Scott McConnell: The Battle for FrancePosted: April 20, 2017
The new intellectualism of cultural anxiety
And that’s why France is the epicenter of today’s fearsome battle between Western elites bent on protecting and expanding the well-entrenched policy of mass immigration and those who see this spreading influx as an ultimate threat to the West’s cultural heritage, not to mention its internal tranquility. In France it is a two-front war. One is the political front, where Marine Le Pen’s National Front has moved from the fringes of politics into the mainstream. The other is the intellectual front, where a new breed of writers, thinkers, and historians has emerged to question the national direction and to decry those who have set the country upon its current course.
Americans have always had a special affinity for France. It was critical to the American founding by way of Lafayette’s mission. In the 20th century many artistic and upper-class Americans embraced Paris as the site of and model for their own cultural strivings. France’s 1940 fall to Nazi Germany dealt the first real blow to American isolationism. After the 1945 victory in Europe, U.S. links to Paris, London, and Europe generally rendered postwar Atlanticism more than just a strategy: it was a civilizational commitment that helped define who we were as Americans.
Paris remains beautiful, though crime has been rising for a generation and the city has the trappings of wartime, with heavily armed soldiers visibly guarding sensitive targets—museums, schools, newspapers—against Islamist terror. The approaching elections, where the National Front will surely exceed its past vote totals, mark a tremulous new era.
Indeed, serious people have for some years been contemplating whether France is nearing the precipice of civil war. That’s probably unlikely, at least in the near future, but few would be shocked if the political and communal conflicts exploded into violence not seen in decades. And that has spawned a radically changed intellectual climate. The French intelligentsia and its cultural establishment still lean, in the main, toward the left, as they have since the end of World War II, or indeed since the divisive Dreyfus affair of the Third Republic. But today, France’s most read and most discussed popular writers—novelists and political essayists—are conservatives of one stripe or another. They are not concerned, even slightly, with the issues that animate American “mainstream” think-tank conservatism—lowering taxes, cutting federal programs, or maintaining some kind of global military hegemony. Their focus is France’s national culture and its survival. When they raise, as they do, the subjects embraced by American paleoconservatives and the so-called alt-right, that doesn’t mean the French debate has been taken over by extremists. The authors driving the French conversation are in almost every instance prominent figures whose views would have put them in the Gaullist middle or somewhat left of center at any time in the 1960s or ’70s. But France has changed, and what National Review in the 1990s called “the national question” has been brought to the very heart of the country’s national debate.
At the moment, France’s most important political intellectual on the right is probably Éric Zemmour, a former editorial writer for Le Figaro. A natural polemicist, he is a descendant of working-class Algerian Jews who fled to France in the 1950s. Though he demonstrates serious intellectual breadth, Zemmour’s particular passion is polemical battle. He was fined under French anti-racism laws in 2011 for publicly referring to racial discrepancies in crime rates. No one questioned the accuracy of his statistics, but discussing them in a way that was seen as contravening French anti-defamation law was an absolute no-no. Three years later, he reached a pinnacle of influence with the publication of his 500-page Le Suicide français, a modern national history that sold 400,000 copies within two months and became the top-selling book in France. Weeks later, when attacks by French-born Islamists on the offices of Charlie Hebdoand a kosher supermarket outside Paris stunned the nation (while being greeted with shocking indifference in the predominantly Muslim Paris suburbs), Zemmour’s book was there to explain how France had arrived at that dismal intersection.
The literary technique of Le Suicide français seems made for the internet and social media. The book marches, in short vignettes, from the death of de Gaulle in 1970 through the end of Nicolas Sarkozy’s presidency in 2012. Zemmour takes an illustrative event—sometimes no more than a demonstration, a film, or a pop song—and shows how it reflects national decline or actually pushed that decline onward.
One central theme is that the young bourgeois nihilists of the May 1968 street revolution prevailed. Not in politics or at least not immediately: de Gaulle’s party remained in power for more than a decade after. But the cultural victory was decisive. De Gaulle as a father figure was overthrown, and so was the traditional idea of the father. As the traditional family weakened, birth rates sank. In short order, France embraced legalized abortion and no-fault divorce; the father, when he didn’t disappear altogether, began to behave like a second mother. Traces of the shift show up in pop music. The singer Michel Delpech gave his blessing to his wife leaving for another man in one popular song:
You can even make a half-brother for Stéphanie
That would be marvelous for her.
Or as the comic Guy Bedos put it, “We separated by mutual agreement, especially hers.”
Such shifts coincided, in symbiotic ways that few understood at the time, with the advent of mass immigration. Zemmour writes, “At the same moment the traditional French family receded, as if to compensate symbolically and demographically, the most traditional type of Maghrebine family, the most archaic, the most patriarchal, is invited to take up its role. To come to its rescue. To fill up the places it has left vacant. To replace it.”
Like the immigration narrative of every advanced Western country, the story is complex. France had welcomed and assimilated immigrants from eastern and southern Europe for a century. In the 1960s, Prime Minister Georges Pompidou, encouraged by an industrial elite seeking cheaper manual labor, recruited to France each year hundreds of thousands of workers from Spain, Portugal, and North Africa. Rural Maghrebine workers were preferred; they were seen as less Frenchified than workers from Algerian towns, more docile. After worker recruitment was stopped during the recession of 1974, family reunification as a humanitarian policy was instigated, and hundreds of thousands of North African women and children joined their husbands in France. Zemmour concludes that this represented a kind of posthumous victory over de Gaulle by the partisans of Algérie Française, the blending of France and Algeria which de Gaulle had rejected—for reasons of sociology and demography as much as for peace. As he told Alain Peyrefitte in 1959, “Those who dream of integration are birdbrains, even the most brilliant of them. Try to mix oil and vinegar. Shake up the bottle. After a while, they separate again. The Arabs are Arabs, the French are French.” In the same interview, de Gaulle said the Algérie Française would result in massive immigration to France, and his town Colombey-les-Deux-Églises would be turned into Colombey-les-Deux-Mosquées.
When the 1974 recession struck, French politicians discovered it was far easier to start an immigration flow than to end one. Social-service providers were overwhelmed by the needs of the new families. When Prime Minister Raymond Barre sought to suspend family reunification, he was blocked by a French high court. When Barre finally arranged for cash payments for immigrants who voluntarily repatriated, Spanish and Portuguese workers pocketed the checks and left, while the North Africans remained. Despite the tangible difficulties of assimilating Maghrebine immigrants, France bien pensant and celebrity culture had by then swung behind the newcomers. French singer Pierre Perret produced a 1977 ballad, “Lily,” about an immigrant girl from Somalia facing the trials of racism in Paris. In Dupont Lajoie, one of Isabelle Huppert’s early films, a character seeming to stand in for lower-middle-class white France (the film’s English title was “The Common Man”) rapes and accidentally murders a young woman and then tries to frame some saintly Algerian workers for the crime. For Zemmour, the film’s message to the public was, “We are all Dupont Lajoie.”
By the 1980s, the temporary workers, their families, and their children were granted permanent residence, but the notion that most of them would somehow blend into the larger French community was discreetly abandoned. Zemmour traces the left’s adoption of an accusatory anti-racism to a need to compensate for its inability to pursue any kind of socialist or pro-working-class economic program in a period of neoliberal capitalist ascendance.
On one cultural front, the crimes of Vichy collaboration after France’s 1940 defeat became a kind of national obsession … (read more)
Source: The American Conservative