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General Election 24
5 min read

Give us each day our daily bread

Why the political parties cannot understand farming.

James Cary is a writer of situation comedy for BBC TV (Miranda, Bluestone 42) and Radio (Think the Unthinkable, Hut 33).

A man stands looking baleful next to a row of red tractors
Jeremy Clarkson re-considering the farming life.
Amazon Studios.

Go to the Labour Party’s ten election pledges. Search for the word ‘farm’. I’ll wait. 

You’re not going to do that, are you? Fair enough. Let me tell you happens when you do. Nothing. You won’t find the word ‘farm’. That absence is revealing. 

Or is it? Am I just being parochial? I’m not a farmer, but the son of a farmer and raised on a dairy farm in Somerset. It was a relief to my parents that I didn’t want to follow them – and every other Cary throughout history – into the family business, as the good years were clearly coming to an end. My parents sold their herd of cows a few years before Mad Cow Disease. They bought sheep for a variety of slightly perverse incentives. After a few years they discovered sheep are the worst, since they find all kinds of imaginative ways to die. The only bit of luck they had on the sheep was selling them before the Foot and Mouth epidemic hit. 

Farmers in the UK have gotten used to being ignored by politicians, even though 70 per cent of the UK’s land is farmed. So what’s the plan for how over two-thirds of the country is going to be managed, given that Labour are certain to win? It’s hard to tell. 

I found a more detailed manifesto on the Labour Party website, based around five Labour policies called ‘Let’s get Britain’s future back’. Idiotic nonsensical slogans notwithstanding, I did find one mention of the word ‘farm’. But only once. And it was part of the word ‘windfarm’. Labour is more interested in the farming of wind than the farming of wheat, cattle or vegetables. That managed air might explain where their slogan came from. 

It is no wonder that the rural communities don’t trust Labour. According to FarmersGuide.co.uk, only 28 per cent said “they believe Labour understands and respects rural communities and the rural way of life”. But it’s not all bad news for Labour. The Tories are trusted even less, having dropped down to only 25 per cent. In short, the people in the countryside have no confidence in politicians. 

The reason agricultural policy gets so complicated is because we have a great deal of knowledge but no wisdom.

You need only to watch Clarkson’s Farm to understand why this is the case. Farmers have been subject to an enraging mixture of overregulation and political indifference. Some of this has been Brexit. Some has been bureaucratic incompetence. 

But there is another more fundamental problem. I discovered it when reading The National Food Strategy. This was a document courageously commissioned by the Conservatives in the hope that someone else would come up with some coherent policies for the countryside. It runs for hundreds of pages plus footnotes and sources and is an impressive piece of work. It pulls together issues around land use, food security, climate change, food inequality and obesity. 

These issues are all interconnected. In fact, they are interdependent. How can they not be? You have to consider them all together. But once you open these cans of worms you end up with all kinds of other questions about pesticides, genetic modification, food waste and the identity of the maniac canning worms in the first place. 

The reason agricultural policy gets so complicated is because we have a great deal of knowledge but no wisdom. We understand crops on a molecular level. We can design gigantic machinery to efficiently administer the correct dosage of pesticides to individual plants. We can theorise about animal bedding until the cows come home. But we can’t make decisions. That requires wisdom. 

Wisdom is discernment, choosing between two good things – or making a decision based on the lesser of two evils. We can’t do that, because we can’t decide what is very good, what is good, what is okay and what is evil. Everything is practical pragmatic politics. You do what works. Except how do you define ‘what works’? For whom? Based on what? 

Because we can’t make decisions, we end up having to balance entirely valid concerns about climate, obesity, food inequality, subsidies and the life cycles of bees. But we can’t do it. It’s too complicated. It produces anomalies and perverse incentives. The result is middle-aged men taking their own lives because TB-ridden badgers have ended up with more legal protections than tenant farmers. 

We would do well to look to our ancestors. They lacked our granular knowledge but they had wisdom which, according to the Bible, begins with ‘the fear of the Lord’. They ploughed the fields and scattered the good seed on the land. They understood that our food doesn’t come from our brains, our labs, our factories or our highly integrated just-in-time delivery systems. Our food comes from God. As the Psalmist writes: 

He makes grass grow for the cattle, 
     and plants for people to cultivate— 
     bringing forth food from the earth: 
wine that gladdens human hearts, 
     oil to make their faces shine, 
     and bread that sustains their hearts. 

Psalm 104

That’s why our predecessors ask for God’s blessing on their tools on Plough Monday in early January. It explains ‘Rogation days’ in the spring when the entire congregation would wander round the fields asking for God’s blessing. There was Lammastide when the harvest was beginning to ripen in early August. And every Sunday, the congregations prayed this central line of the Lord’s prayer: ‘Give us this day our daily bread’. 

Jesus was good at bread. He was so good, he didn’t even need wheat to make it. He could feed five thousand families from a handful of loaves. It’s interesting that avowedly atheist regimes – like Stalin’s Soviet Union and Mao’s China – end up with mass starvation. 

Our own society has turned its back on God. We have made ourselves gods. And after much consultation and two hundred pages of background and policy – plus foot notes - it turns out that food is a lot harder than we thought. Omniscience and omnipotence are really handy which it comes to a coherent plan for 70 per cent of the land in the UK. Rather than another National Food Strategy, let’s just have Psalm 104. Right now, our farmers are prepared to try anything. 

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6 min read

The elegies that fail the forgotten places

Storytelling’s not about giving people a voice, it's about listening to what they’re singing.

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

A book's front cover beside a portrait of the author, JD Vance
J.D. Vance book promotion, 2017.

Does it matter who tells the story of a place? It’s a question I’ve sat with as a writer, a community worker, and as someone who returned to my native West Country after a long time away. My departure and return to this place brought with it a sharper awareness of the labels this rural region could invite; of the way its people could be portrayed; of how easily they can be reduced to a one-dimensional stereotype that fosters little understanding.  

And I am both reducer and reduced. I am a proud Devonian, rooted in soil thick with my ancestors, whilst also craving the culture and variety of elsewhere. My story of life in this place is complex. It’s a story that’s mine to tell, and not representative of anyone else from here – just as the people I’ve worked with in communities here and across sub-Saharan Africa taught me too: this person is not this place. This story is not this people.  

Stories matter – stories told; stories hidden. They shape our identity, our opinions, our possibilities. John Steinbeck wrote that:  

“A man who tells secrets or stories must think of who is hearing or reading, for a story has as many versions as it has readers. Everyone takes what he wants or can from it and thus changes it to his measure. Some pick out parts and reject the rest, some strain the story through their mesh of prejudice…”  

Stories told reflect stories carried, like light refracted through a prism. A story’s colours tell us something about who tells the story and how they see the world. Which is one reason perhaps that JD Vance’s memoir Hillbilly Elegy: A Memoir of a Family and Culture in Crisis came under scrutiny, especially since he was named Donald Trump’s vice-presidential running mate in the forthcoming US election.  

Hillbilly Elegy tells the story of Vance’s white working-class family, from his grandparents in the Appalachia region of Kentucky to his own coming of age in Middletown, Ohio. Vance raises questions about how local people, including his own family, are responsible for their own misfortunes, including poverty and addiction. His book came out in 2016, at just the right time to give many Americans an insight into why so many people like Vance’s relatives and past neighbours had voted for Donald Trump. It was painted as the voice of a forgotten community, and it became a bestseller, admired by some for its portrayal of Appalachian culture by someone from the inside. But reading people who know the places he talks of, it becomes clear that the book is “rife with stereotypes and classic Republican talking points peddled under the guise of lived experience,” as one commentator said.  

Sarah Smarsh, author of books including Bone on Bone: Essays in America by a Daughter of the Working Class, said in a Guardian piece published in 2016,  

“that the media industry ignored my home for so long and left a vacuum of understanding in which the first glimpse of an economically downtrodden white is presumed to represent the whole.”  

A Bitter Southerner article responding to Hillbilly Elegy said that generalisation means that “…complexity gets simplified, the edges get rounded out[…]Appalachia has been written about and photographed in such a compelling (if fabricated) way that the descriptions of passersby took on more weight than the lived experiences of the people being described. What remains is a concept of a place that is both wildly romantic in its natural beauty and backward enough to justify the destruction of that very nature.”  

We live in divided times, but often I find it hard to discern real division versus the media-created story of division. Theirs is a story that gets things wrong. Smarsh reflects how “countless images of working-class progressives…are rendered invisible by a ratings-fixated media that covers elections as horse races and seeks sensational b-roll. This media paradigm created the tale of a divided America…” This is why it matters that we hear stories that do not fit that paradigm. A many-voiced 2019 publication Appalachian Reckoning: A Region Responds to Hillbilly Elegy offered some of those stories in response to Vance’s painting of Appalachia.  

Vance thought he could write the story of a 13-state region, but many Appalachians were unhappy about him becoming their spokesperson, especially when he seemed to blame the poor for their poverty. Appalachian Reckoning is a graceful counter to this: not silencing Vance’s own story but offering many more views and stories from Appalachia. Its co-editor Meredith McCarroll said she wanted to “complicate any singular view simply by including multiple ones. I wanted to create a chorus of voices, “each singing what belongs to him or her and to no one else,” to borrow from Walt Whitman’s view of place.” The publication offers cultural nuance, emotional connection, and a “context for some of the claims Vance makes in his book when it moves beyond memoir, and to pass the mic to a wider range of writers, poets, photographers, activists, and artists who make Appalachia a place far too complex to capture and far too dynamic to die.” 

This approach feels important now, in the world as is it, with a media that often overlooks nuance, and with a culture that has become so visual that the way things are styled and framed and presented to us online can often be quite different to the reality. It is important to know the difference, and stories can help us discern that.  

This symphony of existence can, if we give each voice its space, subvert paradigms of division and fear. 

There are stories that are easy to peddle and easy to buy into. In charity work, I saw how the story of the benevolent professional outsider could shape things, leaving little room for local stories and experience. In politics I saw how the story of opposition got in the way of all the people getting on with the everyday work of restoring and caring for their communities across lines of difference. We can, unknowingly, make a place and a people shrink or even disappear with the stories we carry or amplify, or ignore.  

Stories wielded unwisely can shrink faith as well as people and places. The Jesus who I did not grow up with but came to know slowly as an adult is a Jesus of nuance, compassion, and deep listening. He would not, I think, recognise the brand of Christianity that can be used to justify particular politics. That religion and politics have in places become so intertwined is perhaps a reflection of the reduction of the vastness of the Bible and the many diverse voices it contains into one story that serves a particular group of people. Jesus again and again subverted what empire and hierarchy and tradition expected of him. He invited people into his story over and over, curious about their own story but never using it as a reason to include or exclude.  

When I think about who tells the story of a place – or of a people, a time, a faith – I see that really, there is never one story anyway. There is a chorus of voices, each a little different, each part of a vast harmony that – if we have the ears and heart to hear it – sings a song of challenge and joy, of despair and illumination. Former US president Woodrow Wilson said, “the ear of the leader must ring with the voices of the people”. Storytelling is not about giving people a voice – something I heard a lot in charity work. It is about listening to what they’re already singing. This symphony of existence can, if we give each voice its space, subvert paradigms of division and fear, of biased framing and selective storytelling. It can sing us back to ourselves, helping us see each other. And isn’t that what softens hearts, isn’t that why we tell stories? Author Kazuo said in his Nobel acceptance speech that “stories are about one person saying to another: This is the way it feels to me. Can you understand what I'm saying? Does it also feel this way to you?” Stories are not tools of manipulation or power, but pathways to encounter, to relationship, to understanding. They are, perhaps, the only way through divided times.