Pretty policemen and agents provocateurs

When I arrived at university, one of the first stories I read in a student publication was about police spies.  It said that for the entire summer vacation, two policemen, disguised as hippies, had been instructed to punt up and down the rivers watching out for students or other layabouts smoking pot.  They may have enjoyed their summer but they never managed to catch anyone.  A cartoon accompanying the story showed two policeman, dressed as stereotypical hippies but wearing policemen's helmets.

I don't know whether the story was true.  I do know that, in the three years of my first degree, I was never offered cannabis or any other illegal drug.

At the time, the story just made me laugh.  It fitted with the comforting view that the police were so incompetent at going undercover that, if they tried, they'd fail amusingly.

A little later I became aware of a more disturbing story circulating about the activities of some police forces - and I heard this so often and from so many different sources that it seemed quite evident that it was true.  This was all back in the 1970s when homosexual acts in private between consenting adults aged 21 or over had only recently ceased to be a crime.  I suppose this affected the arrest totals of many police forces.  However it remained illegal for a man to solicit sex with another man, raising an interesting question as to how gay men were ever to form sexual relationships.  Several police forces went beyond looking out for gay men meeting one another.  They sent policemen in plain clothes (known as "pretty policemen") to places where gay men met so that, if a man mentioned the possibility of sex, they could whip out the handcuffs and arrest the man.  There were stories of pretty policemen who did their best to ensure gay men would make advances to them.  It all seemed fairly disgraceful to the policemen and forces involved and I'm glad to say that the practice seems to have died out.  I don't think today's police would countenance such activities.  I don't think the government would allow it.


But I have been disturbed by what I've learned in the last year or so about the activities of undercover policemen.   There are plenty of cases of companies going under cover to spy on their opponents.  The McLibel case in the 1990s revealed that seven spies working for McDonald's had infiltrated the small London Greenpeace group so that at some meetings the infiltrators were in a majority.  The campaigning organisation Campaign Against Arms Trade was infiltrated by a man who worked with them first as a paid volunteer and then as their paid Campaigns Co-ordinator.  He was also being paid through a company working for arms muanufacturers British Aerospace.  According to the Sunday Times story which uncovered this espionage, he was one of half a dozen paid infiltrators.  Although it's a national organisation, CAAT is pretty small.  


At least when McDonalds or BAe engage in infiltration and spying they merely lower my already low opinion of them.  I had occasionally visited McDonalds with my children when the McLibel trial began but after I heard about the infiltration and spying, I initiated a family boycott.  Some people may find James Bond glamorous but I reckon there's something rather sickening about spies.


For a long time I've heard stories about state infiltrators in political groups.  I didn't think too much about who organised them.  I'd probably have thought it was the secret services, whoever they are.  I wanted them to be something shady because I didn't want to put a face to them.  I've been involved in some left-wing, mainly pacifist campaigning.  I don't want to discover that my friends aren't my friends at all - that they're pretending to like me and share my ideals so that they can spy on me, for money.  And I don't want to look at the people who really are my friends with suspicion, because if I began to do that, how could any friendship survive?

But in the past year or so it's become evident that that the state infiltrators might be quite close to home.  Mark Kennedy worked as a serving police officer by infiltrating protest groups, some of them near where I live.  I don't know if he went on the same anti-war marches but it's possible.  He looks vaguely familiar but that's all.  At least I wasn't one of the women campaigners with whom he had affairs, while concealing the existence of a wife and family elsewhere.  As the story of his spying became public, other spies were unmasked.  Some of them had affairs with activists too.  Some of them fathered children.


The police response to this was to say that the spies were "grossly unprofessional," "morally wrong" and "rogue."  My assumption was that at least, after this, the behaviour of police spies would be reined in.

I was wrong.  The Home Office minister Nick Herbert has stated that police acting as undercover spies should be allowed - in certain circumstances - to have sex with activists.  I don't know what that makes the government.  Paying someone to have sex with people as part of a job isn't quite the same as being a pimp, although morally it seems roughly equivalent.  In a few countries encouraging the deception might count as inciting rape - but this wouldn't be the case in English law.  I expect the women who have been deceived feel pretty damaged by it - especially if they have had a long-term relationship and a child with the spy.   But it's not something I want my government to permit, organise or encourage.  I think it's wrong.


I'm relying a lot on instinctive reactions here.  So I thought I'd better consider other circumstances.  What if the police spy was infiltrating an extreme right-wing group?  Would I think this worthwhile?


I dislike extreme right-wing groups, particularly those which incite racism and carry out racist attacks.  I want them to stop doing this.  It's possible an effective infiltrator would find a way of stopping them.  But I'm still not happy about the spying.


Anyone who infiltrates a group has to take part in its activities.  Police spies risk arrest when they break the law - Mark Kennedy was arrested on more than one occasion.  If they reach a position of power - which must be their aim - they need to suggest activities and encourage them.  So the police spy infiltrating a racist group might need to establish his or her credibility by abusing people on the grounds of their race, by spraying racist graffiti on walls, by suggesting groups to be targeted on a demonstration - even by initiating or taking part in racist violence.  This comes close to acting as an agent provocateur by encouraging people to break the law.  I don't want any police officer to do this, however noble the initial aims.  Nor do I want any police spy to be expected to have sex with a racist as part of his or her job.  


Doubtless some people - including members of the government - will say I'm being naive.  But I think members of the police who go undercover as spies cease to act as upholders of the law and move into a shadowy area of questionable morality.  When Nick Herbert endorses undercover policing and says that police spies may have sex with activists to reinforce their cover, he may speak for the government, but he doesn't speak for me.  I wonder whether the majority of voters - or the majority of police officers - would agree with him.
 
 

The battle of e-readers

I resisted for a long time. I like paper.  I like the sensation of holding a book in my hands, feeling its weight, leafing backwards and forwards.   I like using postcards and bus tickets as bookmarks - I leave them in the books I have finished, then find them years later.  This helps me reconstruct the experience of reading.  "Ah yes," I think, "that is where I was so concerned about Jean Valjean that I missed my stop," or "How sunny it was when I first followed Little Dorritt across the iron bridge."

My children persuaded me.  Indeed, they forced my hand by giving me, as a most generous mother's day gift, a kobo e-reader.  I'd begun to wonder how e-reading would feel but resisted the experiment.  Now resistance was useless.  I had an e-reader pre-loaded with a hundred books.

When they chose a kobo, my children respected my concerns.  I do my best to avoid Amazon and won't have anything to do with the kindle.  There are many reasons for this.  Amazon has a bad record for its treatment of employees.  It avoids paying British taxes.  Worst of all, it is trying to take such a position of power in the international marketplace that it risks establishing a near-monopoly position in which it would control authors, editing, bookselling and the way in which people read new books.

A monopoly in the production and reading of books would be a disaster, not just for book-lovers but for all who value history, free thought and the exchange of ideas.  Imagine a world where one company provided the only access to the means of reading and also controlled and selected what was available to read.  Even if the company began with the most benevolent motives, it would be bound to select certain titles for promotion above others and to give low priority to those it reckoned would be least profitable.  (All companies have to take account of economics.)  I'm not a great proponent of free-market capitalism but, when it comes to books, I'm with Milton in believing that we get nearest to truth - or progress - when ideas from numerous sources are allowed to clash with one another.  My preference for avoiding Amazon is a small act of resistance.  And in the matter of e-readers I was particularly determined to avoid Amazon.  

As I understand it (and I'm not highly technically aware) mobi - the format used by the kindle - locks readers into the kindle and Amazon.  By contrast epub - the rival format - allows users to switch from one kind of reader to another and import books from a range of sources.  While this over-simplifies the conflict - it is, for instance, to have a kindle-reader installed on a pc or an ipad - there are plainly problems in Amazon's approach and these are intensified by their offer of better terms to self-published authors who are prepared to make their work available through kindle only.  I can't comment on the quality of their books because I shan't be reading them.

For me, the kobo will never supersede books.  It does less than them.  However it does mean that I can leave the house knowing that I have, at the latest count, 176 books in my handbag.  They are mostly 19th century works - free and out of copyright.  I have most of them as paper books as well.  But there are exceptions.  I've managed to find books that are obscure and out of print - and I've obtained books in French that aren't easy to find in England.  It's great for bus and train journeys and I'm old enough to appreciate the ease with which I can enlarge the font when my eyes are tired.

So far I haven't read a great deal on my kobo.  I enjoyed Bel Ami (in French with the original illustrations) and, in honour of the Dickens bicentenary, I re-read Little Dorritt.  Now, attracted by the title, I've turned to Zola's L'Argent.  It will take me some time to get used to Zola's sentence structure.  

But I've noticed something about reading on the kobo that I hadn't expected.  It makes me focus on smaller sections of text - just because the page is smaller than the double spread of a paperback.  That means that the books which are most pleasurable are those which are densely written or which require careful attention.  The works of Dickens and books in French are ideal but I can't imagine wanting to read a modern thriller in English on my kobo.  I can't read poetry on it either - epub seems to lose the layout which is such an important element.  So it's a rather old-fashioned means of reading and I'm enjoying its old-fashioned elements.

I wonder if e-readers will last in their present form.  I rather hope they do as they're very convenient and a good aid to concentration.  But the popularity of multi-media tablets suggests that literature in its wordy form may give way to something more complex, where words, sounds and images are mixed and where pathways through the work are multi-linear and even driven by chance.  The literature of the future may mutate into a cross between the experimental novel and the computer game.  It may even return to its oral roots and become more of a social and communal experience as readers take the opportunities offered by the internet to read and respond together.

But meanwhile I'm loving my solitary experience of the 19th century.  As my train passes flooded fields I'm plunging back in time and wandering through the crowded backstreets of London and Paris.  I recommend the journey.

What's so bad about Cyclops?

As I mentioned in my last post, I'm re-reading the Odyssey. It's many years since I last set out to read it cover to cover.  On this occasion I've chosen the E.V. Rieu translation, published by Penguin - not poetry but a quick and pleasurable read in prose.  It's probably the best translation if you want - as I do now - to read for the story.  

At times I'm struck by how familiar the people seem.  I've reached Book IX, where Odysseus meets Nausicaa, the young princess.  It's a hilarious encounter.  Nausicaa is by the stream with other young women, doing the laundry when Odysseus, who has been shipwrecked on the shore, wakes up from the bed of leaves he has made in the nearby woods. He needs to ask for help but is faced with a problem - he is completely naked.  In the end, he does he maintains his modesty by holding a branch in front of him - and decides it is best not to ask for help in the usual way by kneeling before the princess and clasping her knees.

The comedy of Odysseus' situation develops - and then it gives way to something rather different.  Odysseus becomes a guest in the household of King Alcinous, and, after all the rituals due to a guest (bathing, feasting, libations, drinking and so on), Odysseus starts to tell the story of his adventures. For instance, he explains the way in which he and his men would raid settlements, kill the men, rob the settlements and enslave the women.  There is no moral justification for this - it's treated as a perfectly ordinary way of carrying on so long as there is no breach of the obligations of hospitality.  By contrast, the behaviour of the Cyclops is seen as deeply shocking, in ways that the editor of the Penguin edition points out.

If you know anything about Cyclops, you probably know that they are one-eyed giants who practise cannibalism.  But in the world of the Odyssey, their size and cannibalism aren't the only strange things about them.  There are also two important things they do not do.  They don't build ships - and as a result they don't trade or have the habit of visiting other communities.  And, even more significantly, they don't meet in assemblies to conduct business and make laws.  Although there are social interactions - Cyclops listen out for one another and come to one another's help - each family has its own individual laws and customs.  In other words, they don't take part in politics (the word comes from the Greek polis, which means the city state).  They live entirely private lives.

Odysseus and a group of his men are trapped in the cave of the Cyclops Polyphemus.  There they observe his domestic arrangements.  He is an efficient farmer - even a kindly one, by today's standards.  He lets his flocks into the cave at night where he milks the ewes before putting their lambs back beside them.  This seems to suggest that he takes only the superfluous milk, which he uses to make cheese.  In the morning he lets the sheep out to graze.  But he starts to eat Odysseus' men, two at a time.

When Odysseus sets out to trick him, he does so through a version of gift-exchange, which Polyphemus seems to recognize in a limited way.  He gives Polyphemus fine and very strong wine and Polyphemus reciprocates by promising that he will eat Odysseus last - not a very adequate response.  But the wine renders Polyphemus drunk - there's a particularly disgusting description of him vomiting as a result, and bringing up chunks of the men he has just eaten - allowing Odysseus and his men to blind him.  This will give them the opportunity to escape when Polyphemus next opens the cave.

This set me reflecting that, while we would agree that Polyphemus is wrong to eat people, the other standards by which Polyphemus shows his lack of civilization apply less today than they did thirty or forty years ago.  We may not eat strangers but the idea of hospitality as a virtue seems to be slipping away.  In the Odyssey, whenever a courteous stranger arrives and asks for help, the rules of decent behaviour dictate that he will be given a bath, food and drink before he is even asked his name, that he will be provided with somewhere to sleep and will be given generous gifts.

In the time of the Odyssey, a properly-evolved society is also seen as one in which there is a widespread obligation to take part in political decision-making: to work out, through talk with others, what laws should apply.  There aren't equal societies - slaves don't take part in politics and women's status is mostly based on their relationship to men.  But it's not a dictatorship either - decisions are made after discussion.  Speaking well in public forums is valued as much as action.

When I think about society today, it has more in common than the life of the Cyclops than I would like.  The life we live is largely private - solitary or with family and friends.  Most talk and grumbling about politics takes place in the private sphere and without any sense that it will change anything.  Our society doesn't do much to welcome strangers either.  At least we don't eat them.

a tentative return

I'm not sure that I've missed blogging.  I've been away for almost a year - not away from home, or away from my computer, but away from the practice of sharing selected thoughts with anyone who is tempted to stop by my blog.

It wasn't a momentous decision.  For some months I'd been running out of time to blog.  I had plenty to say - my brain didn't stop working and I continued to react to the world.  But work was taking over much more of my time and I also felt an inclination to spend more time in writing poetry and fiction.  And, as I stayed away from the blogosphere, the idea of a return seemed increasingly momentous - and I feared the extra demands it would make on my time.

Perhaps I also needed some time away.  Sometimes an absence from engagement in a particular activity provides a useful opportunity to reflect and gather thoughts together.  I'd like to think it's been a helpful pause as well as a hectic one.

But I've decided to return, and for no better reason than this: it's a rainy afternoon and I felt a sudden inclination to go back to Blogger.  If I were living in the time of the Odyssey, I'd say a god moved me.  That's what people in the Odyssey say when they make a decision for which they can't account in any other way.  I'm re-reading the Odyssey in the moment so that way of seeing the world is much in my mind.

I had a few ideas about what to say in this post but I'm still distracted by blogger's latest re-design.  Like most people, I'm conservative in familiar practices, which is a way of saying I don't want to relearn things I think I already know. (I still cook in pounds and ounces.)  I'm still trying to work out how to find the various functions I need on the dashboard, and hope I am doing everything right.  It's uncomfortable to be so uncertain about something I thought I could manage.  Perhaps soon I'll be used to the new design.

Meanwhile, I think I'll leave this where it is, add a few labels, press publish and see how this works.  If all goes well, I may post again soon.  If so, I'll try to write something with a little more substance, in case my readers are still out there.  And if you are, hello!

Bringing home the Ashes

They made me play cricket at school. Looking back, I approve. Cricket was widely seen as a boys' game and it was good to have the opportunity. I didn't even mind too much at the time.

Like every sport, cricket had its dangers. There was the hard ball hurtling in my direction and the scorn of the games mistress - and fellow players - every time I ducked or missed a catch. But I soon developed a strategy that made the game a source of pleasure. I made sure I had a book in my pocket and volunteered to field on the boundary line. Very few teenage players - boys or girls - can hit a cricket ball to the boundary and there was a convenient hedge nearby. I and my book would adjourn to the other side of the hedge where I would read in the sunshine. Books I enjoyed at the time included Dorothy L. Sayers' Murder Must Advertise. I quite like fictional cricket matches.

This probably doesn't make me the ideal audience for Michael Pinchbeck's new play, The Ashes, which I saw at its final preview performance - it runs till late September. I wasn't really in the mood for theatre when I headed to Nottingham Playhouse. It didn't help that the lovely Cast bar, where, as a Backstage Pass member I have a discount, told me there was a 45-minute wait for food - even cold nibbles. It was only 50 minutes to curtain up. I settled down with a beer and surveyed the crowds. They were mainly male, which had a definite and unusual advantage - no queue for the ladies' loo.

It looks as though The Ashes will be a popular play. Harold Larwood, the cricketer at its centre was a Nottinghamshire lad who played for the county. The crowds in the bar included more cricketers and cricket fans than I usually observe at the theatre - but perhaps I was just more aware of conversations about cricket. It could be a tricky audience, I reflected, picking out flaws in details or cricketing stance. Looking at the length of the two parts of the play, I was further concerned. The first half was a mere 45 minutes and the second 75 - against the usual logic which makes the second act shorter than the first. I was full of doubts as I settled down to watch.

I already knew something of the subject of the play. The Bodyline tour, as the 1932-3 Ashes tour of Australia is known, is still discussed, often in relation to class as well as sporting ethics. In the 1930s the distinction between "gentlemen" (upper-class amateurs) and "players" (working-class professionals) remained an important one, although the national team drew from both groups. Discussions of the bodyline strategy, in which batsmen risked serious injury from fast bowling, often focus on the contrast between the public-school and Oxford-educated team captain, Douglas Jardine, and the two Nottinghamshire ex-miners, Harold Larwood and Bill Voce. This, as a friend pointed out, set up the risk that the play would be worthy and obvious. I settled in my seat without great hopes.

Within the first five minutes I realised that the play was going to work. It doesn't aim at naturalism - just as well, since the Playhouse stage isn't big enough for a cricket pitch - so all the actors, including the leads, took other roles as required, changing both attitudes and accents. However the actors convinced within each role they took. The cricketers in the audience plainly approved too. They were quickly receptive to references I found obscure and their appreciative laughter made the theatre a comfortable place. It was plain that the play was not going to be dully worthy.

Pinchbeck's play places the emphasis precisely where it needs to be: on character and events. There are ethical dilemmas but they are explored through the complex characters at the centre of the drama: Harold Larwood, played by Karl Haynes and Douglas Jardine played by Jamie de Courcey. The performances in these roles were stunning, even within an excellent ensemble cast. When I think of Larwood and Jardine in future, I suspect they'll always be embodied by Hayes' slight and determined figure and de Courcey's humourless intensity. Class mattered, of course, but these characters weren't cardboard cut-outs but people for whom class was one part of their complex individual experiences. The only slight problem came from the inevitable passivity of Lois Larwood (Sarah Churm) whose role was largely limited to staying in Mansfield, following the match at the cinema and expressing an admiration for Gracie Fields. But her final speech conveyed a depth of feeling that went far beyond the words she was given to say.

As a viewer, I was caught up in the English team's determination to win at all costs. This tour came, after all, in the wake of the Great War and members of the team must have spent part of their youth anticipating battle for king and country. But I winced when I saw film footage from the tour, showing the impact of bodyline (or "leg theory") bowling on the batsmen. And the longer part of the play didn't seem long at all as I was riveted by the tensions within the story.

I emerged from the play with a much greater respect for cricketers. As I stood in the bus queue afterwards, some of the cricketers from the audience were still discussing the ethics of bodyline as well as explaining theories of bowling or small aspects of the story omitted from the play. And that, I think, is how it should be.


Please note that the play has an undeservedly short run - you need to see it before 17th September. And apologies for my long absence from blogging. I was simply tired and needed a break. I'm back now.

Bread and circuses

After a busy period at work when I haven't found time to blog, I'm experiencing the delights of bread and circuses.

The bread is literally bread. I've finally explored one of the Polish shops near work and discovered a range of central European breads: heavy rye bread, bread with sunflower seeds and so on, reflecting the cuisine of various countries - not just Poland but also Latvia and Lithuania. They seem to me better than the supermarket "specialty" brands - and cheaper too.

I went to a circus as well - the Moscow State Circus which was touring near me on the day of the Royal Wedding. It was a good counter-balance to that other circus. It had a story too. If I grasped the moral correctly, it was something about taking money from the rich and spending it sensibly so that everyone could enjoy the arts. Just now that seems a pretty good idea.

All round me there's anxiety. Friends find their jobs at risk. (I seem to be safe - at least till next year, and that's ages in the present economic climate.) Health and social care are in the news. The Financial Times has picked up a story about health authorities and hospitals at risk. In many cases the risk has been caused or worsened by the involvement of private companies, who were quick to enter into Private Finance Initiative agreements that safeguarded profits at the expense of the ill, the injured and the dying. Meanwhile the big companies that make money out of caring for frail elderly people and those with disabilities have in their turn been brought close to collapse by private equity companies. From the point of view of profiteers, it seemed a neat arrangement: sell the homes to other companies, agree an ever-rising rent, trust the market - and get out quickly when the economy falters.

Obviously I should have arranged a better pension for myself, according to the right-wingers. That's the same right-wingers who object that my public-sector pension will be too generous (if I ever get there) and who tell me I should find ever more to spend on my children, my parents and every cause and charity near to my heart. But if I do my best, it's never quite enough. According to them, I should also spend more on insurance and save more - but in the present economic climate insurance companies can go bust. Even banks, which may be bailed out, seem a bit of a gamble. They depend on the markets, which depend on an ever-increasing chain of gambles and exploitation.

So besides bread, I comfort myself with circuses. I may have visited only one actual circus in the past month, but I've been making up for it by enjoying other activities which give me pleasure. They remind me that life is more than a dragged-out existence. Life isn't just about duty - we need pleasure too. For some people that means getting out into a new place, whether it's roaming the countryside or strolling through towns. Others enjoy dancing or sport - and my regular experience of wielding an epée makes me understand that these can be sources of intense pleasure. For other people it's watching sport going to gigs that's important. My circuses involve engagement with the arts.

I headed to London to see my parents, travelling as lightly as I could so that I could sandwich my visit with artistic pleasures. I was a groundling for a matinée of All's Well That Ends Well at the Globe - a difficult play that's rarely performed. It's not just its unfamiliarity that makes it one of my favourites. There's a pair of determined, assertive young women - even though the times mean that the best either can hope is an attractive, wealthy husband to lord it over them.

I've seen All's Well twice before - and in both productions the focus was on the central relationship between Helena and Bertram. The comedy was played either as abstruse courtly wit, at a distance from the audience, or a cue for over-emphasis with lots of "isn't this funny?" expressions in the hope that the audience would laugh. The revelation of this production was that, for the groundlings at least, the comedy worked and was genuinely funny. It comes, I think, from the shape of the theatre which encourages the actors to establish a relationship with the audience. Comic lines were played with the clarity of the successful stand-up - and were irresistible. I engaged with the play as a whole - how could I do otherwise with my forearms leaning on the front of the stage? - and, when the final scene of reconciliation came, my eyes filled with unexpected tears.

I stayed overnight with my parents, still in their own flat so less immediately threatened by the private profits of the market. We had supper and a quiet evening. In the morning I left with them when they headed out to the shops but my aim was a further exploration of London.

I was unsure of my destination but eventually decided on the Guildhall Museum, which I hadn't visited before, followed by the London Museum, which I hadn't seen for many years. Walking between and around the two, I found myself in a many-layered city, where modern structures of glass and metal loomed high above small Wren churches. There are traces of an even older city. I glimpsed the old London Wall through a museum window and saw what's left of the Roman amphitheatre in the Guildhall Museum basement.

That's the kind of structure Juvenal meant when he talked about bread and circuses: a place where shows of all kinds were put on, including gladiatorial combat and public execution. Being in some ways a typical Roman of his class, I don't suppose he minded the gladiators or the executions. But he was concerned that the citizens of Rome, once the source of democratic power, had been diverted from their proper concerns for the state to making demands for bread and circuses.

I agree with Juvenal that people should recognize and exert their democratic power. But I think he's wrong to dismiss bread and circuses. We all need food to live - not just food for the body but something that nourishes the imagination and tells us that life is worthwhile. It's also the circuses, whether we find them in physical activity, travel, music or the arts, that open us to a wider imaginative understanding of the world. They nourish curiosity and sympathy. They offer laughter, tears and reconciliation.

Yes, Juvenal - I want democratic involvement and responsibility. But I'll take the bread and circuses as well.

Hidden stories and imagined worlds

It seems that there are demonstrations and protests in several European countries. Every so often there's a brief mention in the press - but it's usually an aside or footnote to another story. A fellow-blogger, travelling to Madrid on business was startled to find every square in the city under occupation by protesters - and it seems that other Spanish cities have been occupied as well. The Barcelona occupation did get a mention in the British press - in the football reports. Apparently there were fears that Barca would be unable to celebrate in the usual square, as it was occupied. A search on the internet quickly brought up video of the Spanish police trying to disperse the protesters with considerable force.

It seems that Greece has large protests too. Syntagma Square in Athens may still be under occupation and I found mention (in Greek papers in English) of further protests in Thessaloniki and Patra. Then there were references to protests and occupations in France - not just in the Place de la Bastille in Paris but in other cities as well. Struggling through information from a variety of courses and a variety of languages, I discovered that people in each square came from a variety of political and non-political background - but were almost always outside the mainstream - and that they worked co-operatively and consensually to write their own agendas for change.

This may all fade away. People may just accept the poverty and exploitation which comes with finding their country "bailed out" from a crisis caused by their government, bankers, and multi-national countries. But I find it far more interesting than the sex-life of bankers or the dresses worn by the wives of a president, a prime minister and the heir to the heir to the throne. And I wonder why the British press is ignoring it while similar actions in some Middle Eastern countries merit front page coverage. I have, however, noted that protests in some Middle Eastern countries get more publicity than others - the press now has little to say about Syria, Tunisia, Morocco Bahrain - and last Friday's protests in Egypt were barely mentioned.

When so much is happening abroad - and when there are plenty of political struggles at home - it seems slightly bizarre to spend time at a theatre festival. But NEAT11, Nottingham's new international arts and theatre festival is practically on my doorstep. If I wished, I could walk to some of the events. And while some are rather expensive (Opera North still offers too few cheap tickets), others are cheap or even free. I made a few extravagant bookings and promised myself hours of indulgence away from the anxieties of the Age of Austerity.

It didn't quite work out like that. Who would have thought that Henrik Ibsen wasn't always a gloomy Scandinavian but a writer of political comedy? The League of Youth, receiving its professional premiere in Britain nearly 150 years after it was written, was one of Ibsen's most popular plays in his native Norway, at least during his lifetime. And, more surprisingly, it turns out to be a satire on Nick Clegg. I came away from the Playhouse both cheered and musing on the effects empty rhetoric still has on voters who are fed up with the current system and desperate for something better - and a chance to be heard. The League of Youth runs till Wednesday so there's still a chance to get tickets.

I also made it to a free play-reading of Anna Yablonskaya's play The Irons. Yabolnskaya is one of two people associated with NEAT11 to be killed in an act of terrorism this year. (The other is Juliano Mer Khamis.) She was killed in a random and barely-explained bombing at Moscow's Domodedovo airport. I thought the knowledge of her death might affect my response to the reading but it was so complex, even in a semi-staged reading, that I was caught up in the characters and events. But again it led me back to the world of politics. At the centre of the play was a young man collecting irons and ironing the flags of countries that no longer exist - and this wasn't just some intellectual metaphor but part of the characters' experience, reflecting a world that was both known and imaginary.

The reading I attended was a shortened version of the full play (which is being read in full next week) and was followed by a discussion of theatre in Central Europe, with representatives of a Hungarian theatre company, a Kosovan theatre festival and Natalia Koliada of the Free Theatre of Belarus. While theatre in Hungary has experienced cuts and press attacks - and may suffer in the future under a recent Media Law - it is in a far stronger position than Kosovan theatre, which is desperately under-funded and suffering the effects of war, poverty and unemployment. But the problems in Belarus made others seem insignificant.

Natalia Koliada is living in exile; she has been warned not to return since her arrest and imprisonment last year. Her country is a dictatorship, torture is routine and her theatre company is prevented from giving public performances. Requests to perform plays by British playwrights including Sarah Kane, Mark Ravenhill and Edward Bond were turned down. One of the reasons given was that the plays show homosexuality, suicide and mental illness, which "don't exist in Belarus". So I was back to politics again, marvelling at the power of the arts and fictional worlds to upset those who rule and administer totalitarian regimes. I marvelled too at the courage of those who continue to make art in difficult circumstances, finding something within them that will not bow to the demands of authority.

These theatrical experiences were shared with other members of the audience and quite easy to discuss. I also chose two solitary theatre experiences. For one I had to download tracks to my MP3 player; for the other I was provided with a mobile phone.

Threads by Andy Barrett is the more conventional drama. It's also free for anyone with access to a computer and MP3 player. In a way, following Threads round Nottingham's Lacemarket is like listening to a radio play. But there's something different about following a play which asks you to look intently at your surroundings while listening - it requires an acuteness of visual observation and risks being interrupted by external factors such as a crowd of clubbers or loud conversation in a bar. While the events of the play are fairly slight, it's the accompanying visual intensity that stays with me - and the play itself demands that the listener look at people and places anew.

More disturbing is Ulrike and Eamon Compliant which was devised for Venice but has been rethought for Nottingham. As the solitary audience member, I picked up a mobile phone, turned it on and listened attentively. I was asked to choose one of two identities from the real (historical) terrorists Ulrike Meinhof and Eamon Collins. Clutching the phone to my ear I walked through streets that were suddenly unfamiliar, made choices, followed orders and heard snatches of Ulrike Meinhof's experience until my identity began to blur into hers. I did not entirely stop being myself and a pacifist but for half an hour or so I saw Nottingham - and the wider world - as a terrorist might see it: angry at the injustice and cruelty of the world, prepared to sacrifice myself and others for the dream of a better world.

Sometimes - often at its best - theatre challenges its audiences to imagine things they do not want to understand. I felt at times that being Ulrike, even for half an hour, had messed up my brain and my identity. But I also knew that I undertook the experience voluntarily - and paid for it too. In a world as complex as ours it may help to understand. Just at the moment, theatre seems closer to world events and dilemmas than anything I find in the British press.

As I made my way to the bus-stop after a day of theatre, I passed the Old Market Square. No-one was demonstrating. If anything it seemed slightly emptier than usual at that time of night. But suppose it had been occupied by a peaceful protest camp of people wanting to change the world, I wondered if I'd have been able to read about it in the next day's papers. I'm glad I don't live under the kind of totalitarian regime that people experience in Belarus. But perhaps in Britain too there are some things that aren't mentioned in the press because they don't happen here. And who knows what anger that press silence would evoke?