Bend It Like Bennett: Genuflecting to Jewish Power
The gang of four are down to two. I want to look at one of the two survivors: the playwright Alan Bennett (born 1934). In the 1960s, with Peter Cook, Dudley Moore and Jonathan Miller, he enjoyed enormous success with the satirical show Beyond the Fringe on both sides of the Atlantic. One of their targets was the stale pale male Britain of their childhoods. Here’s an entry from Bennett’s diary in 1982:
7 September. Douglas Bader dies. I used to imitate him in Beyond the Fringe as part of the Aftermyth of War sketch, coming downstairs with a pipe and exaggeratedly straight legs (though I never quite dared make them as stiff as they should have been). One night I was hissed and was very pleased with myself. (Writing Home, Faber & Faber, 1994)
Douglas Bader was a fighter-pilot who lost both legs in a flying accident before World War II. Wearing artificial legs, he became a hero during the war and then a fixture of the British establishment. He was a symbol of courage, perseverance against the odds and bluff, stoical manhood. But it did Bennett no harm to mock him. Quite the reverse. The success of Beyond the Fringe was a sure sign of shifting power: a new liberal establishment was taking over. It now rules cultural life in Britain, and Bennett is one of its fixtures.
This is an irony that he has never explored in his writing. Probably he doesn’t even recognize it. Like Woody Allen in America, Bennett carefully cultivates an image of himself as a gauche, neurotic outsider. In both cases, the image is highly misleading. The enormous success of Bennett and Allen demonstrates this paradox: in the modern West, outsiders are insiders. The key to the paradox is Jewish power and its hostility to the majority. By identifying himself as an outsider, Bennett signals to powerful Jews in the media that he will not defend the majority. He practises oligolatry, or the worship of minorities I discussed in “Power and Perversion.” Read more




