What motivates Ed Balls? He needs to tell us

The shadow chancellor must answer the question, "what made you want to do this in the first place?"

Ed Balls is caught in a pincer movement, although not a very coordinated one. The left pince is applied by trade union leaders, appalled by the shadow chancellor’s increasingly assertive commitment to budget discipline. Paul Kenny was on the radio yesterday mocking Balls’s acceptance of the need for public sector pay restraint. “He would give an aspirin a headache,” the head of the GMB union said.

Ed Miliband has communicated exactly the same austerity-lite message and, although he comes in for similar criticism, dissenters on the left are not quite despairing or self-destructive enough to go all out for the Labour leader. (Perhaps the really wanton sabotage is being saved for closer to an election). Besides, the major unions backed Miliband for leader. Their bosses now need to think of reasons why the candidate they plugged isn’t speaking the language they want to hear. Identifying villains who might be steering the Labour leader away from the path of righteousness is safer than admitting to union members that they were (from a staunch left perspective) ill-advised by their chiefs.

Then there is the right pince. This consists of shadow cabinet ministers and MPs who are frustrated with what they see as Balls’s small “c” conservatism on economic policy and, especially, public sector reform. The criticism is that the shadow chancellor, while suitably diligent in signalling future spending restraint, will not permit any specific policy discussion of how Labour’s ambitions for effecting social progress can be achieved when splashing cash isn’t on the menu.

In fact, this complaint divides into three sub-gripes. First, there is the way Balls insists on vetting shadow cabinet announcements for any hint of fiscal profligacy. The stated intention is to avoid surrendering political hostages to the Tories, in the form of uncosted spending pledges. But Balls’s message-discipline gatekeeper function also serves as a device for exerting control over colleagues and for stifling policy initiatives generated by underlings. (Interestingly, in that respect a certain generation of Conservatives voice private sympathy for their shadow cabinet peers, remembering how George Osborne used the same device in opposition.) 

The second sub-gripe is that Balls is cautious in his attitude towards the City and the financial services sector. He is pointedly reluctant to throw his political weight behind the Miliband theme of “responsible capitalism” and to engage with the project to “rebalance the economy.” This is partly the natural and reasonable response to a professional lifetime spent in and around the Treasury, where grandiose ambitions for UK plc to find something new to do for a living rub up against the practical obligation to nurture and protect the few things we are good at already – and on a global scale. Balls will also have noticed that the Tories are not as popular with the business community as they would like to be. When that support – and the economic credibility that it brings - is up for grabs, why risk frightening everyone with loose  talk of re-engineering the whole of capitalism?

Balls’s wariness of the new economic vision leads to the third sub-gripe. This is the fear that the shadow chancellor is too closely associated in the public imagination with the last Labour government and with Gordon Brown in particular. Miliband was as much at Brown’s side as Balls, but was a lesser known figure. He has also made more effort to distance himself from the whole New Labour operation, speaking (somewhat implausibly) as if he is a maverick outsider, thrust into leadership despite his earnest and modest demeanour. He seems to picture himself as Moses confronted by the burning bush; the prophet onto whose shoulders unexpectedly falls the burden of leadership to a brighter future. He would like to be seen as the flag-bearer for a new generation, opening a new chapter in Labour history. It is an optimistic pitch; a fantasy some would say. Miliband loyalists worry that the whole page-turning, paradigm-shifting portrait of the leader is spoiled when Balls keeps popping up in the frame.

Up against all of that there is the indisputable fact that Balls is one of the most intelligent, financially literate, motivated, effective and substantial figures in British politics. He also made one of the toughest economic calls of recent times – that the economy would double-dip - and got it right. (That he gets little credit for this outside the party could either be because the public mood hasn’t fully turned against the coalition, or because too many voters, seeing him as an emblem of the bad old days, just don’t want him to be right.) Balls is also powerful and influential within the party, having built up a network over many years working in the engine room of the Labour machine. But that kind of loyalty is based on patronage and power. It is a different kind of political glue to the shared set of ideas or vision that binds followers to effective leaders.

One of the lessons of Gordon Brown’s bungled transition from Chancellor to Prime Minister was the way that his support base melted away once the going got tough. There were plenty of people cheering him on and when he looked certain to be leader. He managed to get himself anointed unopposed. But as soon as he looked weak and the power started draining away, the loyalty evaporated. He was left friendless. There was no consolidating mission of Brownism around which a wounded party could rally. There was no shared purpose; just Gordon.

Balls is in danger of falling victim to a similar dynamic. He is formidable and powerful and, in person, engaging and impressive. Those characteristics all sustain each other in a feedback loop. The vulnerability lies in questions that probe what really drives this political phenomenon forwards, aside from raw ambition. Why did Ed Balls become an MP, join up with Gordon Brown, stand for leader, stick around in Ed Miliband’s shadow cabinet?

Miliband is justifiably coming under pressure this week to tell the Labour party a bit more about who he is and what he believes. That, as I wrote in my column last week, is an essential step towards making people more comfortable with the idea of him their Prime Minister. By all accounts, filling in those gaps is the explicit ambition of his speech to Labour conference later this week. It is one of the most penetrating questions in politics: What made you want to do this in the first place? What is it all for? David Cameron and George Osborne have never found an adequate answer. Ed Miliband is making a start, filling in some of the blanks. Perhaps it is time Ed Balls had a go too.

Shadow chancellor Ed Balls plays in the Labour Party vs media football match. Photograph: Getty Images.

Rafael Behr is political columnist at the Guardian and former political editor of the New Statesman

Getty
Show Hide image

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.

0800 7318496