@Number 71

Archive for May 6th, 2010

I don’t like the current tone of the campaign. I don’t like electioneering that bases itself on personal attacks. I respect Charles Kennedy no end for refusing to join in with Michael Howard in calling Blair a liar, even though it could well have proven popular with some of the LibDems’ more rabid supporters. If you want to draw attention to the way in which Blair may or may not have manipulated process, the increasing secrecy with which he makes decisions, or specific policy areas on which he has failed in the last parliament or on which he cannot hope to deliver in the next, fine. But, please. Don’t reduce a general election campaign to name-calling. [Me, April 28th, 2005]

"No, *your* mom."

I’ve been re-reading items I wrote for another place five years ago. The 2005 election was a curious one – the hype going into it was of a Tory fightback. We got that, of course, but not by much. That talk was fuelled by real antipathy for Blair – the strength of which is easy now to forget, in these days of disillusionment with Brown – and the deep scar across the body politic which was the Iraq war. Perhaps consequently, I wrote of the 2005 election campaign as a scrappy, nasty affair, in which sitting Prime Ministers were called liars, Opposition leaders used disgraceful language when discussing immigration, and Charles Kennedy was a reasonable but often unheeded voice.

What a difference a parliament makes. For all that a resurgent Tory party depresses me, this campaign has actually – beyond all expectations – been a more positive affair. Yes, we’ve had the usual nonsense – no major party standing up for immigrants, scraps about leaflets and smears, and most glaringly a lack of detail from all questions about the cuts which will be made to public spending – but, by the same token, perhaps because, thanks to Nick Clegg, this campaign made the election so close, we have had actual debate. Dog whistles have been at a minimum – though when he was on the ropes Cameron resorted to them a little – and, though the left remains split, it is not so viscerally as before.

I remain ambivalent about the campaign’s most obvious innovation – the TV debate. But, talking to some non-voters the other day, each admitted that they were more likely to vote as a result of them. That, after all, is what it’s all about – and 2005′s turnout was only a little over 60%. If the 2010 campaign increases that desultory number, as it seems likely to do, then – whatever the outcome – it has achieved something positive.


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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