“Such extreme want as threatens life”

Sharing Phil Davis’s latest blog: he’s as passionate and clear as always about the treatment of refugees and asylum seekers. And, as he says, it’s a good time to be asking questions of our political parties.

A darkened room

An upcoming election is a good time for a clear summary of what asylum destitution means, how it happens and why it is such a bad thing.

Destitution is sometimes used loosely to mean ‘very poor’. Joseph Rowntree Foundation, for example, say

Destitution means going without the bare essentials we all need. That’s a home, food, heating, lighting, clothing, shoes and basic toiletries. We define destitution as when people have lacked two or more of these essentials over the past month because they couldn’t afford them; or if their income is extremely low – less than £70 a week for a single adult.

That’s bad. It shouldn’t happen to anyone. It’s is shockingly not uncommon in Britain. It’s also not what I mean. When I’m using the word, I’m following Websters dictionary.

Such extreme want as threatens life unless relieved

I’m talking about a state thats about…

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Best Books of the 21st Century?

OK, I take anyone else doing this kind of list (looking at you, Guardian) as a personal challenge. So I have felt compelled to put together my own selection. Now, seriously, I’m not claiming these are ‘the best books of the century’, that would be silly.

Rather, these are the books from the last almost 20 years that have had a real impact on me, that have stayed with me after I’ve read them, that have offered the most enjoyment, enlightenment, hope – whatever their genre.

When we get to the end of this century (if we do…) the list will look very different. And of course you will disagree with me, and be horrified by both omissions and inclusions, and that’s fine!

I went through the Guardian list and added some of their titles to my long list, but then deleted them again (I’ve annotated the titles below which do still overlap), because I realised that whilst they were good, I’d not given them a thought since reading them, I’d not gone out and bought all of the author’s other books, or prioritised a re-read. All of the titles below have led me somewhere, if you like.

I’ve only allowed myself one per author otherwise certain favourite authors would have squeezed lots of other excellent books out. I’ve listed them in alphabetical order of author’s surname, rather than ranking them because I can’t be doing with that, but I’ve picked out my top three, books I’ve already read several times and will undoubtedly read again, and that I’ve insisted everyone I know reads.

Here we go…

Cath’s top books of the 21st century so far (with all the above caveats and disclaimers):

Ben Aaronovitch’s Moon Over Soho is my favourite so far of the brilliant and bonkers Rivers of London series. They’re a mad mash-up of fantasy and crime and are a delight. This one has a jazz theme which is probably why it has a particular place in my heart.

Viv Albertine – Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys. This memoir from a key member of The Slits is just so fascinating, so funny, and at times so desperately sad, that even if I hadn’t been a fan of the band I’d have loved every minute of it.

Naomi Alderman’s The Power is brilliant sci-fi, powerful and chilling. Its ‘book within a book’ structure adds a whole other level, and the writing is superb. The Guardian called it ‘an instant classic of speculative fiction’ and noted how devastatingly it inverts the status quo. Put very simply, what if men were afraid of us?  

Cosmopolitanism: Ethics in a World of Strangers. Kwame Anthony Appiah is a Ghanaian-British philosopher, based at New York University, himself the epitome of cosmopolitanism. (His father was a leading dissident under the Nkrumah regime in Ghana, and his mother the daughter of Sir Stafford Cripps.) Appiah has written elsewhere about political and moral theory, and the philosophy of language and mind. This is a timely, accessible, and vitally important work.

Levels of Life. I haven’t loved the other things I’ve read by Julian Barnes, I’ve felt kind of detached from them. This one did get to me. The book’s three sections seem entirely separate but somehow they’re not, they’re connected in a marvellously subtle and moving way. And the third part will break the heart of anyone who has one to break. (Guardian top 100 title)

Robicheaux: You Know my Name is the 21st in James Lee Burke‘s series of novels featuring Cajun detective Dave Robicheaux. It’s so dark, haunted and haunting. The Louisiana landscape and culture is a vital part of the narrative, and the eponymous hero is flawed and fascinating, a good man wrestling with inner demons as well as the bad guys.  

Carmen Callil’s Bad Faith: A Forgotten History of Family and Fatherland is a gripping bit of WWII French history, with a very personal source. Callil (one of the founders of Virago Books) uncovered the story of Louis Darquier de Pellepoix after the death (possibly by suicide) of her therapist, his daughter. Darquier was one of the most repellent figures in Vichy France, a vicious and entirely unrepentant anti-Semite, a fraud and a crook. It’s not just his story, it’s the story of how the Nazi occupation enabled and legitimised the vilest views and the vilest people and its importance goes way beyond the family history it describes.  

Cruel Acts is the latest in Jane Casey‘s splendid series featuring detective Maeve Kerrigan. Maeve is an engaging protagonist, whose internal battles (about status and authority, complex personal and professional relationships), both enrich and complicate the police procedural plotting. These books get stronger and twistier and more compelling as the series continues.

Ted Chiang’s collection Stories of Your Life and Others includes the story that inspired the film Arrival, one of my top films of all time, an extraordinarily beautiful bit of sci-fi. These stories are marvellous in their own right – proper philosophical, speculative fiction, with a particular interest (as in Arrival) in language. They’re diverse in style and approach, and whilst ‘Story of Your Life’ stands out, several others challenge it, for the strength of the concept, the beauty of the writing, and the emotional impact. (Guardian top 100 title)

Jonathan Coe’s The Rotters Club appealed to me straight away. A ’70s adolescence, and the musical references (Hatfield & the North’s album, which gave the novel its title, plus the protagonists’ prog rock aspirations) gave it immense charm for anyone who shared those reference points. Apparently, it contains a sentence of 13,955 words, which I don’t remember even noticing when I read it, though thinking back I can guess when it occurs. It’s not just funny and charming, it skewers the politics of the time, and confronts real, brutal tragedy.

I’ve been reading Stevie Davies since the ’80s, and Awakening is one of my favourites. It’s set in Wiltshire in 1860, just after the publication of The Origin of Species, and it’s about science, radicalism and the stirrings of feminist rebellion. It’s very moving, but also acerbically funny in its portrayal of the excesses of evangelical zeal – but the focus of the novel is on ‘sisterly love, jealousy and betrayal’.

Edmund de Waal’s The Hare with Amber Eyes is family memoir and art history intertwined. I was lucky enough to hear de Waal talking about this story when he came to Sheffield University to present a gift of a piece of art called ‘fetched home’, the title taken from a poem by Romanian Jewish poet Paul Celan on the subject of homelessness and displacement. (Guardian top 100 title)

When I read Emma Donoghue’s Room I could not have imagined it as a film. Of course, it was filmed, and brilliantly, with Brie Larson and Jacob Tremblay, and it’s hard now to disentangle the book from that film. But I do remember the experience of reading it, of how it did my head in, gradually understanding the world that’s being described, and its terrifying implications.

Fires in the Dark is not what one might expect from Louise Doughty, if one came to it from Apple Tree Yard. This one takes us into the dark heart of the Romani genocide, also known as the Porajmos (the Devouring). Doughty draws the reader into the rich and complex culture of the Coppersmith Roma in 1920s Bohemia, into the lives of one family and the kumpania to which they belong, and then shows how this world was targeted for destruction.

Helen Dunmore’s The Siege. I could have picked several other Dunmores. I nearly picked her last published novel, Birdcage Walk, but I honestly can’t untangle my response to that from my sense of loss at her death. The Siege stands outside of that, on its own. Its setting is the siege of Leningrad, and it makes that experience viscerally real and moving. (Guardian top 100 title)

Interpreters was Sue Eckstein‘s second novel, and sadly her last – she died of cancer in 2013. It takes us across several generations of a family divided by the past, by what’s hidden and what’s remembered. It’s about memory and loss, and the continued resonance of the last world war. This is subtly done, and has all the more impact for that.

Reni Eddo Lodge’s Why I’m no longer Talking to White People about Race is not a comfortable read for one of the aforesaid white people. Fair enough, I don’t expect to be comforted. What I want, and what Eddo-Lodge offers, is insight that I can translate into awareness that can inform what I say and do. Essential reading.  

Half Blood Blues, Esi Edugyan’s debut novel, could have been designed to interest me. Jazz, and Nazi occupied France… It’s an extraordinary story, and problematic in some ways, as the Guardian review points out (it’s a very spoilery review, so avoid if you haven’t read the book and want to encounter it unspoiled!). But superbly written, and fascinating.

In The Bitter Taste of Victory Lara Feigel takes us into the ruined cities of Germany after the end of WW2, seen through the eyes of the journalists and writers (Hemingway, Gellhorn, Orwell, West and others) who went out there to try to figure out how to address the challenges of peace, and the complexities of guilt and culpability at all levels. A lot of the accounts Feigel presents were new to me, and truly compelling (and relevant to my research).  

Will Ferguson’s 419 is a thriller, about the kind of scam where a Nigerian prince or such like emails you to say you can have millions if you just let them have your bank details, or send them a bit of cash up front to arrange the deal. It starts with a suicide, an elderly man in Canada. Then the action moves to Lagos and to the Nigerian Delta, and it’s all so much more complex than we might have imagined, as the scam finds its context in the messy politics of Nigeria. Riveting.  

I imagine everyone by now has read Gillian Flynn’s Gone Girl, and/or seen the film. Quite right too. When you first read it, that twist takes you by surprise, but when you re-read you’re looking to see just how the writer sets that up so cleverly (rather like when you re-watch The Sixth Sense). It’s an excellent thriller, and it’s not Flynn’s fault if every publisher has jumped on the bandwagon and published endless sub-Gone Girls! (Guardian top 100 title)  

In The Devil that Danced on the Water: A Daughter’s Quest, Aminatta Forna takes us to Sierra Leone, where she spent part of her childhood, and where her father was imprisoned and executed for treason. It’s both memoir and investigation, a search for truth, and it was a quest that changed her irrevocably.

Broken Harbour is the fourth in Tana French’s Dublin Murder Squad series, and is really remarkable. It’s an unusual series, in that the main protagonist shifts with each book, so that a secondary character in book 1 becomes central in book 2, and so on. This one is extraordinarily unsettling and quite impossible to put down.

The Cuckoo’s Calling by Robert Galbraith. OK, we all now know that this is J K Rowling. Reading the Harry Potters, one sees her growing as a writer, in confidence and skill, as the series progresses, and her post-Potter work has been excellent. The Casual Vacancy was terrific social satire (or if you’re the Daily Mail, ‘more than 500 pages of relentless socialist manifesto masquerading as literature’…), and the Cormoran Strike series (this was the first) is complex, often dark, often funny, detective fiction, with the thoroughly engaging duo of Strike and Robin. (The Guardian picked Rowling’s Harry Potter and the Goblet of Fire)

Notes from an Exhibition was the first of Patrick Gale’s that I read, and still a favourite. It uses the device of, literally, notes from an exhibition, a posthumous exhibition of work from throughout an artist’s life, which allows Gale to tell her story in a non-linear fashion through different voices from different parts of that life. What marks Gale’s work out, apart from the beauty and the skill of the writing, is his warmth and compassion for all of his characters, however flawed.

Boneland is Alan Garner’s very belated return to the world of The Weirdstone of Brisingamen and The Moon of Gomrath, published in the ‘60s, which I read as a child and which have stayed with me ever since. Stylistically, Boneland is closer to Garner’s later work, particularly to Red Shift. It’s dreamlike, fragmented, pared back, haunted and haunting.

Nicci Gerrard’s What Dementia Teaches us about Love is a memoir, a personal account of supporting a parent with dementia. But it’s more than that – it’s a manifesto for the campaign that Gerrard launched, together with Julia Jones, to improve support in hospitals for dementia sufferers and, crucially, to allow their carers to be part of that support, not just ‘visitors’ who can be shooed out as if they’re in the way. This is a tremendously moving book – so close to home that it was almost unbearable at times. But it’s inspiring too, and hugely important.

Sweet After Death is the latest in Valentina Giambanco’s series featuring Seattle Detective Alice Madison. She’s an excellent protagonist, steely and complicated. And there are passages of vivid and economical writing that made me think of Chandler (without being pastichy). It is one hell of a read, and the series gets stronger with each book.

Andrea Gillies’ Keeper is another dementia memoir, and an exploration of the nature of the disease. It’s often grimly funny as well as sad, but ultimately the latter predominates. Gillies scrupulously records her own naivety, in thinking that they could cope, that love would be enough. And – horrifyingly, given what she does record of her mother in law’s behaviour in the grip of the disease, she says that she held a lot back… There’s no comfort here, if one is caring for someone with dementia, although our experience was much milder, if equally sad, but there’s insight and understanding.

Lesley Glaister has never been afraid of going to dark places – often there is a strong element of the gothic, often there is murder and always there are terrible secrets. The Squeeze is no exception.  It begins with two lives which would seem to have no possible connection – a teenager in Romania, dreams of University abandoned, struggling to provide for her family, and a married, Norwegian businessman.  But connect they do.

Killers of the Flower Moon, by David Grann, is the history of a crime. What happens when some in the Osage Native American community in Oklahoma in the 1920s turn out to have lucrative oil on their land? Do they get to enjoy financial security? Are you kidding? This is a horrifying coda to the history of genocide against the Native American nations during the previous century, compellingly written and richly fascinating.

The Stone Circle is the latest in Elly Griffiths’ Ruth Galloway series, featuring not a detective but an archaeologist, who’s drawn into criminal investigations whenever old bones are unearthed. Ruth is a brilliant character; she’s clever and funny, she’s not young or gorgeous or slim, but isn’t tortured about any of those things. The other characters are equally well drawn. There’s more than a touch of the Gothic, and the Norfolk landscape is much more than a setting, it’s a pervasive atmosphere. This series is a delight.

Thomas Harding’s The House by the Lake tells one hundred years of German history through one house, through its history during decades of staggering and traumatic change, different regimes and bureaucracies, and through the stories of the families who lived there. Harding’s family owned it once, but lost it when the Nazis took power. The Guardian reviewer said that ‘It is Harding’s great achievement that he has painted a large canvas of history, but done so with glinting individual stories. He has persevered in listening to those “quiet voices”.’

Jane Harper’s The Lost Man is another crime novel where the landscape – in this case, the Australian outback, where the scorching heat itself is a ruthless killer – is a powerful part of the narrative, almost a protagonist. Harper’s debut, The Dry, won all sorts of awards, and this is actually even better.

In An Officer and a Spy Robert Harris takes us back to the Dreyfus affair, the ripples from which spread out over many decades of French and European history – and still do. The focus is less on Dreyfus himself than on the young officer, Picquart, who despite being as anti-semitic as the next chap, had a sense of fairness and justice that was outraged by the framing of Dreyfus and by the refusal to right the wrong, even after the forger had confessed. Harris is always a great read, and this is a period of history and a subject that fascinate me (reading Proust made me realise how ‘The Affair’ was the Brexit of its day – dividing friends and families, into Dreyfusard and anti-Dreyfusard, no middle ground).

Cold in Hand is the penultimate novel in John Harvey‘s wonderful series about Charlie Resnick, who fights crime on the mean streets of Nottingham. We had to wait a further five years for the coda to the series (Darkness, Darkness), but it was worth it. These aren’t stories of baroque serial murders, but of chaotic crimes committed by people with chaotic lives, and Charlie himself is a tremendous creation.

Emma Healey’s Elizabeth is Missing is a rarity – a novel whose protagonist has dementia. Maud is coping with her dementia in ways that were very familiar to me – writing herself notes that she then loses, rediscovers later and can’t remember writing, going to the shops and buying tinned peaches because she’s forgotten what she actually went in for. But mainly she’s preoccupied with the disappearance of her friend, Elizabeth. Through the course of the novel we uncover another disappearance, much longer ago and we also see Maud’s grip on memory and reality slipping more and more. This is reflected in her narrative voice – it’s quite a tour de force, touching and often very funny.

If this is a Woman is a tough read, as it should be. It’s historian Sarah Helm’s account of Ravensbrück concentration camp, all of whose inmates were women. Its history is less well known than that of many other camps, and Helm spares us none of the horrors inflicted upon the women, drawing upon the accounts of survivors, several of whom went on to testify at the Nuremberg trials. It’s vitally important, particularly as those survivor voices fall silent, to know what happened there. As the Guardian‘s reviewer said, ‘As you read this 768-page book, it never feels too long. You will the women of Ravensbrück to live’.

Never be Broken is the latest in Sarah Hilary’s Marnie Rome detective series. It’s probably the best, but I tend to think that of each new addition to the series. As Val McDermid says, ‘it isn’t all about the murders’ – it’s about social divisions, about mental health, about guilt and grief. And murder.

The Various Haunts of Men is the first in Susan Hill’s series featuring detective Simon Serailler. I read Hill’s earlier novels many years ago – Strange Meeting, In the Springtime of the Year and others – and having loved those, and loving crime fiction (that may have become evident already), I seized on these with enthusiasm and was not disappointed. Serailler is an interesting protagonist, and the supporting cast is well drawn. Hill explores issues of faith and morality, and her writing is always subtle and clever.

Mortality was published posthumously, after what Christopher Hitchens himself might have called ‘a long and brave struggle with mortality’ (he hated the rhetoric of ‘fighting cancer’). Mortality is a brief book – too brief, which has all sorts of layers of meaning in this context. It starts with a diagnosis of terminal cancer, and explores what follows from that in a clear-sighted, unsentimental and unsparing manner. The thread running through it is what he calls ‘an arduous awareness’ and it’s ultimately uplifting.

Andrew Michael Hurley’s The Loney is undefinably creepy from the start.  We know things are off, but not quite how, let alone why. We’re not yet scared but definitely uneasy… It comes with a ringing endorsement from the master of unease, Stephen King. The word that comes to mind is bleak – the bleakness of the landscape, the bleakness of a faith that focuses inexorably on sin, punishment and damnation, and the bleakness of the loss of faith. There is evil, and its pull is as relentless as that of the deadly tides. Is it a horror novel? It shares some tropes with that genre but there is an entirely deliberate ambiguity in the narrative.

Kazuo Ishiguro’s Never Let me Go is about mortality and humanity. It’s dystopian sci-fi, thoughtful and horrifying. We take a while to realise what’s happening here, because the protagonists can’t tell us – they’ve been fed lies throughout their lives, and continue to be fed rumours and to clutch at seemingly hopeful straws. (Guardian top 100 title)

Cultural Amnesia, Clive James’ collection of brief pieces about various cultural figures (musicians, philosophers, novelists, politicians), made me feel incredibly un-well-read, but without making me feel stupid. Rather, I felt inspired to go away and read the stuff he’s talking about. It’s truly wide-ranging – people he loathes as well as people he admires, acerbically funny, which is not always easy to pull off whilst being erudite, and it’s a book that I will go back to again and again for enlightenment, for brilliantly pithy comments, and for the impetus to read stuff that I haven’t yet braved.

In Postwar, the late Tony Judt examined the history of Europe from the end of WW2 to 2005. Acclaimed as one of the best works on modern European history, its breadth is hugely impressive, and as reviewers at the time acknowledged, it’s an achievement that’s unlikely to be surpassed. (Guardian top 100 title)

11/22/63 is one of my favourite 21st century Stephen Kings. I started reading him back in the ‘80s, having been put off for a while by the schlocky covers his books had back then, and by a degree of snobbery on my part. I’ve read them all, I think, and despite having announced his retirement from writing years ago after a serious accident, he’s still producing the goods. (His latest, The Institute, is a cracker.) 11/22/63 explores the idea of going back in time to change a past event. Now what could possibly go wrong with that? (The Guardian picked his brilliant On Writing, which is also well worth reading.)

Landscapes of the Metropolis of Death is, on one level, a Holocaust memoir.  Otto Dov Kulka was deported as a child to Terezin, and from there to Auschwitz. It is also, ‘Reflections on Memory and Imagination’. It challenges Kulka’s own choice, ‘to sever the biographical from the historical past’, in his previous work as a historian. The book is ‘neither historical testimony nor autobiographical memoir, but the reflections […] of memory and imagination that have remained from the world of the wondering child of ten to eleven that I had once been’.

Stieg Larsson’s Girl with the Dragon Tattoo and its two sequels were all published posthumously, as the Millennium Trilogy. Other authors have since expanded the series. Aside from being gripping and complex thrillers, they’re notable for two intriguing protagonists – journalist Mikael Blomkvist, and hacker Lisbeth Salander. Larsson can’t be blamed for the proliferation of pale imitations since these were published (and filmed), and he could be said to have launched Scandi Noir, which on the whole is A Good Thing. (Guardian top 100 title)

John le Carré has been publishing beautifully written, complex thrillers for decades now. Though he might be thought to be an establishment figure, given his Security Service background, he’s still fuelled by a righteous anger, and nowhere more so than in The Constant Gardener. This deals with the murder of an activist in Kenya, and the uncovering of corruption on a huge scale by pharmaceutical companies and governments. Based on a real case, le Carré says that his plot is pretty tame compared to what actually happened. (Guardian top 100 title)

Harper Lee’s Go Set a Watchman is an interesting one to place, timewise. Published in 2015, it seems clear now that it was in fact a first draft of, rather than a sequel to, To Kill a Mockingbird. There were controversies about its publication, about whether Lee fully had capacity to approve its appearance. And the narrative itself was troubling, for those of us who’d grown up seeing Atticus Finch as a hero (whether in the pages of the book, or on screen as portrayed by Gregory Peck). In Go Set a Watchman, the reader who loved To Kill a Mockingbird shares the disillusionment and shock of Scout as her idealised version of her father is shaken and fractured. Like her, we move gradually to a deeper, more nuanced understanding. It’s about growing up, really.

Andrea Levy’s Small Island tells interweaving stories of Jamaican immigration to Britain, centred on 1948 but going back to the lives of the central characters (two Jamaican, two British) during the war years. ‘A thoughtful mosaic depicting the complex beginnings of Britain’s multicultural society’, according to the Guardian reviewer. (Guardian top 100 title)

I’ve read loads of Laura Lippman‘s books, all of her Tess Monaghan series (a young, female PI based in Baltimore) and most if not all of her standalone thrillers, most recently Sunburn. Lippman described this one as her first venture into ‘noir’ and ‘noir’ it certainly is. Her work typically features dark secrets but this one is steeped in them, and in obsession, desire, and violence. But she never forgets the humanity of her characters, as messed up as they may be, and the gradual revelation of who they are and how they got here keeps us gripped to the final page.

Black Water Rising is set in the 1980s, in Texas, and its protagonist is a struggling black lawyer who gets caught up in a conspiracy when he witnesses a crime. Attica Locke is a powerful writer, and the racial politics give it a fascinating context and added tension. There’s a sequel, Pleasantville, set 15 years later. 

I didn’t expect Kenan Malik’s The Quest for a Moral Compass to be such a page-turner. I expected it to be enlightening and stimulating, sure, but it’s a huge achievement that it was genuinely difficult to put the book down. I wanted to find out ‘what happened next’, how through the centuries and the continents the human race grappled with the big questions of what it is to be good.

Wolf Hall was the Guardian’s top 21st century book. It doesn’t actually make my top three, but it’s a deserving choice nonetheless. Hilary Mantel is one of the most versatile writers around, and one never knows quite what to expect from her – at least until she began her Thomas Cromwell trilogy, since when all of her readers have been focused on the wait for the final volume. To read Wolf Hall is ‘to step into the stream of her irresistibly authoritative present tense and find oneself looking out from behind her hero’s eyes’ – a powerful and immersive experience. (Guardian top 100 title)

The Road is relentlessly grim but extraordinary. Cormac McCarthy forces the reader to inhabit this bleak world, and to accept how it works – ultimately to choose whether and when to trust. Whilst the notion of surviving in a post-apocalypse world is familiar in fiction and film, it’s unusual for the survivor group to have shrunk down to two, parent and child, which ramps up the tension and the terror. (Guardian top 100 title)

Ian McEwan’s Atonement is several novels in one. It’s a pre-war country house story about class and desire and adolescence. It’s a story of war and loss. And it’s the story of a story, about memory and guilt. There’s a revelation at the end which floored and shocked me but which on re-reading made perfect, desolate sense. (Guardian top 100 title)

Dervla McTiernan’s The Ruin opens with a scene that neither the reader, nor the young policeman who witnesses it, will forget in a hurry. And when we move forward in time the mystery of that scene, and its emotional fall-out, are still potent and compelling. The follow-up, The Scholar, features the same detective and I will be sure to read that as soon as I can.

Succession is the first in Livi Michael’s trilogy about the Wars of the Roses. Michael tells her story through a number of different voices, of major players and very minor players, mentioned but unnamed in the chronicles. And she threads the accounts in the actual chronicles through her fictional narrative, so we read of the events in the words of writers who lived at that time, and then she takes us into the thoughts and feelings of her protagonists so that they live and breathe for us. I would also highly recommend her earlier adult novels, and her children’s series about Frank the intrepid hamster…

China Mieville’s The City and the City combines the police procedural with ‘weird fiction’, with a murder investigation across two separate cities that happen to occupy the same space. It’s a brilliant and unsettling concept, and requires concentration from the reader to hold on to it as the plot develops. It’s worth the effort, the narrative works on both levels (which demonstrates Mieville’s focus and discipline). Is this an allegory, or as the Guardian‘s reviewer puts it, a ‘police mystery dealing with extraordinary circumstances’? Or both?

Scottish crime novelist Denise Mina’s The Long Drop is a venture into true crime, the story of notorious serial killer Peter Manuel. She meets the challenge of how to create tension when the outcome of the story is already known, focusing on bit part players, whose perspective is fresh and unfamiliar. The Scotsman’s review said that ‘Above all, it is a story about telling stories. Everyone is a narrator, everyone is literary critic, assessing and judging the veracity and the honesty of the stories that eddy through the book.’ 

Caitlin Moran’s How to be a Woman is, as anyone familiar with Moran’s writing will expect, proper funny, and proper rude (NSFW, seriously, and NSF public transport too). It’s proper inspirational too, made me want to stand on a chair and cheer, punch the air, as well as laugh (and, at times, made me cry because it’s not all jokey, there’s stuff that hits you where it hurts). The Independent said that How to be a Woman ‘is engaging, brave and consistently, cleverly, naughtily funny’. And Moran also makes the very important point that one can’t change the world whilst wearing uncomfortable undergarments.

I read one of Sarah Moss‘s novels (Cold Earth) a couple of years back and made a note to self to read more by her. Bodies of Light is a brilliant and compelling narrative, set in Victorian Manchester. It went to some dark places; at times I almost didn’t want to go on, I was afraid for the protagonists. There’s a sequel, Signs for Lost Children, and a related title, Nightwaking, which was published before Bodies of Light but can be read at any point in the ‘trilogy’. (BTW, Josephine Butler features in the narrative – if you want to know more about her, read Helen Mathers’ excellent biography.)

Thomas Mullen sets Darktown in 1948 Atlanta, and gives us a pair of fictional black cops – amongst the first of the city’s African-American police officers. These officers had many constraints to work within: they only patrolled African-American neighborhoods, could not arrest white people, and while they were given guns, it was understood that they could not fire them. This is a brilliant crime thriller with a context that makes every detail hum with tension. There’s a sequel, Lightning Men.

As one blurb for Audrey Nifenegger’s The Time Traveller’s Wife puts it, this is the story of Clare and Henry, who have known each other since Clare was six and Henry was thirty-six, and were married when Clare was twenty-three and Henry thirty-one. It’s a fresh take on the kind of time travel paradoxes that make one’s head hurt – this makes one’s heart hurt as well. A sequel is in the offing, and Nifenegger’s second book, Her Fearful Symmetry, is excellent too.

2006, when The Audacity of Hope was published, seems so very long ago. Barack Obama was still a Senator, and hadn’t yet announced his campaign to be the Democratic presidential candidate. It is in many ways his manifesto and thus, as the Guardian reviewer at the time said, cautious in a way that his personal memoir, Dreams from my Father, didn’t have to be. It would be impossible to re-read it now, without hindsight and without the constant horror of the inevitable comparison between this eloquent, thoughtful writer and his successor in the White House. I don’t think I can quite bear to do so. But at the time, apart from setting out Obama’s political priorities and convictions it represented hope – the mad hope that there might be a black PoTUS, someone with integrity and empathy, and what that could mean for the US and the world.

I wasn’t sure which of Maggie O’Farrell’s novels to pick. And I could easily be talked into Instructions for a Heatwave, or her debut, After You’d Gone. But I settled on The Hand that first Held Mine. Her writing is always perceptive and subtle and in this novel she skilfully weaves together two different timelines – the 1950s and the present day – in a haunting study of memory and motherhood.

In Black and British, David Olusoga tells us of a ‘forgotten history’. To some extent this is not so much forgotten as ignored. No one is suggesting that in previous centuries our society was quite as diverse as it is today, but so much more so than it is usually represented – and every time a writer tries to represent the reality, which as Bill Potts says in Doctor Who is ‘a bit more black than they show in the movies’, there are howls of protest and shouts of ‘PC gone mad’. The history is there, and clear, and it’s absolutely fascinating. Olusoga presents so much that is new to me, even though I thought I knew a bit about this stuff, and some of it runs counter to assumptions that I might have previously made. It also brought back some very early childhood memories, of visits to the forts on the Ghanaian coast, places where slaves were held before they were loaded into the ships to cross the Atlantic.

Nii Ayikwei Parkes’ Tail of the Blue Bird is a whodunnit, set in ‘the Ghanaian hinterland’, where old and new worlds clash. And it’s a delight.  The storytelling is shared between Kayo, the young forensic pathologist armed with all of the science stuff, and Opanyin Poku, the old hunter who is armed with proverbs and stories. Parkes trusts his story and its tellers to communicate with readers even though they may know nothing of Ghana, its languages and its legends. He’s a poet and that shines through on every page. He makes you see the colours, taste the food and the palm wine.

Per Petterson’s Out Stealing Horses is set in eastern Norway,and focuses on the events of the summer of 1948. Beautifully constructed, beautifully written.  As the Independent‘s review said, ‘unawareness and awareness, ignorance and knowledge, innocence and experience chase each other’, both for the protagonist, and for the reader.

The first two volumes in Philip Pullman‘s His Dark Materials trilogy fall outside the remit of this list, but the third just makes it. The Amber Spyglass (Guardian top 100 title). I re-read the original trilogy some weeks ago, in preparation for the new trilogy (the first volume of which, La Belle Sauvage, is wonderful and the second is due any day now), and they blew me away all over again. This is boldly imaginative fantasy, philosophical and literary, without the narrative ever losing impetus. As Pullman says, ‘the only thing that is interesting about fantasy is if you can use it to say something truthful and realistic about human nature’.

The Naming of the Dead is the 16th in Ian Rankin‘s Inspector Rebus series. Rebus is as stroppy and infuriating as ever (but we wouldn’t want him any other way). The setting is the 2005 G8 summit, and Rankin weaves the events surrounding the summit (protests, the award of the 2012 Olympics to London, and the 7 July London bombings) into this story of murder and corruption.

I never expected to fall for Keith Richards. I read his autobiography, Life, because it had had such positive reviews, and obviously because of my interest in the music. But what surprised me is what an engaging writer he is. A lot of it is very funny indeed, and he writes beautifully, perceptively and passionately about music. About the people, particularly Brian Jones and Jagger, he can be harsh (as he often is about himself), but he’s often also generous and gracious. His attitudes to women may be relatively unreconstructed but he clearly likes them, rather than just wanting to have them. Reading about his wilder years, it’s pretty amazing that he’s still here, but I’m glad he hung around at least long enough to write this vivid account of an era and a career that one really couldn’t make up.

Sally Rooney is just getting started as a novelist, but her first two books have both generated an enormous amount of attention and praise. Normal People is her second – I’ve only read this once though I will undoubtedly go back to it (and will read Conversations with Friends, her debut). The ‘normal people’ of the title are, of course, not quite normal. Connell can pass for normal in his home and school environment, but only by hiding a lot of what he feels and thinks, and away from home he struggles to work out who he is and how he fits in. Marianne is regarded by her peers at school as weird, but comes into her own away from a damaging home environment. Their relationship is compelling and troubling – certainly not a conventional love affair – and Rooney doesn’t let us have a tidy or comfortable resolution.

I came across Liz Rosenberg’s Indigo Hill by chance as a Kindle offer, and loved it. It doesn’t seem to have been widely reviewed, although she’s a fairly prolific writer, with children’s books and poetry as well as novels on her CV. Indigo Hill is about families, secrets and memories – and it’s beautifully written (one might have guessed that she was a poet).

In The Rest is Noise: Listening to the Twentieth Century, Alex Ross writes brilliantly and beautifully about the century when ‘classical’ music got difficult. He demythologises without ever dumbing down, and has a gift for the description or metaphor that makes something difficult suddenly clear, and for illuminating the context in which this music was composed. It isn’t, despite the title, about all twentieth-century music – jazz and rock and pop don’t get much of a look in except where they overlap with classical. But one book can’t do everything, and in shedding light on music that is often perceived to be impenetrable, he’s doing something wonderful, particularly for those of us who want to open our minds to it and yet still struggle sometimes.

The Plot against America is Philip Roth’s 2004 venture into alt-history or counter history, where he proposes that the 1940 US election returned Charles Lindbergh rather than Roosevelt to the White House.  Roth shows how the Lindbergh presidency allows prejudices – primarily anti-semitism in this context – which had previously been whispered or shared only with those of like mind to be spoken clearly and loudly and without shame. We see the tragic consequences unfold through one Jewish family (modelled on Roth’s own). Contemporary parallels are all too easy to draw… (Guardian top 100 title)

Donal Ryan’s From a Low and Quiet Sea gives us three stories, three protagonists, and then brings them together in the final part of the novel in ways that one could not have anticipated. With each story the tone changes, and Ryan skilfully takes us from lyricism to black comedy and everywhere in between. (I also loved his earlier The Thing about December. There too is humour and tragedy, and a lonely young man trying to work out how to be a man, how to be a good person, how to connect with the world and the people in it.) ‘Filled with love and righteous anger’, as the Guardian reviewer of From a Low and Quiet Sea puts it.

Philippe Sands’ East West Street weaves his own family history into the development of the definitions of genocide and crimes against humanity which were so crucial to the judgments at Nuremberg and to our response to such crimes in the decades that followed. He makes the connection with his grandfather’s home in Lemberg (aka Lwów or L’viv) which was also where Lauterpacht and Lemberg, the two Jewish lawyers who were so instrumental in giving us the legal framework, grew up and were educated – and who are Sands’ own antecedents too, in his life as an international human rights lawyer. 

Looking for Transwonderland is Noo Saro-Wiwa’s memoir of her return to Nigeria.  She visits places that I saw as a child in the north of the country (Jos, Kano, Yankari Game Reserve) as well as parts of the country I never knew (Lagos, Port Harcourt, Abuja).  Her father, Ken Saro-Wiwa is a powerful (and unsentimentally portrayed) presence throughout, both at the personal level and in terms of the politics that led to his murder.   Nonetheless the book is full of humour, and ultimately of a deep affection for the country, with all its chaos, corruption and division.

I don’t know where to begin with W G Sebald’s Austerlitz (Guardian top 100 title). Sebald is at the heart of my PhD thesis, and so trying to say something succinct when I’m so immersed is hard. It also means that a lot of the reviews annoy me quite a bit. I would probably have selected The Emigrants to represent Sebald’s work, but Austerlitz is the only one of his four ‘novels’ that falls within the twenty-first century, and it was his last – he died in a car accident not long after its publication. It’s about time, place and memory, and about a life that intersects with and is shaped by the darkest period of European history. It’s the most problematic of his novels, but endlessly, obsessively compelling.

Les Parisiennes is Anne Sebba’s fascinating account of the lives of women during the Nazi occupation of Paris, featuring collaborators and resisters and everyone in between. Sebba draws on some sources that I was familiar with but many more that I wasn’t, and weaves them all into a rich tapestry which shows how life in Occupied Paris was both normal and entirely abnormal at the same time, depending on who and where you were. 

I was drawn to Taiye Selasi’s Ghana Must Go at first just for the title.  But then I was blown away by the opening chapter, and as the narrative pulled back from that minute detail, that moment by moment evocation of a man looking out at his garden, realising that he is about to die, the breadth of the locations and the expanding cast in no way diluted the power of the writing. I did not realise at first that I was reading it aloud in my head, the way I read a novel in French, rather than hoovering up a page in one go as I normally do. In this case it wasn’t in order to understand it, but in order to feel the rhythm of the text. This is a poem as much as it is a novel.

Owen Sheers’ Resistance is a cracking alternative history, where the Allies lost WWII, set in the Welsh valleys. It evokes something of Vercors’ Le Silence de la mer, or Irene Nemirovsky’s Suite Française in the portrayal of the interaction between occupying troops and the local population, but is also firmly rooted in the particular landscape and history of its setting.

Lynn Shepherd’s Tom All Alone’s is the second of her ‘literary’, postmodern crime novels. Her first, Murder at Mansfield Park, turned that classic upside down in a most entertaining way. I approached this one with caution because it riffs primarily on Bleak House, the best novel in the English language, and just as I am hypercritical of cover versions of songs I particularly love, so I am sceptical at least about anyone messing with my favourite novels. However, Shepherd recreates the atmosphere of Dickens’ London, even while she subverts his characters. It’s a gripping tale, darker – dare I say, bleaker – than anything Dickens could have published back in the day. There’s a slice of Wilkie Collins’ The Woman in White in here as well.

I’ve read most of Anita Shreve‘s novels, including her last (she died last year) The Stars are Fire. But it had been a while, and when I thought about her work, the one that I knew had to be my choice was The Last Time they Met. There’s a link between this and an earlier work, The Weight of Water, in the central character, Thomas Janes. The Last Time they Met uses a reverse chronologicy to unravel the story of a relationship, and past and present are interwoven skilfully as in so many of Shreve’s books. This one is particularly heartbreaking and I still remember the sense of shock at its ending.

Rebecca Skloot’s The Immortal Life of Henrietta Lacks (Guardian top 100) tells the story of Henrietta Lacks, a black American who died in agony of cancer in a ‘coloured’ hospital ward in 1951. This is about medical and scientific history – but also about race. Henrietta did not know her cells were being taken, nor did her family – and there’s a murky history of black hospital patients being treated as experimental subjects without informed consent. Billions have been made from these ‘HeLa’ cells, which showed extraordinary capacity to multiply and were used around the world to develop new drugs. But Skloot tells the story not just of ‘HeLa’ but of Henrietta’s life and death, and of her surviving children, and their struggles after her death.

I love Patti Smith as a musician, but I think even more as a writer. Just Kids, her memoir of life in ’70s New York, and her friendship with Robert Mapplethorpe, is warm, and funny, and touching, and a vivid portrait of the cultural life of the city. In her later memoir, M Train, she talks about life post-Mapplethorpe, life with her husband Fred ‘Sonic’ Smith (ex MC5), and of the losses that marked those years (not just Mapplethorpe, but brother Todd, and Fred). Again her warmth and humour permeates every page.

Ali Smith’s Hotel World is glorious.  It’s clever (a Guardian reviewer said that ‘I have never seen the tenets of recent literary theory … so cleverly insinuated into a novel’), but it never felt to me that it was ‘look at me! look at me!’ cleverness, just virtuoso writing with heart and humour and humanity. The Guardian picked her novel Autumn, which I haven’t read, but will.

Rebecca Solnit in Hope in the Dark (Guardian top 100 title) finds hope in activism, and in the notion of the Angel of alternate history. This is based on the angel Clarence in Capra’s It’s a Wonderful Life, in which a man in despair sees what the world would look like if he hadn’t been born. We may never know what difference we made, or might have made.  If the threats that we perceive at present come to nothing it will be easy for us and others to say, see, we were over-reacting.  If not it will be easy for us and others to say that our words and actions failed to achieve what we hoped.  We could just as well say in the first instance that we helped in our small ways, collectively and individually, to defuse that threat, and in the second that things could have been worse. Because we won’t have Clarence to show us the effect of our acts, all we can do is to do the best we can.

Andrew Solomon’s The Noonday Demon is an eloquent and rigorous account of depression. It comes from his own experience of this crippling illness and he tells his own story here, with painful honesty, but also explores the nature of depression, in terms of the science, the sociology, and how it is treated. ‘That Solomon has shaped a richly eloquent testament from his own seasons in hell kindles something like hope’.

I’ve read most, if not all, of Cath Staincliffe‘s work – her Sal Kilkenny PI series, the Scott & Bailey and Blue Murder novels, and her stand-alone titles, which, whilst they centre on a crime, are more concerned with the ripples from that crime as they spread out to victims and perpetrators and families. The Silence Between Breaths is a superlative example. I shall say nothing about the plot, but if you remember to breathe whilst reading it you will be doing better than I did. It’s gripping but also compassionate and moving. I’d highly recommend also The Girl in the Green Dress.

Another of the posse of brilliant young female crime writers whose books have given me so much enjoyment this century is Susie Steiner. Her detective is Manon Bradshaw, who made her debut in Missing, Presumed. What marks Steiner and her contemporaries out is the emphasis on character, rather than just on plot. Manon is a brilliant protagonist, but all of the secondary characters, whether colleagues or victims or their families, are subtly drawn too, with humour and empathy. There’s a sequel, Persons Unknown, and a new Manon title out next year.

The Hillsborough tragedy had a huge impact on me, even though I wasn’t there, and knew no one who died there. That afternoon and evening, watching the casualty count rise, trying to understand, are still so vivid in my memory. Since that day I’ve blogged regularly about it, as the fight for truth and justice for the victims and their families went on. Adrian Tempany’s And the Sun Shines Now is both a personal account of that day and what followed, and an exploration of the broader picture in contemporary football.

Rose Tremain is an author I’ve loved previously (I have read The Way I Found HerRestoration and The Road Home, all of which are excellent). The Gustav Sonata  is utterly compelling and beguiling, subtle and beautifully written. The Guardian reviewer called it ‘a perfect novel about life’s imperfection’, which is quite an accolade. The setting is Switzerland during the Second World War, which allows an exploration of the notion of neutrality. This quote, which comes towards the end and gives nothing away of the plot, goes to the heart of things: ‘We have to become the people we always should have been’.

Of all the Sarah Waters novels that I have read, Night Watch in particular stayed with me (The Guardian picked Fingersmith). It’s another tale told in reverse, but the Blitz is at the heart of everything that happens here. Gradually, as the story unfolds, we understand the characters, war and world weary, and the puzzling events that open the novel.

Colson Whitehead’s The Underground Railroad (Guardian top 100 title) begins as a historical novel, telling with extraordinary and brutal power of the live of slaves in the American deep south. We’ve been here before, or so we may think. And then Whitehead swerves into a different kind of fiction altogether, without leaving behind the real stories of slaves, masters and abolitionists, but allowing us to see it afresh, from a different angle.

Having read Oranges are the Only Fruit, I thought I knew a bit about Jeanette Winterson‘s upbringing. But whilst that is moving and even devastating, it doesn’t convey the full awfulness, the full damage of that childhood and adolescence. Why be Happy when you could be Normal? pulls no punches. But it also has passages of great joy, particularly as the young Jeanette gains access to books, libraries of books, that open up new worlds to her. The story of her later life is devastating too, but throughout there is humour and self-awareness and compassion. One of the finest memoirs I have read.

And my three top books of the century are:

Half of a Yellow Sun by Chimamanda Ngozi Adichie. I’ve read it several times and its impact never lessens. It’s personal, in a way, in that I lived in Nigeria at the time and during the events that she describes. The central characters begin in a period of peace and plenty, academics, privileged members of the wealthy Lagos business community, and ‘expats’. Gradually, as the country descends into pogroms and civil war, everything they have is gradually taken, their homes, their comforts, their food, their security. It’s an intensely powerful narrative – and it’s also about who gets to tell the story.

I love Kate Atkinson‘s work, her Jackson Brodie crime novels and, well, all of it really. But Life after Life is in a class of its own. Her writing is so perceptive, so piercing, often very funny, and often heartbreakingly sad. It’s a contender for my Desert Island book, in that I could conceive of reading it over and over again (alongside the Bible and Shakespeare).

Jon McGregor is an extraordinary author – If Nobody Speaks of Remarkable Things breaks my heart, no matter how often I read it. Reservoir 13 is not a detective novel, despite the familiar opening scenes – a missing girl, a community in shock, a search. The reader becomes part of the rhythm of time and the seasons which continue to pass whether or not we find her.  The voices and lives of the community interweave – life and death, grief, betrayal, loss, love, warmth, joy. The cliché is that when something terrible happens, ‘life goes on’. That’s what Reservoir 13 is about.  

So there we are. It’s a very personal list – it reflects not only my general preferences (history, crime), but my particular interests (French World War II history, West Africa, music). So literally no one else is likely to pick the same 100 titles. And nor will I, if I repeat this exercise twenty years from now…

If this list turns you on to an author you didn’t know, or a book you hadn’t tried, I’d love to know, and will be absolutely delighted. If I include things you hate, or think unworthy, that’s fine, but no need to tell me, there’s plenty of room for your tastes and mine. Nothing on this list is here because I think it ought to be here, I’m not trying to prove anything, just to share some of the joy I’ve found in reading in the 21st century.

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Marks of Pain: Architecture as Witness to Trauma in W G Sebald’s Austerlitz

This is an edited version of a talk given at the 2019 Conference, Violent Spaces, of the Landscape, Space & Place group from the University of Nottingham.

Few late twentieth-century writers are held in such regard as W G Sebald. His work has inspired not only glowing reviews and a host of journal articles, edited volumes and monographs – but also responses by visual artists and filmmakers. There are certain themes that are most often associated with his work – time, loss, trauma, memory…  These themes inevitably link to one particular aspect of his work – his writing about the Holocaust.

W G Sebald was born in Bavaria in 1944, in the last months of the war. His father had served in the Wehrmacht, but after he returned home, having spent a couple of years as a prisoner of war, the things that he had seen, and done, were never spoken of. And when Sebald as a teenager was shown documentary footage of the camps (probably the liberation of Belsen) no context or commentary was provided. It was, in a way, what we’d now call a box-ticking exercise. Because, of course, the teachers were part of the context. Sebald, like many of his contemporaries, was unable to accept this collusive silence, and his increasing alienation from his homeland led to him working first in Switzerland and then moving to the UK, where he spent the rest of his life, teaching at UEA until his death in a car accident in 2001.

The Holocaust, indeed, became a presence in his poetry and his prose writing. It seems never to be very far away, invoked maybe by the name of a place, innocent in itself, but carrying the weight of history. In many of his works, it is addressed obliquely, but the figure of the refugee appears in several of his books. Max Ferber, one of the four protagonists of The Emigrants, left his home in Munich (capital of Bavaria) in 1939, following Kristallnacht, his father having obtained a visa for him by bribing the English consul. We are introduced to Ferber via the narrator, who does not ask about his history, why or how he left Germany, until their second meeting, at which point Ferber tells how letters from his parents ceased, and he subsequently discovers that they were deported from Munich to Riga, where they were murdered. In Sebald’s final work, Austerlitz, the Holocaust becomes text, not subtext, foreground rather than context.

Sebald’s (fictional) protagonist, Jacques Austerlitz, is an architectural historian, with a particular interest in what he calls ‘our mightiest projects’ – fortifications, railway architecture, what they used to call lunatic asylums, prisons and law courts.  

He’s also fascinated by the idea of networks, such as ‘the entire railway system’. From the outset, whilst Austerlitz himself does not make any connection between these edifices and the event that shaped his life, we are given foreshadowing of that event. He says of railway stations, for example, that he can never quite shake off thoughts of the agonies of leave-taking – and we’ll see the significance of that later. He refers to ‘the marks of pain which, as he said he well knew, trace countless fine lines through history’.

We meet the narrator first in a carceral space – Antwerp’s zoo. After his first conversation with Austerlitz, he is moved to visit Breendonk, one of the fortresses that Austerlitz had mentioned.

But it is not the history of how such places were designed, the flawed theories of defence against enemy incursion, that confront him there, but the much more recent past, Breendonk’s conversion into a concentration camp in the Nazi era – a transit camp for deportation to Auschwitz, and a place of torture.

  • Originally built for the Belgian army 1906-13 to protect Antwerp – ‘it proved completely useless for the defence of the city and the country’
  • Covered by a five-metre thick layer of soil for defense against bombings, a water-filled moat and measured 656 by 984 feet (200 by 300 m)
  • Requisitioned by the Germans as a prison camp for political dissidents, captured resistance members and Jews
  • Infamous for prisoners’ poor living conditions and for the use of torture. Most prisoners later transferred to larger concentration camps in Eastern Europe
  • 3,590 prisoners known to have been imprisoned at Breendonk, 303 died or were executed within the fort itself and as many as 1,741 died subsequently in other camps before the end of the war

Sebald brings in a human witness here, Austrian writer Jean Amery, who was interned and tortured at Breendonk before deportation to Auschwitz and later Buchenwald and Bergen-Belsen. He survived, changed his name from the obviously Germanic Hans Meyer, but committed suicide in 1978.

Our narrator finds Breendonk to be a place of horror. The darkness inside is literal, but also metaphysical, and it becomes heavier as he penetrates further into the building. He begins to experience visual disturbances – black striations quivering before his eyes – and nausea, but explains that ‘it was not that I guessed at the kind of third-degree interrogations which were being conducted here around the time I was born’, since he had not at that point read Amery’s account. Sebald is telling us that the narrator’s reaction to Breendonk is not, therefore, personal, not related in any way to his own experiences or even to things he had read, but intrinsic to the place, as if its use, or abuse, has changed its very nature, violence become part of its fabric.

Breendonk is the first of the trio of Holocaust sites around which the text is structured. It’s built to a star shape, a six-pointed star. This was a favoured design both for fortresses, designed to keep invaders out, and for prisons, designed to keep wrongdoers in.

According to Austerlitz this is a fundamentally wrong-headed design for a fortress, the idea that ‘you could make a city as secure as anything in the world can ever be.’ The largest fortifications will attract the enemy’s greatest numbers, and draw attention to their weakest points – not only that, but battles are not decided by armies impregnably entrenched in their fortresses, but by forces on the move. Despite plenty of evidence (such as the disastrous Siege of Antwerp in 1832), the responses tended to be to build the same structures but stronger and bigger, and with inevitably similar results.

As the design for a prison, the star shape makes more sense. It does not conform to the original layout of the panopticon, but it does allow for one central point of oversight and monitoring, with radial arms that separate the inmates into manageable groups. The widespread use of existing fortresses as places of imprisonment for enemies of the Reich was primarily opportunistic, of course, but the ease of this transformation illustrates Austerlitz’s arguments quite well.

Sebald had previously been struck by his encounter with Manchester’s Strangeways prison, which has the same shape, ‘an overwhelming panoptic structure whose walls are as high as Jericho’s’, and which happens to be situated in the one-time Jewish quarter. The coincidence of the hexagram star is implicit in the above. But it becomes entirely explicit when we look at the second of Sebald’s sites, Terezin.

  • Some 70 km north of Prague
  • Citadel, or small fortress, and a walled town, known as the main fortress – never tested under siege
  • The small fortress became the Prague Gestapo police prison in 1940, the main fortress became the Ghetto in 1941
  • Initial transport of Czech Jews, German and Austrian Jews in 1942, Dutch and Danish in 1943, various nationalities in the last months of the war as other camps were closed
  • c. 141k Jews, inc. 15k children, held in the Ghetto 1941-1945. 33k died there (disease/malnutrition), 88k deported to Auschwitz, 23k survivors

This lies at the heart of his narrative. Austerlitz, as we discover gradually through the narrator’s irregular meetings with him, came to Britain on the Kindertransport from Prague in 1939, when he was not yet five years old. He was met at Liverpool Street Station by a couple, a minister and his wife from Wales, who fostered him, giving him a new name, and telling him nothing of his history. A teacher tells him his real name when he is in his teens, but rather than this prompting a search for his origins, Austerlitz turns away from his own past and consciously avoids any sources of information which might bring him too close to it. Thus, when he talks to the narrator about Breendonk, it is its history in the first, rather than the second war that he mentions.

Much later, after a strange encounter with his childhood self in the Ladies Waiting Room at Liverpool Street Station, by chance he hears a radio programme about the Kindertransport, and has a kind of epiphany, which prompts him to go to Prague and search for his family. He discovers that his father fled Prague for France, just ahead of the Nazi invasion, and that his mother, left alone there after the train had taken her child to safety, was deported to Terezin from where she was ‘sent east’, presumably to Auschwitz and presumably to her death.

Terezin shares many characteristics with other Nazi concentration camps. But there are elements of its history that mark it out. It was not a labour camp – it was presented as a ‘retirement settlement’ for elderly and prominent Jews, and its role was propaganda rather than economic, discouraging resistance to deportation with promises of comfort, and encouraging wealthier Jews to bring their valuables (of which, naturally, they were relieved on arrival). It was not a death camp – though the terrible conditions led to around 33,000 deaths from malnutrition and disease – but was a way station to Auschwitz. The particular make-up of the population of Terezin led to a rich cultural life, with music in particular playing a leading part.

However, the most notable feature of Terezin was that it was a ‘Potemkin village’, a place whose real purpose could be easily disguised.  Indeed it was disguised in 1944, ready for a Red Cross visit, where it was presented as an ideal Jewish settlement. Overcrowding was addressed by the simple expedient of deportation, particularly of the less photogenic inhabitants, the old, sick and disabled. The place was cleaned up, shop fronts erected, and cultural and sporting activities organised for the prisoners. A film was made, which shows football matches and concerts, smiley, healthy looking people. The Red Cross appear not to have realised that they were being duped. Once they had left, of course, deportations were resumed.


‘I felt that the most striking aspect of the place was its emptiness, said Austerlitz […] the sense of abandonment in this fortified town, laid out like Campanella’s ideal sun state to a strictly geometrical grid, was extraordinarily oppressive, yet more so was the forbidding aspect of the silent facades.[…] What I found most uncanny of all, however, were the gates and doorways of Terezin, all of the, as I thought I sensed, obstructing access to a darkness never yet penetrated’ 

W G Sebald, Austerlitz, pp. 266-68; H G Adler, Theresienstadt 1941-1945: The Face of a Coerced Community

Austerlitz visits Terezin, having learned of his mother’s imprisonment there. He has been told that it is an ordinary town now, but he finds it strikingly empty, its streets deserted, its windows silent and blank. In its museum, he is confronted by the history he has been avoiding for so long – he studies the maps of the German Reich, in particular the railway lines running through them, that facilitated forced labour, deportations and genocide. The ground plan of the star-shaped fortifications is ‘the model of a world made by reason and regulated in all conceivable respects’, a fortress that has never been besieged, a quiet garrison for two or three regiments and some 2,000 civilians. But it seems to Austerlitz that, far from having returning to this civilised and reasonable state, the town is now filled with the people who had been shut in to the ghetto, as if ‘they had never been taken away after all, but were still living crammed into those buildings and basements and attics, as if they were incessantly going up and down the stairs, looking out of the windows, moving in vast numbers through the streets and alleys and even, a silent assembly, filling the entire space occupied by the air’.

Our human witness to Terezin is H G Adler, who, like Austerlitz, was born in Prague. He was sent initially to a labour camp in 1941, then to Terezin with his family in 1942. In 1944, he, his wife and her mother were deported to Auschwitz, where both women were murdered on arrival. Adler also lost his own parents and many other members of his family. From Auschwitz, he was deported to two successive sub-camps of Buchenwald before liberation. His research post-war focused on the archives of Terezin and formed the basis of his major work, Theresienstadt 1941-1945, which Sebald quotes and refers to extensively and which is still the most detailed account of any single concentration camp.

There’s one more fortress to consider. Kaunas, in Lithuania.

  • 12 forts built in 19th century to defend against German armies
  • All surrendered in 1914 and some fell into disuse
  • Russians occupied in 1939 and used them as prisons
  • 1941-45 German occupation: 7th fort used as concentration camp – 4k Jews killed there. 9th fort was execution and burial site for Jews from Kaunas and for other Jews shipped there during the Holocaust
  • Abraham Tory reports in his ghetto diary that ‘single and mass arrests as well as “actions” in the ghetto almost always ended with a death march to the Ninth Fort, which in a way completed the ghetto area and became an integral part of it

We have no first-hand human witness here. Instead, we have Dan Jacobson, a South African writer whose book Heshel’s Kingdom describes his attempts to piece together a family narrative fragmented by history, the fate of whose members was determined by one event, the sudden death of Heshel Melamed in 1919, which freed his widow, children and grandchildren to emigrate from Lithuania to South Africa. Jacobson’s quest is to discover what happened to the other branches of the family, those who were left behind.


Jacobson tells us that the Russians built a ring of twelve fortresses […] in the late nineteenth-century, which then in 1914, despite the elevated positions on which they had been constructed, and for all the great number of their cannon, the thickness of the walls and their labyrinthine corridors, proved entirely useless. […] In 1941 they fell into German hands, including the notorious Fort IX where Wehrmacht command posts were set up and where more than thirty thousand people were killed over the next three years.[…] Transports from the west kept ]coming to Kaunas until May 1944,[…] as the last messages from those locked in the dungeons of the fortress bear witness. One of them, writes Jacobson, scratched the words “Nous sommes neuf cents Francais” on the cold limestone wall of the bunker. 

W G Sebald, Austerlitz, pp. 414-15, Dan Jacobson, Heshel’s Kingdom, pp. 159-62

Neither Austerlitz nor the narrator visits Kaunas. But Austerlitz gives to the narrator, before he sets off to continue his own quest for answers, a copy of Jacobson’s book. Sebald’s narrative leaves us at the end of Jacobson’s Chapter 15, in an underground corridor where, behind glass, are preserved the ‘wall scratchings’ – literal marks of pain – of French Jewish prisoners brought here – after the war had effectively been lost. These include Max Stern, Paris, 18.5.44 – Sebald’s first name, and his date of birth; the fictional Austerlitz’s father’s first name, and last known location. What happened to these people, what happened to Jacobson’s family, cannot be known. Were they deported to an extermination camp – perhaps more likely, given the history of Kaunas, were they were killed right there? 

Auschwitz is, of course, the fourth location that is implicit in the above.

It is both the archetype – we invoke this name above all others to stand for the Nazi machinery of mass murder – and the specific journey’s end for so many. Sebald doesn’t take us there though – it is present, always, but unseen and its name unspoken. We hear it only as an echo – in the name of our protagonist, in the mention of the Auschowitz springs which he visits at Marienbad. We don’t go there because we don’t need to – the phrase ‘sent east’ is already heavy with meaning.

Sebald gives us not only these closed places of death and terror but their apparent opposite – the transitory, liminal space of the railway station. Austerlitz’s fascination with the railway network was always tinged with a sense of loss, anguish even. In this, he reminds us of Max Ferber from Sebald’s The Emigrants who finds railway stations and railway journeys to be torture and who as a result, never leaves Manchester. And perhaps Sebald also was thinking of the passage in Elie Wiesel’s autobiography, concerning ‘those nocturnal trains that crossed the devastated continent’:


Their shadow haunts my writing. They symbolise solitude, distress, and the relentless march of Jewish multitudes towards agony and death. I freeze every time I hear a train whistle.

Elie Wiesel, All Rivers Run to the Sea

Towards the end of the narrative, at the Parisian railway station with which he shares a name, Austerlitz feels that he is ‘on the scene of some unexpiated crime’. Indeed, the Gare d’Austerlitz was the station from which Jews rounded up in the city were crammed into cattle trucks and transported to the transit camps near Paris – from where they were later crammed again into cattle trucks for transport to Auschwitz. And of course, one of the most often used images of Auschwitz itself is of the railway tracks.

Austerlitz pieces together his mother’s journey, after her partner and then her son leave.

She is ordered to report to the Prague Exhibition Centre with her belongings. She and her fellow deportees go to Holesovice station and from there by train to Bauschowitz station, from where they must walk to Terezin. From Terezin, at some unknown date, another train takes her to Auschwitz.

His father’s journey is more speculative. Austerlitz knows that Max flew from Prague to Paris. After that, his mother had various addresses for him in Paris, but no communications. Austerlitz wonders whether he was rounded up in 1941, in the first wave of arrests of foreign Jews, or in the much bigger round-up in July 1942, the Vel d’Hiv, the first round-up to take not only men capable of work but women, children, the sick, the elderly. Austerlitz also learns that Max may have been at one time at the Gurs camp in southwestern France, originally set up for Spanish refugees after Franco’s victory, but appropriated by the Nazis for Jews and members of the resistance. Did he die there, of disease or malnutrition?  If not, was he deported from Gurs to Drancy and from there to Auschwitz?  Or was he taken from the streets of Paris via the Gare d’Austerlitz to Pithiviers or Beaune-la-Rolande, and from there to Auschwitz? We take our leave of Austerlitz as he prepares to continue the search for evidence.

Sebald does recount another train journey. One which ended on the threshold not of death but of the hope of a new life. Austerlitz as a child travels from Prague’s Wilsonova station with the Kindertransport, a series of initiatives undertaken between Kristallnacht and the outbreak of war to get children, mainly Jewish, out of Nazi Europe – around 10,000 were thereby saved during that brief window of possibility. Jacques travels through Czechoslovakia and Germany, to the Hook of Holland, from where he takes the ferry to Harwich and another train to Liverpool Street Station. This is no fairy tale – for the fictional Jacques as for so many of the children, their assimilation and acceptance of their new home (a new language, new customs, often a new name, and a new religion) and their new family’s understanding of them, were problematic. And all of them faced traumatic absences, losses that they couldn’t grieve, and questions they couldn’t answer. Most never saw their parents again.

Austerlitz’s new life, the one that started on the platform at Liverpool Street Station, would never be free of those marks of pain. His academic quest to make sense of the family likeness between ‘monumental’ buildings, places that impose and imprison, and of the railway network that links them, has been superseded by the unrecognised need that had originally driven it. To find his family, to know everything he can know about their lives and their deaths, to inscribe those human stories, his human story, on the bricks and stones of the fortresses, prisons and railway stations that witnessed them.


‘I often wondered whether the pain and suffering accumulated on this site over the centuries had ever really ebbed away, or whether they might not still, as I sometimes thought when I felt a cold breath of air on my forehead, be sensed’

(Austerlitz, p. 183)

Bibliography

W G Sebald, Die Ausgewanderten (Fischer, 1992), English translation, The Emigrants, published 1996

__, Nach der Natur (Fischer, 1995), English translation, After Nature, published 2002

__, Austerlitz (Fischer, 2001), English translation published 2001

H G Adler, Theresienstadt 1941-1945: The Face of a Coerced Community (Cambridge UP, 2017)

Jean Amery, At the Mind’s Limits: Contemplations by a Survivor on Auschwitz and its Realities (Indiana UP, 1980)

Dan Jacobson, Heshel’s Kingdom: A Family, a People, a Divided Fate (Hamish Hamilton, 1998)

Elie Wiesel, All Rivers Run to the Sea (Schocken Books, 1994)

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Disintegration Loops

This post has been many months in the gestation. In my head, it started off as a more abstract and metaphysical musing about the nature of dementia, at least as I have encountered it, about how what made a person that person fades, gradually, until it has virtually disappeared, and yet they are still here. As a recent contributor to a discussion in the Guardian described it, ‘death on the installment plan, as every day another little piece would flicker out of existence’. But there are other things that must be said as well – the anger at how our health service and social care – and in particular the failure to join the two up effectively – can fail those rendered helpless by the disintegration of their mind and memory.

The title is borrowed from a series of pieces of 21st century music, by American composer William Basinski, which I have loved ever since a friend introduced me to them a few years after they were released in 2002/03. Basinski had magnetic tapes, recorded in the 1980s, which he wanted to transfer to digital format. But the tapes had deteriorated, so there were gaps, and cracks, which increased as he continued to play the tapes. The original recordings can be heard, but faint, distorted, broken up, fragmented. And somehow this is intensely moving. When I first heard it, I felt the general sadness of loss, of gradual loss in particular, not a sudden shock and wrench but the knowledge that something is slipping away that was and still is precious. And when I saw this happening to someone I loved, that title and the memory of listening to these albums came back to me.

And the idea of loops, of course, resonated with us. The endless loops of conversation: Where am I? You’re in hospital, Mum, you had a stroke. Oh. When can I go home? When you’re stronger. Where am I? round and round again… As the disease progressed the loops got shorter, until all that was left were the questions and our answers disappeared into the fog.

Basinski was not thinking of dementia when he created these pieces. They’re dedicated to the victims of the September 11 attacks in New York, which Basinski saw from the roof of his apartment in Brooklyn, the morning that he had completed the project. But as D H Lawrence said, trust the tale and not the teller. That Basinski associated the work with 9/11 does not prevent it from being also a powerful and poignant and heartbreaking account of a very different kind of loss.

There are as many different experiences of dementia as there are sufferers – and carers. I can only speak of our own, but there are elements in what we experienced that will be shared by many. Over the months since she died we have been gradually able to overlay the images of her the last time we saw her conscious – bewildered, afraid, unable to understand what we were saying to her, unable to smile, unable to recognise the photograph of her beloved little cat that we had brought as a gift – with the woman we had known before. That woman was funny, fiercely independent, interesting and interested, a traveller, a gardener, a musician, a teacher, a fan of detective novels and TV series, a lover of good food and wine. Dementia took all of that, little by little by little, but as we organised her funeral and started to get cards and letters from people who’d known her before, we saw her re-emerge from the shadows, heard the laughter that so many people had mentioned, literally heard her voice on a recording amongst the other members of the choir she sang in for many years.

But as we recovered some of those joyful memories, I thought about some of what had happened in the last year of her life, and I got angry. On her behalf, but also on behalf of the many, many people who suffer from dementia. Many are less fortunate than she was – she had the funds to choose (or for us to choose on her behalf) the kind of care she needed, and to not have to put up with sub-standard care (in fact, the carers who supported her in her own home until her stroke were wonderful, as was the care home that she moved to for the last six months of her life). She had family who were close enough at hand to be involved in her care, who were free to come over at short notice when needed, to spend time on hospital wards to talk to medics on her behalf. But despite all of this, and despite the loving and patient care on the wards from nurses and health care assistants, there was something terribly wrong.

If I could go back, knowing what I know now, I would interject in every discussion about her medical care and about options for discharge, to remind people that, whilst she had been admitted to hospital following a stroke, she had dementia, and that any decision about her care in hospital and about what happened once treatment was over HAD to take account of that. She could not cooperate in her own care. She removed the feeding tube that the hospital had inserted to ensure she did not aspirate and contract pneumonia, because she did not understand why it was there, she only knew it was unpleasant and uncomfortable. She tried (and occasionally succeeded) in removing the surgical collar that was needed after she fell and broke a couple of vertebrae in her neck – again, she did not know why she was wearing it, blamed the collar for the pain of the fracture. Her carers – at her home and in the care home – took her dementia into account. Staff on the wards largely did (they brought her food even if she’d said she didn’t want any and didn’t rush to take it away when she said she’d finished, understanding that seconds later she’d forget that she’d finished and have another go… ).

But when it came to preparing her for discharge, it was as if the need to free up a bed, once no further medical treatment was required, overrode other considerations. We get it, we really do, we know the NHS is overstretched, we know that hospitals can’t have beds taken up long-term by people for whom they can do nothing more. Nevertheless…

We were told how much her mobility was improving, and that with extra help for a while (equipment and additional carers) she would be fine at home. And so she was discharged. We were given a date for discharge, and a time, so planned to get there (we’re an hour’s drive away) well ahead, to sort the house out and get her shopping done.  But she was delivered home much earlier and so we arrived to find her sitting, bewildered, on the sofa (where we knew and her carers knew not to let her sit, because it was so difficult to get her up from it). She had no idea how long she’d been there. We quickly realised that we, and she, were in a nightmare. We were as terrified as she was.

She would be alone for most of every day (carers came four times a day). She had forgotten, after a month in hospital, how to use her TV remote and could no longer read. She would be incontinent and thus sitting in her own waste for hours. She would be unable to change her position in the chair or the bed and thus would be at risk of pressure sores. She would be at risk of falling from her chair if she forgot that she could not get up, and tried to do so. She had forgotten how to use her ‘red button’ alarm and so if she fell would lie there until the next carer visit. She would be shouting out for help, hour after hour – she had no sense of the passing of time, and so would be convinced five minutes after a carer had left that she had been alone for hours already.

She had been promised physiotherapy, and the assumption seemed to be that she could learn, and get better at the limited means of mobility possible for her. But since the dementia took hold, she had been unlearning. Unlearning skills she had had for years, like how to dress herself, how to make a cup of tea. Her discharge took no account of this.

When the carers arrived they shared our alarm and dismay and decided that it was an unsafe discharge and that she should go back into hospital. Next day when we rang to see how she was, the nurse on the EAU said brightly how well she’d done on the rotunda and that she’d be ready for discharge soon. We headed straight over and prepared for a fight.

We pointed out that if one of us had had a stroke and lost mobility, and was discharged to live alone, we would of course be worried and miserable. But we could do something about the situation – ensure that books, radio, TV remote were within reach, keep in touch with the world via phone or laptop and talk to family and friends. We could look at the clock and know how long it would be before someone would visit. She had none of those resources.

We argued, we insisted that we could not accept her being sent home. And eventually someone said to us, what do you suggest then? And we said, well, we rather thought you might be able to offer us some advice and guidance on possible solutions. And just like that, we were put in touch with the social worker and the Age Concern contact, and were given details of suitable care homes, and within a few days, were arranging her discharge to a dementia specialist care home.

We’d never promised her that we wouldn’t ‘put her in a home’. But even if we had made that promise, we’d have broken it. What mattered was that she was safe, that someone was there 24 hours a day to take care of her, that they were able to keep her comfortable. And the language of ‘putting’ someone in a home is inherently prejudiced – we found the best care home we could for her, and we worked with the care home manager and staff to meet her needs as well as we could, just as we had worked with the carers who came to her home. We have no regrets about that – only about our naivety in our dealings with the hospital and our failure to remind them at every stage and in every discussion about her dementia.

The other thing that rapidly became apparent to us was that with every hospital admission, the dementia gained ground. This is borne out by statistics from John’s Campaign:

  • One third of people with dementia who go into hospital for an unrelated condition NEVER return to their own homes
  • 47% of people with dementia who go into hospital are physically less well when they leave than when they went in
  • 54% of people with dementia who go into hospital are mentally less well when they leave than when they went in

John’s Campaign‘s raison d’etre is pretty simple – the belief that in all hospital settings, for patients with dementia, ‘carers should not just be allowed but should be welcomed, and that a collaboration between the patients and all connected with them is crucial to their health and their well-being’.

In that grey area, where someone may be deemed to ‘have capacity’ to make decisions, but at the same time is unable to hold on to even simple information, let alone weigh up pros and cons, the family (if the patient is fortunate enough to have family/carers who are able and want to be involved) must be seen, surely, as a tremendous benefit for the hospital.

John’s Campaign applies to all hospital settings: acute, community, mental health and its principles could extend to all other caring institutions where people are living away from those closest to them. In the time since the campaign was founded, over 1000 institutions have pledged support and a lot of progress has been made – but there is a lot yet to be done.

https://johnscampaign.org.uk/#/about

If a patient with dementia has no family to speak for them, to ensure that their dementia is taken into account in all decisions about their medical and social care, how can we provide them with advocates? As Nicci Gerrard said in a recent article, dementia is our collective responsibility. You might not have encountered it yet. But odds are, you will. It’s in all of our interests that we recognise the scale of it, recognise what’s needed to keep people with dementia as safe and as comfortable as possible, that those of us without dementia speak up for those who have it, who can no longer recognise or articulate what they need. They may no longer be able to articulate their needs, or explain the reasons for their anxiety or distress, but the anxiety and distress is no less real for that – and all the more heartbreaking to witness.

A good place to start is in collectively facing up to the fact that it is in our midst and that each year hundreds of thousands of men and women are living with it and dying with it. If not you, someone very near you. If not now, soon.

 

Support, Information, Advice

If dementia is now a part of your life, there are places you can go for support and advice. I’ve already mentioned John’s Campaign. I found the Alzheimer’s Association forum, Dementia Talking Point, very helpful on all sorts of practical issues, and often very reassuring.

Some books that I found both fascinating and useful. Several of them at some point made me laugh, and all of them without exception, at some point made me sob.

  • Nicci Gerrard (founder of John’s Campaign) – What Dementia Teaches us about Love
  • Andrea Gillies – Keeper: A Book about memory, identity, isolation, Wordsworth and cake… (Andrea Gillies took on the care of her mother-in-law, who was in the middle stages of Alzheimer’s disease. This is a journal interwoven with an investigation of how Alzheimer’s works)
  • Emma Healey – Elizabeth is Missing (a wonderful novel, whose protagonist is a woman with dementia, who can’t always recognise her daughter, but knows that her friend Elizabeth is missing…)
  • Robyn Hollingworth – My Mad Dad: The Diary of an Unravelling Mind
  • Wendy Mitchell – Someone I used to Know (Wendy was diagnosed with early onset dementia some years ago, and writes a truly remarkable blog about her life with the disease. Her experience is very different to that of my mother in law. But it’s a rare and invaluable gift to hear someone explaining so clearly what it’s like have dementia, and a joy to hear of the rich life she can lead even now.)

 

 

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Refugee Journalism

http://migrantjournalism.org/

The Refugee Journalism Project supports refugee and exiled journalists to re-start their careers in the UK.

It was founded in 2016 and since 2018, the project has been based exclusively at London College of Communication, part of the University of the Arts London.

These journalists arrive in the UK with an impressive range of skills – many have been editors, correspondents and producers in their own countries – but they lack agency and face significant barriers when they attempt to continue their journalism in the UK. Participants are offered a range of workshops, mentoring and placements.

The project’s core aims are to:

Help prepare refugee journalists for work in the UK media industry;

Create opportunities for refugee journalists to publish their work and build a wider network;

Engage with new audiences, key policy and opinion-maker in order to debunk negative and institutional and public perceptions of refugees.

The Refugee Journalism Project currently works with a number of organisations to deliver its activities, including the Refugee Council, the University of DerbyThe Guardian Foundation and the Google News Initiative.

http://migrantjournalism.org/about-us-2/

As part of this year’s Refugee Week, The Guardian Foundation invited participants in the project to write articles that reflect on the experiences, challenges and aspirations of displacement. Here are links to some of the articles.

In Conversation: Ziad Ghandour: BBC broadcasting journalist Ziad Ghandour was one of millions of people to escape their war-torn homeland in 2015. Ziad was forced to leave his English Literature master’s degree behind in Syria to search for a less volatile place to call home. Four months later, out of the back of a lorry, the UK gained an incredibly driven and intelligent young man.

In Conversation: Temesghen Debesai: Temesghen Debesai began his career in Eritrea, where he worked as a news anchor and co-founded the country’s first English television service in 1998. In 2006, he fled Eritrea and was granted refugee status in the UK. He joined the first cohort of the Refugee Journalism Project in 2016, and went on to work as a freelance journalist for the Thompson Reuters Foundation and BBC World Service. Temesghen is now a recipient of the Beyond Borders Bursary  and is currently completing an MA in Television at the London College of Communication. This month he launched ERI Hope Media which focuses on Eritrean topics.

Researchers Building Hope for the Future, by Hasnaa Omar: Academics, MPs and those working in the NGO sector discuss the key findings of an in-depth study that seeks to help overcome the perceived tension between host communities and refugees. 

Follow the project on Twitter, @refugeejourno

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When will Australia get real about Refugees?

Reblogging for Refugee Week an analysis of the Australian response to the refugee crisis, from blogger The Levine Lowdown.

Levine Lowdown

It has been revealed today that the federal government will
be placing a higher priority on migrants from South America amid a humanitarian
crisis in Venezuela. The situation in Venezuela is deteriorating rapidly with
an estimated 3 million civilians feeling civil unrest under socialist president
Nicolas Maduro. The United Nations High Commission for Refugees labelled the
crisis, “the largest exodus in the recent history of Latin America.”

Currently, there is a no target or concrete number of
refugees which Australia will take in from South America; however, it is
progress. There have been small achievements in recent years in the protection
of refugees such as Mr Turnbull’s plan to increase the humanitarian intake from
13,750 to 18,750 in September 2016 and Mr Abbott one-off intake of 12,000
Syrian and Iraqi refugees in 2015. Yes, progress is occurring, but not at the
speed or rate required to provide real change in…

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Pregnant

Reblogging for Refugee Week, a recent post from Phil Davis’s always passionate and thought-provoking A Darkened Room blog.

A darkened room

Sometimes it’s the little details that clarify the big picture. At Hope Projects we’ve just housed a homeless and destitute woman. She was pregnant. It wasn’t a mistake that she was homeless and destitute.

There’s a human instinct to treat pregnant women carefully. The mother-to-be is vulnerable. Her unborn child is exceptionally vulnerable. Lets stand up on buses so she can have a seat, or at least tut at others who don’t. It would take a heart of stone to do otherwise.

Even the Home office recognise this. Up to a point.

While refused asylum seekers are not entitled to any housing, financial support or right to work (see pretty much every previous blogpost…) Obviously, different rules apply to pregnant women. I mean, you can’t just literally throw a pregnant woman out on the street in a frightening, foriegn country to starve, can you? So the Home Office have a…

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