Maurice Glasman: "I intend to take a vow of silence for the summer"

The Blue Labour founder apologises for "crassness and thoughtlessness" of his comments on immigratio

Earlier this month, Maurice Glasman's comments on immigration triggered declarations that Blue Labour, the faction he pioneered, was dead in the water. In this week's New Statesman, Glasman writes a heartfelt apology and explanation for what he said, and makes the case for the continued value of Blue Labour. You can read the full piece in the magazine, which is on news stands now, but here are the highlights.

He starts by explaining his earlier comments about the English Defence League (EDL). He said in April that Labour should involve EDL supporters:

I am sorry for the crassness and thoughtlessness with which my views on immigration were expressed. I made a few mistakes early
on and should have learned the lessons. It did not cross my mind that anyone could think that I support the English Defence League (EDL), which I consider a thuggish and violent organisation. When I said in an interview with Progress magazine in April that we should listen to supporters of the EDL, I was arguing that the best way to defeat fascist organisations is to engage with their supporters in a politics of the common good that addresses issues of family housing and safer streets, the living wage and a cap on interest rates.

He adds: "I thought it was an internal discussion with eight Labour Party members and one who couldn't decide whether to renew. But it ended up in the Sun. If I had known that would happen, I would not have used the term "EDL" or said Labour had "lied" about the extent of immigration."

Of his interview with Mary Riddell, which was published in the Telegraph, Glasman also cites a lack of awareness, saying that he "forgot it was an interview and when I remembered, I thought, it's the Fabians, they'll understand. It ended up on the front page of the Telegraph". In that interview, he said that all immigration should be ended. He explains that this comment did not represent the nuances of his opinions:

What I have learned, above all, is that the present political economy leads to the exploitation of both local and immigrant. If I had been talking about this with Mary seriously, and not casually, I would have mentioned my support for the regularisation of illegal immigrants and my work with the Strangers Into Citizens campaign. I would have spoken more considerately about how hard it is to generate solidarity among people who do not know each other. I would have said that the levels of immigration over the past years have been unprecedented in our history, and how important it is to recognise both the challenge and the possibilities that flow from this. As it was, I talked about what it was possible for a democratic polity to do in principle.

He goes on to acknowledge the negative consquences for Blue Labour, saying that he has taken a "vow of silence" for the summer:

It was bad political craftsmanship, and that is unforgivable. There is great energy and beauty in Blue Labour when it strives towards the common good by building alliances and relationships between estranged positions. There is much wrong, however, when it stumbles into an ugly position without honouring the complexity of the ethics and human concerns.

The full article is available in this week's New Statesman.

Samira Shackle is a freelance journalist, who tweets @samirashackle. She was formerly a staff writer for the New Statesman.

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Want your team to succeed? Try taking a step back

From the boardroom to the sports ground, managers need to step back for creativity to thrive.

Everyone is in favour of creativity, usually at the expense of creative people. The concept is in perpetual boom. Give us creative midfielders, creative leadership, creative solutions, creative energy. It’s with the “how” that the problems start – with extra meetings and meddling, over-analysis and prescriptiveness, whiteboards and flow charts. Professional systems rarely support the creativity that they allegedly seek. The creativity industry system is at odds with its stated goals.

The novel was an early casualty. Nothing makes me close a book more quickly and finally than the creeping realisation that the author is following a narrative map purchased on an American creative writing course. Life is too short for competent novels. The creativity industry pulls up the worst while dragging down the best.

Something similar happens inside professional sport, even though creativity is so obviously linked to performance and profit. Yet sport, especially English sport, has suffered from excessive managerialism. Perhaps guilt about English sport’s amateur legacy gave “professionalism” free rein, however pedestrian its form.

Here is sport’s problem with creativity: professional systems crave control, but creativity relies on escaping control. If an attacking player doesn’t know what he is going to do next, what chance does the defender have?

So when truly unexpected moments do happen, they take on a special lustre. This month, Olivier Giroud scored an unforgettable goal for Arsenal. Bearing down on the goal, he was already launched in mid-air when he realised that the cross was well behind him. With his body far ahead of his feet, Giroud clipped the ball to the top corner of the net with the outside of his left ankle – a so-called scorpion kick.

It was, in retrospect, the only option available to him. Football, for a moment, touched the arts – not only beautiful, but also complete. Nothing could have been added or taken away.

I once tried to compare the perfect cricket shot to Robert Frost’s celebrated description of writing a poem: “It begins in delight, it inclines to the impulse, it assumes direction with the first line laid down, it runs a course of lucky events, and ends in a clarification . . . Like a piece of ice on a hot stove the poem must ride on its own melting.”

A great goal, however, fits that poetic model better than a cricket shot. Cricket shots come in many aesthetic grades, but they are all intended as shots. A goal, on the other hand, is more than just a very good pass, only better. There is an act of transformation within the event.

Frost’s acknowledgment of luck (distinct here from fluke) neatly defuses the accusation. Saying that a great goal involved luck does not to diminish it. Many unearned factors must interact with the skill.

“But did he mean it?” some people have wondered about Giroud’s goal. That isn’t the point, either. There wasn’t time. Giroud had solved the problem – to make contact with the ball, however possible, directing it towards the goal – before he was fully conscious of it. That doesn’t make it an accident. The expertise of a striker, like that of a writer, is opportunistic. He puts himself in positions where his skills can become productive. It is a honed ability to be instinctive. “If I’d thought about it, I never would have done it,” as Bob Dylan sings on “Up to Me”, an out-take from Blood on the Tracks.

Pseudo-intellectual? Quite the reverse. There is nothing pretentious about recognising and protecting creativity in sport. Over-literal decoding is the greater threat: instinctive performance needs to be saved from team meetings, not from intellectuals.

Having described a creative goal as unplanned – indeed, impossible to plan – what can coaches do to help? They can get out of the way, that’s a good start. It is no coincidence that the teams of Arsène Wenger, who is sometimes criticised for being insufficiently prescriptive, score more than their fair share of wonder goals.

The opposite arrangement is bleak. A friend of mine, a fly-half in professional rugby union, retired from the game when his coaches told him exactly which decisions to make in the first six phases of every attacking move. In effect, they banned him from playing creatively; they wanted rugby by numbers.

Not everything can be rehearsed. One useful book for coaches scarcely mentions sport – Inside Conducting, by the conductor Christopher Seaman. “I’ve never had much sympathy for conductors who ‘program’ an orchestra at rehearsal,” Seaman writes, “and then just run the program during the performance. There is much more
to it than that.”

Dan Vettori, the rising star among cricket’s Twenty20 coaches, is rare for having the bravery to echo Seaman’s theory. He believes that cricketers are more likely to play well when they feel slightly underprepared. It’s a risk and a fine balance – but worth it.

As I explored here last month in the context of Daniel Kahneman and Amos Tversky, there is a danger of slotting players into false stereotypes and classifications. Giroud, for example, is slow. Slow yet athletic. That’s an unusual combination and partly explains why he is underrated.

We often think of pace as the central and definitive aspect of athleticism. But speed is just one component of total athletic ability (leave to one side footballing skill). Giroud has an outstanding vertical jump, power and great balance. Because he is big and slow, those athletic gifts are harder to spot.

Management systems overestimate both labels and top-down tactics. A braver policy, pragmatic as well as aesthetic, is to be less controlling: allow opportunity to collide with skill, directed by an open, expert and uncluttered mind. l

Ed Smith is a journalist and author, most recently of Luck. He is a former professional cricketer and played for both Middlesex and England.

This article first appeared in the 12 January 2017 issue of the New Statesman, Putin's revenge