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
Belief
Culture
Film & TV
4 min read

Heretic: Hugh Grant’s brilliance wrestles this tranquilized take on holy horror

If not original, a dissection of belief needs to be sincere and agile.
A man looks scarily upwards.
Hugh Grant prepares to eviscerate the script.

Halloween night: the perfect setting for a horror film. Religious horror: the perfect horror sub-genre. The supernatural invading the natural, darkness swallowing the light, tension and suspense assaulting the placidity we all crave, and doubt gnawing away at faith. All these reversals of the order we try to live in are on offer in Heretic. This is a ghoulish and ghastly offering from writer/directors Scott Beck and Bryan Woods, who are no strangers to the genre. In Heretic they bring the best that horror cinema has to offer: simplicity.  

The plot and script are lean enough to effortlessly perform the twists and contortions needed to keep the viewer off-guard and on the edge of their seat. The script is tight, with some wonderful opportunities to soliloquise and dialogue that is deliciously awkward and painful. The camera work is almost cruel in its relentlessness. This is not a film of jump scares. Here the camera lingers, and lingers…and lingers. Tight close ups on frightened faces and sinister smiles. Slow pans round a room, promising a sudden shock of relief that never comes – only more anxiety.  

The camera refuses to make the experience easy, but insists on letting the atmosphere and semiotics drive the audience to the point of tears. Such a focused and aggressive camera needs performers who won’t shy away but will grab it and wrestle with it! Thankfully, the performances are superb across the board. It's basically a three-hander, carried by Sophie East, Chloe Thatcher, and the indominable Hugh Grant (more about him later).  

East and Thatcher play two young Mormon missionaries – Sister Paxton and Sister Barnes - who spend their days walking the streets of a small American town in the mountains. In between dispiriting attempts to communicate their faith with an apathetic and even derisive public, they wile away the hours discussing their faith, their hopes and dreams, the perception of Mormonism in the popular culture, and the marketing of ‘magnum condoms’. Sister Paxton is earnest and zealous, desperate to prove herself as a missionary by converting at least one person. Sister Barnes is a little more reserved, almost cynical. There is less fervour, a hint of weariness, even the lurking sense of doubt? 

The two young ladies end an exhausting day with a visit to an isolated mountain-top cottage where they believe the seemingly kindly and bumbling English gent, Mr. Reed, is a prospective convert. Who else bumbles like Hugh Grant? It’s a joy to watch. What they hope will be a pleasant chat about their faith slowly descends into a horrifying and twisted psychological torture session, where the concepts of faith, doubt, religion, prophesy, and institutional thinking are all examined.  

I dare not say much more. This is a film which hides its twists well and uses the mundanities of blueberry pie and Monopoly to chillingly hilarious effect.  

However… 

Having heaped praise upon praise, I must admit that I left the cinema feeling slightly disappointed. I love horror cinema. I love religion – so much so that I’ve made it my day job. I love them in combination that appears pretty frequently, from the giddy heights of The Exorcist to the drudgery that is The Exorcist: Believer. This means that most of the themes that can be explored have been explored. Originality is nearly impossible, and not really necessary – but exploring the themes with sincerity and agility would be nice. The script might be acrobatic, but the thematic exposition is about as plodding as a tranquilised elephant with a limp. 

It is bad. 

Again, I don’t want to give the twists and turns away, but quite quickly a dissonance between the brilliance of the dialogue and the turgidity of the theme appears, and it doesn’t…go…away! What is faith and what is doubt? Good. What is belief and what is disbelief? Good. No. Scrap that. ‘RELIGION IS ALL JUST MAN MADE!’ Okay, we could explore that. ‘NO. JESUS IS BASICALLY HORUS.’ Right, but let’s tease out the nuance. ‘NO! RELIGION IS JUST A SYSTEM OF CONTROL!’  

Mr Reed suddenly morphs into the most tiresome bore. A cross between the theological illiteracy of Dawkins and the pathological obsession with power of Foucault. It is possible that this is part of the point – that this was intended to be a witty and incisive invective against institutionalism (especially institutionalised misogyny), and the ladies do land some philosophical counterpunches which expose the emptiness of Mr Reed’s rantings – but it just wasn’t done subtly or adeptly enough. What promises to be a thematic exposition of the nature of belief turns into a fairly lumbering and ponderous lecture on how belief full-stop is a ‘system of control’. We get it. We’ve been hearing this for centuries, and at a new fever pitch since the early noughties. Again…originality isn’t essential if the same old theme is explored well. I just didn’t feel it was. I felt it was a chore. 

Yet (another twist coming!), Mr Reed is still compelling. However boring the thematic content, I was never bored. Hugh Grant is superlative as the sinister, fanatical, hateful, charming, charismatic, hilarious Mr Reed. He delivers lines filled with acid yet dipped in honey. He smiles that singular smile as both wolf and lamb at once. His eyes twinkle with light that is both warm and yet dead and cold. He delivers laugh out loud speeches with absolute relish. The theme might be being butchered, but when the butcher is Hugh Grant you sort of forgive it all.  

I would advise you see this film. It's excellent on every technical level and an almost perfect tension builder. It's not perfect, and those who are genuinely interested in the theme are likely to roll their eyes as the early promise of interesting study devolves into something sub-Sam Harris. But ignore that and just enjoy the twists and turns. Ignore it and focus on Hugh Grant. He’s never been better. 

 

**** Stars.