Review
Culture
3 min read

Most popular 2024: Belle Tindall

From wildness to digital hurting, Belle's top takes of the year.

Nick is the senior editor of Seen & Unseen.

On a TV chat show, guests look to one of their own talking to the audience.
Mirnada regales a chat show.

We’re wrapping up the year reviewing what articles were most popular with Seen & Unseen readers. Our second analysis is of Belle Tindall’s takes on the year’s events. What did our staff writer, well,  write about?

Musical highlights old and new featured prominently.  As Leonard Cohen’s Hallelujah hit the Big Four-Oh, Belle captured its appeal to so many artists and listeners. The new musical highlight was the release of Nick Cave’s Wild God album. What of wildness? Several of Belle’s articles tacked this key theme of 2024.  She also returned to the hold live music has on a crowd. As well as reporting on Cave’s tour, her analysis of the appeal of Jack White’s stripped-back tour is excellent.

Did I forget to mention Taylor Swift? Sorry, Belle.

But life is not one big sing-a-long. It hurts. From the digital slight of ghosting to the true horrors of Nigeria’s violence, trauma was a recurring theme too.

Finally, Belle conduct some literary detective work after reading Miranda Hart’s new biography.

In reverse order

10 – The holy or the broken: Hallelujah at 40

What’s the magic sauce Leonard Cohen mixed into his masterpiece?

Explore more articles on themes in this article: Music, Sin, Suffering.

9 - Nigeria’s terror survivors share their stories

This violence is not gruesome fiction, it’s reality.

Explore more articles on themes in this article: Freedom of Belief, Trauma.

8 – Did Nick Cave’s tour just take thousands to church?

He’s picking holes in the idea that religion is where freedom goes to die.

Explore more articles on themes in this article: Belief, Music, Wildness.

7 - The Wild God we can't coerce

Weird and increasingly encountered beyond the wilderness.

Explore more articles on themes in this article: Belief, Music, Wildness.

6- Ghosting is not immature, it’s plain cruel

The dehumanising behaviour hiding in plain sight.

Explore more articles on themes in this article: Attention, Digital, Psychology.

5 - The utter miracle of disliking an election result

Voting is a profound act of love.

Explore more articles on themes in this article: America, Politics.

4 - Taylor Swift proves Mr Bennet right

Romanticism: ruining lives since 1800. And we love it.

Explore more articles on themes in this article: Music, Resurrection, Romance, Taylor Swift.

3 - Nick Cave’s Wild God challenges a too comfortable culture

Eavesdrop on profound discomfort and raw wonder.

Explore more articles on themes in this article: Belief, Joy, Weirdness.

2- Jack White’s breaking the biggest rule in rock 'n' roll

What if the greatest cultural moments were the ones barely anyone saw?

Explore more articles on themes in this article: Music.

1 - Miranda Hart's diagnosis of the unseen

Beyond a medical illness she's on to something supernatural.

Explore more articles on themes in this article: Books, Comedy, Trauma.

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Graham Tomlin

Editor-in-Chief

Column
Books
Character
Culture
Time
4 min read

The true myths we tell about how we got here

Memoirs are the stories that make us who we are

George is a visiting fellow at the London School of Economics and an Anglican priest.

A jumbled pile of old photographs.
Jon Tyson on Unsplash.

I’ve been asked to write a memoir. It’s because I’ve been an Anglican priest for 20 years and it’s been quite a ride – deployed to a tube station when the terrorist bombs went off on 7 July 2005, served the Archbishop of Canterbury as the child-abuse catastrophe unfolded, been the religion editor of a national newspaper and helped countless people to die and to marry as a rural parish rector. 

So, I suppose it meets the minimum criterion that a memoir shouldn’t be about me so much as the events through which I passed. But it also raises questions about what a memoir is for, as well as what it’s about. I wonder about its purpose and that leads to choices of style. 

I had in mind a hybrid fiction model, in which the only made-up character was me, heightening the drama of it all by being maybe bisexual and a cokehead (neither of which I have been) who encounters all the real and interesting people that I have. That might at least make it a bigger challenge for libel lawyers. 

A publisher at lunch this week persuaded me that this is a very bad idea. Commercial fiction is where the action is and literary fiction (even if I could do it) is dead. It has to fit in one of the silos that people will buy – crime, romance, fantasy and so on. And I’m an old, white man, to boot. 

But memoir is a good stable, she said, and it didn’t need to be a dull, linear narrative. In fact it mustn’t be that. I’m beginning to think it must be a drama and, as such, as creative an act as fiction. 

So, not history. Or maybe, like history, it depends on how you look at it and how we remember. As someone quite famous remarked recently, recollections may vary. And we all have an agenda in relating them. Memoir is not a record, it’s about experience, emotion, interpretation and score-settling (I’m looking forward to that last bit). 

The most obvious exemplar of this is the political memoir, which lately has ticked towards being written by the spouses of politicians. Salacious revelation seems to be the currency here, all the better if a former prime minister is alleged to have said he’d like to drag you into the undergrowth and give you one. 

Memoir is also the embarrassing uncle of autobiography. It amounts only to what we remember, as we wave a glass about in the pub. 

One rather hopes, for reasons of aesthetics as much as decorum, that this indicates that memoir is as much about what times were like as about being a simple record of them. This makes sense as I face the prospect, for example, of relating being with a 26-year-old mother of two as she died. 

If it’s such an essentially subjective exercise, then memoir is a poor country cousin of history. Some have made it consciously so in their titles – Clive James’s Unreliable Memoirs and Python Graham Chapman’s A Liar’s Autobiography come to mind. 

Incidentally, memoir is also the embarrassing uncle of autobiography. It amounts only to what we remember, as we wave a glass about in the pub, rather than the marshalling of peer-approved facts. This is what makes it so sensationally subjective. I remember standing alone in a boorish institution, heroically speaking truth to power. You remember a blithering idiot. The difference is I’ve got a publisher. 

In this sense, memoirs are the stories that make us who we are. Or, naturally, who we’d like to be, or like to be seen as. In ancient Greek terms, we deploy our mythos rather than our logos, our allegory rather than our empirical reality. 

But, again, these stories make us who we are. And not just the stories we tell. The stories of our nations are similarly formative. The stories that the world’s major faiths tell also define us, whether we believe them or not.  

The Christian gospels are memoirs. The first three of them attempt to describe what happened. The fourth, John, is rather more allegorical. But they all, in the Jewish tradition of storytelling, in one way or another seek to describe what it was like to be in the insurgent Nazarene movement, as much as what actually happened. 

Matthew, the tax-collector, writes for his audience of Jews. Luke is concerned with what it all means for the poor – and not just those economically so. Mark, first out of the trap, wants to consider what it all means for non-Jews. Their recollections may vary. But it’s reckless to suggest that this invalidates their testimony. 

My memoir will contain no gospel truth. But there’s no point in embarking on an exercise that is only about what happened over 20 years of priesthood. It has to be about what it was like too.  

I think that its epigraph may read: “Nothing in this book happened. Everything in it is true.”