Is this the end of Catholic Ireland?

Along with horror and disgust, it's possible to detect in the reaction to the scandal something appr

Imagine a country whose police and politicians had for decades been in thrall to a foreign-owned multinational controlled by an autocratic octogenarian. For years, political leaders paid homage to the aged boss, believing his backing essential to their pursuit of power, as though he held a mystical sway over public opinion. The organisation claims to be working for the public good, yet some of its employees, it is now clear, have engaged in practices that the public naturally finds abhorrent.

Many of these crimes have been known about for years, and a few offenders have even been sent to jail. But senior executives have indulged in numerous cover-ups, obstructing justice and even colluding with corrupt police officers. At the very top, the leadership has claimed not to have known what was going on. Action has been limited mainly to belated apologies and expressions of regret, even as the scandal has spread to subsidiaries throughout the world. It won't wash. Riding the wave of public indignation, politicians are finally queuing up to denounce the very organisation whose approval they once abjectly sought. The prime minister himself has led the charge.

No, I'm not talking about Rupert Murdoch, though the News Corp boss does have financial and personal links with the organisation in question. The crimes of paedophile priests vastly exceed phone-hacking at the News of the World, of course; so much so that even to raise the comparison may seem offensive. But then the power of the Murdoch empire in Britain, even at its height, even in the most fevered imaginings of his enemies, was a little thing when compared with the dominance that the Roman Catholic Church once exercised over minds and lives of the people of the Irish Republic.

Not so much any more. As the Taoiseach said in his extraordinary speech to the Dáil on Wednesday, this is no longer "industrial-school or Magdalene Ireland, where the swish of a soutane smothered conscience and humanity and the swing of a thurible ruled the Irish-Catholic world." Even before the abuse scandals, that Ireland was already receding into history, its fate sealed not by the misbehaviour of clergy but by the inevitabilities of economic and social change.

What has died as revelation has followed shameful revelation has been not just Catholic Ireland itself but nostalgia and respect for what Catholic Ireland represented. Along with horror and disgust, it's possible to detect in the public reaction to the scandal something approaching a sense of liberation.

There was, at any rate, something histrionic about Enda Kenny's phraseology, as though he were not merely drawing attention to a series of institutional failings but mounting a one-man Reformation. In words that (as Cranmer points out) might have been written by Ian Paisley, this practising Catholic condemned "the dysfunction, disconnection, elitism, the narcissism that dominate the culture of the Vatican to this day"; spoke of Ireland's "abhorrence" of Vatican policy and actions; and denounced "the delinquency and arrogance... of a particular kind of 'morality'" which the institutional Church represents.

Fair enough, you may think. I am certainly no apologist for the Vatican, still less for its incompetent and, yes, often obstructionist handling of the abuse crisis. The Cloyne report, released last week, is indeed highly critical of Rome's approach to the issue, singling out a letter from the Papal Nuncio which implied that policies adopted by the Irish church in 1996 to deal with paedophile priests were contrary to Canon Law. This letter, the report notes, "greatly strengthened the position of those in the Church in Ireland who did not approve of the Framework Document as it effectively cautioned them against its implementation."

Yet it's also clear that the abuse crisis neither started nor ended with failings at the Vatican. The Cloyne report (available in full here) describes the mishandling of abuse cases during the past fifteen years in one small, mainly rural diocese centred in County Cork. It also criticises the response of the police and the civil authorities and suggests that the law remains inadequate to the task of properly protecting children from potential abuse. It even goes so far as to praise the guidelines contained in the 1996 Document as "far more stringent that those adopted by the State."

The problem, needless to say, was that the Framework was not being followed - especially not in the Cloyne diocese where a fatal combination of laziness, willful blindness to the facts and foot-dragging meant that abuse cases were dealt with inadequately if at all. The report depicts a Father Ted-style world of clerical amateurism and borderline stupidity presided over by a lackadaisical bishop who has himself faced accusations of inappropriate conduct.

Here's how a key witness described Bishop John Magee's general approach to priestly abuse:

If a case had come up, the bishop would say, "Oh yes, get on to Denis to cover that."

"Denis" was Mgr Denis O'Callaghan, the bishop's right-hand man and the cleric charged with investigating child abuse within the Cloyne diocese. He is the villain of the piece. Far from following the guidelines, he did his best to ensure that they were never implemented. He claimed to dislike the "rule-based" approach the Church had adopted. He especially disliked the rule that instructed church officials to report potential offenders to the police. In one case, he tried to have an allegation investigated by a police officer known to be sympathetic to his views. Shockingly, or unbelievably, neither he nor Magee appears to have read a report into priestly abuse that they themselves had commissioned.

The situation persisted as late as 2009, when Magee was first sidelined and then removed from office. The Vatican's own role in this was somewhat marginal. Apart from the Nuncio's letter, which encouraged those who, like O'Callaghan and Magee, objected to the Irish church's attempt to clean up its act, the report's main criticism is that that the Vatican declined to respond to requests by the Commission for assistance.

The Vatican has, indeed, failed miserably in the past and continues to act with more defensiveness than true penitence. Such institutional failings, however, are a symptom of a deeper problem. The Catholic Church claims to represent God. Individual priests may commit grievous sins but the church itself is the infallible embodiment of absolute truth. As the then Cardinal Ratzinger himself put it in a 1990 document quoted disapprovingly (and out of context) by the Taoiseach, the Catholic Church is "the sole authentic interpreter of the Word of God, written or handed down, by virtue of the authority which it exercises in the name of Christ."

How can any institution teach that, expect people to believe it, and not be prey to corrupting arrogance? And can some of the blame be attached to the faithful for believing in it for so long? Any other organisation, revealed to have had, over decades, an official policy of covering up such vile crimes would be disbanded, its leaders put on trial, its assets seized. No decent person would want anything to do with it. Rupert Murdoch felt in necessary to close the News of the World. Even now, even in Ireland, no-one is quite suggesting that fate for the Roman Catholic church.

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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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