The year of the spat

Ben Coren looks back at the various rows and spats that characterised the UK arts and culture scene

As 2008 looms, the arts media has been busying itself reviewing the cultural highs and lows of the past year.

Despite gloomy news of drastic cuts in arts funding and continued predictions of the death of the book, the general consensus is that 2007 has seen a lot of interesting work produced (although some of it, as our film critic Ryan Gilbey observes, has been hard to find).

But aside from praising or damning individual work, and without meaning to be unduly reductive, what were the trends that summed up 2007?

In the UK, celebrity meltdowns and popular environmentalism were both high on the agenda and we’ve also seen an above average number of spats tangentially linked to issues surrounding freedom of speech and the limits of acceptability.

The year kicked off with a ratings grabbing race row in Celebrity Big Brother (more of the same was to follow in the summer series) and since then new cultural brouhahas have been arriving very regularly. This week the BBC was criticised for editing the word ‘faggot’ out of The Pogues’ “Fairytale of New York” and in recent months we’ve had both Mozgate and the Amis/Eagleton controversy to keep us suitably outraged, whichever side we’re on.

Of course, the arts have always been an area where debates over what is permissible are played out and a good cultural/political ruckus certainly makes for attention-grabbing headlines. But an argument could be made that the prevalence of these kinds of stories in 2007 paint a picture of a country with a worryingly uncertain set of attitudes towards what can reasonably be said and what can’t.

Perhaps the spats at least brought such issues to wider attention, but did they generate more heat than light? In the case of several of the controversies most of the debate was conducted not by specialists, or by members of the respective minority communities under discussion, but by white, predominantly male celebrities, which is surely somewhat amiss…

Related
Our comprehensive review of the year in arts and politics.

Critiquing the Critics

One response to all this would be to criticise the media for covering these sensationalised quarrels at the expense of more reflective content. Cultural journalism has itself been at the centre of a diverse range of rows this year, with the critics especially under attack. Nicholas Hytner, Artistic Director of the National Theatre, took a swipe at the “dead white men” of theatre criticism and Philip Roth allowed one of his characters a ferocious diatribe against the “ideological simplification and biographical reductionism” of all literary journalism in his latest novel, Exit Ghost.

Meanwhile, the Booker Prize Chair Howard Davies infamously railed against the failings of book reviewers and the Observer’s pop critic Kitty Empire has recently come over all self-flagellating and lamented that most critics’ tips for bands to watch in 2008 represent an “effort to funnel listeners into pens of the industry's making.”

It is debatable if these events constitute a telling trend of some kind or are just a series of essentially self-contained, unrelated incidents. Comments on this, and on whether interventions like those of Hytner and Davies really do serve to make journalists more self aware, are welcome below.

In any case, despite the criticism, no one’s denying that there is still a lot of very good arts writing around: at the risk of seeming immodest, our own Arts & Books pages currently include interesting pieces by David Hare and Toby Litt and we will endeavour to go on providing the best in arts coverage in 2008.

Related
A recent blog on literary reviews.

News Round Up

This week reality TV, the Golden Globes shortlist, an art heist in Brazil and Amy Winehouse’slatest misdemeanours all generated a lot of coverage, but the most remarkable story must be the news that the planned loan of Russian owned paintings to the Royal Academy may not go ahead, possibly for politically motivated reasons.

Meanwhile, Tory about town & one time NS Theatre Critic Michael Portillo was revealed as the Chair of next year’s Booker panel, and, as the TV networks tried to whip up excitement over their Christmas schedules, The Guardian was keeping things resolutely high-brow, offering blogs on academic obfuscation, neglected Central Asian writers and the death of the cultural elite.

For those of a more spiritual bent, a debate was going on over whether Christmas in the West has become overly secular, while the web hosted an amusing dispatch from the “Mind, Body and Soul Expo” and Franco Zeffirelli announced that he is keen to give the Pope a makeover. Happy holidays.

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Tracey Thorn and A L Kennedy to judge the 2017 Goldsmiths Prize

The prize for “fiction at its most novel” announces its 2017 judging panel.

Tracey Thorn has been announced as a judge for the 2017 Goldsmiths Prize for fiction. Thorn – a singer-songwriter, New Statesman columnist and bestselling author – joins the award-winning novelists Kevin Barry, A L Kennedy and Naomi Wood, on the judging panel.

The £10,000 prize, co-founded with the New Statesman, is for fiction that “breaks the mould or extends the possibilities of the novel form”: The 2016 prize was won by Mike McCormack for Solar Bones, a novel narrated by a dead man, written in a single sentence. The judges praised it as “beautiful and transcendent” and “an extraordinary work”. McCormack is the third Irish writer to win the award, after Kevin Barry –  whose novel about John Lennon, Beatlebone, won in 2015 – and Eimear McBride, whose debut A Girl is a Half-formed Thing won the inaugural prize in 2013, having taken nine years to find a publisher. The 2014 prize was won by Ali Smith for her “reversible” novel How to be Both, which consisted of two narratives that could be read in either order.

Tracey Thorn found fame with Ben Watt in the duo Everything But The Girl, and went on to record as a solo artist and collaborate with Massive Attack, John Grant and others. She has published two books, including the Sunday Times-best-selling memoir, Bedsit Disco Queen, and writes a fortnightly column in the New Statesman, “Off the record”. Kevin Barry is the author of two short story collections and two novels, the first of which, City of Bohane, set in a wild west Cork in 2053, won the International IMPAC Dublin Literary Award. A L Kennedy has twice been included in the Granta list of Best of Young British Novelists and she has written in many forms, as well as performing as a stand-up comedian. Her 19 books include the non-fiction work On Bullfighting and the novel Day, which won the Costa Book of the Year Award in 2007. Naomi Wood, who is chair of judges, is lecturer in creative writing at Goldsmiths; her most recent novel is the award-winning Mrs Hemingway.

Speaking at the prizegiving held at Foyles Charing Cross Road last November, Mike McCormack said: “It’s about time the prize-giving community honoured experimental works and time that mainstream publishers started honouring their readership . . . Readers are smart. They’re up for it.” Talking to Stephanie Boland of the New Statesman, he criticised the staid nature of British publishing: “Irish writers are selling their books into what is one of the most conservative literary cultures in the world, into Britain. British novels, British fiction, is dominated by an intellectual conservatism.”

The Goldsmiths Prize is open for submissions (novels written by authors from the UK and the Republic of Ireland) from 20 January to 24 March, 2017. The shortlist will be announced on 27 September and the winner on 8 November.

Tom Gatti is Culture Editor of the New Statesman. He previously edited the Saturday Review section of the Times, and can be found on Twitter as @tom_gatti.