“It was about the potential slaughter of citizens”

Katharine Gun discusses her arrest in 2003 for leaking US plans to illegally bug countries opposed t

Katharine Gun was 29 years old when the government tried to prosecute her for breaching the Official Secrets Act.

It was early 2003, and both Britain and America were on the road to war with Iraq. Amid since-discredited claims that Iraq was allegedly producing biological weapons, the British prime minister, Tony Blair, and the US president, George W Bush, met at the White House. That same day, 31 January 2003, an email passed across Gun's desk at her office in Cheltenham, where she worked as a translator for the British Government Communications Headquarters (GCHQ), the intelligence agency.

The email shocked her. From the US National Security Agency (NSA), it detailed US plans to illegally bug the offices of six UN member states in the lead-up to the Iraq war. Its intention was clear – it asked for British help in the ploy, to give US policymakers "the edge" in swaying opinion in favour of the war.

This was a direct attempt to undermine democratic process, Gun felt, and she had to do something about it.

Eight years on and now a mother, she recalls her thoughts that day. "I was particularly concerned about the reason behind the bugging, because it was in order to facilitate an invasion in Iraq," she says. "It was about the potential slaughter of citizens and the disruption and destruction of a country which was already practically on its knees. I felt that the public really needed to know about that."

"The state of America"

She printed off a copy and stewed on it for a while, before passing it on to a friend with ties to journalists. Not long later, the story appeared on the front page of the Observer, two weeks before the Iraq invasion. Gun knew she was in for trouble when she saw the headline one quiet Sunday at her local shop. It read: "Revealed: US dirty tricks to win vote on Iraq war".

A full-blown government investigation ensued, and it wasn't long before Gun cracked under pressure and admitted to the leak. She was promptly arrested and charged with breaching the Official Secrets Act. But after several high-profile court visits, the charges were dropped when the prosecution declined to give evidence.

Yet even after clearing her name and moving far away from the GCHQ heartland in Cheltenham, Gun found it hard to leave her past behind as she took up new career in teaching. "It was quite difficult at first to let go of that name tag that was applied to me," she says, "and it did take quite a while – maybe two years – before I got back into my own skin."

Would she do it again if faced with the same choice today? "That is a difficult question," she replies. "Before I had a child my answer was always, 'Yes, I would do it again,' but when you have a family and a child to think about, then it does put a slightly different twist on the whole issue . . . You've got to weigh up your decisions."

Now a full-time mother, Gun remains vocal in her support for the principles behind whistleblowing. In December, she signed a statement in support of WikiLeaks along with the Pentagon Papers leaker Daniel Ellsberg and other prominent former whistleblowers.

She also expresses her alarm at the treatment of Bradley Manning, the 23-year-old US soldier accused of leaking thousands of classified documents to WikiLeaks. Manning has been held in solitary confinement for more than 300 days, in conditions Amnesty International has described as "inhumane" and "repressive".

"It's atrocious that in a so-called democracy a soldier serving in the US army is facing that sort of treatment, which, I believe, is against any proper legal jurisdiction," says Gun. "It just goes to show the state of America – how fearful they are of losing their grip on absolute power in the global world."

The modern way of spying

The sheer volume of documents Manning is alleged to have leaked – over 700,000 – would have been inconceivable back in 2003, the year Gun released her solitary email to the world.

Since then, technology has allowed for leaking on an industrial scale, like never before. At the same time governments have evolved new ways of spying on each other. Last November, it was revealed – in a diplomatic cable released by WikiLeaks, no less – that the US had plotted secretly to illegally obtain biometric data (including iris scans, fingerprints and DNA) as well as credit-card information from the UN leadership.

The revelation caused a sensation, but for Gun it was a familiar story that hardly came as a surprise.

"That's just the way of the world," she says. "The whole Big Brother vision of the world is looming large . . . Until people open their eyes and realise what it means to start relinquishing these things, it'll be too late."

Ryan Gallagher is a freelance journalist based in London, currently working for the Frontline Club. His website is here.

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Bertie Carvel's diary: What would the French think about infidelity to Doctor Foster?

The joy of debuting a new series, Rupert Murdoch's squeamishness and a sting in the tail.

According to the adage, the first thing an actor does when he gets a job is to go on holiday. And so, having finished our sold-out run of James Graham’s Ink at the Almeida and with the show (in which I play a young Rupert Murdoch) about to transfer into the West End, I’m packing my bags.

But before I can skip town, I’ve one more professional engagement: the press launch of series two of the BBC drama Doctor Foster, which we finished filming at Christmas. I’ve now seen the final cut of all five episodes, and I’m excited to share it with an audience. There’s no substitute for seeing other people’s reactions at first hand, especially with a show that got people talking so much first time around, and it’s electric to sit in a cinema full of expectant journalists and commentators and feel the room respond. Nothing beats this: to put so much into making a thing and then experience an audience’s unmediated, reflexive reaction. When it goes well, you feel that you’ve shared something, that you’ve all recognised something together about how things are. It’s a unifying feeling. A sort of bond.

Cheating spouses

Handling the interviews has been tricky, when there’s so little one can say without giving the plot away. (The first series began with Suranne Jones’s character Gemma, a GP, suspecting her husband Simon of having an affair.) What’s more, lots of the questions invite moral judgements that I’ve tried my best to avoid; I always think it’s really important not to judge the characters I play from outside, but simply to work out how they feel about themselves, to zero in on their point of view. There’s a sort of moral bloodlust around this show: it’s extraordinary. People seem to want to hear that I’ve been pilloried in the street, or expect me to put distance between myself and my character, to hang him out to dry as a pariah.

While I’m not in the business of defending Simon Foster any more than I’m in the business of attacking him, I am intrigued by this queer mixture of sensationalism and prurience that seems to surface again and again.

Shock horror

Oddly enough, it’s something that comes up in Ink: many people have been surprised to find that, in a story about the re-launch of the Sun newspaper in 1969 as a buccaneering tabloid, it’s the proprietor who considers dropping anchor when the spirit of free enterprise threatens to set his moral compass spinning.

I’ve never given it much thought before, but I suppose that sensationalism relies on a fairly rigid worldview for its oxygen – the SHOCKERS! that scream at us in tabloid headlines are deviations from a conventional idea of the norm. But what’s behind the appetite for this sort of story? Do we tell tales of transgression to reinforce our collective boundaries or to challenge them?

For me there’s a close kinship between good journalism and good drama. I’m reminded of the words of John Galsworthy, who wrote Strife, the play I directed last summer, and who felt that the writer should aim “to set before the public no cut-and-dried codes, but the phenomena of life and character, selected and combined, but not distorted, by the dramatist’s outlook, set down without fear, favour, or prejudice, leaving the public to draw such poor moral as nature may afford”.

So when it comes to promoting the thing we’ve made, I’m faced with a real conundrum: on the one hand I want it to reach a wide audience, and I’m flattered that there’s an appetite to hear about my contribution to the process of making it; but on the other hand I think the really interesting thing about the work is contained in the work itself. I’m always struck, in art galleries, by how much more time people spend reading the notes next to the paintings than looking at the paintings themselves. I’m sure that’s the wrong way around.

Insouciant remake

En route to the airport the next morning I read that Doctor Foster is to be adapted into a new French version. It’s a cliché verging on racism, but I can’t help wondering whether the French will have a different attitude to a story about marital infidelity, and whether the tone of the press coverage will differ. I wonder, too, whether, in the home of Roland Barthes, there is as much space given to artists to talk about what they’ve made – in his 1967 essay, “The Death of the Author”, Barthes wrote that “a text’s unity lies not in its origin but in its destination”.

No stone unturned

Touring the villages of Gigondas, Sablet and Séguret later that evening, I’m struck by the provision of espaces culturels in seemingly every commune, however small. The French certainly give space to the work itself. But I also notice a sign warning of a chat lunatique, so decide to beat a hasty retreat. Arriving at the house where I’m staying, I’ve been told that the key will be under a flowerpot. Lifting each tub in turn, and finally a large flat stone by the door, I find a small scorpion, but no key. I’m writing this at a table less than a yard away so let’s hope there won’t be a sting in this tale.

Ink opens at the Duke of York Theatre, London, on 9 September. More details: almeida.co.uk

This article first appeared in the 17 August 2017 issue of the New Statesman, Trump goes nuclear