Rod Liddle and friends, a word in your ear about harassment

There's a difference between flirting over the photocopier and being a groper. So even if you think you're Don Draper, you might be Uncle Monty.

Gentlemen, a word in your ear please. As you all know, some of the chaps have been getting into a bit of bother of late, with all sorts of unfortunate allegations, sordid photos and lurid headlines on the front pages. Well, let me offer a bit of advice.

We all know what the newspapers are like. There we are, doing our jobs, working hard from morning till lunchtime running the country and protecting the mortal souls of the nation, and in they saunter, joking about their column inches and hinting that if we play our cards right, they could give our careers just the boost we need. Don’t fall for it. They’re not really interested in our talent, potential or future career, forgive my frankness but, they’re really just hoping for a chance to screw us. One minute you’ll be at a daily photo-call, cool and professional, the next moment you’ll be getting chased up the stairs by a paparazzo with a fully extended telephoto lens.  If you’re going into politics, it’s a very tough world, and if you want to survive the attentions of the press, you might find you need to toughen up a bit, play the game, if you get my meaning. Relax, try to enjoy it, it happens to everyone.

Steady on, I hear you say, perhaps these chaps have done nothing to invite the hot, heavy breath of a tabloid hack on their necks? What if their behaviour was entirely innocent? Won’t this type of unwelcome and unfair harassment put talented men off the notion of public service, to everyone’s detriment? Maybe advising people to toughen up isn’t quite enough, so let’s consider an alternative approach. 

Take a look at your employment contracts, chaps. You see that passage in the ‘benefits’ section, just between the pension plan and the holiday allowance? The bit saying you are entitled to squeeze every potential opportunity and sexual thrill out of any passing young colleague who takes your fancy? No? Perhaps that might be because it is not bloody there.

It’s all very well for the likes of Rod Liddle to declare breezily that all this is no big deal, that the work place has now become the venue within which we meet our sexual mates, because he sits on a moral high ground to which the rest of us can only aspire. It’s not as if he famously left his wife and two children for a 22-year-old receptionist from work or anything, is it? Is it? Oh.    

Rod Liddle.

Yes, people often form relationships through work, but there’s a big difference between inviting someone out for a meal or succumbing to some mutual flirting across the photocopier, and exploiting your power and position in such a way that the target of your attention feels degraded, intimidated and unsafe. Just for a moment, stop imagining yourself as Don Draper in Mad Men, all suave, sexy allure, wearing your dominant position like an aphrodisiac cologne. 

Chances are you’re not Don Draper, you’re Uncle Monty. Remember that scene in Withnail and I when Paul McGann’s character is being chased around an isolated cottage by a randy old goat, bursting with sweaty, menacing, terrifying lust and refusing to take no for an answer? That is much closer to the reality of sexual harassment for most of those who experience it. Now imagine being told that you might have to expect this to happen any day in the office, throughout your career, and that you should toughen up and get used to it. It is more easily said than done.

Finally chaps, since it is just us here together, one final chat about tactics. You know how we’ve been spinning the line about how men can’t help ourselves? That when the blood rushes to our loins it drains from our brains, rendering us incapable of behaving in a vaguely grown-up way? I know, I know, it is hilarious that we managed to pull that one off for so many centuries, but the bad news is I think they’re on to us. Seems women have noticed that there are lots of men, indeed a large majority, who are quite capable of going through life without sexually assaulting and sexually harassing their colleagues, who can treat women generally as equal human beings, which has rather blown the lid on the racket for the rest of us.

So, chaps, if we can’t just toughen up and ignore this, if we can’t dismiss it as trivial or excuse it as inevitable, what is there left to do? Perhaps there is only one way to stop such unpleasant media attention in the future. Those few of us who behave like the feral tom cats who got at the Viagra might just have to start acting like decent, self-aware human beings instead. The rest of us could stop excusing them, indulging them and covering for them. In one sense, those who say sexual harassment is no big deal have a point. It is not necessary, it is not inevitable, it is not the glue which holds the universe together, we could stop it in a second if we decided, collectively, to do so. Perhaps that time has finally come. 

Not Rod Liddle.
Photo: Wikimedia Commons and Getty
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“Rise like lions after slumber”: why do Jeremy Corbyn and co keep reciting a 19th century poem?

How a passage from Percy Shelley’s The Masque of Anarchy became Labour’s battle cry.

“If I may, I’d like to quote one of my favourite poets, Percy Bysshe Shelley,” Jeremy Corbyn politely suggested to a huge Glastonbury audience. The crowd of nearly 120,000 – more accustomed to the boom of headline acts than elderly men reading out romantic poetry – roared its approval.

“Rise like lions after slumber, in unvanquishable number!” he rumbled. “Shake your chains to earth like dew, which in sleep had fallen on you: ye are many – they are few!”

The Labour leader told the crowd that this was his favourite line. It’s the final stanza of Shelley’s 1819 poem, The Masque of Anarchy, written in response to the Peterloo Massacre earlier that year, when a cavalry charged into a non-violent protest for the vote.

Though it was not published in Shelley’s lifetime – it was first released in 1832 – the poem has become a rallying cry for peaceful resistance. It has been recited at uprisings throughout history, from Tiananmen Square to Tahrir Square.

Corbyn’s turn on the Pyramid Stage was not the first time he’s used it. He recited the stanza during his closing speech on election night in Islington, and the audience began quoting along with him:


It was also used by comedian and celebrity Labour supporter Steve Coogan at a rally in Birmingham:


During Corbyn’s second leadership campaign, his ally Chris Williamson MP told a public meeting that this part of the poem should be “our battle cry” . He delivered on this the following year by reciting the poem to me in his Renault Clio while out on the campaign trail in England’s most marginal constituency (which he ended up winning).

You can hear it echoed in Labour’s campaign slogan: “For the many, not the few”.

Corbyn’s election guru, James Schneider, told the Standard at the time that “it would be a stretch” to say the slogan was taken directly from the poem, but that “Jeremy does know Shelley”. Yet even he took the time to recite the whole stanza down the phone to the journalist who was asking.

Corbyn is famously a fan of the novelist and author Ben Okri. The pair did a literary night at the Royal Festival Hall in London’s Southbank in July last year, in which the Shelley lines came up at the end of the event, as reported by Katy Balls over at the Spectator. Okri announced that he wanted to recite them, telling Corbyn and the audience:

“I want to read five lines of Shelley . . . I think there are some poems that ought to be, like you know those rock concerts, and the musician starts to sing and the whole audience knows the lines? And sings along with them? Well this ought to be one of those, and I’d like to propose that we somehow make it so that anytime someone starts with the word ‘Rise’, you know exactly what the lines are going to be.”

Which, of course, is exactly what Corbyn did at Glastonbury.

“We have this huge, abundant literature on the left and it’s hardly known”

The former left-wing Labour leader Michael Foot loved the poem and recited the lines at demos, and Stop the War – the campaign group Corbyn supports and chaired – took a line from it as the title of its 2014 film about anti-Iraq War action, We Are Many.

So why does the Labour left rally around some lines of poetry written nearly 200 years ago?

“It’s a really appropriate poem,” says Jacqueline Mulhallen, author of Percy Bysshe Shelley: Poet and Revolutionary (Pluto, 2015). “Shelley wrote a poem about the fact that these people were protesting about a minority taking the wealth from the majority, and the majority shouldn’t allow it to happen.

“He was writing at the beginning of industrial capitalism, and protested then, and 200 years later, we’ve still got the same situation: food banks, homeless people, Grenfell Tower, more debts – that’s why it has great resonance when Corbyn quotes it.”

“Shelley said there’s loads of us, it’s just a little corrupt crew – well, of course that applies now”

Michael Rosen, the poet and former Children’s Laureate, also describes the poignancy of Shelley’s words in Corbyn’s campaign. “You’ve got a sense of continuity,” he tells me. “Shelley was campaigning for freedom, for free thought, for free love. He was campaigning for a fairer society; it was a time of incredible oppression. He said there’s loads of us, it’s just a little corrupt crew – well, of course that applies now.”

Rosen celebrates the poem’s place in the Labour movement. “When any of us from the left quote people from the past, we’re saying that we have traditions... We’re making a claim on our authenticity,” he says. “Just in the same way as the right and the establishment draw on the pageantry of the Queen, or talk about Parliament or quote Winston Churchill. These are our traditions, which are different. You hardly ever come across it, either in newspapers or history lessons or anything.”

Rosen, a friend of Corbyn’s, believes his speech brings a left-wing tradition alive that is often forgotten. “We have this huge, abundant literature on the left and it’s hardly known. What’s great about Jeremy calling on it is to remind us . . . This stuff sits in old museums and libraries, gathering dust until it’s made active and live again. It’s made active and live particularly when being used in an environment like that [Glastonbury]. He was making the words come alive.”

Read more: 7 things we learned from Jeremy Corbyn on The One Show

The Masque of Anarchy’s final stanza has been recited at high-profile protests throughout history – including at the 20,000 garment workers’ strike in 1909 in New York, the student-led demo in China’s Tiananmen Square in 1989, anti-Poll Tax protests, and at Tahrir Square in Egypt during the Arab Spring, according to Mulhallen. The way civilians were treated by the authorities in many of these protests echoes what happened at Peterloo.

So does Corbyn’s penchant for the verse mark a similar radical turning-point in our history? “It’s indicating a change in attitude that people should start thinking about redistributing the wealth again,” says Mulhallen. “People are becoming much more aware.”

Anoosh Chakelian is senior writer at the New Statesman.

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