Education Secretary Michael Gove is concerned by what he sees as left-wing revisionism about World War I. Photo: Getty
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Dear Mr Gove, we need to talk about the Empire in our schools

The Education Secretary wants to “encourage an open debate on the WWI and its significance”. If that's the case, it's time we talked openly about British imperialism, too.

I read with interest Michael Gove’s article in the Daily Mail, where he defended the changes that his government has made to the UK’s history curriculum. He writes that these changes “have been welcomed by top academics as a way to give all children a proper rounded understanding of our country’s past and its place in the world.” Mr Gove is particularly concerned by what he sees as left-wing revisionism about World War I, which by many has “been seen through the fictional prism of dramas such as Oh! What a Lovely War, The Monocled Mutineer and Blackadder, as a misbegotten shambles – a series of catastrophic mistakes perpetrated by an out-of-touch elite.”

It is understandable that Mr Gove, at a time when public trust in institutions is crumbling, would want to mount a vigorous defence of those in positions of power. After all, he might argue, it is all too easy to snipe at those in charge. Gove contends further that “our understanding of the war has been overlaid by misunderstandings, and misrepresentations which reflect an, at best, ambiguous attitude to this country…There is, of course, no unchallenged consensus. That is why it matters that we encourage an open debate on the war and its significance.”

I hope, in time, that this open debate extends to a thorough discussion of the British Empire in the curriculum. I wish that I had learned more about, for example, the Scramble for Africa during my GCSEs, yet despite the crucial role of imperialism in shaping our modern world it was largely absent from our syllabus. At school we had a good look at the Indian Mutiny, and the end of slavery, and that was about it. It always seemed odd to me how I could have gone through my adolescence without studying a period so pivotal in this country’s fortunes: particularly since the Scramble occurred in the thirty-year period immediately prior to the World War I (and provided the Allies with many of the resources it would need to fight it).

Mr Gove is rightly concerned that certain narratives may find themselves erased from the versions of history that we see in schools, and welcomes the fact that “the numbers of young people showing an appetite for learning about the past, and a curiosity about our nation’s story, is growing once more. ” Of course, there are elements of that past which many people may find an uncomfortable read. As the Guardian noted in April 2012:

Thousands of documents detailing some of the most shameful acts and crimes committed during the final years of the British empire were systematically destroyed to prevent them falling into the hands of post-independence governments, an official review has concluded…Those papers that survived the purge were flown discreetly to Britain where they were hidden for 50 years in a secret Foreign Office archive, beyond the reach of historians and members of the public, and in breach of legal obligations for them to be transferred into the public domain.

The article continues:

Among the documents are a handful which show that many of the most sensitive papers from Britain’s late colonial era were not hidden away, but simply destroyed. These papers give the instructions for systematic destruction issued in 1961 after Iain Macleod, secretary of state for the colonies, directed that post-independence governments should not get any material that “might embarrass Her Majesty’s government”, that could “embarrass members of the police, military forces, public servants or others eg police informers”, that might compromise intelligence sources, or that might “be used unethically by ministers in the successor government”.

Regrettably, this country’s government has erased some inconvenient truths from history. Boris Johnson, as concerned as his colleague Mr Gove that the tale of World War One is being cynically rewritten, wrote in the Telegraph that “one of the reasons I am a Conservative is that, in the end, I just can’t stand the intellectual dishonesty of the Left. In my late teens I found I had come to hate the way Lefties always seemed to be trying to cover up embarrassing facts about human nature, or to refuse to express simple truths – and I disliked the pious way in which they took offence, and tried to shoosh you into silence, if you blurted such a truth.”

Mr Johnson continues:

“We all want to think of the Germans as they are today – a wonderful, peaceful, democratic country…The Germans are as they are today because they have been frank with themselves, and because over the past 60 years they have been agonisingly thorough in acknowledging the horror of what they did.” (My italics)

I hope, in that vein, that Britain begins to interrogate its imperial past with the same rigour that Mr Gove and Mr Johnson have demanded of World War One’s historians. If we are indeed to look back into the past with a fearless spirit of inquiry, then our gaze should rest there too.

This post first appeared on Musa's blog, okwonga.com, and is crossposted here with permission

Musa Okwonga is a Berlin-based poet, journalist and musician.

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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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