Let the American anti-Quran pastor visit Britain

Theresa May is being urged to ban him. Free speech demands she shouldn’t.

I'm sure we all remember Terry Jones, the Florida pastor with a novel and bracing approach to interfaith dialogue – he's the one who thought the best way to mark the anniversary of the 11 September 2001 attacks this year was to declare it "International Burn a Quran Day" (although only, as you'll notice if you look at the poster he had made, between 6pm and 9pm).

The English Defence League has announced that Pastor Jones is due to address an event in Luton in February "on the evils and destructiveness of Islam". As a result, as today's Observer reports, the Home Secretary, Theresa May, is now "under intense pressure" to ban him from Britain.

The views of the EDL should be perfectly clear by now, as should the group's low opinion of Islam. (For those who require clarification, this report by my colleague Daniel Trilling, "God bless the Muslims. They'll need it when they're burning in effing hell", should suffice.)

As for Pastor Jones: although on one level his physical similarity to the hicks and halfwits who populate the town of Rock Ridge in Mel Brooks's Blazing Saddles inclines one not to take him too seriously, there was nothing remotely amusing about his hate-filled proposal, nor about the international furore it caused, earning him the condemnation of the US state department, the Vatican and the US army in Afghanistan.

Is he a welcome visitor? No, of course not. Neither was the Dutch politician Geert Wilders when he came to Britain in March. I find it sickening, and distressing, too, that they should propagate such an extreme and distorted picture of Islam – just as I find it sickening and distressing that there are some Muslim clerics who do the same.

But I am also alarmed at the alacrity with which many then jump to saying that this person or that – in this case Pastor Jones – should be refused entry into the UK. The Labour MP Jon Cruddas says, "We should not allow racial hatred to be whipped up in this manner in our country" and promises to table a parliamentary motion to ban Jones tomorrow, while the Hope Not Hate campaign has set up a petition to stop him coming.

I understand the feeling behind this, but it's just too easy a response – and a dangerous one, too. The same kind of sentiment lay behind the outrage when it became clear that Nick Griffin was to appear on Question Time. These opinions are repulsive, disgusting, beyond the pale – let's ban them.

But ban what exactly? You can't ban a viewpoint, at least not from being held in an individual's mind. And if the public, verbal or written expression of that viewpoint contravenes no laws, on what grounds would you curtail it?

I was absolutely for Griffin's right to appear on the Question Time panel, for instance, because he is the leader of a perfectly legal party (one for which over half a million people voted in this year's general election and nearly a million in last year's Euro elections) and an elected MEP. You cannot have one set of rules – still less laws – for "acceptable" parties and another for those we deem "unacceptable".

Griffin, however, is a British citizen, so there is no question of not letting him into the country. What of Pastor Jones? According to today's Observer: "The Home Secretary has the power to exclude or deport an individual if she thinks their presence in the UK could threaten national security, public order or the safety of citizens. She can also do so if she believes their views glorify terrorism, promote violence or encourage other serious crime."

Clearly Jones is not a threat to national security: but endangering "public order" and "the safety of citizens"? I find it rather unsettling that the Home Secretary is expected to justify excluding a citizen of a friendly country by using the kind of vague wording that authoritarian regimes the world over use to stifle free speech. It is clear, too, that this "Man of God" does not explicitly "glorify terrorism" or "promote violence".

We consider him to be distasteful, for sure, uncivilised, uncouth, the possessor of barbaric and ignorant views. But if we value free speech at all, those can never be reasons enough to ban him. David Allen Green recently pointed out on The Staggers for the NS that when the Quran-burning (non-)event became noticed, creating huge anger that could have put Americans abroad in harm's way, "even though it was plausible to contend that Pastor Jones was creating a clear danger to others, he was not arrested. It was the persuasive and not the coercive power of the US government which was deployed to stop the gesture happening." He then asked: "What would happen in the United Kingdom?"

We shall see when Theresa May chooses to act or not. One may well ask, as we are at it, why it is that we are so concerned with restricting people's free speech while the legislation that exists to punish them, should that expression constitute incitement to racial or religious hatred, is so rarely used. Surely that is the wrong way around?

So, say I: let Pastor Jones come to Britain, and if his speech breaks any law, then throw the book at him. Make it clear that such laws truly afford the mighty protection of the state to those they are meant to shield. But if his words do not, then I would ask this:

What has anyone to fear from a man so confused and deluded that, before his Quran-burning stunt, he could seriously declare that its aim was "to send a message to the moderate Muslims to stay peaceful and moderate"?

Sholto Byrnes is a Contributing Editor to the New Statesman
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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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