Our leaders must abandon the cult of speed

Meaningful change takes time to get right. We need a strategy of slow politics.

It is, of course, reshuffle week. To be honest, I don’t care much about who is up and who is down. Not only is this government heading in the wrong direction on almost every count, it's even stopped being interesting. Compassionate conservatism, as a strain of one nation conservatism, could at best have been something to engage with, at worse something vaguely watchable.  But that moment has gone. What is interesting is the spectacle of the reshuffle and what it says about the culture of modern politics.

The point of a reshuffle is to publicly demonstrate the quickening pace of government, to promote the new and the fast and punish to the old and the slow. Yes, the government now dresses slightly further to the right, but the reshuffle says more about the aura of delivery than it does about ideology. In fairness, David Cameron has held out longer than his predecessors – fending off demands to change the pack right through to mid-term. The impatient ultra-modernisers of New Labour could never manage to sit still for so long. For them, it was the fast and furious politics of an endless, restless, twitching fidget.  

The average tenure of a New Labour minister was 1.3 years. It's one of those remarkable facts that reminds me of the 1980s Paul Hardcastle hit "19", which highlighted the average age at which US troops died in Vietnam. How can anyone possibly achieve anything in the complex world of politics in 1.3 years? Remember, that’s an average.  Many posts were held for less and having Gordon Brown in the Chancellor's job for 10 years must have skewed the figures. There have been eight transport secretaries in 10 years, a turnover now mirrored in the civil service as three departments have had three different permanent secretaries in the last two years. Surely only football managers are scalped faster?

Of course, everything in politics is speeding up as everything in life speeds up. Short-termism defines the economy. In 1966, institutions held shares in FTSE 100 firms for an average of eight years, today the average is less than one. Our culture is dominated by fast food, always on communications, omnipresent media and the ever-quickening pace of the consumer treadmill as obsoleteness becomes not just technically built in but psychologically embedded. Besides, China never sleeps and never slows down. We either run faster or we lose.   

Politics has found it impossible to avoid the same fast fate. As politicians give up managing the economy in the interests of society, or saving the planet – they have to justify their existence by meddling in ever more areas of our life, at a faster and faster pace. A dangerous bout of displacement activity sees political leaders justify their existence any way they can – other than dealing with the causes of the problems we face. So within the tight time cycles of our first-past-the-post electoral system they go for the quick fix; the big IT project, another piece of legislation or another round of re-organization to fill the 24/7 media channels, look busy and impress the people. Speed begets speed, as the knowledge of your almost certain shift in one to two years means acting fast now or facing the chop. And worry not, as you’ll be in another post long before anyone notices how many novice mistakes you made.

Today, the abiding philosophy is that change can only be imposed quickly from above. It’s a mish mash of Soviet-style centralisation and target imposition alongside the heroic CEO of the free market as the drivers of change. What neither model can do is trust the people to change things for themselves by themselves. It is raw elitism over pluralism, the politics of the blueprint over politics as a shared journey, it refuses to allow people to learn best by learning from their mistakes as power is used over rather than with the people. It’s the short-term over the long.

What we need instead of the cult of speed is a slow politics, which seeks fundamental and deeply embedded change. Such a slow politics is based on the recognition that meaningful, sustainable and popular change takes time to get right, that a consensus needs to be negotiated to build popular agreement on the way forward and that decisions need to be shared if people are to feel ownership of change, work for it and pay for it. It is the politics of the tortoise, not the hare.

Raymond Williams, the brilliant Welsh cultural theorist and socialist, understood all this better than most. His book The Long Revolution was written because Williams saw the sheer complexity of any kind of socialistic change towards self-government, rather than the easy paternalistic forms of nationalisation.  Which all reinforces one of the golden rules of the left, namely that democracy may take more time than the target or the market – but it comes up with better solutions.  And more than anything else it is the planet that needs us and our politicians to slow down.

The lesson of history, whether Bolshevik or Blairite, is that you cannot short cut history. If you try, then disaster looms. It's not just reforms that take time but truly hegemonic transformational change is a slow process too. It took ten years for the welfare state to emerge from the 1930s crash. The new right gestated for three decades before it took power.  My favourite example is the Swedish social democrats, who took power in the 1930s and steadily, surely, and slowly built a rather good society that didn’t reach its peak until over half a century later. 

We need a different theory of change, one that matches principle with patience, the purpose of which is to head in the right direction and find as many fellow travellers as possible to share the journey with. A switch to proportional representation would help, then a long-term progressive consensus could be secured. Ironically, the perpetual failure of one-party-fast-politics is delivering just such hung parliaments. Meanwhile, this week's reshuffle will change almost nothing. 

More film references to end with. Politics is not akin to Keanu Reeves on a bus that will explode if it slows down, it is more akin to Walkabout and a process of self-discovery through tough terrain with others.  And then there is the brilliant line in the otherwise rather average film The Best Exotic Marigold Hotel: "It will all be okay in the end, and if it's not okay it's not the end". With that I leave you for this week – sorry, I’ve got to rush.

Neal Lawson's column appears every Thursday on The Staggers.

Short-termism defines the economy and politics. Photograph: Getty Images.

Neal Lawson is chair of the pressure group Compass, which brings together progressives from all parties and none. His views on internal Labour matters are personal ones. 

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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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