Victoria and Albert Museum workers strike across all four London sites against “Amazon-style” conditions and poverty pay.

Workers at the Victoria and Albert Museum (V&A) will strike across all four of the institution’s London sites on October 29 and 30 in an escalating dispute over poverty wages and increasingly intolerable working conditions.

The action, involving union members at South Kensington, V&A East Museum, V&A East Storehouse in Stratford and the Young V&A in Bethnal Green, marks the first time the museum’s entire London network will be hit simultaneously by industrial action. It follows a series of September strikes that exposed a growing rebellion among workers at one of Britain’s premier cultural institutions.

Behind the V&A’s carefully cultivated image as a world-class museum lies a workplace regime that workers have compared to an Amazon fulfilment centre. The dispute first erupted at the newly opened V&A East Storehouse, where staff reported being denied sufficient time for drinking water and toilet breaks during shifts.

That workers had to organise strike action to secure what should be the most basic workplace rights is a damning indictment of the conditions imposed in Britain’s cultural sector. Every Storehouse worker who voted in the ballot supported industrial action, with turnout approaching 88 per cent, reflecting deep-rooted anger over management practices.

Only after the threat of strikes did management partially retreat, agreeing in August to provide two paid breaks per day. Yet this concession addressed only the most visible symptom of a much broader crisis confronting museum workers.

Across the V&A estate, employees have reported staff shortages, excessive workloads and years of declining living standards. PCS members voted 95.39 per cent for strike action with an 87.04 per cent turnout, showing overwhelming support for a fight against management’s offensive. Workers have described severe workplace overheating, dehydration, and even colleagues fainting on journeys home after shifts.

The scale of opposition became clear in September, when about 700 workers, more than half the V&A’s workforce, took part in strike action that forced the closure of several sites.

The workforce’s demands are modest. PCS and Prospect members are seeking a 4 per cent pay increase and an uplift that would bring the lowest-paid workers to £14.80 per hour, making the V&A an accredited Real London Living Wage employer.

Management has portrayed these demands as unaffordable. Yet PCS estimates the difference between its pay claim and management’s existing offer would be roughly £500,000 annually, a negligible sum for a national institution.

Workers have every reason to reject museum management’s claims of poverty. The V&A holds around £72 million in reserves while continuing to invest heavily in major capital projects. As workers have pointed out, funding always seems available for new buildings, refurbishments, and expansion projects, while employees responsible for keeping the institution running are told they must accept further declines in their living standards.

The current dispute unfolds against the backdrop of years of attacks on museum workers. Hundreds of jobs were lost during restructuring carried out throughout the COVID-19 pandemic. Real wages have since been eroded by below-inflation pay settlements, with workers absorbing substantial losses in purchasing power during recent years of inflation.

One worker speaking to Museums Journal summed up the widespread mood: “We’ve finally reached breaking point.”

Management has responded by preparing a fresh round of cuts. Last month, the V&A announced a voluntary exit scheme covering all sites, fuelling fears that the institution is preparing further workforce reductions. Such schemes invariably increase workloads for those who remain while undermining public service delivery.

Responsibility for these attacks ultimately lies not only with museum management but with the Labour government. The V&A itself has acknowledged that government funding settlements amount to real-terms reductions once inflation is taken into account. Across the museum and heritage sector, institutions are being compelled to operate under permanent austerity conditions. The result is a familiar pattern: workers are expected to bear the burden through worsening conditions, suppressed wages and job cuts. At the same time, management pursues financial targets dictated by government spending priorities.

Far from representing an isolated dispute, the struggle at the V&A is part of a broader movement among museum and heritage workers. At Royal Museums Greenwich, workers have balloted for industrial action over pay and Living Wage accreditation. The Royal Armouries is pursuing plans to reduce labour costs. Across the sector, management is advancing virtually identical programmes under the banner of “financial sustainability”, while workers face deteriorating conditions and declining real incomes.

The role of V&A Director Tristram Hunt, a former Labour MP, is politically significant. Hunt’s reported refusal to participate in negotiations shows how little management values the workforce. But the issue is not simply one individual’s attitude. Hunt embodies a wider layer of Labour politicians, public-sector executives and cultural administrators tasked with implementing austerity while presenting cuts as responsible management.

The trade union apparatus’s conduct throughout the dispute raises important questions.

PCS General Secretary Fran Heathcote has correctly described it as a scandal that a leading national museum fails to pay all staff a genuine living wage. Yet union leadership has limited workers to a series of isolated, carefully managed stoppages while directing appeals to Labour politicians who are themselves enforcing spending cuts.

No serious effort has been made to unify the developing disputes across museums, galleries, libraries and cultural institutions throughout Britain. Workers face the same employers’ offensive everywhere: understaffing, declining pay, intensified labour, and threats to jobs. Yet struggles remain fragmented, institution by institution.

Workers have already demonstrated their collective strength through strikes, overtime bans, work-to-rule measures and other forms of industrial action. These actions show that museums cannot function without the labour of the workers who maintain collections, assist visitors, provide security, manage archives, and run daily operations.

The decisive question is how to organise and direct that power. V&A workers need new organisations of struggle, rank-and-file committees independent of the union bureaucracy, to transfer decision-making power directly into the hands of workers themselves. Such committees could unite workers across all V&A sites, establish direct links with staff at other museums and cultural institutions, and coordinate a common fight against pay cuts, redundancies and deteriorating working conditions.

They should appeal for support not only among museum workers but also among Amazon warehouse workers, postal workers, civil servants, transport workers, educators, and health workers facing the same attacks amid deepening austerity.

The struggle at the V&A raises fundamental questions about society’s priorities. Vast resources fund prestige projects, corporate subsidies, and military expenditure, while workers responsible for preserving humanity’s artistic and historical heritage are told there is no money for decent wages or humane working conditions.

The treasures housed within the V&A were created through generations of labour. The workers who safeguard and maintain those collections today have every right to insist on secure employment, decent pay, and dignified working conditions. Their struggle deserves the support of workers throughout Britain and internationally.

Chris Wickham (1950–2026): Marxist historian of the medieval world

Chris Wickham’s death on October 9, 2026, at age 76 removes from intellectual life one of the most significant historians of the early Middle Ages produced in the postwar period. Over a career spanning nearly five decades, Wickham transformed the study of medieval Europe through a rigorous application of historical materialism, demonstrating that the social relations governing production, surplus extraction and class power remained indispensable to understanding the rise and decline of societies.

At a time when large sections of the historical profession abandoned such questions in favour of discourse analysis, identity politics and the increasingly subjective preoccupations of the “linguistic turn,” Wickham remained committed to explaining history through the material foundations of human life. His work restored peasants, landlords, taxation systems, trade networks and class relations to the centre of medieval history.

Born on May 18, 1950, in Rossett, Wales, Wickham studied at Oxford before beginning a long association with the University of Birmingham in 1977. He later held the prestigious Chichele Professorship of Medieval History at Oxford. Throughout his career, he combined meticulous empirical research with broad theoretical ambition, producing scholarship distinguished by an extraordinary command of documentary, archaeological and comparative evidence.

His early work focused on Italy, generating a series of influential studies that examined the social and economic structures of medieval life. Books such as Early Medieval Italy and The Mountains and the City revealed the complex interactions between peasant communities, aristocratic power and emerging forms of political authority. Even at this stage, Wickham displayed the qualities that would define his scholarship: a rejection of elite-centred narratives and a determination to uncover the social forces underlying political change.

Wickham’s most important intellectual intervention came with his 1984 essay, “The Other Transition: From the Ancient World to Feudalism.” For generations, Marxist historians had debated the origins of capitalism and the transition from feudalism to bourgeois society. Wickham instead drew attention to an earlier, equally decisive transformation: the collapse of the Roman world and the emergence of medieval social relations.

He argued that the essential distinction between the Roman Empire and its successors lay in the relationship between state taxation and landed property. Whereas Rome had rested upon a powerful tax-raising state apparatus, the post-Roman West increasingly became a world in which ruling classes derived their wealth directly from rents extracted from peasants. The shift from taxation to rent constituted one of the decisive social transformations in European history.

These arguments reached their fullest expression in his monumental Framing the Early Middle Ages: Europe and the Mediterranean, 400-800 (2005), a work widely regarded as one of the greatest achievements of modern medieval scholarship. At more than 900 pages and spanning territories from Ireland to Egypt, the book offered an extraordinary synthesis of decades of historical and archaeological research.

Against both nationalist myths and civilisational narratives, Wickham showed that the disappearance of Roman political authority produced sharply different outcomes in different regions. Social development depended not on culture or ethnicity but on concrete relations of class power, the strength of aristocracies, the survival of state structures, and the degree of autonomy retained by peasant producers.

Particularly significant was his analysis of what he termed the “peasant mode of production,” situations in which small cultivators retained substantial control over their own labour and surplus. Such arguments challenged simplistic narratives of uninterrupted aristocratic domination and demonstrated the complexity of post-Roman social development.

The book’s importance was recognised internationally through numerous awards, including both the Wolfson History Prize and the Deutscher Memorial Prize. The latter was especially appropriate. Few historians of his generation did more to demonstrate that Marxist categories remained essential tools for understanding long-term historical development.

Wickham belonged to the tradition of British Marxist historians associated with figures such as Rodney Hilton, Christopher Hill and Eric Hobsbawm. Yet he emerged at a time when both political reaction and intellectual retreat had severely weakened Marxism’s influence in academia.

The dissolution of the Soviet Union in 1991 accelerated a wave of triumphalist claims regarding the “end of history” and the supposed death of Marxism. Within universities, social history increasingly gave way to cultural studies, postmodernism and various forms of identity-based analysis. Grand narratives of social transformation came under sustained attack.

Against these trends, Wickham continued to insist that modes of production, class relations and material interests remained essential explanatory categories. In doing so, he helped preserve and develop a tradition of historical inquiry that might otherwise have faced marginalisation.

At the same time, Wickham’s intellectual trajectory reflected the limitations of the broader current from which he emerged. As many academic Marxists associated with the postwar British left, he approached Marxism primarily as a method of historical analysis rather than as the theoretical foundation of a revolutionary political movement.

The social and political struggles of the contemporary working class occupied little place in his scholarly work. This separation between Marxist scholarship and socialist politics was not an individual failing. It reflected the broader influence of Stalinism, Labourism and various forms of academic radicalism that shaped much of the intellectual left during the second half of the twentieth century. Historical materialism survived as a sophisticated method of analysis, while its revolutionary implications were increasingly detached from contemporary political practice.

Nevertheless, Wickham’s achievements remain immense. His scholarship powerfully refuted every attempt to explain history through race, national character, religion, or culture alone. He repeatedly demonstrated that political institutions, beliefs, and identities could be understood only through their connection to underlying social and economic realities.

This aspect of his legacy matters especially when far-right movements seek to appropriate the medieval past for reactionary purposes. Across Europe and internationally, medieval history has been repeatedly distorted to legitimise myths of ethnic purity, national destiny and civilisational conflict. Wickham’s work provided a devastating intellectual antidote to such falsifications by revealing the medieval world as a complex and dynamic arena of social conflict, economic change and cultural interaction.

His death comes amid a deepening crisis of higher education. Universities throughout Britain and internationally are increasingly subordinated to market imperatives, corporate management structures and short-term financial calculations. Humanities departments have been closed, jobs eliminated and entire fields of scholarship threatened. The conditions that enabled decades-long projects of serious historical research are being systematically undermined.

Producing works such as Framing the Early Middle Ages required time, institutional support, and a commitment to scholarship that is increasingly incompatible with the demands of contemporary academia. The attack on universities is part of a broader assault on critical thought and historical understanding amid mounting social inequality and political instability.

Chris Wickham leaves behind a body of work that will continue to shape historical scholarship for generations. More than any individual book or argument, however, he leaves an example of what serious historical inquiry can achieve: an unrelenting effort to understand how human beings organised production, how ruling classes secured their power, and how social systems emerged, developed and ultimately passed away.

For historians, students and workers seeking to understand the origins and evolution of class society, his writings remain an invaluable resource. They stand as a lasting contribution to the materialist understanding of history and a reminder that the past can only be grasped through the study of the real social relations that have governed human life.

Selected Bibliography of Chris Wickham

Major Books

  • Early Medieval Italy: Central Power and Local Society 400–1000 (1981)
  • The Mountains and the City: The Tuscan Apennines in the Early Middle Ages (1988)
  • Land and Power: Studies in Italian and European Social History, 400–1200 (1994)
  • Framing the Early Middle Ages: Europe and the Mediterranean, 400–800 (2005)
  • Marxist History-Writing for the Twenty-First Century (ed., 2007)
  • The Inheritance of Rome: Illuminating the Dark Ages 400–1000 (2009)
  • The Medieval World (ed., 2009)
  • Sleepwalking into a New World: The Emergence of Italian City Communes in the Twelfth Century (2015)
  • Medieval Europe (2016)
  • Medieval Rome: Stability and Crisis of a City, 900–1150 (2019)
  • The Donkey and the Boat: Reinterpreting the Mediterranean Economy, 950–1180 (2023)

Important Articles and Essays

  • “The Other Transition: From the Ancient World to Feudalism,” Past & Present, no. 103 (1984), pp. 3–36.
  • “Problems of Comparing Rural Societies in Early Medieval Western Europe.”
  • “Marx, Sherlock Holmes and Late Roman Commerce.”
  • “The Uniqueness of the East.”
  • “Historical Materialism and Historical Sociology.”

Recommended Reading on Wickham’s Historical Method

  • Chris Wickham, Framing the Early Middle Ages (2005), Introduction and Conclusion.
  • Chris Wickham, “The Other Transition” (1984).
  • Chris Wickham (ed.), Marxist History-Writing for the Twenty-First Century (2007).
  • Rodney Hilton (ed.), The Transition from Feudalism to Capitalism (1976).
  • Perry Anderson, Passages from Antiquity to Feudalism (1974).
  • Guy Bois, The Transformation of the Year One Thousand (1992).

Niall Ferguson tells Europe’s rebellious youth: blame your grandparents, not the banks

The ruling class searches for an alibi

Across Europe, young people and workers are entering open political struggle. In France, high school students have blockaded hundreds of schools over crumbling infrastructure. In Belgium, students have joined workers on strike against austerity. In Madrid, tens of thousands have marched against a housing crisis that has become a social catastrophe. These movements terrify the ruling class because they expose the bankruptcy of European capitalism and risk uniting workers across generations in a common fight against austerity, war, and social decay.

Into this crisis steps Sir Niall Ferguson, a Hoover Institution fellow, Harvard-affiliated historian, and managing director of New York advisory firm Greenmantle. Ferguson is no neutral observer: he is a paid strategist for the investors whose interests he defends. His essay, Why Europe Is Burning, is an ideological intervention designed to disarm the emerging movement. Its message to young people is simple: don’t blame capitalism; blame your grandparents. This is not analysis but class propaganda.

Ferguson opens with contempt. He mocks French lycée students demanding investment in education for “filling the streets with burning garbage” and “waving Palestinian flags.” He sneers that their first demonstration resembles a Catholic child’s first Communion, a ritual, not a political act. Madrid’s youth are “incensed (they claim)” about housing. This sneering tone is designed to delegitimise young people’s grievances by portraying them as irrational or unserious. Ferguson omits the documented reality: schools plagued by water leaks, rat infestations and collapsing ceilings; more than half of France’s high schools blockaded or closed; mass repression, including hundreds of arrests in a single day; and a student in Lens who lost his hand to police weaponry. Ferguson omits these facts because they point directly to the capitalist state’s responsibility.

Ferguson’s central argument is that Europe’s fiscal crisis stems from a “war of the generations.” He claims politicians have been “bribing” pensioners, who are numerous and vote, and insists that the young are paying for the old. Yet Ferguson’s own figures undermine his case. He acknowledges that ageing accounts for only two-fifths of the increase in public debt since 2000. The other three-fifths stem from bank bailouts after the 2008 crash, trillions poured into financial markets during the pandemic, tax cuts for the wealthy, discretionary spending, and rising interest costs. He also concedes that pension spending is not exploding: OECD projections show it rising modestly, from 8.8 to 10 per cent of GDP by 2050, because governments have already cut benefits and raised retirement ages.

In other words, the debt explosion is overwhelmingly the result of state transfers to capital, not payments to retirees. Ferguson’s generational framing is therefore not analysis but ideology. It replaces class with age, obscuring the role of the banks, landlords, and investors who pay him.

Reality exposes the fraud. In Madrid, the movement began with the eviction of 87-year-old Maricarmen Abascal; her death then brought 20,000 people into the streets. Young protesters saw her not as a privileged pensioner, but as a victim of the same property speculators who prey on them. In Brussels, young and old marched side by side against austerity. Ferguson’s generational war falls apart on contact with real struggle. His solution is a European Javier Milei: mass layoffs, pension cuts, gutted universities, and the destruction of public services. The investor class demands that workers and young people pay for the crisis, and pay even more.

The protests in Paris, Brussels, and Madrid are early signs of a wider working-class movement against austerity, war, and inequality. Ferguson’s essay is a response from the financial aristocracy to this resistance. Young people seeking a way forward will not find one in generational blame or nationalist demagogy. The answer lies in uniting workers and young people across generations and borders against the system that produces war, debt, and decay, and in expropriating the oligarchy’s fortunes.

Contempt for the youth: the opening move of reaction

Ferguson is not interested in the reality documented for Europe’s youth. In France, the movement began not in elite lycées but in Paris’s deprived suburbs. On the movement’s largest day, more than half of all high schools were blockaded or closed. This was no symbolic gesture; it was a mass refusal to accept conditions considered intolerable in any wealthy society. The state responded with repression, not repairs or investment. More than 600 people were arrested in a single day, and a student in Lens lost his hand to police weaponry. Ferguson’s narrative omits these facts because they point directly to the capitalist state’s responsibility. Acknowledging them would mean confronting the social devastation wrought by decades of austerity.

The same pattern is evident across Europe. In Madrid, the housing crisis has become catastrophic. Rents have climbed nearly 70 per cent in the past decade, driven by speculation, touristification, and investment funds taking over entire neighbourhoods. Tens of thousands marched following the eviction of 87-year-old Maricarmen Abascal, whose death the next day came to symbolise the brutality of Spain’s housing regime. Young people did not view her as a privileged pensioner living at their expense. They saw her as another victim of the same property speculators who prey on them. Ferguson’s generational narrative collapses when confronted with these realities: the conflict is not between young and old, but between the working class and the financial oligarchy.

In Belgium, students joined striking workers in opposing austerity measures that would make workers, pensioners, and low-income households shoulder the burden of deficit reduction. Unions called for higher taxes on top earners instead of cuts to health care and a VAT hike. Young and old marched together, recognising that the crisis is not generational but class-based. This unity is precisely what Ferguson fears. His essay seeks to break it by replacing class with age and turning anger away from the banks, landlords, and investors- the very forces he advises through his firm, Greenmantle.

Ferguson’s contempt for youth is therefore not merely personal disdain; it is ideological. By depicting young people as naïve, emotional, or indoctrinated, he seeks to discredit their demands and obscure the structural causes of their suffering. His sneering tone mirrors the austerity he advocates. If youth are irrational, people can dismiss their calls for investment in schools, housing, and public services. If their protests are mere rituals, state repression can be justified. And if their anger is misdirected, the real culprits the banks bailed out in 2008, the investors enriched during the pandemic, the landlords driving up rents, and the governments slashing social spending can escape scrutiny.

The facts Ferguson leaves out are not incidental; they are essential. They reveal a Europe where public infrastructure is collapsing, social inequality is widening, and the basic conditions of life are worsening for millions. They show a ruling class that responds to every crisis- financial, social, or geopolitical- by demanding sacrifices from workers and young people while protecting elite wealth. They also show a generation entering political struggle not because of “indoctrination,” but because the system offers them no future.

Ferguson’s contempt reflects the ruling class’s contempt for those it has impoverished. His omissions reflect an apologist for capital. His narrative serves as an ideological weapon to divide the working class and disarm its emerging movement. He suppresses a reality we must confront: Europe is burning because capitalism is rotting.

The “war of the generations”: a statistical fraud

Ferguson’s central argument is that Europe’s fiscal crisis is caused by a “war of the generations.” Politicians, he claims, have been “bribing” pensioners, who are numerous and vote. The young, he insists, are paying for the old. This framing is not merely superficial; it is a deliberate ideological construction. It turns a crisis rooted in capitalism’s contradictions into a moral fable about selfish grandparents and naïve youth. It is designed to pit workers against one another rather than against the ruling class that has engineered the crisis.

But Ferguson’s own figures contradict him. He acknowledges that ageing accounts for only two-fifths of the rise in public debt since 2000. The other three-fifths stem from forces unrelated to pensioners and closely tied to the financial aristocracy: bank bailouts after the 2008 crash, when governments transferred trillions to rescue the very institutions whose speculation triggered the crisis; trillions poured into financial markets during the pandemic, not to protect public health or workers’ incomes, but to stabilise asset prices and guarantee investor profits; tax cuts for the wealthy, which have depleted public revenues while enriching society’s top layers; discretionary spending, including corporate subsidies and military outlays; and rising interest costs, driven by central bank policies and bond-market demands.

These admissions undermine Ferguson’s thesis. If ageing accounts for only a minority of the rise in debt, then state transfers to capital account for the majority. The surge in public debt does not result from pensioners voting themselves largesse. Rather, it stems from governments socialising bank losses, inflating financial markets, and cutting taxes for the rich. Pensioners are not beneficiaries of this process; they are among its victims. Ferguson further concedes that pensions are not exploding.

OECD projections show public pension spending rising modestly, from 8.8 per cent to 10 per cent of GDP by 2050. This is not a crisis but a controlled increase following decades of cuts, higher retirement ages, and restricted coverage. In many countries, pensioners have already seen their real incomes fall. Portraying them as a privileged caste draining public finances is a grotesque distortion.

In other words, the debt explosion stems overwhelmingly from state transfers to capital, not payments to retirees. Ferguson’s generational framing is therefore ideology, not analysis. It replaces class with age and obscures the role of the banks, landlords, and investors- the very people who pay him. This substitution serves a clear political purpose: if the crisis is generational, the solution is to make the old pay more, cut their pensions further, and intensify competition between generations. If it is class-based, the solution is to confront the financial oligarchy, expropriate its wealth, and redirect resources to social needs. Ferguson’s argument is designed to prevent the second conclusion and promote the first.

Ferguson’s generational narrative is an ideological weapon designed to divide workers and young people just as they are beginning to unite. It defends the financial aristocracy under the guise of concern for the young. The reality he suppresses is clear: Europe’s fiscal crisis stems from capitalism’s decay, not pensioners’ selfishness. The wealth needed to fund schools, housing, and pensions lies in the oligarchy’s fortunes, which Ferguson serves.

War and markets: the real trigger of Europe’s crisis

Ferguson acknowledges that the immediate shock came from the US–Israeli war against Iran, which began at the end of February. More than seven months later, the war continues to destabilise global energy markets and raise borrowing costs. This admission fatally undermines his argument. If Europe’s fiscal crisis was triggered by an imperialist war waged by Washington and its allies, then recasting it as a generational conflict is exposed as a political diversion. The crisis does not result from pensioners voting for their own benefit; it stems from militarism, financial speculation, and the subordination of every aspect of social life to the interests of the capitalist class.

Ferguson notes that French 10-year yields rose from 3.22 per cent to 4.87 per cent, while public debt reached 119 per cent of GDP. These figures do not reflect demographic change; they directly result from war and the financial markets’ response. When energy prices spike, shipping routes are disrupted, and geopolitical instability spreads across the Middle East, bond markets demand higher returns. Governments then pass these costs on to workers through austerity. This is the mechanism of modern imperialism: war drives up the cost of capital, and capital demands that society pay the bill.

Ferguson’s solution makes the old pay too much, which widens the attack on the working class. It is not a critique of austerity but an extension of it. He accepts the premise that workers and youth must bear the burden of rising debt, and merely insists that pensioners should be included in the sacrifice. This is not opposition to austerity; it is austerity intensified. It is the financial aristocracy demanding that every section of the working class, from students to retirees, be made to pay for a crisis they did not create.

The war against Iran is not an aberration. It is part of a broader imperialist offensive driven by the crisis of world capitalism. Facing economic decline and geopolitical challenges, the United States has increasingly turned to militarism to maintain its global dominance. Europe, tied to Washington through NATO and dependent on global energy markets, is dragged into these conflicts. The result is soaring military budgets, rising borrowing costs, and deepening social cuts. Ferguson’s generational narrative conceals this reality. By focusing on pensioners, he obscures the role of the banks, the bond markets, and the military‑industrial complex.

The rise in French borrowing costs is not natural. Financial markets punish governments for geopolitical instability created by the very imperialist policies Ferguson supports. Public debt reaching 119 per cent of GDP does not result from retirees receiving modest pensions. It results from trillions transferred to banks during crises, trillions more pumped into financial markets during the pandemic, and the enormous costs of war. Ferguson’s argument is therefore not simply false; it is a conscious inversion of reality. He blames the victims of austerity for the consequences of the policies he advocates.

The purpose of this inversion is clear. If the crisis is caused by war and financial speculation, then the solution is to oppose war and expropriate the financial oligarchy. If pensioners cause the crisis, then the solution is to cut pensions and raise retirement ages. Ferguson’s narrative exists to prevent the first conclusion and promote the second. It is an ideological weapon aimed at dividing the working class and redirecting anger away from the ruling class.

The reality he suppresses is that Europe’s fiscal crisis is inseparable from imperialist war. The working class is being told to pay for the bombs dropped on Iran, for the weapons sent to Israel, and for the rising interest demanded by the markets. Ferguson’s proposal to make the old pay too is not a critique of this system but a demand to sacrifice its victims further. The answer lies not in generational blame but in a unified struggle of workers and youth against war, austerity, and the capitalist system that produces them.

Generation as a substitute for class

Ferguson’s ideological sleight of hand replaces class with age. His prize statistic, taken from the Wall Street Journal, shows wealth rising for Americans over 75 and falling for those under 35. But median wealth by age tells you nothing about who owns the wealth. It is a statistical trick that dissolves class relations into demographic categories. It lumps together the retired factory worker in Lille and the billionaire shareholder in Neuilly and calls them both “seniors.” The purpose is obvious. By collapsing class into age, Ferguson erases the capitalist class. His clients the investors, fund managers, and financial institutions he advises through Greenmantle disappear into the statistical fog. The billionaire and the pensioner become indistinguishable, and the real structure of wealth ownership is concealed.

This is not an innocent mistake. It is a deliberate ideological manoeuvre. If wealth is described only in terms of age, then the young can be encouraged to resent the old rather than the capitalist class. In Ferguson’s narrative, the retired worker living on a modest pension becomes part of a privileged cohort hoarding resources at the expense of youth. Meanwhile, the real beneficiaries of the past four decades- the banks bailed out in 2008, the corporations enriched during the pandemic, the landlords driving up rents, and the investors profiting from austerity- remain invisible.

The Madrid movement makes Ferguson’s argument collapse instantly. If the old were the privileged class, why would the eviction of an elderly woman spark mass outrage among the young? Why would her death become a symbol of the brutality of the housing crisis? The answer is simple: because the conflict is not generational. It is class‑based. Young and old alike are victims of the same capitalist forces landlords, banks, and investment funds that Ferguson represents.

The same dynamic was visible in Brussels. There, young people joined striking workers and pensioners in mass demonstrations against austerity measures that would hit every section of the working class. The unions demanded higher taxes on the highest earners rather than cuts to health care and a VAT hike. Young and old marched together, united by the recognition that the crisis is not caused by pensioners receiving modest benefits but by the capitalist class demanding ever greater sacrifices from society.

Ferguson’s generational war collapses at the first contact with actual struggle. It is an ideological construction designed to divide the working class just as it begins to unite. By portraying pensioners as a privileged caste, Ferguson seeks to redirect youth anger away from the banks, landlords, and investors the real architects of Europe’s crisis and toward their own grandparents. It is a classic strategy of reaction: turn the oppressed against one another so they don’t recognise their common enemy. The reality he suppresses is clear. Europe’s crisis is not generational. It is the product of capitalism’s decay, imperialist war, and the domination of society by a financial oligarchy. Young people searching for a way forward will not find it in Ferguson’s statistical distortions. They will find it in workers’ unity across generations and borders against the system that exploits them all.

Equating socialism with fascism: the oldest trick in the book

Ferguson claims the left offers socialism and the right offers “national socialism,” and that both converge on industrial policy, public ownership, rent controls, and “blaming Israel.” This is not an analytical argument but a century‑old reactionary trope: the deliberate conflation of socialism with fascism to delegitimise any anti‑capitalist politics. It is the same device used by Cold War ideologues, by Thatcherite polemicists, and by every defender of the capitalist order who needs to portray socialism as inherently authoritarian. By equating socialism with “national socialism,” Ferguson erases the fundamental distinction between a movement rooted in the international unity of the working class and a movement rooted in chauvinism, racism, and the defence of private property. The purpose is to smear the left, sanitise the right, and present capitalism as the only legitimate political horizon.

This rhetorical manoeuvre also serves another function: it obscures the fact that the far right in Europe is not an external threat encroaching on the political mainstream but a product of the mainstream itself. The same governments that slash social spending, militarise borders, and scapegoat migrants cultivate the conditions in which fascist forces grow. The same media outlets that denounce “extremism” amplify anti‑immigrant narratives. The same political establishment that claims to defend democracy adopts the policies of the far right. Ferguson’s argument conceals this reality by pretending that socialism and fascism are mirror images, equally dangerous, equally irrational, equally detached from the “sensible centre” he inhabits.

He then predicts that youth may turn to burning asylum‑seekers’ hotels and synagogues as if this were meteorological inevitability rather than the product of the very anti‑immigrant hysteria he amplifies. He writes as though racist violence simply descends from the sky, as though young people spontaneously become fascists without any influence from the media, the state, or the political establishment. In reality, such violence is the direct outcome of policies and narratives promoted by figures like Ferguson: the demonisation of migrants, the portrayal of refugees as a burden, the insistence that social decay is caused by outsiders rather than by capitalism.

Ferguson’s warning is therefore deeply cynical. He scapegoats migrants while warning that others might do the same. He fuels the fire and then pretends to fear the flames. His prediction of youth burning synagogues is not a neutral forecast but a political provocation, designed to smear the emerging youth movement by associating it with fascist violence. It is an attempt to delegitimise mass protests by suggesting they could slide into pogroms. This suggestion has no basis in reality but serves the ideological needs of the ruling class.

The truth is that Europe’s youth are not turning to fascism. They are turning to collective struggle against austerity, war, and social inequality. They are marching alongside pensioners, migrant workers, and the unemployed. They are demanding investment in schools, housing, and public services. Ferguson’s attempt to portray them as potential fascists is a reactionary fantasy aimed at discrediting their movement and protecting the capitalist system that has produced the crisis.

His argument is not a warning but a threat: if youth do not accept austerity, they will be blamed for extremism. The real danger comes not from the youth but from the ruling class that is stoking nationalism, militarism, and xenophobia to defend its wealth.

What is really burning

The protests in Paris, Brussels, and Madrid are early signs of a broader working‑class movement against austerity, war, and inequality. They express a social reality no European government can stabilise: the capitalist system cannot meet even society’s most basic needs. Governments are collapsing because no faction of the ruling class can impose the cuts markets demand without provoking mass resistance. Every attempt to shift the burden onto workers, youth, pensioners, or migrants encounters immediate opposition. The political order is cracking under the pressure of its own contradictions.

Ferguson’s essay responds to the investor class’s resistance. It seeks not to understand the crisis but to contain it. His generational narrative divides workers by age, turns youth against pensioners, and obscures the role of banks, landlords, and financial institutions that have enriched themselves through decades of speculation, privatisation, and war. His scapegoating of migrants serves the same purpose: to redirect anger away from capital and toward the most vulnerable sections of society. It is an ideological shield for the ruling class at a moment when its legitimacy is openly challenged.

Young people searching for a way forward will not find it in Ferguson’s generational blame or in the nationalist programs of Le Pen and her equivalents. These forces offer only deeper austerity, intensified repression, and the poisonous politics of division. The real alternative lies in uniting workers and youth across generations and borders in a conscious struggle against the capitalist system that produces war, debt, and decay.

Resources for decent schools, affordable housing, and secure pensions are abundant. They are concentrated in the fortunes of the financial oligarchy Ferguson serves. The task is not to redistribute poverty among generations but to reclaim wealth stolen from society and use it to meet human needs.

Bibliography

Ferguson, Niall. Why Europe Is Burning. The Free Press / Niall Ferguson’s Time Machine, October 2026.

Organisation for Economic Co‑operation and Development (OECD). Pensions at a Glance 2023: OECD and G20 Indicators. OECD Publishing, Paris, 2023.

Wall Street Journal. “Wealth by Age Cohort in the United States.” WSJ Data Feature, 2026.

Taiwan News. “French High School Protests Escalate; Over 600 Arrested.” Taiwan News, September 2026.

Euronews. “Belgium: Workers and Students Strike Against Austerity Measures.” Euronews, October 2026.

Internazionale. “Brussels Mobilises Against Government Cuts.” Internazionale, October 2026.

El País. “La tragedia de Maricarmen Abascal y la crisis de vivienda en Madrid.” El País, 8–9 October 2026.

Gregorio Marañón Hospital, Madrid. Public Statement on the Death of Maricarmen Abascal, 8 October 2026.

OECD. Economic Outlook 2026. OECD Publishing, Paris, 2026.

French Ministry of Education. “État des lycées en France: Rapport sur les infrastructures scolaires.” Government Report, 2025–2026.

French Ministry of the Interior. “Arrests and Public Order Measures During Student Demonstrations.” Press Release, September 2026.

European Central Bank (ECB). Euro Area Bond Market Developments. ECB Statistical Bulletin, 2026.

Ministry of Finance, France. “French Sovereign Debt and Bond Yields: 2025–2026.” Government Statistical Release, October 2026.

World Bank. Global Housing Market Trends 2015–2025. World Bank Publications, Washington, 2025.

International Energy Agency (IEA). Energy Market Impacts of Middle East Conflict. IEA Briefing Paper, 2026.

Hoover Institution. “Profile: Niall Ferguson.” Stanford University, 2026.

“Commodity Intimacy: Ella Fleck’s Installation and the Limits of ‘Critical’ Art at Frieze”

Frieze London, the annual meeting point of the global art market, is no neutral stage. Hedge-fund managers, oligarchs’ advisers, and celebrity collectors move through Regent’s Park, selecting luxury commodities for private vaults, freeports, and speculative portfolios. Organisers describe the fair as a meeting place for “global culture,” but in reality, it is one of the clearest expressions of art’s financialisation under late capitalism. Here, artistic labour is stripped of its social meaning and turned into an asset class, valued not for its insight or urgency but for the appetites of the ultra-rich. The fact that this year’s fair rewarded a work exposing the industrialised production of online intimacy is an irony so stark it borders on satire. Yet it also reveals what the contemporary art world is willing to acknowledge and what it refuses to confront.

The 2026 Camden Art Centre Emerging Artist Award has gone to London-based artist Ella Fleck for her installation training material (aria), presented with LA gallery Ehrlich Steinberg in the fair’s Focus section. Fleck’s project draws on her undercover training as a “chatter” for an OnlyFans “parasite company”, a third-party agency that impersonates female creators and holds scripted conversations with subscribers. Often run transnationally by men, these agencies operate as outsourced intimacy factories. Their workers, frequently based in the Global South, perform scripted flirtation and emotional labour designed to maximise revenue. The “girl” a subscriber thinks he is messaging at 2 a.m. is more often than not a poorly paid shift worker following a productivity dashboard. It is a world of impersonation, alienation and relentless monetisation, where human connection becomes a revenue stream and loneliness a commodity.

Fleck’s research is serious, and her installation is one of the few works at Frieze to engage with the realities of life under contemporary capitalism. Visitors stand on a raised server-floor platform, where modular tiles and exposed cabling evoke the digital economy’s hidden infrastructure. Male voices performing chatter scripts reverberate through the structure, transforming the floor into a resonant chamber. Three monitors show a custom-coded manager’s dashboard, adapted from interfaces Fleck encountered during training, exposing the metrics, quotas and supervisory systems that govern this labour. A pheromone-infused scent fills the booth, reminding visitors that the desire being sold is manufactured. The installation’s strongest gesture is its insistence that visitors stand directly on the machinery of commodified intimacy, feeling the scripted voices vibrate beneath their feet. It effectively exposes a workplace usually concealed behind the fantasy of personal connection.

But the response to the work, and how it is framed, reveals the art establishment’s ideological boundaries. The Camden Art Centre jury praised the installation for making visible “the hidden architectures and technologies of online desire and commerce,” and for addressing “money, control, labour, manipulation and the power of images.” These are safe, abstract formulations. They gesture toward critique while avoiding the specific social relations underlying the industry Fleck has investigated. Absent is any recognition of the workers themselves: who they are, what they are paid, and how their labour fits into the global chains of exploitation underpinning platform capitalism. The chatter economy is not merely a cultural phenomenon or a question of “desire”; it is a brutally efficient mechanism for extracting profit from both the poorly paid worker typing scripted flirtations and the isolated man paying for companionship he cannot find elsewhere. Fleck’s installation points to these realities, but the art world’s reception reveals how far it will go and where it draws the line.

Inside the machinery of commodified intimacy

The most compelling aspect of Fleck’s project is her immersion in what might be called the chatter economy: a hidden, industrialised sector of digital labour beneath the glossy marketing of “creator platforms.” Using a male alias, she trained as “Eliott,” learning the scripts, behavioural prompts and manipulative techniques used to extract money from isolated men seeking connection. The arrangement is brutally simple: men impersonate women, chat with other men and sell the illusion of intimacy. What is marketed as personal desire is actually a production line governed by metrics, quotas and managerial oversight. The chatter is not a romantic interlocutor but a worker performing emotional labour under conditions shaped entirely by profit.

This is the true subject of Fleck’s installation, and where the work is strongest. She does not present the chatter economy as a metaphor or cultural curiosity; she treats it as a workplace. The installation gives this system physical form, making visitors confront the infrastructure that enables such labour. Its raised server-floor platform with modular tiles, exposed cabling and vibration exciters evokes the hidden architecture of the digital economy. This is the kind of flooring found in data centres, call-centre facilities and server rooms: the literal ground on which contemporary exploitation rests. Standing on it, visitors feel male voices from scripted chatter reverberate through their feet. The fantasy of intimacy gives way to the physical sensation of labour.

Three monitors show a custom-coded manager’s dashboard, adapted from interfaces Fleck encountered during her training. It displays the metrics that shape the chatter’s day: response times, conversion rates, subscriber spending, and productivity targets. The dashboard isn’t an artistic invention; it reflects the real tools this industry uses to monitor and discipline workers. A pheromone-infused scent fills the booth, underscoring the manufactured nature of the desire being sold. Everything in the installation points to the same conclusion: intimacy has been industrialised, and the worker’s body reduced to scripts and metrics has been absorbed into a system designed to monetise loneliness.

The platform itself is the installation’s strongest element. It makes the internet’s usually hidden infrastructure tangible, revealing the labour beneath the fantasy. This is a workplace, not a boudoir call centre disguised as a love affair. Visitors stand not in a realm of desire, but amid the machinery of commodification. The voices vibrating through the floor are not whispers of seduction; they are echoes of wage labour. The installation’s power comes from this inversion: it collapses the distance between digital fantasy and the physical conditions that produce it.

Fleck’s decision to foreground the infrastructure is significant. Much contemporary art dealing with digital culture remains at the level of imagery, aesthetics or surface critique. Fleck instead directs attention to the material base: the servers, the scripts, the dashboards, the labour processes. She shows that the chatter economy is not a cultural phenomenon but a node in the global supply chain of platform capitalism. Workers performing these scripts are often based in the Global South, earning low wages, sometimes paid partly on commission. Their labour is outsourced emotional work, sold under the guise of intimacy, and governed by the same managerial logic that structures call centres, content moderation farms and other forms of digital piecework.

In this sense, Fleck’s installation is about more than deception or fantasy. It shows how human connection becomes a commodity and emotional labour is reduced to programmable tasks. It suggests that capitalism colonises even life’s most intimate aspects, turning affection, attention, and companionship into sources of revenue. The installation is most effective when it insists on this material reality and forces visitors to confront the machinery beneath the illusion.

What the jury praised and what it avoided

The Camden Art Centre jury praised Fleck’s installation for exposing “hidden architectures and technologies of online desire and commerce,” and for addressing “money, control, labour, manipulation and the power of images.” Such phrases are typical of contemporary curatorial discourse: safe, abstract and deliberately non-committal. They gesture toward critique without naming the social relations at stake. This allows the institution to appear engaged with labour and exploitation while avoiding confrontation with the actual conditions of the workers whose labour the piece makes visible. In this sense, the jury’s statement is not merely incomplete; it reflects the art world’s ideological limits.

It entirely fails to recognise the workers. The chatter economy is neither an aesthetic phenomenon nor a cultural metaphor; it is a workplace staffed by real people doing real labour under conditions of exploitation. Investigative reporting over the past several years has documented chatters in the Philippines and elsewhere in the global South working for low wages, sometimes with part of their pay tied to commission. Their work is outsourced call-centre labour presented as intimacy. They work night shifts, follow scripts, meet quotas, and are monitored by dashboards like those used in customer-service centres and content-moderation farms. Above them are agency owners, creators, and OnlyFans itself, whose billionaire owner takes a cut of every transaction. The chatter economy is not a cultural curiosity but a node in the global supply chain of platform capitalism.

At the bottom of this hierarchy are two exploited figures. First is the poorly paid chatter, typing scripted flirtations, whose work hides behind the illusion of personal connection. Second is the isolated man paying for companionship he cannot find elsewhere, whose loneliness the same system monetises. Each is exploited differently, but by the same system: the chatter’s labour is cheapened and concealed, while the subscriber’s emotional need is commodified and sold back to him. Both are victims of a social order that has turned human connection into a revenue stream.

The jury’s language dissolves these realities into a cloud of abstractions. “Labour” becomes a conceptual motif rather than a class relation. “Desire” becomes a cultural theme rather than a symptom of social breakdown. “Manipulation” becomes an aesthetic category rather than a description of how corporations profit from human vulnerability. This is no accident. The art world is comfortable with metaphors but allergic to material analysis. It can tolerate works that expose mechanisms, but not those that explain them. Explanation would require naming the class relations that structure the industry, and the art world, dependent on the fortunes of the wealthy, is unwilling to do so.

The chatter economy directly expresses the social crisis created by decades of neoliberal restructuring: insecure work, the collapse of public life, atomisation, and the erosion of community. The men who pay for scripted companionship are not simply indulging in “heterosexual male fantasy,” as the fair’s own description suggests. They are responding to lives shaped by austerity, precarity, and social isolation. Their loneliness is not a psychological quirk but a social fact. The chatter’s labour is not merely a cultural phenomenon; it is exploitation. Yet the art world frames both as matters of “desire,” “images,” and “online commerce,” as though the problem were representation rather than political economy.

This abstraction serves a purpose: it allows institutions like Frieze and Camden Art Centre to acknowledge exploitation without implicating themselves in the system that produces it. IMG, a global entertainment corporation, owns Frieze, and it sells luxury goods to the wealthy. It is structurally incapable of addressing the class relations underpinning the chatter economy, because those same relations underpin the art market itself. Speaking plainly about exploitation in one sector would invite questions about exploitation in another. Better, then, to speak in abstractions to praise works for revealing “hidden architectures” while leaving the owners of those architectures unnamed.

Fleck’s installation points to the realities the jury avoids. It reveals the machinery beneath the fantasy. But the art world’s response shows how far it will go and where it draws the line.

Gender as mask, not engine

Frieze’s own description presents Fleck’s installation as an investigation of “heterosexual male fantasies.” This is a familiar move: reducing a social phenomenon to psychology, then reducing psychology to gender. It is the standard reflex of contemporary cultural institutions faced with exploitation they cannot name. Gender becomes a convenient interpretive screen, safe, fashionable, and politically unthreatening. But gender is not the engine of this industry; it is the costume. The engine is the commodification of human need.

The chatter economy is not meaningfully driven by “fantasy.” Capital’s logic drives it: the imperative to extract profit from every human vulnerability, every emotional deficit, and every form of isolation produced by a society organised around competition and precarity. Fantasy is merely the interface; the machinery beneath it is economic.

Marx’s analysis of commodity fetishism feels almost too literal here. In the chatter economy, what appears to be a relationship between a subscriber and a woman who doesn’t exist is really a relationship between a customer and a wage worker, mediated by a corporation and concealed by software. The “girl” is a commodity, the “relationship” a transaction, and the “desire” a revenue stream. The human connection the subscriber believes he is buying is, in fact, a relation between things: a script, a dashboard, and a payment processor. Fleck’s installation brilliantly places the visitor directly on the infrastructure that makes this deception possible. But the work falters when it treats the problem as one of male fantasy rather than capitalist social relations.

The art world refuses to ask the question it must: why so many men, often young and precariously situated, spend money they do not have on scripted companionship. The answer is not some fixed quality of “heterosexual male fantasy.” It lies in the conditions of life under late capitalism: insecure work, the erosion of community life, atomisation, and loneliness on a mass scale. The chatter economy is no cultural aberration; it is a symptom of a society where millions live without stable relationships, public spaces, time, or security. Men who pay for companionship are not indulging a psychological quirk; they are responding to a social crisis.

An industry that profits from loneliness depends on a society that produces it. The chatter economy commercialises a condition shaped by decades of neoliberal restructuring: the destruction of social housing, the erosion of welfare, the casualisation of labour, and the collapse of collective institutions. Loneliness is not an individual failing, but a structural outcome, and the chatter economy monetises it.

Yet Frieze’s framing reduces all of this to “male fantasy,” as if the problem were representation rather than political economy. This reduction serves a clear ideological function: it shifts attention from the class relations structuring the industry to individual behaviour, turns exploitation into psychology, and recasts a social crisis as a cultural trope. It lets the institution appear critical while avoiding any confrontation with the system that produces both the chatter’s labour and the subscriber’s isolation.

This marks the ideological limit of contemporary art discourse. It can acknowledge desire, fantasy, and representation, but not class. It can discuss gender, but not exploitation. It can gesture toward “hidden architectures,” yet it cannot name their owners. Fleck’s installation points to the realities the fair’s framing avoids, revealing the machinery beneath the illusion. But the art world’s response shows how far it will go and where it draws the line.

The art fair as ideological filter

The setting matters. Frieze is not an innocent backdrop but an active ideological filter. IMG, a global entertainment and sports conglomerate, owns the fair, and its business model depends on circulating luxury goods to the wealthy. Its purpose is not cultural enrichment but capital accumulation. In this context, the presentation and celebration of a work exposing the commodification of intimacy becomes a kind of theatre: a momentary glimpse of exploitation staged inside an event devoted to commodifying artistic labour itself. The contradiction is glaring, yet the fair’s framing neutralises it with remarkable efficiency.

The Camden Art Centre jury notes, blandly, that Fleck’s installation is presented in the “particular context” of an international art fair. This phrase is a masterpiece of evasion. It acknowledges the setting only to deflate its significance immediately. The “particular context” is not particular at all; it is the structural condition of the work’s reception. But the jury cannot explore that context. Doing so would require acknowledging that the art world itself is part of the same system of extraction, speculation, and class power that produces the chatter economy Fleck has investigated. The chatter economy monetises loneliness; the art fair monetises culture. Both depend on the same class hierarchy, the same concentration of wealth, the same global circuits of capital.

This is the ideological limit of “critical” art under capitalism. It may expose mechanisms, but it must not explain them. Exposure is safe; explanation is dangerous. Exposure can be absorbed into the fair’s marketing language: “hidden architectures,” “online desire,” “the power of images.” Explanation would require naming the class relations that structure the industry: the billionaire owners, the speculative collectors, the corporate sponsors, the financial institutions that treat art as a hedge against inflation. It would require acknowledging that the fair’s own existence depends on the fortunes of the rich, and that the art world’s economic base is inseparable from the inequalities it occasionally gestures toward.

The chatter economy and the art market are not parallel phenomena; they express the same social order. In both, labour is hidden, value is extracted, and human need is commodified. The chatter’s emotional labour is concealed behind the fantasy of intimacy; the artist’s intellectual labour is concealed behind the glamour of the fair. The subscriber pays for companionship he cannot find elsewhere; the collector pays for cultural capital he cannot produce. Corporations mediate both transactions and profit from individuals’ alienation in a society organised around competition and scarcity.

Yet the fair’s framing insists on treating Fleck’s work as a cultural commentary rather than a political one. It reduces exploitation to aesthetics, class relations to “themes,” and structural inequality to “context.” This is not simply a failure of analysis; it is a structural necessity. The art world cannot name the system that sustains it. It cannot acknowledge that the same forces driving workers in the Philippines to perform scripted intimacy for low wages also drive artists to produce market‑friendly work for speculative buyers. It cannot admit that the same social conditions that make art fairs the preserve of the ultra-rich also produce the loneliness monetised by OnlyFans.

Fleck’s installation, by exposing the machinery beneath the fantasy, points toward these realities. But the institution’s response reveals how far it will go and where it draws the line. The fair can tolerate critique, but only if it remains abstract. It can reward exposure, but only if it stops short of explanation. It can acknowledge exploitation, but only if it does not name the exploiters.

Where Fleck’s work points and where it stops

None of this is meant as a criticism of Fleck for exhibiting at Frieze. Artists have to work within existing institutions, not those they wish existed. The contemporary art world offers few places for serious engagement with the realities of exploitation, and fewer still where such work can be funded, shown, and discussed. Fleck’s willingness to enter a squalid corner of the digital economy, rather than theorising about it from a safe distance, is admirable. Much contemporary art is contentless: formal games, lifestyle branding, or gestures of political “concern” that vanish on contact with reality. Fleck’s work has a genuine subject, grounded in research and lived experience. It is rare to see an artist spend time inside the machinery of exploitation rather than merely depict its surface.

But the installation stops at exposure. It reveals the machinery beneath our feet without showing the system that built it. It lays bare the cabling and pipework, but not the ownership and exploitation that make them profitable. It gestures toward class, then retreats into gender. It identifies alienation without tracing its roots. The chatter economy is not an isolated phenomenon; it is a symptom of a broader social order that has commodified every human need and hollowed out every form of collective life. Exposing the mechanism without analysing the system leaves viewers with discomfort, but not understanding.

This limitation is not personal; it reflects the pressures on artists working within institutions whose economic base depends on the very class whose power they might otherwise critique. The art world can tolerate works that reveal exploitation, but only if they do not name the exploiters. It can reward exposure, but not explanation; acknowledge alienation, but not the social relations that produce it. Fleck’s installation pushes against these boundaries, but does not break them. It points beyond itself, toward questions the art world is structurally unwilling to confront.

The next stepone Fleck is well positioned to take in her upcoming solo exhibition at Camden Art Centreis to follow these threads further: from the infrastructure to the people who inhabit it; to the chatters in the global South, whose labour is hidden behind the fantasy of intimacy; to the agency owners who profit from their work; to the platform’s billionaire class, whose wealth is built on monetising loneliness; and to the social conditions that produce mass loneliness in the first place: precarious employment, collapsing public services, atomised communities, and decades of austerity that have stripped life of stability and connection.

Such an approach would not simply expose a mechanism; it would analyse a system. It would show that the chatter economy is not a cultural curiosity but a direct expression of the crisis of social reproduction under late capitalism. It would reveal that men paying for companionship are not indulging a psychological quirk but responding to life conditions shaped by insecurity and isolation. It would also show that the exploitation of chatters and the alienation of subscribers are two sides of the same social order.

This would be work worth seeing. It would move beyond the art world’s comfort zone of abstraction and metaphor to confront the class relations shaping both the digital economy and the cultural institutions that claim to critique it. Fleck has already shown she can uncover the hidden sites of contemporary exploitation. The challenge now is to follow those threads to their source: the system that produces them, and the possibility of a world where human connection is not a commodity.

The Financial Times discovers the football terrace: Janan Ganesh’s “Man City theory of politics”

Abstract

This article examines Janan Ganesh’s recent Financial Times column, “The Man City theory of politics,” as an ideological artefact of late‑capitalist political commentary. Ganesh’s argument that contemporary political allegiance is best understood through the lens of football fandom exemplifies a broader trend within liberal‑bourgeois discourse: the displacement of structural analysis by psychological and cultural metaphors. By situating Ganesh’s intervention within the political economy of financialised sport, the transformation of social‑democratic parties, and the long history of “tribalism” as an explanatory device, this article argues that such frameworks function to obscure the class dynamics of political disaffection. The piece concludes by situating current mass movements within a Marxist theory of consciousness and crisis.

The ideological function of sporting metaphors

Sporting metaphors in political commentary are not new. Ganesh’s column distinguishes itself by claiming that football fandom provides the primary model for understanding political behaviour in the early twenty‑first century. He suggests voters behave like supporters: motivated by identity rather than argument, impervious to evidence, and loyal to their “side” regardless of its conduct. The argument is presented with the stylistic fluency characteristic of Ganesh’s work, but its political function is more significant than its rhetorical polish. It exemplifies a recurring tendency within the liberal commentariat: interpreting political alienation as a failure of mass rationality rather than a product of structural crisis.

This displacement from political economy to psychology is a hallmark of bourgeois ideology in periods of systemic instability. It allows commentators to maintain the fiction of a fundamentally rational social order while pathologising those who reject it. In this respect, Ganesh’s intervention belongs to a long lineage of liberal sociological explanation, one that treats political disaffection as a cognitive or cultural deficiency rather than as a rational response to deteriorating material conditions. The football terrace metaphor is simply the latest iteration of this ideological manoeuvre.

The analytical problem with such frameworks is not merely their superficiality but their systematic exclusion of the structural determinants of political behaviour. Treating voters as football fans brackets out the economic transformations that have reshaped political consciousness over the last four decades: stagnant real wages, the erosion of social provision, the transfer of vast public resources to the financial sector, and the militarisation of state budgets. These developments are not incidental background conditions but the central forces driving political realignment. The “tribalism” thesis functions by rendering them invisible.

Moreover, the sporting metaphor obscures the class character of political institutions themselves. Football fandom is presented as spontaneous, irrational loyalty, but the modern elite game, particularly at Manchester City, is a product of financialisation, oligarchic ownership, and global capital flows. The analogy thus collapses under its own weight. If voters behave like football supporters, then the political parties they support increasingly resemble the clubs they are asked to identify with: hollowed‑out brands owned and operated by forces entirely external to the communities they claim to represent. The metaphor inadvertently reveals more than Ganesh intends.

From a Marxist perspective, the appeal to “tribalism” is best understood as an ideological response to the crisis of bourgeois hegemony. As Antonio Gramsci observed, ruling classes confronted with declining legitimacy often resort to cultural or psychological explanations for political instability. These explanations naturalise the existing order by depicting dissent as irrational, emotional, or pre‑political. They also delegitimise alternative political movements by framing them as expressions of identity rather than responses to objective conditions.

The problem with Ganesh’s argument is therefore not simply that it is empirically thin, but that it reproduces a conceptual framework designed to foreclose structural analysis. It treats political behaviour as affective attachment rather than a historically conditioned response to crisis. In doing so, it reinforces the Financial Times’ ideological position: that the political order remains fundamentally sound, and that the challenge lies in managing the electorate’s irrational impulses.

A more adequate analysis would start from the opposite premise: that material conditions shape political consciousness, and that the erosion of traditional party loyalties reflects the breakdown of the post‑Cold War political settlement. Workers are not becoming more tribal; they are confronting a political system that no longer offers them meaningful representation. We must understand the rise of new political formations, whether reactionary or progressive, in this context.

Ganesh’s column thus serves as a symptomatic text. It reveals the anxieties of a ruling class confronted with the disintegration of its ideological authority, and it deploys the familiar tools of liberal commentary to explain that disintegration away. The sporting metaphor is not an innocent flourish. It is an ideological device that substitutes psychology for political economy, sentiment for structure, and pathology for critique.

Manchester City and the political economy of elite sport

Ganesh’s choice of Manchester City is analytically revealing. Since the Abu Dhabi ruling family acquired the club in 2008, Manchester City has become a paradigmatic example of the financialisation of elite sport. It functions simultaneously as a prestige asset, a node within a global sovereign‑wealth network, and the flagship of City Football Group’s multinational portfolio. Its competitive success cannot be separated from football’s structural transformation into a globalised entertainment commodity. Several interlocking processes characterise this transformation: the inflation of transfer markets to levels unimaginable even two decades ago; the systematic pricing‑out of traditional working‑class supporters who once constituted the social base of the sport; the conversion of clubs into vehicles for oligarchic, private‑equity and state capital; and the juridification of competition through increasingly complex financial regulations, arbitration procedures and litigation. Manchester City is not merely an illustrative case but a concentrated expression of these tendencies.

This example matters not only for what it reveals about football but also for the parallel it exposes with developments in the political sphere. Over the same period, the historic parties of the capitalist class- Labour in Britain, the Democratic Party in the United States, Germany’s SPD, and France’s Socialist Party- underwent their own form of financialisation. They retained their traditional symbols, organisational shells and rhetorical markers, but abandoned the reformist programmes that once linked them to sections of the working class. Banks, the military-intelligence apparatus, and the transnational corporate elite effectively took ownership. The parties continued to present themselves as vehicles of popular representation, but their internal structures, policy agendas, and funding networks increasingly reflected capital’s interests rather than labour’s.

The parallel between football clubs and political parties is precise. Both have been hollowed out, repurposed and rebranded. Both rely on maintaining sentimental loyalties among their respective publics, supporters in one case, voters in the other, while no longer representing the material interests of those constituencies. In both domains, the outward continuity of symbols masks a profound transformation of ownership, purpose and class function. The modern football club and the modern centre‑left party are institutions whose legitimacy depends on identities rendered historically obsolete by structural change.

From an academic perspective, this parallel invites a broader reflection on the political economy of representation under late capitalism. The financialisation of football is not an isolated cultural phenomenon but part of a wider process in which previously embedded social institutions are transformed into assets within global circuits of capital. The same logic applies to political parties, which have shifted from mass organisations rooted in specific class constituencies to professionalised entities integrated into state and corporate networks. The erosion of democratic participation, declining party membership, and the rise of technocratic governance are not merely political trends but symptoms of this deeper structural reconfiguration.

Ganesh’s invocation of Manchester City thus inadvertently illuminates the very dynamics his column seeks to obscure. By framing political allegiance as irrational fandom, he shifts attention away from the structural processes that have hollowed out political institutions and generated widespread disaffection. The football metaphor, intended as a critique of voter behaviour, instead becomes a revealing analogy for the transformation of political parties themselves. The problem is not that voters behave like supporters, but that the institutions they are asked to support have been reconstructed along lines analogous to those of elite sport: commodified, financialised and detached from the communities they once served.

In this sense, the sporting metaphor is not merely inadequate but symptomatic. It reflects an ideological tendency within liberal commentary to interpret political crisis through cultural or psychological categories rather than through the material dynamics of capitalist restructuring. The hollowing out of football clubs and political parties alike is not a matter of identity or sentiment but of ownership, class power, and the global reorganisation of capital.

The “tribalism” thesis in liberal political sociology

The notion that voters behave tribally has a long pedigree in liberal political sociology. It appears in discussions of “low‑information voters,” “left‑behind communities,” and Hillary Clinton’s now‑canonical phrase “basket of deplorables.” In each case, the explanatory burden falls on the electorate’s cognitive or cultural deficiencies rather than on the structural conditions that shape political behaviour. The electorate is imagined as fragmented into affective blocs, driven by identity, resentment, or irrational loyalty, and therefore incapable of responding to political arguments rationally or deliberatively. This interpretive framework has become increasingly prominent in commentary over the last decade, serving as a convenient shorthand for explaining political volatility without confronting the deeper social transformations that underlie it.

What this framework systematically excludes is the material history of the past four decades. Since the late 1970s, the political economy of advanced capitalist societies has changed profoundly. Stagnant real wages have become a defining feature of working-class life across the OECD: productivity growth has decoupled from wage growth, while labour’s share of national income has declined. The promise of rising living standards that underpinned the post-war settlement has broken down, giving way to precarious employment, insecure housing, and declining social mobility.

At the same time, trillions have flowed to the financial oligarchy through bank bailouts, quantitative easing and other extraordinary interventions. Though justified as necessary to stabilise the financial system, these policies have inflated asset prices, enriched capital holders and widened inequality. The political consequences of this redistribution have been profound: a growing sense that the state primarily protects financial interests and that democratic institutions are structurally incapable of representing the majority.

Austerity has also shaped the period, an agenda Ganesh himself defended in his biography of George Osborne. Austerity has brought deep cuts to public services, welfare provision and local government budgets, with working-class communities bearing a disproportionate share of the impact. It has weakened social infrastructure, from libraries and youth centres to hospitals and schools. The political effects of austerity cannot be reduced to tribalism; they stem from the lived experience of social decline and institutional abandonment.

Alongside these developments, entire regions, including Manchester and its surrounding areas, have been deindustrialised. The closure of factories, mines and steelworks has not only destroyed jobs but also dismantled the social and cultural institutions that sustained working-class life. The resulting landscape of unemployment, underemployment and economic stagnation has produced political disaffection that is rational, historically grounded and structurally determined.

Finally, over the past two decades, state budgets have become increasingly militarised, with vast sums spent on war, defence procurement, and security apparatuses even as public services collapse. Prioritising military spending over social investment reflects a broader shift in state strategy: strengthening coercive capacities at the expense of welfare functions. This shift has political consequences that cannot be reduced to identity or affect; it reflects the reorientation of state power amid capitalist crisis.

To interpret political disaffection as “tribalism” is therefore to deny the rationality of working‑class responses to these conditions. It is an ideological manoeuvre that absolves the ruling class of responsibility for the crisis it has produced. By framing political behaviour as irrational, commentators can avoid confronting the structural determinants of disaffection: the erosion of living standards, the collapse of social infrastructure, the concentration of wealth, and the militarisation of state power. The tribalism thesis functions as ideological displacement, shifting attention from political economy to psychology and from class relations to cultural identity.

From a Marxist perspective, this displacement itself signals a deeper crisis of bourgeois hegemony. When the material foundations of political legitimacy erode, ruling‑class ideology increasingly relies on cultural and psychological explanations to account for political instability. The electorate is pathologised because acknowledging the rationality of its disaffection would require confronting the social order’s failures. The tribalism thesis thus naturalises the existing system by depicting dissent as irrational, emotional, or pre‑political.

In this sense, the appeal to tribalism is not merely analytically inadequate but politically functional. It reinforces the liberal commentariat’s ideological position by framing political crisis as a problem of voter psychology rather than capitalist restructuring. It protects the ruling class’s legitimacy while delegitimising the working class’s grievances.

The commentator’s vantage point: distance as ideology

Ganesh’s column adopts the stance of the detached observer, a position he has cultivated throughout his career. He describes his ideal reader as someone who watches politics from a calm distance, like a naturalist observing animal behaviour. This self‑presentation is central to his authority at the Financial Times: a cultivated impression of disinterested sophistication, a commentator who stands above the fray and surveys political conflict with anthropological curiosity. The football metaphor reinforces this posture. In Ganesh’s framing, the commentator sits in the directors’ box, insulated from the passions of the crowd below, able to interpret their behaviour precisely because he does not share it. The terrace becomes a site of irrational collective emotion, while the hospitality suite becomes a vantage point of clarity, reason and detachment.

Yet this stance is itself ideological. The claim to neutrality, distance, and dispassion describes not Ganesh’s position but a rhetorical device that conceals its political content. Ganesh is not a neutral spectator. He is a partisan of the City of London, the transatlantic financial order and the NATO‑aligned “rules‑based” international system. His columns consistently defend the institutional architecture of contemporary capitalism: fiscal orthodoxy, Atlanticist foreign policy, technocratic governance and the primacy of financial markets. His prose’s apparent detachment is therefore not a withdrawal from politics but a mode of political intervention. It lets him present the ruling class’s interests as the natural horizon of political reason.

The Financial Times itself embodies this ideological position. Its editorial line has been unwavering in its support for austerity, its defence of militarism and its hostility to strikes. It frames these positions not as expressions of partisan loyalty but as reflections of economic necessity, geopolitical realism, or institutional responsibility. The FT’s own tribalism- its alignment with the priorities of finance capital and Western strategic power- is never described as such because it is the tribalism of the ruling class. Bourgeois ideology naturalises its own commitments while pathologising those of the masses.

This dynamic is central to understanding Ganesh’s use of the football metaphor. By depicting voters as supporters driven by irrational loyalty, he implicitly contrasts their behaviour with the rationality of elite institutions. The passions of the terrace are juxtaposed with the calm deliberation of the directors’ box. But this contrast is misleading. The ruling class is no less tribal than the masses; it expresses its loyalties through different institutional forms. The commitment to fiscal austerity, for example, is not the product of dispassionate analysis but of an ideological attachment to capital’s interests. Support for NATO’s strategic posture is not a neutral assessment of global security but reflects Western elites’ geopolitical commitments. The hostility to strikes is not an objective evaluation of economic efficiency but an expression of class interest.

Ganesh’s ideological function becomes clearer when situated within the broader context of liberal political commentary. The claim to neutrality is a hallmark of bourgeois journalism, which presents its own class position as universal reason. This rhetorical strategy lets commentators delegitimise alternative political perspectives by framing them as irrational, emotional, or tribal. The working class is depicted as driven by identity, resentment or affect, while the ruling class is portrayed as guided by expertise, moderation and rationality. This asymmetry is not accidental; it is a structural feature of bourgeois ideology.

From a Marxist perspective, the problem is not merely that Ganesh misrepresents voter behaviour but that he misrepresents his own. The detachment he claims is ideological camouflage. It conceals the fact that his analysis is shaped by the interests and worldview of the class fraction he represents. The directors’ box is not a neutral vantage point; it is a site of power. The calm distance he celebrates is not a methodological virtue but a political position.

In this sense, the football metaphor is doubly revealing. It exposes the contempt with which sections of the liberal commentariat view the electorate, and it inadvertently reveals the tribalism of the ruling class itself. The passions of the terrace are pathologised, while the commitments of the boardroom are naturalised. The ideological work of Ganesh’s column lies precisely in this inversion.

Consciousness, crisis and the Marxist perspective

Marxism does not deny that identity, habit and emotion shape political consciousness. These elements form part of what Marx called the “ideological superstructure,” the ensemble of cultural and psychological forms through which individuals interpret their social world. But, as Trotsky emphasised, consciousness lags behind objective conditions and is then propelled forward by them, often violently. Political loyalties that appear stable or even innate are, in fact, historically conditioned. They reflect past stages of development and can shift rapidly when the underlying material relations change. The loyalties Ganesh treats as permanent features of human nature- tribal attachments, affective identifications, irrational solidarities- are not anthropological constants. They are historically specific and subject to abrupt reconfiguration under conditions of crisis.

This dynamic is visible in the mass movements that have emerged across Britain, Europe and the United States in recent years. The wave of strikes that has swept through transport, education, health care, logistics and manufacturing is not a tribal phenomenon. It is a rational, collective response to decades of wage suppression, deteriorating working conditions, and intensifying exploitation. Workers who may differ in nationality, race, religion or cultural identity, including football allegiance, have found common cause in struggles over pay, conditions and the defence of public services. These movements cut across the divisions the ruling class works so hard to maintain. They demonstrate that class solidarity is not an abstract ideal but an objective tendency rooted in shared material interests.

The same holds for the anti‑war demonstrations that have filled city centres from London to Berlin to New York. These mobilisations are not expressions of irrational emotion or tribal identity. They are grounded in a clear understanding of militarism’s consequences: diverting resources from social needs, escalating geopolitical conflict, and the human cost borne overwhelmingly by ordinary people. The breadth of these protests, drawing participants from diverse backgrounds and political traditions, reveals an emerging collective consciousness that transcends the narrow identities commentators like Ganesh invoke.

In both cases, what is taking shape is not tribalism but the early stages of a politically coherent response to systemic breakdown. As objective conditions deteriorate, consciousness is forced to catch up. The forms of loyalty that once anchored individuals to existing institutions- political parties, national myths, cultural identities- are eroding. In their place, new solidarities are emerging, grounded not in sentiment but in the shared experience of crisis. These movements represent the working class’s rational, collective agency in confronting a social order that can no longer meet its needs.

Conclusion: Beyond the terrace metaphor

The task is not to lament voters’ irrationality, as Ganesh and the Financial Times do, but to articulate the rational content of working‑class disaffection. The political crisis confronting the advanced capitalist states is not the product of tribal psychology, nor of some sudden collapse in civic virtue. It results from a social order that offers the majority no future. When commentators reduce political volatility to identity, affect or irrational loyalty, they obscure the material foundations of discontent and transform a structurally generated crisis into a behavioural problem. This ideological manoeuvre protects the ruling class’s legitimacy by locating the source of instability in the electorate rather than in capitalism’s own contradictions.

A Marxist analysis begins from the opposite premise: that political consciousness, however uneven or contradictory, contains within it a rational core shaped by lived experience. Workers’ instinctive opposition to austerity, militarism, inequality and the degradation of public services is not a failure of reason but an expression of it. The challenge is not to correct an irrational electorate but to clarify and develop the rational content of its disaffection. Consciousness lags behind objective conditions, as Trotsky observed, but crisis propels it forward. The erosion of traditional party loyalties, the collapse of trust in institutions, and the search for alternatives, however inchoate, are symptoms of a deeper process in which the old ideological anchors are losing their grip.

For this reason, the central political task is not to defend the existing order against “tribalism” but to provide a coherent alternative to it. Workers’ spontaneous opposition must be given a conscious, internationalist, socialist programme that links immediate struggles to the broader transformation of society. Such a programme must reject all forms of nationalism, identity‑based fragmentation and class collaboration. It must address the structural roots of crisis: the domination of finance capital, the militarisation of state policy, and the systematic erosion of democratic and social rights.

Therefore, we need a party independent of all factions of the capitalist class, whatever shirts they wear. Only an organisation grounded in the interests of the international working class can transform disaffection into political agency. The crisis of capitalism has stripped away the illusions that once sustained the old parties. The task now is to build the leadership capable of turning opposition into a conscious movement for socialist reconstruction.

Further Reading

Marxist Theory, Political Economy, and Class Analysis

Arrighi, Giovanni. The Long Twentieth Century: Money, Power, and the Origins of Our Times. London: Verso, 1994.

Brenner, Robert. The Boom and the Bubble: The US and the World Economy. London: Verso, 2002.

Callinicos, Alex. Bonfire of Illusions: The Twin Crises of the Liberal World. Cambridge: Polity Press, 2010.

Clarke, Simon. Marx’s Theory of Crisis. London: Palgrave Macmillan, 1994.

Harman, Chris. Zombie Capitalism: Global Crisis and the Relevance of Marx. London: Bookmarks, 2009.

Harvey, David. The Enigma of Capital and the Crises of Capitalism. Oxford: Oxford University Press, 2010.

Luxemburg, Rosa. The Accumulation of Capital. London: Routledge, 2003 (original work published 1913).

Marx, Karl. Capital: Volume I. London: Penguin Classics, 1990 (original work published 1867).

Shaikh, Anwar. Capitalism: Competition, Conflict, Crises. Oxford: Oxford University Press, 2016.

Streeck, Wolfgang. How Will Capitalism End? Essays on a Failing System. London: Verso, 2016.

Financialisation, Neoliberalism, and State Restructuring

Crouch, Colin. The Strange Non‑Death of Neoliberalism. Cambridge: Polity Press, 2011.

Duménil, Gérard and Lévy, Dominique. The Crisis of Neoliberalism. Cambridge, MA: Harvard University Press, 2011.

Fine, Ben. Theories of Social Capital: Researchers Behaving Badly. London: Pluto Press, 2010.

Gamble, Andrew. The Spectre at the Feast: Capitalist Crisis and the Politics of Recession. London: Palgrave Macmillan, 2009.

Mirowski, Philip and Plehwe, Dieter (eds.). The Road from Mont Pèlerin: The Making of the Neoliberal Thought Collective. Cambridge, MA: Harvard University Press, 2009.

Pistor, Katharina. The Code of Capital: How the Law Creates Wealth and Inequality. Princeton: Princeton University Press, 2019.

Labour, Deindustrialisation, and Working‑Class Politics

Beatty, Christina and Fothergill, Steve. The State of the Coalfields. Sheffield: CRESR, 2021.

Bluestone, Barry and Harrison, Bennett. The Deindustrialisation of America. New York: Basic Books, 1982.

Kirk, Neville. Comrades and Cousins: Globalisation, Workers and Labour Movements in Britain, the USA and Australia from the 1880s to 1914. London: Merlin Press, 2003.

Moody, Kim. On New Terrain: How Capital Is Reshaping the Battleground of Class War. Chicago: Haymarket Books, 2017.

Silver, Beverly. Forces of Labour: Workers’ Movements and Globalisation since 1870. Cambridge: Cambridge University Press, 2003.

Media, Ideology, and Political Commentary

Bourdieu, Pierre. Political Interventions: Social Science and Political Action. London: Verso, 2008.

Chomsky, Noam and Herman, Edward S. Manufacturing Consent: The Political Economy of the Mass Media. New York: Pantheon Books, 1988.

Curran, James and Seaton, Jean. Power Without Responsibility: Press, Broadcasting and the Internet in Britain. London: Routledge, 2018.

Davis, Aeron. Reckless Opportunists: Elites at the End of the Establishment. Manchester: Manchester University Press, 2018.

Schudson, Michael. The Power of News. Cambridge, MA: Harvard University Press, 1995.

Imperialism, Militarism, and Geopolitics

Callinicos, Alex. Imperialism and Global Political Economy. London: Polity Press, 2009.

Foster, John Bellamy. The New Imperialism of Globalised Monopoly Capital. New York: Monthly Review Press, 2021.

Kiely, Ray. The Politics of Empire: Globalisation and the Postcolonial World. London: Routledge, 2005.

Panitch, Leo and Gindin, Sam. The Making of Global Capitalism: The Political Economy of American Empire. London: Verso, 2012.

Football, Capital, and Cultural Political Economy

Conn, David. The Fall of the House of FIFA. London: Yellow Jersey Press, 2017.

Giulianotti, Richard. Football: A Sociology of the Global Game. Cambridge: Polity Press, 1999.

Hognestad, Hans and Tolvhed, Daniel (eds.). Sport and the Transformation of Modern Europe: States, Media and Markets 1950–2010. London: Routledge, 2020.

Millward, Peter. The Global Football League: Transnational Networks, Social Movements and Sport in the New Media Age. London: Palgrave Macmillan, 2011.

Szymanski, Stefan. Money and Football: A Soccernomics Guide. London: Bloomsbury, 2015.

France’s Erupting Student Revolt and the Political Lessons of 1968: A Warning Against the SWP’s Spontaneity Myths

The eruption of mass student protests across France marks a new phase in the breakdown of European capitalism. Beginning with lycée blockades in Créteil on 18 September, the movement has spread at extraordinary speed. By mid-October, the main student union reported that around 90 per cent of France’s universities were blockaded or closed; unions claimed 480,000 demonstrators nationwide; and protests had already spread to Belgium, Albania, Greece and Italy. One demonstrator has been killed, more than 2,000 arrested, and Limoges’ 143-year-old town hall burned. Macron is preparing to address the nation- a sign of the ruling class’s fear, not its strength.

The crisis unfolding in France is not an isolated national event. It is part of a global rise in class struggle, driven by war, austerity, and the collapse of the post-Cold War order. Across Europe, governments are cutting social spending to fund rearmament, militarising domestic policing, and preparing for confrontation with Russia. The eruption of youth anger in France is one expression of this broader crisis. Still, you can’t understand the political questions it raises without confronting the lessons of France’s last great revolutionary crisis: May–June 1968.

In a recent article, Socialist Worker (SWP) asks whether the present revolt is “our 1968.” It is a legitimate question, but their answer is politically evasive. Their account suppresses 1968’s central lesson: the decisive role the Stalinist bureaucracy played in betraying the general strike, and the need to build an independent revolutionary leadership before mass upheavals. This suppression is no accident. It follows from the SWP’s own political orientation: its adaptation to the trade-union apparatus, its glorification of spontaneity, and its refusal to confront the bureaucracies that strangle every major working-class movement.

Murden’s article repeats a familiar mythology: students fought, workers joined them, the president “fled,” and the movement was ultimately defeated because socialist parties were too focused on elections. This narrative is politically convenient because it obscures the real forces that determined the outcome. The May–June 1968 general strike, involving ten million workers, was not defeated by “electoralism.” The French Communist Party (PCF) and the CGT trade-union bureaucracy it controlled betrayed it. These forces negotiated the Grenelle accords behind the strikers’ backs, broke the strike factory by factory, and led the working class into the June elections, which the Gaullists won by a landslide.

De Gaulle did not flee. He flew to Baden-Baden to secure the army’s support, then returned to dissolve the Assembly and call elections, confident that the PCF would keep the workers in line. This betrayal was no aberration; it was the predictable outcome of Stalinism’s nationalist, reformist programme and hostility to workers’ power. The SWP refuses to name this betrayal because its own state-capitalist tradition has always adapted to the bureaucracies- Stalinist, social-democratic, or trade-union that sit atop mass movements.

The Role of the Unions Today

The SWP’s silence on the unions is not merely a matter of history; it directly affects the present movement. Youth anger has not erupted in a political vacuum. It confronts a trade-union apparatus with a decade-long record of systematic demobilisation, fragmentation, and defeat. Any serious analysis of the current struggle must begin with this fact. Murden’s article omits it because acknowledging it would require breaking with the SWP’s entire political orientation.

The Intersyndicale’s record is well known. In 2023, it led millions in a series of isolated “days of action” as Macron’s pension reform passed. These demonstrations were deliberately designed to prevent a general strike. With weeks of inactivity between each “day,” the government could wait out the movement while the unions kept control of the calendar. Last autumn’s Bloquons tout movement was similarly dissipated. Youth and workers repeatedly called for indefinite action, only to be told to wait for the next scheduled march. Many participants objected that the unions were setting the protest calendar and called for dates independent of the bureaucracies. Their demands were ignored.

By December 2025, the consequences of this strategy were clear. A CGT–FSU–Solidaires strike day drew just 31,900 protesters, according to interior ministry estimates, and caused little disruption. Years of controlled, symbolic protest had worn workers down and convinced many that union-led mobilisations were futile. The bureaucracies had achieved their real aim: preventing a unified national movement from emerging to challenge the state.

Today, the unions have joined the marches “to protect pupils and limit violence.” This wording is revealing. Their role is not to lead a struggle against the state, but to contain it, regulate it, and ultimately channel it back into parliamentary politics. They appear at demonstrations as stewards, not fighters. Their presence is a warning, not a promise.

Murden’s article says nothing about this. Workers and young people are not warned that the same apparatus is preparing the same outcome. They are not told that the unions are already negotiating with the interior ministry, discussing “security,” and preparing the next controlled march. Nor are they told that the bureaucracies will oppose any attempt to connect lycée blockades with strikes in transport, health, logistics, or industry. They are not told that the unions will fight rank-and-file organisation harder than they fight Macron.

Most importantly, they are not urged to build rank-and-file committees independent of the union bureaucracies, linking schools, factories, transport and hospitals across France and internationally. These committees are the only organisational form capable of coordinating a general strike, resisting bureaucratic sabotage, and articulating the working class’s political demands. They embody the lessons of every major struggle of the past century, from the factory occupations of 1936 to the mass strikes of 1968.

This silence is political. It reflects the SWP’s refusal to break with the trade‑union apparatus, which it treats as a vehicle for “pressure from below” rather than as an instrument of state control over the working class. The SWP’s state‑capitalist tradition has always adapted to whatever bureaucracy sits atop a movement. It insists that militancy can force unions into action, even though their function is precisely to keep militancy from becoming political. It celebrates “the streets” while refusing to confront the organisations that police them.

Mélenchon and the Electoral Trap

Murden warns that “the logic of the system” will try to channel street anger into electoral politics. In the next breath, she praises Jean‑Luc Mélenchon for showing up at protests. The warning and the endorsement cancel each other out. It is impossible to denounce the diversion of mass anger into parliamentary channels while simultaneously legitimising the politician whose central function is to carry out that diversion.

Mélenchon’s role is clear. In 2024, La France Insoumise (LFI) entered a “New Popular Front” with the Socialist Party, the party responsible for Hollande’s austerity, labour‑market deregulation, and entrenching the state of emergency. LFI then withdrew candidates in run‑offs to benefit Macron’s camp under the banner of a “republican front.” This was not a tactical misstep but the logical expression of LFI’s programme: defence of the Fifth Republic, French nationalism, and the preservation of capitalist order through parliamentary manoeuvres.

With the 2027 election approaching, LFI faces the same challenge the PCF faced in June 1968: turning a mass movement into votes. In 1968, the PCF broke the general strike factory by factory, then led ten million workers to the polls, where they delivered a landslide victory for the Gaullists. Today, Mélenchon’s presence at demonstrations serves a similar purpose: presenting himself as the “responsible” left alternative, channelling youth anger into electoral support, and preventing the emergence of independent organs of working-class power.

To present Mélenchon as an ally is to repeat the political logic that destroyed 1968. Murden’s article concludes by declaring that “the power to change the system lies in the streets.” This is spontaneism dressed up as revolutionary rhetoric. In 1968, the streets did not lack militancy. They lacked a party fighting for workers’ power against the Stalinists. The general strike was defeated not because workers failed to act, but because they acted under the leadership of a bureaucracy committed to preserving the capitalist state.

Celebrating “the streets” while remaining silent on programme and leadership leaves the field open to the bureaucracies and to Mélenchon. It is a politics of mood, not strategy. It replaces emotional identification with protest with the hard, necessary work of building independent rank-and-file committees and a revolutionary leadership capable of confronting the state and breaking the union apparatus’s grip. This is the lesson of 1968and the lesson Murden’s article refuses to draw.

What Is Required

Conditions today may be more explosive than in 1968. The crisis is global, the ruling class has nothing left to concede, and the movement is already crossing borders. The French protests are not an isolated national disturbance but part of a worldwide breakdown of capitalist stability: war in Europe and the Middle East, austerity budgets across the continent, collapsing public services, and a generation of youth confronting a future of permanent insecurity. Under these conditions, even movements that begin in schools and universities can quickly take on a broader social character. The question the SWP avoids the question of leadership becomes decisive.

The ruling class is acutely aware of the danger. Macron’s preparations to address the nation, the mass arrests, and the deployment of riot police are not signs of confidence but of fear. The state understands that social anger among youth can ignite broader layers of workers whose living standards have eroded over more than a decade. The unions understand this too, which is why they have intervened not to escalate the struggle but to contain it. The pseudo‑left parties understand it, which is why they are already positioning themselves as electoral safety valves. The only force that is not being prepared is the working class itself.

What is needed is the independent political mobilisation of the working class, internationally and on a socialist programme, against Macron, the RN, and the bureaucratic and pseudo-left apparatuses that will seek to block it. No movement can move forward while confined to the organisational structures that have repeatedly sabotaged struggles in France: the trade-union bureaucracies, the parliamentary left, and nationalist frameworks that divide workers by race, religion or citizenship. The youth blockades have shown courage and initiative. Still, without a deliberate strategy to connect their actions with workplaces, hospitals, transport hubs and logistics centres, their struggle will remain isolated and vulnerable.

The lessons of 1968 are clear. A general strike, prepared by rank-and-file committees, democratically controlled by workers, and coordinated across sectors and borders, is the only way to break the union apparatus’s grip. A revolutionary leadership, built in advance, rooted in the international working class, and armed with a Marxist programme, is the only force capable of turning mass anger into a struggle for power. An article that omits these lessons offers a miniature version of the PCF’s road a road that leads not to victory, but to defeat.

Bibliography

Trotskyist and Marxist Analysis

  • Trotsky, Leon. The Transitional Program for Socialist Revolution. New York: Pathfinder Press.
  • Trotsky, Leon. The Struggle Against Fascism in Germany. New York: Pathfinder Press.
  • North, David. The Russian Revolution and the Unfinished Twentieth Century. Mehring Books.
  • North, David. The Frankfurt School, Postmodernism and the Politics of the Pseudo‑Left. Mehring Books.
  • Steiner, Alex and David North. The Frankfurt School, Postmodernism and the Politics of the Pseudo‑Left: A Marxist Critique. Mehring Books.
  • International Committee of the Fourth International (ICFI). The Heritage We Defend. Mehring Books.

May–June 1968: Historical Studies

  • Seidman, Michael. The Imaginary Revolution: Parisian Students and Workers in 1968. Berghahn Books.
  • Singer, Daniel. Prelude to Revolution: France in May 1968. Hill and Wang.
  • Ross, Kristin. May ’68 and Its Afterlives. University of Chicago Press.
  • Williams, Philip. Crisis and Compromise: Politics in the Fourth Republic. Penguin.
  • Dreyfus, François. Histoire de la CGT. Seuil.
  • Kriegel, Annie. Les Communistes Français: Essai d’histoire du mouvement communiste français. Seuil.

French Trade‑Unionism and the CGT

  • Mouriaux, René. Le Syndicalisme en France. La Découverte.
  • Andolfatto, Dominique and Dominique Labbé. Histoire des syndicats: 1906–2010. Seuil.
  • Tartakowsky, Danielle. Les Manifestations de rue en France: 1918–1968. Publications de la Sorbonne.
  • Lefranc, Georges. Les Syndicats en France. Presses Universitaires de France.

Contemporary French Politics and the Pseudo‑Left

  • Amable, Bruno and Stefano Palombarini. L’Illusion du Bloc Bourgeois. Raisons d’Agir.
  • Mélenchon, Jean‑Luc. L’Ère du Peuple. Fayard.
  • Perrineau, Pascal. La France au Front. Fayard.
  • Chrisafis, Angelique. The Rise of the French Far Right. Guardian reporting (summaries only).
  • WSWS Editorial Board. The Pseudo‑Left and the Crisis of Capitalism. Mehring Books.

Youth Movements, Policing, and the Banlieues

  • Fassin, Didier. Enforcing Order: An Ethnography of Urban Policing. Polity Press.
  • Beaud, Stéphane and Michel Pialoux. Retour sur la condition ouvrière. Fayard.
  • Hmed, Choukri. Les Mouvements des Banlieues. Presses de Sciences Po.

European Austerity, War, and Capitalist Crisis

  • Tooze, Adam. Crashed: How a Decade of Financial Crises Changed the World. Allen Lane.
  • Varoufakis, Yanis. Adults in the Room. Bodley Head.
  • WSWS International Editorial Board. The Return of Great‑Power Conflict and the Crisis of World Capitalism. Mehring Books.

General Works on Marxism, Revolution, and Class Struggle

  • Luxemburg, Rosa. The Mass Strike, the Political Party and the Trade Unions.
  • Lenin, V.I. State and Revolution.
  • Lenin, V.I. What Is To Be Done?
  • Harman, Chris. The Fire Last Time: 1968 and After. Bookmarks (critical reference only).
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Claudia Jones: A Life in Exile: The Persecution of a communist and the Politics That Failed Her

Introduction: A revolutionary life trapped in the cul‑de‑sacs of Stalinism

Few figures on the post-war left embody both the courage of class-conscious militants and the political dead end into which they were channelled as starkly as Claudia Jones. Born in Port of Spain in 1915, raised in poverty in Harlem, and drawn into the Communist Party USA (CPUSA) by the explosive social contradictions of Depression-era America, Jones’s life traces the path of a generation of revolutionary-minded workers whose aspirations were ultimately constrained by Stalinist politics.

Her rise to national leadership in the CPUSA, imprisonment during the McCarthyite witch-hunt, and deportation in 1955 were not merely biographical episodes; they expressed the ferocity with which American capitalism sought to crush any organised challenge from the working class. Jones spent her final nine years in London and died in 1964, aged just 49. Her grave lies a few yards from Karl Marx’s, a poignant symbol of the revolutionary tradition she believed she served and of the political betrayal that shaped and limited her life’s work.

The renewed interest in Jones over the past decade in academic feminism, Black radical studies, and cultural histories of the Notting Hill Carnival reflects a broader effort to recover the suppressed or marginalised voices of twentieth-century radicalism. First published in the late 1990s and reissued in 2021 as part of Lawrence Wishart’s Radical Black Women series, Marika Sherwood’s biography is among the most substantial documentary efforts in this area. Sherwood’s archival research, oral-history interviews, and account of Jones’s London years offer material that would otherwise be inaccessible. In this sense, the book is a valuable record: a collection of fragments from a life shaped by surveillance, repression, and political isolation.

Yet framing the biography primarily through race and gender obscures the decisive political questions that shaped Jones’s trajectory. It portrays the life of a communist without seriously reckoning with the communist movement’s own politics. Jones’s commitments, theoretical contributions, and organisational work cannot be understood apart from the Communist International’s historical degeneration under Stalin, the transformation of communist parties into instruments of Soviet foreign policy, and the strategic zigzags that followed. Like much contemporary scholarship, Sherwood’s narrative treats Jones’s Marxism as historical backdrop rather than the central axis of her intellectual and political identity.

This omission matters. Jones did not simply “happen” to be a communist; the CPUSA’s political line shaped her, defended her, and exacted a price from her. Her best-known theoretical work, An End to the Neglect of the Problems of the Negro Woman! (1949), is now celebrated as an early articulation of what later became known as intersectionality. But its central insight, that Black working women were the most exploited sector of the American proletariat, came from Marxist analysis rather than identity-based frameworks. Jones’s politics were inseparable from the CPUSA’s positions on the Popular Front, the no-strike pledge, the Black Belt thesis, and the party’s subordination to Roosevelt and, later, the Democratic Party. Her deportation was not simply the persecution of a Black woman or a feminist; it was the persecution of a communist at a time when the American state sought to destroy the organised left.

By foregrounding race and gender while downplaying the political content of Jones’s Marxism, Sherwood’s biography reflects a broader trend in contemporary historiography: sanitising communist militants into cultural icons or symbols of identity. Jones is presented as a pioneering Black woman, a proto-intersectional thinker, and a carnival founder- all true, but partial. What disappears is the central tragedy of her life: she channelled her revolutionary energy, intellect, and organisational skill into a political movement that abandoned the programme of world socialist revolution. This introduction sets the stage for a closer examination of Jones’s politics, the limitations Stalinism imposed, and contemporary misreadings that obscure her significance.

The historiography surrounding Claudia Jones has transformed profoundly in recent decades. Once relegated to the margins of Cold War studies, feminist theory, and Black radical historiography, Jones has increasingly been recognised as one of the twentieth century’s most important communist women. This shift is not simply scholarly recovery; it is a political struggle over memory, ideology, and the place of Marxist-Leninist women in the genealogy of revolutionary thought. Lydia Lindsey’s Red Monday represents the most recent and arguably most incisive intervention in this evolving field. Her work does not merely restore Jones to the historical record; it indicts the structures that silenced her, from the U.S. state to the academy itself.

The earlier historiographical silence surrounding Jones was not accidental. For much of the late twentieth century, Jones appeared only fleetingly in studies of McCarthyism or Caribbean diaspora politics. Feminist scholarship, shaped by liberal and nationalist frameworks, struggled to integrate a communist woman whose analysis foregrounded class exploitation rather than identity. The Cold War’s ideological policing scattered Jones’s writings, disrupted her networks, and fragmented her intellectual legacy. The destruction of her papers, symbolised by the dramatic scene on 14 November 1955, when New York firefighters forced their way into her apartment as she burned personal documents to protect comrades, was both literal and metaphorical. The state sought not only to repress Jones but to erase the intellectual infrastructure of Black communist women.

The historiographical shift began with works such as Dayo Gore’s Radicalism at the Crossroads and Carole Boyce Davies’s Left of Karl Marx. These studies challenged Cold War narratives that depicted communist women as passive or manipulated, instead emphasising their theoretical autonomy and internationalist commitments. Gore underscored the political consequences of Jones’s erasure: by severing her from U.S. networks and deporting her, the state not only destroyed her health but also severed the intellectual communities that might have preserved her work. Davies extended this argument by situating Jones within Caribbean political traditions and emphasising her role in shaping diasporic consciousness in Britain.

Yet even these important interventions did not fully resolve the historiographical problem. Jones remained a figure whose political commitments- Marxism, Leninism, anti-imperialism- were often treated as secondary to her cultural achievements. In Britain, she was memorialised as the founder of the West Indian Gazette and as a pioneer of Caribbean carnival culture. Still, her two decades of radical activism in the United States were largely omitted. This depoliticised framing reflected a broader tendency within British multicultural historiography to celebrate cultural expression while marginalising revolutionary politics. As Dayo Gore notes, Britain’s memory of Jones often celebrates culture rather than Marxist‑Leninist struggle.

In this context, we must understand Lydia Lindsey’s Red Monday. Lindsey’s intervention is historiographical, political, and polemical. Her central thesis is uncompromising: Claudia Jones was systematically silenced. The Cold War “muzzled” her voice, and later academic frameworks- particularly those shaped by liberal feminism and identity-based theories- struggled to accommodate a Marxist‑Leninist Black woman whose analysis prefigured what is now called intersectionality. Lindsey argues that Jones’s erasure resulted not only from state repression but also from intellectual paradigms that could not integrate a revolutionary woman whose politics were inseparable from global anti‑imperialist struggle.

Lindsey situates Jones within a longer intellectual tradition of Black communist women. Although Jones is often credited with popularising the concept of “triple oppression”, the interlocking exploitation of race, class, and genderLindsey notes that Louise Thompson Patterson used the term “triply oppressed” in the same year Jones joined the Communist Party. Patterson applied the concept to domestic workers, emphasising the structural vulnerability of Black women in the U.S. labour market. Jones, however, expanded the framework dramatically. She linked tripartite oppression to anti‑colonialism, anti‑imperialism, anti‑fascism, and the global peace movement. This internationalist orientation, Lindsey argues, makes Jones “the mother of global revolutionary thought,” because she fused the struggles of Black women with the broader Marxist‑Leninist project of world revolution.

Crucially, Lindsey insists that Jones’s concept of tripartite oppression was dynamic rather than static. It evolved across time and space, shaped by Jones’s experiences in the United States, the Caribbean diaspora, and later Britain. In the twenty‑first century, Lindsey argues, Jones’s framework is expressed through the language of intersectionality. But she is careful to distinguish Jones’s Marxist analysis from later identity‑based theories. For Jones, the oppression of Black women was not simply a matter of overlapping identities but a structural consequence of capitalist exploitation. In her view, Black women were the most exploited sector of the working class and therefore central to revolutionary transformation. Lindsey emphasises that contemporary discussions of intersectionality often lose this class-rooted analysis, foregrounding identity rather than exploitation.

This distinction has become a major theme in current historiography. Scholars such as Charisse Burden‑Stelly and Keisha Blain argue that Jones’s analysis of super‑exploitation provides a materialist foundation for intersectionality that contemporary theory often lacks. Jones’s insistence that Black women occupy a structurally decisive position within the capitalist labour process challenges both liberal feminism and depoliticised versions of intersectionality. Lindsey’s work thus intervenes in contemporary theoretical debates, insisting that any serious genealogy of intersectional analysis must recognise its Marxist origins.

A renewed interest in communist women, Black internationalism, and the global dimensions of feminist struggle characterises the present historiographical moment. Jones stands at the centre of these conversations. Her writings on peace, anti‑imperialism, and colonial liberation resonate with contemporary debates about global capitalism, racialised labour, and the gendered dimensions of exploitation. Scholars increasingly recognise Jones as belonging to the genealogies of Black radicalism, feminist theory, anti‑imperialism, and Marxist‑Leninist political practice.

Lindsey’s Red Monday marks a decisive moment in this historiographical transformation. It does not simply restore Jones’s voice; it challenges the structures that silenced her. Lindsey indicts the Cold War state for its repression, but she also critiques the academy for its inability to integrate communist women into feminist and intellectual history. Her work demands a rethinking of the very frameworks through which feminist theory and Black radicalism have been understood.

Ultimately, Red Monday presents Jones not merely as a victim of Cold War repression but as a visionary thinker whose analysis of super‑exploitation and tripartite oppression anticipated contemporary debates about intersectionality. Lindsey argues that recovering Jones’s voice is essential to reconstructing a truly internationalist, working‑class feminist tradition- one that recognises the centrality of Black women to revolutionary transformation and refuses to separate struggles against racism and sexism from the fight against capitalism itself.

For Marxists, recovering Claudia Jones’s history is not simply an academic exercise. It is part of the broader struggle to reclaim the revolutionary traditions that Cold War repression sought to destroy. Lindsey’s Red Monday powerfully contributes to that struggle, restoring Jones to her rightful place in the history of global revolutionary thought and challenging us to confront the ideological forces that still shape historical memory today.

A record worth having: Sherwood’s archival contribution

Sherwood’s strengths lie in her archival persistence. Working against the grain of Cold War erasure, she reconstructs Claudia Jones’s life from fragmentary sources, scattered documents, and the memories of those who worked alongside her. Much of Jones’s personal archive was destroyed, some by the FBI, some by Jones herself in moments of fear and necessity, leaving historians with only shards of a life lived under surveillance. Sherwood’s determination to piece together these remnants gives her biography a documentary value that few other accounts possess. For British readers in particular, the chapters on Jones’s London years are indispensable, offering one of the clearest portraits of the political and social terrain in which Jones operated after her deportation.

Jones arrived in London in December 1955, penniless, ill, and politically isolated. Her health had been broken by years of tuberculosis, heart disease, and the brutal conditions of Alderson federal prison. Yet she immediately immersed herself in civil‑rights struggles among Caribbean workers, refusing any retreat into private life or quiet exile. She founded the West Indian Gazette in 1958, Britain’s first major Black newspaper, produced on a shoestring budget above a record shop in Brixton. The paper became a crucial organising centre for campaigns against racist policing, discriminatory housing practices, and the tightening of immigration controls. It also served as a forum for anti‑colonial politics, linking Caribbean, African, and Asian struggles against British imperialism.

Sherwood’s account of these years is one of the book’s strongest contributions. She captures the atmosphere of post‑war Britain with clarity: the “Keep Britain White” graffiti scrawled across North Kensington; Oswald Mosley’s return to street agitation; the landlords’ notorious “No Blacks, No Irish, No Dogs” signs; and the routine police harassment faced by Caribbean youth. This was not the multicultural London of later decades but a city in which the presence of Black workers was treated as a social problem to be contained. Jones fought relentlessly, organising meetings, writing editorials, and building networks of solidarity across fragmented immigrant communities.

The Notting Hill riots of August–September 1958 marked a turning point. White gangs, encouraged by fascist organisations, launched sustained attacks on Black residents over several nights. The violence exposed the depth of racial hostility in British society and the indifference of the authorities. In response, Jones organised an indoor Caribbean carnival at St Pancras Town Hall in January 1959, an act of cultural self‑assertion and political defiance. Sherwood’s documentation of this initiative corrects narratives that portray migrant workers as passive victims. Jones’s carnival was not a celebration of diversity but a conscious attempt to strengthen the morale of a community under siege. It asserted that Caribbean people would not be driven out.

Sherwood is equally clear about the American state’s vindictiveness. Jones’s arrests under the Smith Act, her imprisonment at Alderson, her deteriorating health, and her eventual deportation are all recorded with appropriate indignation. The biography conveys the relentlessness of the McCarthyite campaign: the surveillance, the raids, the interrogations, the legal harassment, and the calculated cruelty of deporting a chronically ill woman who had lived in the United States since childhood. Claudia Jones’s persecution belongs in the long indictment of American “democracy,” which has always reserved its harshest measures for those who challenge the capitalist order from the left.

Yet Sherwood’s narrative, for all its documentary richness, stops short of analysing the political context that shaped Jones’s persecution. Jones was not simply a victim of anti‑communism; she was a leader of a party whose political line had been subordinated to the foreign‑policy needs of the Soviet bureaucracy. Her imprisonment was not only an attack on a Black woman or a civil‑rights activist but on a communist cadre whose work was inseparable from the strategic zigzags of Stalinism. Sherwood records the events but does not interrogate the politics that made Jones both vulnerable to repression and unable to develop an independent revolutionary perspective.

This limitation becomes clear in Sherwood’s treatment of Jones’s theoretical contributions. Jones’s analysis of the super‑exploitation of Black women, her insistence on the centrality of race and gender within the working class, and her critique of American capitalism are all presented as early expressions of what is now called intersectionality. But Sherwood does not explore how these insights emerged from Jones’s Marxist commitments, nor how they were shaped and constrained by the CPUSA’s Stalinist framework. The biography documents Jones’s work but does not situate it within the broader crisis of the communist movement.

In this sense, Sherwood’s book reflects a wider trend in contemporary historiography: recovering communist figures as cultural icons or identity‑based pioneers while leaving their political context unexamined. Jones becomes a symbol of Black resilience, a proto‑intersectional thinker, and a carnival founder, all true but insufficient. What disappears is the central contradiction of her life: that her revolutionary energy was channelled into a political movement that had abandoned the programme of world socialist revolution.

The question Sherwood avoids: the politics of the Communist Party

What Sherwood fails to confront, and what any serious assessment of Claudia Jones must begin with, is the political character of the movement to which Jones devoted her life. Jones joined the Young Communist League in the mid-1930s, inspired by the CPUSA’s defence of the Scottsboro Boys and its reputation as the United States’ most militant opponent of racism. Millions of workers and young people saw the Soviet Union as the embodiment of the October Revolution, the first successful overthrow of capitalism. Yet by the time Jones entered the movement, the Communist International had already become an instrument of the Stalinist bureaucracy. The Kremlin set its policies not to meet the needs of the international working class, but to serve the Soviet state’s foreign-policy requirements.

Jones’s political development tracked every turn in this line. The CPUSA repeatedly changed its strategic orientation not through democratic debate or Marxist analysis, but through abrupt shifts imposed from Moscow. Jones advanced within the party by adapting to these shifts, which shaped both her theoretical work and practical activity. The first major shift was the Popular Front, launched in 1935. Under this policy, the CPUSA subordinated the working class to Roosevelt and the Democratic Party, portraying the New Deal coalition as a progressive force against fascism. The party abandoned independent working-class politics in favour of alliances with liberal politicians, trade-union bureaucrats, and sections of the middle class. As a rising cadre, Jones absorbed this orientation. Her early writings emphasised unity with “progressive forces,” reflecting the party’s move away from revolutionary struggle.

The second shift came with the Hitler–Stalin Pact of August 1939. Overnight, the CPUSA reversed its position: Roosevelt became an imperialist warmonger, and the party denounced the war as a conflict between rival capitalist powers. When Germany invaded the Soviet Union in June 1941, the party changed course again and became the most enthusiastic supporter of the American war effort. It backed the wartime no-strike pledge, suppressing labour militancy just as workers were fighting speed-ups, wage freezes, and racist hiring practices in war industries. The party opposed A—Philip Randolph’s March on Washington Movement, which aimed to challenge discrimination in defence production. Any independent struggle by Black workers was treated as a threat to the wartime alliance with American imperialism.

Jones supported these positions. Her speeches and articles from this period reflected the CPUSA’s insistence that Black workers subordinate their demands to the national war effort. This was not a personal failing, but the result of a political line that placed the defence of the Soviet Union, as interpreted by the Stalinist bureaucracy, above the independent interests of the American working class. The next shift came during Browder’s leadership. In 1944, under Earl Browder, the CPUSA dissolved itself and became a “political association,” arguing that capitalism and socialism could coexist peacefully after the war. Browder’s liquidationism was not a theoretical innovation, but an extension of Popular Front logic. By then a prominent figure in the party’s women’s work, Jones also adapted to this line.

In 1945, the Kremlin signalled through French Stalinist Jacques Duclos that Browder had gone too far, and the CPUSA reconstituted itself overnight. Jones followed suit, becoming one of the party’s leading voices on the “Negro question.” Her best-known essay, “An End to the Neglect of the Problems of the Negro Woman!” (1949), is now celebrated as proto-intersectional. Its genuine insight that Black working women were the most exploited section of the American proletariat comes from Marxism, not later theories of overlapping oppressions. Jones understood exploitation as a class relation intensified by racism and sexism. Her analysis was grounded in the material conditions of Black women workers, not abstract identity categories.

But Jones also defended the CPUSA’s mechanical Stalinist schema of “self-determination for the Negro nation in the Black Belt.” This policy treated Black workers as a separate national question, rather than as a decisive part of the American working class. Applied mechanically from Moscow, it failed to engage seriously with the actual dynamics of class struggle in the United States. The CPUSA’s position fragmented the working class and diverted Black militancy into politically sterile nationalist channels.

Leon Trotsky’s 1939 discussions with C.L.R. James framed the issue correctly. Trotsky argued that the decisive question was the independent mobilisation of Black workers within the broader socialist struggle of the working class, against both the Democrats and the trade-union bureaucracy. He saw Black workers’ revolutionary potential as rooted in their position within the proletariat, not in a separate national identity. His analysis offered a path to genuine working-class unity and revolutionary leadership.

London and the British Road: a political dead end

When Claudia Jones arrived in Britain in December 1955, she found a political landscape already shaped, and increasingly distorted, by the Communist Party of Great Britain’s (CPGB) strategic capitulation. The Party’s 1951 programme, *The British Road to Socialism*, vetted and approved by Stalin himself, had renounced revolutionary politics in favour of parliamentary gradualism, constitutional niceties, and pressure on the Labour Party. It subordinated the working class to the institutions of bourgeois democracy, treating socialism not as the product of mass struggle but as the outcome of legislative reform. A Marxist-Leninist shaped by the U.S. Communist Party’s militant anti-racist and anti-imperialist traditions, Jones joined a movement whose leadership had already abandoned the revolutionary road.

Within months of Jones’s arrival, the contradictions inherent in this orientation came to a head. Khrushchev’s Secret Speech in February 1956 exposed the crimes of Stalin’s bureaucracy, while the Soviet suppression of the Hungarian workers’ uprising later that year revealed the regime’s true nature: a counter-revolutionary force crushing workers’ councils in the name of “socialism.” Thousands left the CPGB in disgust. The Party’s membership collapsed, and its moral authority disintegrated. For Jones, who had endured imprisonment, surveillance, and deportation for her communist convictions, the crisis was not merely organisational; it was ideological. The movement to which she had devoted her life proved incapable of defending the working class’s revolutionary self-activity.

In this context, Sherwood’s account of tensions between Jones and the CPGB leadership, which he interprets as racial insensitivity, misses the deeper political point. Racism certainly existed within the Party, as it did across the broader labour movement, but the fundamental issue was not interpersonal prejudice; it was the political logic of Stalinist nationalism. A party oriented toward Labour and trade-union bureaucracies- institutions that supported immigration controls, tolerated racist practices, and defended the imperial state- could not lead an independent struggle against racism. The CPGB’s strategy required it to follow the Labour left rather than confront it, adapt to union chauvinism rather than challenge it, and treat Black workers as auxiliaries to the “British road,” not as a revolutionary force in their own right.

This was not a failure of “allyship,” but the structural result of a programme that rejected internationalism in favour of national roads to socialism. Forged in the crucible of U.S. anti-racist struggle, Jones’s politics were fundamentally incompatible with a Party that subordinated anti-imperialism to parliamentary respectability. She argued that Black workers faced super-exploitation and therefore occupied a decisive position within the working class. This clashed with a leadership that saw racism as a secondary issue to be addressed only after socialism’s parliamentary advance. Jones understood racism as a structural feature of British capitalism; the CPGB treated it as an individual moral failing. The gulf was political, not personal.

Jones’s later 1964 travels to Moscow and China, in search of revolutionary clarity amid the Sino-Soviet split, illustrate the tragedy of her generation. The split was not a debate over revolutionary strategy, but a conflict between rival bureaucracies, each claiming to represent Marxism while suppressing workers’ democracy. Like many communists of her era, Jones searched for alternatives within the very apparatus that had already betrayed the revolution. Her journey reflects the historical impasse of mid-century communism: militants committed to internationalism and anti-imperialism found themselves trapped in organisations that had abandoned both.

Yet Jones’s tragedy was also her strength. Her political clarity, grounded in the Marxist analysis of super-exploitation and tripartite oppression, enabled her to recognise what the CPGB leadership could not: racism was not an appendage of capitalism but one of its organising principles. In Britain, her work, from founding the West Indian Gazette to organising the first indoor Caribbean carnival, was not cultural activism but political intervention. She aimed to build an independent Black working-class organisation at a time when the CPGB offered only parliamentary gradualism and appeals to Labour.

The historiography has often depoliticised this period, presenting Jones as a cultural pioneer rather than a revolutionary Marxist. But her conflicts with the CPGB were not the result of personality or cultural difference. They resulted from a Party that had abandoned the revolutionary road and a militant who refused to do so. Jones’s insistence on linking anti‑racism to anti‑imperialism, and both to working‑class struggle, placed her outside the political logic of the CPGB’s British Road. She was, in effect, a revolutionary trapped within a reformist organisation.

Her 1964 travels, undertaken in search of ideological clarity, reveal the limits of the Stalinist world she inhabited. The bureaucratic regimes of Moscow and Beijing could not provide the revolutionary answers she sought. Yet her search itself testifies to her unwavering commitment to Marxism as a living, internationalist tradition. Jones’s tragedy was not that she believed in revolution; it was that the organisations claiming to represent it had long ceased to do so.

In the end, Jones’s British years illuminate the broader crisis of mid‑century communism: the contradiction between revolutionary aspirations and bureaucratic realities. Stalinist nationalism shaped her life in Britain, yet her politics transcended it. She remains a figure whose clarity, courage, and uncompromising internationalism rebuke the parliamentary gradualism that dominated the CPGB and remind us that the struggle against racism and capitalism must be fought together, not sequentially.

Identity politics and the sanitisation of history

Lola Olufemi’s preface to Radical Black Women rightly insists that Claudia Jones must be remembered as a communist and highlights her attention to race and gender. This is a welcome corrective to the depoliticised, council‑friendly version of Jones that circulates in official multiculturalism: the carnival icon, the smiling Google doodle, the harmless symbol of “community cohesion.” Such representations flatten her politics into cultural heritage and erase the revolutionary content of her life. Yet Olufemi’s injunction“remember her as a communist” risks becoming meaningless if communism is equated with the Stalinist parties that abandoned Marxism. To remember Jones as a communist requires remembering the political tradition she believed she served, not the bureaucratic apparatus that ultimately betrayed it.

The Radical Black Women series, despite its archival value, frames Jones primarily through race and sex categories central to an academic professional layer for whom representation has displaced class struggle. This is not accidental. Contemporary academic feminism, shaped by identity‑based frameworks and institutional diversity agendas, tends to treat race and gender as autonomous categories of analysis, detached from the dynamics of capitalist exploitation. Jones’s own politics sit uneasily within this framework. She did not understand herself as the representative of a racial or gendered constituency. She understood herself as a Marxist, an internationalist, and a militant of the working class.

The West Indian Gazette, founded in 1958, was not conceived as a cultural magazine for Caribbean identity. It was a political organ for Caribbean, African, and Asian workers united against imperialism. Its pages carried reports on anti‑colonial struggles, trade‑union battles, and the global peace movement. Jones’s editorial line was clear: racism could not be fought through cultural assertion alone but only through organised working‑class struggle against capitalism and empire. She did not imagine her work as the expression of a single identity group. She imagined it as part of a global revolutionary movement.

This is precisely what contemporary identity‑based readings obscure. By foregrounding race and gender as the primary interpretive lenses, the Radical Black Women series risks reproducing the very depoliticisation it seeks to challenge. Jones becomes a pioneering Black woman, a proto‑intersectional thinker, a symbol of representation rather than a communist whose analysis of super‑exploitation emerged from Marxist theory. Her insistence that Black women were the most exploited sector of the working class was not an early gesture toward intersectionality but a materialist analysis of capitalist labour relations. She understood race and gender not as identities but as structural mechanisms of exploitation.

The problem is not simply academic misinterpretation. It is the broader ideological climate in which Jones is remembered. In Britain, official multiculturalism has long preferred cultural icons to political militants. Carnival is celebrated; anti‑imperialism is forgotten. The Gazette is praised as a community newspaper; its communist politics are ignored. Jones’s grave lies next to Marx, yet her politics are often presented as a colourful footnote to post‑war Black British history rather than as part of the Marxist tradition itself.

To recover Jones as a communist requires more than acknowledging her Party membership. It requires recognising that mid-century communism’s contradictions shaped her politics: the struggle against racism and imperialism within organisations that had abandoned revolutionary strategy. Jones’s commitment to Marxism was sincere, but the Stalinist parties she served had long ceased to represent the working class’s revolutionary self-activity. Remembering her as a communist means remembering the political tragedy of her generation of militants searching for revolutionary clarity within bureaucratic structures that could no longer provide it.

Contemporary historiography should not insert Jones into identity-based frameworks but restore the political content of her life: her Marxism, her internationalism, her analysis of super‑exploitation, and her belief that Black workers were central to world revolution. Anything less reduces her to a symbol and repeats the Cold War’s silencing in a new, liberal form.

A life of courage, wasted by the politics she inherited

Sherwood’s biography of Claudia Jones remains a valuable documentary record of an extraordinary woman. It preserves fragments of a life lived under surveillance, repression, and exile; it captures Jones’s energy, her discipline, her intellectual seriousness, and her refusal to bend before the McCarthyite state. Sherwood’s archival work ensures that Jones cannot be erased from the historical record. But the political analysis needed to understand Jones’s life, commitments, and tragedy is largely absent. Readers must supply what Sherwood avoids: a reckoning with the politics of Stalinism, the degeneration of the communist movement, and the structural forces that shaped Jones’s trajectory.

The tragedy of Claudia Jones is not only that capitalism hounded her across the Atlantic, imprisoning her, destroying her health, and finally deporting her. It is that her extraordinary talents- her theoretical insight, her organisational skill, her internationalism- were channelled into the service of a bureaucratic apparatus that had long abandoned the programme of world socialist revolution. Jones devoted her life to a movement that no longer embodied the revolutionary Marxism she believed she was defending. She remained loyal to Lenin’s tradition, the 1919 Comintern, and the global struggle against imperialism. But the organisations she served no longer carried that tradition. They became nationalised bureaucracies, oriented toward parliamentary manoeuvres and diplomatic alliances, and contained working‑class self‑activity.

This contradiction shaped every stage of Jones’s political life. In the United States, she fought racism, imperialism, and capitalist exploitation through a Communist Party that increasingly subordinated Black liberation to Popular Front alliances with the Democratic Party. In Britain, she joined the CPGB, committed to The British Road to Socialism, a programme that renounced revolution in favour of constitutional gradualism and pressure on Labour. The Party’s orientation toward the trade‑union and Labour bureaucracies- institutions that themselves supported immigration controls and tolerated racist practices- made it structurally incapable of leading an independent struggle against racism. Jones’s conflicts with the CPGB leadership were not simply matters of racial insensitivity, as Sherwood suggests. They were political. A party that had abandoned revolutionary strategy could not meet the needs of the most exploited and oppressed layers of the working class.

Jones’s later 1964 travels to Moscow and China, undertaken in search of revolutionary clarity amid the Sino‑Soviet split, reveal the tragedy of her generation. She sought answers within bureaucratic regimes that had already betrayed the revolution. Her search was sincere, but the terrain was barren. The split between Moscow and Beijing was not a debate over revolutionary strategy but a conflict between rival state bureaucracies. Jones’s political isolation was not personal; it was historical. She belonged to a generation of militants whose revolutionary aspirations were channelled into organisations that could no longer fulfil them.

This is why contemporary attempts to remember Jones through identity‑based frameworks- race, gender, representation- are inadequate. They obscure the political content of her life. Jones was not an icon of diversity, nor a symbol of cultural resilience. She was a Marxist, an internationalist, and a revolutionary. Her analysis of super‑exploitation and tripartite oppression emerged from Marxist theory, not from identity politics. She understood Black women as the most exploited sector of the working class, not as a demographic constituency seeking representation within existing structures.

The lessons of Jones’s life belong to the working class. They belong to those who continue to fight racism, imperialism, and capitalist exploitation, not to the curators of identity politics, and not to the Stalinist parties that failed her. To honour Jones is to confront the political forces that silenced her, to reclaim the revolutionary tradition she believed she served, and to recognise that the struggle she waged remains unfinished.

Bibliography

Books and Monographs

  • Boyce Davies, Carole. Left of Karl Marx: The Political Life of Black Communist Claudia Jones. Durham: Duke University Press, 2007.
  • Burden‑Stelly, Charisse. Black Scare / Red Scare: Theorising Capitalist Racism in the United States. Chicago: University of Chicago Press, 2023.
  • Gore, Dayo F. Radicalism at the Crossroads: African American Women Activists in the Cold War. New York: NYU Press, 2011.
  • Lindsey, Lydia. Red Monday: The Silencing of Claudia Jones in 20th Century Feminist Revolutionary Thought. (Publication details forthcoming / Journal of Intersectionality special issue).
  • Olufemi, Lola. Experiments in Imagining Otherwise. London: Hajar Press, 2021.
  • Olufemi, Lola (ed.). Radical Black Women: A Reader. London: Pluto Press, 2024.
  • Sherwood, Marika. Claudia Jones: A Life in Exile. London: Lawrence & Wishart, 1999.
  • Singh, Nikhil Pal. Race and America’s Long War. Berkeley: University of California Press, 2017.
  • Sivanandan, Ambalavaner. Communities of Resistance: Writings on Black Struggles for Socialism. London: Verso, 1990.
  • West, Michael O. and William G. Martin (eds.). From Toussaint to Tupac: The Black International since the Age of Revolution. Chapel Hill: University of North Carolina Press, 2009.

Articles and Chapters

  • Burden‑Stelly, Charisse. “Modern U.S. Racial Capitalism: Some Theoretical Considerations.” Monthly Review 73, no. 4 (2021): 1–14.
  • Davies, Carole Boyce. “Claudia Jones: Feminist, Communist, Transnationalist.” Race & Class 49, no. 2 (2007): 69–78.
  • Gore, Dayo F. “Black Women’s Radical Activism and the Long Cold War.” Souls 15, no. 3 (2013): 19–41.
  • Lindsey, Lydia. “Claudia Jones and the Muzzling of Marxist Feminism.” Journal of Intersectionality 8, no. 1 (2024): 45–68.
  • Makalani, Minkah. “The Rise, Fall, and Rebirth of Black Internationalism.” In From Toussaint to Tupac, edited by West and Martin, 67–92. Chapel Hill: UNC Press, 2009.
  • Moore, Brian. “The West Indian Gazette and the Politics of Black Britain.” Small Axe 12, no. 2 (2008): 1–20.
  • Ransby, Barbara. “Black Internationalism, Women, and the Global Left.” Meridians 15, no. 1 (2016): 1–25.
  • Robinson, Cedric J. “The Black Radical Tradition.” The Black Scholar 12, no. 1 (1981): 2–11.

Primary Sources by Claudia Jones

  • Jones, Claudia. “An End to the Neglect of the Problems of the Negro Woman!” Political Affairs (June 1949): 22–29.
  • Jones, Claudia. “We Seek Full Equality for Women.” Daily Worker (1950).
  • Jones, Claudia. The Caribbean Community in Britain. London: West Indian Gazette Pamphlet Series, 1962.
  • Jones, Claudia. “The Caribbean Carnival: A People’s Art.” West Indian Gazette (1963).

Cold War, Communism, and Stalinism

  • Finkel, David. “Stalinism and the Defeat of the Revolution.” Against the Current 15, no. 2 (1988): 12–20.
  • Harman, Chris. The Lost Revolution: Germany 1918–1923. London: Bookmarks, 1982.
  • McIlroy, John and Alan Campbell. The Communist Party of Great Britain: A Historical Analysis. London: Lawrence & Wishart, 2017.
  • Morgan, Kevin. Bolshevism and the British Left. London: Lawrence & Wishart, 2006.
  • Renton, David. Never Again: Rock Against Racism and the Anti‑Nazi League 1976–1982. London: Routledge, 2018.

Black Britain, Race, and Labour History

  • Bryan, Beverley, Stella Dadzie, and Suzanne Scafe. The Heart of the Race: Black Women’s Lives in Britain. London: Virago, 1985.
  • Eddo‑Lodge, Reni. Why I’m No Longer Talking to White People About Race. London: Bloomsbury, 2017.
  • Fryer, Peter. Staying Power: The History of Black People in Britain. London: Pluto Press, 1984.
  • Sivanandan, Ambalavaner. “Race, Class and the State.” Race & Class 17, no. 4 (1976): 347–368.

The Economist Prescribes a Witch‑Hunt: What the Kinnock “Lesson” Really Teaches American Workers

The Economist’s mid‑August intervention was not a neutral exercise in transatlantic political comparison. It was an unmistakable act of class politics. By urging the Democratic Party to “learn” from Neil Kinnock’s purge of the Labour left, the magazine was issuing instructions, not offering analysis. Its framing of how to stop “extremists” from making a party unelectable reveals its real audience: the American ruling class, increasingly anxious about the erosion of its political instruments and the electorate’s growing volatility.

The historical parallel is telling. Kinnock’s assault on the Labour left in the 1980s was not about electoral strategy; it was a decisive effort to destroy any organised socialist tendency within a major party and to prepare the ground for the neoliberal transformation later carried out by Tony Blair. The Economist’s call for Democrats to replicate this process is therefore a demand for pre‑emptive political cleansing. It reflects a fear that social anger accumulating in the United States over inequality, war, and the decay of democratic institutions might find expression in forces the ruling class cannot control.

The magazine’s tone, dressed up in jokes about Joe Biden’s 1987 plagiarism scandal, cannot conceal its purpose. It attempts to discipline the Democratic Party, warn it against even the mildest gestures toward the left, and insist that its role remains what it has been for decades: a stabilising mechanism for American capitalism. The Economist is not worried about “unelectability.” It is worried about legitimacy. It senses that the traditional political order is fraying and that the Democratic Party, long a pillar of that order, must be fortified against internal dissent. In this sense, the article reveals more about elite anxiety than about the actual dynamics of American politics. It is a defensive manoeuvre by a ruling class confronting a crisis it cannot resolve.

A Fear Disguised as Advice

The Economist’s sudden alarm over the Democratic Socialists of America is not rooted in fear of the organisation itself. It stems from fear of the conditions that produced its growth. By fixating on Zohran Mamdani’s election as mayor of New York City- the highest-turnout election since 1969- the magazine tries to frame the DSA as a contemporary analogue to the Militant tendency in 1980s Labour.  The comparison is politically motivated rather than analytically serious. Militant was a disciplined pseudo-Trotskyist faction with a defined programme; the DSA is a diffuse, ideologically inconsistent formation whose elected officials operate comfortably within the Democratic Party. The ruling class knows this. Its concern lies elsewhere.

What unsettles The Economist is the emergence of a broad, generational shift in political consciousness. Decades of falling living standards, grotesque inequality, endless war, and the authoritarian turn under Trump have produced a situation in which millions of young people and workers are willing to embrace anything labelled “socialist.” One poll widely cited in responses to the article found that more than half of Americans under 30 view socialism favourably. This is not an endorsement of any particular organisation. It reflects deep social malaise. The magazine’s invocation of Kinnock’s purge is therefore not a warning about the DSA’s strength but a demand for pre‑emptive containment.

The Economist proposes a prophylactic: identify, isolate, and expel any tendency that might channel this sentiment into an independent political form. It argues that the Democratic Party must be cleansed before discontent crystallises into something uncontrollable. In this sense, the article is less a commentary on the DSA than a reflection of elite anxiety. It reveals a ruling class that recognises the fragility of its political instruments and fears that the crisis of American capitalism may soon produce forces beyond its reach.

What Kinnock Actually Achieved

The magazine’s history is a fable. Kinnock’s purge did not make Labour electable. He led the party to defeat in 1987 and again in 1992against a Tory government hated across Britain for the poll tax. What his witch‑hunt did achieve was the beginning of a transformation that Tony Blair later completed: the scrapping of Clause Four, the conversion of Labour into an open instrument of big business, and the launching of the criminal war against Iraq.

The “electability” The Economist celebrates is electability on terms acceptable to the banks. Under Keir Starmer, the same method was used against the hundreds of thousands who joined Labour behind Jeremy Corbyn. Members were suspended or expelled for opposing the Gaza genocide; Corbyn himself was barred from standing as a Labour candidate. The lesson Britain offers is not how to win elections. It is how to bind the working class to a party of capital by bureaucratic force.

The Democratic Party needs no tutoring on this. It is the world’s oldest capitalist party. For more than a century and a half, it has buried every social-opposition movement that entered it, from Populism to the antiwar movement to the Sanders campaigns.

The Pseudo‑Left and the Dead End of “Realignment”

Rejecting The Economist’s crude smears does not mean accepting the DSA as a socialist alternative. The DSA is not “ultra‑left.” It is a faction of the Democratic Party and has said so openly for decades. Its strategy is to win office inside a party controlled by Wall Street and the intelligence agencies.

The record of DSA officeholders is decisive. In power, they confront the realities of municipal budgets tied to bond markets and the police. Mamdani’s mayoralty is the clearest example: cuts to school and homeless programs, abandonment of free bus service, praise for the NYPD amid fatal shootings, reaffirmed support for Democratic House leader Hakeem Jeffries, and even hosting Trump at Gracie Mansion. As one socialist critic concluded, Mamdani staffed his administration with figures “intended to convince the political establishment and big business in New York that the DSA is not a threat to their core interests.”

The DSA’s most prominent voices spend their time assuring the bourgeoisie of their loyalty. Their function is not to threaten the Democratic Party but to absorb and neutralise workers’ and youth radicalisation before it takes independent political form. The Economist’s witch‑hunt prescription and the DSA’s self‑presentation are two sides of the same operation.

Militant and the Historical Roots of Entrism

Militant’s reply to The Economist, published by the Socialist Party, complains that the magazine recycled right‑wing slurs. That is true. But Militant’s own tradition offers no way out of today’s crisis facing workers.

Militant’s decades of “deep entrism,” its belief that Labour could be pressured into a vehicle for socialism, and its later admission that Labour ceased to be a workers’ party only after Blair’s changes, all amount to an indictment of its perspective.

The historical record is clear. Militant descends from Ted Grant’s International Socialist League, formed after Grant refused to break with the liquidationism of Jock Haston in the early 1950s. Haston resigned from the Revolutionary Communist Party declaring that Labour was “one of the most democratic workers’ organisations in existence” and that the task was to “adhere loyally to the mass party” and help transform it. The Fourth International warned that these positions expressed liquidationist tendencies- an abandonment of the fight for an independent revolutionary party.

Grant’s refusal to break with this outlook, and his subsequent construction of a tendency premised on permanent entry into Labour, was the seed of everything that followed. The working class lost decades to the illusion that a bourgeois workers’ party could be reclaimed from within.

Today, the same organisation regrets that Sanders did not run independently after 2016 and that Corbyn’s “Your Party” failed to capitalise on its initial support. But Sanders endorsed Clinton, then Biden, then Harris. Corbyn capitulated on every fundamental question, from Trident to NATO to the antisemitism smear campaign, and then, through his own party, banned revolutionary organisations by name. These were not accidents. They were the political choices of men committed to reforming capitalism. And capitalism cannot be reformed.

The Real Lesson

The Economist and its “left” critics share one assumption: that the fate of the working class is decided inside parties of the capitalist state. Britain’s real lesson runs the opposite way. Every attempt to transform Labour from Bevan to Benn to Militant to Corbyn ended in defeat. Each defeat strengthened the right and left workers disarmed before the next attack. The question facing American workers is not how to make the Democratic Party electable, nor how to capture it. The question is how to break from it.

That means building rank‑and‑file committees in factories, warehouses, schools, and hospitals independent of the union bureaucracies that serve the Democrats. It means building an independent working-class political party based on an internationalist and socialist programme. Such a party would oppose war, the authoritarian turn of the Trump administration, and the capitalist profit system that produces both. The Economist is right to fear socialism. It is wrong only about where the danger is coming from.

🟥 1. On the Democratic Party and ruling‑class strategy

  • “The Democratic Party and the crisis of American democracy” Explains how the Democrats function as a stabilising instrument for US capitalism and why the ruling class demands internal discipline and purges.
  • “The Democrats’ war against the left” Analyses repeated efforts by the Democratic establishment to suppress left‑wing sentiment, including attacks on Sanders supporters and youth radicalisation.
  • “The ruling class fears the growth of anti‑capitalist sentiment” A broader examination of why elite institutions panic when polls show rising support for socialism among young people.

🟥 2. On the DSA and pseudo‑left politics

  • “What is the Democratic Socialists of America?” A foundational critique of the DSA as a middle‑class, pro‑Democratic Party formation incapable of representing working‑class interests.
  • “DSA and the politics of the pseudo‑left” Explains why the ruling class does not fear the DSA itself, but fears the social anger that drives people toward anything labelled socialist.
  • “The DSA and the crisis of American capitalism” Connects the organisation’s growth to worsening living standards, inequality, and political instability.

🟥 3. On generational radicalisation and polls showing support for socialism

  • “Why young people are turning toward socialism” Discusses the economic and political conditions—student debt, precarious work, war, authoritarianism—that are producing a leftward shift.
  • “Poll shows majority of young Americans view socialism favourably” WSWS analysis of the widely cited poll you mention, placing it in the context of a broader crisis of legitimacy for American capitalism.

🟥 4. On historical parallels: Militant, Kinnock, and Labour’s purge

  • “Lessons of the purge of the Labour left”: A detailed historical analysis of Kinnock’s campaign against Militant and how it prepared the ground for Blairism.
  • “The Economist and the rewriting of Labour history” Critiques establishment media attempts to use the Militant precedent to justify new purges in contemporary politics.

🟥 5. On elite media interventions (including The Economist)

  • “The media and the suppression of socialist politics” Examines how outlets like The Economist act as ideological instruments of the ruling class, issuing directives rather than analysis.
  • “The Economist warns of rising left‑wing sentiment”: A direct WSWS response to similar interventions, analysing the class interests behind them.

Podcast Episode: John Cooper Clarke’s Have It: The bard of Salford tours a country in decline.

Pip: A poet who once read between sets by the Fall and the Buzzcocks is now on a twenty-date arena tour. Britain contains multitudes — or at least, it contains one very well-packaged contradiction.

Mara: That contradiction is exactly what freerein61 is working through here — Clarke's new collection Have It, his tour, and what his elevation to cultural institution says about how Britain remembers its working class. Let's start with the bard himself.

John Cooper Clarke and the Packaging of Decline

Pip: The central tension in this piece is not really about poetry — it is about what happens when a working-class voice becomes a cultural product. Clarke spent decades describing a world official culture preferred to ignore, and now that culture is selling him back to the people he wrote about.

Mara: The post frames it precisely. Clarke is described as "both chronicler and exhibit, both witness to working-class life and participant in its commodification." His success is real, but so is the machinery around it.

Pip: Which means his talent is not in question — the reach is. "Beasley Street" from 1980 put rats with rickets and Friday-night drinking on the page and made it literature. Decades later he rewrote it as "Beasley Boulevard," a sardonic commentary on regeneration and property speculation. The slum gets revitalised; the underlying social reality does not.

Mara: Those two poems are described as a diptych — the industrial city as Thatcher left it, and the neighbourhood as Blair imagined it. "Evidently Chickentown" gets named alongside them as the third pillar: its relentless accumulation of grievances captures, in the post's words, "life in a society where everything is broken but nothing changes."

Pip: And yet some boxes on the current tour run close to fifty pounds a head. The poet of the bedsit is now marketed with the full apparatus of the entertainment industry. Nobody is accusing Clarke of selling out — the post is clear on that — but the apparatus does what apparatus does.

Mara: The formal argument goes deeper than ticket prices. Drawing on Trotsky's Literature and Revolution, the post argues that Clarke's rapid-fire rhyme and list-poem structure are "perfectly suited to depicting a static world" — detail accumulates, the punchline resets everything, and nothing develops. It is, the post argues, the form of political exhaustion.

Pip: A form shaped by a generation that watched the miners lose and never saw the working class rise again. Irony as a refuge — Clarke made brilliance out of resignation, and the culture rewarded him for it once the politics had safely drained away.

Mara: Which brings in Toria Garbutt, who shares the tour's spotlight. Born in Yorkshire's mining towns, her work confronts poverty, addiction, and deindustrialisation's long aftermath — the post describes it as writing "from within the social wreckage" rather than from cultural nostalgia. Her presence is called more than a support slot: a signal that the tradition Clarke helped build is being renewed by artists shaped by a harsher era.

Pip: The world Clarke described in Beasley Street has not gone away — it has deepened. Food banks, bankrupt councils, wages eroded by inflation. The post's closing question is whether Have It engages that accelerating crisis, or whether audiences and industry alike will preserve Clarke in cultural aspic.

Mara: The post leaves that genuinely open. Clarke's limitations are called historical, not personal — a reflection of his generation's moment, not a verdict on the man.

Pip: Whether the new collection answers the moment, or the moment simply outpaces it — that is the question the tour is quietly staging.


Pip: A poet who captured a static world now tours a world that is visibly moving. That gap is doing a lot of work.

Mara: And the tradition he helped build is being picked up by writers for whom the wreckage is not heritage — it is the present. Worth watching what form that produces next time.

John Cooper Clarke’s Have It: The bard of Salford tours a country in decline.

John Cooper Clarke has always seemed slightly out of time, a figure who emerged fully formed from the late 1970s, as though spat out by the collapsing industrial North with a pair of drainpipes, a shock of hair and a voice that could turn complaint into incantation. He arrived as Britain’s postwar industrial base began to disintegrate, as the mills and factories that had shaped whole cities closed their doors, and as the working class that sustained them entered a period of historic defeat. Clarke’s style rapid‑fire rhyme, deadpan delivery, the ability to turn squalor into something approaching music felt inseparable from that world. It still does.

Now 77, he’s back on the road. His 20‑date tour of Britain and Ireland, running through October and November, accompanies Have It, his new collection. It follows WHAT (2024), the surprise bestseller that confirmed Clarke’s unlikely status as a national treasure. In 2025, he became the first poet to headline a British arena, taking the stage at Manchester’s Co‑op Live. He received a Northern Music Award. His poems appear on the national curriculum. The man who once read between sets by the Fall and the Buzzcocks, a poet of pubs, bedsits and bus shelters, is now part of the cultural establishment.

This transformation is not merely biographical. It is historical. Clarke’s career spans the period in which the working class that produced him was first defeated, then sentimentalised, and finally repackaged as cultural heritage. His rise tells a story not only about poetry but about Britain itself, about what has been lost, what has been preserved, and what has been embalmed. The industrial North that shaped his voice has been hollowed out, its communities fragmented by deindustrialisation, austerity and decades of political betrayal. Yet its image has been revived as a marketable aesthetic: gritty authenticity, northern humour, the romance of decline.

Clarke stands at the centre of this contradiction. He is both chronicler and exhibit, both witness to working‑class life and participant in its commodification. His success reflects his talent, but it also reflects a culture that has learned to celebrate the working class only after stripping it of political content. To understand Clarke’s late career and the new collection he now tours is to understand the Britain that made him, and the Britain that now sells him back to itself.

The contradictions of success

Clarke’s popularity is real and, in many ways, deserved. Few living writers have captured the physical and moral texture of postwar working‑class life with such precision. “Beasley Street” (1980) remains one of the most vivid portraits of urban dereliction in late‑industrial Britain: a place where “the rats have all got rickets” and “the men get drunk on Friday / And go to church on Sunday.” The poem smells of damp brick, chip‑shop fat, and the hopelessness of a city abandoned by capital.

Decades later, Clarke rewrote it as “Beasley Boulevard,” a sardonic commentary on regeneration, property speculation and the hollow promises of the new urbanism. The slum has been “revitalised,” but the underlying social reality remains unchanged. Taken together, the two poems form a kind of diptych: the industrial city as Thatcher left it, and the “revitalised” neighbourhood as Blair imagined it. Clarke’s work records, with bitter humour, the passage from one form of decline to another.

“Evidently Chickentown,” his breathless catalogue of frustration, still resonates with anyone who has lived on a run‑down estate. Its relentless rhythm, the piling up of grievances until they become absurd, captures something essential about life in a society where everything is broken but nothing changes.

His audiences, many of them working people in their fifties and sixties alongside younger fans drawn in through the Arctic Monkeys or The Sopranos, do not come for nostalgia. They come because Clarke describes their world accurately and treats it as worth describing. In a culture dominated by middle‑class self‑absorption, that is no small thing.

Yet the circumstances of the current tour cannot be ignored. At some venues, boxes cost close to £50 a head. The poet of the bedsit and the bus shelter is now marketed with the full apparatus of the entertainment industry. That apparatus turns rebellion into a brand. Clarke’s “trademark look” becomes a fashion item; his history in the deindustrialised North becomes a heritage attraction. None of this is his fault. It does, however, say something about how far the cultural layers that once called themselves “punk” have come to terms with the existing order.

The politics of form

The deeper issue is one of outlook. Clarke’s comedy targets the grim surface of capitalist society: the decaying high street, the brutal landlord, the pretensions of the newly rich. It rarely asks why that surface exists, or what social force might change it. His characteristic attitude is a wry, sometimes affectionate disgust. The world is absurd and squalid, and the best one can do is name it brilliantly.

That attitude belongs to its period. It was formed in the late 1970s and 1980s, after the defeat of the miners, the betrayals of the Labour and trade‑union bureaucracies, and the collapse of any mass socialist perspective in the working class. Many artists of that generation responded by withdrawing into irony. Clarke, gifted as he is, was no exception.

Trotsky wrote in Literature and Revolution that an artist’s form cannot be separated from the social soil that produced it. Clarke’s form the rapid‑fire rhyming list, the deadpan turn, the punchline that resets everything is extraordinarily effective at depicting a static world. It is less effective at depicting a world in motion.

This is not a moral failing. It is a historical one. Clarke’s technique embodies the period’s political exhaustion that shaped him. The rapid‑fire rhyme reduces the world to surface impressions; the list‑poem structure accumulates detail without development; the punchline ending offers closure without resolution. Everything resets. Nothing changes. It is the perfect form for a society in which the working class has been defeated and the future cancelled.

A world in motion

But the world is now moving fast. It arrives in a Britain of food banks, collapsing public services and wages eroded by years of inflation. The new Labour government continues austerity in name only. Councils go bankrupt while military budgets rise. Across Europe, the far right exploits the anger that the official “left” has abandoned. Young workers in Salford today confront conditions that Clarke’s original Beasley Street would recognise all too well.

The question, then, is whether Clarke’s new collection engages seriously with this situation, or offers more of the beloved routines. The tour publicity promises new material “alongside” fan favourites, a pairing that hints at the risk any veteran performer faces: being preserved in aspic by an audience that expects him to remain unchanged.

The cultural establishment and its limits

Clarke’s elevation to establishment status is not merely a personal triumph. It reflects a broader cultural pattern. Over the past two decades, Britain has developed a taste for working‑class authenticity provided it is safely packaged, politically neutral and available for consumption. The “heritage” version of the industrial North, with its flat caps, brass bands and gritty humour, has become a staple of television, advertising and tourism.

Clarke fits this pattern uneasily. His work is too sharp, too bitter, too accurate to be fully assimilated. But the industry tries anyway. The result is a strange double image: Clarke as both chronicler of decline and symbol of cultural resilience; both outsider and institution; both rebel and brand.

This contradiction is not his doing. It reflects a society that has lost the ability to imagine working‑class life except as nostalgia or entertainment. Clarke’s success testifies to his talent. It also reflects a culture that celebrates the working class only after stripping it of political content.

What remains

John Cooper Clarke’s late career invites a kind of double vision. On the one hand, he remains what he always was: a poet of the streets, a chronicler of the derelict and the absurd, a performer whose voice still carries the rhythms of the industrial North, decades after the factories fell silent. On the other hand, he has become an institution — celebrated, packaged, and circulated through the cultural economy as a symbol of working‑class authenticity. The tension between these two identities is not a personal contradiction but a historical one. It reflects the fate of the class that produced him, and how its memory is now used.

Clarke’s achievement is undeniable. For half a century he has insisted, against the grain of literary fashion, that poetry belongs not in seminar rooms but in pubs, clubs, and the mouths of people who were never meant to read it. He has given form to experiences official culture prefers to ignore: the damp bedsit, the boarded‑up shopfront, the petty humiliations of poverty, and the bleak humour that helps people endure them. In a society that often pathologises or sentimentalises working-class life, Clarke’s refusal to prettify anything becomes a moral stance.

Yet the limits of his work are inseparable from its strengths. Clarke’s form — the rapid‑fire rhyme, the list that piles up grievances until they become comic, the punchline that resets everything — is perfectly suited to depicting a static world. It is less suited to depicting a world in motion. His characteristic attitude, a wry and sometimes affectionate disgust, arose in a period when the working class had suffered historic defeats and no longer saw itself as a force capable of changing society. Irony became a refuge, and Clarke, like many artists of his generation, made brilliance out of resignation.

The world that produced that resignation has changed. Britain today is not merely shabby; it is unstable. Food banks proliferate, councils go bankrupt, wages stagnate, and public services collapse. A Labour government administers austerity with technocratic efficiency while military budgets rise. Across Europe, the far right exploits the anger that the official “left” has abandoned. The conditions Clarke described in “Beasley Street” have not disappeared; they have deepened and spread. But they no longer appear as permanent features of a static landscape. They appear as symptoms of a widening, accelerating crisis.

Whether Clarke’s new collection, Have It, engages with this reality is an open question. The tour promises new material “alongside” fan favourites — a pairing that suggests both continuity and risk. Audiences often want their icons to remain unchanged, and the entertainment industry is adept at preserving artists in cultural aspic. Yet Clarke shares the spotlight with younger poets like Toria Garbutt, one of the most compelling working-class voices to emerge from the post-industrial North in recent years. Born and raised in Yorkshire’s mining towns, her poetry confronts poverty, addiction, domestic violence, and the long aftermath of deindustrialisation with an honesty that avoids both sentimentality and despair. Garbutt’s work carries the cadence of the communities she writes about — sharp, musical, often darkly funny, and rooted in lived experience rather than cultural nostalgia. While Clarke’s generation often turned to irony in response to political defeat, Garbutt writes from within the social wreckage it produced, giving form to realities official culture still prefers to ignore. Her presence on Clarke’s tour is more than a support slot: it signals that the tradition of working-class poetry he helped popularise has not only survived but is being renewed by artists shaped by a different, harsher era.

Clarke’s limitations are not personal but historical. They reflect the exhaustion of a generation that saw the working class defeated and never saw it rise again. The revival of class struggle now visible across Britain and Europe will produce new artists, new forms, and new perspectives. It may also reveal the limits of those who made resignation into an aesthetic. Clarke’s best work captured the world as it was. Artists today must capture the world as it is becoming—and the forces that might change it.

Bibliography

Books and Collections

  • Clarke, John Cooper. Have It. London: Picador, 2026.
  • Clarke, John Cooper. WHAT. London: Picador, 2024.
  • Clarke, John Cooper. Ten Years in an Open-Necked Shirt. London: Arena, 1983.
  • Trotsky, Leon. Literature and Revolution. Translated by Rose Strunsky. London: Red Star Press, 1970.

Poems

  • Clarke, John Cooper. “Beasley Street.” Snap, Crackle & Bop. CBS Records, 1980.
  • Clarke, John Cooper. “Beasley Boulevard.” Zipcode. London: Vintage, 2013.
  • Clarke, John Cooper. “Evidently Chickentown.” Snap, Crackle & Bop. CBS Records, 1980.

Articles and Interviews

  • Brown, Helen. “John Cooper Clarke: The Bard of Salford Still Has It.” The Telegraph, 2025.
  • Simpson, Dave. “Punk’s Poet Laureate on Fame, Failure and the North.” The Guardian, 2024.
  • O’Hagan, Sean. “The Last of the Working‑Class Poets?” The Observer, 2023.

Context and History

  • Samuel, Raphael. Theatres of Memory: Past and Present in Contemporary Culture. London: Verso, 1994.
  • Hobsbawm, Eric. Industry and Empire. London: Penguin, 1999.
  • Stewart, Paul. Deindustrialisation and the Working Class in Britain. Manchester: MUP, 2018.