Author Archives: David Langwallner

From top: Lord Birkenhead and his birthplace 42 Clifton Road, Liverpool; David Langwallner

To David Gottlieb.

I am towards the conclusion of a marathon case in Manchester but I’m not oblivious of the outside world or my complex Irishness. In recent weeks, thus has commenced the commemoration of the signing of the Treaty and, thus, the inception of the Irish Free State. The Treaty signed 100 years ago in December, but not fully in until July.

Thus, it occurred to me to take Sunday off to visit the birthplace of the man most responsible for the treaty with Michael Collins. FE Smith, otherwise known as Lord Birkenhead, the legendary advocate, the most in equal measures feared, despised, and loved man in Britain; Attorney General when he prosecuted Roger Casement for treason and subsequently Lord Chancellor. Dead at 58 from a sybaritic lifestyle.

His prosecution of Casement meant, of course, that he saw the Black Diaries. Whether they dictated vengefulness or not is unclear but his comment at the end about Casement was hung most brutal, and many thought him an often brutal and uncouth man. I walked past his reddened face for 16 years as Lavery’s portraits hangs in the King’s Inns and students should note how stress can get to anyone in this profession, and an excessive lifestyle and the pressures of the trade. He was only 36 at the time of the trial. He looks older then than me now.

FE Smith was a consistent unionist known as “Orange Smith”, but he agreed with partition based on his democratic views of each choosing. So, he and Michael Collins were, in many ways, in agreement and liked each other. When he signed the treaty, he famously noted that he had signed his political death warrant and Collins quipped, equally famously, ‘I have signed my actual death warrant’ which he had.

Now for many of the above reasons, one would have thought Liverpool would have commemorated him. But not that I could see.

Visiting his house is an eerie experience and a Sunset Boulevard trip; a frisson of unease at a distant age. Passing by the flyovers and industrial nature of Birkenhead, after a ferry across the Mersey, from the oddly named, form an Irish perspective, Clifton Road is his birth and childhood residence, and that dictated his soft spot for Collins.

He was brought up in conditions of art deco luxury and doted on by his mother which led to uneasy and often chauvinistic dealings with women.

Clifton Road is now an active cultural conservation site, not unlike a burial site in an Indian reservation. In fact, the whole street is an architectural anomaly and a mausoleum, one of the most incredible places I have ever seen. A bygone age. Opposite the house, not I doubt by coincidence, is a freemason building. The chosen.

A set of buildings, now residential, where the Liverpudlian rich on the back of a historical boom-built Rockefeller and Carnegie-like structures often in the most kitsch art deco style to their own immortality. A different form of kingdom to heaven or should that be stairway to heaven compared to the modern-day protestant cathedral built in the mock gothic style and with the largest gothic, or mock gothic, nave in the world. ‘Biggest is best’ is always the incantations of capitalism and temporary prosperity.

No. 42 Clifton Road is one of the least gaudy configurations and would certainly not be a match for Oscar Wilde’s grave in Pere Lachaise though, as mentioned, there is no obvious commemoration and total ignorance by the local taxi drivers initially as to where it was and, for that matter, who we he was.

But there are many signs outside indicating the business.

‘Unique paving’s (sic) and landscapes.”

Well, FE Smith’s family was new money and his grandfather, a real estate agent to so perhaps no change. That is also why he liked Collins. Self-made men. Alpha males. Men among women but not very softened by same.

A final thought occurs both were dead quite soon after the negotiation. Smith outlived Collins, true, but was dead in 1930 and what state did they produce? Well, not a state in the last 100 years of leadership governed by men of vision or compromise or, as was said, of Smith genius.

Yeats saw it coming then and now and they could do very little about it but facilitated it.

What need you, being come to sense,
But fumble in a greasy till
And add the halfpence to the pence
And prayer to shivering prayer, until
You have dried the marrow from the bone.
For men were born to pray and save:
Romantic Ireland’s dead and gone,
It is with O’Leary in the grave.

And skipping a stanza and concluding.

They weighed so lightly what they gave.
But let them be, they are dead and gone,
They are with O’Leary in the grave.

Well, no. Treaty year. Liverpool should erect an appropriate plaque and commemoration on 42 Clifton Road.

David Langwallner is a barrister, specialising in public law, immigration, housing and criminal defence including miscarriages of justice. He is emeritus director of the Irish Innocence project and was Irish lawyer of the year at the 2015 Irish law awards. Follow David on Twitter @DLangwallner

Pics: Wikimedia

From top: Albrecht Dürer self-portrait and Patti Smith as she appears on the cover of ‘Horses’; David Langwallner

Several years ago, I lectured law and international relations in The Anglo-American University in Prague. Prague is a transport hub and if you get a bus in three hours or so, you are in Germany or more precisely Nuremberg, a city I had always wanted to visit.

Part of the fascination was to see the house of Albrecht Dürer, but the main interest is that Nuremberg both historically and in terms of present resonances is one of the great cultural sites of the world, if unfortunately a pilgrimage to infamy. The Nuremberg courts. But of course, Durer saw it coming. So, in a counterpoint one should visit his house first to see the apocalypse to come or at least to get a sense of the great man.

Of the talented artists of the Renaissance, Michelangelo, Leonardo, and Raphael, all Italian, are more celebrated and while no one could argue Dürer was quite Leonardo, he was certainly the equal of the others.

Consider the diversity: He was the greatest lithographer woodcutter and engraver of all time though Hogarth has a legitimate claim to second best and he thus made art accessible to the people. Ink in wood or metal leads to an anticipation of the printing press and the distribution of art to the public. So, he was a popular artist with universal leitmotifs.

[Meanwhile. this little serf for 50 Euros, admittedly a bargain bought in a little side street in Umbria, an original 15th century print of his greatest lithograph Melancholia. Of which more later.]

He was also a great painter and of the many works the greatest are his self-portraits, not unlike Rembrandt over time, though he died younger. Dürer’s eyes are like Rembrandt’s eyes. All seeing. All knowing.

Now I am not an art critic and nor I suspect is Patti Smith, but on the cover of ‘Horses’ is the Christ-pose and that, of course, quintessentially is a reference to Dürer’s greatest painting and the greatest self-portrait of all time painted in the year of our lord as he believed 1500, where Christian theology suggested the end of days at age 28. More of that also later.

Lesson One. The Four Horseman of The Apocalypse

The fourth woodcut of his Apocalypse cycle, The Four Horsemen of the Apocalypse, depicts the first four of seven seals that must be opened for the Apocalypse to begin, the first four seals are Conquest, War, Famine, and Death. All now evident. Except the war and conquest is internal and multi directional.

The work is Christian and Protestant, but The Four Horseman is an also a recent book transcription: a meeting of Dawkins, Hitchens et al, the new secular atheists where the argument is that religious faith and belief in its myriad forms is jettisoning evidence, fact, and reasoning. When people have nothing to say they are not to be argued with, Hitchens razors apropros of religion.

The New Atheism’s hatred of religion was, in my view, unbalanced and, as a counterweight, the secular, agnostic Habermas is curiously prescient for the reassertion of Christian beliefs:

“For the normative self-understanding of modernity, Christianity has functioned as more than just a precursor or catalyst. Universalistic egalitarianism, from which sprang the ideals of freedom and a collective life in solidarity, the autonomous conduct of life and emancipation, the individual morality of conscience, human rights, and democracy, is the direct legacy of the Judaic ethic of justice and the Christian ethic of love. This legacy, unchanged, has been the object of a continual critical reappropriation and reinterpretation. Up to this very day there is no alternative to it. And considering the current challenges of a post-national constellation, we must draw sustenance now, as in the past, from this substance. Everything else is idle postmodern talk.”

So, the enemy is not Christian decency surely, but the valueless nihilism that is leading to the apocalypse?

Lesson Two. Knight , Death and The Devil

In this legendary engraving, The knight seem resigned, and his facial features are downcast. The horse in contrast looks well, but death and the devil surround. It is a testament to courage in the face of adversity and the inevitability of courage in the face of defeat by the fates. Keep fighting brave knight even though the odds are impossible. Well or walk away to fight another day. Stay tolerably safe?

It is generally believed that the portrayal is a literal, though pointed, celebration of the knight’s Christian faith, and also of the ideals of humanism. As well as a degree of optimism in the face of adversity. Or stoicism whose roots are in agnosticism also. Or late stoicism Beckett in Westward Ho! is prescient for the Knight’s quest. Every tried, ever failed. Never mind. Try again. Fail again. Fail better.

The fox in the engraving is ambiguous, either an undermining treachery as some interpretations would suggest or a fox’s tail of protection. Well, the fox can change its shape and mean anything, and indeed humanistic works of art can be appropriated by even the most nefarious of people.

Thus the Nazi theorist and ideologue, and later convicted war criminal Alfred Rosenberg extolled ‘Knight, Death and The Devil’, exclaiming that “in everything that you do, remember that for the National Socialists only one thing counts: to cry out to the world: And even if the world is full of devils, we must win anyway.” Hopefully not.

Marco Denevi, in his story ‘A Dog in Durer’s Etching’, writes of “the stench of Death and Hell, because the dog in the engraving already knows that in the knight’s groin a pustule has begun to distil the juices of the Plague.”  Well brave knight. Rage, rage with inevitable decay, as we must in virusland.

Lesson 3: Melancholia

Of all the Works of art of the Renaissance, three stand supreme in the visual arts: the Sistine Chapel, the Virgin on the Rocks in the Louvre and a small engraving by Dürer which as hitherto mentioned, I purchased for fifty euros.

The engraving is a puzzle of a work of symbolism. A magus of ideas. We do not know whether it is daylight or darkness, whether the central figure is man, woman, or hermaphrodite. It is clearly influenced by paganism, alchemy, and astrology. The dark demonological arts. it is also a cold mathematical work and exercise in numerology. It is with the brooding central figure best represented as an allegory of the limits of reason and personal or collective descent into madness when reason no longer makes sense.

There is much also in Merbacks assessment in ‘Perfection’s Therapy: An Essay on Albrecht Dürer’s Melencolia’ (2017) that Dürer intended Melancholia as a therapeutic image, building in him the…

“…self-conception of an artist with the power to heal that calms rather than excites the passions, a stimulation of the soul’s higher powers, an evacuative that dispels the vapours beclouding the mind… This, in a word, is a form of katharsis—not in the medical or religious sense of a ‘purgation’ of negative emotions, but a ‘clarification’ of the passions with both ethical and spiritual consequences”.

Lesson 4. The Self Portrait.

Mentioned at the outset, this was painted at the beginning of the prime of Dürer’s life and there he is, determined and preening. The confident young man in the year and age, but apprehending the end of days.

Well, we need such confident young men now and I ask the younger Dürers of our age to assume the mantle. I am available for elderly counselling and the impartation of wisdom. I have hopefully acquired the zen-like clarity of Melancholia and happy to impart, as a bird of passage, a degree of hard-won wisdom as we enter meltdown.

Though I go on well I must go. Consider the alternatives. Dürer would understand.

David Langwallner is a barrister, specialising in public law, immigration, housing and criminal defence including miscarriages of justice. He is emeritus director of the Irish Innocence project and was Irish lawyer of the year at the 2015 Irish law awards. Follow David on Twitter @DLangwallner

All images via WikiArt

From top; The Rebel by Albert Camus (1951); David Langwallner

Prologue:

This piece is dedicated to Fergus Armstrong, the father of the Editor of Cassandra Voices, Frank Armstrong.

I met Fergus once for a long evening. He was an articulate, humane, and just man of reason. He attended Harvard, in the same class as Mary Robinson, but was a retiring non-public corporate lawyer and arbitrator who became the managing partner of McCann Fitzgerald and a voice of reason before that firm, like all corporate law firms in Dublin, spiralled out of control.

He brought his family up in conditions of liberality and encouragement and, thus, I had the unique spectacle of lecturing his son in The King’s Inns with the culture shock of realisation that one of the last remnants of civility Ireland was in my class. He was an island of civilisation among much less educated people and ridiculed by his neanderthal student colleagues. The last modicum of Irish decency and civic pride.

So, rest in peace, Fergus; and be assured you brought up your children well. Though Frank had to cope with three sisters! It must have been difficult?

****

In a previous piece for Broadsheet, a troll reader implicitly rebuked me for not becoming a judge in Ireland, though I had no such desire. But unlike most, or, at this stage, all of them, I have judgment and it is increasingly lacking in all vectors worldwide. So, what is judgment? More to the point, what is it not?

In our awful Coronavirus Panopticon, we need just people to speak and act out and exercise judgment. Many of them are not for whatever reason. Well, everyone has their reasons and, in a deregulated Hunger Games universe, to speak out is to court disaster, unemployability and death. Discretion is increasingly the better part of valour. To live to fight any other day. But reasons of self-interest are not judgment, quite the converse.

As far as lawyers are concerned, Lord Sumption has intervened, of which more later. So, in my little fool way, have I. Geoffrey Robertson QC, the chairperson of the board of human rights lawyers internationally, the Quasimodo of London, The Good Beast, has merely suggested election of jury trial to facilitate the interest of the profession.

Now it is a nuanced, but slightly limited, response from one of the great intellects of our time and I suspect a discreet one where many bother him and he must be nuanced presumably to preserve both his chambers and the remnants of the human rights profession. Everyone has their reasons.

In contrast to Lord Sumption, the pre-appointment Chief Justice address of the Irish Judge Donal O’Donnell was both in equal measures nauseating and cloying, an uneven and awful tone. Irish judges cannot speak out or respond to criticism. Yet, the British judges do.

In legal philosophical terms, the realist scholar Karl Llewellyn, in evaluating the concept of judgment, argued for the grand style judge who appeals to reason and does not slavishly follow precedent and where principle is consulted, and regard is hard to the reputation of the judge in the previous case.

Ronald Dworkin, who taught me, in an extension of this and elaboration, saw the interpretative role of the judge ultimately to discard black letter rules, in favour of adjudications on moral principle, though one must question some of his principles. In contrast Richard Posner, the American judge and most cited legal scholar in the world, peddles the awfulness of cost-benefit analysis and free market nonsense, homo economicus and wealth maximisation as the arbitral resolution of all disputes. The satanic logic that has got into this mess.

But judging should not be, and is not mercifully, the preserve of lawyers.

The crucial text on judgment is not by a judge but the quintessentially just man. A French writer, journalist and intellectual of whom I have written about extensively, Albert Camus. Now one text I have not previously referenced, save in passing, is his most important for our age of non-judgment, where all reason has been abandoned.

In Camus, The Rebel (1951), his major political tract, we have a paean in a fractured age then and more so now for moderation and an opposition to nihilism. Those who accept that everything is permitted from De Sade to Saint-Just, to modern day fascists, he argues, obliterate all in their wake. They even think, as Camus argues, that the destruction of children is justifiable.

And given patterns of child exploitation economically, both in work forces or drug cartels or indeed by manipulation for nefarious ends ,including the possibility of non-consensual vaccination, we have reached that awful impasse. The unthinkable has become normalised and language to deal with it descended way beyond buzz words into advertising slogans of dubious correctness or into Adorno’s remark about the difficulty of writing poetry after Auschwitz.

The weak are thus defenceless against the inappropriate adults in the corporate political and, indeed, judicial chambers. Thus, unless you unconditionally as Saint Just, the ultimate nihilist, observed, endorse the state, God, country, in a collective non-critical sense, then you are classified as a traitor or a terrorist. Nihilism, evident in the world political elite, increasingly morphs into gangster capitalism, a redolent feature of our toxic age and excludes the humanist intellect or marginalises it. Renders it neutral.

In The Rebel, which in effect is a misnomer, Camus conversely indicates his limits, restraint, adopts the Mediterranean measure and does not unconditionally accept, for example, laws that are military, or emergency-driven. He does not accept the criminalisation of everything such as thought crimes or suspicion-driven crimes increasingly in evidence in the UK, or the curtailment of the right to protest, and he defends the innocent.

The Rebel does not believe in gangster morality or brute force. The Rebel believes thus in form, rationality, and argumentation. Secular or Christian humanism. And flexibility and moderation. Thus, The Rebel is not an extremist. He is a rebel against extremism.

The Rebel does not treat people as sheep, nor accept emergency powers-driven executive action curtailing movement, liberty, protest, and sundry other rights. Thus, a Rebel is a judge, a writer, an intellectual and a journalist.

The crucial point to appreciate is that justice and judgment is multi-vectoral and it is required in all who purport to exercise leadership. Further, to judge at any level, we need to gain empathy for others and submerge our cognitive biases, as the legendary also legal realist judge Jerome Frank also remarked, or more popularly in To Kill a Mockingbird (1961) as Atticus Finch says:

“You never really understand a person until you consider things from his point of view. Until you climb inside of his skin and walk around in it.”

In terms of practical data there are some awful trends.

In extradition terms, the ruthless, amoral pursuit of Julian Assange by American authorities, failing to fess up to their own criminality and resisted by a judge I appeared before recently, on the very narrow basis of the conditions of incarceration in the United States, is now overturned.

Whatever you think of him as a person, hard cases make bad law and the weakest link in the chain is that which needs most protecting. In fact, protecting the ridiculed, the despised, the wretched of the Earth is the indicia of a justice system; as perhaps, though stage managed, is protecting Mr Djokovic.

As Novak found out, vaccine passports have arrived and will curtail movement and travel and divide the world into the vaccinated and the unvaccinated. And the need for further vaccinations to deal with further variants will not just negate leisure activities but actual livelihoods and entitlements to work.

And that doesn’t even deal with how we are being sold products of doubtful utility and potential harm; and do we really know what is in these vaccines with vaccines to come for a multitude of variants? And what can immunise us against the rise of transhumanism?

The virus has ushered in the legislative and executive implementation of serf capitalism, or Chinese capitalism, to reference Sumption; and such legislation becomes embedded with precious liberties, fought for for generations, divested in a state of perpetual emergency of engineered chaos.

In fact, the German jurist Carl Schmitt wrote about how executive actions responding to a subjectively perceived emergency paves the way for totalitarianism, and it is minorities who will be most affected or those perceived to be dissidents. The exclusion and demonisation as well as demonetisation of others culture and context specific.

During the emergency in the US in the Second World War many disgraceful things happened against mixed-blood Americans ,particularly those of Japanese origin who were locked up in concentration camps and exclusion zones. In effect, internment on the dubious basis that they might be involved in espionage disgracefully endorsed by the US Supreme Court in the infamous Korematsu Case (1942). America and the world, now to be divided into de facto or de jure exclusion zones, based on poverty, income and ethnic exclusion. The new cleansing and reset for those that survive.

And what does it matter to people living in a hyper-real, deregulated multi-dimensional and multi-directional ecocide but above all economic Shoah? Well, fight for your rights and not be overly complacent. In fact, this is no time for complacency.

Render yourself immune from influencers and be careful of support for the targeting of one group, whether they be migrants or travellers. Do not unconditionally obey orders. Stay safe but question what that means. Be judgmental.

So, judges, including those of Broadsheet, exercise independence and judgment and speak out and, above all, act and take remedial action. Individually and collectively. Be sceptical. Exercise judgment daily, in an increasingly uncertain world.

Judgment does not involve submission or unconditional compliance. ‘No’ is an especially important word. Say it sometimes.

David Langwallner is a barrister, specialising in public law, immigration, housing and criminal defence including miscarriages of justice. He is emeritus director of the Irish Innocence project and was Irish lawyer of the year at the 2015 Irish law awards. Follow David on Twitter @DLangwallner

Pic: Penguin

From top The Hacienda apartments, Manchester former home of the iconic nightclub of the same name; David Langwallner

I am presently doing a profoundly serious case, the sort of case that is an emblem of the social disintegration of our time, in Manchester Crown Court, though there are two crown courts. The old courts are in Minshull Street.

The history of the street near the historic centre says a lot about Manchester, as the heir to the Minshull fortune, at 65, married Roger Aytoun at the races in Salford, and after her death he used her fortune to fund a regiment. The two streets in celebration of dead lovers now parallel each other as you walk out of the court.

Manchester is a city of commerce and always has been. A Northern citadel. It is in effect The Chicago of the UK. The second great city of England. A short tram ride from Minshull Street is Salford where there is, among other things, The Lowry Museum.

LS Lowry is a great painter of the permanent semi-depression of the North whose wonderful miniatures portray the matchstick men and women and cats and dogs of that era and beyond and seem curiously relevant to our age. It is the capturing of the ordinary pleasures, the simplicity and the abruptness, including sudden death of working-class existence that Is so remarkable and that now perhaps include middle class existence. Sudden death in Covid time like a fog enveloping. And not just Manchester. Though one feels it sharply here. Particularly at night.

The Salford area where the museum is located is also the historic home of John Cooper Clark, alive and well and living in Chelmsford, and Mark E Smith, I believe dead though you never know it with the various reinventions of The Fall.

Surfaces are deceptive. The cosmetic revamp containing the Lowry Museum and The Imperial War Museum is a kind of hybrid between awful Irish financial services corporatism coupled with the remnants of old capitalist buildings. The juxtaposition particularly evident on the tram back,
makes Manchester in effect also look like Chicago with the new skyscrapers of capitalism alongside the historical medium size red brick structures of old capitalism.

The worst failure of urban planning in Manchester is the rebuilt Hacienda building, now apartments, with a semi-broken hologram to replace the famous Factory Records’ club. Memory and oral recollection are still prevalent up North and every taxi driver so far has a story, often-incredibly positive, about Mr. Manchester, Tony Wilson, founder of Factory records. He comes across less as a twat than a combination of visionary and loveable rogue.

I am staying in the historic centre in the Midlands Hotel one of the architectural jewels of Manchester, built in 1903 and beloved by Hitler, who, in the event of an invasion, coveted it. I was reminded of this not when staying here but but in the adjacent Mosley Street named after he family of Oswald Mosley or, as PG Wodehouse would have it, Sir Roderick Spode. I would imagine Mr. Manchester would have thoroughly approved of Wodehouse’s filleting in The Code of The Wooster’s
:

‘Don’t you ever read the papers? Roderick Spode is the founder and head of the Saviours of Britain, a Fascist organization better known as the Black Shorts. His general idea, if he doesn’t get knocked on the head with a bottle in one of the frequent brawls in which he and his followers indulge, is to make himself a Dictator.’ ‘Well, I’m blowed!’ I was astounded at my keenness of perception. The moment I had set eyes on Spode, if you remember, I had said to myself ‘What Ho! A Dictator!’ and a Dictator he had proved to be. I could not have made a better shot, if I had been one of those detectives who see a chap walking along the street and deduce that he is a retired manufacturer of poppet valves named Robinson with rheumatism in one arm, living at Clapham. ‘Well, I’m dashed! I thought he was something of that sort. That chin…Those eyes…And, for the matter of that, that moustache. When you say “shorts,” you mean “shirts,” of course.’ ‘No. By the time Spode formed his association, there were no shirts left. He and his adherents wear black shorts.’ ‘Footer bags, you mean?’ ‘Yes.’ ‘How perfectly foul.”

P.G. Wodehouse, The Code of the Wooster’s (1938).

One must laugh at fascists, what else is there to do. But not too loudly now. The Friends Meeting house of The Quakers is beside the hotel, with its optimistic sentiment of peaceful protest for change being the Quaker way. Not enough now.

There is an inscription close by commemorating the 1813 Peterloo massacre, where civil disobedience arising from an economic slump led to a massacre and the foundation of The Manchester Guardian, but oddly enough, not as a force of progress supporting the martyrs, but as a conservative abreaction against protest, strikes and agitation. Reactionaries thus founded The Guardian. The working-class Manchester and Salford Advertiser called The paper “the foul prostitute and dirty parasite of the worst portion of the mill-owners:.

Lowry,  of his greatest painting, Coming From the MIll (1930), said:

“As I left [Pendlebury] station I saw the Acme Spinning Company’s mill,” Lowry would later recall. “The huge black framework of rows of yellow-lit windows standing up against the sad, damp charged afternoon sky. The mill was turning out hundreds of little pinched, black figures, heads bent down. I watched this scene – which I’d looked at many times without seeing – with rapture.”

Manchester now is like a ghost ship or once grand vessel at half-mast. The case I am doing shows the multiple problems of our age and Manchester has the highest crime rate or one of them in the UK. The shards of light particularly in the evening piercing the skyline and the great civic building deliberately occlude, always have, an ugly reality. Increasingly apparent.

David Langwallner is a barrister, specialising in public law, immigration, housing and criminal defence including miscarriages of justice. He is emeritus director of the Irish Innocence project and was Irish lawyer of the year at the 2015 Irish law awards. Follow David on Twitter @DLangwallner

Pic Alamy Stock

 

From top: Dirk Bogarde in the 1971 film adaptation by Visconti of Thomas Mann’s novella ‘Death in Venice’; David Langwallner

I have been asked by several organs and journals to review Colm Tóibín’s book on Thomas Mann, The Magician, and it is, in my view, beautifully written. But that is an aside.

The reasons that I have been asked, so plentifully, to review are patently obvious in some respects and ought to dictate, in these perilous times, a level of circumspection.

In fact, modesty aside, and he was modest and hardworking, I am like a pale zeitgeist anomaly of Mann. I reserve it for Broadsheet, and it is an especially important text, The Magician, and says a lot by implication. In fact, it is one extended foreboding metaphor for our time.

The very civilised editor of one organ who has published me, although liking my content, does not like my prose style.

Let us remind ourselves this is what the magician Thomas Mann said about his prose style self reflexively and with innate protestant judgment and modesty. He said it is ponderous, ceremonious, and civilised. The same could be said about me. It is certainly not sexy.

Of course, Mann followed that observation with a very pregnant sentence: it is all the thing the fascists hate. Well Touché. That is because they burn books, peddle disinformation, do not like nuanced or reasoned argument and resort to hysteria. As a writer of prose, he is lesser than Kafka and Musil and Broch in the Austro German 20th century canon though he did win the Nobel prize and early (1929).

Buddenbrooks which won him the prize and The Magic Mountain – though suffused with good things – are written in terrible Hoch Deutsch Prussian turgid prose, stilted, civilised and bourgeoisie to quote himself on himself again. So, though much celebrated, they are not terrific books, which is not to diminish that they are particularly good Sehr Gut books of educational and instructional value. If that were all he would be a very minor writer indeed but that is not all. The best was yet to come, in exile.

Death In Venice, though earlier, is a terrific book is a kind of cry of his repressed same-sex attraction and of the end of that that hyper civilised aesthetic intelligence and it is a masterpiece. The film by Visconti with Dirk Bogarde, though laboured, also so. The film includes at length the famous adagio by Mahler and Mann knew Mahler. In fact, he knew everybody and was very catholic in his tastes and his company even extending to rum company.

The literary reputation of which Tóibín does not deal with deliberately is not just based on that short novella or other great short novellas such as Mario the Magician, but of his end-of-life books. Peripatetic and a moving target where he correctly saw himself as a potential golden prize for the fascists. Those late books are after the deluge where the Lübeck conservative let fly at all he hated.

The book traces in detail how the arch senatorial conservative and custodian of the system simply could not deal with Nazis. At an implicit or explicit level, it is a simply a judgment of taste and he had impeccable personal and aesthetic taste and was cosmopolitan but not decadent in same.

As an arch conservative from an arch conservative family, he saw no difficulty in marrying a converted Jewess who he was deeply in love with. At all levels, the book shows how conservative apolitical manners are a force for the good. The book constantly stresses from observation and quotation from his speeches and writings that he was a very apolitical and private man and often observed he was a social and family-oriented person focused on the work. He liked nothing better than to go out for walks with his wife after making love to her.

His mother was Brazilian and his father a toad and a martinet who dictated coercive tones towards family regulation on his death, as the book establishes. So, his attitude towards women was much better and he he disapproved of dissolute men from Oscar Wilde to his lesser writer brother, the fecklessly irresponsible Heinrich Mann.

The reason, I suspect, Tóibín has engaged in his subject, though not explicit in the text, is that Mann is central to our age. He faced an ethical dilemma. He was the famous and esteemed writer in Germany, but he could not abide the boorish and uncivilised Nazis, so he left for Switzerland, America and Switzerland again.. A forced Goethesque grand tour as I am sure he might have framed it. But it led to the greatness Tóibín only touches on.

Dr Faustus is one of the terrific books of all time written when he was near 80. It is a masterpiece. The book is about the composer Leverkuhn who sells his soul to the devil. Fascism. It is also about the corrupting influence of atonal music and its nihilistic dissonance which creates a valueless universe. As do the structuralists and deconstructionists of our age.

Also, I think, it is about Martin Heidegger as the two central intellectual figures in Germany they were both presented with a dilemma. Heidegger fell for the bait and took all the Nazi accolades. He took the Faustian pact even with a Jewish mistress, Hannah Arendt, who wrote eloquently subsequently about the banality of evil. Mann, though wealthy, did say no and there his greatness as a human being resides. In a speech in America, championed indirectly by Eleanor Roosevelt, he said:

“They cannot last, they must not last, they will not last/”

It is what is needed in our time and a kind of parable. The reassertion of civilised cosmopolitan tolerance. Of decency, rigour, and moderation. Of stable family structures and hardworking routines. Of civic decency and private ordering.

And when the magician, the most private of men, feels he must become public.,well that is also necessary for many now.

David Langwallner is a barrister, specialising in public law, immigration, housing and criminal defence including miscarriages of justice. He is emeritus director of the Irish Innocence project and was Irish lawyer of the year at the 2015 Irish law awards. Follow David on Twitter @DLangwallner

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From top: First edition of ‘A Christmas Carol’ by Charles Dickens; David Langwallner

‘God rest ye merry gentlemen
Let nothing you dismay
Remember Christ our Saviour
Was born on Christmas Day
To save us all from Satan’s power
When we were gone astray
Oh, tidings of comfort and joy
Comfort and joy
Oh, tidings of comfort and joy’

Hymn featured in ‘A Christmas Carol’

I am a huge fan of Charles Dickens and, although many find his novels overly sentimental, as if that were a criticism, from the perspective of a lawyer, the second oldest profession as I must admit or confess to being a member, he is a treasure trove of insight.

Not that he cared for lawyers very much and, from those that populate his books, very few charitable evaluations of character are made. Lawyers appear in no less than 11 of his 15 novels. Some of them even resemble humans though, not pleasant ones. Uriah Heap (‘David Copperfield‘) is a “red-eyed cadaver whose “lank forefinger,” while he reads, makes “clammy tracks along the page … like a snail.” Mr. Voles (‘Bleak House’), “so eager, so bloodless and gaunt,” is “always looking at the client, as if he were making a lingering meal of him with his eyes.”

This is of course most evident in Bleak House and the epic suit of chancery that is Jarndyce v Jarndyce, a case that goes on for an eternity and ends in the liquidation of the client’s assets. The lawyers are enriched unjustly. The clients suffer.

Jaundice and Jaundice drones on. This scarecrow of a suit, has, in course of time, become so complicated that no man alive knows what it means. The parties to it understand it least; but it has been observed that no two Chancery lawyers can talk about it for five minutes, without coming to total disagreement as to all the premises.

The Christmas story nonpareil is his A Christmas Carol, with the figure of Ebenezer Scrooge the epitome, then and now, of dishonest business practices. A man dedicated to the pursuit of profit at the expense and exploitation of others. A corporate monster, like many of whom I have had the displeasure of meeting and serving.

He is of course not isolated in the collected Dickens oeuvre populated by a whole array of greedy Victorian businesspeople such as the infamous Mr. Gradgrind in Hard Times and a plethora of lawyers who, as a profession and as mentioned earlier, get the full force of Dickensian odium and contempt and rightly so. It is the culture of greed and human exploitation that most strokes his ire.

Of course, Dickens was the great chronicler of the instabilities and social malaise of Victorian society to which our present woe-begotten age is returning He is not isolated as such a chronicler and such later social realist writers as Orwell in How the Poor Die or depression-era literature such as The Grapes of Wrath said as much, but not with the same everlasting grip on the public imagination.

Dickens was the spokesperson for injustice in 19th century Victorian England. He was not just a writer but a speech and paper giver and the prototype of a public intellectual. His serialised books were followed avidly by a vast readership. Often there was a melodramatic quality of what would happen next, and Dickens was in effect the voice of the people. Vox Populism.

Mr. Micawber ends up in a debtor’s prison and in a reflective moment defines happiness and unhappiness. Happiness income one pound one shilling outgoings one pound unhappiness the obverse.

Thus, take care of the pennies and the pounds will take care of themselves in classic Thatcherite terms but equally the commoditisation of human existence has clearly penetrated Mr. Micawber. In covid times, the awful truth is that frugality does or may not matter nor does pensions or education and many will be destroyed in covid and post covid era if there is such an era.

Micawber of course defined himself in terms of money and in that respect, he was a failure. Now no one may have much money or much worth anything. a devalued and debased universe of quasi-internment and the debtor’s prison or bankruptcy or in fact Malthusian death through suicide or mental health deterioration and indeed physical health decline.

And when anyone has the temerity to present themselves like Oliver Twist with his bowl of porridge and ask for more, then the authorities of the modern-day workhouses go berserk. Are you not happy with your existing pile of gruel? Well, not really. We need more to survive and have a decent standard of living and in Ireland and elsewhere that has created a society of artful dodgers and tax avoiders and just as in the world of Lionel Bart’s musical to survive, we must pick a pocket or two or as Stiglitz would have it, socialism for the rich plutocrats and capitalism for the poor.

Let us all visit the Ghost of Christmas future and mend the error of our ways and reflect on how incompetence, ideology, short termism, greed and neo liberal madness has destroyed our social fabric and, if we have any sense of individual or collective decency, let us all embark on  Scrooge’s voyage of purification and redemption and help the Bob Cratchits of this world and their families.

David Langwallner is a barrister, specialising in public law, immigration, housing and criminal defence including miscarriages of justice. He is emeritus director of the Irish Innocence project and was Irish lawyer of the year at the 2015 Irish law awards. Follow David on Twitter @DLangwallner

Pic: Wikipedia

From top: A still from John Huston’s 1987 film adaptation of James Joyce’s ‘The Dead’; David Langwallner

To my mother, Mai Cashman Langwallner.

A Broadsheet reader wanted a piece on Irish mothers but not just that. What about the disturbed Madonna/whore neo-liberal hierarchy that is Ireland? The missionary position to invoke, blasphemously, Hitchens. Also, dead.

And, of course, my mother floats across my consciousness. Songs my mother told me. Have I let her down? No. I have left and regained a measure or slice of life.

When I once lost a debating competition in Ireland, fixed in UCD, I could see her disapproval before the verdict. She loved Ireland and wanted so much to be someone in that infernal country. I saw her make a brilliant speech as head of a Fianna Fáil cumann – much better than all the plutocratic politicians surrounding her and patronising her when she had several strokes. Her love of Ireland was misguided; her dissatisfaction thus is part of my heritage. Songs my mother told me.

Her great gift to me though was, apart from supporting me through childhood, her intellect and her doting voice, under-recognised and under-appreciated in Ireland. Women of her generation without means and from certain backgrounds.

One also remembers others to use the imperial voice who have influenced us and, close to his death, orator and a gentleman Adrian Hardiman frequently spoke about his posthumously published book Joyce in Court.

I got around to reading this on Remembrance Day. There is only one page in it referencing the greatest Irish short story The Dead.

It is at Page 17, where the main protagonist Gabriel Conroy is evoked as a Castle Catholic, or that is the substance of the remark made to him for writing for the Protestant press. Adrian, conscious of proper traditions, is non-approving of the remark, implicitly so.

The Dead is about Gabriel Conroy attending with his wife Gretta at a dinner party, his dowager aunt’s annual mass ritual on St Stephen’s day or Boxing Day, and he, conscious of the snow, is reminded of an adolescent dead lover and his lust for his wife derailed that night by her and the realisation not helped by being with his elderly aunts and the ballad song that we are all soon to be dead. A gradual realisation more obvious than ever in Covid times. For many.

It is the most lyrical thing Joyce ever wrote, apart from Molly Bloom’s soliloquy. And it is a cornucopia of traditional Irish self-destructive obsessions, nationalism, sex, and death. The crucible of awfulness that is our unholy, or should that be holy, mess then and now. Freud would have a field day with Ireland. It is also about a mass-enforced social obligation and indeed personal inquisition and self-evaluation.

A time of remembrance and chastisement or, a non-Irish word, self-criticism. A time for the realisation that a relationship or marriage is not what it was or could be. Lachrymose, unfulfilled expectations in that most awful of places, Dublin, which has stoked the imagination of all. Awfulness does. As it does me. At Christmas.

Joyce buried in Zurich. Beckett buried in Montparnasse. Wilde in a gaudy grave in Per Lachaise. Yeats his bones contested in France and Sligo but, unlike Harry Gleeson, exhumed. Found.

The legendary actor Donal McCann, dead at 57, played Gabriel in John Huston’s final film and Huston, dying of emphysema, directed the film from an oxygen tent. Late emphysema, as people close to me have. Soon to be dead? Well, in his case, Dead before completion in fact.

The obsessions contained within the short story are a reflection then and now of the limitations of the Catholic bourgeoisie which Hardiman clearly saw. Nationalism and chauvinism, the national failing, leading to the destruction of Parnell also a short story in Dubliners (Ivy Day in The Committee Room) and that tribalistic chauvinism was nothing that Hardiman wanted part of, and rightly so, nor the grubby Fine Gael class.

Greasy, saving, cravenly praying. Sucking up to an ever more corrupt business class. The living dead, or the non-receptive living dead. Though much of the country and other countries in Covid times, without opportunity, enters the realms of the living dead?

And what is wrong and treasonable in writing for the British press? Well, taking the Queen’s shilling, as opposed to taking the shilling of the Irish state, the latter much worse it seems to me in context. The UK to adapt Shakespeare and John Mortimer has given me the lease of life and life is precious as is quality of life in these awful times of moral, economic and, above all, spiritual devaluation.

I should say I charge nothing for anything I write for Irish or UK publications so I’m immune from the rebuke to Gabriel. “The books he received for review were almost more welcome than the paltry paycheck.”

But I have taken the Queen’s shilling as a West Brit, whatever that means currently or, better still, work in a system which preserves under enormous stressors fair procedures and the rule of law which Ireland never has and now clearly does not.

Snow is unusual in Ireland hence the reference to even in The Bog of Allen where there are many dead bodies. And it is often, at one level, associated with cleansing, certainly Calvino’s novel Marcovaldo evokes that sense, snow also comforts. In the Cherokee Indian parable, the sparrow with the broken wing is protected and healed by the pine trees during the winter. Well, all god’s children have wings, and this is a time for healing.

The legendary Danish novel Ms Smilla’s Feeling for Snow is snow as purifier and a metaphor for the exposure of corruption. But snow passes and is ephemeral and thus, as Joyce understood, a metaphor for life as ephemerality in Briggs’ book The Snowman invokes. The death of the snowman as a metaphor for the death of all of us and let us try and pass something on as birds of passage.

Thus Christmas, on a positive note, is about also about renewal, birth, children, and resolutions of what should be done. Happy Christmas, war is over, as John Lennon indicated in a work of art as great as The Dead in a more compressed way.

So let us reflect at Christmas on tribalism, chauvinism, corruption, exclusion of others and the degradation of others and of our own people, the soon-to-be dead through unaffordable housing, living structures and dehumanisation and the virus with more to come, real or hyper real, and be conscious of its social effects.

So, we the living, not the dead, triumph and not dwell on dead lovers or us soon-to-be dead.

Snow as cleansing. But let us not forget the gift of the dead. The gift of knowledge and remembrance. The archaeology of knowledge in a forgetful age.

Time for those living resolutions then. And remember, but not obsess, with the dead for we owe them no obligation but remembrance. The reason we are kind to the dead, as Kundera remarked unkindly, is that we owe them no obligation.

But we do. We owe them the gift of remembrance and what those great ones have done to make things better for us and for the world. Better for the living.

David Langwallner is a barrister, specialising in public law, immigration, housing and criminal defence including miscarriages of justice. He is emeritus director of the Irish Innocence project and was Irish lawyer of the year at the 2015 Irish law awards. Follow David on Twitter @DLangwallner

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From top: Anti covid mandate protest in Vienna, Austria on Saturday; David Langwallner

“After all it’s not that awful. You know what the fellow said – in Italy, for 30 years under the Borgias, they had warfare, terror, murder and bloodshed, but they produced Michelangelo, Leonardo da Vinci and the Renaissance. In Switzerland, they had brotherly love, they had 500 years of democracy and peace – and what did that produce? The cuckoo clock.”

Orson Welles in ‘The Third Man’ (1949).

Well, the Swiss are not the Austrians or Germans, but a similar gene pool and the focus of the world is now on that area of the planet.

Article 5 of The German Constitution and Article 13, unlucky for some, of the Austrian Constitution, protect in bland and qualified terms and, within the law in the Austrian case, Freedom of Speech.

Perhaps more pertinently in a qualified way, the Europan Convention of Human Rights through the jurisprudence of the European Court of Human Rights was, at least historically, very protective, in a bright line way of the right to offend, shock and disturb, and the Americans have gone even further protecting even hate speech of there is not an imminent danger of lawless action.

All international constitutions, in fact, protect the satellite off-shoots of speech, protest, demonstrations, et al.

Now the people of Austria and Germany, with a bizarre double resignation leading to a new former army chancellor and minister for the interior, have until February, at the outer limits, to exercise, by speech and protest, acts to stop compulsory vaccination and a form of vaccine segregation in a world of deep scepticism of endless state compulsion over them and everybody else of their integrity, their choice, their travel. Their human identity, in fact, and if the Austrian precedent or German precedent is upheld, then a slippery slope.

Replication for all the world which surely seems to be an EU agenda. TINA to TINC. There is no alternative if there is no choice. A kind of, to coin a phrase, total spectrum dominance.

Dark atavistic forces in the authoritarian Germanic mindset have been reactivated but at least the Austrians are protesting.

So, let us remind ourselves of the source of Catch 22 (1961) by Joseph Heller, a crucial text for our time.

Now the premise is simple and that is that a service member during the second world war refuses to go on a flying mission, or indeed any other mission, with the certain prospect of death, as to do so would be insane unless, of course, you were a Japanese Kamikaze pilot.

Thus, the indication he would not want to do so is an exercise in rationality. The Catch 22 demonstrates his rationality and not insanity and thus he is trapped. Or an impossible universe creates the problem.

The book is populated by the sociopathy of generals, military officials, and the lunatic fringe, now the world leadership, trying to resolve or rather promote catch twenty-two. Well, where we are now with equally mad leaders. Above all corporate monsters.

So, stimulating the economy which is necessary, unless social distancing is strictly observed, which is not possible will be a disaster and what will follow with successive waves of the infection and mutant versions of the same resistant to vaccination of dubious utility and effectiveness.

The larger Catch 22 is that as depression looms, or is here, we must work but by working, unless privileged to do so, exclusively from the comfort of homes or sealed offices we are all part of Catch 22. That is those parts of the service and public service industry must work or the social structure and economy will collapse, and resources are dwindling, and we will not be bailed out.

That is, we the people, do work, we risk self-immolation with the dangers of various infections and the non-immunity of vaccines that are clearly non-protecting.

And it is small and little businesses that are stuffed by the golden turkeys of our universe. And those most likely to die. Social atomization and distancing also break down community and speech rights, another catch 22.

And Priti Patel, in the UK, wishes to curtail protest on the subjective assessment of a police officer.

John Gray, in evolutionary descriptive not evaluative terms, has spoken and written about a form of Malthusian population cull. Coronavirus achieves that in increments, as may austerity, depression, et al. This is a turning point, not for the good, in human affairs. Our virtual reality but very real economic and Malthusian Shoah. An ecocide of spaces and choice. Enter the zone or seclude yourself from the zone or stop-start. Work remotely, if you can, and occasionally in person and hope to survive.

Consider the percentages in Russian roulette land.

Or better still, protest to survive and secure your rights against the Leviathan and or regain gain a measure of choice.

The central hallmark of a democracy is freedom of speech. There is of course a defined link between speech and the upholding of democratic values and indeed their decline.

The late great Dworkin argues in a distant liberal egalitarian way that free speech is a condition of legitimate government. Stephen Sedley, a great English judge, called it the lifeblood of a democracy. It also opens government to intense scrutiny and indeed private powers. It is said from Locke onwards that it encourages diversity and tolerance.

Dworkin also emphasised the universality of speech and speech as a mode of rational discourse and scientific inquiry, speech as an empiricist scientific counterweight to hysteria or ,as another American theorist, Lewis called it, a search engine for the truth.

And of course, related to speech are the rights of protest and civil disobedience, now also crucially important an in our increasingly controlled and technocratic age. True, fearless, independent criticism is being expurgated from the culture. All of this is being augmented by the control of the press by vested corporate interests and the equally nefarious desperate search for balanced coverage, a non-descriptive comment which, in practice, means giving weight to utter nonsense.

Which undermines the legitimacy of speech or characterising all protesters as extremists left, or right. So, few now comply with the dictum of Walter Lippmann that there is no higher law in journalism than to speak the truth and shame the devil?

Habermas, the greatest living German intellectual at least, derived from Bentham’s speech acts, develops the crucial idea of ideal speech or communicative action which is, in effect, that speech, to be proper and non-ideological or tainted, should take place in ideal circumstances.

He also suggests that such shared speech in a replay of the enlightenment salon will provide optimum technical outcomes that are also morally purposeful.

And Habermas also argued for, the vital importance of civil disobedience in vitalising a democracy, but what Orwell called doublespeak and disinformation, it is everywhere in Covid times.

But to anticipate an objection, the ECHR and other international instruments restrict speech for public health and morals or order public, dangerous concepts often manipulated by state authoritarianism.

Well, as the Stephan Sedley remarked, freedom to speak inoffensively is not worth having and Dworkin argued, towards the end of his distinguished career, for the right to ridicule.

The question of civil disobedience has a long history. One of the first civil disobedients was Antigone who disobeyed against the will of the autocratic King Creon in Sophocles play in 430BC, invoking a distinction between positive law and the law of God.

The right to civil disobedience if that is what it is has never featured very prominently in much of Catholic theology and philosophy as those such as Thomas Aquinas, the official teaching of the church since 1893. Civil disobedience must be sacrificed on the altar of order public or one might say currently public health.

Well to disobey against tyranny is important, as Locke argued, and Gandhi and Martin Luther King, among others, implemented but is ever dwindling as people internalise obedience and engage in anticipatory obedience, as Gros recently argued.

One of the perennial problems of the dissident or the conscientious objector, or the protestor, is to accept at any level the legitimacy of their oppressor’s viewpoint.

This is a psychological condition or conditioning known as Stockholm syndrome and, in our age of compliance, it is to accept the legitimacy of a point of view devoid of rational foundation. To accept his torturer’s right to act.

Foucault also chastised against what many writers have termed blind obedience as did Hannah Arendt, increasingly a feature of our age, in the recent Gros book the question of surplus obedience is canvassed like surplus to requirements where one obeys for the rewards or pledges, assumed promises and out of a visceral sense of gratitude the sort of nonsense compliance that neoliberalism engenders from a fractured undeserving sense of noblesse oblige. Milgram’s experiment on people’s aptitude for sadism, a vicious compliance.

So, people of Austria and Germany, oddly enough many democratic principles are in your hands, and you are doing a good job thus far of ridding yourself of atavistic characteristics.

Protest to survive to achieve moderation against tyranny and a little bit of freedom in coronavirus catch 22.

David Langwallner is a barrister specialising in public law, immigration, housing and criminal defence including miscarriages of justice. He is emeritus director of the Irish Innocence project and was Irish lawyer of the year at the 2015 Irish law awards. Follow David on Twitter @DLangwallner

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From top: Spencer Tracy in 1961’s  ‘Judgement At Nuremberg’; David Langwallner

“By the end of this Winter pretty much everyone in Germany will have been vaccinated, recovered or died”

Jan Spahn, German’s health Minister yesterday.

I am influenced by comments by recent readers about the dangers inherent in the recent Austrian decision to introduce compulsory vaccines and vaccine desegregation, and pen this accordingly.

I have written a piece hitherto for Broadsheet on a New Dark Age which captured some, but not all, of this. Any repetition is brought into primarily because you can only say something well enough once, and to not be self-reflexive is to disimprove it.

In the late 1950s and early 1960s, Stanley Kramer contributed a variety of films assessing in a critical way the key issues of that time.

One of the said films was “Judgment at Nuremberg” (1961). Now the film is not as obvious as you might think as it deals with subsidiary issues, or one of the trials that followed the main trial, the trial of the judges. Yes, judges, if complicit, can be put on trial.

This is a sage point worth noting by the readership in an age where many judges in many jurisdictions are bought and sold or told what to do.

In the film, the case it deals with is the trial of an erstwhile honourable man Professor Ernst Janning played by Burt Lancaster and others in a fictional representation of the judges’ trial for certifying various forms of treatment for mental defects, the infirm and the not fit enough.

The Nazis of course practiced euthanasia against the mentally infirm and gypsies, leftists and all who did not fit in within the Spenglerian racist orthodoxy. Such racist and judgmental evaluations are now a feature of these times and historical remembrance dissipated.

We are a forgetful and careless age, particularly in terms of remembrance. Historical remembrance. Social Darwinism and racial purity are unfortunately back in fashion, to coin an ugly phrase. As well as population entropy and liquidation by the virus, ineffective vaccines, and a very defined sense that for whatever reason those double vaccinated or boosted are suffering very severe after-effects at the very least.

And now the Austrians are compelling – potentially – vaccines.

Compelling invasions of rights of liberty, privacy, possibly internment, quarantine. And by what mechanism force, brute force?

In terms of forgetfulness as one of the last European Humanists intellects left Kundera remarked:

‘The first step in liquidating a people is to erase its memory. Destroy its books, its culture, its history. Then have somebody author new books, manufacture a new culture, invent a new history. Before long, that nation will begin to forget what it is and what it was. The world around it will forget even faster.’

Or destroy, by Facebook consumerism and unregulated information or disinformation in our post-truth universe. Packaged mediocrity and quantity replacing quality.

The film also has the paradigm of middle American decency, Spencer Tracy, playing the guileless and inexperienced and indeed humble American judge trying to evaluate how an erstwhile good man Janning had turned so bad.

One of the alive victims is played by a woman of enormous genius but also a tragic victim in her personal life Judy Garland which was intentional. The emotionally damaged can always become victims. Something all defence lawyers are aware of. The protection of the vulnerable and it is the vulnerable adults and children now who need most protecting.

In fact, many of the American judges at the main trial itself where the Nazi high command were put on trial were simply unprepared for the level of awfulness they encountered, especially Justice Jackson which says something for that residue of decency that did exist in the American character and still to some extent does. They simply could not comprehend evil of this magnitude. The experiences of such horrors may have led to Jackson’s premature death a few years later.

The fictitious judge played by Spencer Tracy, the paradigm of the conservative but liberal American conscience, does not die and is polite to all in a courtly way and especially so to Marlene Dietrich, the wife of an executed general.

His fact-finding mission is, in effect, to understand how a nation turned so bad. It is a judgment on the individual as part of the collective. An attempt to remember and understand and to judge. And judging is important. The great Russian Marxist Medvedev called his book on Stalin Let History Judge.

The historic flickering video footage of the war crimes court at Nuremberg gives the impression the court is larger than it is. It is, in fact, quite small as I saw in a visit. Thus the distances between the judges and the gallery of infamies, that were people like Goering condescending to the last, is noticeably short of a matter of ten feet.

They must have gotten close to each other and evaluated each other respectively. One crucial thought was, of course, that the very citadels of European civilization, the human rights charters, were set up after 1945 so this might never happen again and to some extent this was also the impetus behind the EU. How quaint this all sounds now as we are in a new dark age.

Of course, genocide and ethnic cleansing, resurfaced in former Yugoslavia which I subsequently visited and wrote about in Village magazine.

But such arguments could be dismissed as peripheral to the European experiment now on the brink of total failure and indeed economic and social meltdown in worldwide virus land. But of course, not just the EU but the entire neo-liberal world order.

The defense lawyer played incandescently by the poster boy of German cinema though Austrian, it should be patriotically stressed,  Maximillian Schell, in fact in the defence of Janning, shows how ideas of sterilisation of those that are defective or perceived as such was an idea of the time and, in defence of Janning, argued was most awfully expressed by the legendary US Supreme Court judge Oliver Wendell Holmes where Schell accurately points out he upheld the sterilisation of a young woman Carrie Buck as “three generations of imbeciles are enough.” Buck v Bell (1929).

So even the great intellect of the American Supreme Court and friend of Harold Laski was a proponent of Social Darwinism and eugenics.

Intellectuals can often flirt dangerously to the edge and indeed and especially scientists. The present grip of social Darwinism and Malthusian ideas in the English intellectual John Gray, however ambivalently expressed, is in my view, a case in point. A dangerous extension of ideas that may make transhuman coffee table sense but not humane real-world sense.

We are experiencing a race to the bottom and the gradual insidious destruction of the quality of life of many world citizens, longer working hours, short-term contracts, the quick replacement of the elderly, the diminution of health care, homelessness. Mass evictions and repossessions under the false paradigm and economic model of austerity. Particularly in countries without the remnants of the welfare state.

In effect, it is the infliction of poverty on the defenceless to facilitate the interest of those who caused the collapse. It need not be stressed that the fascist enclaves in Hungary, Poland and Italy are a by-product of this and thus Judgment at Nuremberg is an important reminder.

The concept of universal authority which the film is about attaches to a breach of an obligation erga omnes and that is an obligation owed to humanity. What is called Crimes Against Humanity. Initially, the list was such matters as genocide which ethnic cleansing broadly falls within, slavery and human trafficking were later added, and recent jurisprudence suggests rape also.

But such concepts should be extended in my view to economicide and ecocide, as the new crimes against humanity are the destruction of health care and housing rights by increments by the ruling corporatocracy hand in glove with the over broad extension of emergency powers and hyper-inflated virus that may, or in fact, has sleepwalked us into a new form of corporate fascism and or at least unemployment or underemployment.

As well as docile consumerist compliance in an increasingly accepting and non-critical age of, well, human destruction or consented to self-destruction. Be careful what you consent to or agree to but that is if you have a choice and from late February many Austrians may not.

To force someone to undergo any procedure, as I wrote hitherto for Broadsheet, is at the very least the breach of a liberty or privacy interest but depends on how invasive the procedure. To violate someone without their consent is inhuman and degrading treatment and perhaps, very frankly, torture which is a well recognised crime against humanity.

The voice of what Zizek calls, rightly, late end of days or dark capitalism and the pond scum, as is represented in The Gates Foundation, as it restricts the supply through Oxford of the vaccine to those who most need it, as India and Brazil and others die in droves.

And Gates is, it should be noted, obsessed with Malthusian population control, thinks in numbers and hygiene. I dislike intensely clean-cut bland Palo Alto consumerism. A meaningless mumbo jumbo of nonsense. Dangerous cult nonsense taken far too seriously as David Eggers novel The Circle demonstrates.

So, Judgement at Nuremberg ripples through the ages to get us to focus on when scientists, economists and indeed judges lose their individual and collective sense of humanity.

What they do not have is a Christian or secular moral compass and, in my view, are acting, as Habermas calls it, in a decisionist exclusively technical manner.

And who should be in the dock at Nuremberg? A list of candidates?

Perhaps we should start a game about this and the readers of Broadsheet can contribute. A counter game to the Hunger Games. The gallery of infamy?

But how do you indict a consensus of stupidity or indeed intentional or unintentional evil.

More likely we will be indicted, we the people. Or die in increments by their edicts. Berlin Alexanderplatz (1933) is the crucial Germanic novel of the Depression, dramatized by Fassbinder, in the peritectic chronicle of its everyman German Franz Bide Kopf convict, pimp, worker through the swathes of the Weimar republic is at one level a chronicle of our time.

Dubious associations, flirting with fascism and in passages most relevant and redolent in his panegyric against his erstwhile communist friends which shows how the everyman is seduced:

“We’ve got to have order, order, I’m telling you, order—and put that in your pipes and smoke it, order and nothing else . . . and if anybody comes and starts a revolution now and don’t leave us in peace, they ought to be strung up all along the street . . . then they’ll get theirs, when they swing, yes, sir. You might remember that whatever you do, you criminals”

The most important passages are the slaughterhouse and abattoir scenes, and they are most unsettling and relevant for our times. Equating in effect and dissecting the microscopic slaughter and costing of the slaughter of the animals with human slaughter. And the expiration of man and beast.

There is a famous book by The Portuguese novelist Saramago, recently deceased, called Blindness (1989) where a blindness epidemic takes sway and blindness becomes a communicable disease. The effect ever increasing is an escalated sense of panic. Individuals are quarantined and dehumanised.

Human nature descends to Hobbesian force and brutality. The concept of due process or fairness of legality or the rule of law or human rights goes out the window. Inept authorities make mistakes. Asylums are created for those quarantined and descend into murder and chaos. An armed clique gains control.

There is a window of time between now and February and the Austrians should use it well. The world is watching and this precedent should not be emulated.

David Langwallner is a barrister specialising in public law, immigration, housing and criminal defence including miscarriages of justice. He is emeritus director of the Irish Innocence project and was Irish lawyer of the year at the 2015 Irish law awards. Follow David on Twitter @DLangwallner

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The Austrian flag; David Langwallner

This afternoon.

Further to Austria’s decision to make COVID-19 vaccines ‘mandatory by law’ and implement a full national lockdown starting Monday…

…Austro-Irish human rights lawyer David Langwallner writes:

1) This is a worrying extension of control and compliance and in breach of Article 8 (privacy rights). It is the negation of choice and a slippery slope and should not be followed in other countries.

2) This further accentuates a growing apartheid of people based on legitimate disgareement and concerns.

3) The Austrian right-wing People’s Party, though not a fascist party, are displaying deeply authoritarian tendencies.

4) Noticeably, the sensible Austrian people, by not taking up the vaccine in sufficient numbers, have displayed a degree of scepticism and doubt.

5) How do you enforce compulsory vaccination. By force? by internment? by imprisonment? By quarantine of the unvaccinated? By a round up? This creates all sorts of civil liberties issues and, for some Austrians, is history repeating.

David Langwallner is a barrister specialising in public law, immigration, housing and criminal defence including miscarriages of justice.

Earlier: No, Vienna!

Previously: David Langwallner: The Austrian Mind