In this week’s New Statesman: After Chávez – Despot or Democrat?

PLUS: Jane Shilling on our obsession with raising the perfect child, Mehdi Hasan on Abraham Lincoln, and Rafael Behr’s new series on the "dividing lines" of British politics.

Hugo Chávez: Man against the world

In our cover story this week, we debate the legacy of Venezuelan president Hugo Chávez’s - a socialist hero to some and a bullying despot to others. Richard Gott, the author of Hugo Chávez and the Bolivarian Revolution, argues that el comandante has brought hope to Latin America and that his death will ignite our appreciation of his achievements. Rory Carroll – who was the Guardian’s correspondent in Caracas for six years – disagrees, and wonders if the price of change was too high.

Gott writes:

What is not yet understood is that Chávez . . . has been the most significant ruler in Latin America since Fidel Castro seized power in Cuba in January 1959, more than half a century ago. Such extraordinary and charismatic people emerge rarely in history; they leave an imprint that lasts for decades . . .

Chávez had great ambitions to improve conditions for Venezuela’s poor and to include them in the national debate . . . His single most significant political initiative, announced on day one, was to call for a progressive constitution, ratified by referendum . . .

This has been Chávez’s lasting legacy, and is the basis of his project to promote “21st-century socialism” in Venezuela and more widely on the continent . . .

Journalistic NGOs and human rights groups complain about what they see as attacks on freedom of the press in Venezuela . . . Nor do we hear much from western journalists about the changing nature of life in the shanty towns, with the spread of health programmes and education opportunities, or the recent construction of housing projects, or the experiments with co-operatives and community councils. Why has Chávez had such a bad press?

Part of the image problem lies with long-surviving caricatures of Latin America in the popular memory that have little relevance to the continent today . . . Yet outside observers have consistently declared Venezuela’s elections to be fair, and Chávez is no Pinochet.

Carroll argues that the case of Maria Lourdes Afiuni – a judge whom Chávez jailed for 30 years, on special orders, after she released a high-profile banker accused of fraud – exposed the president’s tendency to “bully” the state into suppressing those who anger him.

Afiuni’s plight was not typical of Hugo Chávez’s rule. There were no gulags, no mass arrests, no fear of the midnight knock on the door. Chávez did not rule through terror. But when it suited him he bullied the courts into jailing those who challenged or angered him.

He was neither a tyrant nor a democratic liberator but a hybrid, an elected autocrat, and the nuances of that category often escaped his friends and critics abroad . . .

He relied on the ballot box for legitimacy while concentrating power and eroding freedoms, shunting Venezuela into a twilight zone where you could do what you wanted – until the president said you couldn’t . . .

He cemented his rule by rewarding allies. Opportunists, notably senior military officers and the tycoons known as “boligarchs”, got rich manipulating government contracts. Civilian ideologues and Cuba got power and influence. Hundreds of thousands of ordinary people got jobs in a bloated bureaucracy. And millions of the poor got social services, scholarships and handouts, notably fridges, tumble dryers and washing machines.

Other Latin American governments knew of the abuses, that elections were free though not fair, but stayed silent.

 

Jane Shilling: Parenting Wars

In the NS Essay this week, author and journalist Jane Shilling examines the multimillion-pound industry devoted to telling you how to raise your child. Peppered with probing recollections of raising her own son as a single working mother, Shilling queries both the “personal” and the “political” crisis of modern parenting.

Even 20 years ago, my unprofessional attitude to bringing up a child was anachronistic; these days I suspect it would be regarded as borderline negligent. Mine was certainly the last generation in which one could allow oneself to muddle along without the assistance of the experts, treating parenthood as though it were analogous to friendship – a relationship that would grow and flourish of
its own accord.

I might have done my best to ignore the fact, but as a single parent I was a fragmentary factor in what has grown into an urgent social crisis around the issues of childhood and family. If ever there was a time when one could raise children unselfconsciously, it is long past. Now every aspect of parenthood, from conception and birth to the forming of intellect and character, is the subject of anxious and often agonised scrutiny.

The crisis is both personal and political. On the one hand, as engaged parents, we
feel that we are in some sense our children: their successes and failures represent us almost more vividly than our own achievements. And as the condition of youth becomes ever more extended, lasting in attenuated form until middle age and beyond, our children can help to feed our vision of ourselves as perennially young.

 

Rafael Behr: Dividing Lines

This week the NS launches a new series – Dividing Lines – in which our political editor, Rafael Behr, will discuss the issues polarising British politics. “The distinction between left and right in Britain looks starker now than at any time in the past 20 years,” he writes.

Over coming weeks, I will look at some of the problems facing Britain and try to decode what the different sides might have to offer by the next election. Sometimes the divergence is stark; often there is more agreement than anyone likes to admit.

Westminster is obsessed with the delineation of dividing lines – the tactical approach to an issue that seeks to define it in crude, binary terms, with the enemy caricatured as holding a view inimical to mainstream opinion. “They” destroy public services; “we” invest. “They” want to spend your money on feckless scroungers; “we” reward hard-working strivers. It is the very substance of modern politics, and the rhetorical dishonesty, that make politics dangerously insubstantial.

The most corrosive force in democracy is the assumption that none of the mainstream candidates deserves endorsement because “they are all the same”. In the weeks to come, we will consider whether that lament is justified in Britain today. Given the scale of the challenge, we must hope it is not.

 

Mehdi Hasan: Today we remember Lincoln as a great redeemer – and that should give Obama hope

In Lines of Dissent, Mehdi Hasan writes on Steven Spielberg’s Lincoln. Though he admits that “I cried” at a preview of the film in Soho, Hasan wonders if we have seen “the whole story”, and makes unavoidable comparisons with today’s “talk, skinny” president, in the week of Obama’s inauguration.

There is nothing new in Spielberg’s depiction of “Honest Abe”. Lincoln has long been considered the greatest ever leader of the United States . . . Spielberg, however, glosses over Lincoln’s earlier, more odious views . . .

Last November, Obama held a screening of Lincoln at the White House and told Time: “Part of what Lincoln teaches us is that to pursue the highest ideals and a deeply moral cause requires you . . . get your hands dirty.”

The problem with Obama has been that, on a host of first-term issues, ranging from the deficit and financial reform to climate change and gun control, he didn’t merely fail to fight dirty – he didn’t put up a fight at all.

As Lincoln showed with the Thirteenth Amendment, it takes only a matter of months to wipe the slate clean and earn a place in the pantheon of great American leaders. America – and the world – are waiting, Mr President.

 

Laurie Penny: What’s the point of smashing the glass ceiling for a few women, when so many live in poverty?

For In the Red this week, Laurie Penny interviews Selma James – the writer and 82-year-old feminist activist – who explains why “class, money and family still matter” in feminist discourse.

Feminism has become identified with breaking the glass ceiling as the central perspective,” she [James] says, “but the speed at which women are entering boardrooms is not half as fast [as that of] women entering prisons for crimes of poverty...”

Conventional wisdom has declared the question of women and money resolved, because they now have the legal right to enter historically male jobs and make a decent wage . . . Today, with austerity hitting women harder than men across all sectors of society, from low-waged workers to mothers receiving child benefit, activists of all stripes are beginning to question, once again, how work and class fit into feminism.

 

In The Critics

  • Our critic at large is poet Julia Copus, writing on the link between physical illness and the creative life.
  • John Gray, writes about The World Until Yesterday: What Can We Learn from Traditional Societies? by the American polymath Jared Diamond.
  • In the Books Interview, Jonathan Derbyshire talks to the Canadian writer Sheila Heti.
  • Simon Heffer reviews Sorry!, Henry Hitchings’s study of the English and their manners.
  • Alexandra Coghlan reads Alan Rusbridger’s memoir Play It Again.
  • Sarah Churchwell ponders Alone in America, a study of loneliness in American literature.
  • novelist Linda Grant reviews Landscapes of the Metropolis of Death by the Holocaust survivor and historian Otto Dov Kulka.
  • Ryan Gilbey reviews Zero Dark Thirty.
  • Kate Mossman reviews new albums by Nick Cave and Johnny Marr.
  • PLUS: Will Self’s Madness of Crowds column.

Click here to read more from “In the Critics this week”

To purchase a copy of this week's New Statesman online visit: subscribe.newstatesman.com

Charlotte Simmonds is a writer and blogger living in London. She was formerly an editorial assistant at the New Statesman. You can follow her on Twitter @thesmallgalleon.

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Bertie Carvel's diary: What would the French think about infidelity to Doctor Foster?

The joy of debuting a new series, Rupert Murdoch's squeamishness and a sting in the tail.

According to the adage, the first thing an actor does when he gets a job is to go on holiday. And so, having finished our sold-out run of James Graham’s Ink at the Almeida and with the show (in which I play a young Rupert Murdoch) about to transfer into the West End, I’m packing my bags.

But before I can skip town, I’ve one more professional engagement: the press launch of series two of the BBC drama Doctor Foster, which we finished filming at Christmas. I’ve now seen the final cut of all five episodes, and I’m excited to share it with an audience. There’s no substitute for seeing other people’s reactions at first hand, especially with a show that got people talking so much first time around, and it’s electric to sit in a cinema full of expectant journalists and commentators and feel the room respond. Nothing beats this: to put so much into making a thing and then experience an audience’s unmediated, reflexive reaction. When it goes well, you feel that you’ve shared something, that you’ve all recognised something together about how things are. It’s a unifying feeling. A sort of bond.

Cheating spouses

Handling the interviews has been tricky, when there’s so little one can say without giving the plot away. (The first series began with Suranne Jones’s character Gemma, a GP, suspecting her husband Simon of having an affair.) What’s more, lots of the questions invite moral judgements that I’ve tried my best to avoid; I always think it’s really important not to judge the characters I play from outside, but simply to work out how they feel about themselves, to zero in on their point of view. There’s a sort of moral bloodlust around this show: it’s extraordinary. People seem to want to hear that I’ve been pilloried in the street, or expect me to put distance between myself and my character, to hang him out to dry as a pariah.

While I’m not in the business of defending Simon Foster any more than I’m in the business of attacking him, I am intrigued by this queer mixture of sensationalism and prurience that seems to surface again and again.

Shock horror

Oddly enough, it’s something that comes up in Ink: many people have been surprised to find that, in a story about the re-launch of the Sun newspaper in 1969 as a buccaneering tabloid, it’s the proprietor who considers dropping anchor when the spirit of free enterprise threatens to set his moral compass spinning.

I’ve never given it much thought before, but I suppose that sensationalism relies on a fairly rigid worldview for its oxygen – the SHOCKERS! that scream at us in tabloid headlines are deviations from a conventional idea of the norm. But what’s behind the appetite for this sort of story? Do we tell tales of transgression to reinforce our collective boundaries or to challenge them?

For me there’s a close kinship between good journalism and good drama. I’m reminded of the words of John Galsworthy, who wrote Strife, the play I directed last summer, and who felt that the writer should aim “to set before the public no cut-and-dried codes, but the phenomena of life and character, selected and combined, but not distorted, by the dramatist’s outlook, set down without fear, favour, or prejudice, leaving the public to draw such poor moral as nature may afford”.

So when it comes to promoting the thing we’ve made, I’m faced with a real conundrum: on the one hand I want it to reach a wide audience, and I’m flattered that there’s an appetite to hear about my contribution to the process of making it; but on the other hand I think the really interesting thing about the work is contained in the work itself. I’m always struck, in art galleries, by how much more time people spend reading the notes next to the paintings than looking at the paintings themselves. I’m sure that’s the wrong way around.

Insouciant remake

En route to the airport the next morning I read that Doctor Foster is to be adapted into a new French version. It’s a cliché verging on racism, but I can’t help wondering whether the French will have a different attitude to a story about marital infidelity, and whether the tone of the press coverage will differ. I wonder, too, whether, in the home of Roland Barthes, there is as much space given to artists to talk about what they’ve made – in his 1967 essay, “The Death of the Author”, Barthes wrote that “a text’s unity lies not in its origin but in its destination”.

No stone unturned

Touring the villages of Gigondas, Sablet and Séguret later that evening, I’m struck by the provision of espaces culturels in seemingly every commune, however small. The French certainly give space to the work itself. But I also notice a sign warning of a chat lunatique, so decide to beat a hasty retreat. Arriving at the house where I’m staying, I’ve been told that the key will be under a flowerpot. Lifting each tub in turn, and finally a large flat stone by the door, I find a small scorpion, but no key. I’m writing this at a table less than a yard away so let’s hope there won’t be a sting in this tale.

Ink opens at the Duke of York Theatre, London, on 9 September. More details: almeida.co.uk

This article first appeared in the 17 August 2017 issue of the New Statesman, Trump goes nuclear