James Blunt performing at the Invictus Games in 2014. Photo: Getty
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I care deeply about diversity in the arts, but I can’t help sympathising with James Blunt

The UK has a serious problem with a lack of diversity in the arts. But I can understand James Blunt’s anger – it hurts when you are lazily used as the metaphor for a social class where you often feel left out.

Chris Bryant, Labour’s shadow culture minister, has made some important comments about the lack of diversity in the arts. He recently stated that:

“I am delighted that Eddie Redmayne won [a Golden Globe for best actor], but we can’t just have a culture dominated by Eddie Redmayne and James Blunt and their ilk,” he said.

Where are the Albert Finneys and the Glenda Jacksons? They came through a meritocratic system. But it wasn’t just that. It was also that the writers were writing stuff for them. So is the BBC, ITV, Channel 4, doing that kind of gritty drama, which reflects [the country] more? We can’t just have Downton programming ad infinitum and think that just because we’ve got some people in the servants’ hall, somehow or other we’ve done our duty by gritty drama.” (My italics.)

James Blunt, feeling that Bryant was trying to say that his success was unearned, gave a punchy rejoinder in the Guardian, in which he referred to Bryant as “a classist gimp”.  I read Blunt’s letter, and instinctively applauded him for his rebuttal. But then I took a step back.

Bryant was essentially right. There is a severe problem with diversity in the arts, and the media, right across the board. It’s so obvious that you don’t even need statistics to see it. And it’s getting worse, now that the cost of living in many large cities plus, for example, the falling revenues in the music industry – means that it is much, much harder to make it. Those who do make it will typically have somewhere to crash during those lean years, and those who do are disproportionately well-off.

So why, then, did I applaud Blunt? Well, here’s where we need to separate the personal from the political. Bryant clearly triggered something in Blunt. Blunt has spent many years being the only boy from a visibly posh background in most rooms he has entered, and being called out for it clearly still stings him now. Blunt sounds like he was something of an outlier at boarding school, and so now to be seen as representative of that world, as the mere beneficiary of a ready and complacent nepotism, is infuriating.

I think I first applauded Blunt because I partly understood, as someone who also attended boarding school, where he was coming from.  No one likes being told that they don’t deserve whatever position they have reached, particularly when they have worked hard to get there. But Bryant wasn’t trying to be offensive. He didn’t mean that. And, though it was difficult for Blunt to step back from his rage, it’s something that he could usefully do.

Because the playing field in the arts isn’t level. It just isn’t, and if James Blunt had really wanted to, if he really needed to call goodnight on his dream, then all of those other careers that he mentioned in his open letter were still open to him. And that is the one thing that people with boarding school educations very often have: the ability to do something completely different with their lives. Very often, for those who do not have degrees or networks that they can tap into when seeking jobs, the artistic dream is all they have. There is no safety net, and if we don’t fund the arts we are consigning them to a pretty bitter future. In fact, screw the future – that is the present we are sitting in, right now.

Yes, it hurt James Blunt when he was called too posh to make it in the music industry, just as it hurts to be called an Uncle Tom because I am a black person who went to boarding school, even though I sometimes got the shit kicked out of me for being black while I was there. It hurts when you are lazily branded as the metaphor for a social class where you often felt like the odd one out, particularly when that class is scorned.

But you know what’s far worse? The fact that there is a generation of outstanding artists out there who, due to their lack of opportunity, will not achieve their potential if our funding bodies do not help them as best they can. That was Bryant’s point, and it was vital, and I hope that it is not lost in the ensuing to-and-fro between him and Blunt.

This article first appeared on okwonga.com and is crossposted here with permission

Musa Okwonga is a Berlin-based poet, journalist and musician.

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Ned Beauman's Madness Is Better Than Defeat brings jungle fever to a story of cinema

The author's lustrous and smart fourth novel never quite coalesces into purposeful significance.

“We were in the jungle… There were too many of us. We had access to too much money, too much equipment. And little by little, we went insane.” That’s Francis Ford Coppola describing the filming of Apocalypse Now, but it’s also a fair summary – give or take a few hundred pages of CIA machinations, mega-corp skulduggery and hallucinogenic-fungus consumption – of the plot of Ned Beauman’s fourth novel, a teeming shaggy-dog comedy of megalomania and obsession in which nothing and everything seems to be going on at once.

The setting is the Honduran jungle in the late 1930s. Under the command of a visionary director, a Hollywood company sets out to make a film (called Hearts in Darkness, ho, ho) on location at a freshly discovered Mayan temple. When they arrive, they find the temple already half-dismantled by a team of New Yorkers in the service of a reclusive billionaire. The Angelenos scuttle up the steps of the hemi-ziggurat; the New Yorkers pitch camp at the bottom. Decades pass and the two sides, lost to the outside world, evolve a demented micro-civilisation.

Or is that the setting? The setting is also 1930s California, where a studio magnate creeps silently through a mansion. The setting is prewar New York, where a playboy is kidnapped by goons at an octopus-wrestling match. The setting is Virginia in 1959, where a CIA operative called Zonulet sifts through a warehouse packed with innumerable spools of film. The setting is a hospital in Maryland, in which Zonulet may be imagining the events of the book after inhaling a deliriant hallucinogen. The setting is Borges’s Aleph, or Leibniz’s monad: that mystical point in the universe “from which all other points are visible”.

As the narrative moves forward and Beauman gleefully particle-collides his various fascinations – postmodern paranoia, Hollywood screwball comedy, occult mysteries, spy fiction and the real-life on-set horrors of Werner Herzog’s Fitzcarraldo and the 1930s film serial The New Adventures of Tarzan – such interpretations flicker in and out of probability like quantum states.

Beauman is a sparkling writer, and his book bustles with diverting micro-narratives. There’s a murderous fugitive Nazi who persuades the camp that he’s part of the “German-American Alliance” that won the war, a mousy anthropologist who becomes a leader of men, a newspaperman who gets a Murdoch-style stranglehold on the temple’s occupants, and many more.

But the underlying order is symbolic. The director of Hearts in Darkness, the sprawling meta-movie at the centre of the novel, argues that all good cinema follows a simple rule: its narrative intensifies in five or six escalating steps before “giving way to a thrilling interval of weightlessness or flight, then returning to the status quo”. Represented as a diagram, this trajectory resembles a side view of half a ziggurat, which can also be seen as a diagram of a succession of people following in each other’s footsteps. For example, a novelist writing about someone making a film of a doomed expedition into the jungle. Madness begets madness in this novel, almost as if some conspiracy or occult order were being worked out.

Is any of this familiar? Narrative as geometry, with diagrams. Chipper 1930s banter. Funny but significant names (Poyais O’Donnell, which references a 19th-century con trick; Zonulet, which means “little zone”). Nazis. Contagious insanity. An octopus. An airship. A nightmare conspiracy that may just be a druggy hallucination. A few years ago, Beauman told an interviewer that the work of Thomas Pynchon has had “no impact on British fiction, really, apart from perhaps on me and Tom McCarthy”, but this book isn’t so much influenced by Pynchon as colonised by his work. In chapter after chapter, one can feel the shadow of Gravity’s Rainbow sweeping across the text like the spaceship in Independence Day.

Perhaps there’s a point here. Beauman recapitulates Pynchon as Hearts in Darkness recapitulates Heart of Darkness, and so the shape of the half-ziggurat is redrawn. But when a writer steers this close to his models, comparisons are inevitable, and Beauman’s writing, lustrous and smart as it invariably is, lacks much of the moral and emotional seriousness – the fear, the loss, the sorrow, the threat – that acts as a counterweight to Pynchon’s comic and intellectual games. The result is a novel of great intelligence and humour, cleverly structured and brimming with tricks, that never quite coalesces into purposeful significance. It’s a tremendous rainbow, but I’d have welcomed a bit more gravity. 

Madness Is Better Than Defeat
Ned Beauman
Sceptre, 416pp, £16.99

This article first appeared in the 17 August 2017 issue of the New Statesman, Trump goes nuclear