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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The non-fiction novel that takes readers inside the head of Raoul Moat

Andrew Hankinson’s depiction of Moat’s unravelling is being marketed as biography/true crime, but its semi-fictional world is something more complex.

In July 2010, just weeks after becoming Prime Minister, David Cameron expanded upon his vision for the “Big Society” that he had first unveiled at the 2009 party conference. It promised a “big advance for people power”, in which individuals would be responsible for their actions. “To be British is to be sceptical of authority and the powers that be,” he told conference. “There is a ‘we’ in politics, and not just a ‘me’.”

That same month, just two days after being released from HMP Durham for the assault of a child, the self-employed gardener and former doorman Raoul Moat shot and injured his ex-girlfriend Samantha Stobbart and killed her boyfriend Chris Brown, who he wrongly believed to be a policeman. Moat went on the run, shooting a policeman at point-blank range, then fleeing to the rural Northumberland town of Rothbury. For a week, the story of this exotically named, delusional man who left behind a wealth of material, including letters and four-hour-long Dictaphone recordings, was given joint top billing with Cameron’s “Big Society” – soon to be as dead and buried as Moat, who, cornered by police after a seven-day hunt, killed himself.

The journalist Andrew Hankinson’s depiction of Moat’s unravelling is being marketed as biography/true crime, yet really is a non-fiction novel, in which writer and reader squat inside a mind that moves from irrational anger and self-pity to despondency. Moat’s is a solipsistic narration, in which he is the perennial victim – of circumstance, enemies, authoritarian bureaucracy, police harassment and past lovers. There is little room here for the outside world. Like most outlaws, Moat believed that everyone had failed him. “All my life I wanted death,” he laments.

The real-life Moat story, however, was more than that of a lone fugitive. It was also about rolling news coverage and Facebook groups, some of which celebrated Moat as a Ned Kelly-type folk hero – a “#ledge”. When Cameron denounced him in parliament he inadvertently elevated Moat to a clearer anti-authoritarian position: the antithesis of a “Big Society” citizen, in fact. It is also the story of the Northumbria Police force, which did its very best to show that it had everything under control when it really didn’t.

And, bringing an element of farce to a tragedy, it featured the subplot of a thoroughly leathered Paul Gascoigne – the most exciting and idiosyncratic footballer of his generation – tearing through the countryside in a taxi with a fishing rod, a dressing gown and a rotisserie chicken in an attempt to bring a sense of calm to the situation. “All I want to do is shout, ‘Moaty, it’s  Gazza! Where are you?’” he explained en route during a live radio phone-in. “And I guarantee he will shout his name out: ‘I’m here.’” Gascoigne’s pantomime intervention added to the chaos: now another disenfranchised northern male was running amok. The parallels were evident: Gazza’s career had been beset by injury and alcoholism, Moat’s bodybuilder’s physique was no longer in prime condition after weight loss in prison. Both were separated from their families and prone to self-examination. Onlookers knew it could quite easily have been Gazza holed up in those woods.

Other exponents of the non-fiction novel such as Norman Mailer and Gordon Burn would surely have put all this in, yet Hankinson chooses not to cover any of the peripheral subplots, instead using a second-person narrative to burrow deep into Moat’s paranoia, sourcing all his text from real material. This narrative sacrifice in favour of a singular voice gives the book thrust and authenticity of voice, and manages to show the nuances of a man who was articulate and often capable, and had reached out to social services on many occasions for help. None of which excuses Moat’s action – but it does explain his choices. Where the tabloids favoured the simplicity of the textbook “cold-blooded killer”, Hankinson’s portrait lets the reader make his or her own judgement. Clearly Moat was a bully, and yet he was not born that way. Few are. “There’ll be books written about all this, and you’ll be made out to be some crazed fucking maniac,” he says to himself, with both foresight and grim resignation.

Elsewhere the semi-fictional Moat brushes over past transgressions and labours over the tiniest slights in such repetitive, droning detail that the reader’s sympathy soon wanes. The book’s strength lies in the real-life Moat’s keenness to confess – to be heard, finally, beyond death – through these nocturnal monologues, recorded in his tent after yet another meal of charred burgers. From these remnants, Hankinson deftly assembles the man’s inner workings, lending credibility to his portrait while, beyond the myopic commentary, we know, although we don’t see it, that the outside world is closing in. Critics might ask: why give voice to a loser? Perhaps because in the right hands any real-life story is worth telling, and history should never just record the heroes and victors. The losers play their part, too.

Ben Myers’s novel “Beastings” recently won the Portico Prize for Literature

You Could Do Something Amazing With Your Life [You Are Raoul Moat] by Andrew Hankinson is published by Scribe (211pp, £12.99)

Ben Myers’ novels include Pig Iron and Richard, a Sunday Times book of the year. His writing has appeared in The Guardian, NME, Mojo, Time Out, 3:AM Magazine, Caught By The River and many others. www.benmyersmanofletters.blogspot.com

This article first appeared in the 05 February 2015 issue of the New Statesman, Putin's war