What began with the financial crisis has had far-reaching consequences for many lives. Photo: Getty
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Suicide: the hidden cost of the financial crisis

Are we limited in the ways we can discuss suicide? It is not just a mental health problem – it’s a social, ethical and political issue too.

Earlier this year the Department of Health published “Preventing suicide in England: One year on” (pdf). As well as the usual statistics – a breakdown of suicides in England by age, gender, means, etc – there was also the following statement:

There have now been a number of studies demonstrating an association between the areas of England worst affected by unemployment during the recent financial crisis and increased suicide rates. Between 2008 and 2010, there were approximately 800 more suicides among men and 155 more among women than would have been expected based on historical trends. This was supported by a recent review of the international impact of the global economic crisis.”

Although there have been a few newspaper reports on the rise in rates of suicide in countries affected by the financial crisis (most notably Greece) little has really been written or said on the relationship between the “global economic crisis” and the increase in self-inflicted deaths that have resulted. We might wonder why that is. Partly it may be a question of how suicide itself is generally thought about. There is a history of stigma and shame attached to the death that persists which makes it a topic not easily discussed in public (although somewhat sensationalist reporting still goes on – MailOnline seems to find it hard to not report on suicides which contain an element of scandal or intrigue). Beyond that, however, there are also issues around who gets to speak about suicide, and in what way.

The study of suicide is now, for the most part, a self-consciously scientific venture. Neutrality and objectivity are highly valued within the academic field of suicidology, and as a consequence anything which veers towards “opinion” tends to get marginalised. Additionally, the field is dominated by psychiatrists and psychologists who adhere to a fairly rigid style of thought which reads suicide as an issue primarily of individual mental health – the dominant idea being that people who kill themselves are mentally ill. Taken together these result in fairly restricted, and restricting, ways of talking about the subject.

These assumptions or ways of thinking about suicide have come to be inscribed in media guidelines to editors in the form of “best practice suicide reporting tips” (such as those produced by the Samaritans) and codes of practice (like the Press Complaints Commission’s). While the rationale for careful and responsible reporting is hard to fault, there are, perhaps, unintended consequences, again around the limited ways we are now able to discuss suicide.  In particular, it has become difficult to raise concerns over possible associations between social changes and deaths by suicide.

Reporters and editors are encouraged to frame the issue in terms of individual mental health, so nearly a thousand “additional” deaths by suicide in England in a two year span barely get a mention, let alone serious analysis. Attempts to link suicides to “austerity” measures and hardship (eg the webpage calumslist.org which documented suicides where there was a clear link to welfare cuts) are met with short shrift in certain elements of the media. Brendan O’Neill in the Telegraph (“This exploitation of suicidal people is a new low for campaigners against welfare reform”) described a suicide as “the act of someone in a fevered, unstable state of mind” and that “to exploit such psychologically disturbed behaviour for political ends… is politics of the most depraved variety”.

Despite such sentiments I would still argue that if suicide is a problem it is as much a social, ethical and political issue as a mental health one. We now define and explain suicide almost solely in terms of individual mental illness and risk and as a consequence such deaths are mostly understood as private, individual events largely divorced from questions of social justice. In short, suicide remains outside politics (although I would also argue that to frame suicide only as an issue of individual mental health is not ethically neutral – it is itself a political act).

Addressing the ethical, social and political dimensions of suicide, though, would mean contesting certain dominant ways of thinking and writing about the issue. Framing suicide as a question of social justice would involve accepting that it is almost always more than the result of an individual mental health problem, and that narrow, reductionist psychological and psychiatric explanations, however authoritatively or “scientifically” expressed, place limits on our responses. Accepting that suicide is as much a social justice issue as a mental health one would require a substantial change in the way we think, but it would open up new possibilities for action – ones that were maybe more collective and politically-informed. Despite the challenges involved in such a reframing of the issue, I think that would be a better approach than letting nearly a thousand “more than expected” deaths pass without comment.

If any of the content of this story affects you, Samaritans are available to talk 24 hours a day, 365 days a year.

A National Trust property. Photo: Getty
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The National Trust is right to bring gay history out of the closet

If you want to explore the history of Britain, you can't ignore its LGBT citizens.

Imagine seeing a monument to executed gay men and thinking literally anything other than, “how sad and poignant”. In September, the National Trust unveiled exactly such a memorial at one of their properties in Dorset. Kingston Lacy was once owned by William John Bankes, a man whose sexuality, in nineteenth century Britain, was a capital offence. The NT’s moving tribute to Lacy and so many others persecuted for being queer was deemed a “PC stunt” by the Daily Mail. Tory MP Andrew Bridgen somehow managed to find the monument “totally inappropriate”, adding that he looks to the Church for moral guidance – not the National Trust.

 But let me backtrack. I’m in the darkened vault of the Tower of London where the Crown Jewels are kept. The tour guide has just made a joke about vibrators.

The last time I was here, I was about nine and I was on a day out with my grandma. She made no mention whatsoever of sex toys. I wonder, actually, if this is the closest to this ceremonial bling a joke about vibrators has ever been made. I also wonder if there’s ever been a tour of the Tower of London where the guide – as my one did about fifteen minutes ago – has quite overtly slammed British imperialism. One thing I know for certain though: this is the first ever official LGBTQ tour of the Tower, organised by none other than Historic Royal Palaces – the charity that manages several of the UK’s grandest former homes.

 Earlier, at Traitors’ Gate, me and a tour group of about twenty people were told about Irish republican Roger Casement, who was executed, here, in 1916. Casement was dedicated to speaking out against the atrocities of imperialism, and was rumoured to be gay. But it wasn’t his alleged homosexuality that landed him in this thousand-year-old fortress-turned-prison, rather his involvement in the Easter Rising. King James I though – I later learn – was almost definitely gay or bi, having a number of “favourite” male courtiers. “Favourite” seeming to be a particularly coy seventeenth century euphemism for “gay lover”.

 The tour lasts about an hour and, although at times it seems to be slightly scraping the barrel for queer content, the pure effort of it is nothing short of heroic. The Crown Jewels section focused in on Queen Victoria, and all the anti-gay legislation introduced during her infamously prudish reign. On this tour, her freakishly tiny crown becomes a symbol of oppression rather than a cutesy royal knick-knack. Which, I can only imagine, would have the “gay agenda”-fearing monarchy groupies of middle England in a Faragean frenzy.

 This year marks the fiftieth anniversary of the 1967 Sexual Offences Act, which partially decriminalised (male) gay sex in England and Wales. And with the sheer number of events, like the queer Tower tour, at palaces and historic institutions – from Hampton Court to the British Library – you’d think it was the Queen’s platinum jubilee.

Now for some word association.

 “National Trust”.

 Pensioners? Fruitcake? Dust? Anarchic genderqueer hook-up joint?

 Not so much that last one? Well then, it may come as a surprise that it was the fusty old National Trust, working alongside the National Archives, that recreated a historically accurate covert 1930s London gay bar. For a couple of nights in March this year, Soho’s Freud Café was transformed into “London’s most bohemian rendezvous”, the Caravan club. In a spectacularly and appropriately theatrical evening of incense, cocktails and vintage drag queens, the NT totally nailed the “illegal den of queer iniquity” thing. This was preceded by a historic LGBTQ tour of Soho, which, like the Tower tour, didn’t gloss over the brutality of the British establishment. The Soho tour was rightfully heavy on harrowing stories about police raids on queer venues. In fact, it was through police reports collected by the National Archives that the NT was able to recreate The Caravan (which was shut down by the police in 1934).

Further north in London, another LGBTQ event hosted by the National Trust was “Sutton House Queered”. If the idea of a Tudor manor house in Hackney isn’t surreal enough, in February the grade II listed former home to aristocracy was the setting of a queer art exhibition. Think – richly wood panelled great room containing a painting of Henry VIII in full bondage gear. This was also the debut of the first gender-neutral public toilet in an NT property.

And, in a display of borderline hilarious inevitability, the Daily Mail … raised objections. “Preserve us from a National Trust that’s so achingly right-on”, quacked a Mail headline in December last year, after the NT announced its plans for a series of “Prejudice and Pride” events marking the 50th anniversary of the Sexual Offences Act. This July, the NT came under attack from the Mail, yet again, for outing late aristocrat, Robert Wyndham Ketton-Cremer. Ketton-Cremer left his Norfolk home to the Trust in 1969, and was supposedly outed as gay in a recent film for the “Prejudice and Pride” series. Whether or not the NT’s decision to discuss Ketton-Cremer’s sexuality was ethical, it’s a refreshing sort of controversy: the kind where an old British institution is actually quite blasé about gay sex, and the Mail goes nuts.

 Throughout this year, my inbox has been almost quite alarmingly full of press releases for queer-related events and promotions. From rainbow hummus (yes.) at the Real Greek restaurant, to “Pride at the Palace” at Hampton Court, more than ever, everyone seems to want a slice of the gay action. The Tate Britain’s “Queer British Art” exhibition, which opened in April, showcases a century (1867—1967) of sexually subversive works by LGBTQ artists. Although overwhelmingly male and posh, it’s hard to play down the importance of such a simultaneously harrowing and celebratory retrospective. In one room, A large and imposing portrait of Oscar Wilde stands right next to the actual door to his prison cell in Reading Gaol, where he was imprisoned for the absolute non-crime of “gross indecency”. Even if Britain’s cultural institutions are just playing up to a trend, a very big part of me is into it.

 In July, I went to a panel discussion organised by Opening Doors London, a charity that provides support for older LGBTQ people. A group of queer people who were adults when the Sexual Offences Act was passed spoke about what this anniversary means to them. When I asked panellist Jane Traies, the author of The Lives of Older Lesbians: Sexuality, Identity & the Life Course, what she thought about the likes of the National Trust taking on queer history, she was understandably wary of the possible faddy-ness of it all.

“It’s good, though, that history itself should come out of the closet,” she said.

                                                                                       

Eleanor Margolis is a freelance journalist, whose "Lez Miserable" column appears weekly on the New Statesman website.