@Number 71

Archive for May 4th, 2010

Making The Pitch

The times they are a-crazy. First, left-wing bloggers begin to push the line that the Cameroon’s are planning a coup (e.g. Sunder Katwala, Though Cowards Flinch); then Manish Sood, the Labour candidate for Norfolk north-west calls his own leader (and Next Left can’t be alone in wonder if this plonker of long standing is a plant) the worst Prime Minister ever; and, finally, half of the Lib Dem executive of Plymouth defect to Labour. This election, despite Tory triumphalism in the Telegraph today, remains so volatile that more stuff like this is bound to be trumpeted in the coming 48 hours. What is depressing is that the media is left to report what it thinks is the most exciting – rather than most substantive – story. And, for some reason, that is currently Manish Sood. (Strangely, it must be said, not Philippa Stroud.)

Will any of this break through, however? Douglas Alexander has been calling this a ‘word-of-mouth election’, trying to make a virtue of Labour’s cash-strapped efforts, but this sounded more convincing prior to the television debates when party political macro-messaging came into its own. Yesterday’s final Conservative Party Election Broadcast was an exemplar of the form, and in terms of messaging clearly far more effective than the slightly plaintive Lib Dem one. We await the final Labour PEB, although this video is probably overly negative to form a basis. The party badly needs, if only to shore up its vote, something of the positive passion that Gordon Brown had in this stonking speech from yesterday. If only we’d had more of this.

Tittle-tattle can still swing seats, however, and in a properly three-party race all the psephology goes out of the window – hence, one assumes the talk of tactical voting from embattled Labour ministers. As Donald Macintyre writes, the real story of 2010 has been the excellent hand played by Nick Clegg, rather than any great Tory victory; his efforts could very well dictate the result come Thursday night (certainly another slightly dodgy Crosby-Textor poll suggests the Tories have no hope of winning any seats from the Liberal Democrats). The final Labour push, then, will be like this from Brown: the Tories are no progressives, and will refuse Liberal Democrat support. Progressives should fear them, and should vote Labour where it will keep the Tories out. It isn’t as inspiring as yesterday’s speech, but it is nevertheless true.

Is it, though, a macro-message that can cut through the shrill noise of the final days of a chaotic campaign?


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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