Crap Towns: We can't fix our problems if we refuse to see them

Editor Sam Jordison says his book is not "an exercise in laughing at neglect" but a tough look at the nasty side of British capitalism written by the victims - for the victims.

A question I’m often asked about my books about Crap Towns is whether I worry that they’re too negative. The glib answer is that I worry they aren’t negative enough. The new book is about the 50 worst places to live in the UK and is primarily intended to make people laugh. What do you expect? It comes both to bury and to slag off places like Banbury, Boston and Bacup with their boarded up high streets, weekend violence and daily boredom. Why not? Are we supposed to pretend that  (to continue mangling Shakespeare) there’s nothing rotten in our state? That these places are making people happy? That to me is far more negative. We’re never going to fix the problems in this country if we refuse to even see them.

Another question I’m frequently asked is whether I’m a smug posh git. It’s probably not for me to answer that except to say that even if I were, it wouldn’t disqualify me from having valid opinions. Bertrand Russell was posh and smug, but also very often right about some pretty important stuff.

But the line that generally follows this accusation worries me more. Recently, for instance, the New Statesman ran an article by Daniel Gray asserting that Crap Towns is “nothing but an exercise in laughing at neglect” and claiming that the book “hides its disdain for ‘lesser’ people in ‘lesser’ places behind its format.”

For a start, Crap Towns isn’t simply about laughing at neglect. Yes, it uses comedy to point out how ridiculous things have become in plenty of places, but humour is a very good way of telling the truth. What’s more, there are plenty of topics besides neglect. It’s an equal opportunities shit-sprayer. Mayfair is just as worthy of contempt as Mansfield, and when you dig down to it, for pretty similar reasons: British capitalism is often cruel and unfair.

Which brings me to the next point. I’ve never believed in “lesser” people, or “lesser” places and I deny that there’s any disdain. Crap Towns is supposed to be on the side of the victims. What’s more it’s generally written by them. The thing I forgot to say about the validity of my own opinion is that it’s immaterial anyway. The book is largely based on information that has been sent to me from within the towns themselves. That’s to say those so-called “lesser people”. There’s no class barrier to inclusion in the book. The only criteria are to land a few home truths and a few good jokes. I’m pretty sure that the commentary on poverty in Bacup comes from someone who knows it well. Just as the hilarious entries about Chipping Norton almost certainly come from people with far bigger cars than I’ll ever drive.

That’s enough of that. I’m confident that anyone who reads Crap Towns Returns will be able to draw their own conclusions about who it speaks for, and whose side it’s on. The New Statesman article came out out before the book was distributed for review and I’m hoping that now Daniel Gray has had a chance to read the book, he’ll have changed his mind. Not least because I emailed him in the aftermath and it turns out we share quite a few of the same opinions. I even ended up buying his own book about Britain. (It’s good!)

But much as I enjoyed corresponding with Daniel, there was one new thing that worried me. He asked what I thought about the damage that inclusion in Crap Towns can do to a place’s reputation. Here, I have to admit I have more qualms. Personally, I’m fascinated by messed up road systems, lame graffiti and ruined buildings. It’s the kind of book I’d want to use as a travel guide. But I can understand why Crap Towns Returns might not be at the front of local tourist information offices.

I do have some defence. I’d question how much damage Crap Towns does. Does it change a town’s reputation - or simply point out an uncomfortable truth? Did anyone think Hull was a paradise before the first book came out? Will anyone read this ten year anniversary volume and think: “Oh, I didn’t know there were billionaire tossers hanging out in Mayfair.” I doubt it.

To go back to Hull, what Crap Towns did was give voice to a truth that was widely known, even if few people had articulated it and broadcast it before. I don’t want to take things too far. Obviously it’s the kind of book people enjoy reading in the smallest room and it is intended primarily to make people laugh. It’s also a pretty blunt instrument. But plenty of people from places I’ve revisited in the last ten years have given that first book some credit in getting people moving - even if its primary method was to annoy them so much they wanted to prove it wrong. There are five towns in the back of this new volume that have changed for the better since they featured in Crap Towns first time around. Crap Towns hasn’t held them back. Far from it.

So, I’m prepared to admit that just as the book takes shots at those on the top, it also kicks a few towns when they’re down. But it kicks them in the right direction. And that has to be positive.

Crap Towns Returns by Sam Jordison and Dan Kieran is published by Quercus, out on 10 October (£10)

Not so amusing: Life in a Crap Town. Photograph: Getty Images.
Photo: Warner Bros
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Every single line spoken by actor Harry Styles in the movie Dunkirk, evaluated

Judging the actual speaking and acting the from teen icon.

When it was announced that Harry Styles had been cast in Dunkirk, most people assumed it was a Drew Barrymore in Scream sort of deal. A big name, who would be plastered over the posters, front and centre at promotional interviews, but given a barely-speaking part and probably killed off in the first five minutes. Not so! Not only does he not die early on, Harry has a very significant amount of time on screen in Dunkirk, and even more surprisingly, a lot of that time involves actual speaking and acting from the teen icon. In this action-heavy, dialogue-sparse film, he has more lines than most.

Of course, the most normal human response to this revelation is to list every single time he speaks in the film and evaluate every moment on a line-by-line basis. So here it is. Every single line spoken by actor Harry Styles in the movie Dunkirk, evaluated by a very impartial Harry Styles fan. Let’s go.

Obviously, this contains spoilers for Dunkirk.

“What’s wrong with your friend?”

It’s the first line, but it’s a goody. So nonchalant; so effortless; breezily accompanied by a mouthful of toast and jam. Curious, friendly – but with dangerous edge. A lurking threat. A shiver of accusation. This sets up Alex as a normal, if self-assured, bloke who also wants to be sure you’re not about to get him killed. A very strong debut – the kind of line that, if you didn’t know better, would make you think, “Hm, who’s this charismatic young guy”?

A cheer.

Solid 8/10 cheer, believe this guy has cheered before.

“You can’t leave us! Make some room!”

It’s only been ten minutes, but things have really kicked up a notch. Raspy, panicked, desperate, this line left my heart jumping for my poor sodden son. A triumph, and certainly one of Harry’s best lines.

“Hey!”

Here, Alex yells “Hey!” to get the attention of other soldiers, which turns into louder, repeated cries for their attention. I can find little wrong with this “Hey”, and indeed later “Hey”s, but I would not nominate it for an Oscar. This “Hey” is just fine.

“What’s that way?”

I believe that Alex does not, in fact, know what is that way. (It’s a boat.) 7/10.

“S’grounded!”

Alex has delivered the last three shouts with exactly the same intonation. This is good because normal people do not opt for variance in tone when desperately yelling at each other across the beach. I also appreciate the lack of enunciation here. Great work, Harry.

“’ow long’s that?”

I believe that Alex does not, in fact, know how long it will take for the tide to come in. (It’s about three hours.) 7/10.

“Poke yer head out, see if the water’s come in”

Alex is ramping things up a notch – this is authoritative, even challenging. Excellent pronunciation of “aht”, more great slurring.

“Talkative sod, aren’t ya?”

A big line, important for the growing hints that Alex is mistrustful of the silent soldier in their group. And yet not Harry’s absolute best. A little too much forced vowel for me.

“For fuck’s sake!”

Oh my God, we’re here now boys. It’s begun. The water’s not come in. Forget the high-explosive, Alex has only gone and dropped a bloody F-bomb, and Harry’s performance is actually stressful. What an about-turn. Delivered with spitting fury; the “for”, if there at all, almost inaudible; a dropped box clanging to the ground for extra impact. We know that Harry ad-libbed this (and a later) F-word, and this spontaneous approach is working. A truly superb go at doing some swearing. 10/10.

“Yeah but ’ow long?”

I would describe this delivery as “pained”. A little groan of fear hangs in the back. This is, as they say, the good shit.

“Why’d you leave your boat?”

This whispered anger suits Harry.

Some extreme shushing.

Definitely would shush.

“We have to plug it!”

Alex’s heart doesn’t seem really in plugging the bullet holes in the boat, despite the surface-level urgency of this delivery, probably because he doesn’t want to get shot. Nuance. I like it.

“Somebody needs to get off.”

A mic drop of a line, delivered with determined focus.

“I don’t need a volunteer. I know someone who ough’a get off.”

The way his cadence falls and his voice falters when as he reaches the word volunteer. It’s a sad, resigned, type of fear, the type of fear we expect from Rupert Grint’s Ron Weasley. Harry’s dropping clues that Alex doesn’t really want to be shoving anyone off a boat to their deaths. But then Alex steels himself, really packing a punch over that “ough’a”.

“This one. He’s a German spy.”

The momentum is building, Alex’s voice is getting breathier and breathier, panic is fluttering in his voice now. I’m living for each and every second of this, like a proud mother with a camcorder. You’re doing amazing, sweetie.

“He’s a focking Jerry!”

Go on my son! Harry’s voice is so high only dogs can hear him now. The mix of fear and aggression is genuinely convincing here, and more than ever it feels clear that you’re practically watching a group of schoolboys with guns scared out of their minds, desperate to go home, who might shoot each other dead at any second. This is undoubtedly the pinnacle of Harry’s performance.

“Have you noticed he hasn’t said a word? ’Cause I ’ave. Won’t speak English: if he does it’s in an accent’s thicker than sauerkraut sauce.”

This is, objectively, the silliest line in this film and maybe any film, ever, and I love it. Never before have the words “sauerkraut sauce” been uttered as a simile, or as a threat, and here, they are both. Inexplicably, it sort of works through Harry’s high-pitched voice and gritted teeth. My personal highlight of the entire movie.

“Tell me.”

Alex is going full antagonist. Whispered, aggressive, threatening. It is safe to say I am dead and deceased.

“Tell me, ‘Gibson’”.

Ugh, now with an added layer of mockery. I am dead, but also please kill me.

“A frog! A bloody frog! A cowardly, little queue-jumping frog. Who’s Gibson, eh? Some naked, dead Englishman lying out in that sand?”

Brexit Harry Styles is furious, and his accent is going a bit all over the place as a result.

“Maybe he killed him.”

Just-about-believably paranoid.

“How do we know?”

This is too close to the delivery Harry uses in this vine for me to take seriously, I’m deeply sorry about that.

“Well, we know who’s getting off.”

I believe that Alex does, in fact, know who is getting off. (It’s the French guy.) 7/10.

“Better ’im than me.”

I agree!!!!!

“Somebody’s gotta get off, so the rest of us can live.”

Empassioned, persuasive, fervent. When glimpsed in trailers, this moment made me think Alex would be sacrificing himself to save others. Not so! He just really, really wants to live. A stellar line, executed very well.

“Do you wanna volunteer?”

Good emoting. I believe the emotion used here is “disbelief”.

“Then this is the price!”

I believe the emotion used here is “desperation”.

“He’s dead, mate.”

So blunt, delivered with an awkward pity. A stand-out moment thanks to my high quality son Harold.

“We let you all down, didn’t we.”

Dahhn. Harry lets us know this is not even a question in Alex’s mind, its a fact. Poor depressed little Alex.

“That old bloke wouldn’t even look us in the eye.”

The weird thing (irony? joke?) here is that the old bloke is actually blind, not refusing to look them in the eye. Slightly bizarre, but Harry rolls with it with this relaxed approach to the word “bloke”.

“Hey! Where are we!”

Good God I love this rousing line. The bell chiming in the background, the violins stirring. There is something curiously British about this line. Something so, “‘What’s to-day?’ cried Scrooge”. Here, Harry is doing what he did best in the early one direction days - being a normal lad from a normal town whose life was made extraordinary even though he’s just, like, so totally normal.

“What station!”

I take it back, THIS is probably my favourite line of the whole movie. Purely because it sounds exactly like Harry Edward Styles on an average day, going about his business, asking what station he’s at. Alex who?

“Grab me one o’ them papers! Go on!”

Now, this, I love. Newcastle brown in hand, f’s dropped, a “go on” barely lacking a “my son”. Put a flat cap on the lad and hand him a chimney sweeping broom - we are in deliciously caricatured Brit territory.

“I can’t bear it. They’ll be spitting at us in the streets, if they’re not locked up waiting for the invasion.”

How rapidly joy turns to ashes in our mouths. One second so elated, with the nostalgic scent of home quivering in his nostrils, Alex is now feeling extremely sorry for himself (fair enough, to be honest). A fine “sad voice” here.

“I can’t look.”

The “sad voice” continues.

“Wha’??”

Hahahahahaha. Yes.

And with this very confused noise Harry Styles closes his debut film performance, which I would describe as extremely solid. Even if I am fuming that he didn’t get to die, beautifully, and at length. Well done Harold.

Anna Leszkiewicz is a pop culture writer at the New Statesman.