Column
Comment
Humility
Politics
4 min read

Why radical humility challenges personality politics

Amid the political party conferences, George Pitcher searches for the flickers of radical humility.

George is a visiting fellow at the London School of Economics and an Anglican priest.

A cropped image of the face of RIshi Sunak with colours of a flag behind him
Rishi Sunak at a previous party conference.
BNN.

As a glutton craves a fast, so might regular consumers of party political conferences, stuffed with a surfeit of arrogance, yearn for a display of a little humility. 

It would, admittedly, be a tough trick for a conference speaker to pull off, when the whole point is to achieve a standing ovation. Unlike his immediate predecessors, prime minister Rishi Sunak did try. Humility is an extra challenge for him, being a multi-millionaire former investment banker married to a billionaire heiress. 

But he raised his humble origins again, as he did in his party’s leadership contest, paying tribute to his immigrant parents, a GP and pharmacist in Southampton. Herein lies another problem: As the old saw has it, as soon as you claim humility, you lose it.      

So, one is left to wonder whether humility is a desirable quality in our politics at all, or even possible. Kenneth (now Lord) Clarke came close, in a number of Conservative ministerial positions, saying calmly and honestly what he thought. Labour’s Frank Field was another, possibly informed by his quietly devout Christian faith. 

Further back, Labour’s post-war prime minister Clement Attlee had a gentle and unassuming demeanour, which only led Winston Churchill to observe that he “had much to be modest about.” There’s the problem. Humility is seen as a sign of weakness.  

This is radical humility, a Cinderella quality to its ugly sister “radical honesty”.

But it can be found in politics. Baroness Cathy Ashton, whose many achievements include brokering an agreement between Serbia and Kosovo and negotiating the Joint Comprehensive Plan of Action with Iran, has written a memoir. 

She was a guest on The Rest is Politics, the podcast hosted by Alastair Campbell and Rory Stewart, of both of whom a neuro-surgeon might observe that humility bypasses have been a complete success. But she is a perfect exemplar of what Stewart called, towards the end of the interview, “radical humility”. 

This, Stewart observed, counters the “Great Man” theory of history, the super-hero who saves his people – the character currently channelled by so many populist leaders, with Donald Trump as its apotheosis. 

Ashton herself said things like “we do our best”, that there’s a web of small, interconnected acts that reach a successful resolution and that the deals aren’t hers to make, but belong to the people making them. A lesson that could be taken from Kosovo to complex circumstances such as British transport infrastructure, the nature of our union, or local governance from Birmingham to Newcastle. 

This is radical humility, a Cinderella quality to its ugly sister “radical honesty”, the latter developed since the Nineties by the American psychotherapist Brad Blanton, which is really a licence for being rude. Radical humility, by contrast, puts its practitioner firmly at the service of those affected by a political situation and enables them to resolve it.  

Impressed as he was by the concept, Campbell neatly summarised the problem of deploying it as a political slogan: “What do we want? Radical humility! When do we want it? Now!” 

But radical humility should be a given for the way we manage the administrative organs of our faith, the Churches. Cardinal Basil Hume, the Archbishop of Westminster who never forgot he was foremost a Benedictine monk, springs to mind. 

As does Rowan Williams, whom I observed from the Daily Telegraph and then as his principal spin-doctor between 2008 and 2011, holding the complexity of the Anglican Communion together by empowering its components. 

The point about radical humility is that it subsumes personality into the lives of those it serves.

Their aim, in perhaps unconscious application of radical humility, was like Baroness Ashton to give those they convened room to tell their stories, to take ownership of them and become co-narrators. And that has a central gospel provenance. Jesus of Nazareth led by story-telling, the parables inviting listeners to reach their own conclusions – even and especially today. 

Radical humility doesn’t invite servant ministry. It is service ministry, precisely because it puts the governed in charge of their own story, which in a grander context could be called their destiny. 

Whether that kind of liberation could be applied to our secular politics is a tall order. As I’ve said, there are flickers of radical humility in Sunak, but when he claims to be proud to be the UK’s first Asian PM and “even prouder that it’s no big deal”, he paradoxically feels obliged to proceed to slam Labour for its lack of diversity. 

It was telling that home secretary Suella Braverman, in her somewhat incoherent speech this week, widely cast as a leadership bid, claimed that Labour leader Sir Keir Starmer didn’t have the “personality” to be prime minister. 

The point about radical humility is that it subsumes personality into the lives of those it serves. It’s one reason, perhaps, why we know so little of the personality of the Nazarene. But the likes of Braverman and other populist politicians can’t see beyond personality. 

Maybe she, like other politicians, wouldn’t recognise radical humility. And it can’t be transformative unless it’s listened to.   

Review
America
Culture
Film & TV
Politics
5 min read

Trump: from apprentice to master of contempt

The Trump biopic is a morality tale for our times
An 1980s business man looks contemptuously at the camera.
Sebastian Stan as a young Donald Trump.
Scythia Films.

He won. Donald Trump is, once again, the President of the United States. The controversial property tycoon, controversial ‘billionaire’, controversial reality TV star, and highly controversial one-term (or so it seemed) President, has done it again! Sweeping not only the Electoral College but also the popular vote, Trump will have another four years to ‘Make America Great Again’…whatever that means. The question on most pundits’ lips today is: how? The man who was written off from the first moments he descended into his campaign on that golden escalator; the man who was guaranteed to lose his first (let alone his third!) Presidential bid; the man who has been mired in sexual, financial, constitutional, and legal scandal…how could he win again!? 

Rather than seek answers in the election coverage of last night I went to an alternative source of information. I popped down to my local cinema to watch The Apprentice, Ali Abbasi’s biopic of Trump’s rise to power and prominence, focusing on his ‘apprenticeship’ under pugnacious, pugilistic, flamboyant, and flamingly foul-mouthed lawyer and mentor Roy Cohn. Whether consciously or not – and believe me, it’s so consciously on the nose as to feel like a punch to the nose – the film draws a ruler-straight line from Trump’s early days as Cohn’s disciple to his electoral success in 2016…and now in 2024. 

How did Trump win, not once but twice…? 

…by selling his soul to the Devil. 

We meet Trump and Cohn in an exclusive New York Members Club. Trump is shy and awkward – none of the bombast we know him for – clumsily trying to impress his date by mentioning how he is the youngest member to ever be admitted. Cohn is holding court with some mob-coded friends. Cohn stares at the handsome, golden-haired ingénue (Trump, not his date) across the room through sunken domes. He invites Trump to join him for dinner. The date has gone to ‘powder my nose’ and seemingly has made a lucky escape through the lavatory window. Trump joins Cohn. Cohn bloviates, always with his hand firmly gripping Trump’s thigh. Trump is enamoured…smitten…in love. Cohn becomes his lawyer and Trump his protégé. 

The film goes on to chronicle how, under Cohn’s tutelage, Trump becomes the man we now know. Cohn is committed to winning – under the guise of being committed to America. He teaches Trump his three rules for success:  

  1. Attack, attack, attack. 
  2. Admit nothing. Deny everything. 
  3. Even in defeat, claim victory.  

There is a nice bit of mirroring in the final scene as we see Trump regurgitate these rules, introduced pithily and wittily in the first 30 minutes of the film, in his final exaggerated and bloviated style to a ghost-writer employed to write The Art of the Deal. This is how Trump wins. Throughout the film we watch Trump evolve from the nervous young man, protective of his alcoholic brother and under-the-thumb of his overbearing father, into a monstrous, ad absurdum form of Cohn…a man who will demand absolute submission to his will. 

The film, I wager, is partly a morality tale. It gives us a (slightly) sympathetic young Faustus, and chronicles his descent into Hell, but without a hint of real redemption or pity.

The film is sickeningly enjoyable. Sebastian Stan gently invites us to root for Trump in his timidity, and transforms with a subtlety which leaves the audience questioning their own culpability. Maria Bakalova brings a good-natured innocence to Ivana Trump (née Zelníčková) which steals the few scenes she’s afforded. Jeremy Strong – always watchable – brings his magnetic charisma to the screen. His Cohn is akin to Pacino’s John Milton in The Devil’s Advocate: delightfully chewing the scenery and ingratiating himself to the viewer while being hateful. The film is just over two hours long but doesn’t feel it. Never dragging, never boring. The soundtrack revels in the period, and the needle-drops are near perfect. It’s a really rather fun watch. 

However. 

The film is not nourishing. It is the cinematic equivalent of the junk food that leads to Trump’s expanding waistline (and the liposuction scene that is so difficult to watch). The film painstakingly draws parallels between Trump’s early success and his later political career. Cohn’s rules, Reagan’s campaigning slogans, the arrogance, the (sexual!) violence…everything we associate with Trump today is found in its nascent form in his 1980s career. Yet, none of it really matters because we have no character we want to attach ourselves to. No one, except perhaps Trump’s mother and his first wife, neither of whom have the chance to make enough of an impact, is likable or redeemable. Cohn is slime personified, until a sudden AIDS related conversion to conscience, and we don’t see nearly enough of the pathetic and put-upon Trump to care about his descent into the demonic realm of absolute self-absorption. The script is razor-sharp, but not incisive. The characters are riotously funny, but nowhere near emotionally engaging enough. 

The film, I wager, is partly a morality tale. It gives us a (slightly) sympathetic young Faustus, and chronicles his descent into Hell, but without a hint of real redemption or pity. Mortality makes Cohn recognise the monster he has been the Dr Frankenstein to, but in about ten minutes. We see a relative innocent made villain, but barely having had the chance to care for him in his infancy. No amount of slick script or genuinely bravura performance (Jeremy Strong deserves an Oscar) can make up for the cold and emotionless lens that the film has. In a sense, this gives us a more realistic explanation of Trump’s victory than the film seeks to muster…disdain. 

Like Trump, I deployed ‘alternative facts’. 

I lied. 

I did watch some of the election coverage in the early hours of the morning. As the Trump victory became inexorable, I watched pundit after pundit – who had been excoriating Trump supporters as either stupid or malign only 24 hours before – earnestly explain that it was a lack of engagement with middle-America which had lost it for the Democrats. Tony Hinchcliffe may have made a predictably unpleasant joke about Puerto Rico being a ‘garbage island’, but it was Biden calling even reluctant Trump voters ‘garbage’ which swung the election. We live in a new polarised age where the genuine concerns of the ordinary man or woman, if they can be associated with someone as aesthetically and morally compromised as Trump, make them functionally fascist.  

The Apprentice, simply by being unable to empathise with anyone not in favour, gives us the secret to Trump’s victory. It wasn’t Cohn’s rules. It was his overactive ability to demonstrate his contempt for everyone, and therefore seem to have contempt for no one. His detractors demonstrated the reverse. In the end Trump hasn’t needed to attack, or deny, or claim illegitimate victory. He simply has had to be himself. 

Saaaad. 

 

**** Stars