Show Hide image

Bread, circuses and tea towels can’t stifle dissent, says Laurie Penny

The case for disrupting the royal wedding.

Civil society may be dissolving, governments are in crisis across Europe and significant parts of the inhabited world are either under water or on fire, but it'll all be fine as long as nobody disrupts the royal wedding. The opposition leader, Ed Miliband, has joined the chorus of hand-wringers pleading with students and the trade unions not to start any funny business while the prince and his bride walk up the aisle.

On the BBC's Andrew Marr Show, Miliband said that the notion of as yet unplanned strikes during the wedding or the Olympics would be "absolutely the wrong thing for the trade unions to do". Distancing himself from organised labour, the Labour leader's advice to the public was clear: stay home, be quiet and watch it all on television.

Over the next two and a half years, a full calendar of bread and circuses has been scheduled to keep the British public happy and obedient while the government puts its economic shock doctrine into effect. This year, it's the Wedding of Mass Distraction; next year it's the Diamond Jubilee and after that the Olympics. The timing is a gift for any government attempting to push through punitive and unpopular reforms - the chance to smother dissent with a dampened commemorative tea towel of pomp and circumstance. This is the highest function of what Guy Debord called the society of the spectacle: not just to distract popular attention from the machinations of government, but artificially to invoke the imagery of a national consensus that doesn't exist. In David Cameron's Britain, respect for the popular mandate is in no way important. All that matters
is the iconography of public ritual, just enough to make everybody shut up and shout hurrah.

Real war memorial

Precisely the same logic of baseless deference is at play when the press condemns student protesters who swing from war memorials during anti-cuts marches. While everyone gets worked up about a few kids harmlessly tampering with symbols of wartime sacrifice, the greatest war memorial of all - the welfare state - is being ripped to shreds.

Universal health care, universal education, out-of-work benefits, voter enfranchisement and respect for women's unpaid labour were all legacies of public consensus after the two world wars; all are directly threatened by the brutal programme of cuts about to be enacted by this government. As far as regards respect for the fallen, Cameron may as well have burned down the Cenotaph and replaced it with vending machines and a flashing sign reading “Big Society".

Venerating the static symbols of Britain's uncomfortably bloodstained imperial traditions requires much less compassion, and much less effort, than preserving the living institution bequeathed to us by former generations. Give the public a ceremony and a huge parade, the theory goes, and general complaisance will follow. This time, though, our leaders are beginning to worry that it might not be enough.

Ed Miliband horrified the labour movement by declaring that strikes are "a sign of failure" and that the way one challenges a dissembling government is “at the ballot box". This may have been the case once, but when democracy is subsumed within the simulacra of choice - when voting only gives power to a government that U-turns on all of its significant promises and implements an austerity programme for which it has no mandate - the time has come to challenge the iconography of obedience.

This is exactly why the possibility of disrupting the stultifying public pageantry of the royal wedding must remain on the table. Do we want to be part of a culture that sits in front of the TV, whining while the big decisions are made for us and cheering on cue? Or do we want to be part of a culture that stakes a claim, stands firm and answers back to injustice?

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

This article first appeared in the 24 January 2011 issue of the New Statesman, State of Emergency

A National Trust property. Photo: Getty
Show Hide image

The National Trust is right to bring gay history out of the closet

If you want to explore the history of Britain, you can't ignore its LGBT citizens.

Imagine seeing a monument to executed gay men and thinking literally anything other than, “how sad and poignant”. In September, the National Trust unveiled exactly such a memorial at one of their properties in Dorset. Kingston Lacy was once owned by William John Bankes, a man whose sexuality, in nineteenth century Britain, was a capital offence. The NT’s moving tribute to Lacy and so many others persecuted for being queer was deemed a “PC stunt” by the Daily Mail. Tory MP Andrew Bridgen somehow managed to find the monument “totally inappropriate”, adding that he looks to the Church for moral guidance – not the National Trust.

 But let me backtrack. I’m in the darkened vault of the Tower of London where the Crown Jewels are kept. The tour guide has just made a joke about vibrators.

The last time I was here, I was about nine and I was on a day out with my grandma. She made no mention whatsoever of sex toys. I wonder, actually, if this is the closest to this ceremonial bling a joke about vibrators has ever been made. I also wonder if there’s ever been a tour of the Tower of London where the guide – as my one did about fifteen minutes ago – has quite overtly slammed British imperialism. One thing I know for certain though: this is the first ever official LGBTQ tour of the Tower, organised by none other than Historic Royal Palaces – the charity that manages several of the UK’s grandest former homes.

 Earlier, at Traitors’ Gate, me and a tour group of about twenty people were told about Irish republican Roger Casement, who was executed, here, in 1916. Casement was dedicated to speaking out against the atrocities of imperialism, and was rumoured to be gay. But it wasn’t his alleged homosexuality that landed him in this thousand-year-old fortress-turned-prison, rather his involvement in the Easter Rising. King James I though – I later learn – was almost definitely gay or bi, having a number of “favourite” male courtiers. “Favourite” seeming to be a particularly coy seventeenth century euphemism for “gay lover”.

 The tour lasts about an hour and, although at times it seems to be slightly scraping the barrel for queer content, the pure effort of it is nothing short of heroic. The Crown Jewels section focused in on Queen Victoria, and all the anti-gay legislation introduced during her infamously prudish reign. On this tour, her freakishly tiny crown becomes a symbol of oppression rather than a cutesy royal knick-knack. Which, I can only imagine, would have the “gay agenda”-fearing monarchy groupies of middle England in a Faragean frenzy.

 This year marks the fiftieth anniversary of the 1967 Sexual Offences Act, which partially decriminalised (male) gay sex in England and Wales. And with the sheer number of events, like the queer Tower tour, at palaces and historic institutions – from Hampton Court to the British Library – you’d think it was the Queen’s platinum jubilee.

Now for some word association.

 “National Trust”.

 Pensioners? Fruitcake? Dust? Anarchic genderqueer hook-up joint?

 Not so much that last one? Well then, it may come as a surprise that it was the fusty old National Trust, working alongside the National Archives, that recreated a historically accurate covert 1930s London gay bar. For a couple of nights in March this year, Soho’s Freud Café was transformed into “London’s most bohemian rendezvous”, the Caravan club. In a spectacularly and appropriately theatrical evening of incense, cocktails and vintage drag queens, the NT totally nailed the “illegal den of queer iniquity” thing. This was preceded by a historic LGBTQ tour of Soho, which, like the Tower tour, didn’t gloss over the brutality of the British establishment. The Soho tour was rightfully heavy on harrowing stories about police raids on queer venues. In fact, it was through police reports collected by the National Archives that the NT was able to recreate The Caravan (which was shut down by the police in 1934).

Further north in London, another LGBTQ event hosted by the National Trust was “Sutton House Queered”. If the idea of a Tudor manor house in Hackney isn’t surreal enough, in February the grade II listed former home to aristocracy was the setting of a queer art exhibition. Think – richly wood panelled great room containing a painting of Henry VIII in full bondage gear. This was also the debut of the first gender-neutral public toilet in an NT property.

And, in a display of borderline hilarious inevitability, the Daily Mail … raised objections. “Preserve us from a National Trust that’s so achingly right-on”, quacked a Mail headline in December last year, after the NT announced its plans for a series of “Prejudice and Pride” events marking the 50th anniversary of the Sexual Offences Act. This July, the NT came under attack from the Mail, yet again, for outing late aristocrat, Robert Wyndham Ketton-Cremer. Ketton-Cremer left his Norfolk home to the Trust in 1969, and was supposedly outed as gay in a recent film for the “Prejudice and Pride” series. Whether or not the NT’s decision to discuss Ketton-Cremer’s sexuality was ethical, it’s a refreshing sort of controversy: the kind where an old British institution is actually quite blasé about gay sex, and the Mail goes nuts.

 Throughout this year, my inbox has been almost quite alarmingly full of press releases for queer-related events and promotions. From rainbow hummus (yes.) at the Real Greek restaurant, to “Pride at the Palace” at Hampton Court, more than ever, everyone seems to want a slice of the gay action. The Tate Britain’s “Queer British Art” exhibition, which opened in April, showcases a century (1867—1967) of sexually subversive works by LGBTQ artists. Although overwhelmingly male and posh, it’s hard to play down the importance of such a simultaneously harrowing and celebratory retrospective. In one room, A large and imposing portrait of Oscar Wilde stands right next to the actual door to his prison cell in Reading Gaol, where he was imprisoned for the absolute non-crime of “gross indecency”. Even if Britain’s cultural institutions are just playing up to a trend, a very big part of me is into it.

 In July, I went to a panel discussion organised by Opening Doors London, a charity that provides support for older LGBTQ people. A group of queer people who were adults when the Sexual Offences Act was passed spoke about what this anniversary means to them. When I asked panellist Jane Traies, the author of The Lives of Older Lesbians: Sexuality, Identity & the Life Course, what she thought about the likes of the National Trust taking on queer history, she was understandably wary of the possible faddy-ness of it all.

“It’s good, though, that history itself should come out of the closet,” she said.

                                                                                       

Eleanor Margolis is a freelance journalist, whose "Lez Miserable" column appears weekly on the New Statesman website.