Review
Comment
Politics
4 min read

Truth decay: lying will destroy us

The British way of doing things extends to more than an unwritten constitution. Simon Burton-Jones argues it includes how we lie.

Simon is Bishop of Tonbridge in the Diocese of Rochester. He writes regularly round social, cultural and political issues.

A Pinnochio figure stands on a window sill beside some net curtains.
Milk Chan on Unsplash.

"Why are things so ***t?"

This was the question veteran journalist Gavin Esler was asked as he walked down a Devon street one day by a member of the public who recognised him. It was a very British kind of question, crudely expressing a common underlying feeling. Esler has set out to answer it in his book: Britain Is Better Than This. It isn’t a pretty picture and will be contested. When a government has been in power for thirteen years, blame for the current state of affairs is hard to refute. There are some who do, but not many these days.  

Gavin Esler’s previous book, How Britain Ends, looked at the demise of the Union, propelled by Brexit. Esler himself was a member of Change UK, so his position as a remainer is well documented. Scotland’s vote to remain contrasted sharply with an English nationalist vote to leave. Northern Ireland’s fragile peace was put greatly at risk by deepening the divide between the island’s north and south. As a political movement, the Conservative and Unionist Party seemed to defy their name. 

Telling fibs in politics is as old as politics, but he and others identify newly organised patterns of lying; untruths being told as a deliberate strategy.

Britain Is Better Than This exposes the lack of a codified constitution as a developing risk. The UK’s deliberately vague and amorphous unwritten constitution has often been a source of its proud exceptionalism. We do it differently because we can, and we pull it off. Esler notes the almost sacred tones in which this is expressed.  It is a mystery, using rarefied, opaque language similar to eucharistic liturgy to inspire reverential awe. But when the constitution is essentially unwritten, commentators rather than judges take precedence as interpreters. And there is elasticity: the constitution is what those with power say it is at any given moment. The Crown, the government and the State seem to be used interchangeably, according to the need. If this has worked in the past, it is because of Britain’s ‘good chap’ theory of government, so called because whatever uncertainty may prevail, decent, well-educated, public-spirited people can be relied upon to make it work. 

Esler’s point is that the cracks are showing, and more people are poking their fingers through the holes to make them bigger. The Queen’s proroguing of Parliament in 2019 at the request of Boris Johnson was ruled unlawful by the Supreme Court, showing the system can rectify issues, but it also demonstrated the risk of future, unscrupulous leaders exploiting those cracks. Benjamin Netanyahu’s attempted curtailing of judicial power in favour of executive authority has set a model which others may follow. Esler’s case for a written constitution and also for electoral reform to introduce fairer systems of proportional representation are not panaceas and he while he recognises this, he prefers them.   

As a journalist he is on assured ground in the assessment of what the Rand Corporation has termed truth decay: the growing ascendency of the lie in public debate. Telling fibs in politics is as old as politics, but he and others identify newly organised patterns of lying; untruths being told as a deliberate strategy. This is murky territory for the democratic world. Across global, digital media, we disagree more about facts, blur fact and opinion, prefer personal experience to facts and trust historic sources of information less. Esler’s wants to see media literacy taught more effectively, as Nordic countries do. Deep fake technology is only going to make judgments harder.  Courses and syllabuses with a ‘media’ prefix are still considered unserious in some circles, but without this kind of literacy, Britons may become prey for some ugly predators. 

We have an uneasy, open marriage with the truth in public and in private (where research shows we all lie far more than we realise). 

In 2020, the Edelman Trust Barometer put the UK in twenty-seventh place out of twenty-eight OECD nations for trust in democratic institutions; only Russia lay below. Britain’s mythical capacity for ‘muddling through’ is based in part on our ability to ignore bad news until we can do so no longer; kicking the can down the road may be a truer expression. Gavin Esler has done us all a favour by showing what is at stake. The book’s opening question: Why are things so ***t?, however, only takes us so far.  By the end we may know why. What we are able to do about it is the defining question. 

In 1998, Jonathan Freedland’s book Bring Home The Revolution struck a nerve. The UK was transitioning from a tired government to a younger, more energetic one; the tech revolution was taking off, millennial optimism was off the leash. Freedland believed the time was right for the UK to become a republic with a written constitution like the USA. A lot has happened since then, and where Freedland’s book captured the hopefulness of the time, Esler’s feels more like a lament; a cry for a better world in the face of the facts. 

His implicit call for us to live in truth (as the late Czech president Vaclav Havel would put it) carries most conviction. We have an uneasy, open marriage with the truth in public and in private (where research shows we all lie far more than we realise). The traction of ‘my truth’ rather than, more accurately, ‘my story’ may show how close we have come to a precipice.  My truth does not set me free. If we believe the truth sets us free, we also get what David Foster Wallace meant when he observed: 'the truth will set you free, but not until it has finished with you'. Words Christ perhaps left unsaid. Big ideological changes are not afoot in Britain today, but culture is formed of a million daily interactions, where the glue of trust sticks and the power of imitation prevails. Telling porkies when others don’t becomes a tougher gig.  

Review
Culture
Film & TV
Freedom of Belief
Politics
4 min read

Anna Politkovskaya took on the Kremlin and she paid the ultimate price

The Russian journalist who became a martyr for truth

Simon is Bishop of Tonbridge in the Diocese of Rochester. He writes regularly round social, cultural and political issues.

A journalist wearing a body armour and a helmet looks defiant
Maxine Peak plays Anna.
Rolling Pictures

While truth recedes as a global public good, a war on journalists is taking shape. In 2024, the Committee to Protect Journalists recorded the highest number of journalists killed since collecting data thirty years ago. A large number of these were killed in Gaza, but there were deaths elsewhere: in Mexico, Syrian, Pakistan, Haiti, Myanmar.  Many more than these at least 124 journalists were physically threatened and abused online; an unknown number have been imprisoned and abused by state authorities, shadowy militias or criminal gangs. 

The illiberal tide is more powerful than the flow of liberal ideas today in the unregulated online market of opinion. A groundswell of distrust in so-called mainstream media has been effortlessly generated by sources with no obligations to impartiality and fewer professional standards round fact checking and evidence gathering. While every news source needs to be assessed for accuracy and fairness, the labelling of journalists as ‘enemies of the people’ by President Trump in his first term strayed into language used by the world’s despots. Territory occupied for many years by Vladimir Putin’s Russia. 

The 2025 film Words of War tells the story of Anna Politkovskaya, reporter for the Russian independent newspaper Novaya Gazeta who rose to fame, and therefore to the attention of the Kremlin, through unvarnished despatches from the first Chechen war that uncovered terrible war crimes. Moscow learned its lesson for the second war in Chechnya by declaring the whole region off limits to reporters. For Politkovskaya, this provided an extra incentive to be there, returning to the country over forty times to document ever more awful crimes of disappearance, rape, and torture. 

‘I witness very grave events and no-one else is reporting on them. I can’t not write about it’, Politkovskaya told the BBC’s Sarah Rainsford when they met. The meeting ended with some blunt Slavic advice: instead of interviewing a journalist about the war in Chechnya, the interviewer should be going there herself.   

Words of War has an unreal quality to it. The actors are English, but the scenes are entirely Russian. It is a reminder of Armando Iannucci’s dark comedy The Death of Stalin and even shares an actor in Jason Isaacs, who swaps General Zhukov’s blunt Yorkshire accent for the more cultured tones of Politkovskaya’s anxious husband, Sasha.  

Politkovskaya was a force of nature, and a devout Christian. She knew the kind of people she was messing with and what they were capable of, but she carried on the same, driven by an implacable will to truth. On flying to cover the appalling school siege at Beslan in 2004 – a scene the film begins with - she became violently ill, almost certainly a targeted poisoning like Alexei Navalny suffered on a plane over Siberia. 

I get intimidating calls, people hovering in my hallway, she observed. There’ve been so many threats, there was a time when my editors decided my life really was in danger.  But I’m used to it.  If the FSB is so opposed to me, it only proves that what I’m doing is effective. 

On October 7, 2006, Anna Politkovskaya was shot dead as she entered her block of flats with a handful of groceries. It was Vladimir Putin’s birthday. Five men were eventually found guilty of organising and carrying out the murder, but the person who ordered the killing was never found out. Speculation round how high the order came from is, in a way, superfluous: this is the nature of Russia’s state in the twenty first century.     

Elena Kostyuchenko is a millennial writer who features in the film as a young Novaya Gazeta intern and was inspired by her contact with Politkovskaya, ensuring a legacy in a younger generation: 

She was the first person I saw when I came to the Novaya Gazeta editorial offices. Tall, radiant, with silver-white hair, flying down the hall. I didn’t recognise her. I was just struck by her beauty. 

Stalin’s alleged mantra: no person, no problem, remains barely deniable Kremlin policy. The late politicians Boris Nemtsov and Alexei Navalny are simply the highest profile of a large cohort of individuals barely known in the west who have opposed Putin with stunning levels of bravery. Caricaturing Russians as corrupt, rapacious and violent – as well as being a lazy trope - is to abuse the names of an untold number who retain their dignity, integrity and agency. 

New histories are written in nations where regimes fall, but whether they tell a truthful story about the past depends on the environment the new authorities allow. The human rights group Memorial began this work in the early post-Soviet era, only to be shut down by Putin’s police officers. Words of War should have been made in Russia by Russians. One day maybe it will be, and Anna Politkovskaya will be seen across Russia for what she is: a martyr for truth.  And not an enemy of the people. 

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?
 
Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief