Bohemians, farewell

They were a peculiarly British breed: talented, intellectual, often alcoholic (but usually harmless)

The man in the white gloves doesn't have his lunch in the King's Arms in Oxford any more. Sixteen years ago, he'd be in there every day - pristine gloves, bottle-green suit, cream waistcoat, watch chain, stick-thin, pencil moustache, blanched complexion, in his late forties, a bit like Dirk Bogarde in Death in Venice. Without fail he'd have the same thing for lunch - the roast of the day, followed by an apple which he'd carefully slice into discs before eating, gloves still on. I never talked to him but I liked the reliability of his odd presence, and I missed him on my return there recently.

But, again, where would he go these days after lunch? Oxford 16 years ago, like so many pretty, provincial towns - Cheltenham, Guildford, Bath - that I've been visiting recently on a book tour, was a perfect setting then for the odd, the eccentric and the bohemian. I didn't realise it during my student days, but in 1993 I'd caught the tail end of a process that had been going on for half a century: the genteel decline of Middle England that produced all the right conditions for the down-at-heel yet civilised bohemian.

Those provincial towns long remained much as they'd been since the war - slightly broken-down, a mixture of shabby pubs, second-hand bookshops, antique clothes shops and the cheap lodgings your average bohemian needed to be within shambling distance of the town centre. Architecturally handsome, their medieval and Georgian buildings provided enough amiable places to browse in. The harmless, the talented, the mildly alcoholic, intelligent yet unemployable eccentrics: they all flocked to the elegantly decayed bits of those towns. All in all, the perfect habitat for people like my friend in the white gloves.

Anthony Powell caught the type in the literary journalist X Trapnel in Books Do Furnish a Room (1971), the tenth in the Dance to the Music of Time sequence. Based on the writer Julian Maclaren-Ross (1912-64), Trapnel leads a life of unrelenting observance of the bohemian code - heavy drinking, high-minded squalor, debts, philandering, shuttling from boarding house to hotel.

Dressed in a pale, ochre-coloured tropical suit and black RAF greatcoat, dark blue sports shirt, an emerald green tie patterned with naked women, and grey suede brothel-keepers, Trapnel spends the day drifting from pub to pub in Fitzrovia. He lives near the knuckle, as Powell put it, surviving on the odd book review. His lodgings are always disgusting - "peeling wallpaper, bare boards, a smell of damp, cigarette smoke, stale food".

What's particularly striking now is where those lodgings were: Holland Park, Camden, a flat in Notting Hill, a bleak hotel in Bloomsbury or Paddington. Today the list reads like a gazetteer of fashionable, expensive London. Trapnel finally washes up in Little Venice, now impossibly grand, but then (the book is set just after the war) it "had not yet developed into something of a quartier chic. Before the war, the indigenous population, full of time-honoured landladies, immemorial whores, long undisturbed in surrounding premises, had already begun to give place to young married couples, but buildings already tumbledown had now been further reduced by bombing".

The X Trapnels have long since fled these bits of London, all now pure banker/lawyer territory. Their old haunts, in the haut bohemia of Soho, are also collapsing. The Colony Room Club, second home to Dylan Thomas, Francis Bacon and Jeffrey Bernard, is on the verge of closing, shortly after celebrating its 60th birthday in December. The Coach and Horses seldom has sentient life since its rude, popular landlord Norman Balon saw out his licence in May 2006, and the French House is packed with binge drinkers and tourists.

And the X Trapnels don't gather in provincial bohemia any more, either. The very rich (who also like pretty buildings) have taken their place. Hedge fund managers now live in the sprawling north Oxford houses once owned by penniless dons. Russian oligarchs fly in by helicopter to their children's sports days at nearby prep schools. In the cold, clear light of the credit crunch, it's easier to take stock of the vast tide of money that's rushed through these places over the past two decades.

The invasion of the chain shops is well documented. But what's remarkable is just how saturated these once odd, quirky towns now are with them, and quite how chi-chi those chains are. There's a Farrow & Ball paint shop in what was the rough part of Bath. Seaside towns, too - which became artistic colonies and, by extension, bohemian boltholes because of their beauty and cheapness - have also been cleaned up and turned into kitsch versions of themselves.

Even with depressed property prices, no penniless artist could now afford to live in Newlyn near Penzance - home to the Newlyn School of painters in the late 19th century - or St Ives, also in Cornwall, which the potter Bernard Leach, the painter Ben Nicholson and the sculptor Barbara Hepworth colonised from the 1920s onwards. These towns are now the victims of their haut bohemian fame, the haunts of weekending bankers who like to take in those artists' works at Tate St Ives.

The same goes for Laugharne, the pretty seaside town in Carmarthenshire where a broke Dylan Thomas decamped to from the late 1930s onwards alongside his friends, Augustus John and Richard Hughes, author of A High Wind in Jamaica. It is now a hip holiday venue, home to a Welsh farmhouse-turned-boutique hotel, Hurst House, with its own helipad, Moroccan hand-carved doors and reiki massage in the dedicated spa, and all for £300 a night.

Jamie Oliver has opened up one of his Italian restaurants in dingy George Street in Oxford. The area hasn't been as grand since the mid-1920s, when the undergraduate John Betjeman frequented the ultra-chic restaurant named after the street, where he spent "evenings dining with the Georgeoisie. Open, swing doors, upon the lighted 'George' and whiff of vol-au-vent! Behold Harold Acton and the punkahs wave: 'My dears, I want to rush into the fields and slap raw meat with lilies.'"

Anything a little downmarket, dusty or cheap can't survive in the shade of the onslaught of the glossy, the new and expensive. The majestic, rambling second-hand Oxford bookshop opposite Balliol didn't stand a chance against the tide of new money. It lingers on, in much reduced circumstances, with smaller premises, in a less fashionable part of the town. The same goes for the book warehouses on the edge of town by the railway station - a once scrubby bit of land now home to the Business School, a gleaming limestone ziggurat with a green and yellow glass spire built with £23m of money from its billionaire benefactor, Wafic Said.

I have nothing against Mr Said - in fact his ziggurat is rather handsome. I just write to comment on how a city has changed. In a recent evening spent at an Anglo-German conference in Lincoln College, I met several students from the Business School. Another was at the university's Environmental Change Institute; another doing a doctorate in Vladimir Putin and the possibility that he was setting up a gas cartel along the lines of Opec. All this is very up to date and, perhaps, useful. But somewhere along the line, education for education's sake - a bit of theology, a bit of Greek, anything at all that's a little interesting and a little useless, a little bohemian, in fact - seems to have gone by the wayside, like those dusty bookshops and their broken customers. Even Oxford Prison, a tremendously gloomy 19th-century job straight out of Porridge - it was in fact the prison used to house Noë Coward's Mr Bridger in The Italian Job - has become a chic boutique Malmaison Hotel.

The antiseptic spick and spanification of provincial Britain has destroyed the pleasing air of decay. Gone with it are the anaemic men in cream waistcoats, the plump red-faced men in jerseys in Turkish carpet patterns and tweed jackets, often gay, usually highly intelligent, a bit prickly, working off their hangovers in those bookshops or in the prep schools up the ­Woodstock Road, still cursing that doctorate in medieval English they never got round to ­finishing 30 years ago.

I imagine they're still ­eking out a living somewhere in these pretty provincial towns. It's not as if the chain stores have had the bohemian class machine-gunned, just that the town centre no longer has anything of interest to draw them in. The pubs those ­bohemians used to stretch out the day in are still there - but loud music and the smoking ban have driven them out of the snug. I can't see my friend in the white gloves browsing in Karen Millen.

I'm not saying that all this is necessarily for the worse. The grey and brown postwar dreariness of Oxford in 1993 was more limited and grimmer in many ways than the spruced-up version of 2008. In 1945, there was one French restaurant, the Elizabeth, in Oxford, on St Aldate's, and one curry house, the Taj Mahal, in the centre of town, on the Turl. In 1993, things had barely changed. The Elizabeth was still there, the number of curry houses in the centre of town had doubled to a grand total of two, and there was a new Pizza Express. Nowadays, Oxford is like an extension of Kensington High Street, bulging with banks converted into restaurants, a transformation also undergone by neighbouring Chelsea, once, long, long ago, the bohemian heart of London.

There are always run-down boarding houses and new strip developments to go to in these pretty places, but they are increasingly on the far-flung fringes of town. Oxford's last outpost of cheap living is the concrete suburban jungle of Blackbird Leys, and it's a long time since any self-respecting blackbird chose to roost there, let alone a bohemian aesthete.

Bohemians, like blackbirds, cannot survive when their habitats are smothered, either by concrete or by retail outlets. Will they start flocking back to their old roosts as those shops begin to disappear with the credit crunch? I don't think so. It's too late. Bohemia has been outpriced, forced into exile, and faces extinction.

Harry Mount's "A Lust for Window Sills: a Lover's Guide to British Buildings from Portcullis to Pebble-dash" is published by Little, Brown (£12.99)

This article first appeared in the 02 February 2009 issue of the New Statesman, Interview: Alistair Darling

RALPH STEADMAN
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The age of outrage

Why are we so quick to take offence? The Private Eye editor on Orwell, Trump and the death of debate in post-truth politics.

Anyone who thinks that “post-truth politics” is anything new needs to be reminded that George Orwell was writing about this phenomenon 70 years before Donald Trump.

Audiences listening to President-Elect Trump’s extraordinary disregard for anything resembling objective truth – and his astonishing ability to proclaim the absolute opposite today of what he said yesterday – will be forcibly reminded of the slogans that George Orwell gave to his political ­dictators: Black is White, War is Peace, ­Freedom is Slavery, Ignorance is Strength (the last of which turned out to be true in the US election). But any journalist trying to work out what the speeches actually mean, amidst the mad syntax and all the repetition (“gonna happen, gonna happen”), cannot help but fall back on Orwell’s contention that “political chaos is connected with the decay of language”. And the sight of Trump praising Secretary Clinton for her years of public service in his post-election victory speech while the crowd was still chanting his campaign catchphrase of “Lock her up” was surely a perfect example of Doublethink.

No wonder Trump is an admirer of Vladimir Putin, who is an admirer of the Soviet strongmen whom Orwell satirised so well. These echoes from the past are very strong in America at present but there are plenty of them reverberating through British and European politics as well. Our Foreign Secretary managed to accuse other European leaders of a “whinge-o-rama” when they issued qualified statements of congratulation to the new president-elect, even though he himself had previously accused Trump of being “nuts”. Black is White, Remain is Leave, a Wall is a Fence, two plus two equals five: but Brexit means Brexit.

You may find this reassuring, in that we have been here before and survived – or distressing to think that we are regressing to a grimmer Orwellian age. But one of the worrying developments attached to these “post-truth” political figures is the increasing intolerance in public debate of dissent – or even disagreement – about what objective truth might be.

A great deal has been written recently about the influence of social media in helping people to become trapped in their own echo chambers, talking only to those who reinforce their views and dismissing not only other opinions, but also facts offered by those who disagree with them. When confronted by a dissenting voice, people get offended and then angry. They do not want to argue, they want the debate to be shut down. Trump supporters are furious with anyone who expresses reservations about their candidate. Pro-Brexit supporters are furious with anyone who expresses doubts about the way the process of leaving the European Union is going.

I edit the magazine Private Eye, which I sometimes think Orwell would have dismissed as “a tuppeny boys’ fortnightly”, and after the recent legal challenge to the government about Article 50 being put before parliament, we published the cover reproduced on page 25.

It was a fairly obvious joke, a variant of the “wheels coming off” gag. But it led to a large postbag of complaints, including a letter from a man who said he thought the cover was “repulsive”. He also said he wanted to come around and smash up the office and then shove our smug opinions so far up our arses that we choked our guts out.

There was one from a vicar, too, who told me that it was time to accept the victory of the majority of the people and to stop complaining. Acceptance was a virtue, he said. I wrote back and told him that this argument was a bit much, coming from a church that had begun with a minority of 12. (Or, on Good Friday, a minority of one.)

This has become a trend in those who complain: the magazine should be shouted down or, better still, closed down. In the light of this it was interesting to read again what Orwell said in his diary long before internet trolls had been invented:

 

We are all drowning in filth. When I talk to anyone or read the writings of anyone who has any axe to grind, I feel that intellectual honesty and balanced judgement have simply disappeared from the face of the earth. Everyone’s thought is forensic, everyone is simply putting a “case” with deliberate suppression of his opponent’s point of view, and, what is more, with complete insensitiveness to any sufferings except those of himself and his friends.

 

This was in 1942, when the arguments were about war and peace, life and death, and there were real fascists and Stalinists around rather than, say, people who disagree with you about the possibility of reconciling freedom of movement with access to the single European market.

Orwell also made clear, in an essay called “As I Please” in Tribune in 1944, that what we think of as the new online tendency to call everyone who disagrees with you a fascist is nothing new. He wrote then:

 

It will be seen that, as used, the word “Fascism” is almost entirely meaningless. In conversation, of course, it is used even more wildly than in print. I have heard it applied to farmers, shopkeepers, Social Credit, corporal punishment, fox-hunting, bull-fighting, the 1922 Committee [a Tory group], the 1941 Committee [a left-liberal group], Kipling, Gandhi, Chiang Kai-Shek, homosexuality, Priestley’s broadcasts, Youth Hostels, astrology, women, dogs and I do not know what else.

 

When Orwell writes like this about the level of public debate, one is unsure whether to feel relieved at the sense of déjà vu or worried about the possibility of history repeating itself, not as farce, but as tragedy again.

The mood and tone of public opinion is an important force in the way our society and our media function. Orwell wrote about this in an essay called “Freedom of the Park”, published in Tribune in December 1945. Five people had been arrested outside Hyde Park for selling pacifist and anarchist publications. Orwell was worried that, though they had been allowed to publish and sell these periodicals throughout the entire Second World War, there had been a shift in public opinion that meant that the police felt confident to arrest these people for “obstruction” and no one seemed to mind this curtailment of freedom of speech except him. He wrote:

 

The relative freedom which we enjoy depends on public opinion. The law is no protection. Governments make laws, but whether they are carried out, and how the police behave, depends on the general temper in the country. If large numbers of people are interested in freedom of speech, there will be freedom of speech, even if the law forbids it; if public opinion is sluggish, inconvenient minorities will be persecuted, even if laws exist to protect them.

 

This is certainly true for the press today, whose reputation in the past few years has swung violently between the lows of phone-hacking and the highs of exposing MPs’ expenses. In 2011 I remember at one point a football crowd shouting out the name of Ryan Giggs, who had a so-called superinjunction in place forbidding anyone to mention that he was cheating on his wife and also forbidding anyone to mention the fact that he had taken out a superinjunction. He was named on Twitter 75,000 times. It seemed clear that public opinion had decided that his private life should be made public. The freedom of the press was briefly popular. Later the same year it was revealed that the murdered schoolgirl Milly Dowler’s phone had been hacked by the News of the World, along with those of a number of high-profile celebrities, and the public decided that actually journalists were all scumbags and the government should get Lord Leveson to sort them out. Those who maintained that the problem was that the existing laws (on trespass, contempt, etc) were not enforced because of an unhealthy relationship between the police, the press and the politicians were not given much credence.

In a proposed preface to his 1945 novel, Animal Farm, Orwell wrote: “If liberty means anything at all, it means the right to tell people what they do not want to hear.”

This is the quotation that will accompany the new statue of Orwell that has now been commissioned by the BBC and which will stand as a sort of rebuke to the corporation whenever it fails to live up to it. The BBC show on which I appear regularly, Have I Got News for You, has been described simultaneously in the online comments section as “overprivileged, right-wing Tory boys sneering at the working class ” and “lefty, metropolitan liberal elite having a Labour luvvie whinge-fest”. Disturbing numbers of complainants feel that making jokes about the new president-elect should not be allowed, since he has won the election. Humour is not meant to be political, assert the would-be censors – unless it attacks the people who lost the vote: then it is impartial and neutral. This role for comedy would have surprised Orwell, who was keen on jokes. He wrote of Charles Dickens:

 

A joke worth laughing at always has an idea behind it, and usually a subversive idea. Dickens is able to go on being funny because he is in revolt against authority, and authority is always there to be laughed at. There is always room for one more custard pie.

 

I think there is also room for a custard pie or two to be thrown against those who claim to be outsiders, against authority and “the system”, and use this as a way to take power. The American billionaire property developer who is the champion of those dispossessed by global capitalism seems a reasonable target for a joke. Just like his British friend, the ex-public-school boy City trader-turned-critic of the Home Counties elite.

The emblematic quotation on liberty is from a preface that was not published until 1972 in the Times Literary Supplement. A preface about freedom of speech that was censored? It is almost too neatly Orwellian to be true, and in fact no one seems to know exactly why it did not appear. Suffice to say that it is fascinating to read Orwell complaining that a novel which we all now assume to be a masterpiece – accurate about the nature of revolution and dictatorship and perfect for teaching to children in schools – was once considered to be unacceptably, offensively satirical.

The target of the satire was deemed to be our wartime allies the Russians. It is difficult to imagine a time, pre-Putin, pre-Cold War, when they were not seen as the enemy. But of course the Trump presidency may change all that. Oceania may not be at war with Eurasia any more. Or it may always have been at war with Eastasia. It is difficult to guess, but in those days the prevailing opinion was that it was “not done” to be rude about the Russians.

Interestingly there is now a significant faction on the British left, allied with the current leader of the Labour Party, who share this view.

 

The right to tell people what they do not want to hear is still the basis of freedom of expression. If that sounds like I am stating the obvious – I am. But, in my defence, Orwell once wrote in a review of a book by Bertrand Russell published in the Adelphi magazine in January 1939:

 

. . . we have now sunk to a depth at which the restatement of the obvious is the first duty of intelligent men.

 

Orwell himself managed to come round to a position of accepting that an author could write well and truthfully about a subject even if one disapproved of the author’s politics: both Kipling and Swift were allowed to be right even though they were not left enough. So I am hoping that we can allow Orwell to be right about the principles of freedom of expression.

In the unpublished preface to Animal Farm he writes:

 

The issue involved here is quite a simple one: Is every opinion, however unpopular – however foolish, even – entitled to a hearing? Put it in that form and nearly any English intellectual will feel that he ought to say “Yes”. But give it a concrete shape, and ask, “How about an attack on Stalin? Is that entitled to a hearing?”, and the answer more often than not will be “No”. In that case the current orthodoxy happens to be challenged, and so the principle of free speech lapses.

 

One can test oneself by substituting contemporary names for Stalin and seeing how you feel. Putin? Assange? Mandela? Obama? Snowden? Hillary Clinton? Angela Merkel? Prince Harry? Mother Teresa? Camila Batmanghelidjh? The Pope? David Bowie? Martin Luther King? The Queen?

Orwell was always confident that the populist response would be in favour of everyone being allowed their own views. That might be different now. If you were to substitute the name “Trump” or “Farage” and ask the question, you might not get such a liberal response. You might get a version of: “Get over it! Suck it up! You lost the vote! What bit of ‘democracy’ do you not understand?”

Orwell quotes from Voltaire (the attribution is now contested): “I detest what you say; I will defend to the death your right to say it.” Most of us would agree with the sentiment, but there is a worrying trend in universities that is filtering through into the media and the rest of society. Wanting a “safe space” in which you do not have to hear views that might upset you and demanding trigger warnings about works of art that might display attitudes which you find offensive are both part of an attempt to redefine as complex and negotiable what Orwell thought was simple and non-negotiable. And this creates problems.

Cartoon: "Voltaire goes to uni", by Russell and originally published in Private Eye.

We ran a guide in Private Eye as to what a formal debate in future universities might look like.

 

The proposer puts forward a motion to the House.

The opposer agrees with the proposer’s motion.

The proposer wholeheartedly agrees that the opposer was right to support the motion.

The opposer agrees that the proposer couldn’t be more right about agreeing that they were both right to support the motion.

When the debate is opened up to the floor, the audience puts it to the proposer and the opposer that it isn’t really a debate if everyone is just agreeing with each other.

The proposer and the opposer immediately agree to call security and have the audience ejected from the debating hall.

And so it goes on, until the motion is carried unanimously.

 

This was dismissed as “sneering” and, inevitably, “fascist” by a number of student commentators. Yet it was only a restatement of something that Orwell wrote in the unpublished preface:

 

. . . everyone shall have the right to say and to print what he believes to be the truth, provided only that it does not harm the rest of the community in some quite unmistakable way. Both capitalist democracy and the western versions of socialism have till recently taken that principle for granted. Our Government, as I have already pointed out, still makes some show of respecting it.

 

This is not always the case nowadays. It is always worth a comparison with the attitudes of other countries that we do not wish to emulate. The EU’s failure to confront President Erdogan’s closure of newspapers and arrests of journalists in Turkey because it wants his help to solve the refugee crisis is one such obvious example. An old German law to prosecute those making fun of foreign leaders was invoked by Erdogan and backed by Mrs Merkel. This led Private Eye to run a competition for Turkish jokes. My favourites were:

 

“Knock knock!”

“Who’s there.”

“The secret police.”

 

What do you call a satirist in Turkey?

An ambulance.

 

As Orwell wrote in even more dangerous times, again in the proposed preface:

 

. . . the chief danger to freedom of thought and speech at this moment is not the direct interference of the [Ministry of Information] or any official body. If publishers and editors exert themselves to keep certain topics out of print, it is not because they are frightened of prosecution but because they are frightened of public opinion.

 

I return to stating the obvious, because it seems to be less and less obvious to some of the current generation. This is particularly true for those who have recently become politically engaged for the first time. Voters energised by Ukip and the EU referendum debate, or by the emergence of Jeremy Corbyn as leader of the Labour Party, or by the resurgence of Scottish nationalism or by the triumph of Trump, have the zeal of the newly converted. This is all very admirable, and a wake-up call to their opponents – the Tartan Tories and the Remoaners and the NeoBlairites and the Washington Liberal Elite – but it is not admirable when it is accompanied by an overpowering desire to silence any criticism of their ideas, policies and leading personalities. Perhaps the supporters of the mainstream parties have simply become accustomed to the idea over the decades, but I have found in Private Eye that there is not much fury from the Tory, New Labour or Liberal camps when their leaders or policies are criticised, often in much harsher ways than the newer, populist movements.

 

 

So, when Private Eye suggested that some of the claims that the Scottish National Party was making for the future of an independent Scotland might be exaggerated, there were one or two readers who quoted Orwell’s distinction between patriotism being the love of one’s country and nationalism being the hatred of others – but on the whole it was mostly: “When if ever will you ignorant pricks on the Eye be sharp enough to burst your smug London bubble?”

Those who disagreed with the SNP were beneath contempt if English and traitors if Scottish. This was matched by the sheer fury of the Corbyn loyalists at coverage of his problems with opposition in his own party. When we suggested that there might be something a bit fishy about his video on the lack of seats on the train to Newcastle, responses included: “I had hoped Private Eye was outside the media matrix. Have you handed over control to Rupert Murdoch?”

Their anger was a match for that of the Ukippers when we briefly ran a strip called At Home With the Ukippers and then made a few jokes about their leader Mr Farage: “Leave it out, will you? Just how much of grant/top up/dole payment do you lot get from the EU anyway? Are you even a British publication?”

In 1948, in an essay in the Socialist Leader, Orwell wrote:

 

Threats to freedom of speech, writing and action, though often trivial in isolation, are cumulative in their effect and, unless checked, lead to a general disrespect for the rights of the citizen.

 

In other words, the defence of freedom of speech and expression is not just special pleading by journalists, writers, commentators and satirists, but a more widespread conviction that it protects “the intellectual liberty which without a doubt has been one of the distinguishing marks of Western civilisation”.

In gloomy times, there was one letter to Private Eye that I found offered some cheer – a willingness to accept opposing viewpoints and some confirmation of a belief in the common sense of Orwell’s common man or woman. In response to the cartoon below, our correspondent wrote:

 

Dear sir,

I suffer from a bipolar condition and when I saw your cartoon I was absolutely disgusted. I looked at it a few days later and thought it was hilarious.

 

Ian Hislop is the editor of Private Eye. This is an edited version of his 2016 Orwell Lecture. For more details, visit: theorwellprize.co.uk

This article first appeared in the 01 December 2016 issue of the New Statesman, Age of outrage