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A gift for John Berger

The art critic who contains multitudes.

This is the text of a speech given on 18 September at the British Library in London in honour of the critic, novelist, poet and artist John Berger.

There’s a piece in a recent issue of the New Statesman where John Berger, who is one of the world’s most vital corresponders, talks, in a letter he writes, to Rosa Luxemburg, the long-dead (murdered in 1919) revolutionary socialist writer, Marxist activist and philosopher. Yes, but he doesn’t just talk to her, he talks with her, via some of the writing from letters she wrote herself, often when she was in prison. “Freedom,” Luxemburg tells him, and he reminds us, “is always the freedom of the one who thinks differently.” In this piece, Berger writes a freedom for her. “No single page and none of the prison cells they repeatedly put you in could ever contain you,” he writes. He also sends her a gift, a wooden box of painted birds, painted words – a box, it says on it, of bird song. He tells her its history and he sends that history along with the box. “I can send it to you by writing, in this dark time, these pages.”

Here’s the gist of an email that came for me a couple of months ago. Dear Ali, can you write an “appreciation” of John’s writing, ideas and influence, about why his work truly matters, and can it be between five and eight minutes long?

How about forty years long? Because I could say that everything I’ve ever written or aspired to write has been in one way or another an appreciation of the work of John Berger. Berger, a force of unselfishness in a culture that encourages solipsism, an insister on open eyes, on the recalibration and re-energising of thinking, feeling, fiercely compassionate, fiercely uncompromising vision in a time that encourages looking away or looking only at the mirror images that create power and make money. Berger, who suggests that the aesthetic act, that art itself, is always collaborative, always in dialogue, or multilogue, a communal act, and one that involves questioning of form and of the given shape of things and forms. Berger, who can do anything with a text, but most of all will make it about the gift of engagement, correspondence – well, I can’t give him anything but love, baby, it’s the only thing I’ve plenty of, and that’s what comes off all his work for me, fervent and warm and vital, an inclusive and procreative energy I can only call love.

My encounters with John Berger, whom I hadn’t met till tonight, have always been vitally personal, coup de foudre then coup de foudre again, then the next time I read him, coup de foudre, struck by light, by enlightenment. I suspect many of his readers would recognise that sense of being literally struck, gifted something that makes you more than yourself – the thing that happens when the work you’re reading or the art you’re seeing actually demands of you that you engage, passes out of itself and takes up residence in the self, in correspondence with it.

This movement, which happens so often in the reading of Berger, concerns art and love and the political heft of both, because in John Berger’s work love and art and political and historical understanding are always in layered combination. There are many other writers and artists who work with this relation, but none with quite the transformatory fusion of his combining, which is a bit like encountering what clarity really is, what the word means, like looking through pure water and seeing things naturally magnified. He writes, in Portraits, a new collection of his writing on art over his lifetime, about the working presence of the word “art” in the word “articulation”, about how the two words share a root, “to put together, to join, to fit . . . a question of a comparable flow of connections”.

In this flow, things simply become apparent, or more apparent. “The speed of a cinema film is 25 frames per second. God knows how many frames per second flicker past in our daily perception. But it is as if, at the brief moments I’m talking about, suddenly and disconcertingly we see between two frames. We come upon a part of the visible which wasn’t destined for us. Perhaps it was destined for night-birds, reindeer, ferrets, eels, whales . . .” as he writes elsewhere. Berger grants or creates something extrasensory by what he writes, and in the most natural possible way, as if nature and the human eye are already in their own liaison, and we have to catch up the knowing, get to where we’ll begin to know what it is we’re seeing. It’s a democratic looking. Berger’s take on invisibility is always about inclusion, has always been about the politically not-seen, the dispossessed, the people made to serve under so that there can be ruling classes, and via Berger the ear acts with the eye to hear the otherwise drowned-out and inaudible – the voices of the invisible.

The act of going beyond ourselves is the art act. Writing about Cézanne he calls it “his love affair, his liaison, with the visible”. Here he is on Rembrandt’s A Woman Bathing: “We are with her, inside the shift she is holding up. Not as voyeurs. Not lecherously, like the elders spying on Susanna. It is simply that we are led, by the tenderness of his love, to inhabit her body’s space.” He quotes Simone Weil: “Love for our neighbour, being made of creative attention, is analogous to genius.” Unsurprisingly then, but always electrifyingly, he is one of the great writers on the subject of love: “A person loved is recognised not by attainments but by the verbs which can satisfy that person.” And love is an art, and art is a matter of physical love and generation: “At the best moments one draws with the whole body – genitals included,” he says in a piece on Maggi Hambling, in Portraits.

One of the things I love in Berger’s vision is his insistence on the artist not as creator, but receiver, as a figure crucially open and receptive, since art’s impetus is essentially collaborative or communal. Storytellers, he suggests, must “lose their identities”. It’s the only way to be “open to the lives of other people”. This open self-effacement is part of the act: as he says in A Seventh Man, his 1975 book on migrant workers in Europe, “To try to understand the experience of another it is necessary to dismantle the world as seen from one’s own place within it and to reassemble it as seen from his.” Art as a natural border-crosser: “If one thinks of appearances as a frontier, one might say that painters search for messages which cross the frontier.” And since we’re talking frontiers and the crossing of them – if Cézanne said of Monet, “Monet is only an eye, but my God, what an eye,” I’m going to say of Berger, Berger is only a man, but my God, the multitude of us, here, gone, and yet to come, that’s in him.

What a fruition, what a seer of past and of futures, of the damage that “the poverty of the new capitalism” would do to the multitude across all the frontiers, the people desperate right now to cross the frontiers as the only way to survive. What a gifting of voice to – and recognising and celebrating of, and fury at the injustices done to – the working classes, the underclasses and the people who have had to become migrants is in his work. What a clear vision of “consumerist ideology . . . the most powerful and invasive on the planet”, and of “the innate paranoia of the politically powerful” and the narratives this paranoia inflicts on the world. “Look,” he says, “at the power structure of the surrounding world and how its authority functions. Every tyranny finds and improvises its own set of controls. Which is why they are often, at first, not recognised as the vicious controls they are.” What a foul improvisation millions of people are caught up in at this moment.

Meanwhile, what an energy and a pleasure and a humanity there is, he points out, against the odds, of the poor, and of the people called migrants, when it comes to that survival. That “ingenuity of the dispossessed” is always up against a reductive power at every point, he says: “There is no word in any traditional European language which does not either denigrate or patronise the urban poor in its naming. That is power.” Berger is clear about Power with a capital P, or what he calls in his letter to Rosa Luxemburg, “power-shit”.

“Today, to try to paint the existent is an act of resistance instigating hope.” Yet, “To face History is to face the tragic.” Despair is “intrinsic to the practice of painting”, he says in a piece about Frans Hals; Goya’s light is merciless for the cruelty it reveals; the Fayum painters “worked from dark to light”. And “the self and the essential come together in darkness or blinding light”. Everything in Berger’s own art of describing to us, of picturing for us where it is we live right now, is an act of resistance and hope.

Portraits is full of references to darkness and light, the unifying properties of light, “the attraction of the eye to light”, but the attraction of the imagination to light, he says, is more complex, “because it involves the mind as a whole . . . vision advances from light to light, like a figure walking on stepping stones”. He quotes Pasolini. “Disperazione senza un po’ di speranza: for we never have despair without some small hope.” And here’s Rosa Luxemburg, via Berger, from that recent letter to the past: “‘To be a human being,’ you say, ‘is the main thing above all else. And that means to be firm and clear and cheerful . . . because howling is the business of the weak. To be a human being means to joyfully toss your entire life in the giant scales of fate if it must be so, and at the same time to rejoice in the brightness of every day and the beauty of every cloud.’”

So. A ten-year-old girl in the Scottish Highlands, way back in history, in 1972, is walking to school. It’s an ordinary day, and everything has changed, everything is new, and this has happened simply from a single phrase, a simple verbal act, having entered her consciousness. So, she is thinking, looking at the garage that she takes a short cut through, with the cars up on their raised platforms so that you can see underneath the part of them usually practically invisible, that’s always closest to the road, looking at the mechanics covered in oil and grease with their heads lost in the bodies of the machines, so, she thinks as she walks through the school gates, stands in line with all the other kids, sits down in the given place in the church and looks at the Stations of the Cross on the walls, how they stick out dimensionally, are three-dimensional pictures, and the blue-painted statue of the Madonna up at the front, so there is more than just seeing, there are WAYS of seeing.

That was a start. And “there’s never a conclusion”, is what Berger says in his preface to Portraits. In a world capable of reversing the meanings of “democracy, justice, human rights, terrorism” (“Each word,” he has written, “signifies the opposite of what it was once meant to signify”) we have a writer like Berger, who opens, reveals and reverses the given power relationships so that how we see changes. Way back, in Ways of Seeing (1972), he wrote warningly about how much we are led to “accept the total system of publicity images as we accept an element of climate”. He recognised a new nature, and Berger is, you might say, one of the most potent and authentic of our nature writers when it comes to the nature of the political structuring that gets called the world. He reveals and constantly reasserts the actual nature of things. “Tyrants”, he writes, “have no knowledge of the surrounding earth” from their “guarded condominiums” and their cyberterritories. He quotes Cézanne: “The landscape thinks itself in me, and I am its consciousness.”

From his piece on Jackson Pollock, here’s his definition of genius: “. . . the genius is by definition a man who is in some way or another larger than the situation he inherits.” Look at Berger in the world, and the world after him, then, now and to come. Not that I would characterise John Berger, whom I love, by his attainments, since, remember, a person loved is recognised not by attainments but by the verbs which can satisfy that person. Instead, in appreciation of him, I am and will be verbal: I see. I see in multiple ways. I veer towards that light in all the darknesses, real, historic, contemporary. And because of it, I will see. More, I will look. I will connect. I will co-respond. I will always know the life of dialogue. I will know the value of mystery, of not knowing. I will open. I will shout at the walls and the frontiers to break open. I will keep my nose open for the power-shit. If I despair, it’ll be with hope. I will attempt to pay, at all times, not just attention, but creative attention. I will love. And I will pass on, both to the past and the future, what generosity and gifts and sight and insight have been passed on to me, with love.

Portraits: John Berger on Artists” is published by Verso (£25)

This article first appeared in the 01 October 2015 issue of the New Statesman, The Tory tide

Photo: Channel 4
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Who will win Great British Bake Off 2017 based on the contestants’ Twitters

An extremely serious and damning investigation. 

It was morning but the sky was as dark as the night – and the night was as dark as a quite dark rat. He walked in. A real smooth gent with legs for seconds. His pins were draped in the finest boot-cut jeans money could buy, and bad news was written all over his face. “I’m Paul,” he said. “I know”. My hooch ran dry that night – but the conversation never did. By nightfall, it was clear as a see-through rat.   

Some might say that going amateur detective to figure out which contestants win and lose in this year’s Great British Bake Off is spoiling the fun faster than a Baked Alaska left out of the freezer. To those people I’d say: yes. The following article is not fun. It is a serious and intense week-by-week breakdown of who will leave GBBO in 2017. How? Using the contestants’ Twitter and Instagram accounts, of course.

The clues are simple but manifold, like a rat with cousins. They include:

  • The date a contestant signed up for social media (was it during, or after, the competition?)
  • Whether a contestant follows any of the others (indicating they had a chance to bond)
  • A contestant’s personal blog and headshots (has the contestant already snaffled a PR?)
  • Pictures of the contestant's baking.
  • Whether a baker refers to themselves as a “baker” or “contestant” (I still haven’t figured this one out but FOR GOD’S SAKE WATSON, THERE’S SOMETHING IN IT)

Using these and other damning, damning, damning clues, I have broken down the contestants into early leavers, mid-season departures, and finalists. I apologise for what I have done.

Early leavers


Kate appears not to have a Twitter – or at least not one that the other contestants fancy following. This means she likely doesn’t have a book deal on the way, as she’d need to start building her social media presence now. Plus, look at how she’s holding that fork. That’s not how you hold a fork, Kate.

Estimated departure: Week 1


This year’s Bake Off began filming on 30 April and each series has ten episodes, meaning filming ran until at least 9 July. Julia first tweeted on 8 May – a Monday, presumably after a Sunday of filming. Her Instagram shows she baked throughout June and then – aha! – went on holiday. What does this mean? What does anything mean?

Estimated departure: Week 2


James has a swish blog that could indicate a PR pal (and a marketing agency recently followed him on Twitter). That said, after an April and May hiatus, James began tweeting regularly in June – DID HE PERHAPS HAVE A SUDDEN INFLUX OF FREE TIME? No one can say. Except me. I can and I am.

Estimated departure: Week 3


Token-hottie Tom is a real trickster, as a social media-savvy youngster. That said, he tweeted about being distracted at work today, indicating he is still in his old job as opposed to working on his latest range of wooden spoons. His Instagram is suspiciously private and his Twitter sparked into activity in June. What secrets lurk behind that mysteriously hot face? What is he trying to tell me, and only me, at this time?

Estimated departure: Week 4


Peter’s blog is EXCEPTIONALLY swish, but he does work in IT, meaning this isn’t a huge clue about any potential managers. Although Peter’s bakes look as beautiful as the moon itself, he joined Twitter in May and started blogging then too, suggesting he had a wee bit of spare time on his hands. What’s more, his blog says he likes to incorporate coconut as an ingredient in “everything” he bakes, and there is absolutely no bread-baking way Paul Hollywood will stand for that.

Estimated departure: Week 5

Mid-season departures


Stacey’s buns ain’t got it going on. The mum of three only started tweeting today – and this was simply to retweet GBBO’s official announcements. That said, Stacey appears to have cooked a courgette cake on 9 June, indicating she stays in the competition until at least free-from week (or she’s just a massive sadist).

Estimated departure: Week 6


Chris is a tricky one, as he’s already verified on Twitter and was already solidly social media famous before GBBO. The one stinker of a clue he did leave, however, was tweeting about baking a cake without sugar on 5 June. As he was in London on 18 June (a Sunday, and therefore a GBBO filming day) and between the free-from week and this date he tweeted about bread and biscuits (which are traditionally filmed before free-from week in Bake Off history) I suspect he left just before, or slap bang on, Week 7. ARE YOU PROUD NOW, MOTHER?

Estimated departure: Week 7


Flo’s personal motto is “Flo leaves no clues”, or at least I assume it is because truly, the lady doesn’t. She’s the oldest Bake Off contestant ever, meaning we can forgive her for not logging onto the WWWs. I am certain she’ll join Twitter once she realises how many people love her, a bit like Val of seasons past. See you soon, Flo. See you soon.

Estimated departure: Week 8


Liam either left in Week 1 or Week 9 – with 0 percent chance it was any of the weeks in between. The boy is an enigma – a cupcake conundrum, a macaron mystery. His bagel-eyed Twitter profile picture could realistically either be a professional shot OR taken by an A-Level mate with his dad’s camera. He tweeted calling his other contestants “family”, but he also only follows ONE of them on the site. Oh, oh, oh, mysterious boy, I want to get close to you. Move your baking next to mine.

Estimated departure: Week 9



Twitter bios are laden with hidden meanings and Steven Carter-Bailey’s doesn’t disappoint. His bio tells people to tune in “every” (every!) Tuesday and he has started his own hashtag, #StevenGBBO. As he only started tweeting 4 August (indicating he was a busy lil baker before this point) AND his cakes look exceptionally lovely, this boy stinks of finalist.  

(That said, he has never tweeted about bread, meaning he potentially got chucked out on week three, Paul Hollywood’s reckoning.)


Sophie’s Twitter trail is the most revealing of the lot, as the bike-loving baker recently followed a talent agency on the site. This agency represents one of last year’s GBBO bakers who left just before the finale. It’s clear Sophie’s rising faster than some saffron-infused sourdough left overnight in Mary’s proving drawer. Either that or she's bolder than Candice's lipstick. 


Since joining Twitter in April 2017, Yan has been remarkably silent. Does this indicate an early departure? Yes, probably. Despite this, I’m going to put her as a finalist. She looks really nice. 

Amelia Tait is a technology and digital culture writer at the New Statesman.