Review
Culture
Politics
Trauma
6 min read

The tragic heart of British politics

As political party conferences commence, Belle TIndall is riveted and repulsed by the scandals, toxicity and true tragedy at the heart of Rory Stewart’s memoir.
A suited politician stands looking pensive, framed by two out of focus audience members.
Rory Stewart at a 2018 diplomatic conference.
Foreign and Commonwealth Office, CC BY 2.0, via Wikimedia Commons.

11/22/63 is Stephen King’s masterful alternative-history novel; crafting a world where JFK had not been assassinated. The Man in the High Castle is Philip K. Dick’s offering, painting the literary picture of a world where the so-called ‘Axis States’ won WWII. And then there’s Kim Stanley Robinson who imagines what the past five centuries may have looked like had 99% of the European population been wiped out by the Black Death (as opposed to the far more factual 35%) in The Years of Rice and Salt

These books re-imagine the past, the present, and the future through the lens of two expansive words: what if.  

While reading Rory Stewart’s Politics on the Edge, I found myself constructing an alternative present, one where Rory Stewart is our Prime Minister. Now, I’m not comparing the 2019 Conservative Leadership Contest to the Black Death (although, it’s a little tempting), nor am I comparing myself to Stephen King. It’s just that those two words – what if – have been harassing me. What if Rory Stewart had won that contest?  

Where would our relationship with the EU currently stand? How might the heights of the Pandemic have been handled? And how might our country have recovered from it differently? What about the refugee crisis? The economy? The war in Ukraine? The war in Artsakh? The climate crisis?  

How would these things be different, for better or for worse, if Rory Stewart wasn’t currently the politically-exiled co-host of (the ridiculously successful) The Rest is Politics podcast, but was instead our head of Government? I don’t hold the answers, just a large heap of curiosity.   

It’s a foolish kind of curiosity though, because Rory Stewart was never going to be our Prime Minister. And he’s generously offered us a 417-page-long explanation as to why.

The book is magnificent. There’s no two ways about it. Annoyingly, Rory Stewart can add ‘natural wordsmith’ to his impressive assemblage of titles. 

At the age of just 37, Rory could already call himself an Oxford graduate, a soldier, an author, a long-distance walker (admittedly this title doesn’t sound as interesting as the others, but I assure you that it is), a Governor of a province in Iraq and a Harvard Professor. Surely these achievements meant that he already had material enough for six pretty interesting memoirs. But Rory had his sights set on the British political arena, which I suppose is a natural aspiration for a man who recalls that, 

‘the only thing that had ever really motivated me since I was a small child was the idea of public service’. 

With the benefit of a decade worth of hindsight, such a line makes you want to scream ‘DON’T DO IT RORY’ into the page. You can’t help but pre-emptively wince at the inevitability of this man’s naïve heart shattering, can you? After all, these words sit forebodingly in Chapter 2.   

But, scream at the book all you want, a bright-eyed Rory Stewart walked into Parliament in 2010. And that’s where this tale of an eccentric, well-meaning, albeit overly romantic, ‘boy-ish man’ (his words, not mine) becomes ‘an excoriating picture of a shamefully dysfunctional political culture’ (Rowan Williams’ words, not mine).  

The book is magnificent. There’s no two ways about it. Annoyingly, Rory Stewart can add ‘natural wordsmith’ to his impressive assemblage of titles. He doesn’t simply re-call his experiences, he re-crafts them. This means, for example, that instead of his first encounter with David Cameron reading like a download of the meeting’s minutes; readers are treated to knowing that Cameron was late, that his smile was notably ‘easy’, his hair notably ‘fine’, and his understanding of the situation in Afghanistan notably limited. We also get to smugly enjoy that he began the meeting (in Kabul) with a naff joke about William Hague that had tumble weeds rolling across the international boardroom. We relish this while pretending, of course, that we haven’t had those excruciating moments ourselves, which we all have, just with the luxury of not having Rory Stewart in the room. Rory’s writing abilities invite readers into those rooms and those moments, all of which are usually out-of-bounds. Which brings me onto the second reason why this memoir is an utterly gripping read: it holds almost nothing back.  

Rory places his former bosses (who just happen to be our former Prime Ministers), former colleagues, and friends – many of which I worry will also be in the ‘former’ category once they read of their appearances in this memoir – on the alter. He sacrifices any confidence that they may have once held in him in the name of necessary exposure. He pre-empts their rage, simply responding that 

‘Our government and parliament, which once had a reasonable claim to be the best in the world, is now in a shameful state… and generally, given the choice between discretion and honesty, I have chosen the latter.’ 

His most brutal exposures (although I don’t doubt that many will argue that ‘exposure’ is an unfair word to use here, seen as we only have one unverified account of things that happened) are that of David Cameron, Liz Truss and, of course, Boris Johnson (Theresa May actually comes off rather well in comparison).  

David Cameron comes across as a factory-made career politician; with learnt confidence and charm, rigidly rehearsed opinions, and an ensemble of old Etonians ‘with floppy hair and open-necked white shirts’ at his side. Rory’s depiction of Liz truss, on the other hand, can be adequately summed up in his recounting of one particular instance. After telling her that his father had just died, Truss ‘paused for a moment, nodded, and asked when the twenty-five-year environment plan would be ready.’ And then, of course, there’s Rory’s ultimate archnemesis – Boris Johnson - who appears to be the epitome of everything that Rory Stewart believes to be toxic and shameful about the current state of British politics. He is ‘ever the punchline,’ the man who, upon hearing the outcome of the Brexit referendum, advised Rory that he ‘mustn’t believe a word I am about to say’ before ambiguously offering/un-offering him a position in his cabinet. A cabinet which did not yet exist, of course.  

And that’s not to mention his opinions of Micheal Gove – who somehow comesoff even worse than Boris. The characterisations in this memoir are blistering, to put it mildly. All heroes need a villain, after all. And Rory considers these villains to be ‘senior enough to bear responsibility’.  

Reading this book, and enjoying it, is a disconcerting experience. One cannot help but lap up the drama, while simultaneously despairing over it. It is a great read, but I don’t want it to be. I don’t want a book this scandalous, with characters this toxic, and storylines this riveting, to be about the place and people who govern my country, and therefore, me. Of course, the book is not wholly damning. Rory assures us that there were/are people within the system that genuinely do their best for the sake of public service – but they’re fighting against the tide. On the whole, it’s a bleak (albeit enthralling) picture that Rory paints.  

Genuine virtue, humble introspection, and noble altruism are no longer workable attributes. Public service for public service’s sake will not get you the top job. 

So, back to those alternative history ponderings. How would, how could, Rory have changed things from the top of the pyramid? The King of the Middle-Ground. The Voice of Reason. The Hope of the Centrist. What would it look like for him to have had his way?  

Frustratingly, it doesn’t much matter – because, as I say, this man was never going to be the UK’s Prime Minister. Not wholly because of any one individual, or any one leadership campaign, but because if (and we must bear in mind that it’s a big if) Rory’s perception of high office in Parliament is accurate – there’s no place for someone like him. Authentic humanity, in all its varying forms, is unexpected, unappreciated, and certainly unwelcome in those spaces. According to this book, genuine virtue, humble introspection, and noble altruism are no longer workable attributes. Public service for public service’s sake will not get you the top job.  

And that is the true tragedy at the heart of this memoir. The book that I revelled in. The book that I wish didn’t exist.  

Oh, that future Rory Stewarts would leave a decade of politics with nothing interesting to write about. One can dream, I suppose.  

Review
Awe and wonder
Culture
Music
3 min read

Ezra Collective understands the where and how of transcendence

Dance music allows us to encounter what’s ’beyond our ken’.

Josh is a curate in London, and is completing a PhD in theology.

Concert goes stand, bathed in warm light, raising their hands in the air, facing away from the camera to the stage

Like so many, I came across the Ezra Collective after the band won the Mercury Prize for the album "Where I'm Meant To Be". So, I was primed to listen to its new album, 'Dance, No One's Watching' Yet I was not expecting it to impact me so profoundly.  

The album is divided into four acts, each depicting a stage of a night out: 'cloakroom link up'; 'in the dance'; 'our element'; and 'lights on'. The night out is given structure as if it were itself a work of art or even a liturgy, the agreed form of words and movement that shapes acts of public worship. And then, at the heart of the album, I heard 'Hear My Cry' and I realised the claim was a stronger one: this wasn't just like worship.  

As this track kicked in, I experienced a moment of visceral recognition. I was taken back to a church in Hackney, where those riffs had been accompanied by lyrics of praise. Suddenly I was there again, in the midst of that community, crying out: "When my heart is overwhelmed, lead me to the rock that is higher than I!"  

Speaking to Apple Music about this song, bandleader Femi Koleoso said:  

“I wanted the record to take us to the church dance floor now. It’s all about how the dance floor can feel bigger than you, it can sweep you up and overcome your feelings of overwhelm.” 

As I continued to listen, I was also struck by the beautiful closing track, 'Everybody'. On investigation, I discovered that it was also a reworking of a praise song, 'Everybody Blow Your Trumpet'. The album interprets a night of dancing as culminating in praise to God.  The inclusion of those instrumentals, 'Hear My Cry' and 'Everybody' add resonance and heft to the refrain of the album's lead single, 'God Gave Me Feet For Dancing', where the transcendent is touched and named, albeit gently, as God. 

In his new book, Cosmic Connections (reviewed for Seen & Unseen by Paul Weston), Charles Taylor argues that poetry "reveals to us, brings us into contact with, a deeper reality which would otherwise remain beyond our ken." While modern Western societies lack a shared structure of meaning or enchantment around which, traditionally, cultures were organised, poetry offers fragmentary contact with the transcendent through experience.  

'Dance, No One's Watching' shows us that what Taylor suggests of poetry is true of dance. It demonstrates the power of music—and of our participation in that music—to lead us into an encounter with something "beyond our ken".  

Much of “Dance No One's Watching" proceeds without words. Whereas poetry can name what is encountered, music can struggle to do so, leaving the emotions it generates in need of direction at best and open to manipulation at worst. And yet, by situating their music in the experience and memories of specific communities, including churches, Ezra Collective prevents this encounter becoming a vague experience of transcendence.  

There is a hospitality, a pluralism, to the album's understanding of where and how transcendence is encountered but it is not relativism. Even as different genres and contexts are explored, the particularity remains.  

Just as the album reminds us that every church should be a dance floor, it raises the possibility that churches can help us all see God as the one who gave us feet for dancing and to find Him on every dance floor. 

Watch now