St Michael's at Marazion near Penzance> Photo: Getty
Show Hide image

Devolution strikes back – but do Cornwall and Yorkshire want more powers . . . or just more money?

 If prospectors struck oil off the Falmouth coast tomorrow, I don’t see how anyone could blame the Cornish for rolling out barbed wire along the banks of the Tamar.

In the last weeks of the referendum campaign, I’ve been annoying my colleagues even more than usual. “What about Cornwall?” I pipe up. “If I lived in Cornwall, I’d be pretty pissed off with the current constitutional set-up, too.”

One of the defining themes of the independence debate has been how badly served many people in Scotland feel by the concentration of power in Westminster. “We didn’t vote for this Tory government!” said a succession of men draped in the Saltire on the news. “Scotland’s Future in Scotland’s Hands”, went the title of Alex Salmond’s New Statesman lecture in March.

One obvious consequence of this anti-establishment fervour is that activists in the English regions have renewed their call for more powers. The devolution agenda – widely regarded to have stalled in November 2004 when voters rejected a north-east assembly – is back. And it’s not just in the big cities of the north, for which elected mayors are sporadically proposed. The rural regions also bridle at the thought of being governed by a “metropolitan elite”, which is the new way of saying “townies”. Think of the antipathy generated by the coalition’s proposed sell-off of the forests or the slow dredging of rivers on the Somerset Levels. Many English people feel that their particular concerns are going unheard.

A few figures to illustrate the problem: James Ball, who leads the Guardian’s data blog, analysed the number of news stories in national papers that mentioned Scotland between 8 and 15 September. The tally for this year was 2,157 – up from 1,077 in the same week in 2013. James, being a proud Yorkshireman, repeated the exercise for his home county, which has roughly the same size population as Scotland. The result? A measly 469, down from 503. If you live outside the capital, the media take you for granted unless you threaten to bugger off.

No wonder regionalist parties are sounding off. On 1 August, an outfit called Yorkshire First launched its “Yorkshire pledge”, dem­anding devolution of “powers to the least centralised authority capable of addressing those matters effectively”. It points out that Yorkshire has an economy twice the size of Wales’s but far less powers. Fun fact: if Yorkshire had seceded from Britain and competed in the 2012 Olympics, its seven golds, two silvers and three bronzes would have put it 12th in the medal table.

There is a problem, however: where do you define Yorkshire’s borders? Even the Yorkshire First website gets its whippets in a twist: it claims an area of 22 councils, including two from Lincolnshire. A similar problem afflicts the Wessex Regionalist Party (WRP), which originally used Thomas Hardy’s definition but has since decided to annex Oxfordshire and Gloucestershire, too. (Luckily, with a grand total of 62 votes in Witney, the only seat it contested in 2010, the WRP’s imperial ambitions are unlikely to become worrisome.) English devolution will always stumble because historically, unlike Germany, we don’t have clearly defined administrative boundaries.

But that is not an issue for Cornwall, which has a clearly defined geographic area. (“Lots of the Cornish think England should stop at the Tamar and ‘Kernow’ should be its own country,” a Cornish friend told me recently.) It also has specific troubles: it is the most deprived part of Britain after western Wales, according to Eurostat.

The poverty levels show that Cornwall is getting a bad deal from being part of the United Kingdom. If prospectors struck oil off the Falmouth coast tomorrow, I don’t see how anyone could blame the Cornish for rolling out barbed wire along the banks of the Tamar. As it stands, the region is heavily reliant on tourism, so there is no possibility of a successful independence movement – and therefore no chance of tweaking public spending to buy it off, as the Barnett formula did for Scotland, Wales and Northern Ireland. (That said, leaving Europe would have interesting consequences: Cornwall has received hundreds of millions in EU funding.)

What looks likely is further devolution - and here Cornwall has an advantage over more nebulous regions, because it already has a unitary authority, established in 2009, to which more responsibility could be given. The other option is a Cornish assembly, which the Liberal Democrats are squarely behind, for reasons that I’m sure have nothing to do with having three Cornish MPs with small majorities in seats where the Tories are in second place. (The three other parliamentary seats in Cornwall are held by Conservatives.) They judge, as Labour has done on the national scale, that when you don’t have any goodies to give away, you can always promise to give away power.

I asked Ian Saltern, an environmental project manager who moonlights on the cross-party campaign for a Cornish assembly, what such a body could offer. “Dydh da!” began his chirpy email back (Cornish for “Good day!”). Over the phone, he told me that the region needed more control over its housing, police, health, education and heritage policies. “The metropolitan mindset probably misses some of the unique problems that we have,” he said. “So much power has accrued to London and the south-east . . . and, you know, we don’t have a motorway – not that we’d necessarily want one, but that’s how far we are from London. During the floods, the news kept on about the ‘main train line’ between Cornwall and London. Actually, it was the only train line. And all the authorities coped really well. We think they could do that all the time, not just under emergency conditions.”

Over the next few years, Saltern’s theory is likely to be put to the test: after what we’ve seen in Scotland, the demands for devolution from the English regions will be hard to ignore. But they might well find that more powers are no substitute for something more concrete: more Treasury cash. 

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.

This article first appeared in the 17 September 2014 issue of the New Statesman, Scotland: What Next?

Getty
Show Hide image

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.

0800 7318496