Reviewed: The British Dream - Successes and Failures of Post-War Immigration by David Goodhart

Comings and goings.

The British Dream: Successes and Failures of Post-War Immigration
David Goodhart
Atlantic Books, 416pp, £20

For a brief period from late 2008 and all through 2009, some on the left believed that the economic crisis and near collapse of the financial system would rally people to its banner. They were quickly disillusioned and had to ask why no political benefit had accrued to the left from bank recapitalisation and the crisis of capitalism.

A simple suggestion might be that our economic problems pre-date these events. For example, after 1997, immigration policy was a major driver of government macroeconomic strategy and the search for labour-market flexibility. Whatever its economic virtues, this was a policy that, in the eyes of many, helped to turn the Labour Party toxic. Geoffrey Evans and Kat Chzhen of Nuffield College, Oxford calculate that Labour may have lost the 2010 election not because of its handling of the economy but because of perceived failures on immigration.

Yet how do we confront this when the politics of immigration trigger defensive reactions on much of the left? Questioning high inflows of people or raising economic and cultural concerns are too often dismissed as xenophobia and bigotry. David Goodhart was one of the first to raise just such questions and he paid for it. Following the publication in 2004 of Goodhart’s 6,000-word essay for Prospect magazine entitled “Too Diverse?”, the then chair of the Commission for Racial Equality, Trevor Phillips, said that “the xenophobes should come clean” and declared Goodhart’s essay to be the stuff of “liberal Powellites”.

Goodhart kept going, however. His 2006 pamphlet, Progressive Nationalism: Citizenship and the Left, pushed further. How do we reconcile our sense of solidarity with our diversity, he asked. How do we overcome tensions between insiders and outsiders that drain support for a shared welfare pool? Goodhart called this our “progressive dilemma”.

Many thought he played too fast and loose, and found him publicity-hungry, overeager to play the iconoclast. Surely any balanced discussion of the welfare state had to acknowledge that its existence and resilience is itself the product of mass immigration? Further, in Goodhart’s framing, the migrant often appeared as the taker, the problem. Yet there is strong evidence that migrants are net contributors to our country. He also lacked an adequate political economy of empire and its labourpower requirements. So he rightly took some heavy criticism. Yet, in the name of tolerance, parts of the left practised intolerance. By closing down the argument they allowed the right to shape the tone and language of the immigration debate, particularly in England. Meanwhile, having earlier in the decade sidelined the Parekh commission on the future of multi-ethnic Britain, New Labour tacked towards popular concerns about immigration and played people’s concerns right back at them.

After a fairly generous lag, a new debate has begun in the Labour Party. The publication of Goodhart’s book The British Dream follows two major speeches late last year by Ed Miliband and a more recent one by the shadow home secretary, Yvette Cooper. Both acknowledged the part immigration has played in generating economic insecurity and in shoring up the preference of business for short-termism and cheap labour over innovation and skills training. And they both acknowledged the cultural change and sense of loss that have left many people feeling alienated and resentful. So, to the extent that he raises these issues, Goodhart finds himself occupying the centre ground. We now speak more openly and with less anxiety about race, class, demographics and nation.

The British Dream develops familiar themes. “In the space of less than 60 years,” Goodhart writes, “a rather homogenous country at the heart of a multiracial empire became a multiracial country, now without an empire.” How did this happen and what are the consequences? Three sections follow. The first attacks the remote cosmopolitanism of much of the left and emphasises the importance of physical place and national boundary in an era of globalisation. The second is an empirical analysis of inflows and a tour of debates around multiculturalism, while the third section focuses on the tensions and dilemmas of national identity.

Historians will look back on the past few decades and identify immigration as perhaps the major change to our country. There have been two big phases of immigration. The post-colonial phase lasted from 1948 until the early 1990s. It brought to Britain around two million people from the Caribbean, India, Pakistan and Africa. By the end of this period the number of ethnic-minority Britons stood at four million. The second phase, which coincided with a huge shift in the global movement of people, started in the late 1990s. Net immigration of non-British citizens has added another four million to the population in just 15 years.

The 2011 census for England and Wales put the proportion of the population who are not white-British at just under 20 per cent. This includes eight million of those whom Goodhart terms “visible minorities”, by which he means non-whites, and three million who are white and include those from eastern Europe, Australia, Ireland and Germany. According to Goodhart, future trends suggest that by the time of the next census in 2021 the “visible minority population” (including people of mixed ethnic backgrounds) of England and Wales will have risen from 14 per cent to roughly 20 per cent.

Predictions of population trends, birth and death rates and the growth of our various ethnic populations are contested. But whatever one’s response to such statistics – and some maintain that the mere mention of numbers and projections is tainted with racism – they point to an unprecedented change in our country. It is, Goodhart writes, “a demographic revolution” and one that he argues has happened by accident. It is transforming the cultures and common life of Britain.

Immigration raises questions about the character of England and the English, in particular. Who are we in this post-devolution, post-industrial era? Is the shrill politics of loss and resentment inevitable? These are questions that will continue to energise a politics of culture and belonging and shape the political settlement that is emerging in the wake of the economic crisis, just as they shaped the political settlement that emerged from the crisis of the mid-1970s. That led to the success of the New Right, the victory of Margaret Thatcher and the dominance of the neoliberal model of capitalism.

Though little acknowledged, Enoch Powell’s anti-immigration politics of culture and belonging laid the groundwork for the economic revolution of Thatcherism. His 1968 “rivers of blood” speech attacked government policy on immigration and broke ranks with the political elite. Powell “put a match to a tinderbox” and the result was an “explosion of bigotry, prejudice, alarm and fear”. His racialised politics found ready support among a settled population fearful that their way of life was under threat. Powell had identified and exploited the growing gulf between the people and a liberalminded ruling elite. He accused it of being an “enemy within” bent upon the destruction of the country. It was the first major assault on the postwar consensus.

The response of both the Labour and Conservative leaderships was to dismiss Powell as a demagogue and racist. Few recognised that new political fault lines were opening up, nor did they grasp that Powell had embarked on what was, in Tom Nairn’s phrase, “a preliminary groundbreaking exercise” for a new political order. However, not even Nairn could have foreseen the radicalism of Margaret Thatcher’s economic revolution. “Race” and immigration would play a major role in the new battle for England.

Concern about immigration is felt by all British ethnic groups. Anxiety about being isolated among people of a different culture through no choice of one’s own is understandable. Living in a neighbourhood of constantly changing strangers can be intolerable. People live in places and seek stability and familiarity for their family and children. Home is basic to a secure society. It provides a sense of belonging and identity. People’s loyalties and fidelities are local, ordinary and particular; they are not universal, abstract and general. We live within our relationships and these are foremost in value and importance for us. To fear their loss or disruption to them is only human.

Immigration is as much about those who have lived in these islands for generations as it is about those newly arrived. As Ed Miliband has said, we have to create together a common life around the shared language of English and a willingness to work and obey the laws of the country. It is out of these social bonds that shared ideas of the common good can be built. When people are secure in their culture and identity, they are open to others.

Labour’s “one-nation” politics is less about a society of many cultures and more about creating a common life that allows us to find unity in our differences. It is about a patriotism in which all British citizens are equal in their rights, their obligations and in the opportunities that are open to them. The task of rebuilding Britain will require a democratic politics of culture and belonging as much as a new political economy; a connected society as much as a new economic model of wealth creation.

I was fearful of reading this book. I feared that Goodhart, while claiming he is “not setting out to be provocative”, might seek to turn up the dial in order to gain a certain notoriety and traction for his work. Instead, however, I found greater nuance and texture than before.

There are still some difficulties. I don’t understand why he doesn’t acknowledge that hardline economic liberals, just as much as the most abstract cosmopolitans, reject any notion of national boundaries and loyalties. Goodhart is also too ready to accept the government’s claims about reducing “net migration”, which lumps all immigration together and does nothing about the problem of “churn” that he says he wants to avoid. He misses a trick, too, in not locating hostility to patriotism within a longer arc and linking it to the collapse of Gladstonian Liberalism as patriotic fervour bled into the ballot box in 1900. J A Hobson’s The Psychology of Jingoism (1901) looked for explanations in the essential irrationality of the sentiment, and conditioned much left thinking about patriotism through the last century as a consequence. Goodhart fails to respect genuine concerns on the left regarding the racial absolutism of much patriotic politics.

Nevertheless, The British Dream is an important contribution to any durable “one nation” politics. The country is heading for some pretty turbulent times and the left must contest these spaces, not vacate them to the right and the politics of loss and demonisation. Goodhart has occupied them longer than many and his work is evolving into something of real substance. I hope the book will be widely read.

Jon Cruddas, MP for Dagenham and Rainham, is co-ordinating the Labour Party’s policy review

Britons celebrate during last year's Jubilee. Photograph: Getty Images

Jon Cruddas is Labour's policy review coordinator and MP for Dagenham

This article first appeared in the 12 April 2013 issue of the New Statesman, Centenary Special Issue

Photo:Getty
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Britain's diversity crisis starts with its writers. Here's why

What happens on the casting couch draws the headline, but the problem starts on the page, says James Graham. 

I’m a playwright and screenwriter, which – pertinent to the issues we’ll be discussing in this enquiry – still feels weird to say. I get embarrassed, still, saying that, in a taxi or hairdressers. I don’t know why I still carry that insecurity about saying I’m a writer, but I do, because it sounds like I’m lying, even in my own head.

Obviously I’m completely biased, and probably overstating the influence and importance of my own profession, but I think so many of the problems surrounding lack of representation in the performing arts start with writers.

If we aren’t encouraging and generating writers from certain communities, classes or backgrounds to tell their stories, to write those roles, then there’s not going to be a demand for actors from those communities to play them. For casting agents or drama schools to prioritise getting diverse actors on stage. We need to create those plays and TV dramas –like the ones that I grew up with. I didn’t have any access to much theatre until I was fifteen, but I did have Boys From the Black Stuff, and I did have Cracker, and I did have Band of Gold. I think the loss of those regional producing bodies – Central, Granada – now all completely centralised into London, means that we just tell less of those stories. I remember a TV show called Boon – anyone? – which was set in Nottingham, and I would see on the TV streets I’d walked down, and think, Oh my God, that actor is walking down a street I’ve walked down. That sounds like it’s insignificant. If you’re from a town that is deprived, that feels ignored, it isn’t.

I was very lucky that at my school (which was, at the time, the largest comprehensive school in the country), from the headmaster down to the drama teachers, everyone just believed that working class kids should do plays. Be in plays, read plays, perform plays to the community. Both inside the curriculum of the school day, and outside it – drama teachers dedicating their time to staying behind. Our head of drama identified a group of us who clearly had a passion for it. We weren’t likely thesps. One lad’s entire family were made unemployed when the pit closed. Many lived on the big council estate. My parents and step-parents worked respectively in warehouses, the local council, or as the local window cleaner (incidentally, my first real job. Which I was terrible at).

Our drama teacher was encouraged and determined enough to launch the first ever Drama A-Level in our school. Based on that, about 10 or 12 of us got the confidence – or arrogance – to take our own show to the Edinburgh Festival. We were 16 or 17, and the first people in our community to ever go to visit the festival. We did a play up there, and after that, a psychological unlocking happened, where I thought: maybe I could do a degree in drama (it was the first time I had ever thought to do so) at university (the first in my family to go. Well, joint-first. My twin sister went on the same day, but I walked into my digs first).

I enrolled in drama at Hull University. A high proportion of my peers were middle class. A higher proportion from London or the South East. They talked often about institutions I had never heard of. They were talking about the National Theatre: I didn’t know we had a national theatre that my parents had been paying tax for that I had never been to. Many had performed with the (again, apparently) ‘National’ Youth Theatre, also in London. Paul Roseby, also on this panel, has made such leaps forward in getting the NYT producing in regional venues, and making auditions possible for people across the UK, but unfortunately, at the time, that wasn’t the case for me – and I was the ideal candidate to be in the National Youth Theatre.

I started writing because I had the confidence after I read texts by people like Jim Cartwright, Alan Bennett, John Godber, Alan Ayckbourn: Northern writers, working class writers that made me think it wasn’t just something that other people do.

After returning home, and working at local theatres, I moved down to London. I had to. The major new writing producers are there. All the TV companies are there. The agents are there. I was lucky to find support in a pub fringe theatre – though the economics meant there was no money to commission, so I wrote plays for free for about four years, that would get produced, and reviewed in the national press, while I worked various jobs in the day and slept for a time on a mate's floor. The first person to ever pay to commission me to write a play was Paul Roseby of the National Youth Theatre. I’m now very lucky to be earning a living doing something I love. In a way, compared to actors, or directors, it’s easier for writers who don’t come from a background that can sustain them, financially, in those early years. Your hours can be more flexible. Yes, it was annoying to miss rehearsals because I had a shift in a call centre, but it was still possible to do it. If you’re an actor or director, you’re fully committed. And if you’re doing that for nothing, there starts to be cut-off point for those from backgrounds who can’t.

I’m sure that local and regional theatres are the key to drawing in talent from less privileged backgrounds. But the range of national arts journalism that cover work outside London has been so significantly reduced. In our little echo chamber a few weeks ago, we theatre types talked about Lyn Gardner at the Guardian. Her coverage has been cut, which is very directly going to affect her ability to cover theatre shows outside of London – and so the self-fulfilling cycle of artists leaving their communities to work exclusively in London takes another, inevitable, turn.

I am culpable in this cycle. I have never done a play at the Nottingham Playhouse, my local producing house growing up – why? Because I’ve never submitted one, because I know that it will get less national press attention. So I just open it in London instead. That’s terrible of me. And I should just bite the bullet and say it doesn’t matter about the attention it gets, I should just go and do a story for my community. And if I, and others, started doing that more, maybe they will come.

I also want to blame myself for not contributing back to the state schools that I come from. I really really enjoy going to do writing workshops with kids in schools, but I would say 90 per cent of those that I get invited to are private schools, or boarding schools, or in the South of England. Either because they’re the ones that ask me, because they’re the ones who come and see my shows in London and see me afterwards backstage, or because they have the confidence to email my agent, or they have the budget to pay for my train ticket. Either way, I should do more. It would have helped the younger me so much to meet a real person, from my background, doing what I wanted to do.

I don’t know how to facilitate that. I take inspiration from Act for Change, creating a grassroots organisation. I know that there is a wealth of industry professionals like me who would, if there was a joined-up structure in place that got us out there into less privileged communities, we would on a regular basis go to schools who don’t get to meet industry professionals and don’t unlock that cultural and psychological block that working class kids have that says, that is not for me, that is something that other people do, I would dedicate so much of my time to it. That’s just one idea of hopefully better ones from other people that might come out of this enquiry.

James Graham is a playwright and screenwriter. This piece is adapted from evidence given by James Graham at an inquiry, Acting Up – Breaking the Class Ceiling in the Performing Arts, looking into the problem of a lack of diversity and a class divide in acting in the UK, led by MPs Gloria De Piero and Tracy Brabin.