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5 min read

So we won the Ryder Cup. At what cost?

When beer flies and etiquette dies, maybe we’ve mistaken sport for something else

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A video still shows a beer can thrown at a golf amid a crows
The beer flies towards Rory McIlroy.

Phew. The Ryder Cup was an epic. After a couple of days of European dominance, fans on this side of the pond looked forward to the Sunday one-on-one single matches as a formality, only needing a few more points to wrap up the Cup, only for the American team to suddenly discover they could play a bit after all. It turns out Europeans play better together (the matches on Friday and Saturday all involved teams of two playing against each other) but the Americans excel when they're on their own. The latter nearly pulled off a famous comeback but finally fell short as the gritty Europeans stumbled across the line, Shane Lowry holding his nerve to sink an eight-footer on the 18th, and Tyrell Hatton sealing the win with a nerveless par on the last.

Much of the talk afterwards however was not about the match but the behaviour of the American fans. The European golfers, especially their talisman Rory McIlroy, were subject to some pretty vile abuse throughout the three days. His wife was drenched by a beer thrown in her direction, insults were shouted as he prepared to play a shot (you just don’t do that in golf) and some idiots seemed more keen to abuse their opponents than support their own players. It seemed strange that Keegan Bradley, the American Captain made no effort to call out his own errant supporters. Yet it was perhaps not surprising in a country where public models of leadership hardly encourage moderation and restraint.

Of course, we are used to this kind of thing in football stadiums in the UK, but golf has somehow always felt different. Football is a fast-paced, hectic game with players running full tilt for just 90 minutes and so it’s understandable that emotions get high and passions flare. Golf is more measured. It takes time, has always laid a great stress on etiquette, following the rules and respecting your opponent. Yet none of that seemed to matter in the bearpit of Bethpage.

To be fair, European fans get pretty partisan when the Americans come here - yet they do seem to stop short of personal vitriol. It seems every time the Ryder Cup is played, the rivalry just gets a notch higher. You just have to hope they rein it in in Adare in Ireland in two years’ time. As the match reached its climax, players (on both sides) leapt about like wild things, thumping their chests like cavemen on winning a point. The crowd hollered their lungs out, or continued hurling insults at the opposition.

I found myself wondering why all this seemed to matter so much? Why were grown (mostly) men reduced to appalling behaviour or breaking down in tears over hitting a small white ball around a field?

Maybe I’m just getting old and nostalgic, but Ryder Cups in the early days were different, with those grainy black and white photos of players in baggy plus-fours and tartan socks. It was the same with Wimbledon before the Open era, Wembley Cup finals back in the day, cricket matches with baggy flannels and thin bats. At the end of titanic struggles there would be a gentle skip towards the opposition, a polite shaking of hands, a wave to the cheering crowds and the presentation of the cup, which was held aloft briefly, before everyone went home. Yes, of course, people got steamed up about sport back then. The 'bodyline' cricket series in Australia in 1932 got the blood boiling between Aussies & Poms, but it was precisely because the English team were playing unfair. There were street parties and public joy when England won the World Cup in 1966, yet there is the famous story of Geoff Hurst after scoring a hat-trick in the Final going home and mowing his lawn the day after. Hard to imagine that today.

Nowadays, the presentation ceremony goes on forever, with microphones thrust into players’ faces with the most boringly predictable question: “how do you feel having won (or lost)?” asked every single time. Emotion pours out everywhere. Superlatives are expected and duly uttered.

My mind went back to something the theologian James K. A. Smith said to me in a conversation some time ago. “When there is no longer any Ultimate”, he said, “the Penultimate seems to matter so much more.” His point was that in the absence of a general social belief in God, or a divine order above us, with little sense of any social or divine sanction for, frankly, atrocious behaviour, then things like politics or sport become more and more charged with meaning.

When there is nothing higher than politics, electoral victory becomes all-important. And anything goes in silencing the opposition. When the most significant thing in life is a sporting achievement - even vicariously as a fan - then winning is everything. Where there is a more pervasive sense of belief in God, or an afterlife, where the death of friends or neighbours is a more common occurrence throughout life, or even the task of putting food on the table is a daily struggle, such things matter less. Activities such sport, which were once seen as mildly significant, a pleasant diversion from more onerous tasks, found their true place as something important, but not that important.

Blaise Pascal once wrote: “People are bored stiff with their normal lives and so they need perils and excitement.” He thought that we crave distraction to stop us looking into the abyss, or up into the heavens, to contemplate the ultimate meaning of our lives, the reason why we are here in the first place, and our final destiny. It is classic displacement activity. It is why we pay entertainers more than doctors, vicars or philosophers - because we need the distraction.

The Penultimate begins to matter too much when we no longer have an Ultimate to relate to. Sinking a clutch putt to win a game is satisfying. Yet it is not the reason why we exist. Sport is a great diversion. But it is just that, and realising that might make us behave a bit better towards our opponents and help us to focus on the things that really matter – the questions of meaning and purpose that humans have always asked since the dawn of our race.

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6 min read

The elegies that fail the forgotten places

Storytelling’s not about giving people a voice, it's about listening to what they’re singing.

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

A book's front cover beside a portrait of the author, JD Vance
J.D. Vance book promotion, 2017.

Does it matter who tells the story of a place? It’s a question I’ve sat with as a writer, a community worker, and as someone who returned to my native West Country after a long time away. My departure and return to this place brought with it a sharper awareness of the labels this rural region could invite; of the way its people could be portrayed; of how easily they can be reduced to a one-dimensional stereotype that fosters little understanding.  

And I am both reducer and reduced. I am a proud Devonian, rooted in soil thick with my ancestors, whilst also craving the culture and variety of elsewhere. My story of life in this place is complex. It’s a story that’s mine to tell, and not representative of anyone else from here – just as the people I’ve worked with in communities here and across sub-Saharan Africa taught me too: this person is not this place. This story is not this people.  

Stories matter – stories told; stories hidden. They shape our identity, our opinions, our possibilities. John Steinbeck wrote that:  

“A man who tells secrets or stories must think of who is hearing or reading, for a story has as many versions as it has readers. Everyone takes what he wants or can from it and thus changes it to his measure. Some pick out parts and reject the rest, some strain the story through their mesh of prejudice…”  

Stories told reflect stories carried, like light refracted through a prism. A story’s colours tell us something about who tells the story and how they see the world. Which is one reason perhaps that JD Vance’s memoir Hillbilly Elegy: A Memoir of a Family and Culture in Crisis came under scrutiny, especially since he was named Donald Trump’s vice-presidential running mate in the forthcoming US election.  

Hillbilly Elegy tells the story of Vance’s white working-class family, from his grandparents in the Appalachia region of Kentucky to his own coming of age in Middletown, Ohio. Vance raises questions about how local people, including his own family, are responsible for their own misfortunes, including poverty and addiction. His book came out in 2016, at just the right time to give many Americans an insight into why so many people like Vance’s relatives and past neighbours had voted for Donald Trump. It was painted as the voice of a forgotten community, and it became a bestseller, admired by some for its portrayal of Appalachian culture by someone from the inside. But reading people who know the places he talks of, it becomes clear that the book is “rife with stereotypes and classic Republican talking points peddled under the guise of lived experience,” as one commentator said.  

Sarah Smarsh, author of books including Bone on Bone: Essays in America by a Daughter of the Working Class, said in a Guardian piece published in 2016,  

“that the media industry ignored my home for so long and left a vacuum of understanding in which the first glimpse of an economically downtrodden white is presumed to represent the whole.”  

A Bitter Southerner article responding to Hillbilly Elegy said that generalisation means that “…complexity gets simplified, the edges get rounded out[…]Appalachia has been written about and photographed in such a compelling (if fabricated) way that the descriptions of passersby took on more weight than the lived experiences of the people being described. What remains is a concept of a place that is both wildly romantic in its natural beauty and backward enough to justify the destruction of that very nature.”  

We live in divided times, but often I find it hard to discern real division versus the media-created story of division. Theirs is a story that gets things wrong. Smarsh reflects how “countless images of working-class progressives…are rendered invisible by a ratings-fixated media that covers elections as horse races and seeks sensational b-roll. This media paradigm created the tale of a divided America…” This is why it matters that we hear stories that do not fit that paradigm. A many-voiced 2019 publication Appalachian Reckoning: A Region Responds to Hillbilly Elegy offered some of those stories in response to Vance’s painting of Appalachia.  

Vance thought he could write the story of a 13-state region, but many Appalachians were unhappy about him becoming their spokesperson, especially when he seemed to blame the poor for their poverty. Appalachian Reckoning is a graceful counter to this: not silencing Vance’s own story but offering many more views and stories from Appalachia. Its co-editor Meredith McCarroll said she wanted to “complicate any singular view simply by including multiple ones. I wanted to create a chorus of voices, “each singing what belongs to him or her and to no one else,” to borrow from Walt Whitman’s view of place.” The publication offers cultural nuance, emotional connection, and a “context for some of the claims Vance makes in his book when it moves beyond memoir, and to pass the mic to a wider range of writers, poets, photographers, activists, and artists who make Appalachia a place far too complex to capture and far too dynamic to die.” 

This approach feels important now, in the world as is it, with a media that often overlooks nuance, and with a culture that has become so visual that the way things are styled and framed and presented to us online can often be quite different to the reality. It is important to know the difference, and stories can help us discern that.  

This symphony of existence can, if we give each voice its space, subvert paradigms of division and fear. 

There are stories that are easy to peddle and easy to buy into. In charity work, I saw how the story of the benevolent professional outsider could shape things, leaving little room for local stories and experience. In politics I saw how the story of opposition got in the way of all the people getting on with the everyday work of restoring and caring for their communities across lines of difference. We can, unknowingly, make a place and a people shrink or even disappear with the stories we carry or amplify, or ignore.  

Stories wielded unwisely can shrink faith as well as people and places. The Jesus who I did not grow up with but came to know slowly as an adult is a Jesus of nuance, compassion, and deep listening. He would not, I think, recognise the brand of Christianity that can be used to justify particular politics. That religion and politics have in places become so intertwined is perhaps a reflection of the reduction of the vastness of the Bible and the many diverse voices it contains into one story that serves a particular group of people. Jesus again and again subverted what empire and hierarchy and tradition expected of him. He invited people into his story over and over, curious about their own story but never using it as a reason to include or exclude.  

When I think about who tells the story of a place – or of a people, a time, a faith – I see that really, there is never one story anyway. There is a chorus of voices, each a little different, each part of a vast harmony that – if we have the ears and heart to hear it – sings a song of challenge and joy, of despair and illumination. Former US president Woodrow Wilson said, “the ear of the leader must ring with the voices of the people”. Storytelling is not about giving people a voice – something I heard a lot in charity work. It is about listening to what they’re already singing. This symphony of existence can, if we give each voice its space, subvert paradigms of division and fear, of biased framing and selective storytelling. It can sing us back to ourselves, helping us see each other. And isn’t that what softens hearts, isn’t that why we tell stories? Author Kazuo said in his Nobel acceptance speech that “stories are about one person saying to another: This is the way it feels to me. Can you understand what I'm saying? Does it also feel this way to you?” Stories are not tools of manipulation or power, but pathways to encounter, to relationship, to understanding. They are, perhaps, the only way through divided times.