Nina Power

‘We’re all members of the Stasi now’: Irvine Welsh interviewed

Nina Power explores today's culture of paranoia, control, offence and censorship with the Scottish author

Offended? Tate postponed Philip Guston’s 2021 retrospective for fear of his Ku Klux Klan paintings — such as ‘Tour’ (1969) above — appearing insensitive. Credit: Seventy-fifth anniversary gift of Agnes Gund / Bridgeman Images 
issue 31 October 2020

The history of the word ‘offend’, from the Latin offendere, to hit, attack, injure, is a revealing one. From its starting point in physical violence to transgression against God in the Middle Ages, today ‘offence’, understood as displeasure or upset, is seemingly everywhere. The word may no longer refer to direct physical harm, but culture of all kinds, from artworks to comedy to literature to music, seems to have an upsetting quality to some. Words, we are told, are ‘violence’, images are hurtful, differing opinions are dangerous and must be suppressed. Even silence is ‘violence’, as this year’s Black Lives Matter protests reminded us.

Social media has undoubtedly encouraged this fantasy slippage from physical to moral or mental harm. By short–circuiting the gap between the individual and the world, the internet has generated new kinds of sensitivities as well as new modes of punishment. You wrote an offensive tweet? It’s very easy to find out where you work and ensure your employer is pressured into firing you.

Comments

Join the debate for just $5 for 3 months

Be part of the conversation with other Spectator readers by getting your first three months for $5.

Already a subscriber? Log in