banner became one of the sacred relics of international socialism.

The symbolism endured even into the Space Age. The Soviet Union, which liked to present itself as the culmination of all previous revolutionary struggles, repeatedly invoked the Commune as a precursor to October 1917. A banner associated with the Paris Commune was ceremonially carried aboard an early Soviet space mission – a remarkable journey for a symbol born in the barricades of nineteenth-century Paris. One could scarcely imagine a more dramatic arc: from the cobblestones of Belleville to orbit around the Earth.

And here, perhaps, lies the final irony.

The Commune inspired the Bolsheviks. The Bolsheviks built the Soviet Union. Makhno spent much of his life fighting the Bolsheviks. Yet in death he came to rest within walking distance of the Wall of the Federals, among the ghosts of the very revolutionaries whose memory helped shape the revolutionary tradition that ultimately hunted him into exile.

The layers fold into one another like a Russian matryoshka doll. Open Makhno and one finds the Civil War. Open the Civil War and one finds the Revolution. Open the Revolution and one finds the Commune. Open the Commune and one finds the old dreams of liberty, equality and fraternity that first burst forth in revolutionary France. Each generation inherits the visions of those who came before, and each generation remakes them, sometimes beyond recognition.

One wonders what Makhno would have made of the Wall. He might have admired the courage of the Communards while distrusting those who later appropriated their memory. He might have reflected that revolutions, like nations, are often most attractive in defeat. Victors build institutions. Martyrs become legends.

And perhaps there is another lesson in Père Lachaise itself.

The cemetery gathers together monarchists and republicans, communists and anarchists, believers and atheists, poets and soldiers, dreamers and executioners. The quarrels that once seemed world-shattering now coexist in uneasy silence beneath the trees. The dead no longer argue.

Yet their stories continue to speak.

So when I eventually return to Père Lachaise and seek out niche 6686, I shall also walk to the Wall of the Federals and salute the ghosts of the old revolution. Between them lies much of the history of the modern age: revolution and reaction, hope and disappointment, dreams of freedom and the realities of power. The Communards fell there. Makhno rests nearby. The Soviet Union that claimed their inheritance has itself vanished into history.

And still the questions remain. The wall stands. The ashes remain. The legend rides on.

Le Mur des Fédérés, Pere Lachaise

Epilogue. Midnight in Paris (with apologies to Woody)

There is one final irony to Nestor Makhno’s story that deserves mention, because it reminds us how strange history can be.

When one thinks of Paris in the 1920s, one tends to think of Woody Allen’s Midnight in Paris, that charming fantasy in which a modern writer wanders the streets of Montparnasse at night and stumbles into the city’s golden age. There are Hemingway and Fitzgerald, Picasso and Gertrude Stein, Cole Porter at the piano, Salvador Dalí being magnificently Salvador Dalí, and a parade of artists, poets and dreamers whose names would come to define the twentieth century.

The film is whimsical, nostalgic and perhaps a little romanticised. But the extraordinary thing is that it is not entirely wrong. Paris really was like that.

The city into which Nestor Makhno arrived in exile was arguably the most intellectually crowded place on earth. Somewhere in Montparnasse, Ernest Hemingway was learning how to write short sentences and long silences. F. Scott Fitzgerald was turning glamour and self-destruction into literature. James Joyce was wrestling with language itself. Gertrude Stein was hosting salons where painters, writers and poets mingled late into the evening. Picasso and Matisse were redefining art. Stravinsky and Ravel were reshaping music. Josephine Baker was electrifying audiences. André Breton and the Surrealists were busy dismantling reality and rebuilding it according to dream logic.

And scattered among them were thousands of exiles.

The collapse of empires had turned Paris into a gathering place for the displaced. White Russian aristocrats who had fled the Revolution. Former tsarist officers reduced to driving taxis. Poets, philosophers and theologians trying to reconstruct vanished worlds. Jews escaping pogroms. Political refugees from every corner of Europe. Revolutionaries who had won and revolutionaries who had lost. Monarchists, liberals, socialists, anarchists, nationalists and stateless wanderers all sharing the same cafés, boulevards and boarding houses.

One can almost imagine the scene.

At one table sits Ivan Bunin, the future Nobel laureate, lamenting the Russia that had vanished. At another, the philosopher Nikolai Berdyaev debates faith and freedom. Across the room a young writer named Vladimir Nabokov quietly works on stories that few people yet read. Somewhere nearby Emma Goldman and Alexander Berkman are arguing about anarchism. Victor Serge is reflecting on the revolution’s betrayal. Trotsky occasionally passes through the émigré world like Banquo’s ghost, carrying with him the memory of power and the certainty of future assassination.

And then there is Makhno.

Not the manga hero with the flowing coat and trident buckle. Not the legendary ataman galloping across the steppe beneath a black banner. Just a tired, impoverished former insurgent commander, his lungs damaged by tuberculosis, surviving on odd jobs, writing memoirs, arguing politics, and trying to make sense of a world that had moved on without him.

It is difficult not to feel a touch of svetlaya grust’ – that luminous melancholy the Russians understand so well – in contemplating the image. Somewhere in the city Hemingway is inventing modern prose while Makhno is remembering cavalry raids across the Donbas. Picasso is dismantling perspective while former White officers reminisce about the Crimea. Joyce is transforming literature while exiled revolutionaries debate futures that have already vanished.

The worlds scarcely intersect, yet they coexist in the same city.

And perhaps they were not as far apart as they appear.

For all their differences, many of these figures were grappling with the same underlying question. The old world had collapsed. What would replace it? The question haunted the artists as surely as it haunted the revolutionaries. Some sought answers through politics, some through nationalism, some through religion, some through art. All were living among the ruins of certainties.

History often encourages us to imagine neat compartments: politics here, literature there, art somewhere else. The reality is usually messier and more interesting. The horseman of Huliaipole, the author of Ulysses, the creator of Cubism, the composer of The Rite of Spring, the future Nobel laureates, the forgotten exiles, the dreamers, the drunks, the philosophers and the refugees all inhabited the same city at the same moment.

Paris was large enough to contain them all.

Which means that somewhere, perhaps on a damp evening in Montparnasse, while jazz drifted from a nearby club and rain glistened on the pavement, Nestor Makhno may have walked past Hemingway on his way to a café argument, or crossed paths with Picasso without either man recognising the other.

Woody Allen would have appreciated the coincidence.

History, after all, often writes better stories than novelists.

Author’s note: Paris has a myriad of attractions for history tragics. For me, there are three ‘must sees’ that are at the top of the ‘out there’ list. Les Catacombes de Pariss are one. The folk cabaret Au Lapin is another. and the third is La Cimetière du Père-Lachaise, the most famous cemetery in the world.

Makhno in Red Army uniform, 1919

Makhno, 1921. Wikipedia

The Great Unravelling – modern history is built on exodus and displacement 

And who will live in the house after us, my father?
The house, my son, will remain as it was!
Why did you leave the horse alone?
To keep the house company, my son.
When their residents go, the houses will die.
Together we will hold on
until we return.
When, my father?
Tomorrow, my son, and perhaps in another day or two!
That tomorrow trailed behind them, chewing the wind
in the endless winter nights.
Mahmoud Darwish

Two years ago, in an essay in In That Howling Infinite published entitled Modern history is built upon exodus and displacement we wrote: “The term ethnic cleansing is elusive and politically charged. In an age of endemic conflict, identity politics and competing narratives, it has become a contested and often diluted concept invoked with increasing frequency. Yet, it remains undefined in law. Unlike genocide or war crimes, it has never been codified as a distinct offence under international law, and so its use is contested.”

Henry Ergas’s essay begins from a premise that is not wrong in itself: the Palestinian Nakba did not occur in isolation from the twentieth century’s wider history of mass displacement. Modernity proved remarkably adept at producing refugees. The collapse of empires, the rise of nation-states, world wars, partitions and revolutions uprooted tens of millions of people. Greeks and Turks, Armenians, Germans, Poles, Indians and Pakistanis, Jews from Arab lands, and many others found themselves swept into movements of population that often combined violence, dispossession and the attempt to create more homogeneous states.

This broader historical context matters because contemporary discussion of Israel–Palestine often proceeds as though 1948 emerged from a vacuum. It did not. The creation of Israel, the Palestinian exodus, and the simultaneous flight and expulsion of Jews from Arab countries all unfolded in a world where population transfer – while morally disturbing to modern sensibilities – was often treated by governments as regrettable but practical statecraft.

Yet Ergas then moves beyond historical context into a stronger argument: that the Palestinians constitute a unique exception because their refugee status became institutionalised rather than resolved. Here too there is a substantial point beneath the rhetoric. Unlike most post-war refugee populations, Palestinian refugee status passed across generations through UNRWA rather than being handled under the broader UNHCR framework. The expectation of return became central to Palestinian national identity and politics. The refugee camps in Lebanon, Syria, Gaza and elsewhere became not simply humanitarian spaces but political spaces.

But this is where the argument narrows and history becomes more selective.

The essay tends to compress a complex chain of causes into a single line of responsibility. The 1948 refugee crisis did not arise simply because Arab leaders invaded and then refused to absorb the consequences. As discussed previously, historians describe a more tangled picture: military collapse, fear, local expulsions, battlefield conditions, psychological warfare, direct expulsions in some areas, and decisions by Arab authorities all played roles that varied from place to place.

Nor does the proposition that Arab states “created” the refugee crisis command broad historical consensus. What is more broadly accepted is that many Arab states subsequently chose policies that preserved refugee distinctiveness rather than encouraging full integration, often because permanent absorption was seen as abandoning claims of return or acquiescing in Israel’s legitimacy.

There is also a danger in drawing too neat a lesson from other twentieth-century displacements. Many of those “successful” examples came after immense suffering and often under conditions we would now regard as profoundly unjust. The Greek–Turkish exchange, the expulsions of Germans from Eastern Europe, and Partition in India all left deep scars that continue to shape politics generations later. Stability eventually emerged, but stability and justice are not identical things.

This recalls themes from that earlier essay of ours. There,  the argument was not that ethnic cleansing or forced population movements are unique, nor that Israel–Palestine should be detached from wider historical patterns. Rather, the point was almost the opposite: modern history itself appears built on recurring acts of uprooting and demographic engineering. Michael Mann called this “the dark side of democracy”: the tendency of modern states toward homogeneity, where political belonging becomes increasingly tied to identity.

The distinction matters because Ergas implicitly suggests that history eventually tidies itself up – that refugees are absorbed, wounds heal, and life moves on, except in the Palestinian case. The historical record appears less orderly. Displacement rarely disappears; it becomes memory, and memory becomes politics.

The Armenian diaspora still carries the memory of 1915. Partition remains embedded in Indian and Pakistani consciousness. The descendants of expelled Germans preserved memory of lost homelands for decades. Jewish memory of exile persisted for two millennia and became central to Zionism itself. Human beings have shown little inclination simply to reconcile themselves to history and forget.

Which brings us back to a previous discussion about stories and belonging in our Blue remembered hills (2) – the history we hold within us – Tolkien’s sub-creation, Scruton’s observations on home, Tyrion Lannister’s line that “there is nothing more powerful than a good story.” Nations are, among other things, stories people tell about themselves. Refugees do not merely lose houses or land; they lose continuity – the narrative linking memory, place and identity.

Palestinians constructed such a narrative around the Nakba. Israelis constructed one around return after exile and persecution. Both narratives contain truths; both contain mythologies; both can harden into absolutes.

That perhaps is the deeper tragedy. The problem was never simply refugee camps or UN agencies or demographic statistics. It was that two peoples built foundational stories around dispossession and return in the same small strip of land – your earlier “TARDIS nation”: a place physically tiny but historically and emotionally vast, where centuries of memory somehow occupy the same ground at the same time.

The twentieth century produced many displaced peoples. Most eventually found states, borders or political settlements that transformed exile into citizenship. Palestinians remain suspended between memory and statehood, between return and permanence. Whether this makes their situation unique is debatable. That it makes it unusually enduring is harder to deny.

The unravelling, then, may not be the Nakba itself, nor UNRWA, nor even 1948. It may be the wider unraveling of an older assumption: that history’s brutal rearrangements eventually settle into stable endings. History has shown a disconcerting habit of reopening what people believed was closed. And memory, unlike borders, seldom remains where states draw the lines.

What about ‘Whataboutism’?

When one widens the frame as we have dine here, an accusation appears sooner or later, often delivered with a certain weary certainty: whataboutism. The implication is not merely that one has made a weak argument but that one has committed a kind of moral sleight of hand- that by widening the frame one is really narrowing the conscience; that by speaking of Greeks and Armenians, Germans and Jews, Indians and Pakistanis, Bosnians and Rohingya, one is attempting to diminish Palestinians by dissolving them into statistics.

The charge deserves attention because there is such a thing as genuine whataboutism. The old Soviet formulation – and what about your own crimes? – was never an attempt at understanding. It was an escape hatch, a manoeuvre for changing the subject rather than addressing it. One suffering became a shield against discussing another. The object was evasion.

But comparison and evasion are not the same thing.

History itself is an exercise in comparison. Historians are forever placing one event beside another, not because they believe suffering can be ranked on some grotesque league table of misery, but because isolated events often become clearer when seen against a wider landscape. The Nakba did not occur on another planet. It unfolded amid a twentieth century that seemed to possess a grim talent for uprooting people from ancestral homes and redistributing them across maps with ruler-straight borders and bureaucratic efficiency. The century moved populations around with astonishing confidence, as though nations were puzzles whose pieces merely needed rearranging.

To note this is not to say that Palestinian suffering was unimportant, or unreal, or somehow cancelled out by the suffering of others. Human beings do not experience tragedy comparatively. Nobody standing beside a burning village pauses to think, yes, but larger displacements occurred elsewhere. People experience loss in the singular. The family home is not less mourned because millions of others lost theirs too.

And yet memory and history often operate differently. Memory looks inward. History looks outward. Memory says: this happened to us. History asks: where else has this happened, and why?

Perhaps the tension lies there.

Because the Holy Land –  a curious, poorly understood TARDIS territory, tiny on a map and infinite in emotional and historical dimensions – contains overlapping stories of exile and return. Palestinians built a national memory around dispossession; Israelis built one around return after exile and persecution. Both stories contain truth. Both contain myth. Both contain wounds carried across generations.

To place one beside wider human experience is not necessarily to belittle it. Sometimes it is the opposite. Sometimes it is an attempt to recognise that the Palestinian tragedy was not an aberration committed by monsters from another species, but part of a recurring and deeply human pattern – our alarming capacity to convince ourselves that peace, security or national redemption can be achieved by separating peoples and remaking maps.

The question, then, is not whether comparison itself is suspect. It is whether comparison is being used to illuminate or to dismiss.

The former enlarges understanding. The latter shrinks it.

And perhaps that distinction matters, because if modern history teaches anything, it is that human beings have shown little talent for forgetting and remarkable talent for carrying stories — stories of homes left behind, keys kept in drawers, vanished streets and remembered landscapes — across decades and across oceans.

Borders may eventually settle.

Memory seldom does.

Keys, homelands and the stories we carry within us

We did not weep
when we were leaving –
for we had neither
time nor tears
and there was no farewell.
We did not know
at the moment of parting
that it was a parting
so where would our weeping 
have come from?”
Taha Muhammad Ali

There is perhaps a further answer to the question of whether widening the frame becomes a form of whataboutism, and it lies in something written years earlier in In That Howling Infinite, in an essay on Mahmoud Darwish, Ismail Shammout and the symbolism of al-’awda –  return: Visualizing the Palestinian Return – the art of Ismail Shammout]

That essay did not begin with demographic tables, refugee agencies, diplomatic resolutions or arguments about international law. It began instead with Darwish’s father and son, with a house left behind and a horse kept company in the absence of those who had gone. It entered history through memory rather than politics. The language was intimate and domestic because exile is experienced first not through abstractions but through ordinary things: streets once walked, kitchens once occupied, olive trees, neighbourhoods and names. Long before displacement becomes a political problem, it is a human one.

Darwish understood Palestine not merely as territory but as metaphor: a homeland certainly, but also a language of longing, absence and dispossession. Palestine became not simply a place on a map but a way of expressing exile itself. Around that idea grew al-’awda, the dream of return, symbolised by al-muftah, the key that appears throughout refugee camps, paintings and political iconography. The key became more than metal. It became continuity –  evidence that interrupted lives had not entirely ended. Villages might disappear, maps be redrawn, and landscapes altered beyond recognition, but the key remained as a quiet refusal to surrender memory.

The earlier essay eventually moved into more contested territory, discussing UNRWA, inherited refugee status and the possibility that institutions established to preserve refugee welfare had also preserved expectation itself, transforming temporary exile into a political condition transmitted across generations. Yet the order in which those arguments appeared matters. The essay did not begin by reducing Palestinians to a demographic question or a bureaucratic problem. It first sought to understand what loss meant to those who carried it.

Perhaps that touches upon the larger issue raised here. Comparative history and lived memory often ask different questions and operate at different scales. History asks about patterns, causes and precedents. It seeks connections and broader landscapes, comparing one experience with another to understand how societies and states behave across time. Memory is more particular and less interested in patterns. It concerns itself with the singular experience of those who lost something and who continue to carry the memory of that loss.

The two perspectives are not necessarily opposed, but neither are they interchangeable. Statistics without memory can become sterile and detached. Memory without wider historical context can harden into myth, becoming a self-contained narrative resistant to complication.

This has been a recurring theme across earlier discussions – from Tolkien’s idea of sub-creation and Scruton’s reflections on belonging to Tyrion Lannister’s observation that there is nothing in the world more powerful than a good story. Stories are not merely embellishments laid over identity; they often become identity itself. They explain where people came from, who they are, and where they imagine themselves to be going.

Palestinians built such a story around the Nakba and the hope of return. Jews built one around exile and return as well: Jerusalem remembered across centuries, prayers ending with Next Year in Jerusalem, memory transformed into national aspiration. Both peoples, in different ways, carried keys. Some were literal objects passed through generations; others existed in memory and imagination.

Perhaps this explains why the accusation of whataboutism can feel misplaced in such discussions. Comparison does not necessarily diminish suffering by placing it alongside other suffering. Sometimes it attempts the opposite. Sometimes it seeks to recognise that exile, loss and the desire for return are among the oldest and most enduring of human experiences.

The danger lies not in telling stories but in mistaking stories for complete maps of reality. A key can indeed open a door, but after enough years –  after generations have passed, after landscapes have changed and houses have disappeared – it may become something else entirely. It becomes not a practical instrument but a memory carried in the hand, a reminder that home is not always a physical place waiting patiently at the end of a road. Sometimes it survives most completely in the minds of those still searching for it.

In That Howling Infinite, May 2026

In That Howling Infinite  has recently published a long essay explaining its position with regard to what is probably the most intractable conflict in modern times: One Land, Two Peoples: History, Memory, Continuity, and Inheritance 

See also in In That Howling Infinite, Modern history is built upon exodus and displacement, Visualizing the Palestinian Return – the art of Ismail Shammout , We did not weep when we were leaving – the poet of Nazareth 

The featured picture at the head of this blog post is one of Palestinian artist Ismail Shammout’s striking illustrations of Al Nakba, the dispossession of tens of thousands of Palestinian Arabs during Israel’s war of independence, from In That Howling Infinite’s Visualizing the Palestinian Return – the art of Ismail Shammout]

Al Miftah

How the Arab world recast the Nakba

Every May, Nakba Day, with its noisy demonstrations on our streets, brings the same charge against Israel: that the displacement of some 700,000 Palestinians in 1948 was a unique crime in modern history. The reverse is closer to the truth. Almost nothing about the Palestinian exodus was singular. What was singular – and which still disfigures the lives of Palestinians, Israelis and the wider world – is what was done with it ­afterwards.

For two centuries, modern states have been built on the unmixing of peoples. The idea is older than the romantic nationalists who weaponised it. Ferdinand and Isabella expelled the Jews from Spain in 1492, and Philip III the Moriscos a century later, precisely because they could no longer imagine a unified crown ruling a religiously mixed people. France’s revolutionary Jacobins, alarmed at Breton, Provencal and Alsatian, declared linguistic uniformity the price of citizenship; Mazzini and his epigoni said much the same for Italy.

Even that arch-liberal John Stuart Mill argued in 1861 that ­representative institutions could scarcely function in countries divided among “different nationalities” speaking different languages.

Bismarck drew the operational conclusion, expelling tens of thousands of Polish and Jewish “foreigners” from Prussia’s eastern provinces in 1885-86 – a program regarded at the time as enlightened statecraft and applauded throughout the liberal press of central Europe.

The unmixing accelerated as the great land empires – Ottoman, Habsburg, Romanov – gave way to nation-states. The Crimean War alone drove 900,000 Muslims from the Caucasus and Crimea into Ottoman territory; the Balkan Wars and the First World War uprooted two million more.

By 1923, the movements were no longer an incidental consequence of war; they were being designed. The burning of Smyrna in September 1922, which destroyed one of the great cosmopolitan cities of the eastern Mediterranean and drove 200,000 Greeks and Armenians into the harbour while Allied warships looked on, made any continued Greek presence in Anatolia impossible – and the world’s diplomats simply codified the new reality.

The Lausanne Convention of January 1923 compelled roughly 1.3 million Greek Orthodox to leave Anatolia for Greece and 400,000 Muslims to leave Greece for Turkey, stripping each of nationality, their possessions and any right of return. Cretan Muslims who had never seen Anatolia and knew only Greek were shipped to Anatolia; Cappadocian Greeks who knew only Turkish were shipped to Greece.

Set against the Armenian genocide of 1915, the exchange was hailed as humane and progressive, and Athens and Ankara settled into the longest peace they had ever known. Raymond Poincare spoke for the age when he concluded that “the mixture of populations of different races and religions has been the main cause of troubles and of war”.

That lesson governed what came next. In 1944, with Hitler’s empire collapsing, Churchill told the Commons he was “not alarmed by the prospect of the ­disentanglement of populations”. The Potsdam Agreement formalised it, providing for the expulsion of 12 million ethnic Germans from Eastern Europe.

The 1948 Palestinian exodus, known in Arabic as the Nakba. Picture: via Getty Images

The 1948 Palestinian exodus, known in Arabic as the Nakba. Picture: via Getty Images

The German share of Czechoslovakia’s population fell from 23 per cent to less than 2 within five years, under Benes’ decrees that stripped ethnic Germans of citizenship and property overnight. Equally, Poland’s minorities, 30 per cent of its inter-war population, were reduced to under 5 per cent; in 1947, the Ukrainian remnant was forcibly scattered across the new western territories to prevent any cohesive ethnic block reforming.

Meanwhile, the dismantling of Japan’s empire moved another five million Japanese back from Manchuria, Korea, Taiwan and Sakhalin, often after long internment, while Koreans and Chinese were marched in the opposite direction. And in 1947, Partition uprooted between 12 and 20 million people on the subcontinent; Pakistani Punjab’s Hindus and Sikhs went from 20 per cent of the population to 0.2 per cent in four years, amid massacres on the Lahore-Delhi railway that nobody who lived through them ever forgot.

Shortly afterwards it was the turn of the Jewish communities of Iraq, Egypt, Libya, Syria, Yemen and Morocco.

Some 800,000 people, whose ancestors had lived in those lands for two millennia, were evicted, forced to flee or statutorily expelled, losing their nationality and all their assets in the process. Iraq’s Jews, once 40 per cent of Baghdad’s population and producers of the country’s first finance minister, were down to under 1 per cent within five years.

In each case the expectation was the same: the receiving state would absorb its co-religionists or co-ethnics and prevent revanchism. Ataturk’s Turkey did exactly that – any attempts by the Muslims expelled from Greece to organise politically were firmly ­repressed.

So did the Allied occupiers, and then Adenauer’s Federal Republic, banning refugee parties in Germany and shutting down any attempt at creating new ones. Forced to accommodate to their new country, West Germany’s 12 million expellees – many of whom either spoke no German or antique forms of German locals could barely understand – powered the Wirtschaftswunder (economic miracle) and helped ­rebuild Germany’s fabled network of small firms.

Nor were they alone in proving a source of flexibility and innovation. In West Bengal, Hindus expelled from East Bengal transformed the jute industry, making it a pillar of India’s economy. The million-odd North Koreans who fled south during and after the Korean War, Chung Ju-yung of Hyundai prominent among them, supplied the entrepreneurial core of what became the South Korean miracle.

Israel, for its part, absorbed almost the entirety of the displaced Jews of the Arab lands: Operation Ezra and Nehemiah airlifted some 120,000 Iraqi Jews in 1950-51; Operation Magic Carpet flew 49,000 Yemenite Jews to Israel in 1949-50; Operation Moses, in 1984, collected the Beta Israel from the Sudanese desert, every wave transforming the country and yielding generations of military heroes and entrepreneurs.

Palestinian fighters beside a burned-out Israeli Haganah supply truck near Jerusalem in 1948. Picture: via Getty Images

Palestinian fighters beside a Haganah supply truck near Jerusalem in 1948. Picture: Getty Images

The pain was always immense; the absorption, almost everywhere, successful. Almost everywhere. For the Palestinians were the single, decisive exception.

In 1948, the Arab states had launched a war the Arab League’s Secretary-General announced would be “a war of extermination and a memorable massacre comparable to the Mongol massacres and the Crusades”, urged on by the rector of Cairo’s Al-Azhar Mosque, who told Muslims resident in Mandatory Palestine to “leave the territory temporarily so that our warriors can freely undertake their task of extermination”.

But unlike every other immediate historical precedent, the Arab states, having lost the war, refused to absorb the refugees their own actions had created. King Abdullah I of Jordan, who alone among Arab leaders had been prepared to come to terms with Israel and absorb the Palestinians, was assassinated at al-Aqsa in 1951 – a warning that subsequent Arab rulers heeded, until Anwar Sadat repeated the gesture in 1981 and met the same fate.

Predictably, the UN played a major role in the tragedy. Of the roughly 50 million people displaced by the Second World War and its aftermath, only two groups – Koreans and Palestinians – were given country-specific UN refugee agencies, and both were meant to be temporary. The UN Korean Reconstruction Agency wound up in 1958. UNRWA’s own founding report warned that “sustained relief operations inevitably contain the germ of human deterioration” and committed to speedily shut down.

Seven decades later, UNRWA still exists. It employs roughly 31,000 staff to serve almost six ­million registered “refugees”, the overwhelming majority of whom were born decades after 1948 and have never set foot in Mandatory Palestine. A fifth-generation Gazan whose ancestors left Jaffa remains classified as a refugee in a way that would be inconceivable anywhere else on earth.

The result was not merely administrative absurdity but political radicalisation. From the Cairo Agreement of 1969 onwards, the Palestinian camps in Lebanon became autonomous political and military zones. There and elsewhere, UNRWA facilities rapidly evolved into an integral part of the terrorist infrastructure.

Refugeehood ceased to be a temporary humanitarian condition and became an institutionalised political identity organised around the goal of destroying Israel, in an illusion that has instead destroyed generation after generation of Palestinians.

The Nakba charade

Those, in short, are the historical realities. But they do nothing to prevent the annual Nakba charade from insisting that Israel committed a uniquely monstrous act of “ethnic cleansing” in 1948.

Well, if ethnic homogenisation was truly the goal, Israel pursued it with startling incompetence. Arab citizens of Israel today are roughly a fifth of the population, a share slightly larger than at independence. And far from being “ethnically cleansed”, Israel is by far the most plural state in its region with its population Jewish (Ashkenazi, Mizrahi, Ethiopian, Russian), Arab Muslim, Christian, Druze, Circassian and Baha’i.

Compare that with northern Cyprus, where Greek Cypriots went from 82 per cent of the population in 1973 to zero within two years of the Turkish invasion.

Erdogan nevertheless stands among the loudest voices accusing Israel of practising precisely what Turkey has long excelled at – the expulsion and displacement of unwanted peoples, most recently the Kurds of northern Syria. Nor is Turkey alone. Saudi Arabia expelled 800,000 Yemeni workers in 1990 in retaliation for Sana’a’s tilt towards Saddam Hussein, while Kuwait expelled every single one of its 400,000 Palestinians in 1991 for the same offence.

These were not isolated episodes of political vengeance or wartime coercion. They formed part of a much broader regional trajectory: the ongoing, largely forced displacement and disappearance of the Muslim Middle East’s non-Muslim and minority populations.

Albert Hourani’s Minorities in the Arab World (1947) brilliantly mapped a region whose Christians, Jews, Yazidis, Druze, Alawites and countless smaller communities sustained a dense and intricate civic fabric. It was, unfortunately, a world on the cusp of extinction.

Today, the Christian share of Egypt, Syria, Iraq and Lebanon combined – around 11 per cent in 1945 – has fallen to 3 per cent, and the decline is accelerating. Syria’s Christians have declined from 9.7 per cent of its population in 1970 to under 2 per cent today; Iraq’s, once above 6 per cent, are well under 1 per cent; Egypt’s Copts continue their long erosion, from 8 per cent to no more than 3 per cent. Lebanon’s Christians, who made up over half of the population in 1970, are now below a third.

Nor is it a question of Christians alone. The Zoroastrians, whose religion once shaped an empire from the Indus to the Nile, have vanished from the Arab Middle East.

The Yazidis were enslaved and slaughtered in their thousands at Sinjar by Islamic State in 2014, in what was unquestionably a genocide. The Man­daeans of southern Iraq, who numbered 60,000 a generation ago, are now a remnant of perhaps 4,000. Almost everywhere, the Baha’is and Ahmadis have fled.

Stark contrast

As for the Jews, they are entirely gone, a population of close to a million across the Arab world reduced to a few thousand, almost all elderly; Egypt’s once 80,000-strong community now numbers in the low hundreds, and Yemen’s 50,000-strong Jewry, planted there in antiquity, was essentially lifted out by Operation Magic Carpet, with the Houthi takeover erasing the few that remained.

The trend is unmistakeable, the contrast stark. While the West accommodates ever more Muslims, the Arab world accommodates ever fewer non-Muslims. Its activists and their Western fellow travellers demand multiculturalism elsewhere; they ruthlessly deny it at home. They denounce Israel; but they are the ones engaged in the systematic destruction of ethnic and religious variety.

That is the historical fact the Nakba charade cannot accommodate. The 20th century normalised population transfer on a colossal scale, and the suffering it caused was sustained, widespread and ­immense.

But no international movement emerged demanding the restoration of Breslau to Germany, the ethnic reconstitution of the Sudetenland, a right of return for the Jews thrown out of the Arab lands, or hereditary refugee status for the descendants of the enormous population movements that swept across what had been British India. The displaced were expected to rebuild their lives where they arrived. However ­brutal the process, however bitter the pain, the governing assumption was clear: refugeehood was to disappear, not reproduce itself across generations.

The Palestinians alone were taught a different lesson – and that is the true Palestinian uniqueness. They were told not to end refugeehood but to preserve and reify it; not to build a future where they were, but to await the destruction of the state beside them; not to reconcile themselves to history, but to believe that history itself could be reversed.

For 75 years, generation after generation has been raised on that promise. It has brought not return but ruin, not recovery but repeated catastrophe. And as Gaza now demonstrates once again, it is the Palestinians themselves who pay the highest price for the post-war world’s longest and costliest political fraud.

Meet the Crybully, a hybrid of victim and victor

https://spectator.com/article/meet-the-cry-bully-a-hideous-hybrid-of-victim-and-victor/

In April 2015, The Spectator published an essay by British columnist and provocateur Julie Burchill entitled Meet the Crybully: a hideous hybrid of victim and victor.

Her piece is essentially an early diagnosis of a cultural type that has since become almost ubiquitous: the person who combines aggression with performative victimhood. Her central argument is that modern society has blurred what used to be clearer moral categories. Once upon a time, she says, with typical Burchillian exaggeration and sardonic nostalgia, bullies bullied and cry-babies cried. They occupied different social roles. The novelty of contemporary culture is the emergence of people who do both simultaneously: attack others while claiming emotional persecution the instant they are challenged.

Hence the “Cry-Bully”: “a hideous hybrid of victim and victor, weeper and walloper.”

The article’s tone is very much old-school polemical journalism – caustic, theatrical, gleefully impolite, full of tabloid-energy metaphors and comic overstatement. But beneath the mischief lies a recognisable argument about contemporary moral culture.

Her broader thesis is that modern media and politics increasingly reward this fusion of aggression and grievance. The crybully uses claims of hurt feelings, victimhood, or marginalisation not merely defensively but offensively – as a weapon to silence critics, claim moral superiority, or evade accountability. The crybully’s sense of victimhood actually intensifies their feeling of entitlement to lash out. “I am wounded; therefore, I may wound. “Burchill sees this dynamic everywhere: celebrity culture, social media, political activism, and ideological extremism.

What makes the article interesting in retrospect is that it appeared in 2015, just as social media outrage culture was becoming fully institutionalised. Burchill intuited early that public life was shifting toward a strange emotional economy where claims of harm could become instruments of power. Victimhood was no longer merely a condition deserving sympathy; it was becoming a source of status, leverage, and immunity.

This links directly to what In That Howling Infinite has discussed earlier about moral capture and conditional empathy. Once victimhood becomes morally sacralised, people compete for it. The crybully therefore occupies a privileged rhetorical position: simultaneously aggressor and protected class, prosecutor and plaintiff. They can strike while claiming defence.

Burchill’s article also reflects a broader generational irritation with what many saw as the rise of therapeutic language in public life – the migration of emotional fragility into politics, media, and everyday discourse. Her complaint is not that suffering is unreal, but that public culture increasingly incentivises people to dramatise injury while behaving atrociously themselves.

What she perhaps underplays – partly because satire flattens nuance by design – is that some of this phenomenon emerges from genuine historical grievances. Not all claims of harm are manipulative performances. Real discrimination, exclusion, and trauma exist. The difficulty, as we discussed, lies in distinguishing authentic vulnerability from weaponised vulnerability.

Still, her phrase has endured because it captured something many people recognised instinctively but lacked vocabulary for. The “crybully” is not simply hypocritical. Hypocrisy at least tacitly acknowledges standards. The crybully goes further: they transform their own grievance into moral permission. Their suffering – real, exaggerated, or entirely performative – becomes justification for intimidation, censorship, cruelty, or coercion.

In that sense, the essay was less a passing cultural jab than an early sketch of a defining personality type of the social-media-political age: emotionally exhibitionist, morally absolutist, permanently aggrieved, and often surprisingly ruthless beneath the tears

While  Burchill is widely credited with the term “cry-bully” through this article, she almost certainly did not invent it outright. Variations of the word had appeared earlier in American political and online discourse, usually as an informal insult describing someone who bullies others while presenting themselves as persecuted.

What Burchill did, however, was crystallise and mainstream it. Her article gave the term a memorable definition and a vivid cultural framing at precisely the moment when social-media outrage culture was exploding into mainstream politics and journalism. She turned a loose internet epithet into a recognisable social archetype.

That often happens with language. Orwell did not invent every political tendency he described in “Newspeak”; Tom Wolfe did not invent the social climbers of Radical Chic; but certain writers capture a phenomenon so cleanly that they become permanently associated with naming it. Burchill’s essay performed that function for “crybully.”

And the timing mattered. Around the mid-2010s, Western discourse was undergoing a marked shift toward what critics called “call-out culture,” “cancel culture,” or “performative victimhood.” Universities, media, and online activism increasingly framed disagreement through the language of harm, safety, and trauma. Burchill sensed – with her usual mixture of spite, wit, and instinctive cultural radar – that a new rhetorical type was emerging: people who could deploy the moral prestige of victimhood while behaving in domineering or vindictive ways themselves.

So while she probably didn’t coin the word ex nihilo, she gave it cultural traction and enduring shape. After Burchill, “crybully” stopped being just slang and became shorthand for a broader pathology of contemporary public life.

Let us look further …

The Age of the Crybully

One of the stranger developments of contemporary politics is how ubiquitous and indeed, iniquitous the phenomenon has become. It seems that almost everyone now claims to be oppressed, even – perhaps especially – those wielding considerable cultural, institutional, or social power. The old image of the bully was comparatively straightforward: the loudmouth in the schoolyard, the party apparatchik, the censorious cleric, the overmighty state. Bullies once tended to enjoy their own authority openly. They boasted of strength. They gloried in dominance.

The modern crybully is different. He (and increasingly she, they, and the algorithm itself) seeks not merely power but moral exemption. The crybully wishes simultaneously to strike and to claim injury, to silence while proclaiming persecution, to intimidate while insisting upon fragility. It is domination wrapped in the language of vulnerability. A clenched fist wearing a mitten.

The crybully is hardly confined to one ideology. In fact, one reason the term has gained traction is because nearly everyone recognises it in their opponents while remaining remarkably blind to it in themselves. The progressive activist who demands dissenting speakers be deplatformed because their words create “unsafe spaces”; the nationalist demagogue who attacks minorities while insisting his majority culture is “under siege”; the billionaire politician who controls vast media ecosystems while lamenting persecution by “elites”; the online influencer who launches mobs against critics before posting tearful videos about “harassment” – all belong to the same broad family. Different uniforms, same manoeuvre.

And manoeuvre is the right word, because crybullying is fundamentally strategic. Its psychological architecture resembles what psychologists term DARVO: Deny, Attack, Reverse Victim and Offender. The aggressor denies wrongdoing, attacks critics, and then claims to be the real victim. The rhetorical reversal happens with such speed nowadays that public discourse resembles one of those old farces where everyone keeps running through different doors wearing each other’s hats.

We have discussed before how modern political culture increasingly rewards emotional performance over persuasion. In earlier democratic ideals – however imperfectly realised – argument involved evidence, logic, rhetoric, appeals to principle. One attempted to convince opponents or at least neutral observers. Now the primary objective is often moral positioning within one’s tribe. The goal is not to win the argument but to establish innocence and wickedness: saint and heretic, victim and oppressor.

Victimhood, in this moral economy, becomes a form of currency. Not always consciously, of course. Human beings naturally seek sympathy; suffering confers legitimacy. Historically, societies extended compassion toward the weak because weakness usually correlated with actual vulnerability. But modern media ecosystems – especially social media – have transformed victimhood into performative capital. Visibility accrues to outrage. Status accrues to grievance. Algorithms reward emotional escalation because fury and fear generate engagement. The crybully thrives in precisely such conditions.

One sees this particularly clearly in online political discourse. A person launches a vicious public attack on someone’s livelihood or reputation, encourages pile-ons, delights in humiliation –  and the instant they receive criticism in return, they present themselves as traumatised targets of abuse. The asymmetry is extraordinary. “Speech is violence,” they say while engaging in campaigns designed explicitly to destroy reputations, careers, and social standing. The old liberal distinction between disagreement and physical harm collapses conveniently whenever useful. Language becomes simultaneously powerless (“words don’t matter”) and apocalyptic (“this opinion endangers lives”), depending on tactical necessity.

There is, moreover, something deeply theatrical about the crybully phenomenon. Contemporary politics increasingly resembles moral melodrama rather than civic negotiation. Everyone must perform identity publicly; everyone must display emotional authenticity; everyone must signal wounds. Suffering itself becomes competitive. Oppression acquires a prestige hierarchy. Entire ideological ecosystems form around curating grievance narratives – national, racial, sexual, religious, historical – each group insisting its pain uniquely legitimises coercion against others.

And yet genuine suffering is real. This is where the matter becomes morally complicated. Many movements now dismissed as “crybullying” originated in legitimate grievances: racism, antisemitism, sectarianism, misogyny, homophobia, colonial dispossession, economic collapse. We have discussed this tension in relation to Israel-Palestine, where competing historical traumas often become mutually weaponised. Israelis invoke centuries of persecution culminating in the Holocaust; Palestinians invoke dispossession, occupation, and statelessness, encapsukred in al Nakba and al ‘Awda, The Return. Both narratives contain truth. Both can also become rhetorical shields against self-criticism. Trauma explains behaviour; it does not automatically justify it.

The same dynamic appears across Western politics. Parts of the progressive left rightly identified real injustices – discrimination, police abuses, structural inequalities – but sections of the movement gradually drifted toward moral absolutism, where disagreement itself became harm. Meanwhile parts of the populist right, reacting against elite condescension and cultural dislocation, developed their own grievance-industrial complex: every criticism became “censorship,” every electoral loss “theft,” every demographic change “replacement.” Each side increasingly mirrors the other while imagining itself uniquely virtuous.

This mirroring effect is one of the great ironies of the age. The activist denouncing “fascism” adopts authoritarian tactics. The anti-authoritarian populist demands strongman rule. The defender of free speech cheers censorship when directed at enemies. The champion of tolerance displays extraordinary intolerance. The crybully exists because modern political tribes often derive identity less from consistent principles than from emotional narratives of injury.

The media environment intensifies all this. Traditional journalism, for all its flaws, once imposed certain filters: editorial standards, institutional caution, reputational constraints. Social media dissolved many of these barriers. Outrage now travels instantly, context arrives later if at all, and emotional certainty routinely overwhelms factual ambiguity. A claim of victimhood can mobilise millions before verification occurs. By the time nuance appears, the reputational execution has often already taken place.

One might call this the democratisation of accusation.

The result is a culture simultaneously hyper-moralised and strangely amoral. People speak incessantly about empathy while displaying astonishing cruelty toward designated enemies. Public shaming becomes entertainment. Humiliation becomes activism. Entire careers now revolve around ritual denunciation. The crybully does not merely seek victory but emotional submission: the confession, the apology, the compelled affirmation. Medieval heresy trials have returned wearing progressive HR language and algorithmic amplification. Torquemada with a podcast.

Nor is this confined to politics. Corporate culture absorbed the same instincts. Universities too. Institutions increasingly govern through therapeutic language –  “harm,” “safety,” “trauma,” “belonging” –  while exercising bureaucratic coercion beneath the soft vocabulary: power functioning most effectively when disguised as care.

Yet the phenomenon also reflects a broader civilisational anxiety. Modern Western societies, particularly affluent ones, have become psychologically uncomfortable with conflict itself. We possess immense material comfort yet display extraordinary emotional fragility. Ordinary disagreement is recast as existential threat. Politics becomes therapy; therapy becomes politics. The language of clinical distress migrates into every domain of life. One no longer simply dislikes a viewpoint; one feels “unsafe.” The crybully emerges naturally from cultures where emotional discomfort is moralised and resilience subtly pathologised.

But there is another side to this story. The rise of the crybully also reflects declining trust. People increasingly feel unheard by institutions, alienated from elites, suspicious of media, uncertain about the future. In such environments, grievance becomes identity because shared civic narratives weaken. If citizens no longer believe institutions will treat them fairly, they turn to emotional mobilisation instead. The loudest victim often wins attention. Politics becomes less about governing plural societies than about competing claims to injury.

The danger is obvious. A society where everyone claims victimhood eventually loses the capacity to distinguish between genuine oppression and manipulative performance. Real suffering becomes trivialised through inflation. If all disagreements are violence, then actual violence disappears into semantic fog. Worse still, reciprocal crybullying creates permanent escalation: each faction justifies its aggression as defensive retaliation against the aggression of others. Everyone becomes both persecutor and persecuted in their own mythology.

History offers grim precedents. Ethno-national conflicts frequently evolve through precisely such reciprocal narratives of victimhood. Each atrocity becomes justification for the next. Every side remembers its own dead more vividly than the other’s. The Balkans, Northern Ireland, the Levant, Rwanda – all contain examples of communities simultaneously capable of genuine suffering and genuine cruelty while insisting exclusively upon the former.

What, then, is the alternative?

Perhaps merely recovering the old unfashionable liberal virtues: proportion, reciprocity, scepticism toward one’s own tribe, the ability to distinguish discomfort from oppression, disagreement from violence, criticism from persecution. Perhaps also recovering a thicker skin. Democracies require citizens capable of enduring offence without demanding censorship and capable of exercising power without theatrically claiming helplessness.

Most importantly, they require moral consistency. If intimidation is wrong, it remains wrong when committed by one’s own side. If free speech matters, it matters for opponents too. If empathy is a virtue, it cannot operate tribally alone.

The crybully thrives where morality becomes entirely performative – where appearing wounded matters more than behaving decently. That may be why the phenomenon feels so omnipresent today. We inhabit cultures saturated with public displays of virtue but increasingly uncertain about virtue itself.

And so the age oscillates endlessly between aggression and grievance, outrage and self-pity, accusation and lamentation: societies shouting at one another in the language of trauma while quietly competing for power underneath. The schoolyard bully has not disappeared after all. He has merely discovered the therapeutic vocabulary of the guidance counsellor.

The Morality of the Crybully

What makes the crybully phenomenon so corrosive is not merely hypocrisy –  hypocrisy is ancient, almost a constant of political life – but the way it corrodes the very language by which societies distinguish justice from manipulation. In our discussions about moral capture, conditional empathy, intellectual honesty, and the strange contest between the “high” and “low” moral ground, the same pattern kept resurfacing like a half-visible reef beneath modern discourse.

Moral capture occurs when a person or movement becomes so emotionally or ideologically invested in a cause that the cause itself ceases to be examined critically. The tribe absorbs the conscience. One no longer asks, Is this true? Is this proportionate? Is this humane? One asks only: Whom does this help? Whom does this hurt? Morality becomes instrumental rather than principled. At that point, the crybully emerges almost naturally, because any criticism of the cause is experienced not as disagreement but as sacrilege.

And once criticism becomes sacrilege, coercion begins to feel virtuous.

This is where conditional empathy enters the story. We have spoken often about the peculiar narrowing of compassion in modern ideological life: how suffering increasingly counts only when experienced by the “correct” people within the “correct” narrative framework. The dead child in Gaza evokes tears; the murdered Israeli family becomes an inconvenient footnote. Or the reverse: outrage at Islamist terror paired with indifference toward flattened neighbourhoods and stateless civilians. Empathy becomes selective, curated, tribalised. One grieves not for human beings but for symbols.

The crybully weaponises precisely this asymmetry. “Your empathy for them proves your hostility toward us.” Compassion itself becomes grounds for accusation. Nuance becomes betrayal. And so discourse collapses into competitive grievance theatre, each side insisting exclusively upon its own wounds while minimising, rationalising, or outright mocking those of others.

Intellectual honesty is the first casualty.

Not because people necessarily become consciously deceitful, though some do, but because the emotional rewards for self-deception become overwhelming. It is psychologically comforting to believe one’s tribe uniquely moral, uniquely endangered, uniquely justified. The crybully mentality depends upon this self-absolution. One’s own aggression is always defensive; one’s own censorship is protection; one’s own intimidation is accountability. Every act becomes morally laundered through claimed victimhood.

This is why so much contemporary rhetoric feels simultaneously hysterical and curiously hollow. The language of existential peril is deployed constantly, often by people occupying highly privileged institutional positions. Editors, celebrities, politicians, academics, influencers — people with immense platforms and cultural authority — present themselves as besieged dissidents while actively policing dissent around them. The paradox would be comic were it not so socially damaging.

And this returns us to the distinction we discussed between the high and low moral ground.

The low moral ground is simple: naked tribalism, explicit hatred, open authoritarianism. History recognises it easily enough. The high moral ground is more dangerous precisely because it cloaks itself in virtue. The crybully insists not merely that opponents are wrong, but that suppressing them is itself an act of compassion. The language softens while the coercion hardens. One need not burn books if one can socially anathematise their authors. One need not imprison dissenters if one can algorithmically erase them, professionally ruin them, or morally quarantine them.

The old tyrannies often announced themselves with drums and banners. The new ones frequently arrive wrapped in therapeutic language, carrying diversity statements and safeguarding protocols.

That does not mean all claims of harm are fraudulent, nor all activism manipulative. Far from it. There are real injustices, real exclusions, real cruelties. The difficulty lies precisely in disentangling authentic suffering from performative victimhood — and in resisting the temptation to excuse cruelty merely because it is rhetorically framed as justice.

This demands intellectual consistency, which is perhaps the rarest civic virtue of all. It requires the uncomfortable ability to apply one’s standards equally to allies and enemies alike. To condemn dehumanisation even when committed by one’s own side. To acknowledge suffering without immediately converting it into political currency. To resist the narcotic pleasures of outrage and self-righteousness.

Because ultimately the crybully phenomenon reveals something larger about our civilisation: a profound confusion between moral status and moral behaviour.

To suffer does not automatically make one virtuous. To belong to a historically wronged group does not sanctify every action. Nor does possessing power automatically invalidate every grievance. Human beings remain morally complicated creatures, capable of both victimhood and cruelty, often simultaneously. History’s most unsettling lesson may be that the oppressed do not become angels when circumstances change; they become human beings with power.

And perhaps that is the hardest truth modern politics struggles to admit. We prefer melodrama to ambiguity. Saints and monsters are easier to process than flawed people navigating impossible histories. Yet once societies lose the capacity for moral complexity, they drift toward permanent mutual denunciation, each faction simultaneously convinced of its innocence and its persecution.

The crybully is therefore not merely an irritating personality type of the social media age. It is the symbolic citizen of a culture that increasingly confuses feeling wounded with being right, visibility with virtue, and accusation with truth.

A civilisation cannot survive indefinitely on those terms. Eventually reality intrudes. Actions still have consequences. Power remains power even when exercised tearfully. And no amount of therapeutic vocabulary can entirely conceal the ancient human temptation underneath it all: to dominate while claiming righteousness, to wound while insisting one is wounded, to occupy both the throne and the scaffold at once.

This essay was written in conversation with an AI language model, which contributed to drafting, phrasing, and conceptual articulation. What appears here is not unmediated thought, but considered thought: selected, tested, revised and revised again, and owned.

See also in In That Howling InfiniteA Political World – Thoughts and Themes, including:: Moral capture, conditional empathy and the failure of shock, Standing on the high moral ground is hard work and Shaping facts to feelings – debating intellectual dishonesty 

Postscript 1. The biggest Crybully of them all?

The term “crybully” usually describes someone who presents themselves as a victim while simultaneously wielding considerable power, attacking opponents, or intimidating critics. Donald Trump is often described that way by critics because his political style combines grievance and dominance in almost theatrical tandem: he portrays himself as persecuted by “elites,” the media, courts, universities, bureaucrats, foreign allies, even election systems – while also projecting strength, retaliation, and triumph.

What makes the label stick for many observers is the contrast. He is, after all, one of the most powerful and protected figures on Earth: billionaire celebrity, former president, political movement unto himself. Yet much of his rhetoric is built around betrayal and victimhood. The emotional engine of Trumpism is often not “we rule,” but “they are cheating us.” That sense of embattlement is politically potent because it invites supporters to feel both aggrieved and righteous simultaneously.

But the phenomenon is hardly unique to Trump, and that is where things become culturally interesting rather than merely partisan. Modern politics across the spectrum increasingly rewards performative vulnerability married to aggression. Institutions, movements, and leaders now compete not just for power but for moral victim status. The language of injury has become a form of authority. In that sense, Trump may be less an aberration than the loudest, most gifted practitioner of a broader age of grievance politics — part WWE heel, part populist tribune, part tabloid Jeremiah railing against the storm while selling tickets to it.

The image itself captures that familiar Trumpian mode: mouth open mid-declaration, fingers pinched in emphasis, occupying the room entirely. It is performance as politics, politics as performance – the old television instinct that attention is oxygen. Whether one sees him as a demagogue, a showman, a symptom, or a political genius often depends on whether one thinks the grievance which he channels is fabricated, exaggerated, or fundamentally real.

Postscript 2. Outside looking in

One of the more curious spectacles of contemporary politics is the rise of the insider who markets himself as an outsider: the millionaire broadcaster presenting as a battler, the nationally syndicated columnist lamenting that “people like me aren’t allowed to speak”, the television panellist with a nightly platform insisting he is being silenced by “the elites”. It is a performance now so common that it barely registers as contradiction.

In Australia, this phenomenon is especially visible in parts of the Sky News ecosystem – Rowan Dean, the opinionated, contrarian editor of the Spectator Australia portal and host of Sky News’ Outsiders programme, being an obvious example – where commentators cast themselves as tribunes of the “forgotten people”, channelling the language of suburban grievance and cultural dispossession while operating from within one of the country’s most powerful media networks. The rhetorical trick is not new. What is new is the intensity with which institutional power now dresses itself in the clothes of marginalisation.

This is where the idea of the “crybully” becomes useful. The crybully combines aggression with perpetual claims of victimhood: attacking, denouncing, ridiculing, demanding consequences for opponents — while simultaneously insisting they are the ones under siege. They are not merely critics of power; they are often participants in it, sometimes beneficiaries of it, but they derive moral energy from presenting themselves as embattled dissidents standing against a corrupt orthodoxy.

The irony, of course, is that many of these figures possess enormous cultural reach. They dominate newspaper columns, television panels, radio slots, publishing circuits, and increasingly lucrative social-media ecosystems built on outrage and resentment. Yet every criticism becomes “censorship”; every disagreement, proof of persecution; every loss of cultural dominance, evidence of oppression.

There is also something profoundly theatrical about it. The old conservative self-image was one of authority, stewardship, and institutional confidence. The new populist pose prefers the aesthetics of rebellion: the leather jacket of anti-establishment defiance worn over the tailored suit of establishment access. The outsider identity becomes less a sociological reality than a branding exercise.

And so we arrive at the peculiar modern spectacle: insiders cosplaying as insurgents, powerful voices speaking endlessly about their powerlessness, media elites railing nightly against “the media elite” – a hall of mirrors in which grievance itself becomes both commodity and shield.  For more on this subject in In That Howling Infinite, see: Outside Looking In. Although written ten years ago, it remains relevant.

Rowan Deane

Postscript 3. Solid Rock

I am reminded of the Dire Straits song Solid Rock, featured on their 1980 album Making Movies: “When you point your finger ’cause your plan fell through / You got three more fingers pointing back at you “Written by Mark Knopfler, it focuses on themes of accountability, authenticity, and avoiding illusions. It’s a critique of blaming others for personal failures, highlighting that when you blame someone else, the majority of your hand is actually pointing back at yourself.

It is relevant here insofar as it reminds us in its lyrical simplicity about accountability and of how The crybully mentality depends upon the permanent externalisation of blame. Failure is always someone else’s oppression; criticism is persecution; consequences are violence; disagreement is abuse. The self becomes morally untouchable because it is permanently aggrieved. But, as Solid Rock suggests, reality is less accommodating. The line quoted is almost proverbial in its clarity, yet it contains an older moral wisdom modern culture increasingly resists: the possibility that one’s own failures, excesses, delusions, or moral compromises might actually contribute to one’s predicament.

That is precisely what ideological movements captured by grievance struggle to admit. Every setback becomes evidence of conspiracy or persecution rather than occasion for introspection. We see it across the spectrum. Progressives unable to understand why ordinary voters recoil from moral hectoring conclude the electorate is bigoted or “misinformed.” Populists unable to sustain coherent governance blame “deep states,” traitors, immigrants, globalists, or cultural saboteurs. Each side points furiously outward while refusing the quieter, more difficult question: what if part of the problem is us?

Knopfler’s lyric also matters because it quietly rejects the seduction of moral theatre. Making Movies is full of people constructing performances, illusions, romantic myths, cinematic versions of themselves. The crybully does something similar politically: they curate a self-image of perpetual innocence. Yet the hand itself betrays the illusion. Three fingers point back. Human beings remain implicated in their own stories.

That idea has become oddly countercultural. Contemporary discourse rewards certainty, not self-scrutiny. To hesitate, to admit contradiction, to acknowledge one’s tribe capable of cruelty – these are treated as weaknesses. Yet intellectual honesty begins precisely there. We discussed earlier the distinction between the high and low moral ground: the low ground brutalises openly, while the high ground often disguises domination as virtue. Knopfler’s line punctures both forms. It reminds us that moral seriousness begins not with denunciation but with reflection.

There is almost something biblical about it. Before condemning others, examine yourself. Remove the beam from your own eye before pointing out the speck in another’s. The old religious traditions understood a truth modern politics often forgets: self-righteousness is one of the most dangerous intoxicants because it makes cruelty feel deserved.

And perhaps that is why the line lingers. It is not merely a rebuke to blame-shifting; it is a warning against the human tendency to transform disappointment into accusation. The crybully points outward incessantly because looking inward is painful. Self-examination threatens the entire emotional architecture of victimhood. If even part of the responsibility lies within, then the performance collapses.

Knopfler, characteristically, says it with understated elegance rather than ideological bombast. No manifesto, no therapeutic jargon, no grand theory of oppression – just a hand, a finger, and the uncomfortable geometry of blame. Three fingers pointing back. An old truth hiding in plain sight, solid as rock.