Fiction in the age of ‘Fake News’


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For those of us of a certain class and background who came of age in the late 1970s and early 1980s, the arts seemed the best possible refuge from the suburban certainties of our parents and the grinding of Mrs Thatcher’s dark satanic mills.  Having been brought up on milky readings of the European classics, occasionally thickened by dollops of socialist realism, the wonders of translated literature felt like handfuls of Provençal herbs. And so we devoured the novels of Milan Kundera and Günter Grass, gorged on Gabriel Garcia Marquez and Mario Vargas Llosa, and guzzled down the masterpieces of modernism. In the cinema we lined up at the Academy on Oxford Street to see the latest from Tarkovsky, Godard and Derek Jarman, and, in the theatre, watched the European avant-garde—Kantor, Peter Brook, etc.—in stunned silence. We were desperate to banish the kitchen sink, break the fourth wall (not just in the theatre) and express new universes of experience. For a brief moment, bushy-tailed and breathless, we lived our very own cultural revolution.

Inevitably however, what was fresh and new started to look faded and overdone. And, in recent years, I find myself increasingly questioning the value of what had seemed so important. For we were convinced that progressive—popular, even—art had to be experimental if it was to be meaningful and scoffed at the idea that the nineteenth-century realists might have anything to offer. But now we have to accept the uncomfortable fact that more people read Great Expectations every year than have ever got through Finnegans Wake, that much bigger audiences show up for a starry revival of The Importance of Being Earnest than a boutique production of Saint Joan of the Stockyards, and that the Impressionists attract vastly bigger crowds than the latest from the Turner Prize. The distinctly reactionary Downton Abbey and The Crown rule supreme on television, while Harry Potter and historical novels dominate in fiction.  What’s more, many of the characteristics of the international avant-garde have become de rigueur and the gestures of the revolution have become the essential commodities of the mainstream. Yes, we must be prepared to die for the right for experimental work to be created, but we should also acknowledge that the genuinely radical is–largely–withering on the vine. And so those of us who embraced perpetual revolution should consider how it fell on the ears and eyes of those we thought we were talking to. Not only do our exertions seem now like a distraction from the pressing realities faced by everyone else, it’s time for culture to accept its share of the blame for the fatal divisions that are currently tearing our society to pieces.

For we find ourselves confronted with a new version of an old problem. How do we champion the workings of the imagination when our inventions are trapped in ersatz, how do we delight in creativity when we’re governed by people who, as Bonnie Greer has argued, are a branch of show business themselves? To put it another way, what is the point of fiction, especially the most extravagant fiction, in a world where facts are regularly derided? What is the purpose of art when all challenge is dismissed as ‘fake news’ and the politician who lies the most confidently walks off with the prize?

The editor of the Byline Time describes himself as a ‘dramatist wrenched out of fiction by the fierce urgency of fact,’ which lays down a pretty stern challenge to the rest of us. The usual defence of fiction is that the lie reveals the truth. But in the current circumstances, it’s perhaps wiser for cultural producers to work how to challenge untruths while recognising that it’s going to require something more analytical than has been offered for a long time.

 History, needless to say, offers its own repeats (‘first as tragedy, then as farce’), and we should perhaps recall the Neue Sachlichkeit, the cultural movement that emerged in Germany in the mid 1920s. Sometimes translated as the ‘new objectivity’ (John Willett brilliantly dubbed it the ‘new sobriety’), this was partly a reaction against the self-indulgence of Expressionism but also an attempt to confront the aestheticisation of politics that the right was starting to master. And so painters like Georg Grosz and Otto Dix mercilessly depicted the real-life consequences of Imperial war, while Walter Gropius at the Bauhaus, Piscator for the Volksbühne, and John Heartfield with his photomontages, exposed politics to the bright light of scrutiny. 

Certainly the great deceptions of today—whether it’s the lies that brought about Brexit and Trump, the catastrophe of climate denial, or the preposterous suggestion that our millionaire leaders will do anything to help the most vulnerable—deserve a full-voiced response, not just from independent journalists but the full range of cultural producers. In ‘dark times’ like these, artists, writers and poets may be tempted to hide their heads and hope that the storm will pass. They should, instead, forge a new kind of art for the new realities and prioritise the stern disciplines of science over the shapeshifting extravaganzas of magical realism.

Such work would blur the boundaries between facts and the imagination. For example, it’s not enough to write a play which champions minority rights, we need to argue the case with the scientific rigour that Adam Rutherford does in his terrific How to Argue with a Racist. Look at the way Steve McQueen’s tremendous Year 3 project (which took hundreds of class photos of Year 3s across London primary schools) implied in such a forceful, but sober, way the great diversity of the capital and the rights and aspirations of every child. Another example might be David Baddiel’s excellent programme about Holocaust denial, which combined a powerfully personal viewpoint with scrupulous attention to detail, and made his fundamental argument—that there is no such thing as Holocaust denial which isn’t a proxy for antisemitism—incontrovertible. 

The crucial point is that the lies we face every day need to be confronted head on, and artists should consider using their imaginative talents to help our society recover its respect for reality. We all wear the badge of radicalism with pride, but what does that really mean today? When a government is as committed to ‘creative destruction’ as this one, we need to think about what we want to preserve, because if we don’t try to stop the onward march of lies, it’ll be hard for us to blame others when we wake up and realise what we’ve lost. And that may be the biggest and most bitter lesson of Weimar.

 

 


 

 

 

 

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Puppetgate

The furore about All in a Row raises fundamental questions about art and politics.  What started out as a whisper is now a roar, even before the play has opened.  But what does it all add up to?

I’ve not read Alex Oates’ new play but, as far as I can tell, it’s concerned with the family of a young boy called Laurence, who’s autistic, non-verbal and occasionally violent.   The action takes place on the evening before he is to be sent off to a residential institution where, it’s thought, he’ll be better managed.  I gather that the play goes out of its way to avoid the usual consolations and tries to dramatise, instead, the challenges faced by families of some young people with autism.  

In many ways this is admirable.   Drama which pretends that parenting a child with severe neuro-disabilities is straightforward, is simply failing the truth test, as I can testify from my own experience, among many others.   Certainly the statistics of marital breakdown, depression, joblessness and illness among such families testify to extraordinary levels of stress.  And the steady erosion of statutory support under austerity makes the situation even harder, while the fight for provision, believe me, becomes all consuming.

But it’s not the attempt to describe these realities that has provoked such a reaction. The fury is directed at the decision to use a puppet to represent the autistic young lad.  This, the objectors argue, treats him as a non human, as an ‘other’.   The writer may see Laurence as the object of his family’s concerns, their love and frustration even, but in this way of doing things he isn’t being seen as an individual in his own right, as a human being with human feelings and agency.  And this artistic ‘othering’ reflects broader concerns about the way neuro-disabled people are regarded in society at large, especially in the light of the many accounts of appalling treatment of autistic people in specialist ATUs (Assessment and Treatment Units) and other ‘care’ facilities. It’s not surprising that it has triggered this reaction, as I warned last year when I first heard about it.

The producer, director and writer have, to an extent, tried to engage with their critics, though I gather that the National Autistic Society has withheld its blessing.  The team states that in creating this production they sought out the opinion of many autistic people and their families, and Alex Oates insists that he’s worked as a carer of people with learning disabilities and is deeply committed to the cause.  They also point to the creative potential of puppetry, and reference the power of the best puppet theatre, as well as the impact of the masked face in ancient and oriental theatre.   There is, I believe, goodwill lost behind this confusion.

The creative team also suggests, perhaps with justification, that it would be hard for a very young child actor with severe learning disabilities to act this part.  Of course, the same would be the case with a non-disabled child, and there are always practical and ethical issues with representing children in drama. Indeed, when I wrote (and directed) my own play, All Our Children, about the Nazi murder of disabled young people, I decided to keep the victims offstage.  Not only did I know the practical challenges of introducing very young children with severe disabilities onstage, I decided to focus on the society that ‘othered’ such people in such a way that they were condemned to death for leading ‘lives unworthy of life’, and regarded these victims as the play’s silent, slaughtered heroes.   And when casting Peter Nichols’ A Day in the Death of Joe Egg, I was confronted with the impossible problem of a character with quadriplegic cerebral palsy who, in her mother’s dream, has to get out of her wheelchair and make an announcement while jumping with a skipping rope.  Regretfully, but perhaps rightly, I opted for a non-disabled actor for the part.

The fact is the theatre is a peculiarly difficult art form and anyone who works in it knows that we’re always confronted with compromise.   I gather that the author of All in a Row wants to dramatise the violence that some young autistic people are capable of (violence isn’t unique to autists, of course), and the producers were concerned that a very young disabled actor would find this too upsetting.  But just as a play about the sexual abuse of children would find a way of referring to the subject without involving a child actor in its depiction, so this could have been referred to without being directly represented. There are always ways round these challenges, if you think clearly.

But the deep problem with All in a Row isn’t an aesthetic one, it’s a political one.  Or rather, it’s an example of what can go wrong when aesthetic concerns are allowed to trump real life imperative. It reminds us not to commit to formal innovations without working out what the results will say about - and to - the people in the real life situation.  Brecht always said that new content should inspire new forms, and not the other way round, and he was right in insisting that we should always refer our artistic decisions to the real world beyond the stage door.   If you have no experience of neuro-disability but are concerned about the representation of women in the theatre, imagine a production of Romeo and Juliet in which Juliet was represented by a blow up doll and you’ll see why this decision is so offensive, such a travesty of where we all hope we’ve got to.  

For, if you agree - as I repeat ad nauseam and I suspect Alex Oates would concur - that neuro-disabled people are ignored by culture and society at large, then we desperately need representations that suggest our shared humanity, the things we have in common, not what divides us.  Yes, we should show the realities of segregation, division and suffering and, yes, we should be sober-minded and honest about some of the fundamental challenges posed (social, more than personal), but if we don’t find ways of communicating what unites us, our efforts will simply add to the pain that so many disabled people and their carers experience in everyday life.   ‘The wall is down that parted their fathers’, Bottom declares proudly in A Midsummer Night’s Dream, and in the world of disability and neuro-divergence, our absolute duty is to pull down walls, not build new ones. As I tried to say in my own play, all our children are worthy of dignity, love and the very best that society can give them.

It’s often said that the chief task of drama is to bring to the stage the full range of human experience, in all its scope and difference, its fragility and its visceral reality.  Drama is an encounter with other lives, but through that encounter we can learn about ourselves.   And so it’s dazzlingly clear to me that if you want to create a play about an autistic child and his family, by all means deny the politicians and social workers their reality, even let the parents be represented by shadowy figures, but, please, for God’s sake, give us the breathing blinking eyes of a living young boy, not the corpselike greyness of this ugly puppet.  

People with neuro-disabilities deserve nothing less  We all deserve nothing less.

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Cultural Representations of Learning Disabilities


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I’m delighted to have been asked to address this conference, but also a bit worried.

I’ve worked as a theatre director for a long time, ran theatre companies for more than 20 years, and written books, plays, translations, journalism, and so on. 

I’m also the father of a young man with severe learning disabilities: Joey is 22, has intractable epilepsy and Autism Spectrum Disorder, and has never spoken a word.   

I’m the proud Chairman of KIDS, a terrific national charity which provides a range of services for disabled children, young people and their families.   And I’m a campaigner for the rights and opportunities of disabled people, especially people with Learning Disabilities.   My Twitter handle states ‘Learning Disabilities Matter’ and that’s become my unofficial mission statement.

But although I’m an experienced director and deeply committed to people like Joey, I’m no expert on theatre for or by people with Learning Disabilities.  I champion all attempts to make the arts more responsive to this group and have huge respect for the people who take it on -Graeae, Ramps on the Moon, Blue Apple and Dramatize, and so many others, all doing exemplary work. 

But the fact is it’s not within my area of expertise or experience and so I feel a bit like an impostor in this conference.

What I can talk about is the representation of Learning Disabilities in culture, especially drama, but also in our everyday language.   As I’ll try to show, I think people with profound learning disabilities are a forgotten minority. They pose real challenges to many of our deepest  assumptions not just about art, but humanity too.  And it’s partly for this reason that I think attention should finally be paid. 


Socrates proclaimed that the ‘unexamined life was not worth living’, and we all have a sense of what that means: think carefully about what you’re doing, analyse your actions from every perspective, and use your brain to live in full consciousness of your actions.  But the problem with the phrase is that it suggestions that people who don’t examine their lives are living lives unworthy of living.  I’m unsure of how much my Joey ‘examines’ his life and, as so often, Learning Disabilities make us look at the familiar from the other end of the telescope.  Brecht would be proud: Learning Disabilities ‘alienates’ the normal and provokes us into thinking again.

Like many of you, I love Shakespeare with a passion. I’ve directed a dozens of his plays, written a book about them and Shakespeare is the closest I have to religion.  But the fact is that for all the claims of his universality, there’s no character in the plays with Learning Disabilities. People point to the fools: but while some of the real life ‘natural fools’ in Elizabethan England probably had Learning Disabilities, the fools in Shakespeare are all ‘artificial fools’: highly intelligent working-class men whose brainpower helped them see through the hierarchies of the world and satirise the underlying truths of society.  

Other people point to the illiterate Peter in Romeo and Juliet, the blustering Dogberry in Much Ado, or Dull, the policeman, in Love’s Labour’s Lost.  But these aren’t people with Learning Disabilities, they just don’t have an education, and this conflation of intellectual capacity and class status lies at the heart of the matter.  

It’s striking that when Macbeth calls life a ‘tale told by an idiot full of sound and fury signifying nothing’, the word didn’t mean someone with learning disabilities, it meant someone with insignificant social status.  Now of course people with Learning Disabilities would have had negligible social status, but not every so-called ‘idiot’ had Learning Disabilities.  

This mention of the word ‘idiot’ makes this perhaps the moment to take a sidestep into language.  

Because the more I listen out for it, the more I notice how terms of abuse for people with Learning Disabilities are common in everyday speech, and that there is a grotesque double standard in the terms of abuse that are acceptable in polite society, and in the arts.   

Last year I saw two plays at the National Theatre in which characters spoke about others being ‘retarded’.  In one a new mother celebrated the fact that her baby wasn’t ‘retarded’.  Not only did the audience not blink, but there was no dramatic consequence for the speakers. Compare that to a play in which a character suddenly used the ‘n’ word: within half an hour he was blinded and subjected to a tirade about his racism.  

Or think of the number of times we’ve been told that Trump is a ‘moron’, or that only ‘cretins’ voted for Brexit, or that Momentum is full of ‘retards’.  I keep getting called a ‘libtard’ on Twitter (and I wear the badge with pride).  ‘Sticks and stones will beak my bones but words will never hurt me’, but it is possible that we should be more careful when using language invented to describe and then persecute some of the most vulnerable people in our midst.

When looking at the cultural representation of Learning Disabilities the most obvious observation is there an aching absence.   This is partly because for most of history Learning Disabilities wasn’t recognised as a discrete category.  But it’s also, I’d suggest, because such people wouldn’t be regarded as being of artistic interest.  Why bother write about people who can’t speak, who aren’t geniuses, whose brains won’t split the atom.

A striking exception is Wordsworth’s long poem The Idiot Boy (1798).  It’s an affectionate portrait of a young man who has evident Learning Disabilities.  A precocious fan was dismayed by Wordsworth’s choice of subject, and wrote that ‘it appears almost unnatural that a person in a state of complete idiotism should excite the warmest feelings of attachment in the breast even of his mother’.  In a fascinating response Wordsworth offered one of the first written expressions of genuine affection for people like my Joey. The last paragraph reads:

The loathing and disgust which many people have at the sight of an idiot is a feeling which, though having some foundation in human nature, is not necessarily attached to it in any virtuous degree, but is owing in a great measure to a false delicacy, and, if I may say it without rudeness, a certain want of comprehensiveness of thinking and feeling.

Another example is Dickens, whose essay ‘On Idiocy’ in Household Words is remarkably progressive.  Speaking about a person with learning disabilities, an idiot, he concludes that ‘there is no greater justification for abandoning him than for abandoning any other human creature.’  It’s hardly surprising that Dickens should have been involved in setting up Great Ormond Street Hospital, which Joey visited regularly.  

Although the twentieth century saw huge advances in the representations of many minorities, people with disabilities were frequently ignored, or when featured usually had to carry a heavy load of metaphorical meaning. One example might be the voiceless Kattrin in Brecht’s Mother Couragehaving to act as a Cassandra-like prophet of catastrophe.   

Another tendency is to make a character with disability someone with exceptional, and uplifting, abilities: Rain ManMy Left Foot and, possibly, The Curious Incident of the Dog in the Night Time, to name just a few examples.

Even a play such A Day in the Death of Joe Egg which takes parenting a child with disability as its subject, sees the profoundly disabled daughter as a problem, an object, somebody to be reacted against, but hardly as a person in her own right.  The poster for the original production didn’t credit the actress who played her.

I’ve even heard about a play being developed in which a character with severe learning disabilities is going to be represented by a puppet.


By any standard, the first half of the twentieth century was a terrible time for people with Learning Disabilities.  Recent research shows that Hans Asperger, one of the pioneers of autism, was also involved in the T4 programme, the dreadful murder of almost 200,000 disabled people by the Nazis, many of whom had Learning Disabilities and lived what Hitler called ‘lives unworthy of life’.  

Les Murray’s poem Dog Fox Field is, I believe, the greatest artistic responses to the catastrophe.  He prefaces it with a note quoting the Nuremberg trials to the effect that ‘the test for feeblemindedness was they had to make upa sentence using the words dog, fox and field’. Here goes.  Hope it doesn’t crack me up:       

These were no leaders, but they were first

into the dark on Dog Fox Field:

Anna who rocked her head, and Paul

who grew big and yet giggled small,

Irma who looked Chinese, and Hans

who knew his world as a fox knows a field.

Hunted with needles, exposed, unfed,

this time in their thousands they bore sad cuts

for having gazed, and shuffled, and failed

to field the lore of prey and hound

they then had to thump and cry in the vans

that ran while stopped in Dog Fox Field.

Our sentries, whose holocaust does not end,

they show us when we cross into Dog Fox Field.

It’s a masterpiece, which manages to be both subjective - we feel what it is like for these kids - and objective.   And I know with a gulp that it’s a test my Joey would have failed miserably.

We shouldn’t imagine that the Nazis were alone in their detestation of people with Learning Disabilities.  In fact, a belief in eugenics was widely shared.  Many British and American liberals - some of them household names - believed that the sterilisation and murder of such people would be beneficial to the ‘race’.  

I hope I won’t dash too many illusions if I quote Virginia Woolf recalling coming across “a long line of imbeciles” on 9th January 1915.  She describes a few of them in the most uncomplimentary and derisive terms, concluding that “It was perfectly horrible.  They should certainly be killed.”

No room of their own for that lot.


So what can we do now, in the 21st Century?

Well, one thing is to be honest about the challenges faced.   It’s all too easy for arts organisations to make nice noises about the subject but not engage with the reality.

Last year I was approached by a director who was staging a good new play which featured two young women with Down Syndrome and a young man with autism.  She and her producer wanted to know if I had any insights.  My answer was simple, almost banal: ‘people with  Learning Disabilities have learning disabilities’, I said.  But the implications - which rather shocked them - was that they needed longer rehearsals, a different attitude to the status of the script, altered rehearsal and performance hours, etc.  The point is that involving people with Learning Disabilities requires practical changes, not just changes in attitude.  The result was terrific, and they had good specialist support from Access All Areas.  But I think it was a steep learning curve for everyone involved.

There are, of course, dozens of brilliant companies and individuals doing marvellous work with people with Learning Disabilities. But non-specialist organisations who want to include people with Learning Disabilities need to approach the subject with respect and seek out advice.

They could do worse than read Sara Ryan’s brilliant book, Justice for Laughing Boy, about the fight for justice for her son, Connor Sparrowhawk, who drowned in a bath in an NHS Unit while having an epileptic seizure.  

If the inclusion of people with Learning Disabilities has its challenges, their representation in modern culture seems - at times - even more problematic.  One gross example was Las von Trier’s film Idiots (1998) in which a group of neurotypical people pretend to have learning disabilities in order to confront the apparent certainties of bourgeois life.  

Another dreadful example  - in my opinion - is Brad Fraser’s play Kill Me Now which seems to imply that no greater love hath the father of a profoundly disabled young man than to wank him off in the bath.  In both examples, if one replaced the category disabled with some other minority or vulnerable person its true nature would quickly become true.  Imagine the father (or mother) in Brad Fraser’s play molesting his teenage daughter in the bath and you’ll quickly see what I mean.   It’s striking that in both the people with Learning Disabilities were performed by the neuro-typical

There is, I believe a real question of taste. And I don’t mean taste in a ‘simplistic, not wanting to offend the delicate’ way.  I mean taste as a political act, in the way we talk about the vulnerable, and treat people who are, inevitably, weaker than we are.  I faced this problem myself in writing my play All Our Children about the Nazi T4 programme.   I realized that to bring on stage the victims of this repulsive crime would cause as many problems as it solved.  If they were played by neuro-typical children the obvious and important questions would be asked about ‘cripping up’; but to introduce a group of children with the cognitive disabilities that the Nazis designated for murder would, I believe, distract the audience from the subject and make them feel uncomfortable in entirely the wrong way.

Some people felt I’d missed a trick and I understand what they mean, and I do understand what is meant by ‘nothing about us, without us’.   But what I do know is that just as my Joey wouldn’t understand the conventions of being in a play, so he’d not have understood that the busses with grey painted windows which the Nazis used were going to take him to his death.  The two facts are related and it was more important for me to explore the actions of the persecutors in depth, than to feature the category of people who were being persecuted.  


And it’s the subject of Learning Disabilities, in all its complexities, that I want to see represented more widely in the arts. It’s not enough to do another production of As You Like It and have a girl with Down Syndrome playing Rosalind - welcome though that would be.  It’s new plays, new films, new art, new stories that are needed.

And so here are ten things I’d like to see, not in any particular order:

Stories with characters with Learning Disabilities who aren’t defined solely by their Learning Disabilities.  

Stories in which, when a character’s Learning Disabilities are mentioned, we see the social structures surrounding him or her.

Stories which recognize the challenges of a relative with Learning Disabilities, but don’t show them simply as a tragedy. 

Stories of people with Learning Disabilities which aren’t simply examples of courage in the face of insuperable odds.  

Stories in which people with Learning Disabilities aren’t granted special powers or abilities.   

Stories which don’t expect people with Learning Disabilities to convey a load of metaphorical meanings.

Stories in which family members can be shown to be frustrated by their relatives’ Learning Disabilities while also loving them forever

Stories which show that while people with Learning Disabilities are sometimes the victims of abuse and cruelty, they often bring out the very best in the people who come into contact with them.

Stories which show the funny side of some learning disabled behaviour without falling into contempt or abuse.

Stories in which the language of contempt and abuse towards people with Learning Disabilities is challenged.

In other words, I want representations of people with Learning Disabilities which see them as human beings like the rest of us. Because people with Learning Disabilities are our brothers and our sisters, our sons and our daughters, our mothers and our fathers.  They are ourselves.   

It’s time the arts stood up for and found ways of representing the complex and all too human experience of this forgotten minority. 

Joey plays football

Those of you who know me won't be surprised to hear that I haven't been to a football match since about 1971.

Until today.

Today I saw a brilliant team from the St Elizabeth's Centre in Hertfordshire take on the Bishop's Stortford Special Needs squad in the Inclusion Cup at the Bishop's Stortford Football Ground.

It was one of the best things I've ever seen: heartwarming and hilarious, passionate and incompetent, friendly and fiercely competitive and wreathed in smiles and laughter both on the pitch and off.

And Joey played for St Elizabeth's squad, in their smart Arsenal red.

He got two touches of the ball. One was a free kick which he tentatively rolled backwards towards the St Elizabeth's goal. The other was a throw in which he decided to take as a kick instead. But each got a huge whoop from the carers and friends who were partying in the stands.

How anything could be so straightforward and yet so profound is a riddle to me. But it was both and you'd have to have a heart of stone not to be moved to tears by the whole thing, even as you laugh with joy. You see, disability isn't all tragic. What's more, St Elizabeth's won 4-2...

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