Masters justifies his exploration of Jones's sexuality on the basis that he couldn't ignore the elephant in the room, that "the masking" of Jones's "apparent homosexuality is a defining feature of the Jones persona" and that Jones's "concealment of his sexuality" preserves "a dishonest power base".
I suppose any proponent of this apparently Freudian approach to journalism could argue that a person's sexuality is a defining feature of persona. Perhaps Masters's own sexuality or sex life, whatever that may be, along with his relationship with his mother and his feelings towards his father, are relevant to his persona, including his public role as a journalist.
But even if drawing such a long bow made sense, does that legitimise the dumping of conventions of privacy and fairness? I don't think so. On Masters's analysis, any person with a power base who chooses not to talk about their sex life is somehow dishonest and therefore fair game. Forget that no wrongdoing is involved and forget that the allegations are speculative.
What's also amusing is how Masters snidely draws Tim Barton into the picture he wants to paint of Jones.Even I am caught in the crossfire of Masters's calculated and facile innuendo. Jonestown's first reference to me describes a "slim, artistic youth". Good gracious, I wondered, was my persona about to be deconstructed or did Masters simply think the shirt I wore on the only occasion we have met was particularly snazzy? Who knows what constitutes his definition of artistic? But, arguably, Masters's curious adjectives are sufficiently charged to send certain readers' minds in particular directions.
Thanks, Chris. Not.
More seriously, Barton then cites a clear factual matter where Masters is wrong in the book, and despite Barton having clearly told him the correct version.I wonder if Masters if feeling the pressure about all this, or is he just laughing all the way to the bank? His credibility is suffering.