A to B: Vikings of the N22

Night Buses are where you really find out what life means, writes Eleanor Margolis.

I clamber up the stairs on the N22 bus and, suddenly, I’m looking over a carpet of blonde heads. It’s around 4am and, having done a good few tequila shots, I easily convince myself that I’ve never seen this many blondes in one place. It’s like a Nuremberg Rally in colour. I collapse into the only seat not taken by a blonde. Then I notice it – the lilting, song-like sound emanating from the blondes. They’re Swedish. Every one of them is tall, liberal (probably) and merry. Where they came from, I’ll never know, but like me this boisterous crew of Vikings is heading towards Fulwell.

Fifteen minutes later, I’m certain that I’m starting to pick up Swedish. They’re saying something that sounds a bit like “jårg” quite a lot, so that must be Svensk for, uhh, bus? The jårg stops on the Kings Road and about fifteen more blondes come frolicking up the stairs. To my astonishment, the new blondes know my blondes. They’re Swedish too. Loud greetings are exchanged and I begin to wonder if I’m in the midst of an invasion. It makes sense. Sort of. While we’ve been busy pumping billions into wars in the Middle East, unassuming Sweden has been quietly building fleet of longboats set for British shores.

As I’m trying to work out how to get in touch with the MoD, the Swedes are getting rowdy. And weird. They break into an impassioned chorus of When You Say Nothing At All, by Ronan Keating. It may have something to do with the tequila, but I’m overcome with this warm, doughy feeling startlingly close to optimism. Right here, surrounded by beautiful Nordics singing a fourteen-year-old hit, I’m overwhelmed by how strange and wonderful this moment is. I’m present. Sweet Buddha, I’m present. Eat your mindful heart out, Eckhart Tolle.

This isn’t the first time I’ve had a moment of spiritual clarity on the N22 to Fulwell. There was the time a ginger man on acid (retro, I know) tried to convince me that there is a God. We called each other “man” a lot and he decided I was the rightful queen of Belgium. There was also the time I fell in love (for at least twenty minutes) with a girl dressed as Andy Warhol.  For most people, night bus journeys conjure up images of pure, Boschean nightmare; grotesque, misshapen figures vomiting strange liquids out of even stranger orifices. It’s no mystery to me why a busload of puking, singing, belligerent sots isn’t everybody’s cup of gin. But, for me, there’s something more to the post-booze up voyage home. Something bordering on transcendental.

The bus journey home is the anti-climax of a heavy night out. It’s where you begin to sober up and realise that you shouldn’t have put fourteen kisses at the end of that text to a girl you convinced yourself you were over. I even have a specific “wallowing in self-pity” night bus playlist on my phone. It contains more than one Leonard Cohen track. The night bus journey combines intense self-reflection with some of the most fascinating people watching you’ll ever do. It’s the playground of the tired and emotional; the arguing couple, the loner with a sandwich, the tragic figure that is the guy who’s finally realised his animal onesie makes him look stupid. For me, this period of concentrated internal and external evaluation usually culminates in an inner exclamation of something like, “HOLY HELL, I’M SO HUMAN.”

There’s something softly menacing about driving through London in the small hours of the morning. When I lived in South East London, my night bus back from the centre would take me past an empty, litter-strewn Trafalgar Square, under an electric blue sky. Everything seems more beautiful when you’re drunk, and deserted, vomit-slicked streets are no exception. But possibly the most sublime thing about the night bus journey is the promise of Home at the end of it. 

This piece is part of A to B, the New Statesman's week of posts on travel and transport.

A night bus. Photograph: Alastair Rae on Flickr, CC-BY-SA

Eleanor Margolis is a freelance journalist, whose "Lez Miserable" column appears weekly on the New Statesman website.

Photo: Getty
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PMQs review: Jeremy Corbyn prompts Tory outrage as he blames Grenfell Tower fire on austerity

To Conservative cries of "shame on you!", the Labour leader warned that "we all pay a price in public safety" for spending cuts.

A fortnight after the Grenfell Tower fire erupted, the tragedy continues to cast a shadow over British politics. Rather than probing Theresa May on the DUP deal, Jeremy Corbyn asked a series of forensic questions on the incident, in which at least 79 people are confirmed to have died.

In the first PMQs of the new parliament, May revealed that the number of buildings that had failed fire safety tests had risen to 120 (a 100 per cent failure rate) and that the cladding used on Grenfell Tower was "non-compliant" with building regulations (Corbyn had asked whether it was "legal").

After several factual questions, the Labour leader rose to his political argument. To cries of "shame on you!" from Tory MPs, he warned that local authority cuts of 40 per cent meant "we all pay a price in public safety". Corbyn added: “What the tragedy of Grenfell Tower has exposed is the disastrous effects of austerity. The disregard for working-class communities, the terrible consequences of deregulation and cutting corners." Corbyn noted that 11,000 firefighters had been cut and that the public sector pay cap (which Labour has tabled a Queen's Speech amendment against) was hindering recruitment. "This disaster must be a wake-up call," he concluded.

But May, who fared better than many expected, had a ready retort. "The cladding of tower blocks did not start under this government, it did not start under the previous coalition governments, the cladding of tower blocks began under the Blair government," she said. “In 2005 it was a Labour government that introduced the regulatory reform fire safety order which changed the requirements to inspect a building on fire safety from the local fire authority to a 'responsible person'." In this regard, however, Corbyn's lack of frontbench experience is a virtue – no action by the last Labour government can be pinned on him. 

Whether or not the Conservatives accept the link between Grenfell and austerity, their reluctance to defend continued cuts shows an awareness of how politically vulnerable they have become (No10 has announced that the public sector pay cap is under review).

Though Tory MP Philip Davies accused May of having an "aversion" to policies "that might be popular with the public" (he demanded the abolition of the 0.7 per cent foreign aid target), there was little dissent from the backbenches – reflecting the new consensus that the Prime Minister is safe (in the absence of an attractive alternative).

And May, whose jokes sometimes fall painfully flat, was able to accuse Corbyn of saying "one thing to the many and another thing to the few" in reference to his alleged Trident comments to Glastonbury festival founder Michael Eavis. But the Labour leader, no longer looking fearfully over his shoulder, displayed his increased authority today. Though the Conservatives may jeer him, the lingering fear in Tory minds is that they and the country are on divergent paths. 

George Eaton is political editor of the New Statesman.

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