Teachers, journalists, pollsters - who can we trust these days?

The story of a generation - lied to, again and again, yet ultimately powerless.

The thing I used to dread about being a teacher, above all, was Parents’ Evening. Especially if the child was struggling. Then it seemed there were only three types of parents. There were Group A - the ones who made you feel sorry for the kid: (“Sorry he’s so crap. Shall I ground him?”). There were Group B - the belligerent:

“I’m afraid I think your child’s dyslexic.”

“He’s not.”

“But I sent him to the Special Educational Needs supervisor and had him tested.”

“He’s not.”

“He can’t spell his own name.”

“He’s not.”

And then there were possibly the worst, Group C - the ones who, quite rightly, put absolute blind faith in you: “You know best, you’re the expert, you just tell us what to do.” Well: actually I’m in my mid-twenties, I spend my evenings playing FIFA on my Playstation and wondering how spending hours in the company of your recalcitrant child turned out to be my life, and frankly I’m scared I’ll screw him up to such an extent that he’ll end up like, well, me. I’m the last person I’d ask.

And that’s the thing about professionalism. Half of it is resisting the urge to say to Group A either, “Everything’s fine” or “Yes. ground him for as long as you can – till the age of 21, preferably”, to say to Group B “Everything’s fine” or “Get out of my face, you bumptious little arsehole”, and to refrain from breaking down in tears in front of Group C and asking them why your girlfriend left you.

According to YouGov’s latest poll on trust, 70 per cent of us trust teachers to tell the truth – a steep decline from 2003, when apparently 88 per cent of people were happily taking me at my word. I’d say that’s probably right – not because 30 per cent of teachers are untrustworthy, but because teachers are people, trying their best, and, being human, sometimes choose to evade, equivocate, or maybe tell a white lie from time to time.

I’d been wanting to write a blog about the breakdown of trust in public life for ages, but I realised there was a problem: most of you don’t believe a word I say. Only 38 per cent of people trust journalists on "upmarket newspapers" to tell the truth. And I’m being disingenuous by putting myself in that category, what with most of my stuff appearing online these days and the New Statesman not being a newspaper. You probably need to extend the chart a few columns down, so "bloggers" can slot in behind Jeffrey Archer and Bernie Madoff.



But let’s see what this poll tells us about society. What it paints is either a depressing picture, or a heartening one, depending on how you look on it. Our faith in every single institution but one has, over the last nine years, dipped. Judges, journalists, doctors, policemen, teachers – we’ve lost faith in all of them. 

As I said, you could frame an example like teaching in a positive light – our populace is more skeptical; less credulous. Our faith in newspapers is inversely proportional to their circulations: this week the Sun ran an information box containing the figures on the huge decline in trust of BBC journalists (from 81 per cent to 44 per cent), but neglected to mention that red tops had also declined - to 10 per cent from an initially meagre 14 in 2003. It’s that sort of behaviour that means, well, only one in ten people trust you. Yet this doesn’t stop the Sun having far and away the highest circulation. We know it’s full of balls, but we buy it anyway: that’s us Brits, reading the news while taking a pinch of salt with our tongues in our cheeks.



But I think a far sadder picture lurks behind this chart. I am 31 years old this month. It feels to me - perhaps older readers with a different historical perspective will have another view  - like the last few years have drastically undermined my view of the Britain in which I grew up.



Of course, nine years ago I wouldn’t have said the media or the Met were squeaky clean - but I never dreamed of the scale of corruption and illegality that’s been exposed in recent times. Likewise we’d had parliamentary scandals before, but the sheer arrogance of those involved in the MPs expenses scandal still shocked me. I didn’t march in protest over Iraq. I thought the intelligence services and Cabinet knew something I didn’t.

And on it goes, with the systematic cover-up over Hillsborough, the scale of Savile’s debauchery, the crisis at the BBC – all happening at a time when we’re suffering the greatest betrayal of all. This young man believed we’d cracked the balance of economic growth and social equality. He deferred to Tony Blair and Gordon Brown – without realising, he also deferred to Fred Goodwin. Look at the world our young face: sky-high youth unemployment, student debts, worse pensions, a lack of affordable housing – what would I say at those parents’ evenings now?

That is the story of my generation – lied to, again and again, yet ultimately powerless, until all that’s left is nihilistic cynicism. I wanted to believe in the big society, because I felt that endemic to many of these scandals was a centralising of power. It was another dream that fell by the wayside. It’s all so horrifying we barely know which way to turn – as Nick Cohen says of Occupy, it was “representative of our directionless times when reformers have no coherent ideology.”



That’s what I read from the YouGov chart, anyway. But then I could also ask why our faith in judges rocketed in 2006; why our faith in directors of big companies has gone up. It seems to make no sense. Maybe the methodology’s flawed. But at least we can trust our polling companies, can’t we?



 

Judges, journalists, doctors, policemen, teachers – we’ve lost faith in all of them. Photograph: Getty Images

Alan White's work has appeared in the Observer, Times, Private Eye, The National and the TLS. As John Heale, he is the author of One Blood: Inside Britain's Gang Culture.

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Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

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