@Number 71

Archive for April 18th, 2009

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Guido Fawkes responds strongly to something of a negative profile of him in the Telegraph this morning. (Though he can’t say all that negativity is untrue, merely that it is, er, unbalanced.) He has developed an intensifying rivalry with the paper over the last week, in which the Torygraph has taken a curiously defensive line on the ‘smeargate’ debacle – most days, it has underplayed the story’s severity where every other paper has talked it up – and the profile is likely in part a response to Guido’s comments on the paper’s site. A week after the story began, the personalities still seem to be taking centre stage. This is of course how the ‘personalities’ want it.

A post on LabourHome yesterday bemoaned Labour’s lack of ‘branding’. This is getting towards the truth – Labour is suffering because it has ceased to control its own profile, to define its own destiny. The news that the former MP Alice Mahon is quitting her party is being spun by these Tory personalities as a result of the smear story, as a matter of process rather than policy. This feeds into their grand narrative, but isn’t the case (as Bob Piper has also cottoned onto today). Her resignation comes as a result of what she perceives to be real policy failures: the privatisation of Royal Mail, the lack of a Lisbon referendum, the failings of the Welfare Reform Bill. The McBride scandal was in some versions of the story the last push she needed, but to ascribe it central importance is self-serving. (“In Alice Mahon’s case she has left, not because of Labour’s policies, but because of the way the Party is conducting itself in office,” says Iain Dale, thumping his usual tub. He even labels the story a ‘defection’. Yawn.)

Alistair Campbell wrote this week about the media prism: if you’re perceived to be on the up, you’re given space; if you’re not, you’re not. If your enemies can succeed in reducing your (moral or otherwise) authority to such a low that you can no longer effect meaningful policy change in order to meet the criticism of your friendly critics, then they win the wider battle. Gordon Brown take note: the politics of personality (in which you have both chosen and been forced to take part) cannot win you the fight.

This sort of thing is much more the ticket.


71 is the number of an apartment we return to regularly in Whinfell Forest, Cumbria. We like it there.


‘We’ are Anna French and Dan Hartland. The Story and the Truth is a sort of inadequate catch-all term for what goes on here: we tend to talk about novels, history, food and fashion, politics and music, but there may also be photographs of soft toys and musicians. Stick around and see.

Words We Like

The Blind Man's Garden, by Nadeem Aslam


Aslam's fourth novel is that rarest of things, a focused picaresque. It has been criticised by the formidable Adam Mars-Jones for a failure of courage - and yet having read the novel cover to cover and word for word, I found myself more in agreement with the praise of Pankaj Mishra. In this story of two young men who travel, naively, to Afghanistan in the October of 2001, it is the very ambivalence of the resulting consequences which render its portrayal of history at the sharp end so memorable. We are used to hearing, from one side or another, the verities of black and white. In The Blind Man's Garden, Aslam paints in technicolour shades of grey. Essential.

Sounds We Like

The Stand-In, by Caitlin Rose


The ever-present temptation to be cooler-than-thou might have demanded I list Lord Huron or Keaton Henson in this space, and yet few records I've been listening to this month have had the sheer charisma of Caitlin Rose's third LP. There's a cleverness - even a slickness - to how Rose balances the cache of retro country with the accessibility of the modern pop sound here, and, if that sounds like a demerit, then the way in which this sly production always works in support of often fabulous songwriting is certainly not. They do make 'em like they used to, after all.

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