Last night in my creative writing class we were talking about the importance of image in creative writing. They’re crucial. A potent image, concisely expressed can say so much about place and time and character. It can point the reader to emotions and to themes. It can tantalise and it can satisfy. We discussed the images of Rebecca Brookes we’ve seen in the last ten days - from the pale dappled beauty in a sunhat, to the harassed middled aged woman in a badly fitting shirt.
It would be easy to believe the image was everything. But it isn’t. No matter how dazzling the imagery, if the emotional or conceptual heart of a poem is flawed it won’t work. If the characters and plot aren’t convincing a novel won’t work despite the most brilliant of imagery.
Rupert Murdoch has made News Corp in his image. And if he had any affection for Rebecca Brookes, beyond dangling the effigy of a witch out of his bunker to draw the fire away from his own family, it is perhaps that she was one of the people most likely to keep News Corp going in his image, thus guaranteeing him a kind of immortality.
Murdoch is easy to hate. But he has acted to type. He has no duty to the public, unlike the other characters in this morality play. It’s no use blaming the fox for eating chickens. He’s doing what foxes do. The farmer needs to take responsibility for putting lots of chickens in the way of the fox.
If Murdoch has had unparalleled power it is because others have given it to him – all those who loved a bit of sleaze with their tittle-tattle to be sure, but more directly and more potently those who do have public duty – the police and politicians.
In short, they're institutionally narcissistic.