Westminster may dabble in xenophobia, but the reality is that racism isn’t popular

Britain’s immigration debate would look very different if ministers overcame their fear of the fringe and trusted voters with a more honest account of the country we have.

Painted in a certain light, Britain in the summer of 2013 can be made to look pretty nasty. Government vans crawled the streets with a threat to migrants conveyed in the tone of a police state and the idiom of the far right: “Go home or face arrest.” Politicians blame every malaise on foreign interlopers: new arrivals with jobs must be jumping the queue; those without work must be gobbling benefits and hogging hospital beds. Westminster cringes before Ukip, a party that lubricates intolerance with theatrical pub cheer.

But with a change of palette, the same country can be construed differently. The menacing vans have been steered off the streets by the threat of a legal challenge, exposing a failure of process at the Home Office. The stunt has been quietly disowned by Downing Street. (“The Prime Minister probably didn’t even know it was happening,” a senior Tory adviser tells me.) Even Nigel Farage affected distaste at a “nasty, Big Brother” device.

The anxiety about immigration that shows up in opinion polls is not matched by an exclusion of immigrants and their families from British culture. Only a year ago, the nation cheered Mo Farah and Jessica Ennis-Hill, flagbearers for multi-ethnic Britishness, as its Olympic king and queen. TV audiences elected a Hungarian dance troupe as this year’s winner of Britain’s Got Talent. It isn’t a scientific reading of the collective mood but it suggests we are some way off from nationalist frenzy.

For every ministerial dabble in the vilification of migrants, there is a caveat of admiration for the contribution that foreigners have made to the enrichment of these isles. That is the paradox of British political xenophobia – the racist element in populism must be discreet because overt racism isn’t popular.

There is plainly some ugly bigotry expressed in Ukip’s rise but the stronger animus is reserved for politicians from other parties who are accused of colluding in an open-border policy and sneering at anyone who objects. Conservative and Labour MPs say the pro-Farage voters they meet on the doorstep barely distinguish between a blue and a red rosette. They are treated as interchangeable logos on one governing machine.

So there may be less mileage than Conservative strategists think in boasting that the Tories are slamming shut the gates supposedly left open by Labour. When official statistics show net migration falling, voters don’t believe it. Besides, the transitional controls on migration from Bulgaria and Romania – EU members since 2007, whose access to the British jobs market has been delayed – will be lifted in January 2014. Ukip officials barely contain their glee at the unravelling this portends for Conservative claims to be running a “tough” border regime.

Labour suffers from a complex of agonies over immigration. It knows it has lost thousands of votes over the issue. The political computation of that number is then muddled by contradictory impulses: anti-racism as an ethical hallmark of left politics; a tendency to be automatically pro-European for fear of overlapping with Little Englanders’ cartoon hatred of Brussels; a liberal conviction that enterprising migrants are good for the economy and society; a less liberal distaste for the way globalisation treats labour as a fluid resource, sloshing across borders at capital’s behest.

Then there is Ed Miliband’s background as the son of Jewish refugees from the Nazis. The Labour leader is obliged by political reality to address resentment of mass immigration and driven by his upbringing to see the migrants’ side of the story. That could be a recipe for indecision. It may also be a useful combination, because immigrant communities in marginal seats could decide the outcome in a closely fought general election.

Non-white voters do not have uniform political preferences but there is a clear pattern of mistrust of the Tories. There are Conservatives, mostly in urban constituencies with thin majorities, who see this as a long-term crisis for the party. Their concerns have been swept aside in the tactical dash to plug the leak of angry white votes to Ukip.

By contrast, Labour’s position – interpreted generously – is to focus on the causes of antiimmigrant feeling: low wages; a housing crisis that breeds resentment of foreign families in council properties; the skills shortage in an army of unemployed youth. Miliband’s aim, say his friends, is to move the conversation away from race and on to systemic failings in an economy that permits the routine exploitation of migrants and neglect of local labour forces.

That was the point the shadow immigration minister, Chris Bryant, tried to make in a speech on 12 August but the message was garbled. The intervention was erected on a platform of factual error, resulting in an overnight rewrite and a panicky retreat from attacks on corporate employers, encouraging the less generous interpretation of Labour’s position as an unprincipled shambles.

That is unfortunate, because Miliband’s nuanced line, treating immigration anxiety as a function of deep-rooted economic insecurity, deserves an airing. Britain is not a nasty country. Nor is it poised to instal a Ukip government, as more level-headed Tories can see. One Conservative backbencher, lamenting his party’s fringe obsession, recently told me: "People talk about Nigel Farage’s great charisma. Actually, I think a lot of people see him as a bit of a dick."

Westminster devotes more energy to decoding what goes on in the minds of the one in ten voters who might back Ukip than it does to understanding the larger number of people who know that Faragism isn’t the solution. There is in any society a bitter, defensive streak that can be brought out by fear and a generous side that thrives on trust. Britain’s immigration debate would look very different if ministers overcame their fear of the fringe and trusted voters with a more honest account of the country we have and the kind of country most of us want.

A van carrying the Home Office's message to illegal immigrants: 'Go home or face arrest.'

Rafael Behr is political columnist at the Guardian and former political editor of the New Statesman

This article first appeared in the 19 August 2013 issue of the New Statesman, Why aren’t young people working

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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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