Let’s not make saviours out of Sunak or Starmer

Politicians do not live up to messianic billing.

Cameron Wiltshire-Plant

Cameron is training to be a vicar in the city of Leicester.

Looked down upon by crowds in galleries, a politician stands amid a throng of supporters

Kier Starmer at Scottish Labour's election launch.

Pam Duncan-Glancy via Twitter.

It was 2015 and I thought Ed Miliband was the saviour of the free world. Remember, this was before Covid and Brexit and Trump, and politics seemed so binary and easy. Left-Right. Government-Opposition. Thatcher, Major, Blair, Brown. Monoliths in my teenage eyes.

The excitement of the novel 2010 hung parliament and the injustice (as I saw it) of Nick Clegg (remember him?) ‘getting into bed’ with David Cameron instead of Gordon Brown had carried me all the way to the A-level Politics classroom. I was watching Ed attempt to tell Jeremy Paxman that, hell yeah, he was tough enough. A hung Parliament threatened again, until it didn’t. The Conservatives won enough to govern and the hope swelling in my breast was trodden down by spending upper sixth watching Donald Trump sweep to power.

I have learned enough since then not to cast Sir Kier Starmer in the same mould. Sunak’s snap election is not a choice between two saviours, but two politicians compromised by the grit of reality and the inheritance of a set of global circumstances.

Boris Johnson and Liz Truss, figures held up for their political savvy and economic foresightedness respectfully. To put it mildly, they did not live up to their messianic billing.

Often, we can make these political figureheads into messiahs, those who will come on a wave of hope to fix the nation’s problems, govern wisely, and bring unity. Perhaps, approaching July 4th, these feelings are intensified.

There is much in these pages excellently denoting the deliberate co-opting of Christ for nationalistic political purpose, and I am suggesting that we are often willing collaborators, bringing a religious devotion to our ideology and those which propound it: “If only it were insert politician who were running the country, then everything would be much better!”

This almost cultic reverence was present in some circles surrounding both Boris Johnson and Liz Truss, figures held up for their political savvy and economic foresightedness respectfully. To put it mildly, they did not live up to their messianic billing. For others, this devotion was saved for Thatcher, Blair, Cameron, Corbyn.

A word of wisdom to my teenage self? Passion for politics is no bad thing, but devotion to human ideology is misplaced.

Rishi Sunak and Sir Kier Starmer do not quite have the same star power, with Starmer especially coming across as the more doughty-and-dependable type. But it was ever thus. Human nature is inherently cyclical, and we swing from one archetype to the next, always in the hope that the next one in will do a better job than the last.

The messiah is of course a Jewish concept, the awaited one who will deliver them from their enemies and lead them to a state of peace. Many have claimed to be the awaited one, but only one has convinced a multitude. We read of Jesus of Nazareth in our carol services every year that the government will be on his shoulders and the greatness of his government and peace will have no end. At the end of this year in which a new government is formed, perhaps these age-old claims have increased significance. They invite us to look beyond the immediate and the physical, to look beyond those names who dominate headlines, claiming to be the one who will deliver change and reverse decline.

Saint Paul has some wise words for those of us wondering how we can engage with a political world feeling more divisive and divided than ever. He tells us to pray for our government, whether you want Labour or Conservative and end up with the reverse. It is a tough job, and he tells us to give due honour to those who lead us, engaging with politics, giving it the respect it is due. But looking to politicians for deliverance? St Paul would call that folly. He only had one saviour.

For deliverance, we must look beyond the territorial and the electoral, to one who does not promise vote share or positive polling, but sacrifice and justice; to one who comes to us not with populism or popularity, but with lowliness, humility, and integrity. A word of wisdom to my teenage self? Passion for politics is no bad thing, but devotion to human ideology is misplaced. Do not put your trust in the cycle of human proclivities, but in the one whose government will have no end.

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15 October 2024

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

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.