The Mercedes Baptiste Halliday narrative legitimised Gian Butturini’s detractors, and kept them respectable. On paper, it superficially resembled a clear, ideological position, fuelled by a defiance of racial injustice. In actuality, it was a subterfuge, a mere foil – albeit one cut from noble principles – to hide the pettiest and basest of motives: the green-eyed monster of professional jealousy. […]
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For all of Moritz Neumüller’s profuse appeals to impartiality and critical objectivity, the very notion that Gian Butturini’s book LONDON had not only offended, but offended widely — indeed, globally — remains an untested one, founded not upon documentary evidence, but on faith, or magical thinking, alone. […] Exuding an exhaustive scholarliness and an air of academic authority, Neumüller’s textual apparatus thus becomes unstable on close inspection, at its worst incomplete, misleading, and factually inaccurate. … Parr and Butturini’s social media detractors, very limited in number and audience, never put forward a case to support their claims that Butturini’s London was a racist text. […] |
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