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Death by data: how Kafka’s The Trial prefigured the nightmare of the modern surveillance state

We live in a world of covert court decisions and secret bureaucratic procedures and where privacy is being abolished – all familiar from Kafka’s best-known novel, The Trial.

A 1915 portrait of Franz Kafka. Image: Hulton Archive/Getty Images

“Kafkaesque” is a word much used and little understood. It evokes highbrow, sophisticated thought but its soupçon of irony allows those who use it to avoid being exact about what it means. When the writers of Breaking Bad titled one of their episodes Kafkaesque, they were sharing a joke about the word’s nebulousness. “Sounds kind of Kafkaesque,” says a pretentious therapy group leader when Jesse Pinkman describes his working conditions. “Totally Kafkaesque,” Jesse witlessly replies.

If the word is widely misused, it is also increasingly valuable. Last year, when the attorney and author John W Whitehead wrote about the US National Security Agency scandal in an article headlined “Kafka’s America”, the reference to Kafka clearly made sense:

“We now live in a society in which a person can be accused of any number of crimes without knowing what exactly he has done. He might be apprehended in the middle of the night by a roving band of Swat police. He might find himself on a no-fly list, unable to travel for reasons undisclosed. He might have his phones or internet tapped based upon a secret order handed down by a secret court, with no recourse to discover why he was targeted. Indeed, this is Kafka’s nightmare and it is slowly becoming America’s reality.”

We live in a world of covert court decisions and secret bureaucratic procedures and where privacy is being abolished – all familiar from Kafka’s best-known novel, The Trial. This year marks the centenary of the book’s composition, though it was not published until after Kafka’s death, in 1925.

Kafka’s texts age far more slowly than those of almost any other author of his era. In The Trial, we are drawn so compellingly into a story of pursuit and fear that it seems like a nightmare we all share, even though most people in the postwar west have not been subjected to anything nearly as extreme. Readers under communism, however, pictured a situation that they knew all too well, in which the fundamental rights of the individual had been stripped away. Many gravitated to a political interpretation of Kafka, bolstered by his friend and literary executor Max Brod, who had proclaimed Kafka a prophet. Those in power did not appreciate having a mirror held up to them and attached the label of “bourgeois decadence” to Kafka; his work was banned in eastern Europe and the Soviet Union. The communist literary scholar and social scientist Georg Lukács was one of Kafka’s strongest critics but after his arrest in 1956 in Budapest, he is said to have admitted, “Kafka was a realist after all.” This about-turn was as narrow-minded as his earlier indictment because both missed the point of Kafka’s work.

Kafka was not a prophet. He did not foresee the systematic persecution and annihilation of the Jews to which his three sisters fell victim. As a teenager, he experienced pogrom-like conditions in Prague; his family had to barricade itself in the apartment for days on end and his German-Jewish high school was vandalised. But these persecutions had yet to turn murderous. The state-sponsored killing of Jews, which was occurring in Russia on a regular basis, was considered unthinkable in the multinational Austria-Hungary and the “highly civilised” German empire.

It is easy to see how The Trial resonates with those living under a dictatorship. However, even the most cursory look at the novel reveals that Kafka was not depicting the sufferings of innocent victims. The protagonist, Josef K, is not especially likeable; he does not have any relationships with others and he is clearly tormented by some hidden guilt of which the court incessantly reminds him. The execution at the end takes place with K’s assent and as such is a suicide. Kafka went to great pains at this juncture to show that the court is merely reacting. Nothing occurs in this novel against the unequivocal will of the accused man.

Kafka did not merely portray how people become victims; he also showed the extent to which power relies on the complicity of its victims. This phenomenon goes beyond the political and touches on the insights of psychoanalysis. If a son continues to obey his father long after the latter’s death, it means that he has taken into his own hand the whip that once held him down. Freud explained how this could be possible with the existence of the superego, a psychological entity that represents the father and renders him immortal, ensuring that his repressive values system is passed on to the following generations.

Kafka was deeply sceptical of the therapeutic promises of psychoanalysis but he was captivated by the way it described the propagation of power, which chimed with his own experiences. Someone who keeps getting told that he is incapable, inferior or guilt-ridden will have to expend a good deal of energy to resist such a self-image and not make himself guilty in his own eyes. He has to struggle not because the forces of power have violated or diminished him but rather because he has been infiltrated by those forces. The poison lodges in his own body.

One can follow this process of infiltration in The Trial in slow motion; Josef K’s voluntary walk to the execution site is only the unhappy culmination. The process begins quite subtly, with K being placed under observation. He is told that there is a large and powerful authority that will be dealing with him from then on. This is borne out by the way that many pairs of eyes are trained on him: neighbours peer into the window, work colleagues show up uninvited at his apartment, strangers know all about his case.

From the moment that he becomes the accused man and so the object of suspicion, he suffers the loss of his privacy. No one causes him harm, no one locks him up, even his initially belligerent outbursts at the court go unpunished and no one contests his right to keep his management position at a bank. Even so, K feels like a hunted animal, an impression Kafka steps up to the point where even the reader loses the ability to draw a clear distinction between real threats and paranoia.

Today, we are far more sensitised to infiltration that does not involve physical contact than the first generations of Kafka’s readers were. This is a result of atmospheric changes in our society. In 2004, the European Union decided to collect the fingerprints of all of its passport holders and take digital photographs of their faces. This came about as a result of enormous pressure from the US, which cited security issues. It is no longer possible to get a new passport in any European country without fingerprinting. Refusal to submit to this on the grounds that the state is not entitled to make baseless encroachments on the bodies of its citizens would make a person look ridiculous and suspicious. Not long ago, a character in a detective film being fingerprinted was an unequivocal sign of that character’s stigmatisation, a marker of social and moral failure.


Eyes in the sky: a security camera monitoring station in Chungking Mansions, Hong Kong 

Something similar is happening with facial recognition. The passport agency points a camera at me, an upstanding citizen. Other agencies point thousands of cameras at me as I walk through town. These cameras impart the message that everyone is a potential offender, including me and the nice lady sitting across from me in the subway.

A second message is that I am living more safely than before, since everyone else is also aware of being observed, even though it is unclear whether there are human eyes lurking behind all these cameras, or sophisticated recognition software, or nothing at all. Does one really want to know? Seeking the details could result in a fate like that of Josef K, who, in his desire to confront the anonymous powers, ultimately saps his vitality.

It does not take much imagination to fathom where the unrestricted accumulation of monitoring equipment will lead. Being suspect will become an inescapable and natural social condition, while surveillance staff will become invisible. That was apparent even before the NSA scandal, because data storage devices are voracious no matter whose hands they are in and electronic information tends to consolidate into increasingly detailed profiles. What ethical qualms would hold back a state with a serious security problem from using an instrument of this kind? Or a state that might some day be saddled with a problem like this?

Data collection has a crucial role in Kafka’s novels: in The Castle, there is almost incessant talk of record-keeping and the collection of personal data is shown in all its grotesque detail. This, too, has little to do with any clairvoyant abilities on Kafka’s part and instead a great deal to do with his professional experiences: he was an official at a state-run insurance company for workers and he quicklyrealised that the emphasis on statistical assessment was something new and daunting. In his office, individual lives and catastrophes became fodder for files and actuaries. Kafka, who was sensitive to the social implications of these modern means of bureaucracy, recognised that they also altered the thinking of people affected. Anyone who deals with this kind of agency has no choice but to adapt to its routines. Kafka was surprised that the system’s worst victims did not force their way into his office but instead filled out the forms submissively, then awaited their notification.

This can also be regarded as the result of infiltration. Kafka graphically portrays the process in The Trial, in which the accused man questions the proceedings quite forcefully at first but then less and less often. Like K in The Castle, he lets himself be bought off with a convoluted description of bureaucratic procedures and for a while labours under the delusion that this has brought him closer to an understanding of his fate.

Readers experience a shock of recognition as they travel down this blind alley. They know what it is like to be swamped with legal and technical details in public debates on surveillance and terror prevention, which often pivot on the notion that technical solutions are the answer. It is useful to know why the US Foreign Intelligence Surveillance Court, which works in secret, has approved 34,000 government surveillance requests and rejected only 11 (in part because it has to provide written reasons for rejections – but not for approvals), or to consider the security of cloud computing and online storage. And it is legitimate for European governments to think about replacing US-based data lines with their own. Yet this single-minded focus on technical problems is bound to stupefy us in the long run.

Josef K loses his case because he loses sight of what set it in motion. In The Castle, K wants to know why he was summoned to work as a land surveyor in a remote village where he is not needed. The circuitous answer he receives amounts to the idea that bureaucratic procedures of this kind are exceedingly complex and, as a result, fateful decisions are sometimes arrived at spontaneously. No one is responsible and there is nowhere to address complaints. (This reminds me of a Dilbert comic strip in which staff members suggest that their boss should set up a customer service line – but keep the number secret).

It gets even more problematic when those with power argue that they are only implementing what we have been secretly wishing for all along. For years, any criticism of how social media sites such as Facebook were dealing with personal data elicited the flippant response that the classic idea of privacy was outdated anyway – as if the technology of social networks was only reacting to a historic shift in our mindset that had already taken place and no one was being forced into anything.

There is an element of truth to that argument. I don’t have to let Google Street View make a digital record of my property and post the image online but it is such a hassle to prevent this from happening that I don’t bother. No one forces me to check a box confirming that I have accepted the terms and conditions of Facebook but I do it anyway, without understanding any of the mumbo-jumbo. As a result, I get used to entering into contractual obligations blindly – which is taken as proof of my trust. Eventually, I make peace with a historically unprecedented form of “pseudo-privacy” (as the German blogger Sascha Lobo has called it) and tacitly allow the state to scrutinise my private affairs – as long as the neighbours don’t learn anything about me.

This sense of moral isolation in an overly complex, obfuscating world is something we can relate to. Kafka was the first author to understand what it means when people are turned into statistical entities and when every move they make is compiled as data. For Kafka, the problem was not the machine – bureaucracy itself is blameless; it is not an active agent. The blame is ours. We are the ones checking the boxes, sharing our photographs and forgetting to delete.

Officially, we have the freedom to do as we please in our personal lives and yet we have grown increasingly beleaguered by the feeling that we have already given away this freedom. “So then you’re free?” someone asks Karl, the protagonist of Kafka’s novel The Man Who Disappeared: “‘Yes, I’m free,’ said Karl, and nothing seemed more worthless than his freedom.” For once, we must not let Kafka have the final word.

Written for the New Statesman, this essay was translated from the German by Shelley Frisch. “Kafka: the Decisive Years” by Reiner Stach is published by Princeton University Press (£16.95)

 

Martin O’Neil for New Statesman
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Why the British addiction to period drama is driving away our best black and Asian actors

There is a diversity crisis in British TV and film as, increasingly, stars are decamping to America to make their career there.

Back in April, a six-part drama called Undercover premiered on BBC1. Perhaps you were one of the five million people who watched it: the story was audacious and continent-hopping, enfolding a narrative about a man on death row in the United States with an all-too-believable tale of a Metropolitan Police officer who marries a woman he is meant to be keeping under surveillance.

The reason the programme attracted so much attention, however, was not what it was about, but whom. Starring Sophie Okonedo and Adrian Lester, Undercover was widely reported as the first mainstream British television drama with black actors in the lead roles. This wasn’t true: as James Cooray Smith wrote on the New Statesman website, that milestone was passed in June 1956 by Mrs Patterson, a BBC adaptation of a Broadway play starring Eartha Kitt.

Yet Undercover was still a breakthrough. Smith, casting his mind back over more than six decades of British television, could not think of more than a handful of other examples. Writing in the Observer, Chitra Ramaswamy expressed her feelings with quiet devastation: “In 2016, it is an outrage that it’s a big deal to see a successful, affluent, complicated black family sit at a ­dinner table eating pasta.” Think about that. In 2016 in Britain, a country where more than nine million people describe themselves as non-white, it is news that a black, middle-class family should not only feature in a prime-time BBC drama but be at its heart. Undercover exposed how white most British television is.

Actors of colour have appeared on British film and TV screens for decades, and they have been visible on British stages for centuries – yet they have been shunted into the margins with depressing regularity. In January the actor Idris Elba urged British MPs to take the matter seriously. “Although there’s a lot of reality TV,” he argued, “TV hasn’t caught up with reality.”

In February, there was renewed uproar over the lack of racial diversity in Hollywood at the 88th Academy Awards, and the infuriated hashtag #OscarsSoWhite blossomed again on social media. A month later, Lenny Henry argued that black and minority ethnic (BAME) talent was being “ghettoised”. The term could hardly be more charged. Speaking at the London premiere of Mira Nair’s film Queen of Katwe, the actor David Oyelowo said: “What we need now is for a change to come. I think the talk is done.”

There has been some change. In March, the Royal Shakespeare Company opened a production of Hamlet starring Paapa Essiedu, an actor of Ghanaian heritage raised in London. It was the first time that a black performer had taken the role for the company. A new set of BBC diversity targets both on- and off-screen was unveiled in April. Noma Dumezweni is playing Hermione in Harry Potter and the Cursed Child in the West End, and in October the BFI launched Black Star, a nationwide season celebrating black talent in film and TV. But what does the picture really look like, in late 2016? And what, if anything, needs to change?

The first challenge is that many in the film and TV industry find it difficult to talk about the subject. Researching this article, I lost count of the number of people who demurred to go on the record, or of actors who seemed eager to speak but were then dissuaded. Fatigue might be partly to blame – it’s exhausting to be asked repeatedly about diversity because you didn’t go to Harrow and your skin isn’t white – but I got the sense that there’s more going on.

One man who passionately believes this is the screenwriter Trix Worrell, the creator of the pioneering Channel 4 sitcom Desmond’s, which brought an African-Caribbean barbershop in south-east ­London to Middle England’s living rooms in the late 1980s and early 1990s.

“TV is very difficult to break into. There’s a protectionism there,” he says with a shrug, when we meet for coffee on the seafront in Hastings, where he now lives. “People are nervous about rocking the boat.”

Though cheerful about most of the things we discuss, Worrell admits to feeling a roiling anger when it comes to this particular matter. Does he think that diversity has improved since he was pitching Desmond’s, three decades ago? “No. I say that with absolute certainty and surety.”

It is hard to underestimate the influence that Desmond’s had. The series ran for 71 episodes and at its peak it had five million viewers, remarkable for a sitcom. Starring the veteran actor Norman Beaton alongside a largely British-Guyanese cast, it made that community visible in a way that has not been rivalled in Britain in the 22 years since it came off air. It did so with the deftest of touches, addressing problems of interracial relationships and tensions within the black community through warm comedy.

“Up to that point, black people were ­never seen on TV,” Worrell recalls. “The only time we appeared in any media was in the red tops – muggings, vice. The idea was to show a black family who were just like any other.” Yet it seems that, apart from the spin-off comedy series Porkpie, occasioned by Beaton’s sudden death in 1994, Channel 4 has regarded the idea of portraying a normal black family in a sitcom as too great a gamble in the years since, despite an increase in the number of non-white roles in its other drama output.

Worrell smiles, but it is clear that the ­matter isn’t a joke. “The thing that’s said among black people is that there’ll only be one black sitcom every ten years.”

***

When I phone Paapa Essiedu while he’s on a lunch break from Hamlet, I am prepared to get a more positive perspective. Just 26, Essiedu has had a spectacular and seemingly unimpeded rise. A graduate of the prestigious Guildhall School of Music and Drama in London, he joined the RSC in 2012 and then hopped to the National Theatre in Sam Mendes’s King Lear, before returning to Stratford. The Telegraph greeted his debut as Hamlet with the notice that every actor dreams of: “A new star is born”.

But Essiedu seems ready to implode with frustration. “It’s ridiculous,” he says. “This stuff has been here for decades and decades: we’re lying to ourselves if we think there’s been a lack of awareness until now. Lots of people are talking and talking, but we need action.” Has he experienced racism directly? “Put it this way: quite often, I’ve been in a room where everyone else is white.”

A major issue, he says, is the apparently unshakeable addiction of British TV and film to corsets-and-cleavage period drama, which has left many BAME actors locked out of the audition room. The BBC is in the middle of a run of literary spin-offs, from War and Peace to The Moonstone. Over on ITV, we have had Victoria and the invincible Downton Abbey.

It still feels as though much of British drama is stuck in an airbrushed version of the country’s past. Though partly set in contemporary Egypt, BBC1’s adaptation of The Night Manager by John le Carré had only a handful of non-white actors in significant roles. Allowing for exceptions such as the BBC’s version of Andrea Levy’s Windrush-era novel Small Island, broadcast in 2009, you could be forgiven for thinking, had you never visited Britain, that people of only one skin colour live in this country. That the largely white drama series are successful on the export market only helps to extend the cycle.

“Producers say, ‘Oh, we commission stuff that people want to watch,’” Essiedu tells me. “But it’s such a narrow version of history – middle-to-upper-class Caucasian men, generally. Period drama can be from anywhere in the world: Africa, Asia. Where are those stories?”

Drama is just a sliver of broadcasting output, but other genres aren’t much better. Journalists from ethnic-minority backgrounds have made steady progress in television newsrooms – but not fast enough, Channel 4’s Krishnan Guru-Murthy has ­argued; there is a glaring absence, however, when it comes to lifestyle and entertainment TV. The recent success of the intrepid youth TV star Reggie Yates notwithstanding, it is difficult to ignore or account for the dearth of BAME presenters in documentaries and “serious” factual programming; and no major current British chat show has a permanent anchor who isn’t white.

Adil Ray’s BBC1 comedy Citizen Khan, which focuses on the escapades of the overbearing Muslim patriarch Mr Khan and his family in the Sparkhill area of Birmingham, is a rare exception. It has just returned for a fifth season. A worthy successor to Desmond’s in its tongue-in-cheek approach to potentially inflammatory issues (the 2014 Christmas special featured the birth of Mr Khan’s grandson, Mohammad, on Christmas Day) the programme also resembles its forebear in a more depressing way: it appears to be one of a kind.

When I ask Ray why he thinks this is, he selects his words carefully. “It’s not prejudice exactly,” he says, “but in the TV business, there are a lot of formulas. If you’re doing curry, get an Asian person. If it’s hip-hop, someone who’s black. If you’re doing a walk in the countryside, or drinking tea in the Cotswolds . . .” He leaves the sentence hanging.

What appears on screen is only the visible part of the problem. Actors get cast in roles only if writers write them; projects get made only if commissioners commission them. TV and film are notoriously incestuous and competitive industries. Careers are unstable. Knowing someone who knows someone is often – too often – the only way of getting work.

According to figures produced this year by Creative Skillset, many media companies fail dismally when it comes to representation. Just 24 per cent of those in senior roles in cable or satellite firms are female; 4 per cent of employees in positions in senior terrestrial broadcast are BAME; and, if the numbers are to be believed, there are no BAME people at all working on the senior production side of independent film companies. The figures aren’t entirely robust – they rely on organisations filling in forms and returning them – but if they’re anywhere near the truth they make for grim reading.

The BBC’s statistics are more encouraging (according to the latest figures, BAME people make up 13.4 per cent of staff overall and hold 9.2 per cent of leadership roles) but don’t include freelancers, an area in which it is reasonable to suppose that, without quotas to fill, representation will be worse. In September, the media regulator Ofcom put broadcasters on notice that they could face “harder-edged” regulation if they did not improve diversity.

Chi Onwurah, the MP for Newcastle upon Tyne Central, who has been vocal about these matters in parliament, says that the BBC has a special duty to up its game. “It’s not doing enough,” she tells me. “If it was, there wouldn’t be a problem. It was very interesting watching the [European Union] referendum; all the efforts broadcasters have gone to to make sure there was balance. If they went to half that effort for BAME, gender and disability, it would be a different world.”

The BBC is keen to show that it is paying attention. Last year, it appointed Tunde Ogungbesan as its new head of “diversity, inclusion and succession”, and in April his team announced eye-catching targets: gender parity across every part of the corporation; 8 per cent of staff disabled; 8 per cent of staff lesbian, gay or trans; 15 per cent of staff from BAME backgrounds. Those numbers will be replicated on screen, lead roles included, and are roughly equivalent to averages for the overall population of Britain.

Yet the idea that established BBC presenters will go quietly seems optimistic. Take the ruckus that the comedian Jon Holmes recently raised when his contract with The Now Show (Radio 4) wasn’t renewed. Holmes asked in the Mail on Sunday: “Should I, as a white man . . . be fired from my job because I am a white man?”

Ogungbesan – a former head of diversity for Shell – has a businesslike attitude to the challenges he faces, which are, he concedes, considerable. “We’ve got four years to do this, and we know there’s a hell of a lot of work to do.” That is why his team has given itself a deadline. “Hopefully, when we hit those targets in 2020, we’ll be the most diverse broadcaster in the UK.”

How does he respond to Onwurah’s suggestion that the BBC is skilled at announcing targets but less good at making change happen? “We’re publishing our results,” he says. “You’ll be able to hold us to it.”

And what if the targets aren’t met? Ogun­gbesan laughs, for perhaps a touch too long. He will not consider the possibility. “I’m like a boxer. I refuse to look at it.”

***

If British TV and film don’t get their act together soon, there may be no one left to cast. Increasingly, black and Asian stars are decamping to America to make their career there. Among those who have joined the brain drain are Archie Panjabi and Cush Jumbo (The Good Wife), David Oyelowo (Selma) and Chiwetel Ejiofor (12 Years a Slave). Idris Elba, who brooded brilliantly in BBC1’s crime procedural Luther, would likely never have been cast in a big British series if he hadn’t already made a name in the United States with The Wire. Before she appeared in Undercover, Sophie Okonedo said in an interview that the scripts she was offered from the US far outnumbered those from the UK.

Visiting Los Angeles recently, I tracked down Parminder Nagra, who made her name in Bend It Like Beckham before being spotted by a producer for the long-running medical drama ER. In 2003 she was offered the role of the Anglo-American doctor Neela Rasgotra, which she played until the series ended in 2009. A big part in the NBC crime drama The Blacklist followed, along with other film and TV work.

She never intended to move, she says, laughing ruefully, when we meet at a café in a well-to-do suburb of LA populated by movie folk. She has worked occasionally elsewhere but, 13 years on, she is still on the west coast. “The jobs I’ve got, like most actors, haven’t come about in a conventional way. It’s generally because someone is open-minded enough to look at you.”

Although she is careful to make it clear that the US is far from a utopia in terms of how it portrays race, sexuality or gender on screen – she tells a gruesome tale of a white writer who sent her his attempt at an “Asian” character – Nagra senses that things are more open in the US. “It’s a bigger pond here, because of the sheer size of the country,” she says. “There are writers of colour in the UK, but what happens is that you’ve only got one or two people at the top who are making decisions about the taste of the country . . . Those people are white.”

The landscape is certainly more open in the US. Leaving aside the allegations about Bill Cosby, NBC’s Cosby Show (1984-92) was a force for good, with its focus on a middle-class African-American family and with the numerous ethnically diverse shows it made possible: A Different World, The Fresh Prince of Bel-Air, In Living Color, Scandal (the last was commissioned by the influential black writer-producer Shonda Rhimes). Back in the early 1980s, the gentle NBC sitcom Gimme a Break! – starring Nell Carter – explored issues of racism, too.

US cable and online subscription ­services are even more courageous. Netflix’s Orange Is the New Black has an ethnically kaleidoscopic cast and plotlines that vault across almost every conceivable question of gender, sexuality, body image and politics. Where it has apparently taken the BBC until 2016 to realise that families can be both black and upper middle class, ABC in the US was years ahead: in 2014 it commissioned Black-ish, which offers a subtle portrait of an advertising executive who frets that he is losing touch with both his Obama-era kids and his inner-city origins.

Nagra nods. “There still are a lot of issues here, but if you’re an actor of colour, there is more work. All those British period dramas are really well done, but there’s a yearning there: ‘Can I please just see somebody like me on TV?’”

The reason all this matters is that TV, theatre and film have a duty to show us not merely who we are, but who we can become. In Undercover, Okonedo becomes Britain’s first black, female director of public prosecutions: this may seem unlikely, given the state of the UK’s judiciary, yet seeing it on TV helps to shift perceptions. No one would argue that Okonedo’s co-star Dennis Haysbert got Barack Obama into the White House by playing a black president of the United States in 24, but perhaps it made such a world marginally more imaginable.

The time is overdue for British TV to abandon its fetish for bodices and show us what our nation actually looks like, in all its variety – and to be more imaginative about the kind of history it presents. Colour-blind casting is mainstream in theatre. Actors of various heritages appear in Pinter or Chekhov and no one raises an eyebrow.

Anthropologists argue that race and gender are forms of performance, sets of shared codes, rather than something intrinsic to who we are. Is it so difficult to imagine a Jane Austen production with performers of black or Asian heritage? Is that any harder to believe than the thousand impossibilities we witness every day in TV drama?

I ask Essiedu if he is optimistic. Yes, he says forcefully. “I have to be. Optimism is the only way we initiate change.”

When I put the same question to Nagra, she pauses to think. “I remember being asked about this when I started ER, and I was a bit tired of the issue even then. Yet here we still are.” Her expression is wry. “So ask me in ten years’ time.”

This article first appeared in the 24 November 2016 issue of the New Statesman, Blair: out of exile