Francis Bacon. 1946.

Today’s politics a la Francis Bacon.

The right is hardly ever interested in politics, unless, of course, it benefits their monetary interests, while bamboozling trickledown economics for the poor.

The left is almost always interested in politics, unless, of course, they managed to accomplish in a half-baked way what the right has while paying their mea culpa handouts to the poor.

Today we have funny political triptych carnivals between the two a la Francis Bacon paintings, in which many lesser evils, acting as third alternative options nursed within the enemy, are coming undercover to rescue each other's realpolitik.

The left has gone so far to the left and so far to the center that this has allowed the right to cannibalize on a third option from the left to its heart content.

Unfortunately for the left, this has left them completely anorexic and only with junk food diet as ideology.

The right is having its Cinderella moment in politics and a new breed of right-wingers are coveting her lost shoes in all sort of exotic ideas of enlightened capitalism.

Who would have thought that in political thinking and in realpolitik Donald Trump would have played so well that Cinderella role?

Trump wealthy life story is, no doubt, no one of Cinderella modesty, but his political expertise, no doubt, is.

Our times is an off time for right-wing ideological gluttony. They are looking for shelter in old European values as if the Greek goddess, Circe has drugged them and turned them into swine with liberal ideas underneath which they pig on all sort of “alternative” ideological culinary diet without cautionary warnings of indigestion or allergies.

Why should they care when politics has never been their forte and they can always give their back to society a la Ayn Rand's Atlas Shrugged?

They have found their political Cinderella in Donald Trump and the lost shoes out of the presidential party election suit him perfectly.

Francis Bacon’s triptych, Three Studies of Lucian Freud (1969).

However, it is actually the intellectual and vital anorexia of the left what is worrisome. Carl Marx gave a fatal blow to liberal ideology to the point that they all sound either elegantly or vulgarly Marxist.

Was Marx really the end of left wing ideology or rather the end of ideology as such?

In the same way as Christians smuggle Jesus in when any unexplained situation turns up, lefties smuggle in Marxist theories in when any malady afflict society.

But the lefties not only smuggle in Marx. When they gain some hard earned merits, they smuggle in all sort of refined petite bourgeoisie habits.

In the meantime, the right continue to enjoy their permanent exit from politics while in the process they have learned to cannibalise from the left the political ideological alchemy the left has created but no longer know how to articulate for themselves.

The left is passing on their tourch to the right to do all the intellectual pyrotechnics work for them, while they reduce themselves to tantrums.

If you really wanted to know the state of politics in today’s world, just go and visit a gallery with Francis Bacon masterpieces.

Created in the immediate aftermath of World War II, Painting is an oblique but damning image of an anonymous public figure. The umbrella that partially obscures him might refer to Neville Chamberlain, the prewar British prime minister who was known for carrying one. His dark suit — the unofficial uniform of British politicians of the day — is punctuated by an incongruous bright yellow boutonniére, yet his deathly complexion and toothy grimace suggest a deep brutality beneath his proper exterior. In the background, three window shades evoke those found in an often-circulated photograph of Hitler’s bunker, an image the artist included in multiple works. The sense of menace is accentuated by glaring colors and the cow carcasses suspended in a cruciform behind him, a motif drawn from Bacon’s childhood fascination with butcher shops, but also a possible reference to Old Master treatments of the same subject.

Text above courtesy of https://www.moma.org