{"id":442,"date":"2026-06-14T07:07:06","date_gmt":"2026-06-14T07:07:06","guid":{"rendered":"https:\/\/urbaneconomynews.com\/?p=442"},"modified":"2026-06-14T07:07:06","modified_gmt":"2026-06-14T07:07:06","slug":"the-western-civil-war-a-review-of-the-haxton-review","status":"publish","type":"post","link":"https:\/\/urbaneconomynews.com\/?p=442","title":{"rendered":"The Western Civil War: A Review of \u2018The Haxton Review\u2019"},"content":{"rendered":"
\n

The song \u201cEnglish Civil War\u201d feels<\/em> very British. It deals with rising political tensions in England in the 1970s and was written by The Clash, one of the most famous English rock bands of all time. But it\u2019s set to the tune of an American song, \u201cWhen Johnny Comes Marching Home,\u201d centered around America\u2019s Civil War.<\/p>\n

Read more Stop Corporate \u2018Rackets\u2019 from Shortchanging Americans\u2019 Retirement Income<\/a><\/p>\n

The connection, perhaps inadvertent, is nonetheless telling. The song plays a major role in The Haxton Review<\/em>, author Joshua Knapp\u2019s debut novel\u2014which is without question a very British novel. It is by a British author, set in a small town in northern England, and deals with the horrifyingly relevant racial struggles between native white Englanders and their new, Middle Eastern neighbors. But Americans would do well to give it a read, because the struggles faced by Adam, the book\u2019s main character and narrator, are not so different from the struggles faced by Americans today across the country.<\/p>\n

The book centers around Adam, who finds himself slowly drawn into a local religious dispute. Adam is no hard-right populist. He voted for Nigel Farage\u2019s populist Reform Party in 2024 \u201cthrough gritted teeth,\u201d a vote more out of distrust\u2014or disgust\u2014with the establishment parties and less out of a dedication to a cause. The natives of Lantyrn Royd, who are among the last white holdouts of Coxthorpe, a town which has slowly Islamified, wish to hold a \u201crush bearing\u201d procession, an ancient English parade in which plants\u2014rushes\u2014are brought to a church. But following the original path of the town\u2019s rush bearing parade will take it through a now-Islamic area. And the parade features the presence of a knight, representative of a crusader, which offends the Muslim population.<\/p>\n

The rush bearers of Lantyrn Royd are, unsurprisingly, vilified in the media. The narrator\u2019s brother\u2014an arrogant, liberal columnist who presents himself as a regular bloke familiar with Northern, working-class ways but who has broken free from them and moved onwards and upwards to high-society London\u2014pens a column arguing that the parade should be diversified and inclusive so as to represent modern Britain.<\/p>\n

This pushes Adam\u2014who has already shown signs of leaning toward the plight of the rush bearers\u2014over the edge, inspiring him to start an OyTube channel (one assumes that \u201cYouTube\u201d could not be used for copyright purposes), \u201cThe Haxton Review,\u201d which features interviews with the rush bearers, humanizes them, and pushes back against those who would prefer to see the parade shut down.<\/p>\n

The plot unfolds in a thrilling way, with tensions coming to a boil as the date of the procession gets closer. But the story is told for a purpose, and clearly is meant to represent more than a story about an upcoming divisive festival. In Adam\u2019s OyTube videos\u2014comprising several chapters spaced throughout the book\u2014along with conversations between key characters, Knapp paints a tragic, but true to life, picture of England and the entirety of the wider West: a civilization populated by atomized individuals living in their own ruins, disconnected from their history, and manipulated by those who truly, desperately, wish to see it disappear, replaced with dreams\u2014or nightmares\u2014of a melting pot.<\/p>\n

* * *<\/p>\n

The first Muslim whom Adam speaks to in the book is friendly. In fact, all of his conversations with Muslims are friendly. These, and past friendly interactions, cause Adam to feel guilty for supporting the rush bearers. At one point he considers the Asians\u2014Britain\u2019s word for what Americans call South Asians, which in this case means mostly Pakistanis\u2014who will be hurt by his support for the rush bearing.<\/p>\n

Those who are supportive of multiculturalism, in the book and in real life, understand the power that such guilt has, and they use it frequently. Oftentimes this guilt comes in the form of government force. Last year, many American conservatives were disturbed to learn of the existence of the Community Relations Service within the United States Department of Justice, which has a history of meeting with white families who have been victims of crimes committed by minorities and urging them to put out statements decrying racial tensions. Britain\u2019s Police Family Liaison Officers play a similar role.<\/p>\n

These dual realizations, on both sides of the Atlantic, helped to explain why statements from victims\u2019 families always seem written in a specific way. Take the statement issued by the family of Stephen Ogilvie, a Belfast man who was nearly decapitated earlier this month by a Sudanese migrant:<\/p>\n

\u200b<\/em>[Block]We are aware of the tensions and talk of protests following this incident. We want to make it absolutely clear that overnight unrest is not welcome, and peaceful protest is the only way forward. We have many migrants who make a deeply valuable contribution to our country, including in our healthcare system and hospitality sector, and we depend on them to make our country work. We do not want this terrible tragedy to be used to divide people or fuel hostility.[end]<\/em><\/p>\n

In the past, such statements would have incurred no raised eyebrows. But now they come off as sinister, almost eerie; one struggles to imagine why a horrified family would take the time to highlight the fact that migrants work \u201cin our healthcare system and hospitality sector\u201d unless they were prodded to mention it. The proliferation of social media sites like X, Rumble, and YouTube channels similar to Adam\u2019s has helped to remove the glossy sheen of the \u201cmelting pot\u201d which had been painted over the eyes of so many for decades.<\/p>\n

This sinister, almost bizarre feeling pervades Adam\u2019s experiences and the novel itself. At points, The Haxton Review<\/em> reads almost like a Soviet-era book\u2014Mikhail Bulgakov\u2019s The Master and Margarita<\/em> comes to mind\u2014in which characters understand that certain things cannot be said, and others can only be said in certain ways. And while it would go too far to suggest that modern Britain is akin to the Soviet Union\u2014Brezhnev never needed to worry about losing an election to a Russian Nigel Farage, let alone a Russian Rupert Lowe\u2014it is hard to escape the feeling that modern Britain is simply not a free country.<\/p>\n

Police visit Adam\u2019s workplace because of his channel, reflecting the real-life Britain\u2019s arrests of over 12,000 people in a single year for online posts. Adam\u2019s boss, an ally of his, nervously asks him, very indirectly, if he said or did anything which may cause the powers that be to take an interest in him.<\/p>\n

But there are global forces at work too. Spanish banks pay for pro-Muslim and pro-LGBT parades. Even those on his side confuse him, such as one group which is strangely just as against migration as they are supportive of Israel.<\/p>\n

But it is his interactions with religion which are particularly concerning. At one point, a Catholic friar tries to reach out to him by comparing the plight of Muslims today to the plight of Catholics in the UK in the past, warning Adam that he is threatening his soul with his support for the rush bearing.<\/p>\n

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But the friar\u2019s trepidations pale in comparison to those of the Anglican priest, who is horrified by Adam\u2019s suggestion that the English nation could be seen as a family (as that would imply England\u2019s history as a white country is in any way truthful). The priest, a woman named Lavinia, at one point says priests are \u201cnot here to be God\u2019s referees.\u201d She speaks frequently in paeans to love but never, careful readers may notice, about the actual truth of the Gospel. Her faith, it appears, is empty, coming across as only designed to undergird the establishment\u2019s need for a multicultural society. When Adam challenges her on this\u2014that the Church of England has mostly served to support the establishment\u2019s views\u2014her attempted refutation fails to convince.<\/p>\n

This is contrasted with Catholicism, which Adam struggles with. Aside from the friar\u2014who arguably represents the older, more liberal generation of Catholics\u2014Catholicism is represented as what once held the West together. At one point, speaking of the Eucharist, Adam comments that \u201cthe blessed sacrament, that little bit of whiteness, built a whole civilization, once upon a time. It built my civilization, or at least the one I identify with.\u201d<\/p>\n

Adam\u2019s statement underlines the difficulty faced by modern England: the church it is left with, though still populated by many priests who are truly believing shepherds of their flocks, is trending toward an empty paean to multiculturalism. The church that built the West, in contrast, is not even English.<\/p>\n

What being English actually is remains another question entirely. At one point Adam is told, \u201cYou don\u2019t get to define what English is.\u201d Americans will hear an echo of their own recent debates over the subject, in which ludicrous statements such as this, from Rep. Pramila Jayapal (D-WA) proliferate: \u201cimmigrants from all over the world, Somalia, India, wherever they\u2019re from, Latin America, Africa . . . immigrants have built this country and make this country what it is today.\u201d<\/p>\n

* * *<\/p>\n

There are moments when less plugged-in readers may think the author is going too far in his attempts to demonstrate how truly insane, for lack of a better word, England has become. At one point, crossbow bolts are fired from the roof of a mosque at white protestors. This may strike the reader as a bit silly: England has a famous knife problem, but crossbows?<\/p>\n

Or at least, it seems silly, until news stories like the one from earlier this month, in which a Saudi-born student shot someone with a crossbow on an English university campus. Which is the most frightening thing about the events of the novel: while they are fictional, they are also very, very real.<\/p>\n

As the novel progresses, the entirety of English and global society appears to be working against the rush bearers. History is twisted against them. The crusading knight is portrayed by England\u2019s media, government, and religious figures as wholly unnecessary and deeply offensive to the Muslims whose ancestors were supposedly brutally attacked by crusading forces.<\/p>\n

Nowhere is it ever mentioned by any of these opponents that the Crusades were a series of fundamentally defensive<\/em> wars, fought to save the Christian Byzantine Empire from Islamic attacks and wrest control of the Christian Holy Land back from the Muslim invaders who had captured it a few hundred years before. Why the Crusades have somehow been twisted in Western discourse as having been offensive<\/em> wars remains an open question.<\/p>\n

England, and the English, are never allowed to defend themselves. Any defense of their own culture, history, or identity is registered by the establishment instead as an attack on the multicultural, diverse 21st-century England.<\/p>\n

It is precisely here that Americans should feel a particular kinship. \u201cIt\u2019s sad that even our best people have so little sense of their own history,\u201d a character says at one point.<\/p>\n

This lack of a sense of history, on both sides of the Atlantic, is driven by a constant establishmentarian argument that there is<\/em> no American history. Real English and American history cannot be told, because there is no \u201creal\u201d England or America. Both are ideas, amorphic, constantly changing concepts which will\u2014in the hopes of the diversifiers\u2014eventually simply reflect the entire globe.<\/p>\n

It is this idea\u2014that the West only exists so that it can absorb the world\u2014that the rush bearers of the novel, and the populist movements active across the United Kingdom and America, are working against. Whether they will succeed is an open question. As Winston Churchill said the last time England was in grave jeopardy, \u201cIf this long island story of ours is to end at last, let it end only when each of us lies choking in his own blood upon the ground.\u201d<\/p>\n

Across the West, there have already been countless innocents who have already choked on their own blood, struck down by those not from here. Innocents shot by crossbows, blown up by bombs, stabbed with machetes and knives. These rivers of blood, prophesied by another famous British politician, have led to boiling tensions\u2014in the Coxthorpe of the novel and in small towns and cities from California to Washington to London.<\/p>\n

Time will tell if they simmer down or boil over entirely.<\/p>\n

* * *<\/p>\n

Anthony J. Constantini is the policy director at the Bull Moose Project and a columnist at Brussels Signal.<\/em><\/p>\n

Read more Indigenous Nonsense<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

The song \u201cEnglish Civil War\u201d feels very British. 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