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Politics
5 min read

Politics needs some deep stirring emotion

In politics, the struggle between our reason and desire is a fair fight.
A young woman in a blue suit stands at a wooden box in a parliamentary debating chamber looking upward while speaking.
British Youth Council parliamentary debate.
British Youth Council.

“The government you elect is the government you deserve.” So goes the famous quote, variously attributed to Thomas Jefferson, Joseph de Maistre and George Bernard Shaw. Of all these thinkers, Maistre is perhaps the most interesting, describing the business of government as a kind of religion, a political “faith” – one complete with dogmas, mysteries and even ministers.  

Maistre was, somewhat surprisingly amid the turmoil of eighteenth-century France, a staunch monarchist. His argument was that, if the authority of a political leader was only a product of social convention, then that authority would always lack a sufficient degree of legitimacy, leaving the door wide open for violence and strife. His solution was to defend the divine right of kings. This was a controversial position, as much then as it is now.  

Aside from his famous quote about elections, Maistre’s political philosophy is oft-criticised as polemical, hearkening back to a golden era of European monarchy that never really existed. Nevertheless, within his writings, Maistre laid bare a reality that we often prefer to keep veiled: that our political will is as much about what we find to be emotionally compelling as it is about what we find to be rationally convincing, indeed, the latter is very much dependent on the former. The more social scientists are able to demonstrate the reality of subtle phenomena such as confirmation bias, unconscious bias, and racial prejudice, the more we see that we are often being governed by pre-cognitive or non-cognitive instincts, even those of us who like to think that we are better than that. In the end, we have to concede that when it comes to politics, as with so much else, the struggle between our faculty of reason and the desire of our heart is a fair fight.  

  

“They have few standards by which to judge between falsehood and truth in revolutionary movements.”  

Amy Buller

In 1930’s Europe, there was certainly a lot of emotionally compelling politics around. Fascinated by the language and culture of the German people, thinker and educator Amy Buller made repeated visits to Germany from the 1920’s onwards, often accompanied by reading parties of British academics, church leaders and university students. In those decades, as the political landscape of Germany began to shift, her purpose became less about countryside walks and studying, and more about the facilitation of urgent, open and honest dialogue between Buller, her fellow travellers, and their German counterparts in the churches and universities wherever she had contacts. As Hitler rose to power, and even before the full horrors of Nazism became widely known, Amy was compelled to find out why so many people, especially young people, were being attracted by what she saw as a “brutish” ideology.  

In 1943, amid the violence and destruction of World War II, Buller published a book, Darkness Over Germany, which gives a first-hand account of the many people that she and her travelling parties had met, and the conversations that had taken place. Like Maistre, Buller proposed that without God, politics was a dangerous kind of faith in something, one that tended towards violence. In the introduction to her book she writes of “…the tragedy of a whole generation of German youth, who, having no faith, made Nazism their religion.”  

It’s common these days to hear complaints about the political apathy of the young, with polls commonly reporting that only about 50 per cent of British 18 to 24-year-olds are intending to vote in the next General Election. However, there are those who raise the caution that this may not be a symptom of apathy, so much as a symptom of the cultural and structural injustices that put barriers in the way of young people engaging with our nation’s political life. Young people are not likely to “believe in” a political system from which they feel excluded. As Buller’s writing notes – when this happens, young people are likely to put their “faith” in something else.   

Maistre’s solution was perhaps too extreme for modern sensibilities: asking the politically minded populace to believe that their leaders were imbued with the authority of God, by God. In the twentieth-century, Buller took a more moderate view. As the Nazis began to view her with suspicion, trips to Germany became increasingly difficult to arrange, so she travelled elsewhere to places such as Hungary and Bulgaria. Wherever Buller went, she found more and more young people who wanted to talk to her about their political hopes and ideals. Summarising the whole, Buller suggested that Europe’s political landscape was eschewing “shallow rationalism” and instead being shaken by a “deep stirring” of emotion, particularly among young people. She recorded the observation: 

“They all want change, and they all want a chance to play a part in that change, but so few have any religious faith, which means that they have few standards by which to judge between falsehood and truth in revolutionary movements.” 

In a recent report, published by the Jo Cox Foundation, increasing the public’s “political literacy” was highlighted as a key response to prevent the outbreaks of abuse, intimidation and violence towards elected officials. As any educator will tell you, literacy is a two-way street – it includes not only the “shallow rationalism” of knowing information, or knowing where to access information, but also the ability to communicate that information effectively to others. Such communication comes from a much deeper, embodied kind of knowing, one which requires one to have assimilated knowledge and worked with it, feeling its malleability, and testing its apparent truth-claims against an internal standard of what is true and false, or right and wrong.  

For Buller, this internal standard was inextricably linked to faith. To the end of her life, she remained open minded as to what form this faith might take, albeit her own religious practice was firmly Christian. Cumberland Lodge, the educational charity she set up to promote her aims, was from the start open to those of all faiths and none, and she warmly welcomed dialogue between those of different faith groups, including atheism. But in 1943, as Amy Buller looked with hope towards the prospect of a post-war Europe, she summed up the political landscape as follows:  

We are now faced with the greater task of bringing healing to the nations, including our own, I am convinced this cannot be done without a faith in God adequate to the tremendous task of reconstruction.  

Given Amy Buller’s open-mindedness, one can read the word “God” in this statement its broadest possible sense, as referring to whatever moral compass one takes as an internal standard of what is true and false, or right and wrong. But the point remains that the political will is therefore not a matter of rational thought, or not only of that, but is an expression of feelings and instincts that run far, far deeper.  

Review
Culture
Film & TV
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Politics
4 min read

Anna Politkovskaya took on the Kremlin and she paid the ultimate price

The Russian journalist who became a martyr for truth

Simon is Bishop of Tonbridge in the Diocese of Rochester. He writes regularly round social, cultural and political issues.

A journalist wearing a body armour and a helmet looks defiant
Maxine Peak plays Anna.
Rolling Pictures

While truth recedes as a global public good, a war on journalists is taking shape. In 2024, the Committee to Protect Journalists recorded the highest number of journalists killed since collecting data thirty years ago. A large number of these were killed in Gaza, but there were deaths elsewhere: in Mexico, Syrian, Pakistan, Haiti, Myanmar.  Many more than these at least 124 journalists were physically threatened and abused online; an unknown number have been imprisoned and abused by state authorities, shadowy militias or criminal gangs. 

The illiberal tide is more powerful than the flow of liberal ideas today in the unregulated online market of opinion. A groundswell of distrust in so-called mainstream media has been effortlessly generated by sources with no obligations to impartiality and fewer professional standards round fact checking and evidence gathering. While every news source needs to be assessed for accuracy and fairness, the labelling of journalists as ‘enemies of the people’ by President Trump in his first term strayed into language used by the world’s despots. Territory occupied for many years by Vladimir Putin’s Russia. 

The 2025 film Words of War tells the story of Anna Politkovskaya, reporter for the Russian independent newspaper Novaya Gazeta who rose to fame, and therefore to the attention of the Kremlin, through unvarnished despatches from the first Chechen war that uncovered terrible war crimes. Moscow learned its lesson for the second war in Chechnya by declaring the whole region off limits to reporters. For Politkovskaya, this provided an extra incentive to be there, returning to the country over forty times to document ever more awful crimes of disappearance, rape, and torture. 

‘I witness very grave events and no-one else is reporting on them. I can’t not write about it’, Politkovskaya told the BBC’s Sarah Rainsford when they met. The meeting ended with some blunt Slavic advice: instead of interviewing a journalist about the war in Chechnya, the interviewer should be going there herself.   

Words of War has an unreal quality to it. The actors are English, but the scenes are entirely Russian. It is a reminder of Armando Iannucci’s dark comedy The Death of Stalin and even shares an actor in Jason Isaacs, who swaps General Zhukov’s blunt Yorkshire accent for the more cultured tones of Politkovskaya’s anxious husband, Sasha.  

Politkovskaya was a force of nature, and a devout Christian. She knew the kind of people she was messing with and what they were capable of, but she carried on the same, driven by an implacable will to truth. On flying to cover the appalling school siege at Beslan in 2004 – a scene the film begins with - she became violently ill, almost certainly a targeted poisoning like Alexei Navalny suffered on a plane over Siberia. 

I get intimidating calls, people hovering in my hallway, she observed. There’ve been so many threats, there was a time when my editors decided my life really was in danger.  But I’m used to it.  If the FSB is so opposed to me, it only proves that what I’m doing is effective. 

On October 7, 2006, Anna Politkovskaya was shot dead as she entered her block of flats with a handful of groceries. It was Vladimir Putin’s birthday. Five men were eventually found guilty of organising and carrying out the murder, but the person who ordered the killing was never found out. Speculation round how high the order came from is, in a way, superfluous: this is the nature of Russia’s state in the twenty first century.     

Elena Kostyuchenko is a millennial writer who features in the film as a young Novaya Gazeta intern and was inspired by her contact with Politkovskaya, ensuring a legacy in a younger generation: 

She was the first person I saw when I came to the Novaya Gazeta editorial offices. Tall, radiant, with silver-white hair, flying down the hall. I didn’t recognise her. I was just struck by her beauty. 

Stalin’s alleged mantra: no person, no problem, remains barely deniable Kremlin policy. The late politicians Boris Nemtsov and Alexei Navalny are simply the highest profile of a large cohort of individuals barely known in the west who have opposed Putin with stunning levels of bravery. Caricaturing Russians as corrupt, rapacious and violent – as well as being a lazy trope - is to abuse the names of an untold number who retain their dignity, integrity and agency. 

New histories are written in nations where regimes fall, but whether they tell a truthful story about the past depends on the environment the new authorities allow. The human rights group Memorial began this work in the early post-Soviet era, only to be shut down by Putin’s police officers. Words of War should have been made in Russia by Russians. One day maybe it will be, and Anna Politkovskaya will be seen across Russia for what she is: a martyr for truth.  And not an enemy of the people. 

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