Laurie Penny: I’ve turned 25, but the world won’t let me be a grown-up

We are old enough and ugly enough to build a better future for ourselves.

It happens without warning. At some point between the first time you hear an ironic remix of the cartoon theme tunes of your childhood and the expiration of your Young Person's Railcard, you wake up one morning and something has changed. Under the puppy fat and pimples, your face has begun to emerge, and so has your future. You have become, however inadvertently, an adult.

By the time I finish this column, I will be 25 years old. Growing up is always an odd process, but since I graduated from university, it has become more convoluted than usual. For many people my age -- including most of my friends -- secure, meaningful employment, marriage and home ownership all seem as distant and unimaginable as they were when we sat our GCSEs.

While we've been finding our first wrinkles and filling out our first dole forms, all the normal things that were supposed to make up for theuncomfortable position of suddenly having to take care of oneself have been confiscated by the forces of world finance. Little lifelines like the Future Jobs Fund and the Education Maintenance Allowance have been cut to save costs, just as university fees have been trebled by an administration happy to hand billions in subsidies to the investment banks that created the crisis.

The impetus behind this year's uprisings in Egypt has been partly ascribed to the frustration of young adults unable to afford the transition into work, marriage and independence.

It's tempting to frame all this as a generation war, an immense and predictable kick-off between the baby boomers, who enjoyed every benefit that the postwar consensus brought its fortunate children, and Generation Y, the ragtag, loosely defined group of late-cold-war babies who are old enough to have been promised a future of permanent growth and young enough to have been shafted when that future failed to emerge. This interpretation is madly convenient for many who would prefer not to engage with the realities of geopolitics. It is also wrong.

It is wrong because it allows the enormous crisis of capital and democracy sweeping Europe, the US and the Middle East to be reconfigured as an intercontinental temper tantrum. With a bit of imagination, it's easy to see all the strikes, protests, riots and revolutions accompanying the disintegration of late capitalism as merely the international equivalent of a bedroom door slammed in fury -- a worldwide whine of: "It's not fair!"

In fact, it's a little more complicated than that. Property, privilege and profit are not the sole preserve of the "power generation" now easing its way into precarious retirement.

Disaster capitalism

There are baby boomers who have lived all their lives in poverty, and baby boomers who were marching, striking and fighting against the numbing tide of disaster capitalism when today's activists were still in nappies; just as there are members of Generation Y who'd take a Jack Wills hoodie and a job at Goldman Sachs over global revolution any day.

Something larger and far more frightening is going on. The struggle going on across the world is not between old and young, but between the possessed and the dispossessed -- most of whom just happen, like 52 per cent of the world's population, to be under the age of 30.

Three years ago, I turned 22 just as the world's stock markets were tumbling. Watching the news, I realised, like so many other middle-class young people in the west, that the future we had been promised would not be delivered after all, at least not without a fight that would finish far too late.

For many of us, it is already too late. Denied the trappings of adulthood, we grew up anyway, into unemployment, anger and disillusion, into a world that didn't want us.

When I was 22, I was angry. Now that I've been 25 for a whole ten minutes, I'm still angry, but I'm also hopeful. All around me, and across the world, people are organising, educating themselves, building new, alternative communities, joining resistance movements, and starting to talk about the possibility of a future that our parents never expected.

Fed up with waiting for a better future to be delivered, we have realised that we are old enough and ugly enough to build one for ourselves. It's not a generation war -- but the power generation has every reason to be frightened.

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 03 October 2011 issue of the New Statesman, Which Tories is it ok to love?

Photo: National Theatre
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I hate musicals. Apart from Guys and Dolls, South Pacific, Follies – oh, wait

Every second is designed to be pleasing, so that by the end my face aches from all the smiling.

I always thought I hated musicals. Showy, flamboyant, and minutely choreographed, they seemed to be the antithesis of the minimalist indie scene I grew up in, where a ramshackle DIY ethos prevailed, where it wasn’t cool to be too professional, too slick, too stagey. My immersion in that world coincided with the heady days of Andrew Lloyd Webber’s triumphs in the West End – Evita in 1978, Cats in 1981 – neither of which I saw, being full of scorn for such shows.

From then on I convinced myself that musicals were not for me, conveniently forgetting my childhood love of West Side Story (for which I’d bought the piano music, bashing out “I Feel Pretty” over and over again in the privacy of the dining room, on the small upright that was wedged in behind the door).

I was also conveniently forgetting Meet Me In St Louis and A Star is Born, as well as An American in Paris, which I’d been to see with a boy I was actually in a band with – he somehow finding it possible to combine a love of The Clash with a love of Gene Kelly. And I was pretending that Saturday Night Fever wasn’t really a musical, and neither was Cabaret – because that would mean my two favourite films of all time were musicals, and I didn’t like musicals.

Maybe what I meant was stage musicals? Yes, that was probably it. They were awful. I mean, not Funny Girl obviously. When people ask “If you could go back in time, what gig would you most like to have attended?” two of my answers are: “Judy Garland at Carnegie Hall, and Barbra Streisand in the original 1964 Broadway production of Funny Girl.” I would, of course, also make an exception for Guys and Dolls, and South Pacific, and My Fair Lady, and… oh God, what was I talking about? I’d always loved musicals, I just stopped remembering.

Then one of our teens took me to see Les Misérables. She’d become obsessed with it, loving the show so much she then went and read the Victor Hugo book – and loving that so much, she then re-read it in the original French. I know! Never tell me today’s young people are lazy and lacking in commitment. So I went with her to see the long-running stage version with my sceptical face on, one eyebrow fully arched, and by the time of Éponine’s death and “A Little Fall of Rain” I had practically wept both raised eyebrows off my face. Call me converted. Call me reminded.

I was late to Sondheim because of those years of prejudice, and I’ve been trying to catch up ever since, keeping my eyes open for London productions. Assassins at the Menier Chocolate Factory was stunning, and Imelda Staunton in Gypsy (yes, I know he only wrote the lyrics) was a revelation. Here she is again tonight in Follies at the National Theatre, the show that is in part a homage to the era of the Ziegfeld Follies, that period between the wars that some think of as the Golden Age of Musicals.

Although, as Sondheim writes in his extraordinary book, Finishing The Hat, (which contains his lyrics plus his comments on them and on everything else): “There are others who think of the Golden Age of Musicals as the 1950s, but then every generation thinks the Golden Age was the previous one.” How I would have loved to have seen those shows in the 1970s, when they were new and startling.

They still are, of course, and this production of Follies is a delight from start to finish. A masterclass in lyrics – Sondheim’s skill in writing for older women is unmatched – it is also sumptuously beautiful, full of emotion and sardonic wit, switching between the two in the blink of an eye, in a way that appears effortless.

And I realise that what I love about musicals is their utter commitment to the audience’s pleasure. Every second is designed to be pleasing, so that by the end my face aches from all the smiling, and my mascara has somehow become smudged from having something in my eye, and I have already booked tickets to go again. So sue me.

Tracey Thorn is a musician and writer, best known as one half of Everything but the Girl. She writes the fortnightly “Off the Record” column for the New Statesman. Her latest book is Naked at the Albert Hall.

This article first appeared in the 21 September 2017 issue of the New Statesman, The revenge of the left