Column
Comment
Humility
Politics
4 min read

Why radical humility challenges personality politics

Amid the political party conferences, George Pitcher searches for the flickers of radical humility.

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

A cropped image of the face of RIshi Sunak with colours of a flag behind him
Rishi Sunak at a previous party conference.
BNN.

As a glutton craves a fast, so might regular consumers of party political conferences, stuffed with a surfeit of arrogance, yearn for a display of a little humility. 

It would, admittedly, be a tough trick for a conference speaker to pull off, when the whole point is to achieve a standing ovation. Unlike his immediate predecessors, prime minister Rishi Sunak did try. Humility is an extra challenge for him, being a multi-millionaire former investment banker married to a billionaire heiress. 

But he raised his humble origins again, as he did in his party’s leadership contest, paying tribute to his immigrant parents, a GP and pharmacist in Southampton. Herein lies another problem: As the old saw has it, as soon as you claim humility, you lose it.      

So, one is left to wonder whether humility is a desirable quality in our politics at all, or even possible. Kenneth (now Lord) Clarke came close, in a number of Conservative ministerial positions, saying calmly and honestly what he thought. Labour’s Frank Field was another, possibly informed by his quietly devout Christian faith. 

Further back, Labour’s post-war prime minister Clement Attlee had a gentle and unassuming demeanour, which only led Winston Churchill to observe that he “had much to be modest about.” There’s the problem. Humility is seen as a sign of weakness.  

This is radical humility, a Cinderella quality to its ugly sister “radical honesty”.

But it can be found in politics. Baroness Cathy Ashton, whose many achievements include brokering an agreement between Serbia and Kosovo and negotiating the Joint Comprehensive Plan of Action with Iran, has written a memoir. 

She was a guest on The Rest is Politics, the podcast hosted by Alastair Campbell and Rory Stewart, of both of whom a neuro-surgeon might observe that humility bypasses have been a complete success. But she is a perfect exemplar of what Stewart called, towards the end of the interview, “radical humility”. 

This, Stewart observed, counters the “Great Man” theory of history, the super-hero who saves his people – the character currently channelled by so many populist leaders, with Donald Trump as its apotheosis. 

Ashton herself said things like “we do our best”, that there’s a web of small, interconnected acts that reach a successful resolution and that the deals aren’t hers to make, but belong to the people making them. A lesson that could be taken from Kosovo to complex circumstances such as British transport infrastructure, the nature of our union, or local governance from Birmingham to Newcastle. 

This is radical humility, a Cinderella quality to its ugly sister “radical honesty”, the latter developed since the Nineties by the American psychotherapist Brad Blanton, which is really a licence for being rude. Radical humility, by contrast, puts its practitioner firmly at the service of those affected by a political situation and enables them to resolve it.  

Impressed as he was by the concept, Campbell neatly summarised the problem of deploying it as a political slogan: “What do we want? Radical humility! When do we want it? Now!” 

But radical humility should be a given for the way we manage the administrative organs of our faith, the Churches. Cardinal Basil Hume, the Archbishop of Westminster who never forgot he was foremost a Benedictine monk, springs to mind. 

As does Rowan Williams, whom I observed from the Daily Telegraph and then as his principal spin-doctor between 2008 and 2011, holding the complexity of the Anglican Communion together by empowering its components. 

The point about radical humility is that it subsumes personality into the lives of those it serves.

Their aim, in perhaps unconscious application of radical humility, was like Baroness Ashton to give those they convened room to tell their stories, to take ownership of them and become co-narrators. And that has a central gospel provenance. Jesus of Nazareth led by story-telling, the parables inviting listeners to reach their own conclusions – even and especially today. 

Radical humility doesn’t invite servant ministry. It is service ministry, precisely because it puts the governed in charge of their own story, which in a grander context could be called their destiny. 

Whether that kind of liberation could be applied to our secular politics is a tall order. As I’ve said, there are flickers of radical humility in Sunak, but when he claims to be proud to be the UK’s first Asian PM and “even prouder that it’s no big deal”, he paradoxically feels obliged to proceed to slam Labour for its lack of diversity. 

It was telling that home secretary Suella Braverman, in her somewhat incoherent speech this week, widely cast as a leadership bid, claimed that Labour leader Sir Keir Starmer didn’t have the “personality” to be prime minister. 

The point about radical humility is that it subsumes personality into the lives of those it serves. It’s one reason, perhaps, why we know so little of the personality of the Nazarene. But the likes of Braverman and other populist politicians can’t see beyond personality. 

Maybe she, like other politicians, wouldn’t recognise radical humility. And it can’t be transformative unless it’s listened to.   

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