Manu in Strasbourg. Credit: BERTRAND GUAY/POOL/AFP/ Getty

France — in reality, Emmanuel Macron — has taken up the presidency of the EU, or “our Europe”, as he calls it. He set the scene with a typically magniloquent speech to the European parliament, meeting symbolically (as the French insist) in Strasbourg. Some of the speech was the kind of boastful Euro-nationalism I have always found distasteful: about Europe’s “unique civilization”, its “invention” of democracy, its “solidarity unique in the world”, its “incomparable culture”, “our uniqueness as Europeans,” and so on.
When to this rhetoric are added fanciful claims about the EU’s unique vaccine success (based on its “unique solidarity” — patently lacking) and its efforts to advance “the sovereignty of peoples” (which it is busily undermining), one is tempted to conclude that everyone knows this is just flim-flam to gratify its audience of Euro MPs. A dash of cynicism rarely goes amiss, and the simplest explanation is that Macron is facing an election in April, and wants to buttress his image as the philosopher-king of both Europe and France.
Macron is now the only tirelessly enthusiastic Europhile among France’s leading politicians. When he was elected in 2017, he was the only candidate standing on a “European” platform. That will be true again this year. It may seem a risky strategy, as the French electorate is no more Europhile than the British was. But the French, whatever their misgivings about the EU, are more resigned to it. Marine Le Pen crashed in the last presidential campaign when she could not explain how to get out of the eurozone, which is the crucial issue.
Besides, what most people in France feel about the EU does not much matter. In reaction to the parliamentary systems of the Third and Fourth Republics, the presidential system of the Fifth, designed for Charles de Gaulle, provides France with a “republican monarch” to provide national leadership, especially in foreign policy. This means doing what the elite thinks is in the national interest. De Gaulle put it memorably: how can you govern a nation with 246 sorts of cheese? The answer is by not being guided by the cheese-makers.
France, even more than most democracies, has government by an elite, practically a caste. I once asked a rising young French diplomat how it was that they all seemed to agree. He unhesitatingly said it was learnt at “Sciences Po”. The distinguished Institut des Sciences Politiques was deliberately set up in the 1870s, after a disastrous cycle of revolutions and defeats, to “create a brain for the people”. Sciences Po graduates, and those from other elite training schools, most famously the École Polytechnique and the École Nationale d’Administration (which Macron attended, after graduating from Sciences Po), still shape the brain that runs France. Unlike elite educational establishments in Britain or the United States — Oxbridge or the Ivy League, for example — these are smaller, more exclusive, and above all dedicated primarily to State service. Like a civilian Sandhurst or West Point.
So while electoral tactics come and go, Macron is really the spokesman for a much older and deeper consensus. His Europeanism is more eloquent, but his views are little different from those of his predecessors. Part of this is a simple conviction that France is unique, and the legitimate cultural and political leader of Europe. De Gaulle famously wrote that he had always believed France dedicated “to an eminent and exceptional destiny”. As Harold Macmillan realised, when de Gaulle, “says ‘Europe’, he means ‘France’.” Macron’s Strasbourg speech, in similarly European language, reflects France’s historic fears and ambitions: plus ça change.
These fears have their roots in the catastrophe of 1870, when Prussia invaded, bombarded Paris, destroyed French primacy in Europe, and emerged as the new German Empire. Since then, relations with Germany have dominated French foreign policy, traumatically confirmed by two world wars. “France has a German policy, she has no other,” wrote a leading French commentator soon after the end of the Second World War. Her European policy is her German policy.
After 1870, it took 50 years for France’s strategy for recovery to be worked out. At first, there were bitter partisan divisions — bitter enough to get a leading politician shot leaving parliament — about whether true patriotism meant responding to defeat by turning away from Europe to gain colonies or concentrating forces on “the blue line of the Vosges”, the mountains that ran along the new border with Germany.
In the end, the French decided to do both, creating a global empire to buttress its power in Europe. In the Twenties, realising that Germany’s defeat in the First World War had not destroyed its power, and that France could not rely on British or American support, Paris proposed European integration.
This was to be the means of both reconciling and controlling Germany. After a promising start, it failed during the Thirties. But the idea never went away, and the second defeat of Germany, in 1945, produced the same logic, especially when again Britain and America seemed, in French eyes, to be unreliable allies. European integration, culminating in the creation of the euro, was to be the principal means of taming German power — sweetened by fulsome expressions of friendship.
Macron’s speech shows that France’s grand strategy — the strategy of its governing caste — has been based on the same logic for nearly a century. Partnership with Germany within a European framework is the bedrock. And if Germany is unresponsive, the language becomes more enticing and the pressure more sustained. This time, Macron has told the European parliament that France and Germany have agreed to give it more power — the right to initiate legislation, hitherto the monopoly of the Commission. Not much doubt who is steering the ship.
And what of other allies? Russia — whether ruled by the tsars, the Communists or today’s plutocracy — has been a difficult but always tempting geopolitical partner: France’s principal ally from 1890 to 1917, and an ally again in 1935. And now? Macron says Russia must be negotiated with over Ukraine, to find a political compromise. Even more strikingly, he announces a “dialogue” with the Russians over the “collective security” of a new “European order”, a “security order”. This may permit the Western Balkans to join the EU, but that, he says, will require EU governance to become more centralised.
He sees the “vocation of our Europe” — of France, in other words — to be a “true balancing power”, which seems to mean more distanced from the Atlantic alliance. Part of this vision is of a new “alliance” between the EU and Africa, emphasising the connections between the two coasts of the Mediterranean, the core of the old French empire.
This is Gaullism, pure and simple. Pulling away from the “Anglo-Saxons”, emphasising the special relationship with Germany, flirting with Russia, influencing Africa. Unlike Britain, France has unashamedly clung to its imperial and post-imperial role, maintaining a military, political and financial presence in its former African colonies, legally converting far-flung island possessions into parts of France (and hence parts of the EU), and promoting la Francophonie, its Commonwealth equivalent. As noted earlier, since the 1880s it has seen its global role as complementary to its European status. European integration continues this strategy: to the outside world, France presents itself as the leader of Europe, and to Europe it presents itself as the Continent’s only global power, with nuclear weapons, overseas territories, and a UN Security Council seat. Such high-flown ambition might eventually prove illusory. But one has to admire the determination. There is no alternative plan: the die has long been cast.
Where does Britain stand in the French vision? Macron referred to “ties of friendship” with “the British people” — but pointedly not with their government. To follow “a common path” after Brexit requires Whitehall to apply “in good faith” agreements on Northern Ireland and fisheries — the “condition for staying friends”. Any Brexiteer will reply that it is France that has lacked good faith over the Northern Ireland Protocol and fishing. No matter: Macron thinks he wields the EU as a big stick, and perhaps he does.
Brexit poses both a danger and an opportunity, as has been clear since 2016. Britain cannot be allowed to leave the EU successfully, or France’s European project is threatened. But if Britain came to accept some sort of subordinate status, conforming with the EU’s (and hence France’s) political and economic “common path”, France’s position would be strengthened. The resignation of Lord Frost, who had explicitly rejected this, caused rejoicing at the Elysée, where Liz Truss seems to be seen as a lightweight.
A former European Commissioner with a keen eye for history recently told me that he thought Britain and France had been engaged, since the beginning of European integration in the Fifties, in their third Hundred Years’ War. The first, ending in 1453, was won by the French. The second, ending in 1815, by the British. In the third, we still have another three decades to go.
Join the discussion
Join like minded readers that support our journalism by becoming a paid subscriber
To join the discussion in the comments, become a paid subscriber.
Join like minded readers that support our journalism, read unlimited articles and enjoy other subscriber-only benefits.
SubscribeHere is an example of how men and women write differently: two novels, both great works of literature in their own way, concerned, at least in part, with the same event, written forty years apart–Michael Shaara’s The Killer Angels and Margaret Mitchell’s Gone With The Wind. The Battle of Gettysburg forms almost the entirety of Shaara’s narrative; he covers the tactics, the strategy, the close combat, in depth. The focus is on masculine values: bravery under fire, personal honor, patriotism, comradery with one’s fellow soldiers, the duty a commander owes to his troops. If there is a female character in the book, I am not aware of it, save for (absent) wives and sweethearts. Gone With The Wind, by contrast, relegates Gettysburg to a paragraph. Nothing is the battle is reported, because the point of view is that of a young woman far from the front lines in Atlanta. Only the aftermath is shown. The values emphasized in that book are feminine: personal safety, rearing of children, romance and the finding of suitable domestic partners, continuity of the family, creating a pleasant and homey atmosphere, fashion, where one ranks in the social hierarchy. The male characters, with the exception of Gerald O’Hara, are largely ciphers to the female protagonist.
These books have very different agendas and very different attitudes on virtually every subject, yet neither is somehow “inferior” because of it. Both sides of the equation are necessary: without Joshua Chamberlain holding Little Round Top, then a freer, more equal nation may never come into being, and without Scarlett O’Hara shooting a Yankee looter stone dead in her entry hall, no woman would be safe to raise the next generation of Americans in peace. Chamberlain’s patriotism is the grand, abstract patriotism of the nation-state, while O’Hara’s patriotism is the small, humble patriotism of the hearth and home, yet both are necessary if a nation is to thrive. And art, all art, is impoverished whenever a point of view is silenced, whether out of some masculine chauvinism or out of a misguided “feminism” that, ironically, prioritizes “modern” pseudo-masculinity over traditional femininity.
Very well written, if i might say so. Perhaps more so than the article itself, which, whilst as a whole made some important points (and which prompted your contribution), at times seemed to lose itself in a series of literary names and references, as if seeking to cover every major female contributor in addition to some male writers. The spirit of inclusivity, perhaps.
Excellent comment.
And what you realise is that the patriotism of the nation can be churned into patriotism of the hearth, but the other way round is not so simple or a given.
HaHa so I think you are saying that the ‘male’ form of patriotism is thus “better” since it can be churned into patriotism of the hearth… how silly! No! You have missed the point of Margaret Drabble’s article I think… male and female are yin and yang and make a whole, the whole of the human experience, and so the ‘patriotism’ of the hearth is just as vital in its own way as the patriotism of the nation…. but maybe I’ve misunderstood you?
I don’t disagree that men and women complement each other.
But I would still say, someone willing to charge cannons and risk certain mutilation or death, all for the sake of country and his fellow soldiers, would also be happy to change nappies and cook food for his child.
The other way round, is rather more difficult, as the rather small number of women paying alimony, or demanding to be drafted in Ukraine, point out rather clearly.
That being said, taking care of the home and hearth is as critical as fighting for country, and I would suggest women are definitely better at the former. When I take my daughter to the doctor, female GPs are way better at dealing with her than male GPs.
The real problem is that the former role has been denigrated and treated as worthless, largely by modern women.
I’ll be honest, I prefer a male author’s take on historical novels. It doesn’t mean that writing is feminine or masculine
Hilary Mantel?
Me too. I’ll take George MacDonald Fraser and Bernard Cornwell over Hilary Mantel and Helle Haasse any day.
“Creating a pleasant and homey atmosphere” where the Blacks worked her land.
I am an inveterate reader and, now that I am retired, am able to indulge my habit. I have moved to an e-reader to save my marriage by stopping filling the house with books. This makes it very easy to get new books and I am tempted every day with offers from Amazon, BookBub, Penguin, etc. Being the male philistine that I am, I have adopted a filtering process whereby I skip over female authors unless I either know them already or their topic particularly appeals. This really does save a lot of time because it seems to me that the publishing industry is now vastly skewed female e.g. today’s Amazon offer 1 male author, 7 female.
My niece was visiting (very progressive and ‘woke’) and I told her this. She was horrified and expressed her disapproval. I asked her what male authors she had read in the last six months and she admitted that they were all female. So I continue to read history or popular science or detective fiction by males while she continues with Jane Austen. Each to his own.
This is exactly why I only read novels by White men, and am very open about doing so.
The curse of identity politics
Ainsi soit-il.
Oh, I’m a total reading w***e – I’ll take any author to bed with me! (Or their work anyway.)
I must admit I have been doing the same thing. It has meant I basically avoid fiction published in the past two decades and most new non-fiction books that aren’t history or philosophy. Men with a similar ‘lived experience’ to me i.e. white ‘cis’ straight and English have essentially vanished from publishing. At least I can still bear Barbara Tuchman.
There are plenty of decent self-published books on Kindle. You don’t have to feed the publishing industry these days.
“today’s Amazon offer 1 male author, 7 female.”
And yet the ladies will find a way to complain how they are oppressed.
I find books by women to be one long series of complaints.
I was brought up on Agatha Christie and Enid Blyton, but the current list of titles on a Waterstones store front does seem to agree with you, it just seems like the quality and content of writing has deteriorated, become more consumed by angst and regret.
Whinged the man… manfully. Unlike those complainy women. Professor Henry Higgins whinged about it best: “Why can’t a woman be more like a man?”
Whinging about someone whinging too much is also whinging, agreed.
But I do feel a typical man like myself is able to deal with 80%female teachers or GPs writers with a lot more stoicism than certain women, who apparently feel oppressed EVEN when faced with situations where they are treated favourably, it seems.
Totally agree about skewed reviewing in papers. It’s yet another dreary, predictable exercise in box-ticking, all about ‘my experience of being a (usually black woman but LGBTREFUGEES also prominent) all screaming about underrepresentation no less.
I’m a ‘G’ in fact but long since stopped reading based on identity as it’s obviously no guarantee of quality or even interest. Nowadays it usually makes me less likely to read it.
A little bit of identity politics goes a very long way.
Dreary Drabble was OK in her time but the last book of hers that I read was ruined at the end when it suddenly morphed into sociopolitical waffle of the most embarrassing sort worthy of a Labour think-tank. I’ve never read anything by her since.
Too true. To me, writing a novel is a bit like acting, the less we can tell about the author’s private life or politics, the better it is. It doesn’t mean they can’t bring their experience to bear, but the story should stand independently of the author.
I’m hetero but I’ve enjoyed 3 books by Sarah Waters, where expression of her sexual identity was either absent (The Little Stranger) or treated lightly (Fingersmith) or used to devastating effect (Affinity). In the other books where it was unnecessary and became a tiresome distraction, I confess I gave up. I felt there was something self-indulgent there.
You might want to become just a little more inveterate and repeat the aphorism correctly: “to each his own.”
This article focuses on the question of whether women have been held back in their creativity by domesticity and the inescapable biological fact of pregnancy, childbirth and breastfeeding – and also on the value of these aspects of life in literature.
I think this is an important question, but a bit of a narrow view. Perhaps domesticity and biological necessity weren’t the biggest issue when it came to how women’s work was viewed – if it was viewed at all. Even in the 20th century, women’s work has still been seen as second best, inferior – a quaint pastime rather than an equally valuable contributions to literature and art. Regardless of whether the artist/writer was single and childless or married with children or what the subject matter of the work was.
Recently, I discovered the Austrian artist Isolde Maria Joham. She started out working with glass but then moved onto massive paintings which pitted humans against machines and cartoon characters in fantastical urban landscapes – a sort of statement on modernity which reminded me somehow of the “human vs. machine” work of Fernand Léger. For years and years, she was pretty much ignored by the Austrian art scene, until someone realised: “ooo, you know what, her work was actually a sort of painting prophecy of the future”.
Joham was married (to a sculptor, about 15 years her junior – how controversial) but did not have any children. She was free to create and had a loving, supportive spouse. And yet her work was still passed over for decades. That was nothing to do with domesticity and everything to do with a lingering suspicion about female creativity in general.
The happy ending: Joham’s paintings were finally given the publicity and the exhibition they deserved last year, see this video: https://www.youtube.com/watch?v=XZ-A_4urM20
Joham died on the final day of the exhibition – as if she knew now that her life’s purpose was achieved.
Everybody should know about her!
Years (and years) spent in the Art Student’s League in NYC, and similar spaces, have shown me that there are vast numbers of truly talented artists out there. And some of them have something significant to say. But almost none of them have ever had a show. This is true across the spectrum of the many different identities they represented; gay, straight, Jewish, deaf, female, etc. To ever get a show and find any success is a bit of fortune that very few artists get to experience.
There are innumerable reasons that could explain Joham’s earlier lack of recognition. “A lingering suspicion about female creativity…” isn’t neccessarily the most important one.
I googled her paintings. They’re not my cup of tea but they are something much more compelling; they look like she had a wonderful time painting them. That joy is better than any opinion.
Oh dear, Margaret. You were one of my Northern grammar school heroines. Someone who was going to show me how to escape.
I’m sure it’s entirely possible to be a housewife-writer in North London. Less so in a tower block in Sheffield.
Social class and economics are the barriers to achievement. Not sex and most definitely not ‘gender’.
Something obscure from my adopted country. I bought a book by a Bulgarian female author: Victoria Beshliiska, called ‘Clay’. The starting point for the book was that ostensibly, in the 17th century, while Bulgaria was occupied by the Ottomans, potters in the village of Tran (west of Sofia) were given a permit (signed by the Sultan) to travel all over Ottoman lands to sell their wares. I was excited by the concept, however, the book was overwhelmingly about some romantic entanglement between a girl and two boys in a village. I had to wait until page 110 to see a first mention of the pottery workshop, but by page 150, all there was of the travel was that the village got word that the potters had reached Plovdiv (a city in central Bulgaria). I had hoped to find out about the region at that time when mucht was happening such as the advent of the ‘prophet’ Sabbatai Zevi; the Ottoman empire’s worst defeat outside Vienna; Istanbul’s huge fire in 1660, etc… However, the book was just a dreary romance that involved no research and could have happened at any time in history. I couldn’t help but feel that a man would have handled it differently and I know I’d have preferred the alternative.
Since criticising is not good enough, I’m now working on potters from the same village in the same period but my first chapter will be devoted to a small group of villagers preparing to set out into Ottoman lands and their adventures will cover various encounters and the stories of people and places. The research so far is fascinating so even if it never comes about, I’m having a great time working through it.
Good luck.
The best work (in any medium) transcends the time and place to tell us something universal about the human experience, but it must have a base to start from.
Because of the legacy publishing industry’s misandrist anti-White racism, I only read novels by White men.
Without being as broadly political about it, I tend to prefer novels written by men.
I don’t particularly. Two of my favourite authors are Jane Austen and George Eliot, and I would very much like to read more of Edith Wharton’s work. Among non-White authors, I have in the past read and liked Zadie Smith, and suspect that I would like Wole Soyinka and Chimanonda Adichie. But this is a matter of conscience for me.
I’m a reader. I’m not a writer. Joe Swift was my late Mums favourite TV gardener. I like domestic things. I became a young adult at the very worst time to be that sort of person. The overwhelming media message of that day that they trumpeted from it’s source in a number of fake fraud so called feminists was that cooking,cleaning all that was drudgery so if you liked it you were branding yourself a moronic drudge. I don’t think having to work 12 hour shifts most days each week until you are 70 is an exhilarating vision of the life path before any young woman. And you dont even get to be rescued by Prince Charming any more. You both HAVE TO WORK to keep the roof on the chateau over your head. And once women had listened,got a job in Tesco and stopped cooking then men took it up and amazed us all with their.Art,became TV stars,and it wasnt drudgery after all.
Of the different issues and problems affecting society today, I’d put this one pretty close to the bottom. No fu*ks to give today or tomorrow.
If there is one thing that is problematic about women it is that they take themselves too seriously.
Men, on the other hand, know they are expendable.