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Laurie Penny on the sex lives of powerful men

Our fascination with scandal and sleaze hides the seriousness of corruption and the ordinariness of infidelity, rape and abuse.

The virility of power is no longer in question. In the past month, the papers have been sodden with the sordid sex lives of wealthy, influential men. The former governor of California has been exposed as an adulterer. The former head of the IMF is awaiting trial, charged with the attempted rape of a Manhattan maid.

In Britain, in the superinjunction scandal, a top banker, a leading journalist, footballers and unnamed others have been accused of abusing laws designed to protect the innocent to cover up their extramarital affairs. It is almost a century since women in Europe and the US started to become major players in the world of business and politics but you wouldn't know it to look at the headlines.

In the past few weeks, women have featured almost nowhere in the political press except in the roles of wronged wife or brave victim. There is an ocean of difference between consensual infidelity and sexual assault. Men who cheat are a different species of scumbag from men who rape. Yet that difference has been elided by the schoolyard stereotype that violence, exploitation and lies are an inevitable part of the power rut of modern politics.

Squelchy details

This is not an innocent age. Western society has grown past the scandals of John Profumo, Bill Clinton and Silvio Berlusconi and we can no longer pretend to be shocked by the idea of philandering politicians.

Yet it is hard to decide who is most debased by this pageant of shame: is it the men in question; the press, whose obsession with sex has pushed a great deal of real news off the front pages; or the rest of us, for letting ourselves get sidetracked? People are outraged that public figures have appropriated British laws to hide their own misdemeanours, but our fascination with sleaze distracts us from the importance of this abuse of power.

The hypocrisy of this media circus is that it obscures both the seriousness of political corruption and the everyday nature of sexual infidelity, rape and abuse, none of which is the preserve of the rich and famous. The notion that wealth and status are special predictors of infidelity ignores the evidence that 45 per cent of wives and 60 per cent of husbands engage in extramarital sex at some point in their lives.

“Lawmaker infidelity", as one US news site termed the Arnold Schwarzenegger case, is no different from any other infidelity when it comes down to the squelchy details, though one might possibly anticipate a smarter hotel.

Many feminists have attempted to psychoanalyse the male abuse of women's trust as a disease of power. The cover of a recent issue of Time magazine demands to know why "powerful men act like pigs". This is the wrong question to ask, because it assumes that other men do not and does a disservice to the thousands of women who are raped every day by taxi drivers, office workers, family members and friends. Five per cent of women, according to the campaign group Rape Crisis, will experience rape in their lifetime. Some of their attackers may well be cartoon villains but most of them will not.

It is worth comparing the public condemnation of the disgraced former IMF chief Dominique Strauss-Kahn, whose guilt is tacitly assumed by many, to the case of WikiLeaks's editor-in-chief, Julian Assange, who faces similar accusations in Sweden. Assange has been pre-emptively exonerated of any wrongdoing by the global left on the grounds that, as an outlaw pioneer of free speech, he cannot also be an abuser of women.

Strauss-Kahn, on the other hand, is a powerful player in a financial system whose exploitative practices are accepted. Sexual exploitation and political potency are assumed to be part of the same sweaty package. Both Assange and Strauss-Kahn deny the allegations against them.

There is a complicity to all this - the press loves to watch important men with their flies undone and gossip about how big and hard and naughty they are. Naughty they may be, but the potency of the individuals concerned is very much up for debate.

Ordinary idiots

The problem is not that we are getting screwed, but that we are getting screwed with blood­less inefficiency. The alleged philanderer Fred Goodwin's stewardship of the Royal Bank of Scotland was a misfire. During his time as chief executive, the bank nearly collapsed in a financial crisis that cost us billions. While Schwarzenegger was "Governator", the state of California plunged into an employment crisis; Strauss-Kahn, meanwhile, presided over the imposition of punishing austerity programmes in Greece, Ireland and Portugal, which have failed to rescue the eurozone.

We like to see this type of politician as dynamic, dangerous and in control. In reality, they embody a species of disaster capitalism that is paranoid and exploitative. The men in charge of banks and governments are ordinary idiots with ordinary fallibilities. They manipulate their playboy image to shore up their political power, sometimes with the support of their wives. During her husband's election campaign, Anne Sinclair was asked if she was bothered by Strauss-Kahn's sexual reputation. "I'm actually rather proud of it," she replied. "It's important for a politician to seduce."

Like Sinclair, many of us long for a politics of exciting mutual seduction. Instead, we find ourselves cruelly and ineptly shafted by plutocrats who abuse their privilege to cover their tracks. Jokes about the Chancellor, George Osborne, rogering the British economy and requesting a superinjunction are all very well, but if we want to live in a world where women are respected and workers are protected, it is not enough to point and laugh when power has its trousers down.

Laurie Penny is a contributing editor to the New Statesman. She is the author of five books, most recently Unspeakable Things.

This article first appeared in the 30 May 2011 issue of the New Statesman, Hands up who knows how to fix our schools

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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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