The journey from the village of Cottesmore in the East Midlands county of Rutland to the town of Oakham is four miles. It takes about 40 minutes by bus, which runs only every two hours. I lived in Rutland until I was 18 and this bus was one of several things about the area that made leaving an absolute imperative. This time, though, I’m just visiting. To an outsider’s eye, the gently rolling farmland and wooded avenues we meander through are beautiful.
Signs for the Plough, the Wheatsheaf and the Fox and Hounds slide past: pub names that suggest an ideal of rustic England. As the bus collects its passengers, it fills up with chat: who didn’t make this journey last week because they were working late shifts, what’s been happening at the depot. Everyone really does seem to know everyone else but then there aren’t that many people to know in Rutland. As well as being England’s smallest county, this is also one of the most sparsely populated, with just 38,000 residents.
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This extraordinary election has seen one horrible irony for women traded for another. At the start of the campaign, when Theresa May looked to turn her high personal ratings (lol) into an even higher Conservative majority (lololol), it seemed that the UK’s second female prime minister was going to bring about a depressing decline in female MPs: because only Labour has a substantial record of getting women into parliament (thank you, all-women shortlists), anything that hurts Labour hurts sexual equality on the benches.
Back when a 1930s style collapse seemed plausible (lololololol), names on the line included Jess Phillips and Thangam Debbonaire, among other redoubtable feminists who have brought their feminist politics into parliament. Well that didn’t happen. Instead, Labour’s surge saw Phillips add 10,000 votes to her majority; Debbonaire’s vote share went from 33.7 per cent to a dizzying 65.9 per cent.
Instead of losing women, Westminster gained a record intake of them. And the Tories lost, lost, lost (one final lol here). But this is where the next irony comes in, because the only way for the now-diminished Tories to form a government is for them to join a coalition with the Democratic Unionist Party in Northern Ireland. And a ruling coalition that includes the DUP is profoundly bad news for women.
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This is a review essay of four new books about trans issues: Trans Like Me by C. N. Lester, Becoming Nicole by Amy Ellis Nutt, The Secrets of My Life by Caitlyn Jenner, and Man Alive by Thomas Page McBee.
The world of transgender politics is full of big claims and bold declarations, but here is an understatement to start with: “The media is having a trans moment,” writes C N Lester in Trans Like Me. They are not wrong (“they” because Lester identifies as non-binary, and so asks to be referred to with gender-neutral pronouns). Besides the books addressed here, recent additions to the discussion include the novel This Is How It Always Is (based on the transition of the author Laurie Frankel’s own child), The Gender Games by the Glamour columnist Juno Dawson (modestly subtitled The Problem With Men and Women . . . from Someone Who Has Been Both), The New Girl by the Elle columnist Rhyannon Styles, True Colours by Caroline Paige (the first openly trans person in the British military) and Surpassing Certainty by the trans activist Janet Mock – a second volume of autobiography to follow 2014’s Redefining Realness.
These books cover memoir, popular science and manifesto. Inevitably, they are wildly variable, both in quality and in ideology. I suspect that Lester might prefer a little less ideological range. Trans Like Me opens by asking, “What does the word ‘trans’ mean to you?” which, Lester then explains, is how they begin the corporate diversity training sessions they lead. Few books have so accurately captured the experience of being detained in a conference room and forced to reckon with a whiteboard.
Read the full essay at the New Statesman
I’ve had a lot of conversations about Jeremy Corbyn with fellow Labour supporters. Well, arguments, really. A lot of the kind of arguments that devolve into apoplectic stammering, mutually hostile blinking, occasional tears and, in one case, mimes. Back during the 2015 leadership campaign, I angrily told a Corbyn-backing friend that his candidate would be an electoral disaster for Labour. In reply, he smiled and acted out setting off the plunger on a stack of dynamite. For a lot of Corbyn’s supporters, his victory was the moment to rip everything up and start again; to tear down all the apparatus of New Labour, and write a new origins story where Tony Blair never happened.
It didn’t quite turn out like that. For one thing, Corbyn the radical didn’t materialise: most of his policies could have sat comfortably in Miliband’s manifesto (if they weren’t there to begin with), and where his values did diverge from recent Labour history, they sometimes came as an unpleasant surprise to his base. Take, for example, Corbyn’s attitude to the EU, manifested in a Remain campaign to which he brought all the vigour and pep of an exhibit in Bodyworlds – no shock to Bennite old lags, but a grievous insult to the younger idealists of his coalition.
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It is is the fate of great poets to be unappreciated in their lifetime. If Adrian Mole is not exactly dead, nor is he exactly a great poet. In any case, there are no more volumes of his life to be written. Sue Townsend, the author of The Secret Diary of Adrian Mole Aged 13¾ and its sequels, sadly died in 2014. The last Mole missive appeared in 2011 in the Observer – a short piece to commemorate the royal wedding. Typically for Adrian, whose biography has always closely paralleled the fate of the Labour Party, the diary records him having an anxiety dream about Ed Miliband.
Now, to mark the character’s 50th birthday, the new Penguin imprint Mole Press has published a slim volume of his collected poems. The point of Adrian’s poems, of course, is that they are very bad. The more seriously he takes them, the funnier they are – and, as an adolescent left-wing polemicist, he takes them very seriously indeed.
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After the shock of Donald Trump’s victory, the question for liberals is: what now? Two new books are offering answers.
The US president’s first weeks in power have been marked by resistance both on the streets and in the courts. The Women’s March on Washington, DC was one of the largest demonstrations in American history and was followed by protests against the “Muslim ban” executive order. The ban was challenged in more than 50 lawsuits.
The problem with using the law to constrain those in power is that those in power are able to define the law. Understanding how far Trump intends to reshape the state is crucial in deciding how to oppose him. The positive outlook is to see him as just a bad president: ignorant and hateful, but part of the system and therefore susceptible to being constrained by it. The pessimist’s take is that Trump is a strongman leader who will bend or break democratic institutions to serve his ends.
The latter view is extreme, apocalyptic and – based on the evidence so far – correct. But not all thinkers on the US left have grasped the point. That, at any rate, is the lesson of What We Do Now, a collection of essays published in response to the election result.
Read the full article at the New Statesman
First published New Statesman, 24 February-2 March 2017, under the headline “The anti-Trump toolkit”
A Line Made By Walking is a sophomore novel that feels in one (but only one) way like a debut. Where 2015’s Spill Simmer Falter Wither was remarkable for the quality of Sara Baume’s sympathy with characters unlike herself – a damaged man, a wounded dog, both of them old-ish – the protagonist of Line is closer to the autofictional kind that many writers start with.
Frankie is Baume-like in age, sex and background: mid-twenties, female, and returned to the Irish countryside where she grew up after a student hiatus in Dublin. She is also, like Baume, an artist and struggling with it. In one scene that is a close parallel of a story Baume has told about herself, she has lunch with some old schoolfriends; the friends discuss their starter salaries and the lifestyles they expect to purchase, as Frankie stares into her “bowlful of unusual lettuces” and realises how little she has in common with them. For Frankie, the idea of a salary has never occurred. She is, simply, devoted to art.
Read the full review at the New Statesman
First published New Statesman, 24 February-2 March 2017, under the headline “The art of suffering”