Kingsley Amis. Photograph: Getty Images
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Amis and Larkin: Hate in a cold climate

Kingsley Amis’s novel Lucky Jim has its origins in his intense and competitive friendship with Philip Larkin.

Lucky Jim is a young man’s book, in fact the book of two young men – two extremely angry young men. College friends with similar backgrounds, they had graduated from both Oxford and the Second World War to find themselves in an England that was in terminal decline. Nothing worked and the country was bankrupt. Worse still, no one seemed to appreciate the young men’s genius: neither the women they met nor the publishers to whom they sent their work.

When Kingsley Amis began writing his novel Lucky Jim in early 1951, he was 28 years old and an assistant lecturer at a university in Wales. He had written a novel that no one wanted to publish; a book of poems that had been published very badly; a monograph on Graham Greene, commissioned by a shadowy Argentinian outfit, that was never printed; and a postgraduate thesis, produced in the hope of improving his standing at his university, that had been failed by his examiners at Oxford.

Amis’s friend Philip Larkin, the same age as him, was at this point the more accomplished man of letters, having already published a book of poems and two novels. He was also more secure professionally: partly out of desperation, partly out of inclination, he had embarked on a career as a university librarian.

Amis and Larkin had met in their first year at Oxford in 1941 and quickly become good friends. They had some things in common: Both were from “respectable” but unremarkable middle-class backgrounds, which distinguished them from their wealthier classmates. It was a point of pride with them to be unimpressed by Oxford. The two were drawn together by their affection for jazz and their alienation from college.

Both young men spent a good portion of their time at Oxford abusing the literature they were supposed to study. “I can just about stand learning the filthy lingo it’s written in,” Larkin wrote to Amis about Old English poetry. “What gets me down is being expected to admire the bloody stuff.” They invented a game called “horsepissing,” in which they’d replace words from classic literary texts with obscenities –“I have gathered up six slender basketfuls OF HORSEPISS,” for example – which they’d write in their own and each other’s copies of famous books. It was a game they never tired of or, indeed, outgrew.

Amis and Larkin graduated into a literary world still dominated by the modernism of Eliot and Pound, and haunted by the shadow of W B Yeats. Though Larkin went through a long apprenticeship to Yeats’s poetry, both men eventually came to think that the modernists had made English-language poetry vague, pretentious and verbose.

Aside from Auden, who got a pass, the world was filled with junk. Dylan Thomas was an intolerable windbag “Somebody once told me,” Amis reported to Larkin, “that Dorothy Parker, was good, at writing, short stories. The other day I bought a book of hers for a shilling, and I am sorry now.” And of Evelyn Waugh’s Brideshead Revisited, Amis wrote: “I may have missed the irony, but I cannot believe that a man can write as badly as that for fun.”

Amis and Larkin complain about women as often as they complain about writers, though here their troubles diverge. “I really do not think it likely I shall ever get into the same bed as anyone again because it is so much trouble, almost as much trouble as standing for parliament,” writes Larkin, who was stooped, balding and myopic. Amis, who was tall and broad-shouldered, with a full head of hair, responds by regaling Larkin with tales of the multiple women he was juggling. Of an amorous correspondence with a woman he was trying to seduce, Amis reported that “It is nice to be able to write the words ‘I want to fuck you’ in a letter and send it off without qualm,” then asked: “What do you think of all this?” What did Larkin think? “After comparing lives with you for years,” he later wrote, “I see how I’ve been losing: all the while/I’ve met a different gauge of girl from yours.” For the moment, though, he tried to be a supportive friend and urged Amis on.

They were bound together by a hatred of the family – not just their own particular families but families in general. Larkin’s family was worse than Amis’s, by any measure: Sylvia Plath would write a famous poem comparing her father to a Nazi, but Larkin’s father actually was a Nazi – he kept a bust of Hitler in his office until the start of the war. As for Amis, his main trouble was with his in-laws. “Hilary is very nice, as you will agree,” he wrote to Larkin about his fiancée. “But her family, who put in sporadic, unneeded visits are nasty. She has two brothers, who are EXCREMENTALLY EVIL. One has sandals and saffron trousers, and No Socks, and a green shirt, and plays the recorder (yes) and likes Tudor music.” This family would appear in Lucky Jim, pretty much intact, as the Welches.

Later on, when asked about his contribution to Lucky Jim, Larkin would refer understatedly to “a period of intensive joke-swapping just after the war”. And there are certainly plenty of jokes in the correspondence. But it also served as a kind of test run, a way of egging each other on – just how nasty could one be, just how disrespectful, just how profane? Was it enough merely to hate stuff? The answer that began to emerge in the letters was that hatred and irritability could be an almost inexhaustible store of humour, liveliness and insight. If you hated intensely enough, deliberately enough, with enough determination and discrimination, you just might end up with something new, unexpected, true to life.

Then, as now, the world was filled with young college graduates convinced of the sheer, absolute idiocy of everyone, living or dead. The trick was to find a subject on which to focus all that rage. In 1948, the struggling Amis visited Larkin at the University of Leicester where Larkin was employed as a librarian. “I looked round a couple of times and said to myself, ‘Christ, somebody ought to do something with this,’” he later wrote. “Not that it was awful – well, only a bit; it was strange and sort of developed, a whole mode of existence no one had got on to from outside, like the SS in 1940, say.” Not long after this visit, Amis began work on Lucky Jim.

In Lucky Jim, Amis gives us all of Larkin’s problems, and adds some extra of his own. Jim Dixon is a junior professor at a university that is, pointedly, neither Oxford nor Cambridge; he has an idiot boss, Professor Welch, who is also a bore and a snob; he has written an academic article that he detests and must produce a lecture that he will despise and – a problem so horrible he almost dare not mention it – there is “Margaret”, his love interest.

The problems were real, in the sense that they were based in the experience of the author and his friend. But the reader has to wonder, why are they such a problem? Lecturing in a provincial city? Surely better than working down a mine? Not being able to break up with Margaret? Better, perhaps, than no Margaret at all. Meanwhile Professor Welch does not seem like a particularly malignant or abusive authority, or much of an authority at all. And yet Jim wins our sympathy; his anger seems earned and his sufferings seem genuine. How is this possible – and why, when the book came out, did so many people embrace it and Jim?

The answer is at least partly historical. “Junior professor” may sound like an OK job but not in those years of postwar “austerity Britain”. The country had not only suffered significant damage from German bombing during the war, it had also expended far more money on fighting it than it had in the bank. In 1948, the Marshall Plan, of which Britain was the largest beneficiary, began to ease austerity measures, but money, and space, were still tight. When modern readers of Lucky Jim first encounter Jim’s hoarding of cigarettes – “he wasn’t allowed to smoke another cigarette until five o’clock” – they can be forgiven for thinking that he is trying to cut down on his smoking for reasons of health. It soon becomes clear, however, that Jim literally can’t afford to smoke more often. He also can’t afford to go on dates and he certainly can’t afford to live in London while indulging a desire to write or paint, as Welch’s two sons can. Not only can he not afford a London flat, he can’t even afford a place with a modicum of privacy. Jim’s room is constantly being barged in on by guests both welcome and (mostly) unwelcome. Even at the more spacious Welch home, where Jim is a guest, his bedroom has its entrance through a shared bathroom.

Poor Jim. Yet it’s hard not to feel that Jim’s biggest problem is himself. When he is not being outright lazy – in the academic realm, for example, it is his policy “to read as little as possible of any given book”– he is busy committing acts of minor vandalism. Also, he is a drunk.

And yet we like him. We are on his side. Again. Why? Perhaps the wealthy benefactor Gore-Urquhart gets it right when he says near the end that Jim may not have the qualifications but he hasn’t the disqualifications. He isn’t a snob or a fake; he isn’t a suck-up. And he has scruples. It takes a little while for these scruples of his to manifest themselves but they’re there. They’re there in his treatment of those who are not doing as well as he; they’re even there in the way he wages his campaign against his arch-enemy, Bertrand.

Goodness or scruples were never a focal point of the Amis-Larkin correspondence but precision with language, a certain scrupulousness about language, certainly was. “Why can’t I stand people who say once again,” Amis wondered once to Larkin, “as if when other people said again they meant . . .‘twice again’ or ‘three times again’ when what they mean is AGAIN.” Many writers have felt this way about language but if, for someone like Orwell, the cliché was a way for governments to cover up atrocities, for Amis it was also an opportunity. Received ideas papered over reality; words hid the essence of things; and given due attention the awful essence of things could be very, very funny. Take, for example, the famous description of Jim’s hangover:

He lay sprawled, too wicked to move, spewed up like a broken spider-crab on the tarry shingle of morning. The light did him harm, but not as much as looking at things did; he resolved, having done it once, never to move his eyeballs again. A dusty thudding in his head made the scene before him beat like a pulse. His mouth had been used as a latrine by some small creature of the night, and then as its mausoleum. During the night, too, he’d somehow been on a cross-country run and then been expertly beaten up by secret police. He felt bad.

An elaborate literary metaphor is followed by intimations of, among other things, ancient archaeology and modern totalitarianism in the description of what is, after all, a historic hangover. A whole long history of cliched descriptions of the morning gave Amis a chance to describe what morning, for many people, is really like.

So who is Lucky Jim, in the end? Amis began Lucky Jim as a book about Larkin. When he sent it to Larkin, Larkin’s advice was to make Jim more like Amis. It was Amis who raged at adult life, who chafed so visibly at authority, who had a vast repertoire of faces at his disposal. Jim Dixon in the end is an Amis-Larkin hybrid who manages to be sweeter and more engaging than either of the men on their own. They were both Lucky Jim.

Amis dedicated the book to Larkin, but in the aftermath of its success the two grew apart. Different explanations have been given as to why. Amis was now famous and there were tremendous demands on his time – he was being commissioned to write reviews and asked to make numerous media appearances, and all the while still teaching. Larkin may have had his own reasons for keeping his distance. There were some transparent references in the book to his relationship with Monica Jones, a lecturer in the English department at Leicester, and Jones, understandably, did not appreciate it. Larkin may have had less noble reasons, too: Having published two novels of his own without anything like this kind of response, he may have found his friend’s sudden success a little hard to take.

Another reason may also be guessed at. They had been brought together by their mutual hatred of the universe, which for a while did a fine job of confirming their feelings about it by rejecting and ignoring them. As they began to find their way in the world it became a little harder to hate it, at least with the same intensity. And so their letters to each other dwindled: What was there to say?

They were rescued by the 1960s. Amis and Larkin managed to greet the transformations, disturbances and new thinking with shared hostility. It brought them a whole gamut of things to hate. And they began again to be in regular touch, as they would remain until Larkin’s death from cancer in 1985.

The later correspondence is in many ways funnier, though less charged with competition, than the earlier – Amis complains that he has become fat; Larkin complains that he is even fatter. By then they had become two of the most influential writers of the postwar period. It had become even harder to hate things and sometimes both Amis and Larkin tried too hard. But they had made a very valuable point. It was all right to hate things; it could be interesting and you could make literature out of it. Also, it was funny.

Among all the two men’s accomplishments, Lucky Jim remains unique. Larkin, especially, would do much to make poetry of depressed and declining middle age (“Life is first boredom, then fear/Whether or not we use it, it goes.”), and Amis’s later work is not insensible to the grotesquery of trying to live the rest of your life as if you were 25. Lucky Jim is their one document of youth, their youth. It is in a way as optimistic as it is angry. Jim’s rages are impotent rages, his small acts of vandalism useless and self-destructive – and yet he undertakes them in the belief that they are not meaningless, that the world he is disparaging can be changed. Lucky Jim is a weirdly hopeful book, written when the failures of the men whose sensibilities and lives it captured, as well as the successes, still lay very much in the future. In 1951 all these things were something to imagine and laugh at. Lucky Jim is a lucky book, snatched improbably from time, the product of a collaboration, both editorial and spiritual, that neither writer, once firmly established, could afford to attempt again.

Keith Gessen is a founding editor of n+1. He has written the introduction to a new edition of “Lucky Jim” published by NYRB Classics ($14.95)

This article first appeared in the 08 October 2012 issue of the New Statesman, Conservative conference special

Martin O’Neil for New Statesman
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Why the British addiction to period drama is driving away our best black and Asian actors

There is a diversity crisis in British TV and film as, increasingly, stars are decamping to America to make their career there.

Back in April, a six-part drama called Undercover premiered on BBC1. Perhaps you were one of the five million people who watched it: the story was audacious and continent-hopping, enfolding a narrative about a man on death row in the United States with an all-too-believable tale of a Metropolitan Police officer who marries a woman he is meant to be keeping under surveillance.

The reason the programme attracted so much attention, however, was not what it was about, but whom. Starring Sophie Okonedo and Adrian Lester, Undercover was widely reported as the first mainstream British television drama with black actors in the lead roles. This wasn’t true: as James Cooray Smith wrote on the New Statesman website, that milestone was passed in June 1956 by Mrs Patterson, a BBC adaptation of a Broadway play starring Eartha Kitt.

Yet Undercover was still a breakthrough. Smith, casting his mind back over more than six decades of British television, could not think of more than a handful of other examples. Writing in the Observer, Chitra Ramaswamy expressed her feelings with quiet devastation: “In 2016, it is an outrage that it’s a big deal to see a successful, affluent, complicated black family sit at a ­dinner table eating pasta.” Think about that. In 2016 in Britain, a country where more than nine million people describe themselves as non-white, it is news that a black, middle-class family should not only feature in a prime-time BBC drama but be at its heart. Undercover exposed how white most British television is.

Actors of colour have appeared on British film and TV screens for decades, and they have been visible on British stages for centuries – yet they have been shunted into the margins with depressing regularity. In January the actor Idris Elba urged British MPs to take the matter seriously. “Although there’s a lot of reality TV,” he argued, “TV hasn’t caught up with reality.”

In February, there was renewed uproar over the lack of racial diversity in Hollywood at the 88th Academy Awards, and the infuriated hashtag #OscarsSoWhite blossomed again on social media. A month later, Lenny Henry argued that black and minority ethnic (BAME) talent was being “ghettoised”. The term could hardly be more charged. Speaking at the London premiere of Mira Nair’s film Queen of Katwe, the actor David Oyelowo said: “What we need now is for a change to come. I think the talk is done.”

There has been some change. In March, the Royal Shakespeare Company opened a production of Hamlet starring Paapa Essiedu, an actor of Ghanaian heritage raised in London. It was the first time that a black performer had taken the role for the company. A new set of BBC diversity targets both on- and off-screen was unveiled in April. Noma Dumezweni is playing Hermione in Harry Potter and the Cursed Child in the West End, and in October the BFI launched Black Star, a nationwide season celebrating black talent in film and TV. But what does the picture really look like, in late 2016? And what, if anything, needs to change?

The first challenge is that many in the film and TV industry find it difficult to talk about the subject. Researching this article, I lost count of the number of people who demurred to go on the record, or of actors who seemed eager to speak but were then dissuaded. Fatigue might be partly to blame – it’s exhausting to be asked repeatedly about diversity because you didn’t go to Harrow and your skin isn’t white – but I got the sense that there’s more going on.

One man who passionately believes this is the screenwriter Trix Worrell, the creator of the pioneering Channel 4 sitcom Desmond’s, which brought an African-Caribbean barbershop in south-east ­London to Middle England’s living rooms in the late 1980s and early 1990s.

“TV is very difficult to break into. There’s a protectionism there,” he says with a shrug, when we meet for coffee on the seafront in Hastings, where he now lives. “People are nervous about rocking the boat.”

Though cheerful about most of the things we discuss, Worrell admits to feeling a roiling anger when it comes to this particular matter. Does he think that diversity has improved since he was pitching Desmond’s, three decades ago? “No. I say that with absolute certainty and surety.”

It is hard to underestimate the influence that Desmond’s had. The series ran for 71 episodes and at its peak it had five million viewers, remarkable for a sitcom. Starring the veteran actor Norman Beaton alongside a largely British-Guyanese cast, it made that community visible in a way that has not been rivalled in Britain in the 22 years since it came off air. It did so with the deftest of touches, addressing problems of interracial relationships and tensions within the black community through warm comedy.

“Up to that point, black people were ­never seen on TV,” Worrell recalls. “The only time we appeared in any media was in the red tops – muggings, vice. The idea was to show a black family who were just like any other.” Yet it seems that, apart from the spin-off comedy series Porkpie, occasioned by Beaton’s sudden death in 1994, Channel 4 has regarded the idea of portraying a normal black family in a sitcom as too great a gamble in the years since, despite an increase in the number of non-white roles in its other drama output.

Worrell smiles, but it is clear that the ­matter isn’t a joke. “The thing that’s said among black people is that there’ll only be one black sitcom every ten years.”

***

When I phone Paapa Essiedu while he’s on a lunch break from Hamlet, I am prepared to get a more positive perspective. Just 26, Essiedu has had a spectacular and seemingly unimpeded rise. A graduate of the prestigious Guildhall School of Music and Drama in London, he joined the RSC in 2012 and then hopped to the National Theatre in Sam Mendes’s King Lear, before returning to Stratford. The Telegraph greeted his debut as Hamlet with the notice that every actor dreams of: “A new star is born”.

But Essiedu seems ready to implode with frustration. “It’s ridiculous,” he says. “This stuff has been here for decades and decades: we’re lying to ourselves if we think there’s been a lack of awareness until now. Lots of people are talking and talking, but we need action.” Has he experienced racism directly? “Put it this way: quite often, I’ve been in a room where everyone else is white.”

A major issue, he says, is the apparently unshakeable addiction of British TV and film to corsets-and-cleavage period drama, which has left many BAME actors locked out of the audition room. The BBC is in the middle of a run of literary spin-offs, from War and Peace to The Moonstone. Over on ITV, we have had Victoria and the invincible Downton Abbey.

It still feels as though much of British drama is stuck in an airbrushed version of the country’s past. Though partly set in contemporary Egypt, BBC1’s adaptation of The Night Manager by John le Carré had only a handful of non-white actors in significant roles. Allowing for exceptions such as the BBC’s version of Andrea Levy’s Windrush-era novel Small Island, broadcast in 2009, you could be forgiven for thinking, had you never visited Britain, that people of only one skin colour live in this country. That the largely white drama series are successful on the export market only helps to extend the cycle.

“Producers say, ‘Oh, we commission stuff that people want to watch,’” Essiedu tells me. “But it’s such a narrow version of history – middle-to-upper-class Caucasian men, generally. Period drama can be from anywhere in the world: Africa, Asia. Where are those stories?”

Drama is just a sliver of broadcasting output, but other genres aren’t much better. Journalists from ethnic-minority backgrounds have made steady progress in television newsrooms – but not fast enough, Channel 4’s Krishnan Guru-Murthy has ­argued; there is a glaring absence, however, when it comes to lifestyle and entertainment TV. The recent success of the intrepid youth TV star Reggie Yates notwithstanding, it is difficult to ignore or account for the dearth of BAME presenters in documentaries and “serious” factual programming; and no major current British chat show has a permanent anchor who isn’t white.

Adil Ray’s BBC1 comedy Citizen Khan, which focuses on the escapades of the overbearing Muslim patriarch Mr Khan and his family in the Sparkhill area of Birmingham, is a rare exception. It has just returned for a fifth season. A worthy successor to Desmond’s in its tongue-in-cheek approach to potentially inflammatory issues (the 2014 Christmas special featured the birth of Mr Khan’s grandson, Mohammad, on Christmas Day) the programme also resembles its forebear in a more depressing way: it appears to be one of a kind.

When I ask Ray why he thinks this is, he selects his words carefully. “It’s not prejudice exactly,” he says, “but in the TV business, there are a lot of formulas. If you’re doing curry, get an Asian person. If it’s hip-hop, someone who’s black. If you’re doing a walk in the countryside, or drinking tea in the Cotswolds . . .” He leaves the sentence hanging.

What appears on screen is only the visible part of the problem. Actors get cast in roles only if writers write them; projects get made only if commissioners commission them. TV and film are notoriously incestuous and competitive industries. Careers are unstable. Knowing someone who knows someone is often – too often – the only way of getting work.

According to figures produced this year by Creative Skillset, many media companies fail dismally when it comes to representation. Just 24 per cent of those in senior roles in cable or satellite firms are female; 4 per cent of employees in positions in senior terrestrial broadcast are BAME; and, if the numbers are to be believed, there are no BAME people at all working on the senior production side of independent film companies. The figures aren’t entirely robust – they rely on organisations filling in forms and returning them – but if they’re anywhere near the truth they make for grim reading.

The BBC’s statistics are more encouraging (according to the latest figures, BAME people make up 13.4 per cent of staff overall and hold 9.2 per cent of leadership roles) but don’t include freelancers, an area in which it is reasonable to suppose that, without quotas to fill, representation will be worse. In September, the media regulator Ofcom put broadcasters on notice that they could face “harder-edged” regulation if they did not improve diversity.

Chi Onwurah, the MP for Newcastle upon Tyne Central, who has been vocal about these matters in parliament, says that the BBC has a special duty to up its game. “It’s not doing enough,” she tells me. “If it was, there wouldn’t be a problem. It was very interesting watching the [European Union] referendum; all the efforts broadcasters have gone to to make sure there was balance. If they went to half that effort for BAME, gender and disability, it would be a different world.”

The BBC is keen to show that it is paying attention. Last year, it appointed Tunde Ogungbesan as its new head of “diversity, inclusion and succession”, and in April his team announced eye-catching targets: gender parity across every part of the corporation; 8 per cent of staff disabled; 8 per cent of staff lesbian, gay or trans; 15 per cent of staff from BAME backgrounds. Those numbers will be replicated on screen, lead roles included, and are roughly equivalent to averages for the overall population of Britain.

Yet the idea that established BBC presenters will go quietly seems optimistic. Take the ruckus that the comedian Jon Holmes recently raised when his contract with The Now Show (Radio 4) wasn’t renewed. Holmes asked in the Mail on Sunday: “Should I, as a white man . . . be fired from my job because I am a white man?”

Ogungbesan – a former head of diversity for Shell – has a businesslike attitude to the challenges he faces, which are, he concedes, considerable. “We’ve got four years to do this, and we know there’s a hell of a lot of work to do.” That is why his team has given itself a deadline. “Hopefully, when we hit those targets in 2020, we’ll be the most diverse broadcaster in the UK.”

How does he respond to Onwurah’s suggestion that the BBC is skilled at announcing targets but less good at making change happen? “We’re publishing our results,” he says. “You’ll be able to hold us to it.”

And what if the targets aren’t met? Ogun­gbesan laughs, for perhaps a touch too long. He will not consider the possibility. “I’m like a boxer. I refuse to look at it.”

***

If British TV and film don’t get their act together soon, there may be no one left to cast. Increasingly, black and Asian stars are decamping to America to make their career there. Among those who have joined the brain drain are Archie Panjabi and Cush Jumbo (The Good Wife), David Oyelowo (Selma) and Chiwetel Ejiofor (12 Years a Slave). Idris Elba, who brooded brilliantly in BBC1’s crime procedural Luther, would likely never have been cast in a big British series if he hadn’t already made a name in the United States with The Wire. Before she appeared in Undercover, Sophie Okonedo said in an interview that the scripts she was offered from the US far outnumbered those from the UK.

Visiting Los Angeles recently, I tracked down Parminder Nagra, who made her name in Bend It Like Beckham before being spotted by a producer for the long-running medical drama ER. In 2003 she was offered the role of the Anglo-American doctor Neela Rasgotra, which she played until the series ended in 2009. A big part in the NBC crime drama The Blacklist followed, along with other film and TV work.

She never intended to move, she says, laughing ruefully, when we meet at a café in a well-to-do suburb of LA populated by movie folk. She has worked occasionally elsewhere but, 13 years on, she is still on the west coast. “The jobs I’ve got, like most actors, haven’t come about in a conventional way. It’s generally because someone is open-minded enough to look at you.”

Although she is careful to make it clear that the US is far from a utopia in terms of how it portrays race, sexuality or gender on screen – she tells a gruesome tale of a white writer who sent her his attempt at an “Asian” character – Nagra senses that things are more open in the US. “It’s a bigger pond here, because of the sheer size of the country,” she says. “There are writers of colour in the UK, but what happens is that you’ve only got one or two people at the top who are making decisions about the taste of the country . . . Those people are white.”

The landscape is certainly more open in the US. Leaving aside the allegations about Bill Cosby, NBC’s Cosby Show (1984-92) was a force for good, with its focus on a middle-class African-American family and with the numerous ethnically diverse shows it made possible: A Different World, The Fresh Prince of Bel-Air, In Living Color, Scandal (the last was commissioned by the influential black writer-producer Shonda Rhimes). Back in the early 1980s, the gentle NBC sitcom Gimme a Break! – starring Nell Carter – explored issues of racism, too.

US cable and online subscription ­services are even more courageous. Netflix’s Orange Is the New Black has an ethnically kaleidoscopic cast and plotlines that vault across almost every conceivable question of gender, sexuality, body image and politics. Where it has apparently taken the BBC until 2016 to realise that families can be both black and upper middle class, ABC in the US was years ahead: in 2014 it commissioned Black-ish, which offers a subtle portrait of an advertising executive who frets that he is losing touch with both his Obama-era kids and his inner-city origins.

Nagra nods. “There still are a lot of issues here, but if you’re an actor of colour, there is more work. All those British period dramas are really well done, but there’s a yearning there: ‘Can I please just see somebody like me on TV?’”

The reason all this matters is that TV, theatre and film have a duty to show us not merely who we are, but who we can become. In Undercover, Okonedo becomes Britain’s first black, female director of public prosecutions: this may seem unlikely, given the state of the UK’s judiciary, yet seeing it on TV helps to shift perceptions. No one would argue that Okonedo’s co-star Dennis Haysbert got Barack Obama into the White House by playing a black president of the United States in 24, but perhaps it made such a world marginally more imaginable.

The time is overdue for British TV to abandon its fetish for bodices and show us what our nation actually looks like, in all its variety – and to be more imaginative about the kind of history it presents. Colour-blind casting is mainstream in theatre. Actors of various heritages appear in Pinter or Chekhov and no one raises an eyebrow.

Anthropologists argue that race and gender are forms of performance, sets of shared codes, rather than something intrinsic to who we are. Is it so difficult to imagine a Jane Austen production with performers of black or Asian heritage? Is that any harder to believe than the thousand impossibilities we witness every day in TV drama?

I ask Essiedu if he is optimistic. Yes, he says forcefully. “I have to be. Optimism is the only way we initiate change.”

When I put the same question to Nagra, she pauses to think. “I remember being asked about this when I started ER, and I was a bit tired of the issue even then. Yet here we still are.” Her expression is wry. “So ask me in ten years’ time.”

This article first appeared in the 24 November 2016 issue of the New Statesman, Blair: out of exile