Grim up north: Harry Leslie Smith grew up in coal-mining Barnsley, Yorkshire. Photo: Getty
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“Hunger, filth, fear and death”: remembering life before the NHS

Harry Leslie Smith, a 91-year-old RAF veteran born into an impoverished mining family, recalls a Britain without a welfare state.

Over 90 years ago, I was born in Barnsley, Yorkshire, to a working-class family. Poverty was as natural to us as great wealth and power were to the aristocracy of that age. Like his father and grandfather before him, my dad, Albert, eked out a meagre existence as a miner, working hundreds of feet below the surface, smashing the rock face with a pickaxe, searching for coal.

Hard work and poor wages didn’t turn my dad into a radical. They did, however, make him an idealist, because he believed that a fair wage, education, trade unions and universal suffrage were the means to a prosperous democracy. He endured brutal working conditions but they never hardened his spirit against his family or his comrades in the pits. Instead, the harsh grind of work made his soul as gentle as a beast of burden that toiled in desolate fields for the profit of others.

My mother, Lillian, however, was made of sterner stuff. She understood that brass, not love, made the world go round. So when a midwife with a love of gin and carbolic soap delivered me safely on a cold winter’s night in February 1923 into my mum’s exhausted arms, I was swaddled in her rough-and-ready love, which toughened my skin with a harsh affection. I was the first son but I had two elder sisters who had already skinned their knees and elbows in the mad fight to stay alive in the days before the social safety network. Later on, our family would include two half-brothers, after my mother was compelled to look for a more secure provider than my dad during the Great Depression.

By the time I was weaned from my mother’s breast, I had begun to learn the cruel lessons that the world inflicted on its poor. At the age of seven, my eldest sister, Marion, contracted tuberculosis, which was a common and deadly disease for those who lived hand to mouth in early-20th-century Britain. Her illness was directly spawned from our poverty, which forced us to live in a series of fetid slums.

Despite being a full-time worker, my dad was always one pay packet away from destitution. Several times, my family did midnight flits and moved from one decre­pit single-bedroom tenement to the next. Yet we never seemed to move far from the town’s tip, a giant wasteland stacked with rotting rubbish, which became a playground for preschool children.

At the beginning of my life, affordable health care was out of reach for much of the population. A doctor’s visit could cost the equivalent of half a week’s wages, so most people relied on good fortune rather than medical advice to see them safely through an illness. But luck and guile went only so far and many lives were snatched away before they had a chance to start. The wages of the ordinary worker were at a mere subsistence level and therefore medicine or simple rest was out of the question for many people.

Unfortunately for my sister, luck was also in short supply in our household. Because my parents could neither afford to see a consultant nor send my sister to a sanatorium, Marion’s TB spread and infected her spine, leaving her an invalid.

****

The 1926 General Strike, which began just as my sister started her slow and painful journey from life to death, was about more than wages to my dad and many others. It was called by the TUC in protest against mine owners who were using strong-arm tactics to force their workers to accept longer work hours for less take-home pay. At its start, it involved 1.7 million industrialised workers.

In essence, the strike was about the right of all people, regardless of their economic station, to live a dignified and meaningful life. My father joined it with enthusiasm, because he believed that all workers, from tram drivers to those who dug ore, deserved a living wage. But for my father the strike  was also about the belief that he might be able to right the wrongs done to him and his family; if only he had more money in his pay packet, he might have been able to afford decent health care for all of us.

Unfortunately, the General Strike was crushed by the government, which first bullied TUC members to return to their work stations. Eight months later, it did the same to the miners whose communities had been beggared by being on the pickets for so long. My dad and his workmates had to accept wage cuts.

I remember my sister’s pain and anguish during her final weeks of life in October 1926. I’d play beside her in our parlour, which was as squalid as an animal pen, while she lay on a wicker landau, tied down by ropes to prevent her from falling to the ground while unattended. When Marion’s care became too much for my mother to endure, she was sent to our neighbourhood workhouse, which had been imprisoning the indigent since the days of Charles Dickens.

The workhouse where Marion died was a large, brick building less than a mile from our living quarters. Since it had been designed as a prison for the poor, it had few windows and had a high wall surrounding it. When my sister left our house and was transported there on a cart pulled by an old horse, my mum and dad told my other sister and me to wave goodbye, because Marion was going to a better place than here.

The workhouse was not used only as a prison for those who had been ruined by poverty; it also had a primitive infirmary attached to it, where the poor could receive limited medical attention. Perhaps the only compassion the place allowed my parents was permission to visit their daughter to calm her fears of death.

My sister died behind the thick, limestone walls at the age of ten, and perhaps the only compassion the place allowed my parents was permission to visit their daughter to calm her fears of death. As we didn’t have the money to give her a proper burial, Marion was thrown into a communal grave for those too poor to matter. Since then, the pauper’s pit has been replaced by a dual carriageway.

****

Some historians have called the decade of my birth “the Roaring Twenties” but for most it was a long death rattle. Wages were low, rents were high and there was little or no job protection as a result of a postwar recession that had gutted Britain’s industrial heartland. When the Great Depression struck Britain in the 1930s, it turned our cities and towns into a charnel house for the working class, because they had no economic reserves left to withstand prolonged joblessness and the ruling class believed that benefits led to fecklessness.

Even now, when I look back to those gaslight days of my boyhood and youth, all I can recollect is hunger, filth, fear and death. My mother called those terrible years for our family, our friends and our nation a time when “hard rain ate cold Yorkshire stone for its tea”.

I will never forget seeing as a teenager the faces of former soldiers who had been broken physically and mentally during the Great War and were living rough in the back alleys of Bradford. Their faces were haunted not by the brutality of the war but by the savagery of the peace. Nor will I forget as long as I shall live the screams that fell out of dosshouse windows from the dying and mentally ill, who were denied medicine and solace because they didn’t have the money to pay for medical services.

Like today, those tragedies were perpetuated by a coalition government preaching that the only cure for our economic troubles was a harsh austerity, which promised to right Britain’s finances through the sacrifice of its lowest-paid workers. When my dad got injured, the dole he received was ten shillings a week. My family, like millions of others, were reduced to beggary. In the 1930s, the government believed that private charities were more suitable for providing alms for those who had been ruined in the Great Depression.

Austerity in the 1930s was like a pogrom against Britain’s working class. It blighted so many lives through preventable ailments caused by malnutrition, as well as thwarting ordinary people’s aspirations for a decent life by denying them housing, full- time employment or a proper education.

As Britain’s and my family’s economic situation worsened in the 1930s, we upped sticks from Barnsley to Bradford in the hope that my father might find work. But there were too many adults out of work and jobs were scarce, so he never found full-time employment again. We lived in dosshouses. They were cheap, sad places filled with people broken financially and emotionally. Since we had no food, my mum had me indentured to a seedy off-licence located near our rooming house. At the age of seven, I became a barrow boy and delivered bottles of beer to the down-and-outs who populated our neighbourhood.

My family were nomads. We flitted from one dosshouse to the next, trying to keep ahead of the rent collector. We moved around the slums of Bradford and when we had outstayed our welcome there, we moved on to Sowerby Bridge, before ending up in Halifax. As I grew up, my schooling suffered; I had to work to keep my sister, my mum and half-brothers fed. At the age of ten, I was helping to deliver coal and by my teens, I started work as a grocer’s assistant. At 17, I had been promoted to store manager. However, at the age of 18, the Second World War intervened in whatever else I had planned for the rest of my life. I volunteered to join the RAF.

****

My politics was forged in the slums of Yorkshire but it was in the summer of 1945, at the age of 22, that I finally felt able to exorcise the misery of my early days. In that long ago July, I was a member of the RAF stationed in Hamburg; a city left ruined and derelict by war. I had been a member of the air force since 1941 but my war had been good, because I had walked away from it without needing so much as a plaster for a shaving nick. At its end, my unit had been seconded to be part of the occupational forces charged with rebuilding a German society gutted by Hitler and our bombs.

It was in the palm of that ravaged city that I voted in Britain’s first general election since the war began. As I stood to cast my ballot in the heat of that summer, I joked with my mates, smoked Player’s cigarettes and stopped to look out towards a shattered German skyline. I realised then that this election was momentous because it meant that a common person, like me, had a chance of changing his future.

So it seemed only natural and right that I voted for a political party that saw health care, housing and education as basic human rights for all of its citizens and not just the well-to-do. When I marked my X on the ballot paper, I voted for all those who had died, like my sister, in the workhouse; for men like my father who had been broken beyond repair by the Great Depression; and for women like my mum who had been tortured by grief over a child lost through unjust poverty. And I voted for myself and my right to a fair and decent life.

I voted for Labour and the creation of the welfare state and the NHS, free for all its users. And now, nearly 70 years later, I fear for the future of my grandchildren’s generation, because Britain’s social welfare state is being dismantled brick by brick.

****

My life didn’t really begin until the end of the Second World War. I fell in love with Friede, a German woman, whom I married and brought home to Halifax. My wife gave me emotional stability while the welfare state gave me economic stability. When I was demobbed, I didn’t have many prospects, except using my brawn over my brain. I took factory jobs while my wife and I studied at night school. But I am forever grateful for the foundation of the NHS, because it allowed my wife to receive first-rate treatment for the PTSD she acquired by having witnessed both the atrocities of the Nazis and the firebombing of Hamburg, which killed 50,000 people in three nights of intense RAF bombing in 1943.

My experiences of growing up in Britain before the NHS, when one’s health was determined by one’s wealth, and after 1948, when free health care was seen as a cornerstone for a healthy economy and democracy, convinced me that it was my duty to share my family experiences at this year’s Labour party conference. I agreed to speak about the NHS because I know there are few people left who can remember that brutal time before the welfare state, when life for many was short and cruel. I felt that I owed it to my sister Marion, whose life was cut short by extreme poverty and poor health care, along with all of those other victims of a society that protected the rich and condemned the poor to miserable lives. In many ways, making that speech freed me from the suffering of my youth. 

Harry Leslie Smith is the author of a memoir: “Harry’s Last Stand: How the World My Generation Built is Falling Down and What We Can Do to Save it” (Icon Books, £8.99) 

Harry Leslie Smith is a survivor of the Great Depression, a Second World War RAF veteran and an activist for the poor and for the preservation of social democracy. He has authored numerous books about Britain during the Great Depression, the Second World War, and post-war austerity. Join Harry on Twitter @Harryslaststand.

Martin O’Neil for New Statesman
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Why the British addiction to period drama is driving away our best black and Asian actors

There is a diversity crisis in British TV and film as, increasingly, stars are decamping to America to make their career there.

Back in April, a six-part drama called Undercover premiered on BBC1. Perhaps you were one of the five million people who watched it: the story was audacious and continent-hopping, enfolding a narrative about a man on death row in the United States with an all-too-believable tale of a Metropolitan Police officer who marries a woman he is meant to be keeping under surveillance.

The reason the programme attracted so much attention, however, was not what it was about, but whom. Starring Sophie Okonedo and Adrian Lester, Undercover was widely reported as the first mainstream British television drama with black actors in the lead roles. This wasn’t true: as James Cooray Smith wrote on the New Statesman website, that milestone was passed in June 1956 by Mrs Patterson, a BBC adaptation of a Broadway play starring Eartha Kitt.

Yet Undercover was still a breakthrough. Smith, casting his mind back over more than six decades of British television, could not think of more than a handful of other examples. Writing in the Observer, Chitra Ramaswamy expressed her feelings with quiet devastation: “In 2016, it is an outrage that it’s a big deal to see a successful, affluent, complicated black family sit at a ­dinner table eating pasta.” Think about that. In 2016 in Britain, a country where more than nine million people describe themselves as non-white, it is news that a black, middle-class family should not only feature in a prime-time BBC drama but be at its heart. Undercover exposed how white most British television is.

Actors of colour have appeared on British film and TV screens for decades, and they have been visible on British stages for centuries – yet they have been shunted into the margins with depressing regularity. In January the actor Idris Elba urged British MPs to take the matter seriously. “Although there’s a lot of reality TV,” he argued, “TV hasn’t caught up with reality.”

In February, there was renewed uproar over the lack of racial diversity in Hollywood at the 88th Academy Awards, and the infuriated hashtag #OscarsSoWhite blossomed again on social media. A month later, Lenny Henry argued that black and minority ethnic (BAME) talent was being “ghettoised”. The term could hardly be more charged. Speaking at the London premiere of Mira Nair’s film Queen of Katwe, the actor David Oyelowo said: “What we need now is for a change to come. I think the talk is done.”

There has been some change. In March, the Royal Shakespeare Company opened a production of Hamlet starring Paapa Essiedu, an actor of Ghanaian heritage raised in London. It was the first time that a black performer had taken the role for the company. A new set of BBC diversity targets both on- and off-screen was unveiled in April. Noma Dumezweni is playing Hermione in Harry Potter and the Cursed Child in the West End, and in October the BFI launched Black Star, a nationwide season celebrating black talent in film and TV. But what does the picture really look like, in late 2016? And what, if anything, needs to change?

The first challenge is that many in the film and TV industry find it difficult to talk about the subject. Researching this article, I lost count of the number of people who demurred to go on the record, or of actors who seemed eager to speak but were then dissuaded. Fatigue might be partly to blame – it’s exhausting to be asked repeatedly about diversity because you didn’t go to Harrow and your skin isn’t white – but I got the sense that there’s more going on.

One man who passionately believes this is the screenwriter Trix Worrell, the creator of the pioneering Channel 4 sitcom Desmond’s, which brought an African-Caribbean barbershop in south-east ­London to Middle England’s living rooms in the late 1980s and early 1990s.

“TV is very difficult to break into. There’s a protectionism there,” he says with a shrug, when we meet for coffee on the seafront in Hastings, where he now lives. “People are nervous about rocking the boat.”

Though cheerful about most of the things we discuss, Worrell admits to feeling a roiling anger when it comes to this particular matter. Does he think that diversity has improved since he was pitching Desmond’s, three decades ago? “No. I say that with absolute certainty and surety.”

It is hard to underestimate the influence that Desmond’s had. The series ran for 71 episodes and at its peak it had five million viewers, remarkable for a sitcom. Starring the veteran actor Norman Beaton alongside a largely British-Guyanese cast, it made that community visible in a way that has not been rivalled in Britain in the 22 years since it came off air. It did so with the deftest of touches, addressing problems of interracial relationships and tensions within the black community through warm comedy.

“Up to that point, black people were ­never seen on TV,” Worrell recalls. “The only time we appeared in any media was in the red tops – muggings, vice. The idea was to show a black family who were just like any other.” Yet it seems that, apart from the spin-off comedy series Porkpie, occasioned by Beaton’s sudden death in 1994, Channel 4 has regarded the idea of portraying a normal black family in a sitcom as too great a gamble in the years since, despite an increase in the number of non-white roles in its other drama output.

Worrell smiles, but it is clear that the ­matter isn’t a joke. “The thing that’s said among black people is that there’ll only be one black sitcom every ten years.”

***

When I phone Paapa Essiedu while he’s on a lunch break from Hamlet, I am prepared to get a more positive perspective. Just 26, Essiedu has had a spectacular and seemingly unimpeded rise. A graduate of the prestigious Guildhall School of Music and Drama in London, he joined the RSC in 2012 and then hopped to the National Theatre in Sam Mendes’s King Lear, before returning to Stratford. The Telegraph greeted his debut as Hamlet with the notice that every actor dreams of: “A new star is born”.

But Essiedu seems ready to implode with frustration. “It’s ridiculous,” he says. “This stuff has been here for decades and decades: we’re lying to ourselves if we think there’s been a lack of awareness until now. Lots of people are talking and talking, but we need action.” Has he experienced racism directly? “Put it this way: quite often, I’ve been in a room where everyone else is white.”

A major issue, he says, is the apparently unshakeable addiction of British TV and film to corsets-and-cleavage period drama, which has left many BAME actors locked out of the audition room. The BBC is in the middle of a run of literary spin-offs, from War and Peace to The Moonstone. Over on ITV, we have had Victoria and the invincible Downton Abbey.

It still feels as though much of British drama is stuck in an airbrushed version of the country’s past. Though partly set in contemporary Egypt, BBC1’s adaptation of The Night Manager by John le Carré had only a handful of non-white actors in significant roles. Allowing for exceptions such as the BBC’s version of Andrea Levy’s Windrush-era novel Small Island, broadcast in 2009, you could be forgiven for thinking, had you never visited Britain, that people of only one skin colour live in this country. That the largely white drama series are successful on the export market only helps to extend the cycle.

“Producers say, ‘Oh, we commission stuff that people want to watch,’” Essiedu tells me. “But it’s such a narrow version of history – middle-to-upper-class Caucasian men, generally. Period drama can be from anywhere in the world: Africa, Asia. Where are those stories?”

Drama is just a sliver of broadcasting output, but other genres aren’t much better. Journalists from ethnic-minority backgrounds have made steady progress in television newsrooms – but not fast enough, Channel 4’s Krishnan Guru-Murthy has ­argued; there is a glaring absence, however, when it comes to lifestyle and entertainment TV. The recent success of the intrepid youth TV star Reggie Yates notwithstanding, it is difficult to ignore or account for the dearth of BAME presenters in documentaries and “serious” factual programming; and no major current British chat show has a permanent anchor who isn’t white.

Adil Ray’s BBC1 comedy Citizen Khan, which focuses on the escapades of the overbearing Muslim patriarch Mr Khan and his family in the Sparkhill area of Birmingham, is a rare exception. It has just returned for a fifth season. A worthy successor to Desmond’s in its tongue-in-cheek approach to potentially inflammatory issues (the 2014 Christmas special featured the birth of Mr Khan’s grandson, Mohammad, on Christmas Day) the programme also resembles its forebear in a more depressing way: it appears to be one of a kind.

When I ask Ray why he thinks this is, he selects his words carefully. “It’s not prejudice exactly,” he says, “but in the TV business, there are a lot of formulas. If you’re doing curry, get an Asian person. If it’s hip-hop, someone who’s black. If you’re doing a walk in the countryside, or drinking tea in the Cotswolds . . .” He leaves the sentence hanging.

What appears on screen is only the visible part of the problem. Actors get cast in roles only if writers write them; projects get made only if commissioners commission them. TV and film are notoriously incestuous and competitive industries. Careers are unstable. Knowing someone who knows someone is often – too often – the only way of getting work.

According to figures produced this year by Creative Skillset, many media companies fail dismally when it comes to representation. Just 24 per cent of those in senior roles in cable or satellite firms are female; 4 per cent of employees in positions in senior terrestrial broadcast are BAME; and, if the numbers are to be believed, there are no BAME people at all working on the senior production side of independent film companies. The figures aren’t entirely robust – they rely on organisations filling in forms and returning them – but if they’re anywhere near the truth they make for grim reading.

The BBC’s statistics are more encouraging (according to the latest figures, BAME people make up 13.4 per cent of staff overall and hold 9.2 per cent of leadership roles) but don’t include freelancers, an area in which it is reasonable to suppose that, without quotas to fill, representation will be worse. In September, the media regulator Ofcom put broadcasters on notice that they could face “harder-edged” regulation if they did not improve diversity.

Chi Onwurah, the MP for Newcastle upon Tyne Central, who has been vocal about these matters in parliament, says that the BBC has a special duty to up its game. “It’s not doing enough,” she tells me. “If it was, there wouldn’t be a problem. It was very interesting watching the [European Union] referendum; all the efforts broadcasters have gone to to make sure there was balance. If they went to half that effort for BAME, gender and disability, it would be a different world.”

The BBC is keen to show that it is paying attention. Last year, it appointed Tunde Ogungbesan as its new head of “diversity, inclusion and succession”, and in April his team announced eye-catching targets: gender parity across every part of the corporation; 8 per cent of staff disabled; 8 per cent of staff lesbian, gay or trans; 15 per cent of staff from BAME backgrounds. Those numbers will be replicated on screen, lead roles included, and are roughly equivalent to averages for the overall population of Britain.

Yet the idea that established BBC presenters will go quietly seems optimistic. Take the ruckus that the comedian Jon Holmes recently raised when his contract with The Now Show (Radio 4) wasn’t renewed. Holmes asked in the Mail on Sunday: “Should I, as a white man . . . be fired from my job because I am a white man?”

Ogungbesan – a former head of diversity for Shell – has a businesslike attitude to the challenges he faces, which are, he concedes, considerable. “We’ve got four years to do this, and we know there’s a hell of a lot of work to do.” That is why his team has given itself a deadline. “Hopefully, when we hit those targets in 2020, we’ll be the most diverse broadcaster in the UK.”

How does he respond to Onwurah’s suggestion that the BBC is skilled at announcing targets but less good at making change happen? “We’re publishing our results,” he says. “You’ll be able to hold us to it.”

And what if the targets aren’t met? Ogun­gbesan laughs, for perhaps a touch too long. He will not consider the possibility. “I’m like a boxer. I refuse to look at it.”

***

If British TV and film don’t get their act together soon, there may be no one left to cast. Increasingly, black and Asian stars are decamping to America to make their career there. Among those who have joined the brain drain are Archie Panjabi and Cush Jumbo (The Good Wife), David Oyelowo (Selma) and Chiwetel Ejiofor (12 Years a Slave). Idris Elba, who brooded brilliantly in BBC1’s crime procedural Luther, would likely never have been cast in a big British series if he hadn’t already made a name in the United States with The Wire. Before she appeared in Undercover, Sophie Okonedo said in an interview that the scripts she was offered from the US far outnumbered those from the UK.

Visiting Los Angeles recently, I tracked down Parminder Nagra, who made her name in Bend It Like Beckham before being spotted by a producer for the long-running medical drama ER. In 2003 she was offered the role of the Anglo-American doctor Neela Rasgotra, which she played until the series ended in 2009. A big part in the NBC crime drama The Blacklist followed, along with other film and TV work.

She never intended to move, she says, laughing ruefully, when we meet at a café in a well-to-do suburb of LA populated by movie folk. She has worked occasionally elsewhere but, 13 years on, she is still on the west coast. “The jobs I’ve got, like most actors, haven’t come about in a conventional way. It’s generally because someone is open-minded enough to look at you.”

Although she is careful to make it clear that the US is far from a utopia in terms of how it portrays race, sexuality or gender on screen – she tells a gruesome tale of a white writer who sent her his attempt at an “Asian” character – Nagra senses that things are more open in the US. “It’s a bigger pond here, because of the sheer size of the country,” she says. “There are writers of colour in the UK, but what happens is that you’ve only got one or two people at the top who are making decisions about the taste of the country . . . Those people are white.”

The landscape is certainly more open in the US. Leaving aside the allegations about Bill Cosby, NBC’s Cosby Show (1984-92) was a force for good, with its focus on a middle-class African-American family and with the numerous ethnically diverse shows it made possible: A Different World, The Fresh Prince of Bel-Air, In Living Color, Scandal (the last was commissioned by the influential black writer-producer Shonda Rhimes). Back in the early 1980s, the gentle NBC sitcom Gimme a Break! – starring Nell Carter – explored issues of racism, too.

US cable and online subscription ­services are even more courageous. Netflix’s Orange Is the New Black has an ethnically kaleidoscopic cast and plotlines that vault across almost every conceivable question of gender, sexuality, body image and politics. Where it has apparently taken the BBC until 2016 to realise that families can be both black and upper middle class, ABC in the US was years ahead: in 2014 it commissioned Black-ish, which offers a subtle portrait of an advertising executive who frets that he is losing touch with both his Obama-era kids and his inner-city origins.

Nagra nods. “There still are a lot of issues here, but if you’re an actor of colour, there is more work. All those British period dramas are really well done, but there’s a yearning there: ‘Can I please just see somebody like me on TV?’”

The reason all this matters is that TV, theatre and film have a duty to show us not merely who we are, but who we can become. In Undercover, Okonedo becomes Britain’s first black, female director of public prosecutions: this may seem unlikely, given the state of the UK’s judiciary, yet seeing it on TV helps to shift perceptions. No one would argue that Okonedo’s co-star Dennis Haysbert got Barack Obama into the White House by playing a black president of the United States in 24, but perhaps it made such a world marginally more imaginable.

The time is overdue for British TV to abandon its fetish for bodices and show us what our nation actually looks like, in all its variety – and to be more imaginative about the kind of history it presents. Colour-blind casting is mainstream in theatre. Actors of various heritages appear in Pinter or Chekhov and no one raises an eyebrow.

Anthropologists argue that race and gender are forms of performance, sets of shared codes, rather than something intrinsic to who we are. Is it so difficult to imagine a Jane Austen production with performers of black or Asian heritage? Is that any harder to believe than the thousand impossibilities we witness every day in TV drama?

I ask Essiedu if he is optimistic. Yes, he says forcefully. “I have to be. Optimism is the only way we initiate change.”

When I put the same question to Nagra, she pauses to think. “I remember being asked about this when I started ER, and I was a bit tired of the issue even then. Yet here we still are.” Her expression is wry. “So ask me in ten years’ time.”

This article first appeared in the 24 November 2016 issue of the New Statesman, Blair: out of exile