The road fix

Why do we keep building more roads? Because when it comes to planning, the deck is cynically stacked

Britain's environmentalists have won every argument against expanding the roads network - but still the government keeps pouring billions of pounds into new highways.

Studies show that new roads do not solve congestion - they just generate more traffic. They add to pollution and, of course, they raise Britain's greenhouse gas emissions. Road transport already generates 142m tonnes of CO2 a year - about 25 per cent of Britain's total. As the European emissions trading scheme puts an ever-higher price on carbon, those emissions could cost the taxpayer increasingly dearly.

The Treasury and Department for Transport know this, so why do their economists give their blessing to Labour's £13bn roads programme?

The answer lies far away from public scrutiny in the arcane and biased rules under which proposed roads are assessed. These New Approach to Appraisal (Nata) rules were introduced by La bour in 1998 under the integrated transport policy designed by John Prescott, then overseeing environment and transport. Most of Prescott's plans were chucked out by Blair and Brown as being far too green, but the Department for Transport (DfT) loved Nata and now the reasons are becoming clear.

Under Nata, road builders such as the Highways Agency and local authorities must submit detailed assessments of proposed transport projects to the government. These are meant to be balance sheets showing the costs, benefits and environmental impacts. In theory this is a good thing, but in reality the rules are designed to make road schemes look better than any greener alternative, every time.

Take section 3.5.1[1] of the Nata rules. This awards extra points to schemes that generate more traffic because more cars and lorries on the road mean more fuel sales - and hence more tax revenue for the government. By contrast, public transport schemes, which take motor vehicles off the road and so reduce fuel sales and tax revenue, have points deducted.

Then there's the rule on journey times, where planners can claim that a road will bring economic benefits if they can show it will cut the average journey time of each user. Every minute saved for a car driver is valued at 44p - which can be offset against the cost of building the road.

Forty-four pence may not sound much, but multiply it by the number of minutes saved per trip, then again by the millions of drivers using the road each year - and then yet again by 60 years, the notional lifetime of most road schemes. The result, invariably, is a huge positive value for every proposed road.

How does this work in practice? Look, for example, at the scheme to widen a 56km stretch of the M1 between junctions 30 and 42. The cost to the taxpayer is £1.5bn, which sounds like a lot, but the Highways Agency has used the Nata system to claim that, over the next 60 years, the widening is worth no less than £4.5bn because of the time it will save travellers. Since this supposed "benefit" to the economy far exceeds the cost, the scheme has been approved.

Just how biased this system can be is set out in the Nata rules that assign lower values to other types of traveller. A minute saved on a cyclist's travel time, for example, isn't worth 44p but just 28p. A bus-user's time is valued at 33p a minute. The implicit assumption is that cyclists and bus-users make less contribution to the economy than car drivers.

Roads can be made to look even better. Manipulating the accident figures is a typical device. If a proposed road can be predicted to reduce accidents, then each life saved and injury prevented can be given a notional value. The Highways Agency predicts that another £2.5bn M1 widening scheme (junctions 21-30) would prevent 2,081 accidents over 60 years, of which four would be fatal. This, it claims, adds £105m to the value of the scheme. (It would also, it calculates, generate another £41.3m in taxes from the extra fuel sold.) Critics point out that such calculations, based on accidents that have not yet happened on a road that is not even built, are dubious in the extreme.

Nata assessments have also always avoided costing the most damaging aspects of new roads, such as the impact on landscapes, noise and pollution and, of course, carbon emissions. This means that, even though a road might be an environmental disaster, there are no estimated cash costs to be set against the claimed economic benefits. Instead the planners give a qualitative assessment, using terms such as "moderate", "severe" or, worst of all, "very large adverse".

These qualitative judgements have in the past been enough to frustrate the road builders. Alistair Darling rejected "improvements" to the A303 that would have carved a new road through the Blackdown Hills, an area of outstanding natural beauty on the Devon-Somerset borders, after seeing in the Nata assessment that it would have a "seriously adverse" impact. He apparently did not want to be the minister who overruled such a negative assessment.

It should be no surprise that ever since that decision was taken, Treasury and DfT officials have been working to get rid of such "emotional" analyses by designing a system to assign monetary values to landscapes, tranquillity and biodiversity. The ostensible aim is to make the system more "objective" and number-based - but the crucial issue is what values are assigned to qualities that are inherently priceless. How much might the last dormouse in Wiltshire be worth? Soon Labour's minions may be able to tell you.

Appearance of objectivity

A hint of what lies in store came in the Eddington report, published last December. Sir Rod Ed dington, former chief executive of British Airways, was commissioned by the Treasury and DfT to examine the long-term links between transport and the UK's economic productivity and he found that building lots more roads would bring huge benefits to the economy for a relatively low environmental cost. "Even after accounting for environmental effects, there appears to be a good case for adding strategic road infrastructure over and above the schemes in the current roads programme," said his report, suggesting that Britain's trunk roads and motorways needed 3,350km of new lanes by 2025, at a cost of up to £33bn.

But how did Eddington account for environmental costs? His report does not explain, but a footnote directs the reader to an obscure research annexe, "Transport Demand to 2025 and the Economic Case for Road Pricing and Investment", written by Treasury officials. This document doesn't explain how Eddington priced the environment either, but it refers the reader to yet another set of reports commissioned by the Office of the Deputy Prime Minister in 2002, for a purpose entirely different from road-building.

Based on these outdated reports, the Eddington study assigned a one-off value to the damage done by roads to the landscape of between £900,000 and £1.25m for each kilometre of new lane that is built - a remarkably small sum compared to both the claimed economic benefits and the £40m cost of building the average kilometre of trunk road.

(If this approach seems to lack rigour then the Treasury report's forecasts for fuel costs are even less rooted in reality. "Fuel costs are forecast to fall by 26 per cent up to 2025," they said. "This comprises a 3 per cent increase in fuel prices and a 28 per cent increase in fuel efficiency. An oil price of $35 a barrel is assumed in 2025." Oil prices, of course, had already hit $50 a barrel when this report was published last year. They have stayed that way ever since and analysts predict the long-term trend is upwards, meaning roads will become ever less economical.)

What Eddington and the Treasury have done is to give the road builders a way of putting an apparent monetary value on landscape and tranquillity, so creating the appearance of objectivity when assessing the costs and benefits of any new road. In reality, however, the values assigned to landscape and tranquillity are so low that they will always be far outweighed by the apparent economic benefits.

"The upshot of all these assessment systems is that, however bad a road might look to the people living near its route, and however damaging it is likely to be to the environment, the economic 'benefits' will, on paper, always look much greater," says Rebecca Lush of Transport 2000, who has analysed the reports.

The great factor that is missing from these calculations is the cost of carbon emissions. In their appraisals, the road builders have to say how much extra CO2 their scheme will generate. The M1 widening scheme above, for example, will generate more than 186,000 tonnes a year extra CO2. But no financial cost was assigned to these emissions when this scheme was approved.

It wasn't until January this year that the DfT told road builders to begin adding a cost of £70 for each tonne of carbon emitted in project calculations. This is still too low to shift the equations away from favouring road building - and it will apply only to new projects. Moreover, £70 is an arbitrary sum because no one can agree how to price the the cost of future carbon emissions. Some experts have said the real value should be around £1,000 a tonne. Once again, therefore, factors that should count against new road projects are undervalued while those that support them are overvalued.

The £13bn-worth of new roads approved under the Nata system makes Labour's roads programme even larger than the one they inherited from the Conservatives in 1997. Back then, the new Labour government cancelled that programme with promises of an integrated transport system.

Among schemes that have recently been approved is the widening of the M25, which will turn most of London's orbital motorway into an eight-lane highway under a private finance initiative that will cost taxpayers more than £5bn. Around Leeds, the M62 motorway is approved for a £336m widening. This year the government will decide whether to approve a £3bn project to widen the M6 between Birmingham and Manchester.

Undermining rail

The Highways Agency is also seeking approval for the Mottram-Tintwistle bypass, a short-cut for lorries through the Peak District National Park. The main economic justification is the notional value, under Nata criteria, of the time the road would save for drivers - put at £159m over 60 years. Opponents of the scheme say the national park is worth a lot more than that.

Also on the table are some highly controversial local road schemes such as the Dorset County Council's Weymouth relief road, which would slice through the Dorset Downs area of outstanding natural beauty, a site of special scientific interest, as well as ancient woodlands. Again, the main economic justification is the notional time saved for drivers, put at £275m over 30 years.

A secondary effect of the Nata rules is to undermine the economic case for investing in public transport. The light rail schemes variously proposed for Liverpool, Sheffield, Portsmouth, Leeds and other cities were all turned down for funding under the Nata formula, as the government declared they were "poor value for money" and recommended bus schemes instead. Another bias in the system is that the government requires light rail planners to contribute 25 per cent of the funding, whereas road builders have to contribute only 10 per cent.

There is strong evidence that assessment systems such as Nata offer no real guide to a road's future performance. Last year the former Countryside Agency and the Campaign for the Protection of Rural England published an investigation into three completed road projects, comparing the predictions made before they were built with what happened afterwards.

It looked at the A34 Newbury bypass, the A27 Polegate bypass and the M65 Blackburn southern bypass, and in each case found that the preliminary assessments had underestimated the scale of traffic growth and the impact on the landscape. They had also made little allowance for the way new roads increase development pressure, often leading to a rash of buildings along their length.

The report concluded: "Issues of induced traffic growth, landscape impact and development pressures are rarely addressed adequately in the evaluations. It is easy to gain the impression that evaluations are carried out in consultancy back offices for the interests of Highways Agency officers only."

Recently the DfT said it planned to "refresh" the Nata rules to take account of the Stern review on the economics of climate change, the Eddington report and other developments. What this is likely to mean, say insiders, is the disappearance of "emotive" descriptions of a new road's impact on the landscape and wildlife and their replacement with indices - numbers - that will have far less obvious meaning. The low price placed on carbon emissions of £70 per tonne is unlikely to change.

This will open the way for Eddington's vision to prevail. Carbon emissions, damaged landscapes, lost tranquillity and vanishing biodiversity will all be given such tiny numerical values that they will inevitably be wiped out by the economic "benefits". The economists will be satisfied, the politicians will be absolved - and the road builders will be delighted.

Jonathan Leake is the Sunday Times science and environment editor

This article first appeared in the 13 August 2007 issue of the New Statesman, Road fix

Martin O’Neil for New Statesman
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Why the British addiction to period drama is driving away our best black and Asian actors

There is a diversity crisis in British TV and film as, increasingly, stars are decamping to America to make their career there.

Back in April, a six-part drama called Undercover premiered on BBC1. Perhaps you were one of the five million people who watched it: the story was audacious and continent-hopping, enfolding a narrative about a man on death row in the United States with an all-too-believable tale of a Metropolitan Police officer who marries a woman he is meant to be keeping under surveillance.

The reason the programme attracted so much attention, however, was not what it was about, but whom. Starring Sophie Okonedo and Adrian Lester, Undercover was widely reported as the first mainstream British television drama with black actors in the lead roles. This wasn’t true: as James Cooray Smith wrote on the New Statesman website, that milestone was passed in June 1956 by Mrs Patterson, a BBC adaptation of a Broadway play starring Eartha Kitt.

Yet Undercover was still a breakthrough. Smith, casting his mind back over more than six decades of British television, could not think of more than a handful of other examples. Writing in the Observer, Chitra Ramaswamy expressed her feelings with quiet devastation: “In 2016, it is an outrage that it’s a big deal to see a successful, affluent, complicated black family sit at a ­dinner table eating pasta.” Think about that. In 2016 in Britain, a country where more than nine million people describe themselves as non-white, it is news that a black, middle-class family should not only feature in a prime-time BBC drama but be at its heart. Undercover exposed how white most British television is.

Actors of colour have appeared on British film and TV screens for decades, and they have been visible on British stages for centuries – yet they have been shunted into the margins with depressing regularity. In January the actor Idris Elba urged British MPs to take the matter seriously. “Although there’s a lot of reality TV,” he argued, “TV hasn’t caught up with reality.”

In February, there was renewed uproar over the lack of racial diversity in Hollywood at the 88th Academy Awards, and the infuriated hashtag #OscarsSoWhite blossomed again on social media. A month later, Lenny Henry argued that black and minority ethnic (BAME) talent was being “ghettoised”. The term could hardly be more charged. Speaking at the London premiere of Mira Nair’s film Queen of Katwe, the actor David Oyelowo said: “What we need now is for a change to come. I think the talk is done.”

There has been some change. In March, the Royal Shakespeare Company opened a production of Hamlet starring Paapa Essiedu, an actor of Ghanaian heritage raised in London. It was the first time that a black performer had taken the role for the company. A new set of BBC diversity targets both on- and off-screen was unveiled in April. Noma Dumezweni is playing Hermione in Harry Potter and the Cursed Child in the West End, and in October the BFI launched Black Star, a nationwide season celebrating black talent in film and TV. But what does the picture really look like, in late 2016? And what, if anything, needs to change?

The first challenge is that many in the film and TV industry find it difficult to talk about the subject. Researching this article, I lost count of the number of people who demurred to go on the record, or of actors who seemed eager to speak but were then dissuaded. Fatigue might be partly to blame – it’s exhausting to be asked repeatedly about diversity because you didn’t go to Harrow and your skin isn’t white – but I got the sense that there’s more going on.

One man who passionately believes this is the screenwriter Trix Worrell, the creator of the pioneering Channel 4 sitcom Desmond’s, which brought an African-Caribbean barbershop in south-east ­London to Middle England’s living rooms in the late 1980s and early 1990s.

“TV is very difficult to break into. There’s a protectionism there,” he says with a shrug, when we meet for coffee on the seafront in Hastings, where he now lives. “People are nervous about rocking the boat.”

Though cheerful about most of the things we discuss, Worrell admits to feeling a roiling anger when it comes to this particular matter. Does he think that diversity has improved since he was pitching Desmond’s, three decades ago? “No. I say that with absolute certainty and surety.”

It is hard to underestimate the influence that Desmond’s had. The series ran for 71 episodes and at its peak it had five million viewers, remarkable for a sitcom. Starring the veteran actor Norman Beaton alongside a largely British-Guyanese cast, it made that community visible in a way that has not been rivalled in Britain in the 22 years since it came off air. It did so with the deftest of touches, addressing problems of interracial relationships and tensions within the black community through warm comedy.

“Up to that point, black people were ­never seen on TV,” Worrell recalls. “The only time we appeared in any media was in the red tops – muggings, vice. The idea was to show a black family who were just like any other.” Yet it seems that, apart from the spin-off comedy series Porkpie, occasioned by Beaton’s sudden death in 1994, Channel 4 has regarded the idea of portraying a normal black family in a sitcom as too great a gamble in the years since, despite an increase in the number of non-white roles in its other drama output.

Worrell smiles, but it is clear that the ­matter isn’t a joke. “The thing that’s said among black people is that there’ll only be one black sitcom every ten years.”

***

When I phone Paapa Essiedu while he’s on a lunch break from Hamlet, I am prepared to get a more positive perspective. Just 26, Essiedu has had a spectacular and seemingly unimpeded rise. A graduate of the prestigious Guildhall School of Music and Drama in London, he joined the RSC in 2012 and then hopped to the National Theatre in Sam Mendes’s King Lear, before returning to Stratford. The Telegraph greeted his debut as Hamlet with the notice that every actor dreams of: “A new star is born”.

But Essiedu seems ready to implode with frustration. “It’s ridiculous,” he says. “This stuff has been here for decades and decades: we’re lying to ourselves if we think there’s been a lack of awareness until now. Lots of people are talking and talking, but we need action.” Has he experienced racism directly? “Put it this way: quite often, I’ve been in a room where everyone else is white.”

A major issue, he says, is the apparently unshakeable addiction of British TV and film to corsets-and-cleavage period drama, which has left many BAME actors locked out of the audition room. The BBC is in the middle of a run of literary spin-offs, from War and Peace to The Moonstone. Over on ITV, we have had Victoria and the invincible Downton Abbey.

It still feels as though much of British drama is stuck in an airbrushed version of the country’s past. Though partly set in contemporary Egypt, BBC1’s adaptation of The Night Manager by John le Carré had only a handful of non-white actors in significant roles. Allowing for exceptions such as the BBC’s version of Andrea Levy’s Windrush-era novel Small Island, broadcast in 2009, you could be forgiven for thinking, had you never visited Britain, that people of only one skin colour live in this country. That the largely white drama series are successful on the export market only helps to extend the cycle.

“Producers say, ‘Oh, we commission stuff that people want to watch,’” Essiedu tells me. “But it’s such a narrow version of history – middle-to-upper-class Caucasian men, generally. Period drama can be from anywhere in the world: Africa, Asia. Where are those stories?”

Drama is just a sliver of broadcasting output, but other genres aren’t much better. Journalists from ethnic-minority backgrounds have made steady progress in television newsrooms – but not fast enough, Channel 4’s Krishnan Guru-Murthy has ­argued; there is a glaring absence, however, when it comes to lifestyle and entertainment TV. The recent success of the intrepid youth TV star Reggie Yates notwithstanding, it is difficult to ignore or account for the dearth of BAME presenters in documentaries and “serious” factual programming; and no major current British chat show has a permanent anchor who isn’t white.

Adil Ray’s BBC1 comedy Citizen Khan, which focuses on the escapades of the overbearing Muslim patriarch Mr Khan and his family in the Sparkhill area of Birmingham, is a rare exception. It has just returned for a fifth season. A worthy successor to Desmond’s in its tongue-in-cheek approach to potentially inflammatory issues (the 2014 Christmas special featured the birth of Mr Khan’s grandson, Mohammad, on Christmas Day) the programme also resembles its forebear in a more depressing way: it appears to be one of a kind.

When I ask Ray why he thinks this is, he selects his words carefully. “It’s not prejudice exactly,” he says, “but in the TV business, there are a lot of formulas. If you’re doing curry, get an Asian person. If it’s hip-hop, someone who’s black. If you’re doing a walk in the countryside, or drinking tea in the Cotswolds . . .” He leaves the sentence hanging.

What appears on screen is only the visible part of the problem. Actors get cast in roles only if writers write them; projects get made only if commissioners commission them. TV and film are notoriously incestuous and competitive industries. Careers are unstable. Knowing someone who knows someone is often – too often – the only way of getting work.

According to figures produced this year by Creative Skillset, many media companies fail dismally when it comes to representation. Just 24 per cent of those in senior roles in cable or satellite firms are female; 4 per cent of employees in positions in senior terrestrial broadcast are BAME; and, if the numbers are to be believed, there are no BAME people at all working on the senior production side of independent film companies. The figures aren’t entirely robust – they rely on organisations filling in forms and returning them – but if they’re anywhere near the truth they make for grim reading.

The BBC’s statistics are more encouraging (according to the latest figures, BAME people make up 13.4 per cent of staff overall and hold 9.2 per cent of leadership roles) but don’t include freelancers, an area in which it is reasonable to suppose that, without quotas to fill, representation will be worse. In September, the media regulator Ofcom put broadcasters on notice that they could face “harder-edged” regulation if they did not improve diversity.

Chi Onwurah, the MP for Newcastle upon Tyne Central, who has been vocal about these matters in parliament, says that the BBC has a special duty to up its game. “It’s not doing enough,” she tells me. “If it was, there wouldn’t be a problem. It was very interesting watching the [European Union] referendum; all the efforts broadcasters have gone to to make sure there was balance. If they went to half that effort for BAME, gender and disability, it would be a different world.”

The BBC is keen to show that it is paying attention. Last year, it appointed Tunde Ogungbesan as its new head of “diversity, inclusion and succession”, and in April his team announced eye-catching targets: gender parity across every part of the corporation; 8 per cent of staff disabled; 8 per cent of staff lesbian, gay or trans; 15 per cent of staff from BAME backgrounds. Those numbers will be replicated on screen, lead roles included, and are roughly equivalent to averages for the overall population of Britain.

Yet the idea that established BBC presenters will go quietly seems optimistic. Take the ruckus that the comedian Jon Holmes recently raised when his contract with The Now Show (Radio 4) wasn’t renewed. Holmes asked in the Mail on Sunday: “Should I, as a white man . . . be fired from my job because I am a white man?”

Ogungbesan – a former head of diversity for Shell – has a businesslike attitude to the challenges he faces, which are, he concedes, considerable. “We’ve got four years to do this, and we know there’s a hell of a lot of work to do.” That is why his team has given itself a deadline. “Hopefully, when we hit those targets in 2020, we’ll be the most diverse broadcaster in the UK.”

How does he respond to Onwurah’s suggestion that the BBC is skilled at announcing targets but less good at making change happen? “We’re publishing our results,” he says. “You’ll be able to hold us to it.”

And what if the targets aren’t met? Ogun­gbesan laughs, for perhaps a touch too long. He will not consider the possibility. “I’m like a boxer. I refuse to look at it.”

***

If British TV and film don’t get their act together soon, there may be no one left to cast. Increasingly, black and Asian stars are decamping to America to make their career there. Among those who have joined the brain drain are Archie Panjabi and Cush Jumbo (The Good Wife), David Oyelowo (Selma) and Chiwetel Ejiofor (12 Years a Slave). Idris Elba, who brooded brilliantly in BBC1’s crime procedural Luther, would likely never have been cast in a big British series if he hadn’t already made a name in the United States with The Wire. Before she appeared in Undercover, Sophie Okonedo said in an interview that the scripts she was offered from the US far outnumbered those from the UK.

Visiting Los Angeles recently, I tracked down Parminder Nagra, who made her name in Bend It Like Beckham before being spotted by a producer for the long-running medical drama ER. In 2003 she was offered the role of the Anglo-American doctor Neela Rasgotra, which she played until the series ended in 2009. A big part in the NBC crime drama The Blacklist followed, along with other film and TV work.

She never intended to move, she says, laughing ruefully, when we meet at a café in a well-to-do suburb of LA populated by movie folk. She has worked occasionally elsewhere but, 13 years on, she is still on the west coast. “The jobs I’ve got, like most actors, haven’t come about in a conventional way. It’s generally because someone is open-minded enough to look at you.”

Although she is careful to make it clear that the US is far from a utopia in terms of how it portrays race, sexuality or gender on screen – she tells a gruesome tale of a white writer who sent her his attempt at an “Asian” character – Nagra senses that things are more open in the US. “It’s a bigger pond here, because of the sheer size of the country,” she says. “There are writers of colour in the UK, but what happens is that you’ve only got one or two people at the top who are making decisions about the taste of the country . . . Those people are white.”

The landscape is certainly more open in the US. Leaving aside the allegations about Bill Cosby, NBC’s Cosby Show (1984-92) was a force for good, with its focus on a middle-class African-American family and with the numerous ethnically diverse shows it made possible: A Different World, The Fresh Prince of Bel-Air, In Living Color, Scandal (the last was commissioned by the influential black writer-producer Shonda Rhimes). Back in the early 1980s, the gentle NBC sitcom Gimme a Break! – starring Nell Carter – explored issues of racism, too.

US cable and online subscription ­services are even more courageous. Netflix’s Orange Is the New Black has an ethnically kaleidoscopic cast and plotlines that vault across almost every conceivable question of gender, sexuality, body image and politics. Where it has apparently taken the BBC until 2016 to realise that families can be both black and upper middle class, ABC in the US was years ahead: in 2014 it commissioned Black-ish, which offers a subtle portrait of an advertising executive who frets that he is losing touch with both his Obama-era kids and his inner-city origins.

Nagra nods. “There still are a lot of issues here, but if you’re an actor of colour, there is more work. All those British period dramas are really well done, but there’s a yearning there: ‘Can I please just see somebody like me on TV?’”

The reason all this matters is that TV, theatre and film have a duty to show us not merely who we are, but who we can become. In Undercover, Okonedo becomes Britain’s first black, female director of public prosecutions: this may seem unlikely, given the state of the UK’s judiciary, yet seeing it on TV helps to shift perceptions. No one would argue that Okonedo’s co-star Dennis Haysbert got Barack Obama into the White House by playing a black president of the United States in 24, but perhaps it made such a world marginally more imaginable.

The time is overdue for British TV to abandon its fetish for bodices and show us what our nation actually looks like, in all its variety – and to be more imaginative about the kind of history it presents. Colour-blind casting is mainstream in theatre. Actors of various heritages appear in Pinter or Chekhov and no one raises an eyebrow.

Anthropologists argue that race and gender are forms of performance, sets of shared codes, rather than something intrinsic to who we are. Is it so difficult to imagine a Jane Austen production with performers of black or Asian heritage? Is that any harder to believe than the thousand impossibilities we witness every day in TV drama?

I ask Essiedu if he is optimistic. Yes, he says forcefully. “I have to be. Optimism is the only way we initiate change.”

When I put the same question to Nagra, she pauses to think. “I remember being asked about this when I started ER, and I was a bit tired of the issue even then. Yet here we still are.” Her expression is wry. “So ask me in ten years’ time.”

This article first appeared in the 24 November 2016 issue of the New Statesman, Blair: out of exile