Fear and loathing on the left

Why are Labour governments, from Attlee to Blair, always so riven by personal animosities? Andrew Ma

Why is the left so nasty? Why are politicians brought up in a Labour movement that bangs on about brotherhood and sisterhood so consumed with dislike and suspicion of one another? If we believe the newspapers, most members of the cabinet and many other Labour MPs are almost perpetually at daggers drawn, or at least simmering with mutual resentment. The rejoicing at Peter Mandelson's fall, and then the whooping at Charlie Whelan's resignation, are only the latest examples. And on this subject, mirabile dictu, the newspapers are certainly to be believed.

It is a tradition. One of Labour's mid- century heroes was Ernie Bevin, the trade union leader turned foreign secretary. Bevin has many earthy, pearl-encrusted lumps of wisdom for today's party. But new Labour has taken only one Bevinism to its heart: his retort to Attlee's remark about Herbert Morrison (a fellow member of the 1945-51 government) being his own worst enemy. Bevin snarled: "Not while I'm alive, he ain't."

So it goes on; a cosy party of worst enemies ever since, like a convoluted Sicilian family whose feuds are repeated generation after generation. John Prescott, the nearest we have to an Ernie Bevin, waged a long and malicious semi-public campaign against Mandelson, Morrison's grandson, constantly mispronouncing his name as "Mendelson", and once comparing him to a crab. Class hatred? Bevin would have approved. Meanwhile, I don't suppose there's a single important minister who someone else hasn't told me is lazy, corrupt or paranoid. Then, just as we were all digesting the Mandelson affair, we got an eerie echo of today's events, courtesy of the 30-year delay on cabinet papers being released. Alongside the modern grudge matches, the press simultaneously relayed the latest news from 1968 when Ray Gunter resigned from the Wilson government because he couldn't stand the "the bloody middle classes and intellectuals within the cabinet" and, in particular, "that bitch" Barbara Castle. There's a ringing feeling in my ears.

It was also the year of the fall of George Brown and he, too, was a famous hater. There's a story about him marching up to Len Williams, an ex-general secretary of the Labour Party, and one of Brown's enemies, who had just agreed to become the governor-general of Mauritius. Did the post involve wearing a plumed hat, Brown pleasantly asked. Yes, said Williams modestly, yes it did. "Well," said Brown, "I hope your fucking feathers fall out."

Is Labour fated to relive, government after government, the poisonous personal feuding that undermines the party's moral authority? And if so, why? Before the election, Tony Blair was warned that his biggest headache in No 10 was likely to be relations between his senior ministers - Gordon Brown and Mandelson, Brown and Robin Cook, Cook and Mandelson, Prescott and Brown, and so on. He laughed the idea off.

He probably isn't laughing now. This might be less damaging if it weren't for the striking similarities with cabinet feuding in the now-reviled Wilson years. The publication of Dick Crossman's cabinet diaries in the mid-1970s was a watershed because, for the first time, it tipped the cabinet's mutual animosities and bitterness into the public arena. For people outside the closed world of Whitehall and the press lobby, it was a moment of revelation. I can vividly remember my history teacher's shock and amazement as he read out entries to us.

Harold Wilson, realising what damage was being done, tried to get the rules on publication of cabinet diaries toughened up - to little effect, since the Castle diaries and then the voluminous Benn diaries followed. Crossman himself had gone to the root of the matter years earlier, when he wrote in his back-bench diaries in 1956: "When the Tories are in trouble they bunch together and cogger up. When we get into trouble, we start blaming each other and rushing to the press to tell them all the terrible things that somebody else has done."

Tory coggering had rather fallen out of fashion by the time of the Major government - or rather, when they did cogger up, someone was usually left dead on the Westminster marble afterwards. Under post-Crossman glasnost, we know a lot about how much the Tories came to loathe one another, as their European battle raged on. The Lawson and Howe resignations, then Margaret Thatcher's own bitterness at her removal ("treachery . . . treachery with a smile on its face") had set the scene for John Major and the "bastards". And, at the height of the battle, the hatreds were deep and real. I recall walking with Norman Lamont down Whitehall after his resignation; Tristan Garel-Jones, spotting us, immediately crossed four lanes of moving traffic to seize Lamont by the arm and warn him in bloodthirstily unrepeatable terms what he would do to him if he went public against Major. There are scores of similar stories still knocking around. These are vendettas that will probably last for a generation. Purely from a journalistic point of view, I do hope so.

But this should be of little comfort to the present cabinet. For one thing, the Tory feuds were mostly about policy, very important policy, and were perhaps unavoidable given the difficult choices facing the Thatcher and Major governments over Britain's destiny. Second, those governments were destroyed by them. Third, in the political mythology, Tories are supposed to be nasty - but efficient. They don't go on about fraternity and comradeship, do they? So again, why are Labour people so nasty to one another? Is it that lefties are simply disagreeable? That they are either cold, intellectual renegades from the upper middle classes, driven by dislike of their own backgrounds; or working-class politicians who despise the middle-class people they have to mix with?

Could be: academia, trade unionism and left-wing activism are all poor training-grounds for niceness and mutual respect. Academia is famously poisonous and rivalry-ridden. The clash between factions in the unions produced a culture of leak and counter-leak that was brought into government again in 1997. And the climate of oppositionism around the left in the late 1970s and early 1980s was particularly grim.

There is a hilarious and uncomfortable account of those times, Things Can Only Get Better: eighteen miserable years in the life of a Labour supporter (Doubleday, 1998) by the comedy writer John O'Farrell, which rings bells with many of us who were there.

"The media coined phrases like 'Hard Left' or 'Militant Left' but 'Very, Very Boring Left' would have been more accurate," writes O'Farrell. "It wasn't the left-wing-ness in itself that was the problem, it was the excessively bad-tempered and humourless way in which the left argued its corner. . . We had somehow got it into our heads that a period in opposition meant that we were now opposed to everything."

Some of the things O'Farrell decided were right wing were "flowers, fish knives, ladies' hats, power steering, Wellington boots, the county of Surrey, Donald Duck, conservatories, and any girl's name that ended in the letter 'a' . . . One of the people that I lived with in Exeter decided that smiling was right wing. He pretended to be miserable as a sort of political statement throughout the early 1980s."

I remember people like that. And, let's be honest, there have been humourless, life- hating lefties since the Levellers began hawking Socialist Peasant around Middlesex; and certainly since Robespierre gave purity a bad name. It is the psychological profile described by George Orwell: "The typical socialist is a prim little man with a white-collar job, usually a secret teetotaller and often with vegetarian leanings."

There's nothing wrong with a bit of puritanism, particularly in January, but it is connected to a left moral fundamentalism that can easily turn nasty. O'Farrell again: "We all believed, or rather we knew, that socialism would solve everything and that any particular individual who happened to be to the right of us was responsible for all the world's problems and therefore we hated them. As far as I can remember, just about everyone I knew on the left was like this. Angry, negative and totally un-self-aware. And Tony Benn gave the British left its chance to vent its ugly spleen in public. At regular intervals the news would feature Benn supporters booing Denis Healey, pelting him with missiles and picketing his meetings. They seemed to hate him more than they hated Margaret Thatcher."

It wouldn't be hard to see how a party whose left-wing members had marinated themselves in self-righteous hatred (remember Nye Bevan's 1948 proclamation of his "deep and burning hatred of the Tories . . . they are lower than vermin") might carry this right to the top. But there are a couple of problems with the thesis that Labour, despite the generosity of its vision, is somehow nasty by nature. First, most of the people feuding in cabinet had nothing to do with that era of ultra-leftism. Brown, Cook, Prescott - they hated it at the time as much as O'Farrell hates it in retrospect. Second, if it were true, then the Labour right would be conspicuously nicer than the Labour left, and that also isn't so. Denis Healey had a brilliant line in invective. Think of his famous remark about David Owen: that when he was born, the good fairy had given him everything - good looks, brilliant intelligence, luck. "Unfortunately, the bad fairy made him a shit." Nor would it be entirely true to say that, for instance, dear Gerald Kaufman was a kindly old soul. Or that Mandelson himself pursued a "speak no evil" policy.

No, I think the real answer is a mixture of all this, and something else, which is simply that Labour has spent too long in opposition. Out of power, the big egos kept themselves warm by dreaming of top jobs. But these are, by definition, very limited indeed. The same was true of the early Wilson years and of the Attlee government. What has changed is that the constant competition among desperate souls, for a handful of slippery perches, now takes place in front of a media that is itself more desperately competitive, and that exaggerates the smallest differences. This produces a bitchy climate that few ministers can resist. Since Tony Blair, who doesn't seem to have a malicious bone in his body, is one of the few who can resist, perhaps he can use recent events to draw a line under the warfare. Enough people have gone. Enough others have been frightened. Perhaps this really is grow-up time.

Everyone I've been talking to tells me so. They know that, in the long term, this behaviour is deadly. On the other hand, I can't help thinking that at the back of their minds there is a piece of advice that rings louder still. It's Stalin: "There is really nothing more delightful than carefully plotting a trap into which your enemy in the party is bound to fall, and then going to bed." Ho, ho, comrade, ho, ho.

Andrew Marr writes for the "Express" and the "Observer"

Andrew Marr is a broadcaster and journalist. Formerly the BBC’s Political Editor, he presents the Andrew Marr Show on BBC1 on Sundays and Start the Week on Monday mornings on Radio 4.

This article first appeared in the 08 January 1999 issue of the New Statesman, Stuff the millennium

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Seasons change, Gilmores stay the same

Gilmore Girls is fundamentally about two things: inheritance and community. The four seasons are crucial in exploring those themes.

If you’re out on the road, feeling lonely and so cold / All you have to do is call my name / And I’ll be there. The Gilmore Girls theme, a special version of Carole King’s “Where You Lead” featuring extra vocals from her daughter, plays each episode over images of autumnal New England foliage, and always reminded me of another song on Tapestry, “You’ve Got a Friend”. Winter, spring, summer or fall / All you have to do is call / And I’ll be there.

“Winter”, “Spring”, “Summer” and “Fall” are the episodes that make up Gilmore Girls: A Year in the Life, Netflix’s revival of the Noughties TV series. Fans won’t be at all surprised to see Netflix lean on the four seasons to organise the new show, a fundamental principle of the original series. This integral structure remains even as they dispense with other structures of the previous seven seasons, instead of the original 22-episode year, there are just four episodes used to narrate the Gilmores’ 2016, and each one has ballooned from 45 minutes to 90. And that familiar opening? Gone.

MISS PATTY: And flutter, flutter, flutter, flutter, flutter… and leaves! Where are my leaves? I got pumpkins, I got Pilgrims, I got no leaves.

Until 2016, every episode of Gilmore Girls included the same opening credits, with shots of red and gold leaves, a Connecticut town in the throes of autumn. So, those leafy fall shots would appear at least once an episode, even though the show’s picture-perfect town, Stars Hollow, would spend each series transitioning in and out of each of the four seasons. Of course, Stars Hollow is not a real place under the influence of real changes in the weather: it’s filmed on the perpetually sunny Warner Brothers lot in Los Angeles. And New England is so inextricably associated with autumn splendour, Stars Hollow so relentlessly idyllic, you might have expected the makes of Gilmore Girls to suspend Stars Hollow in a perennial fall, with Rory and Lorelai clutching hot coffees as they tread autumn leaves underfoot all year round. (It might make thematic sense, too: Gilmore Girls’ narrative of a precocious 16-year-old, brimming with brains and potential, slowly failing to achieve her own impossible goals fits both with the season’s connotations of academic beginnings and promise, and with its longer-standing cultural affiliation with maturity, pensive reflection and wistfulness.)

DARREN: Stars Hollow is charming. The last time we drove through there, there was a pumpkin patch.
LORELAI: Sounds like us.
DARREN: In March.
LORELAI: Oh, that would be the year the pumpkins arrived late.

The idea of Stars Hollow in perpetual autumn even comes up in a few episodes. Pumpkins arrive in March, autumnal events continue until the very end of November. Fall decorations are seemingly mandatory for local businesses.  But while every Gilmore Girls viewer can immediately conjure an image of Stars Hollow in fall, so too will they have an equally memorable selection of images of the town in winter, spring, and summer. No season goes unmarked. In fact, in the hyperreal utopia of Stars Hollow, seasons are exaggerated and picturesque: an overabundance of harvest vegetables, fluffy snow, budding blossoms, or falling leaves.

LORELAI: Grass is just not this green — not outside of Pleasantville, it isn’t.
CHRISTOPHER: So, what exactly are you saying?
LORELAI: I’m suggesting they brought in sod.
CHRISTOPHER: You suspect sod.
LORELAI: Yes, or spray paint. Maybe they spray-painted the grass when they spray-painted these trees, ‘cause, I mean, there’s autumnal foliage and then there’s autumnal foliage. It’s over the top, people.

But the seasonal obsession is more than just a way to emphasise the perfection of Stars Hollow. It’s an organising principle for the show’s structure, action and themes.

***

When Kelly Bishop (the actor who plays the most senior Gilmore girl, Emily) received the script for Gilmore Girls, she was stunned by the sheer weight of it. “I kept flicking it over, and looking at the thickness of it,” she told EW. “It was too thick to be a sitcom.” Gilmore Girls, consisting of hour-long episodes that make little sense out of order, but with its emphasis on witty dialogue over dramatic plotlines, hovers in a strange space between sitcom and drama.

Sitcoms are, by definition, situational — they often rely on characters thrown together in a confined space, be it the family living room, friends flatsharing or colleagues in a shitty office space. Comedy is often drawn from the familiarity of the specific surroundings: as a result, fans of The Simpsons or Friends or The Office could accurately draw floor-plans of the shows’ unchanging sets. So, too, could you draw a map of Stars Hollow, if you’ve seen enough episodes (trust me, I’ve done it). The action of a sitcom is often suspended in time and space: episodes end back where they began, the next opening as though nothing of note has happened since. Dramas, though, tend to thrive on progression of both character and plot; casts moving inexorably forward through time and space.

LORELAI: God, the town looks beautiful.
LUKE: Same as always.
LORELAI: No, it’s always different this time of year. It’s magical.
LUKE: If you say so, sure. Oh look, there’s the magical plumbing supply store where I bought a magical float for my toilet last week.
LORELAI: You disappoint me.
LUKE: Oh look. There’s the magical Luke’s Diner, right underneath the apartment that Jess magically lit by leaving every stinkin’ light on.

So, for Gilmore Girls to straddle both these genres, Stars Hollow must hold most of the show’s action and the majority of its ensemble cast, while still allowing the passing year to make its mark on the town. The seasons allow this. Much of this work is done in the background, as the set design changes from episode to episode, but characters are also constantly remarking on the changes in the town with each passing month, as Lorelai does when snow envelops the square.

The result is not just a keen sense of place, but of a place moving through time.

***

TAYLOR: Every other store in town has fall decorations.
LUKE: Hoorah for the mob mentality.
TAYLOR: We’re talking a few streamers and a paper turkey. How’s it gonna hurt to have a paper turkey?
LUKE: No turkey, no squash, no pumpkins. Nothing colored orange.
TAYLOR: OK, you don’t like orange. That’s fine. Autumn has many varied hues to toy with. This is the Autumn Festival. Your shop is right across the street from the Horn of Plenty! You’re smack dab in the middle of everything. You have to decorate.
LUKE: I don’t have to do anything but serve food.
TAYLOR: We’re talking about the spirit of fall!
LUKE: You know where you can stick the spirit of fall?

Gilmore Girls, with its principle cast of family members, and its sprawling ensemble cast of Stars Hollow residents, is fundamentally about two things: inheritance and community. The four seasons similarly become an important device for exploring those themes.

Small rural communities have long organised themselves around the seasons. Stars Hollow is no different — except in the ridiculous extent of its embrace of all things seasonal. Each season of Gilmore Girls is organised around the constant onslaught of annual festivals: the End of Summer Madness Festival that, well, ends summer, the Teen Hayride, the 24-Hour Dance Marathon the Autumn Festival complete with Cornucopia Can Drive and Horn of Plenty, November’s Old Muddy River Bridge Knitathon, the commemorations of the Battle of Stars Hollow, the Winter Carnival, the Snowman-Building Contest, the Christmas Procession, January’s Founders’ Firelight Festival, the Bid-on-a-Basket festival, Groundhog Day, St Patrick’s Day, the Purim festival, a whole host of springtime weddings and engagement parties, the springtime Movie Night in the Square, the annual Easter Egg Hunt, the Hay Bale Maze at the Spring Fling Festival, and the Festival of Living Pictures are just selection of the events honoured in Stars Hollow.

LORELAI: Oh, hey! Turn out the lights.
LUKE: For what? It’s not the real procession, it’s just the rehearsal.
LORELAI: So, it’s pretty.
LUKE: And why do they need to rehearse it? It’s the same thing every year.
LORELAI: Come on Luke, please. It’s hard to imagine living somewhere else isn’t it?

These aren’t just background quirks, lending us an increased sense of familiarity with the town as we’re told over and over that these events unfold in the same, strange way every single year. They’re linchpins which hold key plot events in place. Both Jess and Dean tell Rory they love her, with less than positive consequences, during the supposedly romantic Founder’s Firelight Festivals. Rory’s romantic relationship with Jess speeds up when he bids on her basket at the Bid-on-a-Basket festival, which is also where Sookie and Jackson become engaged. Her relationship with Dean ends (the second time) in spectacular fashion at the Dance Marathon. Luke begins his romantic relationship with Lorelai when dancing with her amidst springtime decorations in the town square at Liz and TJ’s wedding. The list goes on.

The result is that the lives of our main characters, the lives of the smaller Stars Hollow characters, and small-town seasonal events are all inextricably linked to the same calendar. Particularly in the early seasons, every significant relationship, for both Rory and Lorelai, becomes rooted in the community of Stars Hollow. Public acts of citizenship and private expressions of love overlap. To live in Stars Hollow is to live every aspect of your life communally, communing with others, and with nature itself.

LORELAI: Do you know that the best things in my life have happened when it snowed?
RORY: Why, yes, I do.
LORELAI: My best birthday.
RORY: Your first kiss.
LORELAI: Your first steps. They all happened when it snowed.

***

The seasonal structure of the show also brings with it a sense of inevitability, as, in the midst of these reliable annual ceremonies, Gilmore Girls explores ideas of inheritance across the generations. In the grand houses of Emily and Richard’s world (and Lorelai, Christopher and Logan’s youths) inheritance both metaphorical and literal is an encouraged part of family life: but it feels forced and uncomfortable, restricting individuality in favour of decorum and reputation. In Stars Hollow, inheritance functions in a different, but no less crucial, way: more subtle and natural, as constant and eternal as the circles of life. For children who grow up with their parents in Stars Hollow, inheritance seems predestined, even if it didn’t seem so to the characters it affects.  

Many characters are surprised by what they inherit from their parents: Luke never expected to care so much for his father’s old hardware store, Lane is shocked to discover that after years of aching to break out of her mother’s conservative ideals, she’s not comfortable with having sex before marriage. Jess never thought he would pick up a book on intimacy from his uncle Luke, let alone read it sincerely, nor to learn so much valuable advice from him about communication in relationships.

LUKE: You do not want to grow up to be like your mom.
RORY: Sorry, too late.

Of course, that sense of inescapable legacies is taken to extremes in Rory and Lorelai’s relationship: in the very first episode, Lorelai exclaims to her daughter, “After all, you’re me!” While Rory at 16  is, in some ways, a vision of everything Lorelai at 16 was not (responsible, excited by her education, chaste, keeping a constant, serious eye on her future), as the series unfolds, that changes, as Rory becomes more impulsive, reckless and romantic. Viewers are relentlessly confronted by parallels between Rory and Lorelai’s romantic choices: Christopher is to Lorelai as Logan is to Rory, Luke is to Lorelai as Jess is to Rory. Seasons change, Gilmores stay the same.

LORELAI: He kind of looks like Christopher.
LUKE: The grocery kid?
LORELAI: Yeah. He looks like Christopher.
LUKE: And Christopher is Rory’s dad?
LORELAI: The hair, the build, something about the eyes. He reminds me of Christopher.
LUKE: Well that’s not too surprising.
LORELAI: You’re going to quote Freud to me? ’Cause I’ll push you in front of a moving car. This talk was going so well.
LUKE: You and Rory are a lot alike. It’s not surprising you would have similar tastes in men.

It is an inexorable, unavoidable logic, then, that sees Gilmore Girls: A Year in the Life, a show with more interest in the unfolding seasons and the passage of time than ever, that sees Rory finally become her mother. The show’s much-anticipated final four words (“Mom,” “Yeah?” “I’m pregnant”) see Rory at 32, the same age as her mother when the series began, in a similar position to her mother at 16: single, pregnant, unfocused in her career. Some found it frustratingly obvious and pessimistic, others found it optimistic and apt. I’d sum it up in the same way Lorelai comments on her repeating circumstances with her own mother: with a grimly ironic toast “to the circle of life”.

But however you feel about the ending, Gilmore Girls has pulled off one impressive feat. As Lorelai and Rory sit together in the bandstand, and the show cuts to black, it doesn’t feel like the show has ended at all. The fictional landscape of Stars Hollow has a life that extends beyond the screen, as inevitable as the seasons themselves.

Anna Leszkiewicz is a pop culture writer at the New Statesman.