Labour and the Tories' woes show our political system is breaking apart

The growing strength of the Tory right and the anti-austerity left suggests our stable, predictable system of party politics may be coming to an end.

It is fair to say Philip Hollobone and Peter Bone don’t think much of David Cameron’s government. The clan leaders of the so-called Tory Taliban were responsible for the ‘alternative Queen’s Speech’ the other week which included moves to ban burqas, bash gypsies and wallop wind farms.

On the other side of the political aisle, activists from the People’s Assembly Against Austerity don’t think much of Labour either. One of their luminaries, PCS general secretary Mark Serwotka, spelled out why in his Staggers piece last week, berating Ed Miliband’s repositioning on welfare and spending as "economically stupid" and "politically inept".

Both can be dismissed as trumpet blasts from the political margins but they are indicative of something that our political leaders know only too well: British politics, as we have known it, is on the way out.

For 80 years, our system has accommodated large, conglomerated parties of the centre-right and centre-left, a small liberal party and assorted nationalists and unionists. This settlement has proved remarkably resilient in seeing off pretenders before, most notably the Social Democratic Party in the early 1980s, but the edges are now starting to atrophy, leading to fractiousness and fragmentation.

It starts at the edges but it really affects the centre, with powerful disintegrative forces pulling the two main parties towards the extremes, with centrists in both parties clinging on for dear life. As the Tories leach support to UKIP, Cameron moves rightwards to counter their advance.

Labour, meanwhile, faces a different challenge. It doesn’t have to counter an exogenous threat; recent events focusing on Unite’s modus operandi in parliamentary selection battles shows its problems are closer to home. The duty of trade unions to represent their members’ interests sees most reject austerity. This will become increasingly at variance with Labour’s more pragmatic approach as the party begins the process of staking a claim to the centre-ground and detailing its plans around deficit reduction and governing a radically downsized state.

As the party’s largest affiliate and biggest financial backer, with £8.4m donated to party coffers since 2010, Unite is currently pondering a merger with Serwotka’s more radical PCS (which isn’t affiliated to Labour) presenting the risk that a new super-union may disaffiliate from the party given the growing disagreements over economic policy, a move which would also scupper Labour financially.

Although it is the Tories who are publicly riven on issues stretching from gay marriage to HS2, Labour’s divisions run deeper. Social democracy, stripped of the ability to use the heft of the state to create a more equal society, suggests that Labour’s nervous breakdown is on its way, with the lack of hard detail about its direction currently serving to disguise tensions that go to the heart of what the party is for and in whose interests it governs.

Could either Labour or the Conservatives break apart? Traditionally the costs of establishing a political party and a hostile first-past-the-post electoral system, which makes it difficult for newcomers to gain electoral traction, has prevented this happening. But UKIP’s recent success is perhaps showing that it is possible to break the mould (although Farage still has to translate opinion poll results into actual seats).

Yet beyond the philosophical differences within our main parties lie deeper structural problems. Membership and participation levels have tumbled to all-time lows. Even allowing for a spike in new members following the 2010 defeat, Labour’s total is now half what it was in the mid-1990s. The Conservatives, with two million members in the 1950s, are now down to a tenth of that figure, with around 180,000 today. Meanwhile UKIP, with 30,000 recruits, is on course to overtake the Lib Dems, who have lost 35 per cent of their members since entering the coalition.

The emergence of a four-party system could see Labour win the next election with as little as a third of the popular vote, a prospect that should horrify party strategists, with "one nation" politics becoming a hollow boast if two-thirds of the electorate back other parties. But the rot goes far deeper than just the state of our parties. As few as six out of ten people now bother to vote in general elections – down from 78 per cent as recently as 1992, with the Electoral Commission warning that at least six million people are not registered to vote at all.

The crackpots of the Tory right and the purists of the anti-austerity left are easily dismissed as unrepresentative ultras, but their very existence – and their growing strength - serves to tell us that our stable, predictable system of party politics is now breaking apart.

David Cameron and Ed Miliband look on during the service to celebrate the 60th anniversary of the Coronation of Queen Elizabeth II at Westminster Abbey in London. Photograph: Getty Images.

Kevin Meagher is associate editor of Labour Uncut and a former special adviser at the Northern Ireland office. 

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Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

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