Love in the Asylum

The Edge of Love, directed by John Maybury

© Lions Gate Entertainment

I expected to hate this film; but of course if you begin a review like that, it means you mustn't have hated it at all. Why did I expect to hate it? It was something to do with its starring two supposedly stunning actresses. I thought it would be too superficial, about too-glamorous characters, a varnished version of the home front. And it was something to do with its being about a renowned poet, and my fear that it might, again, glamourise the poet's life or give no feeling of the importance of poetry. When the film opened my expectation of hating continued, as Keira Knightley came, over-lipsticked and powdered, into view.

It didn't turn out quite to plan, though, so I ended up as disappointed as one always is when hatred's unfulfilled. I quite liked this film. Yes, there are flaws in it, and it has limitations: it's given away by its small scale, the budget not stretching to produce a jury in the courtroom, for instance, or even barristers, so that a criminal trial had to be portrayed as though the judge asks all the questions. It was a smallness that made me feel sometimes as though I was watching one of those films made for BBC Four. A film just as well watched on DVD as in the cinema, then. 

Small details intruded occasionally too. I'm as keen on stockings as the next man, perhaps more so, but arguably there is an excess of them in this film, and I found it impossible to believe that a woman who had to borrow money for food would, in Wales during the war, deliberately burn holes in her (too modern-looking) stocking with a cigarette. Worse, even, Sienna Miller couldn't decide whether Caitlin pronounced her husband Dylan's name the Welsh way, or the English, or indeed whether she herself was Welsh, Irish, or what. And would the police at that time really have protected the head of a suspect climbing into the generous back of their car? I don't think they bothered much about health and safety back then.

But I managed to forgive it all. The performances I thought were good, Keira Knightley and Sienna Miller persuading me of their friendship in spite of I thought a dodgy, over-artistic script in the first half-hour. They almost made me forget - Sienna Miller especially - that these women were too flawlessly beautiful for real life. Cillian Murphy was also not bad as Killick, the wronged husband of Vera Phillips, who goes to war and runs mad and jealous when he gets back. Matthew Rhys's performance is best, though, and this is what beat all my expectations: in a story that would have been interesting even had one of its main figures not happened to be a substantial poet, we were made to believe we saw this poet in front of us, and given insight into him. It's not a flattering portrait. Thomas comes across as selfish, child-like and self-indulgent, treacherous and cruel. But you do also understand his magnetism. What's even better is that you get some sense, some at least, of the presence of poetry in his life, the fact that it's a practical job that must some time be done, and of its importance to him. Finally, I found myself caring about all the characters, wishing that betrayal had not smashed this unusual foursome.

Yes, there was far too much singing (always a danger in films about Wales, the East End or Liverpool) yes, I was unnecessarily distracted by Suggs, and yes, the cine-style flashback at the end seemed strangely post-war and out of place. But it's a film worth watching.

Unexpected life from a flattish pitch

Netherland by Joseph O'Neill

When I was in New York in May, reviews of this novel were all over the New York Times and the New Yorker: it was clearly the book of that moment. And when Martha Kearney revealed not long after on Newsnight Review that she was reading it, I realised it had gone transatlantic. It seems that this story of the migrant experience in New York and of cricket - cricket - has broad appeal. In publishing terms, at least as far a literary fiction is concerned, Netherland is a triumph. In terms of pure literary achievement? A fairly interesting draw.

The story takes place between 1998, when the narrator Hans van den Broek first moves from London, where he works as an analyst for a merchant bank, to New York,  and his return about five years later, and it's a slightly unusual story in that the main action - the determining action, the development that drives van den Broek back across the Atlantic - is kept in the background, subsidiary to the important foreground events we care more about. After the attack on September 11 2001 van den Broek's English wife Rachel decides she can no longer live in New York - she needs a feeling of existential security for their son Jake - and can no longer live, either, with Hans. She moves to England; and the plot resolves when some years later she accepts Hans back into her life and the family is reunited in London.

It's what happens in the interim that is the real interest of this novel. Hans used to play cricket as a young man - we are treated to plenty of his childhood reminiscences of cricket, cycling, his mother and her lover in the Hague - and while alone in New York he decides to pad up once more and play for a club on Staten Island. It's a wild kind of cricket, played in long grass so that lofted strokes, to Hans's purist distaste, are essential, played by a mixture of immigrants from India, Pakistan and Bangladesh, from Jamaica, St. Kitts and Trinidad, a cricket in which strange things happen.

    The man stopped ten feet from Chuck. He held the gun limply. He looked at me, then back at Chuck. He was speechless and sweating. He was trying, as Chuck would afterward relate, to understand the logic of his situation.
    The three of us stood there for what seemed a long time. A container ship silently went through the back gardens of the houses on Delafield Place.
    Chuck took a step forward. "Leave the field of play, sir," he said firmly. He extended his palm toward the clubhouse, an usher's gesture. "Leave immediately please. You are interfering with play. Captain," Chuck said loudly, turning to the Kittitian captain, who was a little distance away, "please escort this gentleman from the field."


This is the first appearance in the novel of Chuck Ramkissoon, an excellent creation who carries this novel. As a Trinidadian, Ramkissoon is fond of relating wisdoms from his Caribbean childhood, and as a new New Yorker on the make, he  is fond of mixing in all types of business from the marginally dodgy to, as we later discover, the definitely dangerous. But he's also a man with a dream, an American dream to bring the joy of cricket to that country, or rather back to America, because Chuck argues that the game was popular in America's infancy and has unaccountably fallen out of favour to the "aerial game" of baseball. He's a man of big plans and big visions, who wants to build a cricket stadium on an old airstrip in Brooklyn and transform America through the great old colonial game - the global game.

"I'm saying that people, all people, Americans, whoever, are at their most civilized when they're playing cricket. What's the first thing that happens when Pakistan and India make peace? They play a cricket match. Cricket is instructive, Hans. It has a moral angle. I really believe this. Everybody who plays the game benefits from it. So I say, why not Americans?" He was almost grim with conviction. In a confidential tone, he said, "Americans cannot really see the world. They think they can, but they can't. I don't need to tell you that. Look at the problems we're having. It's a mess, and it's going to get worse. I say, we want to have something in common with Hindus and Muslims? Chuck Ramkissoon is going to make it happen. With the New York Cricket Club, we could start a whole new chapter in U.S. history. Why not? Why not say so if it's true? Why hold back? I'm going to pen our eyes. And that's what I have to tell the Park Service"


It's a crazy scheme, of course, from a crazy character, but the scheme and the man are worth four fifths of whatever you pay for this book. Perhaps one of the best novelists - I'm thinking of William Boyd, perhaps because of the global sweep of Netherland as well as its comic element - might have made more of Ramkissoon, made him a deeper character, allowed him to change or at least perhaps fail. Even so, Joseph O'Neill can be pleased with having invented him.

Otherwise, the novel is well constructed and stylishly enough written - very much with an American audience in mind, although the author is Irish, and worked as a barrister in England. But in some ways it's disappointingly bland. The story of the marriage for example, of Rachel's inexplicable (seen through husband's eyes) withdrawal and strange return - it's all quite English, quite middle class, quite male and quite dull, ultimately. I found Rachel quite an empty character, her personality conveyed only by the fact that she's a lawyer who supposedly talks and thinks in predictably lawyerish ways. And once you start to consider the emptiness of one character, it occurs to you that there are other vaccuums here, too. Hans himself is empty: we only know him through the way cricket, New York and Chuck project on to him. He brings nothing to the novel, really. And there are other ways in which the novel is at times uninspired. There are many unnecessary recollections from childhood from both Hans and Chuck, none of which I thought generated heat or light. I often found developments overdetermined, overexplained by Hans, as though the author feared the credibility of his action and needed to inoculate the reader against disbelief by pointing to clear chains of causation. And I tired very, very quickly of the occasional cameo characters - particularly "the angel" - who are clearly meant to give an impression of the wackiness of New York life but who made me feel as though I were reading an earnest effort from an American short-story magazine.

Not a great novel, then; on this evidence I wont be looking forward to O'Neill's next work anything like as keenly as I will Edward Docx's. But the odd one does lift: the character of Chuck is what makes the book worth buying. In paperback, I'd suggest.

Christopher Tayler in the Guardian agreed with me about Hand and Chuck as well as the "denizens of Chelsea" and the novel's occasional feeling of contrivance, and Stephen Amidon in the Sunday Times agreed with me about Hans and Rachel's garden-variety marital malaise. The Economist was unimpressed, and I think Benjamin Kunkel in the LRB is right that the novel is emarrassed by money. One of the annoying things about it (overdetermined and explained away, possibly, by parallels with The Great Gatsby) is the way money is nothing at all to be worried about. I'm always a bit critical of novels anf films in which the characters are freed from the scarcity that rules most people's lives.

Darling’s two penn’orth

carolynhack/CreativeCommons

He had to at some point; and he's decided to do it now. Or else his boss has. For some time the government has been saying it would think about postponing again the 2p rise in fuel duty planned for first for April, then for October, and it's pretty obvious it had taken the decision already. The question was the tactical one of when to announce, or rather how long the government could get away with reassuring people with a mere expectation rather than an actual decision. Because now the decision's been taken, those who lead the fuel protests will want more concessions; there was an advantage in dragging out the postponement as long as possible so as to focus pressure on that one issue and delay having to consider yet more giveaways.

So why announce now? The timing is clearly linked to the Glasgow East by-election, where the SNP have been pressing the issue of high petrol and energy costs, whatever denials the government might attempt - making itself look silly in the process. There's also always a weather factor in these decisions, I think: what the government is trying to avoid is anything like the fuel protests of 2000, when lorry drivers (rebranded, for the purposes of this political debate, "road hauliers") got angry in the sun and threatened to bring the country to a stop. Street protests and riots often happen in the summer when the weather's hot (think Brixton and Toxteth) and so this time of year, especially if you think August might yet turn out to be quite warm, is a good time to get your concession in first.

It also looks as though Darling has concluded he needs to do yet more on this: the first BBC story I linked to earlier mentions that the government will bring forward further measures "in due course". If you've come to the conclusion that you need to go further than just the postponement, then you might as well trouser the political credit for that now and fall back on defending the slightly higher ground of what you're going to do next. A carefully planned rearguard action, this.

Not being rude with words

Everyone has an equal right to be described in a dignified and respectful way. However, equal treatment does not mean the same treatment; that is why equal value is a necessary component. Descriptions of individuals, groups and communities should enhance human dignity and value while respecting self-descriptions, cultural concerns and practices.

Consider the much abused asylum seekers. The word "seeker" suggests those requesting asylum are scroungers on welfare, exactly the clarion call raised in the tabloids. Asylum is a legal process, it does not and should not cast doubt on the moral worth of anyone engaged in the process. Would a more ethically sensible, neutral and accurate term not serve us better - such as "asylum applicant"? Is replacing "the Muslim community" with "Muslim communities" not more sensible, and ethically sound, emphasising the plethora of diversities we should recognise?

I agree with Ziauddin Sardar writing in today's Guardian that politeness is important and that we should all be sensitive and kind to  one another. On that basic point I think we all probably agree. But beyond that I'm afraid this piece  shows how silly political correctness originates not in a too-zealous examination of the way we think about others and how that's reflected in language, but in a too shallow one.

What he says about asylum seekers, for instance, seems to assume we use the word seeker, and that some people on the left feel a vague guilt about doing so, because there is something intrinsically or inherently derogatory about it. But there isn't. The reason why people feel a shudder of inner angst when using the phrase asylum seeker is that they are upset and troubled by their feelings about those who claim asylum and the way they are treated. Phrases and words, over time, become associated with our feelings towards the people and things they refer to, and will always be coloured by those feelings - unless we address them directly. If we did begin to speak of asylum applicants, it would only be a matter of twelve or fifteen years before Ziauddin Sardar began to feel that term was wrong, too, because somehow things had moved on.

Take the concept of mental handicap, another phrase Ziauddin Sardar sees as reinforcing stereotypes and denying dignity. How did we come to speak of mental handicap? I think it's perfectly obvious that by referring to people as handicapped must have been intended to emphasise that the additional problem those people face is random, to explain their doing less well than others, and to imply that the situation is unfair. To talk of someone being handicapped works in just the same way, linguistically and psychologically, as to call them challenged - a way of speaking that's become a sturdy pardody of PC language. It's clear, therefore, that the application of the word handicapped to those previously known as mental defectives or cripples was the political correctness of its time. So why does it now feel rude? Sir Ernest Gowers, in his second edition of Fowler's classic Modern English Usage, has the answer. This is from his article on Euphemism:

euphemism is a will-o'-the-wisp for ever eluding pursuit; each new word becomes in turn as explicit as its predecessors and has to be replaced. The most notorious example of the working of this law is that which has given us such a plethora of names for the same thing as jakes, privy, latrine, water-closet, w.c., lavatory, loo, convenience, ladies, gents, toilet, powder-room, cloaks, and so on, endlessly.

We see this process continuing in the United States, where you now ask for the bathroom or, ridiculously, the restroom. The point is that, for whatever Freudian reason, it is our embarrassment about what happens in this place that rubs off on the word we use to describe it, and once a word begins to fit, our embarrassment inhabits it as an overtone, implicit in its meaning, so that we feel the need of a fresh, untainted term.

According to this same process, by which embarrassment often manifests itself, in England at least, as politeness, our embarrassment about people and social issues can be seen in the way we clutch at one euphemism after another to cover our problematic thoughts about, for instance, the mentally handicapped. The old term initially coined to make use feel better gradually makes us feel bad again. And so we stop speaking of coloured people and the handicapped, and begin talking of blacks and the disabled; then give up talking of blacks and the disabled, and speak only of black and disabled people, naively thinking we restore their previously-denied humanity; before feeling even that is not enough, and that we must speak only of people of colour and people with disabilities.

I'm not rubbishing all neologisms: people's feelings about terms are real and must be respected. What I object to is the uncritical idea that our invention and reinvention of new euphemisms in itself reflects a moral progress. For one thing, the feeling of moral discomfort we act on and the term we use to assuage it may both be absurd - like the way Victorians spoke of unmentionables for underwear, or the way Ziauddin Sardar now wants to stops talking about carers because doing so denies the independence of the person cared for. I would have thought it obvious you're not entirely independent if you have a carer, but this just goes to show the ludicrous lengths your rude-ometer can take you to if you do not make a habit of questioning it. Using new terms is an easy way to purge our feelings about social problems; but instead of simply turning the handle to churn out yet more of them, we should examine more critically our need to do so, and try to address and deal with the feelings that lead to this urge. That seems to me absolutely necessary if we're ever really going to make any moral progress in the way we deal with, say, race or disability.

A good way to start might be for people who think like Ziauddin Sardar does to ask themselves what are the stereotypes that they think a term like mentally handicapped reinforces. That exercise might help reveal that the guilty associations we fear are in our minds, not in our words.

A day for patience and character

Smith and McKenzie take South Africa halfway to salvation

I was at the cricket yesterday: the fourth day of the South Africa test, with my friends Hugh and Pete, and three large bags of food. I myself prefer to theme my match-day picnic if I can, but South Africa presents a much stiffer challenge than India or the West Indies in that regard. I did at least manage a chilled bottle of Cape Rosé, though, you'll be pleased to know, and some sharon fruit. But enough of this nonsense! I'm not trying to be the Matthew Fort or Silverbrow of these webpages but to have a short go at being Neville Cardus, John Arlott or C.L.R. James.

The first three days of this match were a breeze for England: put in to bat, they piled on a total of 593, Ian Bell falling agonisingly short of a double hundred, caught and bowled on 199, after England's brutally thrilling batsman Kevin Pietersen had himself gone past 150. And on Saturday England's bowlers skittled their opponents out for 247 and enforced the follow-on. So we arrived yesterday morning hoping to see England win; or at least to see them take six or seven wickets and set things up for a straightforward win on the Monday.

Graeme Smith and Neil McKenzie had different ideas, though. The South African openers got off to a slow, but pretty solid, start, Smith at times looking troubled by Monty Panesar, and neither man playing many strokes - but you could hardly blame them. The only chance for South Africa to save this game was a long, patient rearguard action, surviving and batting through the day and most of Monday. That's exactly what Smith and McKenzie set out to do. For many in the crowd, this made for a very boring day. How much more fun to watch the wickets tumble! What bad luck, not to see higher-scoring play! I'm not as knowledgeable about cricket as I'd like to be (I find it hard even to remember what I saw at a test match last year) but I am enough of a nerd not to need superficial entertainment. This was an absorbing day in which character came to the fore as South Africa fought their way back into this series.

By three o'clock it looked as though McKenzie and Smith, whose early uncertainty against Panesar had been forgotten, were unshiftable. Smith's determination in particular is impressive - his two double hundreds in England a few years back when he was new as captain showed that - and here again he showed tremendous mental strength. Yes, he was helped by a good, slow and flat wicket from which England's batsmen had profited heavily, and by the fact that England's relatively mild bowling attack had not enough fire (at least till tea) to strike any sparks on it. But this was also about will. Smith and McKenzie willed themselves to hundreds, and this game towards a (for South Africa, triumphant) draw.

Smith's concentration wavered after he passed his century: he fell to the "relaxed hundreds" phenomenon whereby the mental relief that follows successfully passing that milestone leads to a slight slackening of nerve. First he edged Kevin Pietersen's spin into the gloves of Tim Ambrose - who fluffed the catch. But not long later James Anderson with the new ball tempted him to a rash attempt at something like a pull, a lazy thrash to the onside that Smith badly mishit and skied towards cover where Pietersen took reponsibility for holding the catch. An admirable if unspectacular captain's innings was at an end.

The last hour had more in the way of thrills: Anderson was much more hostile with the new ball, bombarding the new batsman Amla with a series of bouncers. The run rate picked up, too, once McKenzie had achieved his own century. But this was not really a day for thills. It was one of those days when great sport goes beyond such things and shows you that drama comes in many forms. South Africa look, now, quite likely to save this match.

If you want to read others' take on the day, read David Hopps at the Guardian Sport blog, Derek Pringle's report for the Telegraph or Mike Atherton's report for the Times.

 

A silly reason to convert

MRBECK/CreativeCommons

According to the Telegraph, a Church of England bishop, Andrew Burnham of Ebbsfleet, is planning to leave the church and convert to Catholicism over the decision of the Synod to approve in principle a move to enthroning women bishops. I'm deeply unsympathetic to the "traditionalist" position, I admit, and I'm an outright atheist, so some may feel I'm incapable of understanding what's at stake here. But I find the language the traditionalists use - they talk of the church "excluding" them - frankly offensive. They are the ones who will, if they get their way, continue to exclude women from the episcopacy; in contrast if they're defeated, they'll be welcome in the church, able unlike women today to contribute as both as priests and bishops, after the change as they were before.

But I want to make a much narrower point here. I doubt I can be alone in thinking that this vote is a very silly reason indeed to flounce out, take away your crook and decide to turn to Rome. Has Bishop Burnham never been troubled by the doctrinal differences between his church and Rome, say on communion? Unless he's always secretly believed the Roman Catholic idea of transsubstantiation - in which case he can hardly accuse liberals of any kind of doctrinal perversion - then he clearly sees those differences as unimportant. And has he never been troubled by the C of E's refusal to accept Papal authority? How come he's rejected that for years, but now wants Pope Benedict as his boss? What did Bishop Burnham think he was doing when he got married? Which church does he think is right on priests' right to marry, and doesn't he think that matters?

To an outsider, this determination to elevate the question of women's position in the church to an absolute deal-breaker, more important than anything else about the church, seems silly; and beyond that, it makes me suspect that a desire for doctrinal purity is a less important motivation than traditionalists like Burnham claim it is.

Immersion, calligraphy and colour

Cy Twombly: Cycles and Seasons, Tate Modern

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A very mixed exhibition, this; very mixed. The earliest paintings on show, Tiznit and Quarzazat, promised interesting things, with their thick monochrome lines, though with the exception of The Geeks, which prefigured Nini's Paintings in a later room, the early automatic writing pieces - Criticism and Academy - were really no more than random scribblings on walls. And the whole exhibition would prove to be like this: rooms containing terrifically energetic paintings full of colour and style would alternate with much thinner works which relied on what seemed to me a misjudged reliance on handwritten words. I quickly got fed up of what I'll call Twombly's scrawls.

Room 2 was full of them. The painting Olympia, for instance, was remarkable only because the word "Olympia" was scrawled on it in I think crayon; and the other works, especially the empty Poems to the Sea, were simply unintelligble pencil scribblings consisting of  horizons, numbers and lines vaguely reminiscent of the look of poetry overlaid with ugly splodges of white paint. Truly missable, these. Murder of Passion and The Italians were really just larger-scale versions of the same thing.

Yet when Twombly stops obsessing about words, or references to words, and focuses on colour and shape, his work comes marvellously to life. The Ferragosto series of paintings, the product of a hot Roman August in 1961, were much more expressive works, thick smears of paint claiming your attention and holding it. The fourth work in the series really does suggest the sultry oppressiveness of the Roman sun and the final work with its bloody mass of scarlet and red-brown paint goes beyond that, creating a passionate, even violent feeling. Looking at these, I wondered how this artist could have produced such shallow works as the scrawls I've already mentioned. And things continued in much the same way. While the large panels making up the two versions of Treatise on the Veil - the first version a black painted board bearing a few minimalist lines and measurements in white wax crayon, the second a lighter, greyer, less sharp counterpart - attract the eye and make you think, but by this stage I'd lost trust in Twombly and my mind wandered from them, frankly.

Then come the best works of the lot. Nini's Paintings are a series of four large panels covered in crayon lines, arranged loosely in waves, suggesting some sort of mythic notation or calligraphy: finally, a brilliant justification of Twombly's interest in the purely visual aspect of writing, the interest that seemed so sterile in Paintings to the Sea. I especially liked the first of the panels, with the rich mix of brown, orange and blue lines weaving through each other and most of all the final panel at the back of the room. This was much more sombre, a grey background filled with black, grey and Prussian blue waves of crayon. These works, for me, achieved a loosely geometric and satisfying effect that reminded me of Bridget Riley's work in the 1990s. Terrific.

Passing quickly through a room of unprepossessing sculptures (one was simply a cardboard tube painted white), pausing only long enough to wonder where the fragments of Rilke were that the Tate's blurb reckoned covered Orpheus (Du Unendliche Spur) - they didn't as far as I could see - I arrived in front of works which made sense of combining painting and poetry. Hero and Leandro is a work consisting of four panels: the first captures the force and energy of a wine-dark classical sea while also reminding us of those Japanese wave-paintings, I thought, while the second and third panels settle into a calmer vision of resignation as Leander's life is lost in the water. Finally comes a small frame citing some lines from Keats, rounding the work off as a wholly successful reference from one art to another. Painting in Two Parts I thought also captured this tumbling sea, this time wine and dark green.

And if they weren't enough, Untitled (A Painting in Nine Parts) is a stunning piece. First shown in Venice, it consists of nine panels, each a study in green and white, each conveying a feeling of immersion, of standing water full of algae and plant life, and adding up together to an insistent exploration of the possible combinations of two colours. Again, here, the incorporation of poetry (Rilke again) works brilliantly, supporting and intensifying through words the visual world produced by the colours:

in the ponds broken off from the sky
my falling sinks, as if standing on fishes.

Twombly quoting from Robert Bly's translation of Fortschritt.

The Bacchus paintings in the final room were less absorbing, though their bold sweeps of red paint suggested the potential for a meditational, Rothko-like vibe that had just been missed somehow.

Some of these works will fade very quickly from the mind, then; most of the scrawls and sculptures are intensely forgettable. But there are works here - Nini's Paintings, the Painting in Nine Parts, Hero and Leandro, the Ferragosto works - that fully make the case for Twombly as an abstract artist of real substance.

PS: I wish I could have illustrated this review with a photograph from the exhibition rather than one from New York: but Tate won't allow photography and is taking its time to work out whether to allow me to use its press images.

The state of democracy

David Davis and Tony Benn at the Queen Elizabeth Hall

David Davis and Tony Benn have spoken together in public before, but before now Tony Benn has been the star, the cuddly old relic everyone decided, at some point in the 1990s, that they loved, and who always has a witty line ready to back his radical views. David Davis has inevitably been the prosaic Tory making up the numbers to some extent. But not last night. With Davis having stood down only weeks ago from his post on the Tory front bench, and the Haltemprice and Howden by-election only days away, most of those who came to this packed meeting were surely here to see Davis on Democracy.

It was disappointingly short (the two men were only on stage for about 80 minutes) but apart from that it gave reasonable value for a tenner. The problem, if it could be called that, was the large measure of agreement between the two men about what Davis calls the "slow strangulation" of traditional liberties under the New Labour government. Davis I'm glad to say went a little beyond the familiar argument that compromising liberty concedes the battle to the terrorist; he argued pretty  impressively that all our recent social progress, from improved health to sex equality and prosperity, have been the result of our democratic institutions and that no one knows at what point cutting back on freedom will kill the goose. He also linked his view of freedom clearly to a conservative vision of a small state, citing Jefferson (although Wikiquote reckons this is wrongly attributed: Gerald Ford said it, apparently):

Government big enough to supply everything you need is big enough to take everything you have.

I don't think the audience pressed him hard enough (to be fair, we didn't have enough questioning time to press him) on the tensions and contradictions in his position. Yes, someone challenged him on his opposition to the Human Rights Act, and although he said he backed a British Bill of Rights it's clear he can't square this with his early suggestion that the lack of fundamental constitutional guarantees is a problem in the UK. And someone challenged him on his support for detention of terror suspects up to 28 days without charge. But there was nothing on CCTV cameras and the fight against crime, nothing on DNA and women's safety. Davis did give an interesting answer to a question about proportional representation, though. While he opposes change for elections to the Commons, on the sensible grounds that our current system delivers clear results and strong governments, he suggested he'd back the single transferable vote or at least some proportional system for an elected House of Lords. I've been arguing for this for years, so I'm glad an influential politician has taken this public stance. I'm glad, too, that his reasoning is the same as mine: there is no point in electing a second chamber as a check on government if its electoral system means it replicates the majority the government has in the Commons, he said. I'd add another, related argument, that PR for the Lords would also avoid a mid-term landslide for the opposition resulting in legislative gridlock. Proportionality makes sense for the Lords because it will help it in its function of making government think again through taking critical stances based on broad consensus.

As for Tony Benn, well, he appeared as himself. He was, as always, very funny: he got big laughs, especially for his remarks about the Church of England, which he called our oldest nationalised industry, and he pointed out that the Prime Minister, in effect, can appoint anyone as Archbishop of Canterbury - even a lesbian. I can understand why he's told, as he said, that he's a national treasure, because even I find myself agreeing with much of what Benn says. And you can't helping warming to him because of his skill as a raconteur.

And yet, and yet. I seem to be one of the few who remember what Tony Benn used to be like, before he became cuddly; when he was trying to become leader of the Labour Party, undermining Michael Foot and opposing Neil Kinnock; before he took on the role of democracy's doyen. How democratic was it for him in the early eighties to successfully commit Labour to withdrawal from Europe without a referendum, only a few years after the British people had overwhelmingly voted to stay in? Last night of course he called for a referendum on the Lisbon Treaty. How democratic was it for him to support Arthur Scargill's refusal, at the beginning of the 1984-5 miners' strike, to hold a ballot of his members? I wanted to put points like this to Benn, but I wasn't called.

One questioner asked both men whether MPs should have to pass some form of regular performance assessment, or else lose their jobs. Davis answered that MPs should be accountable only to the electorate. Benn turned away from the question with an irrelevant witticism; unsurprinsingly since at the high tide of Bennism (or Bennery, a word I'm especially fond of) he and his supporters wanted Labour MPs to have to apply each Parliament for reselection by local Labour activists - not all members, note, Benn never supported one member, one vote - and to be discarded if found ideologically unsatisfactory, regardless of the views of constituents.

A good event; made all the more fun for the occasional whiff of a real political meeting, like the question from the man who wanted to bomb Pakistan and from the old lefty at the back who criticised Benn for sharing a platform with an unreconstructed Thatcherite. The man sitting in front of my friend Amanda was reading a leaflet: "Questions David Icke would ask David Davis if he weren't banned from his meetings".

Another unfan

How I hate the Beautiful Game! I hate its cry-baby players and its gruff, joyless managers, its blokish supporters and its sinister owners, its whistle-peeping referees and its chippy little linesmen, its excitable commentators and - perhaps most of all - its unpluggable "analysts". I hate its imbecilic chanting and its self-righteous saloon-bar expertise. I hate its ersatz working-classness, especially now that the price of tickets compares unfavourably with Royal Ascot or Henley. I have even begun to hate those pampered little kiddies the footballers are now obliged to escort on to the pitch before the start of each game, as though all set to embark on a pervy kind of waltz.

Gosh! Craig Brown loathes football more than I do! Actually my case is a very different one, because I can and do enjoy football, but hate all that goes with it these days: the money, the behaviour, the money, the arrogance, the money, the drinking, the money, the aggression and the money. So it's an effort for me to resist big games like those in Euro 2008 - otherwise I'm managing to boycott football pretty successfully.

Gusi’s referendum pledge

SPÖ Presse u. Kommunikation/CreativeCommons

Iain Dale picked up this morning on a surprising move from the Austrian Chancellor Gusenbauer: he's promised a referendum on any new EU Treaty which "affects Austrian interests".

This is a bit more complicated than it sounds. Gusenbauer is in pretty desperate political straits: only the other week he was forced out of his position as SPÖ party chairman following a period of muttering that he couldn't lead THEM to another victory at the next elections, and a bad regional election result in Tyrol. Remind you of anyone?

In Austria, as elsewhere or perhaps more than in most countries, Euroscepticism and the demand for a referendum have been gaining ground because of campaigns by populist newspapers and far-right parties but also because of genuine resentment among many citizens at not being consulted about anything since Austria joined the EU back in 1995. Gusenbauer is clearly trying to gain some ground by this surprising move.

I'm not sure it's quite what it seems, though. I think Gusenbauer is protecting one flank with this populist move, while at the same time digging himself into what is effectively a determined "Lisbon or bust" position. It's only days ago that he was suggesting there be a second Irish referendum, and this new promise applies not to Lisbon, but to any renegotiated treaty that might be put forward as a solution to the "Irish problem". In other words, he is piling the pressure on Ireland by putting a spoke in any renegotiation.

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