A columnist, yesterday. Photo: Getty
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Laurie Penny on opinion journalism: Columnists now are like street performers – collecting coins in a hat and dodging angry racists

By 70, will I be screeching about immigrants from an enormous throne made of my clippings?

People keep asking me when I’m planning to sell out. Over the past 100 years of British punditry, the trajectory of the angry young leftist columnist growing up to develop a taste for smart dining, Botox and bigotry has been well established. I’m told that it’ll happen whether I want it to or not: no matter how many communiqués I read or marches I go on, by 35 I’ll be voting for the Liberal Democrats and by 70, presuming my hate-hardened arteries make it that far, I’ll be screeching about immigrants froman enormous throne made of my clippings, clutching a set of pearls that once belonged to Maggie Thatcher. This is nonsense. Even if I had the inclination, there won’t be a Liberal Democrat party to vote for when I’m 35.

The New Statesman’s founders, Beatrice and Sidney Webb, believed in 1913 that sincere political writing could move hearts and minds and bring about social change. The European tradition of radical opinionating has deteriorated since the days when George Bernard Shaw and Virginia Woolf wrote for these pages and expected to make a positive difference. In 1968 Ulrike Meinhof wrote: “Columnism is a personality cult. Through columnism, the left-wing position . . . is reduced to the position of one individual, an isolated individual, to the views of an original, outrageous, nonconformist individual, who can be co-opted because, in being alone, they are powerless.”

It’s worth noting that, a few years later, Meinhof decided that armed insurrection was a more efficient route to the revolution she wanted to see and helped form the militant Red Army Faction. For Meinhof, the pen may have been mightier than the sword but home-made explosives got the job done quicker.

She was wrong about at least one thing: columnists do still have power.

Unfortunately, it is easier to wield that power in the service of lazy reaction than use it to change the world for the better. Right now, as the British newspaper industry panics about its vanishing returns, “star” writers are encouraged to abandon nuance and say the most shocking, hateful things they can think of to attract controversy. They target welfare claimants, women, minorities, immigrants, disabled people, single parents and, if all else fails, each other.

This produces casualties. It spreads suspicion in communities, provokes incoherent violence and murders compassion. Last month, Lucy Meadows, a woman hounded by the media and attacked for being transsexual in an article by Rod Liddle or Richard Littlejohn – forgive me, I can never tell the difference – took her own life.

Hate and empty controversy are used to titillate readers and advertisers. The rightwing and centre-right press is dominated by largely indistinguishable, middle-aged bigots, most but not all of them men, who know each other and are paid handsomely to make prejudice palatable. When they bother to engage with their readers, they do so with deep distaste, outraged that mere civilians have dared to answer back. Fortunately, a change is coming.

On 4 April, Kelvin MacKenzie, the former Sun editor responsible for, among other things, the front page that blamed victims of the Hillsborough Stadium disaster for the tragedy, started a new online column for the Telegraph. A day later, the column was cancelled. Editors have begun to realise that their readers have the power to coordinate their disgust.

The elitism and entitlement that have long poisoned the British commentariat are beginning to disappear and, despite itself, the industry is becoming more ethical. Eventually, one hopes, the Littlejohns and MacKenzies of this world will be relegated to a time loop of irrelevance in which they can attend the same awards ceremonies, drink the same champagne and eat the same olives for ever while more competent people get on with capturing the public consciousness.

I count myself extremely lucky to have grown up as a political writer in the age of the internet. Suddenly, where once there were only a few privileged pundits talking to each other and expecting the proles to listen, there are writers from all walks of life producing dazzling, meaningful prose and finding their audience. I’m part of a growing cohort of reporters and columnists who are not surprised when our readers chat to us like old friends, correct our mistakes or call us unprintable things in the comment section – because we started out online and have never experienced anything else.

The most forward-thinking “dead-tree” magazines and papers, including the New Statesman, have recruited hard from this new cohort, treating the internet as an extension of their editorial mission. They have understood that the age in which middle-aged white men pontificated from rarefied platforms and expected to be listened to is over.

To be a columnist today is no longer to stand on a stage alone, reciting marvellous soliloquies while a paying audience waits to applaud. Apart from anything else, few publications can now afford to fork out the kinds of salaries that make principled writers lose perspective. Being a columnist today is more like being a street performer – collecting coins in a battered suitcase, telling stories about a better world and understanding that the audience might change the story.

It’s hard work, because you’re competing with everyone else on the block, including the drunk, deranged old racist shouting abuse and the naked exhibitionist who does - n’t ask for money, and you have to move fast to avoid the pelted sandwiches and, occasionally, the police. In other words, it’s an exciting time to be a writer.

Laurie Penny is the contributing editor of the New Statesman

Laurie Penny is a contributing editor to the New Statesman. She is the author of five books, most recently Unspeakable Things.

This article first appeared in the 12 April 2013 issue of the New Statesman, Centenary Special Issue

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Why a group of Brunel students walked out on Katie Hopkins instead of no-platforming her

"We silently walked out because Ms Hopkins has the right to speak, but we also have the right to express our discontent."

Earlier this week, columnist and all-round provocateur Katie Hopkins turned up to Brunel University to join a panel in debating whether the welfare state has a place in 2015. No prizes for guessing her stance on this particular issue

But as Hopkins began her speech, something odd happened. Around 50 students stood up and left, leaving the hall half-empty.

Here's the video:

As soon as Hopkins begins speaking, some students stand up with their backs to the panelists. Then, they all leave - as the nonplussed chair asks them to "please return to their seats". 

The walk-out was, in fact, pre-planned by the student union as an act of protest against Hopkins' appearance at an event held as part of the University's 50th anniversary celebrations. 

Ali Milani, the Brunel Student Union president, says he and other students knew the walk-out would "start a conversation" around no-platforming on campuses, but as he points out, "What is often overlooked (either purposely or as a result of the fanfare) is that the conversation at no point has been about banning Ms Hopkins from speaking on campus, or denying her right to speak."

Instead, students who found her appearance at the welfare debate "incongruous" and "distasteful" simply left the room: "We silently walked out because Ms Hopkins has the right to speak, but we also have the right to express our discontent."

Milani praised the student body for treading the line between freedom of speech and expressing their distaste at Brunel's decision: 

"They have respectfully voiced their antagonism at the decision of their institution, but also . . . proven their commitment to free of speech and freedom of expression."

The protest was an apt way to dodge the issues of free speech surrounding no-platforming, while rejecting Hopkins' views. A walk-out symbolises the fact that we aren't obliged to listen to people like Hopkins. She is free to speak, of course, albeit to empty chairs. 

Barbara Speed is a technology and digital culture writer at the New Statesman and a staff writer at CityMetric.