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Looking upon Labour’s "loveless landslide"

What watching a night that changed the country tells us about its mood.
A poltiical pudit opines in a TV studio while his colleague leans in and listens.
The Two Ronnies.

I very much like Mr. Vine, but he is like a Gremlin: you must follow the rules and not give him caffeine or sugar on Election Night. 

What on earth has happened to Aunty!? One of the few things that has united people from the left and right (at least according to my social media) is just how mediocre the election coverage was. The evening started badly for the Beeb when they let Channel 4 distract viewers a full 15mins early. This was to allow Not Going Out to complete its important work of informing and educating the populace. 

As a result, I found myself glued to Channel 4 for most of the night, intermittently flicking back to the National Broadcaster for bouts of genuine bewilderment. In a Channel 4 lull I made the jump only to have every sense immediately assaulted by migraine inducing swingometer graphics (it was synaesthesia inducing…I could practically taste the rapid mix of red, yellow, and blue). This neurological bombardment intensified with the commentary of Jeremy Vine. I very much like Mr. Vine, but he is like a Gremlin: you must follow the rules and not give him caffeine or sugar on Election Night. His high-octane performance drove me to the limit immediately. 

Regular further jumps gave me glimpses into the bizarre: a journalist standing outside of Rishi Sunak’s blacked-out home telling us the lights weren’t on, telling Steve Baker to his face that he was going to lose his seat, having an interview with Jacob Rees-Mogg where he looked like a hostage reading out demands…it really was dreadful! 

Stewart was reinforced by Channel 4 Political Editor Gary Gibbon. With a soft yet authoritative voice, and the appearance of a cheeky Beano character fifty years on. 

I stuck to Channel 4 as my safe space. They very much cornered the market for coverage by bagging both The Rest is Politics and the Gogglebox cast, as well as producing regularly mismatched line-ups of former MPs to pass comment. I must assume this was intentional, but even if not, it meant comedy gold. The scene opened with Emily Maitlis and Krishnan Guru-Murthy talking over each other in a stumbling staccato, while Kwasi Kwartang looked unbelievably uncomfortable sandwiched in between Harriet Harmen and Nadine Dorries (in various shades of pink).  

There were many other talking heads throughout the night, who each brought some magic to the night: Nadim Zahawi (looking like a cross between a wise owl and a Bond villain), Carol Vorderman (who might have started celebrating rather early), Sir Alan Duncan (looking like a wine merchant holidaying on the Amalfi Coast). Mhari Black brought a rather refreshing bluntness to proceedings. 

The standout stars, however, were Mr. Stewart and Mr. Campbell. They brought the Centrist-Dads-disagreeing-agreeably energy that has seen their podcast top the charts. They played off each other with precision and genuine affection, and a fair bit of humour. Campbell would get into a mild row, and then Stewart would jump in with careful analysis that tried to look at the broader political landscape. Dorries proved the perfect foil to Campbell - speaking in accusatory non-sequiturs, rhapsodically musing on the ‘virtues’ of Boris Johnson, weaving nonsense narratives that wouldn’t even make it into one of her novels. Campbell would retort in a tone that was at once bewildered, bored, and bristling. Stewart would valiantly intervene to find the calmer waters of consensus, and the whole cycle would repeat. Kwarteng looked increasingly uncomfortable until he just upped and vanished - perhaps from the embarrassment of being in the same party as Dorries. 

In his attempt to be serious and measured, Stewart was reinforced by Channel 4 Political Editor Gary Gibbon. With a soft yet authoritative voice, and the appearance of a cheeky Beano character fifty years on, he gave the careful analysis of the polls and the turnout, which Stewart would then run with in broader political perorations. The two hosts would often chip-in (quite chippily, actually), rarely able to sublimate their obvious and banterous contempt for some of the more egregious spin. 

Meanwhile, Harriet Harmon looked cross.

A sense of angry Labour malaise was one of the leitmotifs of the night...  there was a noticeable lack of celebration. No smiles. No D:Ream soundtrack. No positivity

This struck me as odd. Just before the show it had been announced that she was to be elevated to the Lords. This honour appeared to give her no joy. Harmen brought every answer back to how dreadful the Tories were, until Kwarteng tried to make a joke out of it to cut the tension: ‘You won, alright!?’ Every successful Labour candidate who was interviewed focused their responses on excoriating the legacy of the Tories, as if they were still in campaign mode. At times it got rather uncomfortable. Every time Rachel Reeves let a grin slip through, she seemed to feel the need to overcorrect by attacking her fallen foes even more harshly. On one of my disastrous forays back to the BBC I was greeted with Wes Streeting being positively thuggish in his language. It wasn’t until Sir Keir gave his victory speech that any Labour figures seemed to feel like they could actually appreciate their victory. 

A sense of angry Labour malaise was one of the leitmotifs of the night. From the moment the Labour Landslide was announced there was a noticeable lack of celebration. No smiles. No D:Ream soundtrack. No positivity. Perhaps it was because they all recognised the truth, succinctly put by Gibbon when giving his immediate reflections on the Exit Poll Result: ‘That looks like love…but that is a loveless landslide.’ Voter turnout was low. The Labour Party went backwards in its vote in many areas - sometimes due to Reform, sometimes due to Gaza protests. This was epitomised by Jess Phillip’s wafer-thin majority. The always pugilistic Phillips had to give both barrels in her speech to those who had campaigned against her, who continued to attempt to drown her out.  

The Labour Party’s massive majority seems to be built on sand, and Zahawi was quick to point out that sand can easily shift. Labour are the beneficiaries of our winner-takes-all electoral system (a system I very much support), and so were continually reminded of the fact that Starmer is no Blair and ’24 is no ’97. The landslide will give some cheer to those who desperately wanted to see the back of the Tories. But it belies the reality that with both the Greens and Reform having four MPs, a number of Labour MPs being defeated by Independents, and decreased majorities in safe-seats up and down the country, we are not a nation united around the charisma of our new Dear Leader. 

Stewart and Campbell continually try to draw the conversation away from the tittle-tattle of what this might mean for Labour infighting and the Farage fulminations we can now expect to see in Parliament, to the broader and deeper questions for the very health of our democracy…but the pull of gossip is sometimes too great for Maitlis and Guru-Murthy. 

None of this is helped by Dorries. 

A big victory, but one which indicates no national unity or confidence. A defeated government that was tearing itself apart long before the loss. Low turnout and lower trust.

From the get-go Maitlis and Guru-Murthy tried to inject intrigue into proceedings; a tough ask when the result was the confirmation of what looked like a foregone conclusion from the moment the election was called. They did their best, and got some sparks from Dorries and Campbell - a Stannis Baratheon-esque grammatical correction (‘fewer’) had me roaring with laughter - but all-in-all I was uneasy. Not quite bored, but not entirely excited and hopeful. Around 3am I fell asleep in my seat. I was awoken at 6am to my children bursting into the living room. I valiantly attempted to continue to watch the coverage while feeding banana-porridge to my son, head tilted in the strain of hearing the telly over the roar of the world’s loudest washing machine. I turned back to my son, admitting auricular defeat. There is no porridge in his belly; plenty all over his face and in his hair.  

At 7am I was banished to the bedroom by my exasperated and long-suffering wife - it has become clear that I am not giving my all to childcare. I saw the gracelessness of Liz Truss arriving late and then refusing to give a concession speech. I saw Stewart play the silent Scottish assassin, gently pressing Stephen Flynn to admit that perhaps the SNP’s losses have something to do with their mismanagement with the Caledonian public realm. Rishi Sunak suggested the election was about tax, and everyone groaned in disbelief - he really doesn’t have any political instincts. 

I never recaptured the magic of the first couple of hours, probably because there wasn’t any. From 10pm onwards there was an underlying sense of disappointment and despair. A big victory, but one which indicates no national unity or confidence. A defeated government that was tearing itself apart long before the loss. Low turnout and lower trust. I am not surprised by this. “O put not your trust in princes, nor in any child of man: for there is no help in them.” This is the warning of the Psalmist. I have already written, a number of times, about my own disgruntlement at the political process, and my doubt that it will be easily remedied.  

But watching the coverage - the baffling BBC, the political Two Ronnies that are Stewart and Campbell, the remarkable hat worn by the returning officer in Blyth - I was fortified by remembering that while the Psalmist is correct, St Paul nevertheless gave us clear advice and instruction: “I exhort therefore, that, first of all, supplications, prayers, intercessions, and giving of thanks, be made for all men; for kings, and for all that are in authority; that we may lead a quiet and peaceable life in all godliness and honesty.” 

I shall pray for Sir Keir, for the new government, for all newly elected MPs.  

They need it. 

More importantly, we need it.

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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.