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When Theresa May first entered Number 10 she announced her desire to tackle the“burning injustices” of British society, including racial and...

All in Britain is taking an important step forward. We are partnering with the organisers of the Battle of Ideas...

One of the scare stories of the Brexit debate has been chlorinated chicken, the kind of unpleasant American import that...

Ben Cobley skillfully picks apart the ideology and system of diversity that is stifling British politics and social relations.

Brexit has highlighted that Britain is a divided nation. Having voted Remain, I was shocked and saddened by a minority of powerful metro-elite pro-EU supporters who have steadfastly refused to acknowledge the legitimacy of the result. It was their vitriol against working-class voters that has led me to rethink many of my previously held assumptions.

I recently had an interesting discussion on race and political correctness with a black friend I shall describe as a political agnostic. A successful banker by day, he called me to complain about a black work colleague who, when recently stopped by a white traffic cop for breaking a driving rule in London, had promptly whipped out the race card: ‘Why did you stop me? Is it because you saw a black man driving an expensive car?’

Trevor Phillips once said to me - only half joking - that newspapers should have identity correspondents, just as they have economics or environment correspondents. Certainly there appears to be an inexhaustible appetite on the part of media outlets for stories that focus on social divisions, real or imagined. Usually these are framed as moral parables featuring virtuous victims, usually female, ethnic minority or gay, and contemptible wrong-doers who are male, white or straight. Sometimes the perpetrator is institutional - often, as with the Windrush generation controversy, the British state itself.

Over a number of years, the artist, Franklyn Rodgers, photographed his mother Loretta and her close circle of friends, building up an extraordinary series of large-scale portraits. The size and grandiosity of the works combine with a remarkable intimacy, achieved by the artist’s close relationships with these women.

Shelby Steele argues that the combination of a black power ideology and white guilt (or more accurately white fear of the stigma of racism) has thwarted the promise of the civil rights era to create a post-racial world.

Far from its claim of making politics more diverse and representative, the WEP appears to be a platform for a singular elite to wield power by enacting a form of feminism that only achieves women’s liberation by curtailing that of men.