The New Statesman endorses Ed Miliband

Why we’re backing the younger brother for the leadership of the Labour Party.

I am pleased to inform you all that the New Statesman has decided to back Ed Miliband for the Labour leadership.

But let's be clear: we believe that both Miliband brothers would make decent, able and progressive prime ministers, and could lead Labour to victory over the Con-Lib coalition at the next election. And there was much debate, discussion and agonising here in the New Statesman offices, with different members of the team backing different candidates.

In the end, however, we agreed that Ed Miliband best represents the historic ideals, values and ambitions of this magazine.

From this week's leader (which hits the newsstands tomorrow):

So far, of all the candidates, it is Ed Miliband who has been most prepared to challenge New Labour orthodoxies, to use a different kind of language. He advocates a Labour agenda that is confident, forceful and empowering, committed to greater freedom, social justice and, above all else, reducing inequality.

The primary task of the next Labour leader has to be to develop a political economy that addresses the fundamental inequalities and inequities that have blighted British society for so long -- and which will only worsen as the Con-Lib coalition's doctrinaire spending cuts begin to bite. To talk of tackling social mobility, as coalition ministers do, without addressing the ever-widening gap between rich and poor, is disingenuous. The fight for a more equal society has to become a priority again and Ed Miliband understands this (see his column on page 21). Witness his living wage campaign, his proposal for a high pay commission and his insistence on keeping the new top rate of tax for high earners.

Ed Miliband also understands that the Labour Party must once more become part of a much larger and wider movement for change -- a true movement, transcending class divisions and geographical boundaries. Rightly or wrongly, he is less contaminated than his brother and Ed Balls by the fallout from the radioactive Brown-Blair wars. With the exception of Diane Abbott, he has been most robust in denouncing the Iraq war as a great wrong, a moral failure. He has placed civil liberties and the restoration of freedoms lost during Labour's 13 years in office at the centre of his campaign. On constitutional reform, he supports the Alternative Vote, if not full proportional representation, and is an instinctive pluralist.

But our editorial position should not be seen as an attack on the other candidates and, in particular, David Miliband and Ed Balls, as the leader goes on to argue:

Our endorsement of Ed Miliband is not a rejection of his brother, nor indeed of Ed Balls. Mr Balls in particular has been impressive during this contest. As an astute and experienced economist, he is the most numerate of all the candidates. As the coalition has already discovered, he is a formidable opponent, unrelenting and forensic . . . The contest, however, is a two-horse race. David Miliband deserves his title of "front-runner". Despite his mistaken support for the catastrophic invasion of Iraq, the elder Miliband has the intellect, eloquence and experience to be Labour leader and prime minister.

The leader concludes:

The elder Miliband remains the bookies' favourite, the best-funded candidate, with the support of the New Labour establishment and much of the right-of-centre commentariat. For all of this, the race is open. Voting begins on 1 September and we urge all undecided MPs and MEPs, and Labour Party and trade union members, to vote for Ed Miliband. He is the "change candidate" who has the greatest potential to connect with a wider electorate and especially with those politically engaged young people, internationalist in outlook, who have lost faith in conventional Westminster politics but yearn for a more democratic, fairer and freer Britain. Labour needs a bold, charismatic, compassionate and visionary leader to renew the party and begin the journey back to government. Ed Miliband has shown us he could be that leader.

So will Ed M win? That's the $64,000 question. I have a hunch that Ed will win it by the narrowest of margins, thanks to transfers of votes from Balls, Burnham and Abbott supporters.

But it's just a hunch. That's all it is. Like the general election result, which all the pollsters and most of the commentariat got wrong, this Labour leadership race is too close to call. The party hasn't had a leadership election in 16 years -- and, back in 1994, Tony Blair had no credible rivals. And the 2007 deputy leadership election is a reminder of how second preferences can make all the difference.

Let the voting begin!

Mehdi Hasan is a contributing writer for the New Statesman and the co-author of Ed: The Milibands and the Making of a Labour Leader. He was the New Statesman's senior editor (politics) from 2009-12.

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Nigel Farage's love for Dunkirk shows how Brexiteers learned the wrong lessons from WWII

Film has given Britain a dangerously skewed perspective on World War II

For months now it’s been hard to avoid the publicity for what seems like an epidemic of new World War Two films for 2017. June brought us Churchill (starring Brian Cox), which concerns Operation Overlord and the allied invasion of Normandy in 1944. A month later, in July we were pushed back four years, to Dunkirk, with Christopher Nolan’s film of the evacuation of Allied troops from French soil in the summer of 1940. April had already brought Their Finest, a comedy about making a - let us not let the irony go unacknowledged -  stirring film about the evacuation of Dunkirk in the event’s more or less immediate aftermath and November will bring us Darkest Hour, some events in which will predate all three earlier films, as Gary Oldman’s Churchill struggles through the earliest days of his war premiership.

This glut is peculiar. There are no significant round anniversaries to commemorate (e.g. Dunkirk is 77 years ago, the Normandy landings 73). More, we’re meant to be in the middle of a series of commemorations of the horror and waste of the Great War of 1914-18, but that seems to have slipped away from us in the political turmoil that’s engulfed this country since 2014. Instead, it’s to the Second World War we return yet again. To modern Britain’s founding myth.

It’s a coincidence, of course, that these films should come along together, and at a seemingly odd time. They were developed separately, and films takes so long to conceive and produce that no one could have anticipated them arriving together, let alone arriving in a toxic Brexit Britain where they seem like literally the least useful things for anyone in the UK to watch right now. As works that will inevitably, whatever their own creative intentions and merits, be hi-jacked by a press and political culture that is determined to gloss its opposition to the UK’s membership of the European Union, and its appalling mishandling of the process of exit with garbled references to, the conflict the films portray.

This is an impression that is not exactly dismissed by Nigel Farage posting to twitter of an image of himself standing next to the poster for Dunkirk, along with a statement in which he encourages all young people to see the film. For what reason, we’re entitled to wonder, does he make this encouragement? Does he admire the sound design? Or the aerial photography? Or is he just a big fan of Mark Rylance and Harry Styles? Or perhaps he is, inevitably, indulging in a behaviour that some might call "nostalgic"? Of pining for the past. Except, of course, nostalgia requires an element of pain. The suffix "algia" the same as employed when referring to chronic conditions. For Farage and his ilk there is no pain in this behaviour, just the most extraordinarily banal comfort.

Farage is asking us and asking the young who voted against his chosen cause by an overwhelming majority, and who are are sickened by where he and his ilk have brought us - to share in his indulgence. To enjoy, as he does, those fatuous analogies between the UK’s isolation between Dunkirk and Pearl Harbour with its imminent failures in European politics. To see that "escaping from Europe with nothing is at least better than not escaping at all". Or to believe, once again, in a "plucky little Britain, standing up against the might of a wicked mainland European tyranny, its back against the wall".

All this, confused, indeed nonsensical, as it is, is being invoked, as surely as the anti-EU right have always invoked Churchill. This is despite his own family recognising him, as the EU itself does, as the fervent pro-European he was. Indeed, he was one of the founding fathers of the whole post-war pan-European enterprise.

What Farage and his behaviour demonstrates, yet again, is that British culture, in many ways, learned not merely the wrong lessons from the war against Hitler, but exactly the wrong lessons. It’s a lesson that found its most enduring, poisonous expression in Margaret Thatcher’s breathtaking assertion that the European Union was a "third attempt" by Germany to take over the world.

In contrast to the rush of war films in cinemas, television has recently given us glimpses into theoretical worlds where Nazism did succeed in conquering the planet, in Amazon Prime’s The Man In The High Castle and BBC One’s SS-GB. There are lessons too, in these alternative histories, proper lessons that we have collectively failed to learn from the real one. Which is that fascism or authoritarianism are not diseases to which anglophone countries are somehow miraculously immune due to [insert misunderstood historical fetish of choice].

The Man in the High Castle, particularly in its more subtle first series, goes out of its way to show Americans that their lack of experience of collaboration with Nazi occupation is a result of circumstance, even luck. Not because collaboration is a peculiarly European tendency. SS-GB also worked hard to demonstrate the helplessness of occupation, and how that leads to the sheer ordinariness of collaboration. Both show the understanding that while fascism from the outside is funny accents and funny uniforms, fascism from the inside is your neighbours informing on you and the absence of the rule of law.

That experience of occupation, of subsequent complicity, and humiliation, felt by many other other European nations, is absent in Britain. Farage’s fellow Leaver Liam Fox, without anything resembling self-awareness, asserted that "the United Kingdom is one of the few countries in the European Union that does not need to bury its 20th century history". Fox’s remark summed up, again seemingly unintentionally, the oafishness of the principle Brexiteers. A group who exemplify a culture that boils a vast and unimaginably complex conflict down to the title sequence of Dad’s Army - an animation in which a Union Flag is forced off the European continent by a trio of Nazi triangles, and after returning home bobs around defiantly. A group who, in a strange and witless inversion, have fantasised themselves into a position where they see the Britain’s membership of the European Union as the occupation the country once avoided.

This is the UK’s postponed tragedy. At a timethat European countries experienced national humiliations which fundamentally reconfigured their understandings of their place in the world, the UK got yet another excuse to shout about how much better it was than everyone else.

I’m a child of the very late Seventies. I grew up in a world where (British) boys’ comics were dominated by war stories rather than science fiction or superheroes, where literally everyone knew several people who had fought in World War Two - and almost everyone someone who could remember World War One. That war was the ever-present past. I am, as a friend who teaches history neatly phrased it "Of the last post-war generation." After me, the generations are post-post-war. They are free. The moral clarity of the war against Hitler has, in the end, been a curse on British culture - a distorting mirror in which we can always see ourselves as heroes. 

But, not, of course, all other generations. The war generation collectively (I make no claim that there were not exceptions) understood what the war was. Which meant they understood that the European Union was, and is, its antonym, not an extension of it. Unlike their children and the eldest of their grandchildren, they had real experience of the conflict, they hadn’t just grown up surrounded by films about how great Britain was during it.

The Prime Minister who, or so he thought, had secured Britain’s European destiny had also, as he related in his autobiography, seen the devastation wrought by that conflict, including by shells he himself had given the order to be fired. Like Helmut Kohl, whose worshipped, conscripted older brother died pointlessly fighting for Hitler, and Francois Mitterrand, himself captured during the fall of France, his experience was real and lived, not second hand.

This can be seen even in the voting in 2016 referendum. That the young principally voted Remain and the old voted Leave has been often noted. But if you break that over-65 vote up further, there’s a substantial flip to back towards Remain amongst the oldest voters, the survivors of the survivors of World War Two. After all, someone who is 65 today was born nearly a decade after the war ended. It was their parents’ war, not their own. A war that has been appropriated, and for purposes of which those who fought in it would, collectively, not approve.

Let’s return to Dad’s Army, after all, BBC Two does often enough. Don’t Panic! The Dad’s Army Story (2000) a cheerful history of the sitcom great written and presented by Victoria Wood contains a telling juxtaposition of interviewees. The series' surprising continued popularity is discussed and Wendy Richard (born 1943) expresses a nostalgia for the war years, and how people banded together during them. This is a sentiment which Clive Dunn (born 1920) bluntly dismisses. “Like most people I had a foul war,” he says, and disgust and horror briefly pass across his face.

It’s the difference between those who remember war, and those who only remember war films.