Don’t Be Afraid To Listen: Protecting Free Speech

 
“Upon my word, I think the truth is the hardest missile one can be pelted with.”

— George Eliot (Middlemarch)

Oxford and Cambridge Universities have an awful lot in common.  And last week was no exception.  By inviting polarising political figures from the left and the right – George Galloway and Marine Le Pen, respectively – both institutions reaffirmed what is at once perhaps the most sacred and the most imperilled of all our values: the freedom of speech.

Le Pen was shuffled past protesters into the Cambridge Union last Tuesday – an organisation that prides itself on being a forum for all kinds of discussion and debate – to deliver a lengthy diatribe about the EU’s dilution of national identity.  The patina of xenophilia and inclusiveness that she wanted to solidify for the audience was derided and scoured away once the floor was opened to questioning.  In short, her politics were as unconvincing as ever.

So too with George Galloway.  His decision to refuse to communicate with an Israeli opponent at a debate at Christ Church college was juvenile at best, discriminatory at worst.  It did him no favours.  But his words as he swept up his coat and opened the door to exit made me shiver: “I don’t debate with Israelis,” he said.  Words full of hatred and ignorance and thoughtlessness.  But, as I listened to him, I couldn’t help being reminded of the message those protesting against Marine Le Pen’s speech at the Union were effectively giving out as I headed past them into the chamber: ‘We don’t debate with Fascists’.

This is not a marginal issue.  This is about me; this is about you; this is about the richness of the conversation we want to carry on when we can no longer participate in it.  If free speech is something we want to protect, we’ve got to be prepared to put our necks on the line sometimes.  Compromise is not an option.  For to protect our freedom to speak as we please is to commit ourselves to hearing ideas that we consider rebarbative, repulsive and untrue.

Indeed, the best – the only – response to sinister and disgusting speech is more speech: truth, not censorship.  Rather than give in to the temptation to stifle all that makes us cringe, we must be brave enough to engage with it.  Our moral authority is never stronger than when we stand up for our beliefs: for whomever, wherever, whenever.  The most admirable and effective response to bigotry and falsehood is to give them their say – because only then will we find out how baseless they really are.

Which is why the attempt to put a lid on ‘dangerous’ speech terrifies me.  (Who decides for us what is ‘dangerous’ and what is not?)  Sitting in the civil arena of the Cambridge Union during Le Pen’s lecture, the baying, drumming, chanting sounds outside prompted but one thought: why wasn’t all that energy being channelled into proving her wrong?  Hardly courageous.  More like cowardice, if you ask me.

If we’re confident of possessing arguments sound enough to defeat those of the Front National, then why should we be scared to engage in debate?  Her risible and reproachable ideas are what should be opposed, not her right to say them.  We should be using our voices not to hurl abuse from the other side of a brick wall but to defend our democracy, our freedom and our rights on our terms.  And the last time I checked, they didn’t include suppression or censorship.

So bring it on.

We can’t be so myopic.  As soon as we inhibit Marine Le Pen’s freedom to speak and think, our liberty suffers too.  It’s a self-inflicted wound.  Not only do we jeopardise our own thoughts, which are at any moment liable to be deemed too toxic to be heard, but we also willingly refuse perhaps the most critical intellectual duty we owe ourselves: the duty of listening.

Each and every time we muffle a dissenting voice, we forego the chance to reacquaint ourselves with why we believe what we believe.  It was John Stuart Mill who posited that even if every living being were in agreement on the absolute truth of a concept, except one person, then it would be imperative – more so than ever – to hear him or her out.  If he had a point, we would be better off for taking it on board; and if he were wrong, even in the most appalling manner, we would benefit from being forced to re-examine our greatest certainties.  There would be nothing to lose, and everything to gain.

To be sufficiently brave to listen to opinions we find uncomfortable or contemptible is to be intellectually honest and rigorous enough to ask just how sure we are of what we believe as often as we possibly can.  That’s all it boils down to.  It’s never a waste of time to wonder how we can prove that the earth is spherical or that two and two make four, let alone to question why we hold our idiosyncratic political and religious convictions.  We can’t afford to shirk self-criticism, forensic self-examination.  No pursuit could be more worthy; nothing could be more precious.

Guest Post by Sherri Hayes

I’ve always loved a good romance. Back when I was a pre-teen, I remember reading Sweet Dreams romances. As I got older, I graduated to Harlequins. There’s always been something about two people meeting and falling in love that draws me in, and makes me want to see them find their happily ever after.

When I started writing, someone told me to always write what you like to read, and that’s what I’ve tried to do. The hero and heroine have to be characters I can fall in love with. I don’t want them to be perfect, but I do want them to be likable enough to make me want to root for them through whatever struggles they have to go through.

Relationships are complex, which means I can have fun putting the couples through lots of twists and turns. There has to be a good story, with strong supporting characters to round things out, and keep things entertaining.

Since I don’t plot out my stories ahead of time, I rarely know what’s going to happen in one of my novels until right before I type it into the computer. It keeps things interesting, and makes writing fun. I’m not sure I could do that in another genre. Romance is about people at its heart, and I like writing about people.

Interview with Sherri Hayes

The combination of FBI agent and professional footballer is an unusual one. What made you come up with the idea?

Gage’s profession was decided in the first book of the series, Behind Closed Doors. After that, it was a matter of finding the right woman for him. I knew she needed to be strong, both physically and mentally, yet vulnerable, too. Rebecca took shape from there.

Which idea came first, the professional footballer being stalked, or the romance between an FBI agent and her project?

Gage and his stalker were first. There are hints in Behind Closed Doors about Gage having a stalker. Rebecca’s character didn’t begin to take shape until the very end of writing Behind Closed Doors.

You go into quite a lot of detail about the football games. Is this a personal passion of yours?

I grew up watching the Cleveland Browns with my dad. Back then it was not unusual to find me right there along with him shouting at the television. Of course, during playoff season, it’s not uncommon to find me doing that now, either.

As Rebecca relaxes and allows herself to be seduced by Gage she gradually becomes used to the more provocative outfits that he picked out for her. Was this an intentional statement about female sexuality and a woman’s right to dress as we please?

It was more a statement about Rebecca herself. I tend to write what is right for my characters, their personalities, and their growth. Everything else is secondary. In Rebecca’s case, she viewed her ultra conservative clothing as an outward sign of her poise and control over her life and situation. Gage gave her the freedom to release some of that, and realize her world wasn’t going to fall apart if she did.

Your main characters get engaged and have a child relatively quickly by today’s standards. Did you have any alternative endings in mind when you were writing?

Neither of those things were planned when I started writing their story. When I write a story, I generally only have a vague idea of where it’s headed. Outside of that, I let the story flow, and the characters guide where we end up. I knew they would end up together, but they surprised me with the ending.

How did you find writing the erotic scenes and are there any family members who will be forbidden from reading it? (Grandparents, etc.)
This is my sixth published work to date, and all of them have had love scenes of one shape or form. Writing them doesn’t bother me. I do what I feel is appropriate for the plot, scene, and characters. As for family…the only family that reads my books is my mom and she loves my romances. She once told me that my love scenes were what a woman wants but rarely gets.

Who were your literary influences for this book?

I love to read, but I wouldn’t say there were any specific literary influences for Red Zone.

The obvious question is, what was your take on 50 Shades of Grey and did it inspire you to write your own erotic romance?

My first book published six months before 50 Shades of Grey, so no, it didn’t inspire me. While I read part of the fan fiction when it was posted, I haven’t read the books since E.L. James published the trilogy.

Do you see yourself more as Rebecca or Megan and is any part of the story autobiographical?

I relate more to Rebecca than I do Megan. While I wouldn’t say any of the story is autobiographical, there are parts of Rebecca’s past and personality that are similar to mine.

Was there a man that you had in mind when creating Gage’s character?

I tend to visualize personalities more than physical traits when I write my characters, so no. All of my characters come purely from my imagination.

What made you choose the romance genre and not Sci-fi or fantasy, for example?

I’ve always loved reading romance novels, and I write what I like to read. There is something about reading about a couple falling in love that draws me into a story, and makes me want to see them get their happy ending.

When did you decide that you wanted to be a writer?

Writing was something I sort of fell into. It wasn’t anything I’d ever considered as a career path growing up. In fact, I didn’t start writing my first story until I was thirty. It wasn’t until three years later when my publisher approached me after reading some of my online writing that I ever considered being a writer.

Have you got any advice for budding erotic novelists?

The best advice I can give any writer, erotic or otherwise, is to write what you like. If you don’t like the story, then chances are, no one else will either. It also makes the work of writing much more enjoyable.

Do you believe that erotic fiction empowers women?
In a way, yes. I believe it gives women more freedom to learn what they might potentially enjoy sexually with their partners, and that’s always a good thing.

Book Review: Red Zone by Sherri Hayes

Sherri Hayes’ latest novel follows the lives of a headstrong FBI agent and a professional footballer thrown together in the hunt for a stalker and unwittingly on a journey full of steamy romance. On the surface, Rebecca Carson is solely focused on her career, with no mind for romance or even fun. It quickly becomes apparent that truthfully she is searching for someone to spend the rest of her life with, but only if he ticks all the boxes. Gage Daniels, on the other hand, is all about the fun side of life as he lives out his dream of playing professionally and seducing women.  His perfect life is interrupted by the presence of a stalker and Rebecca is brought in to help solve the case, working undercover as his girlfriend.

As the story progresses, so does the presence of the stalker, with more letters and photos of Gage and other women surfacing, but it is only when Gage and Rebecca find themselves under fire that they realise just how serious the situation is. As the two main characters gradually get used to each other their pasts begin to surface. Rebecca has clearly been burnt in the past and as you learn more about her parents it is easy to see why she has so many barriers up. Gage is relatively unscathed by love, but as both his friend and brother have seen the more painful side of love it is understandable that he’d prefer to enjoy the commitment-free side.  As Gage and Rebecca get to know each other they begin to analyse their own actions and feelings, working out the cause of their problems and when Rebecca’s bubbly sister, Megan, comes onto the scene Rebecca realises just how much fun she has been missing out on.

The premise of the story is a good one and certainly not something that I have read in the past. The concept of combining a career driven woman with a fun loving man to bring out the true nature in each of them is not a unique one, but Hayes makes it work without entering cliched territory. If I had to find fault in the book, I would have to say that the constant threat of the stalker could be much more sinister and make the sexual tension between Rebecca and Gage electric, but it seems to only be there as a reason to bring the two characters together. The focus on emotions is where Hayes really excels and she draws attention to the often overlooked need to address one’s feelings honestly. Both Rebecca and Gage take the time to consider why they react in a certain way and because of this they learn more about themselves and eventually develop a strong relationship. If you take anything from this book I suggest it be the emotional honesty that her characters use to reveal their true natures.

Film Review: All About Eve

With movie award season being well and truly underway, all thoughts are no doubt turned towards that most prestigious film award of all – the Oscar. I happened upon a certain statistic recently which led to this review. Did you know that in the Academy Awards’ 85 year history, there are two films that hold the record for the most nominations? It probably won’t require too much head-scratching to bring to mind one of them because most of us past our teens can probably remember the night James Cameron hailed himself “King of the World” when his 1997 epic Titanic took home 11 wins out of 14 nominations. That’s a lot of categories to be up for and let’s face it, Titanic was, and still is, visually impressive. But almost half a century earlier, All About Eve was the talk of the town when it too was nominated in 14 categories. It would end that night of the 23rd Academy Awards show with winning far fewer statuettes than Cameron’s blockbuster (though 6 including Best Picture and Best Director is still an incredible achievement) however it would win one that Titanic wasn’t even nominated for – Best Screenplay. And All About Eve is still the only film in Oscar history to receive four female acting nominations, two in both the Best Actress and the Best Supporting Actress categories.

Funnily enough, the film begins at an awards dinner where Broadway’s latest, hottest star Eve Harrington (Anne Baxter) is being recognised for her breakout performance in a critically acclaimed new play. Slimy theatre critic Addison DeWitt (George Sanders) watches the proceedings from his table and in a rather derisive voiceover, recalls how Miss Harrington’s star soared as quickly as it did.

Flash back a year and we meet Margo Channing (Bette Davis) in her dressing room after a night’s performance of a play. Margo is one of Broadway’s biggest stars, successful but inevitably jaded and aware that, at forty, her career has only one way to go. One of Margo’s closest friends Karen Richards (Celeste Holm) who also happens to be the wife of the play’s author Lloyd Richards (Hugh Marlowe) meets starstruck fan Eve Harrington outside the stage door and decides to make the young fan’s day by taking her backstage to meet her idol. Margo and her friends, including Margo’s young director boyfriend Bill Sampson (Gary Merrill) find Eve and her reverence of Margo and the theatre in general charming and following a touching story Eve recounts about her difficult life to date, Margo moves her into her house and takes her under her wing as an assistant.

Everything’s peachy and everyone adores the lovely, helpful Eve. All except Margo’s maid Birdie (Thelma Ritter) who senses something the others do not. And it’s not long before Eve subtly begins to reveal her true intentions and nature. It’s all done with such a sweet humble facade but she slowly schemes her way to becoming Margo’s understudy and then, by cold, measured manipulation of Margo’s relationships with Lloyd, the writer and Bill, the boyfriend and director, she conspires to usurp Margo in the plays Lloyd writes for her. As the film progresses, we are witness to the full range of trials and tribulations that theatre folk are faced with as well as all the emotions that close friends and colleagues have to deal with.

At the end of the film, we return to its beginning at the awards dinner as Eve receives her trophy. So it’s clear she attains the fame and critical acclaim she so craved. But at what cost? Addison DeWitt, cynical as well as slimy, has dug into Eve’s past and uncovered skeletons she’d rather keep buried and so, in exchange for his silence, he informs Eve prior to the awards dinner that she now “belongs” to him. The final scene of the film mirrors the first in that it appears the ‘user’, Eve, is about to become the ‘used’ when another young starstruck girl, Phoebe, finds her way into Eve’s apartment with the obvious (to us, the audience) intention of insinuating herself into the now, shining Broadway star’s life. What goes around comes around.

The casting of this movie was inspired. Everyone is right on the money; it’s no wonder there were so many acting award nominations. George Sanders was ultimately the only winner and his portrayal of the charming but insincere theatre critic is masterful. Bette Davis was brought in after the first choice of Claudette Colbert suffered a back injury and had to withdraw shortly before filming began. Davis, who commented that the script was one of the best she had ever read, later admitted that when Joseph L. Mankiewicz cast her in this movie, he saved her career from oblivion after a series of unsuccessful films. Even Marilyn Monroe in an early role as young starlet Miss Casswell is terrific. Watch closely and you can definitely see signs of what would soon make her a star.

Together with Mankiewicz’s writing and directing, the film received overwhelmingly positive reviews upon its release and even now, over 60 years later, it’s easy to see why. The dialogue is at times witty, at others moving but always sparkling and true and Mankiewicz paces the story perfectly. The movie is 2 hours and 20 minutes long but you’ll never know it.

It’ll come as no surprise that the film turns up in numerous top 100 film lists, American Film Institute’s as well as others and the film is usually always selected to highlight Davis’ legendary career. In 1990, it was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically or aesthetically significant.”

In short, All About Eve is the epitome of a classic Hollywood movie. It has every necessary ingredient and it’s brightness in the firmament of greatness grows with the passage of time. And unlike so many movies of today, it doesn’t rely on special effects, explosions or unfeasible action sequences to keep you in your seat. It’s a group of talented artists who came together to create, for us, something quite wonderful.