He's no Diderot. (Photo by Michael Regan/Getty Images)

“We are not interested in debate,” declared the authors of a recent open letter to the Danish Academy of Arts. Instead, “let us together break down what these walls have built”. But what did the walls of the Danish Academy of Arts build, exactly? Prior to the letter, a bust of Frederic V, the man who founded the Academy, had been tossed into the ocean on the assumption that the construction work was financed by slave trade. Not only was it not — it was financed by trade with China, where no Danish colonies ever sat foot — this statue-toppler was later found to be a Head of Department within the academy itself.
Lettered demands of such a kind are not too rare. In just the past two months, some 140 academics at Oxford University signed a statement saying that they would boycott students at a college with a statue of Cecil Rhodes; journalists at America’s leading newspapers called on their industry to stop obscuring “the systemic oppression Palestinians”; and England’s football manager wrote an impassioned letter defending his players taking the knee.
So far, so uninspiring. Yet that hasn’t always been the case. The most famous open letter is arguably J’Accuse by Émile Zola. Published in 1898 by L’Aurore, Zola launched an epistolary missile against the French authorities’ decision to sentence Alfred Dreyfus, a Jewish French artillery officer, to lifelong penal servitude. The decision was made following suspicions of Dreyfus having treasonously crafted and leaked a bordereau containing military secrets, to the Germans. What Zola did was to prove that no such evidence was present. By means of a larger epistolary campaign, Zola managed to mobilise broad public support for his cause. Dreyfus was released from his Penal Colony and rehabilitated.
Just as effective at utilising the open letter for political means was the ardent satirist Jonathan Swift, who in the years 1724 and 1725 wrote the not-at-all-satirical Drapier’s Letters. In a similarly prolonged epistolary crusade, Swift managed to mobilise much of Ireland against the nobility and the fraudulent, debased coins of a certain William Wood — and the Irish needed mobilising, for, according to Swift, “no people ever appeared more utterly void of what is called public spirit”. Wood’s patent was withdrawn, and Swift’s epistolary success quickly earned him the title “darling of the populace”.
Later, Thomas Mann, the great German novelist, fell back on the open letter when in 1937, after his excommunication from Germany, The University of Bonn “obliged to strike your [Mann’s] name off its roll of honorary doctors”. Mann encouraged the Dean to advertise Mann’s letter on the bulletin board, as it may give a student “a brief revealing glimpse of the free world of the intellect that still exists outside”.
And it was the intellect of his homeland, rather than a petty honorary position, that Mann sought to address. He foresaw what would happen to the Germany he loved, and he hoped to inspire broadly — with the Dean merely a proxy — the whole nation to reconsider its nationalist socialist parade. That Mann addressed the whole of the German nation becomes clear near the end of the letter. “I had forgotten, Herr Dean, that I was still addressing you.”
Dreyfus was falsely accused, John Wood did indeed attempt a nation-wide scam and we all know what path the German nation was on in 1937. In Zola’s, Swift’s and Mann’s cases, they risked careers to turn open letters into truth and justice. It was direct democracy at its most appropriate. How, then, did the open letter lose its way?
Perhaps we should admit, before advancing, that the open letters of today share one thing in common with the earlier epistolary triptych — a reverence of the letter as a tool of direct democracy. In March, for example, the economic historian Gregory Clark was deplatformed with an open letter because the title of his presentation, For Whom the Bell Curve Tolls, was “recognised as offensive” by prospective attendees.
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