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How the disabled were dehumanised: Laurie Penny on Jody McIntyre

The press coverage of Jody McIntyre suggests that “real” disabled people are not whole human beings.

It's official: disabled people aren't allowed to be independent. This week, amid rows about how this country treats people with disabilities, it was announced that the government will be phasing out the Independent Living Fund (ILF), a vital stipend that allows more than 21,000 "severely disabled people to pay for help so they can live independently". Such provisions, unlike bank bailouts and subsidies to arms dealers and millionaire tax-dodgers, are no longer a priority for this administration.

When I heard the news, I couldn't help but think of Jody McIntyre, a 20-year-old activist and journalist with cerebral palsy, who I saw batoned and dragged from his wheelchair at the demonstrations last Thursday, and who later delivered a series of epic discursive smackdowns to a senior BBC correspondent on prime-time television.

The press has been trying to imply that, because Jody is a revolutionary activist and ideologue who has travelled to Palestine and South America, he cannot be a "real" disabled person – he must, as Ben Brown suggested on the BBC, have somehow been "provoked". He must have deserved the beating and the humiliation of being pulled out of his chair and across the road; he must have asked for it.

Richard Littlejohn went so far as to compare McIntyre to Andy, a hilariously fraudulent and fatuous wheelchair-using character in the most disgusting pageant of blackface and grotesquerie ever to defile British television screens, Little Britain. Like Brown and others, Littlejohn seemed to imply that because he fought back and spoke up, because he attended a protest and because he is not afraid to make his voice heard, Jody McIntyre is not a real disabled person.

Others, including McIntyre himself, have written eloquently about how surprised we really shouldn't be that the police attacked a disabled protester, nearly killed another protester, and injured and traumatised hundreds more. That we live in a state where police officers attack women, minorities and the visibly vulnerable in what has been suggested are deliberate tactics to provoke protest crowds to riot is not something I see much need to debate. The truly fascinating aspect of McIntyre's story is what it reveals about how the British understand disability: namely, that real disabled people are not whole human beings.

The attitude is that there are two types of disabled person: there are real disabled people, who are quiet and grateful and utterly incapable of any sort of personal agency whatsoever, and fake disabled people – people like Jody McIntyre, who are disqualified from being truly disabled by virtue of having personality, ambition, outside interests and, in this case, the cojones to stand up to a corrupt and duplicitous government.

This remarkable Catch-22 clause, whereby the authorities can claim that any disabled person who criticises them on disability or any other issues must, ipso facto, not actually be disabled, does not only affect how individuals like McIntyre are treated. It directly influences policymaking in the most clinical and ruthless of ways. Bear in mind that, besides its highly publicised cuts to secondary and higher education funding, this government is also taking away benefits from disabled people: housing benefit, income support, the mobility component of Disability Living Allowance and other vital sources of funding are being cut back to the bone or removed entirely.

The withdrawal of the mobility component for people in residential care is a particularly nasty slash, as this benefit allows people with mobility difficulties a modicum of independence, something that, in the eyes of this government, real disabled people should neither want nor need. It pays for taxis, motorised scooters and wheelchairs – wheelchairs like the one the police damaged when they tipped Jody McIntyre right out of it.

On top of this, those claiming sickness benefits or Employment and Support Allowance will be obliged to take another round of punishing tests that are acknowledged to be designed specifically to prevent hundreds of thousands of benefit recipients from receiving any more money.

"Currently, nearly a third of all disabled people live below the official poverty line, with a quarter of families with disabled children unable to afford heating," said Eleanor, a spokesperson for Disabled People Against Cuts (DPAC) who protested in central London today about what the group sees as a direct assault on disability rights in the UK. "A tenth of all disabled women have incomes under £31 per week," she said. "And yet, the government intends to slash the number of claimants on Disability Living Allowance by 20 per cent, although the fraud rate is estimated to be a mere 0.5 per cent."

Six months ago, when I was helping my disabled partner, who has severe mobility issues and chronic pain, prepare to claim DLA, we realised that he would not be considered sufficiently disabled unless he was prepared actually to demonstrate to a partial outside observer that he could not walk 30 steps without falling on his face. It was humiliating and it was inhumane, and eventually, like many others, we gave up. The subsequent poverty and the stress of watching my partner struggle to cope with his disability with no support eventually ended the relationship and left me with a profound understanding of how successive administrations have used welfare reform to humiliate and terrorise the most vulnerable into abject complaisance.

All of this is justified by the assumption that most people claiming disability benefits are, to put it bluntly, faking it. That's right, hundreds of thousands of people with mental or physical health problems that prevent them from working have the audacity to want a scrap of agency, a life that is in any way full or useful, so they must be faking it all.

This government would prefer it if people with disabilities were not also people with opinions, desires and personalities. This government would prefer it if there were a clear demarcation line between people with the ability to stand up for themselves in any way whatsoever and people who are entirely reliant on the state, who ought to know their place: head bowed, hands outstretched, mouth shut, uncomplaining, accustomed to poverty and public derision. This government, with its utter contempt for the entire concept of social security, would prefer to be obliged to support only those who are prepared to sacrifice absolutely every bit of personal agency, to put up and shut up.

This is, of course, utter rubbish. This is not a Victorian melodrama, with the world neatly divided into people who are whole and hale and mawkish, abject cripples who are terminally grateful for any charity thrown to them and permanently followed around by a chorus of tiny violins. In the real world, the only difference between people with disabilities and everyone else is that people with disabilities sometimes need a little extra support to live the best lives that they can. They should get that support – and they should not have to ask nicely.

Laurie Penny is a contributing editor to the New Statesman. She is the author of five books, most recently Unspeakable Things.

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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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