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Modernising the monarchy? Hardly, says Laurie Penny

The way the royals are reported is like a Disney film.

In our storybook world, royalty open hospitals with their shiny-haired brides, rather than stomping in muddy wellingtons over democracy.

The true purpose of the British monarchy, as the late Douglas Adams might have put it, is not to wield power, but to distract attention away from it. We can be curiously coy about the way privilege works in this country: consider, if you will, the horrified reaction to the news that Prince Charles has been allowed to dabble in the affairs of government.

Parliamentary loopholes have meant that the unelected heir to the throne has been granted power of veto over matters that affect the private interests of the Duchy of Cornwall, including road safety, planning and environmental policy. We are shocked by the reminder that the royal family is more than a tinselly relic to bring in the tourists: it actually has political influence and some of its members are uncouth enough to use it.

While all of this has been going on, there has barely been a day when the young Duke and Duchess of Cornwall have been absent from the front pages. It's as if the loveliness of the Duchess, wafting in designer gowns around various official engagements with her subtly balding beau and the international media in tow, were enough to distract the world from a nation creaking with corruption and civic breakdown.

In Britain, we are comfortable with the trappings of power as long as they are phrased in the manner of a fairy tale. At the end of last month, changes to the royal succession were made, to much fanfare, to ensure that female firstborn will be able to inherit the throne. "Put simply, if the Duke and Duchess of Cambridge were to have a little girl, that girl would one day be our queen," said David Cameron, with all the political gravitas of an episode of Jackanory. This "modernisation", which, like most recently hailed feminist triumphs, makes cosmetic alterations to the existing system while ensuring that nothing of relevance changes, is as clear a message as any that the House of Windsor intends to squat in its position of privilege for many generations to come.

Giving it welly

The real story of power and privilege in Britain is far murkier than the Disney-princess version peddled by the tabloids. In this storybook world, royalty open hospitals with their shiny-haired brides, rather than stomping in muddy, expensive wellingtons over the democratic process.

It is worth noting, in these circumstances, that the word "privilege" actually means "private law". It means that wealthy or aristocratic influences are allowed to bend the rules to suit their own interests - and this goes on all the time behind the closed doors of Whitehall, not just with the Windsors. Documents leaked to Private Eye showed that the permanent secretary to HM Revenue and Customs personally shook hands on a deal that let off the investment bank Goldman Sachs £10m in unpaid interest on a failed tax-avoidance scheme.

The Ministry of Defence is only just staggering away from a scandal in which it emerged, among other things, that a lobbyist who had paid a reported £20,000 in expenses to Liam Fox's aide was granted face-time with the arms sales minister. Time and again, private law trumps the public interest, yet we allow ourselves to be distracted by a fairy tale of functioning democracy.

This is no time for sugarplum politics. Behind every modern fairy tale is an ancient fable of thuggery, hierarchy and blood, and the story of modern Britain is no different.

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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In defence of orientalism, the case against Twenty20, and why Ken should watch Son of Saul

My week, from Age Concern to anti-semitism.

Returning late from a party I never much wanted to go to, I leap up and down in the middle of the Harrow Road in the hope of flagging down a taxi, but the drivers don’t notice me. Either they’re haring down the fast lane or they’re too preoccupied cursing Uber to one another on their mobile phones. My father drove a black cab, so I have a deep loyalty to them. But there’s nothing like being left stranded in NW10 in the dead of night to make one reconsider one’s options. I just wish Uber wasn’t called Uber.

Just not cricket

Tired and irritable, I spend the next day watching sport on television – snooker, darts, cricket, anything I can find. But I won’t be following the Indian Premier League’s Twenty20 cricket again. It’s greedy, cynical, over-sponsored and naff. Whenever somebody hits a boundary, cheerleaders in cast-off gym kit previously worn by fourth-form Roedean girls wave tinsel mops.

Matches go to the final over where they’re decided in a thrashathon of sixes hit by mercenaries wielding bats as wide as shovels. Why, in that case, don’t both teams just play a final over each and dispense with the previous 19? I can’t wait for the elegant ennui of a five-day Test match.

Stop! Culture police!

I go to the Delacroix exhibition at the National Gallery to shake off the sensation of all-consuming kitsch. Immediately I realise I have always confused Delacroix with someone else but I can’t decide who. Maybe Jacques-Louis David. The show convincingly argues that Delacroix influenced every artist who came after him except Jeff Koons, who in that case must have been influenced by David. It’s turbulent, moody work, some of the best of it, again to my surprise, being religious painting with the religion taken out. Christ’s followers lamenting his death don’t appear to be expecting miracles. This is a man they loved, cruelly executed. The colours are the colours of insupportable grief.

I love the show but wish the curators hadn’t felt they must apologise for Delacroix finding the North Africans he painted “exotic”. Cultural studies jargon screams from the wall. You can hear the lecturer inveighing against the “appropriating colonial gaze” – John Berger and Edward Said taking all the fun out of marvelling at what’s foreign and desirable. I find myself wondering where they’d stand on the Roedean cheer-leaders of Mumbai.

Taking leave of the senses

My wife drags me to a play at Age Concern’s headquarters in Bloomsbury. When I see where she’s taking me I wonder if she plans to leave me there. The play is called Don’t Leave Me Now and is written by Brian Daniels. It is, to keep it simple, about the effects of dementia on the families and lovers of sufferers. I am not, in all honesty, expecting a good time. It is a reading only, the actors sitting in a long line like a board of examiners, and the audience hunched forward in the attitude of the professionally caring.  My wife is a therapist so this is her world.

Here, unlike in my study, an educated empathy prevails and no one is furious. I fear that art is going to get lost in good intention. But the play turns out to be subtly powerful, sympathetic and sharp, sad and funny; and hearing it read engages me as seeing it performed might not have done. Spared the spectacle of actors throwing their bodies around and singing about their dreams against a backdrop painted by a lesser, Les Mis version of Delacroix, you can concentrate on the words. And where dementia is the villain, words are priceless.

Mixing with the proles

In Bloomsbury again the next day for a bank holiday design and craft fair at Mary Ward House. I have a soft spot for craft fairs, having helped run a craft shop once, and I feel a kinship with the designers sitting bored behind their stalls, answering inane questions about kilns and receiving empty compliments. But it’s the venue that steals the show, a lovely Arts and Crafts house, founded in the 1890s by the novelist Mary Ward with the intention of enabling the wealthy and educated to live among the poor and introduce them to the consolations of beauty and knowledge. We’d call that patronising. We’re wrong. It’s a high ideal, to ease the burden of poverty and ignorance and, in Ward’s words, save us from “the darker, coarser temptations of our human road”.

An Oscar-winning argument for Zionism

Speaking of which, I am unable to empty my mind of Ken Livingstone and his apologists as I sit in the cinema and watch the just-released Academy Award-winning Son of Saul, a devastating film about one prisoner’s attempt to hold on to a vestige of humanity in a Nazi death camp. If you think you know of hell from Dante or Michelangelo, think again. The inferno bodied forth in Son of Saul is no theological apportioning of justice or deserts. It is the evisceration of meaning, the negation of every grand illusion about itself mankind has ever harboured. There has been a fashion, lately, to invoke Gaza as proof that the Holocaust is a lesson that Jews failed to learn – as though one cruelty drives out another, as though suffering is forfeit, and as though we, the observers, must choose between horrors.

I defy even Livingstone to watch this film, in which the Jews, once gassed, become “pieces” – Stücke – and not grasp the overwhelming case for a Jewish place of refuge. Zionism pre-dated the camps, and its fulfilment, if we can call it that, came too late for those millions reduced to the grey powder mountains the Sonderkommandos were tasked with sweeping away. It diminishes one’s sympathy for the Palestinian cause not a jot to recognise the arguments, in a world of dehumanising hate, for Zionism. Indeed, not to recognise those arguments is to embrace the moral insentience whose murderous consequence Son of Saul confronts with numbed horror. 

This article first appeared in the 05 May 2016 issue of the New Statesman, The longest hatred