How The Light Gets In 2013

The festival of philosophy and music returns to Hay.

This year, beginning on 23 May, the annual How The Light Gets In festival returns to Hay-on-Wye, once again providing audiences with the chance to engage with life's big questions: Why are we here? What is love? Do we need religion? Do we undervalue the imagination?

All these ideas and many more will be pondered and pursued over the course of the festival, interwoven with music and comedy acts. The New Statesman’s own Jonathan Derbyshire will be appearing, chairing debates on topics such as "Is Religion Dangerous?" and "Errors, Lies and Adventure", an exploration of the need to lie in politics.

Here are five highlights from this year's festival.

Get Cape. Wear Cape. Fly

10pm Fri 24 May, International Hall

The born-and-bred Essex boy Sam Duckworth has always been outspoken about his political views. Whether he’s crooning about the everyday rigmarole of British life or humming his anti-BNP ballad Glass Houses, you can guarantee he’ll have you nodding along to his unique acoustic drawl.

More Than Equal

(featuring George Galloway MP, Minette Marrin and Peter Tatchell)

2:30pm Mon 27 May, Globe Hall

With liberal attitudes towards ethnic minorities at an all-time high, are identity politics irrelevant? Or are etnic minorities simply assimilating into society, when they should be demanding more from Britain? Bradford MP George Galloway, Sunday Times Columnist Minette Marrin and activist Peter Tatchell discuss what the future holds for the smaller social groups in our society.

The Sexualisation of Society

(featuring Diane Abbot MP)

3pm Mon 27 May, Ring

As questions loom over the legality of internet pornography and stories about women suffering eating disorders have become a mainstay of the tabloids, Diane Abbot takes aim at the hyper-sexualised world in which we live and its effects on the young.

At World’s Edge

(featuring A S Byatt, Terry Eagleton and Terry Pratchett)

4pm Sunday 2 June, International Tent

Fantasy tales are often seen as amusing pastimes, whimsical adventures to be forgotten when the pages are shut. But is there more significance to these stories? Could they be a key element in the perception of our own world? To discuss these matters, novelists Terry Pratchett and A S Byatt join literary theorist Terry Eagleton.

The End of the University?

(featuring Martin Bean, Leonidas Donskis, Maurice Fraser)

12pm Sunday 2 June, International Tent

The internet has changed everything; from shutting down video rental stores to flipping the music industry on its head, no-one can deny its reach. But with the ever-growing number of learning resources available, free of charge, how can modern universities compete and, eventually, will they be outmoded? Open University Vice-Chancellor Martin Bean, LSE political theorist Maurice Fraser and Lithuanian politician Leonidas Donskis think about what the future holds.

How The Light Gets In runs from Thursday 23 May to Sunday 2 June.

For full details of events and tickets, click here.

Second-hand books for sale in Hay-on-Wye (photograph: Getty Images)
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Broken and The Trial: From Sean Bean playing a priest to real life lawyers

A surprisingly involving depiction of a clergyman provides the saintly contrast to the sinner being judged by a real jury.

I was all set to scoff at Broken, Jimmy McGovern’s new series for BBC1 (30 May, 9pm). A drama about a Catholic priest and his impoverished parish in a “major northern city”, it sounded so hilariously McGovern-by-numbers (“Eh, lad, give us the collection bowl – the leccy wants paying”) that on paper it could pass for a spoof. Even funnier, Sean Bean, late of Game of Thrones, was to play the clergyman in question.

Naturally, I adore Bean, who comes from the major northern city that is Sheffield, as I do, and who is so terribly . . . virile (though when I interviewed him in a car park behind King’s Cross Station a few years ago, and a security guard in a high-vis jacket approached us furiously shouting the odds, he ran and hid in his trailer, leaving yours truly to face the music). But let’s face it: he’s not exactly versatile, is he? The idea of him in a cassock, or even just a mud-coloured cardigan, made me laugh out loud.

Settling down to watch the series, however, I soon realised that no scoffing would be taking place. For one thing, Broken is hugely involving, its Dickensian plot (no spoilers here) as plausible as it is macabre. For another, in the present circumstances, its script seems to be rather daring. Not only is Father Michael Kerrigan shown – cover my eyes with the collected works of Richard Dawkins! – to be a good and conscientious priest, but his faith is depicted as a fine and useful thing. If he brings his besieged parishioners solace, he is sure to be carrying vouchers for the food bank as well.

The flashbacks from which he suffers – in which his mammy can be heard calling him a “dirty, filthy beast” and a spiteful old priest is seen applying a cane to his hand – are undoubtedly clichéd. But they are also a device. Forty years on, he is happy to nurse his dying mother, and his love for God is undimmed: two facts that are not, of course, unrelated. How weirdly bold for a television series to set its face against the consensus that denigrates all things Christian as it never would any other faith.

I don’t for a minute buy Anna Friel as Christina, the gobby, broke single mother Kerrigan is determined to help. Even when covered in bruises – a bust-up at the betting shop – Friel manages to look glossy, and she never, ever quits acting (with a capital A), which is a drag. But Bean is such a revelation, I was able to ignore the voice in my head which kept insisting that a Catholic priest as young as he is – in this realm, “young” is a couple of years shy of 60 – would surely be Polish or African (I’m not a Catholic but I am married to one, for which reason I occasionally go to Mass).

He plays Kerrigan, whose overwhelming desire to be kind sometimes makes him cack-handed, with great gentleness, but also with an uninflected ordinariness that is completely convincing. Part of the problem (my problem, at least) with Communion is the lack of rhetorical passion in most priests’ voices, something he captures perfectly. One other thing: Line of Duty fans need to know that Adrian Dunbar – aka Ted Hastings – can also be seen here wearing a dog collar, and that he looks almost as good in it as he does in police uniform.

On Channel 4 The Trial: A Murder in the Family was an experiment in the shape of a murder trial in which the defendant – a university lecturer accused of strangling his estranged wife – and all the witnesses were actors but the lawyers and “jury” were real. Over five consecutive nights (21-25 May, 9pm), I found it pretty tiresome listening to jury members tell the camera what they made of this or that bit of evidence.

Get on with it, I thought, longing again for the return of Peter Moffat’s Silk. But I adored the lawyers, particularly the lead ­defence barrister, John Ryder, QC. What an actor. Sentences left his mouth fully formed, as smooth as they were savage, his charm only just veiling his mighty ruthlessness. Drooling at this performance – which was not, in one sense, a performance at all – I found myself thinking that if more priests came over like barristers, our dying churches might be standing room only.

Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.

This article first appeared in the 25 May 2017 issue of the New Statesman, Why Islamic State targets Britain

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