When I first arrived here, I tried to focus on foreign reporting, by challenging hysterical Western perspectives of Poland. The Government and, sometimes, the people here are often portrayed as being backwards and xenophobic — and I objected to such characterisations. To the extent that Poles are more right-wing than Western Europeans, moreover, I argued, they have the right to be. A lot of American and British commentary appeared to embody what the social scientist Richard Hanania calls “woke imperialism” — the aggressive promotion of progressive pet causes in countries where there is little appetite for them.
I take none of my criticisms back. But on the flip side, it would be unfair of me to obscure the existence of Polish progressives, who have more right to make prescriptive judgements about their homeland than I, an immigrant, do. On the fringes of Right-wing Western opinion there is a caricature of Poland as an ever-strengthening, “BASED”, traditionalist Catholic idyll — leading one conservative commentator from the USA to claim that “the mood [in Warsaw] is unmistakably buoyant”, as if Polish public opinion is not as divided as anywhere else — and I have no wish to feed such clichés. To be a valuable observer you must tell the whole truth and not just part of it. [...]
An outsider’s perspective can be valuable, inasmuch as if offers a sideways look at familiar problems. And of course, observers can become participants, visitors settlers. It would be wrong to think that a migrant cannot — like a native — love and criticise a country simultaneously. Peter Robb’s Midnight in Sicily, for example, combines social criticism with a deep affection for the people and culture of the mafia-assailed island, to beautiful effect.
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