Tariq Mehmood
Tariq Mehmood is an award winning novelist and documentary film-maker. His first novel, Hand On the Sun (London: Penguin Books, 1983), dealt with the experience of the resistance to racism by young migrant to the UK of the 1970s and…
One brother goes missing in action in Afghanistan, the other falls in love with an Afghan girl in England.
Bitter divisions engulf an English town where young Muslims oppose the British army’s presence in Afghanistan, whilst white youth condemn the Muslims as traitors.
To the disgust of his white friends, 17-year-old Jake Marlesden, whose brother is missing in action in Afghanistan, is in love with Leila Khan, an Afghan. When Jake tries to find out what happened to his brother, neighbour turns against neighbour and lover against lover.
Leila joins young Muslims protesting against the returning bodies of dead British soldiers, and Jake stands with the families of the soldiers. The lovers fall apart.
But far off events, and sinister forces at home, bring the lovers together again in a journey in which they will not only discover themselves, but also heal the wounds of their families and friends.
This is the sequel to You’re Not Proper.
Set in and around Manchester, You’re Not Here is informed by Mehmood’s experience of growing up a working class Pakistani in northern England, combatting racism on the streets and being arrested. The novel explores the British Asian experience in the context of the “war on terror” and Islamophobia. “I have lived and fought against various waves of racism in Britain, but the current Islamophobic one, the new racism, is far more insidious and divisive than those which preceded it,” says Mehmood in his blog.
This novel is a sequel to You’re Not Proper, which explored, in the author’s words, “what it is to be a Muslim teenager in the west today”. While it featured two teenage women’s search for identity and belonging — one with a Pakistani father and white Christian mother, the other her Hijab-wearing school friend — Mehmood’s sequel is, interestingly, told from the point of view of a white working class British youth.
Jake’s father was in the army. His elder brother is missing in action in Afghanistan. Jake is in love with a Muslim girl. We are introduced to diverse Asian characters and to white racist friends of his brother, and to the tensions both within and between the two communities, through Jake’s eyes.
While the novel reads like a pacey thriller, the teenage love story is treated with convincing tenderness. And there is sympathy for British soldiers. One scene features physically and mentally scarred ex-soldiers discarded by the state, and Military Friends and Families Against War make an appearance.
http://socialistreview.org.uk/438/youre-not-here
The narrative is packed with authentic voices, often humorous observations and insights, The novel reads like a thriller. It reaches an action-packed and moving climax, but, unlike a thriller, we are left uneasy about what may happen next.
Helen Goodway, Red Pepper, Summer 2019
Tariq Mehmood is an award winning novelist and documentary film-maker. His first novel, Hand On the Sun (London: Penguin Books, 1983), dealt with the experience of the resistance to racism by young migrant to the UK of the 1970s and…
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Categories: | Fasihi, Fiction, Imperialism, Political Freedom & Security, USA, Young Adults |
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We inhabit extraordinary times: times in which we are acutely aware of the intensity of what revolutionary thinker Frantz Fanon called “the glare of history’s floodlights.” The velocity and scale at which the revolt against police murder that began in Minnesota after the death of George Floyd on May 25th and moved throughout the US, and then other parts of the world, was astonishing. It was impossible to predict, but then, in retrospect, it is George Floyd’s death becomes a nodal point: calling for action as well as rethinking and self-clarification. Thinking about this moment with the world revolutionary Frantz Fanon, we need to be aware of continuities and discontinuities — or, as he puts it, opacities — between the ages, his and ours. Fanon is always speaking to us, but often in ways we cannot hear. We have to work to listen to him and to understand the new contexts and meanings in relative opacity. It is this constant dialogue that helps illuminate the present and enable ongoing fidelity to Fanon’s call in the conclusion of The Wretched of the Earth the necessity to work out new concepts to confront one of Fanon’s greatest concerns, the betrayal of the revolutionary movement. In this pamphlet we consider how Fanon’s idea of liberation is connected with “the rationality of revolt.” The practice of engaging Fanon not only with revolt but with the reason or rationality of revolt connects with Fanon’s idea of how this liberated humanity is a product of a new consciousness of collectivity open to rethink everything.
The book explores the challenges Palestinian filmmakers confront to develop a cinema that gives expression to the national narrative. It is based on collaborative research involving Film Lab Palestine, Sheffield Palestine Cultural Exchange and Sheffield Hallam University. We explore the political, economic and cultural contexts that impact on Palestinian film production and some of the barriers encountered in profiling and screening Palestinian films, to shed light on the complex terrain that is traversed to sustain and develop a film industry and film culture in historic Palestine and beyond.
Image credits
Introduction
The struggle to develop a national cinema
The experience of Filmlab Palestine
Visualising the Palestinian past
Roadblocks, borders and hostile environments
The screening and reception of Palestinian films
The Palestinian short film
Conclusion
Filmography
Appendix 1: Cinema of the Palestinian Revolution
Appendix 2: 70 Years of Nakba: Audience response
Appendix 3: Love and Desire in Palestine: Audience response
Appendix 4: Selection of leaflets from film screenings
About the authors
To so nimbly and elegantly traverse Palestinian time and space is itself a defiance of the occupation’s brutally enforced barriers. The authors’ unstintingly political examination of Palestinian cinema has much to offer both those in the know and readers new to this extraordinary body of work. — Kay Dickinson, Professor, Film Studies, Concordia University
Working extensively through primary sources, conducting research and interviews across generations of Palestinian filmmakers, the authors offer the reader an ambitious and wide-ranging essay which charts the development of a national Palestinian cinema, from an historical and critical perspective. By exploring the constellation of political, social and aesthetic concerns that shape this cinema, this authors challenge us to rethink the stakes behind the contemporary development of a Palestinian cinema industry, its audience reception, in historic Palestine and beyond.— Samia Labidi, cultural programmer & artistic curator
Illuminating and compelling, Struggling to be Seen lays bare the historical, enduring but also emerging (colonial and neocolonial) obstacles to the development of a film industry and film culture within the West Bank and Gaza. Though familiarly sobering (in its re-confirmation of the scale of injustice facing Palestinians), the book provides up-to-the-moment and an interdisciplinary account that provides rich, fresh terrain that reveals new and exciting progressions within Palestinian film culture. —Michele Aaron, Reader in Film and Television, University of Warwick, author of Death and the Moving Image: Ideology, Iconography and I (Edinburgh Univer- sity Press, 2014) Director, Screening Rights Film Festival.
Struggling to be Seen is a must read for those who are interested in under- standing the multilayered challenges that face Palestinian cinematography from its production phase to its screening phase. The book is a short read which takes the readers through the different stages which shaped the Palestinian film making enterprise. Struggling to be Seen shows the restrictions that Palestinian filmmakers face from the initial stages to funding and screening. The authors tell a story of a people whose sense of self-reflection is suppressed by the Israeli oppressive machine which con- stantly works at erasing the Palestinian peoplehood, detaching it from its past.— Nahed Habiballah, Assistant Professor and member of the Board of Directors of Policy and Conflict Resolution Studies Center, Arab American University, Ramallah, Palestine
A wave of mass protest movements has spread across North Africa and West Asia, including Sudan, Algeria, Iraq, Lebanon and Iran. The mass protests have much in common, from opposing authoritarian regimes and worsening economic situations to demanding radical changes in social relations. Despite their similarities, each protest movement operates under different conditions that cannot be ignored. The specific historic, political and economic contexts of each country have determined who the key actors of the uprisings are and their location across old and new divides. This book elaborates on these similarities and differences to paint a clearer picture of these movements and draw out lessons to inform future struggles.
Sam Salour summarizes A Region in Revolt: Mapping the Recent Uprisings in North Africa and West Asia, edited by Jade Saab. A collection of essays that provides a comprehensive review of the 2018-2019 wave of struggle in the region. In the third part of this multi-part series, Salour provides an introduction to the book and then outlines the essay “The Revolutionizing Nature of the Lebanese Uprising” by Jade Saab and Joey Ayoub.
Edited by Jade Saab, a Lebanese/Canadian researcher at the University of Glasgow, the contributors include Azza Mustafa and Sara Abbas (on Sudan); Hamza Hamouchene and Selma Oumari (on Algeria); Zeidon Alkinani (on Iraq); Jade Saab and Joey Ayoub (on Lebanon); and Frieda Afary (on Iran).
Insightful, timely analysis of the uprisings in Sudan, Algeria, Lebanon, Iraq and Iran. The book … demonstrates that the uprisings…carry the unyielding spirit of people’s resistance and struggle against both imperialism and local oppressive regimes.— Haifa Zangana, Iraqi novelist, author, artist, and political activist and author of Dreaming of Baghdad.
Whereas there is a plethora of books on the 2011 [Arab Spring] upsurge, this book is the only comprehensive overview of the second wave of revolt, which is here analysed from the standpoint of the popular struggle. — Gilbert Achcar, Professor at SOAS, University of London, author of The People Want: A Radical Exploration of the Arab Uprising
A rich and informed account of the popular uprisings that have emerged across the Middle East in recent years. … [T]his book is a powerful testament to the new generation of activists who continue to seek long-term revolutionary change in the region. – Adam Hanieh, author of Money, Markets, and Monarchies: The Gulf Cooperation Council and the Political Economy of the Contemporary Middle East (CUP 2018).
Last year a wave of militant protests spread across North Africa and West Asia, in a sustained, historic series of popular struggles. Emma Wilde Botta reviews A Region in Revolt: Mapping the Recent Uprisings in North Africa and West Asia edited by Jade Saab. A Region in Revolt: Mapping the Recent Uprisings in North Africa and West Asia edited by Jade Saab is the first and, to my knowledge, only comprehensive review of the uprisings that took place in Algeria, Sudan, Lebanon, Iraq, and Iran. Each chapter is written by activist-scholars from the respective country who provide an overview of each country’s specific political and economic conditions. They show that, far from being ahistoric spontaneous events, the 2019 uprisings built upon past struggles, by tracing the legacies of resistance in each country and showing how they have impacted the newly emerged movements.
A Region in Revolt captures all of the hope and inspiration of the 2019 uprisings. One of the most significant achievements of these movements is that, in the words of Hamouchene and Oumari, ‘people discovered their political will and realised they are in control of their own destiny.’ These were undeniably class revolts, fueled by anger over poverty, unemployment, austerity, and corruption. Yet, the people in the streets largely imagined themselves as citizens. The challenges of how to bring people into motion as workers, how to develop independent working-class organizations, and how to develop a political alternative to capitalism continue to be pressing. The COVID-19 pandemic has thrown another obstacle in the way. But there is no doubt that future struggles are on the horizon. A Region in Revolt helps us answer the question of what we can do now to prepare for them. – Emma Wilde Botta is a socialist activist and writer based in Oakland, California. She has written extensively on the Arab Spring, the Gulf States, Iran, and US imperialism. Her writing has appeared in TruthOut, the International Socialist Review, roape.net and Socialist Worker.
United we stand: anatomy of five revolutions: Mike Phipps reviews A Region in revolt: Mapping the recent uprisings in North Africa and West Asia, edited by Jade Saab, published by Daraja Press (Ottawa) & TNI (Amsterdam): We are nearly ten years on from the Arab Spring, a series of uprisings across the Middle East. When it began, argues Jade Saab in this important new book, it “was presented to the world through an orientalist lens… the awakening of the backwards Arab world.” For the west, it provided retroactive justification for the invasion of Iraq: “All democracy in the region needed was a nudge in the form of an illegal invasion and a million dead civilians.” This narrative allowed reactionary regimes in the region to paint the uprisings as western plots to destabilise their countries. Both these interpretations were bolstered by military interventions in Libya, Syria and Yemen. These military interventions upped the stakes considerably for any nascent popular uprising. If movements called for the fall of the regime, the regime could respond: “Do you want to become another Syria?” Yet the uprisings continued, and it is not too hyperbolic to refer to the last couple of years as a Second Arab Spring. This second wave is the focus of this book. The demands raised by these uprisings go beyond a change of political leadership: they call for a fundamental restructuring of society. The countries in question share similar political economies with an emphasis on extractivism and speculative investment. The spoils of these activities bypass ordinary people, fuelling the migration of skilled labour out of the region and massive rates of unemployment, especially among young people. They also share a common problem: “Debilitating national debt means that foreign finance has a vested interest in maintaining ‘stability’ in the region.” So unlike during the 2011 Arab Spring, “Western nations have refused to withdraw support from the various ruling classes in the region even though the intensity of protests has reached similar levels.” …
A Region in Revolt Edited by Jade Saab, Daraja Press If you’ve enjoyed [RED PEPPER’s] analysis of the ‘second wave’ of uprisings across some of North Africa and West Asia, then this book is a timely exploration of ground uncovered. Looking across Algeria, Sudan, Lebanon, Iran and Iraq, this collection of essays draws out the similarities and differences of the movements that are demanding radical social change under authoritarian regimes. One of the few books to explore the second wave of revolt, it is a fitting testament to a new generation of activists and their ongoing struggle for revolutionary change. RED PEPPER Winter 2020.
Ce livre est un apport précieux pour demander à changer de focale et de perspective au sujet des migrations à l’intérieur du continent africain. Celles-ci sont bien plus importantes quan- titativement, mais aussi économiquement et historiquement, que les migrations de l’Afrique vers l’Europe. Elles sont beaucoup plus silencieuses et infiniment moins étudiées que celles du Sud vers le Nord. Ces migrations sont vitales, tant pour les pays de départ que pour ceux d’arrivée. Ainsi, des millions de jeunes partent chaque année pour les pays de la côte, et cela sans susciter les mêmes résistances, fantasmes et peurs qu’en Europe.
Cet ouvrage a le grand mérite d’intégrer les migrations dans la perspective plus large des mobilités, puis d’en examiner les liens avec le développement. Il est rédigé par de jeunes chercheurs africains, qui produisent à partir de leurs terrains spécifiques des analyses à valeur générale sur les sociétés contemporaines. Ils contribuent ainsi au renouvellement des sciences sociales à partir des pays africains.
On peut en revanche souligner que l’ouvrage a relevé un défi important : celui d’éclairer à la fois les dynamiques de l’expérience migratoire, des trajectoires suivies par les migrants et des espaces migratoires à l’intérieur de l’Afrique. — Sylvie Ayimpam, « Mobilités, circulations et frontières. Migrations, mobilités et développement en Afrique », Anthropologie & développement [En ligne], 51 | 2020, mis en ligne le 01 décembre 2020, consulté le 23 février 2021. URL : http://journals.openedition.org/anthropodev/1068 ; DOI : https://doi.org/10.4000/anthropodev.1068
These companion volumes are refreshing because they introduce us to many less well- known instances which amply illustrate just how mobile African populations really are at the regional, intra-regional and global scales. – Paul NUGENT, University of Edinburgh (United Kingdom)
Un ouvrage d’une grande actualité qui aborde la question des migrations sous un angle radicalement nouveau et original : l’articulation dynamique entre la migration, la mobilité et le développement en Afrique de l’Ouest. Ces deux volumes bilingues renouvellent le débat sur les migrations : de quoi faire réfléchir ensemble l’Afrique et l’Europe. – Marie-Caroline SAGLIO-YATZIMIRSKY, INALCO, CESSMA Paris (France)
Christian Bouquet, « Quelques éclairages nouveaux sur les migrations africaines », EspacesTemps.net [En ligne], Books, 2020 | Mis en ligne le 20 November 2020, consulté le 20.11.2020. URL : https://www.espacestemps.net/en/articles/quelques-eclairages-nouveaux-sur-les-migrations-africaines/ ; DOI : 10.26151/esapcestemps.net-jc2a-6b03
Avec la participation de Naluwembe BINAISSA, Alimou DIALLO, Nyalo Barkissa DRABO, Sylvester KOHOL, A. Aziz MOSSI, Loppa NGASSOU, Lawrence Rafaih OKELLO, Mutiat Titilope OLADEJO, Zakaria SORÉ, Astadjam YAOUBA et Irissa ZIDNABA.
Este livro escrutina o impacto significativo da independência em diferentes sectores da sociedade moçambicana. Quarenta e cinco anos após a independência, Moçambique conheceu várias transformações. O Moçambique pós-colonial é hoje, em muitos aspectos, diferente do Moçambique colonial. No entanto, existem muitas questões permanentes relativas a essas transformações e ao seu impacto na maioria do povo moçambicano.
Ao salientar as contradições de todos os processos políticos e sociais em Moçambique pós-colonial, neste livro levantamos questões que visam desconstruir alguns mitos sobre o país.
Temas como estado, desenvolvimento, política, cultura, nação, políticas públicas, políticas agrárias e outros são questionados em abordagens teóricas inovadoras e progressivas, a fim de compreender o passado, o presente e o futuro de Moçambique numa perspectiva crítica. Por conseguinte, cada tema do livro é tratado de uma perspectiva crítica para melhor captar as aporias dos últimos quarenta e cinco anos de independência.
A liberalização política que deveria permitir mais partilha de poder e mais respeito pelos direitos políticos e cívicos consolidou, pelo contrário, um regime autoritário que utiliza a ajuda internacional e os benefícios da indústria extractiva não para transformar o país, mas para construir a sua hegemonia política, económica e social em todo o país.
Defendemos neste livro a tese de que é impossível compreender a verdadeira dinâmica social, política, económica e cultural sem considerar o “povo” como uma categoria essencial de análise.
Apesar de muitas transformações positivas que ocorreram após a independência, Moçambique ainda preserva muitas heranças coloniais e, portanto, várias transformações estão ainda por implementar.
Neste trabalho afirmamos que Moçambique é governado por elites que são incapazes de descolonizar o projecto de desenvolvimento que ainda está ancorado na agenda da capital internacional.
O objectivo deste livro é dar uma melhor compreensão do que tem sido o processo de independência em Moçambique e porque é que o país pós-colonial ainda é colonial na sua estrutura política e económica. Assim, são dados muitos exemplos para dar ao leitor a possibilidade de confrontar as perspectivas teóricas aqui utilizadas com os casos concretos.
Todos os estudos deste livro mostram que quarenta anos de independência não foram vividos da mesma forma pelas elites que governam o país e pelas populações que vivem sob o seu domínio. Por um lado, as elites no poder e os seus parentes beneficiaram, e ainda beneficiam dos recursos do país, enquanto que uma grande parte da população continua à espera das promessas da independência.
De um ponto de vista político a económico, os estudos que compõem o livro destacam como o “desenvolvimento” em Moçambique tem estado em contradição com as necessidades do país. Significa que o actual modelo de desenvolvimento responde muito mais à capital internacional do que à transformação social de Moçambique.
The inside story of the struggles of the Kenya Land and Freedom Army, referred to by British colonialism as the ‘Mau Mau rebellion’, is little known today. The autobiographical material written by Karari Njama (a senior leader in the Mau Mau hierarchy) and compiled by Donald L. Barnett was first published by Monthly Review Press in 1966, as Mau Mau From Within: An analysis of Kenya’s Peasant Revolt. It was reprinted in 1970; it has remained out of print for many years. As the late Basil Davidson put it in his review of the first edition: “Njama writes of the forest leaders’ efforts to overcome dissension, to evolve effective tactics, to keep discipline, mete out justice … and to teach men how to survive in those merciless forests. His narrative is crowded with excitement. Those who know much of Africa and those who know little will alike find it compulsive reading. Some 10,000 Africans died fighting in those years . Here, in the harsh detail of everyday experience, are the reasons why.”
The book is an extraordinary story of courage, passion, heroism, combined with recounting of colonial terror, brutality and betrayal. It is a story of how the very idea of being ‘Kenyan’ was intimately linked to the idea of freedom, a connection that was destroyed not only by the firepower of the British, but also by those who collaborated and established themselves as the beneficiaries of neocolonial rule. Disconnecting notions of freedom from identity left only a caricature that rapidly descended into tribalism and ethnicity.
This momentous story of the struggle for freedom described here is relevant not only for a new generation of Kenyans but also for all those engaged in emancipatory struggles internationally. For so long as the experiences arising from the struggles described in this book are perceived as merely ‘African’ or ‘Kenyan’, it is not possible to fully grasp the contributions they have made to the struggle for a universalist humanity.
What is recounted in this publication is more than an ‘analysis of a peasant revolt’. It is above all a history of the Kenya Land and Freedom Army. As Ngūgī wa Thiong’o points out in his Preface to this new edition, ‘we don’t have to use the vocabulary of the colonial to describe our struggles.’ We were tempted to rename the book ‘Kenya Land and Freedom Army from Within.’ But because the original title has wide recognition, and and as one of the characteristics of movements of the oppressed is to appropriate derogatory terms used by their oppressors and repurpose them as an expression of pride in their own experiences, this book retains the original title, but with a change in the subtitle as ‘The Story of the Kenya Land and Freedom Army.’
We were delighted that Karari Njama was able to provide us with a Prologue to the new edition (Kamoji Wachiira, a former political prisoner, connected us with Karari and translated the text of the Prologue). Shujaa Hon Dr Gitu wa Kahengeri, Secretary-General of the Mau Mau War Veterans Association reminds us how the veterans of the liberation movement, like Karari Njama, continue to live in extreme poverty today despite the enormous contribution that they made to the struggle for freedom.
Kenya’s leading writer and academic, Ngūgī wa Thiong’o, points out in the Preface, how so much of the narratives about the Kenya Land and Freedom Army has been written from ‘without’, emphasizing the importance of a book that speaks to the personal testimony from within the movement. We are honoured to have Mīcere Gīthae Mugo, Emerita Professor of Literature at Syracuse University, provide reflections on the importance of the republication of this historical text. There are many who, as children, lived through the terrifying events of the Emergency during which so many were tortured and killed by the British (and their local collaborators) and whose psyche remains deeply affected by what they witnessed. Kamoji Wachiira describes some of these experiences vividly in his Introduction to the new edition. He highlights the extent of betrayal by successive post-independence governments, and the development of the post-independence revival of resistance which he was a central part of. He also emphasizes the importance for a new generation of Kenyans “to gain not only a deep understanding of Kenya’s revolutionary history but also to reflect on what lessons may be drawn for the struggle to achieve real freedom.”
The original publication had no biographical information about Don Barnett. Few are aware of the extent of Don’s political engagement with the cause of liberation, of which Mau Mau From Within was only one aspect. He was a founder of the Liberation Support Movement in Canada, and had close contact with the MPLA (Popular Movement for the Liberation of Angola). Don sadly joined the ancestors in 1975. We are fortunate, however, that Don and Daphne’s son and daughter, Michael Barnett and Dawn Barnett, were able to provide, together with Ole Gjerstad, a revealing biography.
We have endeavoured to retain the content of the original book (but for a few minor corrections) including the original Selected Bibliography. An updated Further Reading list is provided.
어떻게 자본주의를 넘어설 것인가라는 질문에 대한 답을, 지금 우리가 “감히” 찾아보려고 한다. 이 소책자를 통해, 자본주의를 벗어나 생태사회주의로 향하는 길을 찾는 우리의 노력이 뚜렷해지길 바란다.
자본주의에 갇힌 우리는, 어떤 형태로든 행동 또는 비행동inaction에 관여하고 있다. 행동은, 자본주의를 직접 마주하기 보다는 자본주의가 초래하는 심각한 여러 문제를 개선하기 위한 투쟁에 참여하는 모습을 띈다. 즉, 우리의 행동은 원인이 아니라 결과에 초점을 맞추는 모순을 보인다.
반면, 비행동은 동의를 의미하게 된다. 우리는 자본주의 경제 체계를 영속시키는 경제 활동에 문제 제기를 하거나 변화를 요구하는 행동을 하지 않음으로써 자본주의에 [암묵적으로] 동의하고 있다. 결과적으로 평범한 우리가 자본주의에 봉사하는 자본가 역할을 계속하고 있는 것이다.
왜 자본주의 억압의 대상인 우리가 억압에 동의하는가? 그 이유가 단지 [외부의] 탄압 때문만은 아니라고, 이탈리아 파시즘 하의 감옥에서 그람시Antonio Gramci는 말했다. 즉, “헤게모니”를 장악하는 이념이 우리의 삶을 둘러싼 억압적인 환경을 설명하고 정당화하는 것이다.
“소소한 혁명”은, 개개인의 삶 속에서, 쉽고 안전하게, 엄청 근사하지는 않지만 일상적이고 실천가능한 행동과 비행동을 얘기한다. 지금까지의 혁명사는, 혁명을 가능하게 했던 전체 민중보다는 소수의 혁명가에 주목했었지만, 자본주의에 맞서는 “우리는” 마르크스나 엥겔스가 떠올렸던 주인공들보다 훨씬 다양하고 규모가 커졌다. 자본주의를 수호하기 위해 싸우는 “그들은” 전 세계 인구의 극소수일 뿐이다.
자본주의의 어떤 특징이 억압적이고 그래서 제거되어야 하는지, 또 반대로 어떤 사회경제구조의 특징이 억압적이지 않으며 그래서 남겨져야 하는지를 뚜렷이 설명하는 전략이 필요하다. 자본주의 이후 사회가 어떤 모습이어야 할지는 점점 명확해지고 있다. 소소한 혁명은, 자본주의의 영속과 발전에 필수적인 과정에 대한 우리의 동의를 거두는 데에서 시작하여, 수 백 만의 우리가, 여전히 적은 소수이긴 하지만, 건설적인 혹은 파괴적인 노력에 창의적으로 참여할 수 있는 방법 또한 포함한다.
세상은 자본주의 그 이후로 이미 진행 중이다. 세계 곳곳에서 창의적인 모습의 공동체communal organization들이 생겨나 스스로 통치하고 구성원들의 생존과 안녕을 보장하기 위해 활동하고 있다. 복지 국가를 포함한 자본주의 국가를 넘어서는 것은 국가 자체를 넘어서는 결과로 이어진다. 연대 경제solidarity economy는 먼저, 소규모의 협동조합 성격을 띄는, 저렴하고 유쾌하고 편안한 주거 공간을 구성하는 방법을 모색하여, 착취적인 임대료, 빚, 세금, 보험에 대한 공동의 해결책을 제시한다. 또한 이러한 공동체는, 영양이 풍부한 먹거리를 지역에서 생산하여 유통하는 방법으로, 자본주의식 농업으로부터 독립을 꾀할 수 있다.
창조적 파괴는, 허가를 받아 하는 대규모의 시위가 아니라 자본주의가 순조롭게 기능할 수 없게 멈추거나 둔화시키는 직접 행동으로 가능하게 된다. 우리가 투자나 세금으로 흘러가게 내버려 두는 돈의 흐름을 비자본주의적인 연대경제에 돌리는 것도 창조적 파괴의 한 방법이다.
소소한 혁명은, 간단하고 안전하며, 자신의 삶을 조금이라도 바꾸고 싶은 의지가 있는 사람이라면 실천가능하다. 자본주의가 우리의 안녕과 행복을 파괴하는 체계라는 것을 알면서도, 부지불식간에 자본주의를 지지하고 동의하는 행동을 멈추는 즐거움을 누릴 수 있다. 놀랍게도 혁명을 위해 다치거나 죽지 않아도 되고, 심지어 큰 불편을 감수하지 않아도 된다. 우리가 해야 할 일은 단 하나. 어차피 하기 싫었던 여러 일들을 이제 정말 그만두는 것이다.
Edited by Íde Corley, Helen Fallon, Laurence Cox
These letters and poems are invaluable fragments of a living conversation that portrays the indomitable power in humans to stay alive in the face of certain death – to stay alive even in death.
Reading through the treasure trove of the letters and poems compiled here as The Last Writings of Ken Saro-Wiwa evokes intense memories of his resolute struggles against an oil behemoth and a deaf autocratic government. His crusade frames one of the most tumultuous periods of Nigeria’s history; his tragic story evokes anger and demands action to resolve the crises that first led the Ogoni people to demand that Shell clean up Ogoni lands or clear out of the territory.
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Daraja Press
http://socialistreview.org.uk/438/youre-not-here
Set in and around Manchester, You’re Not Here is informed by Mehmood’s experience of growing up a working class Pakistani in northern England, combatting racism on the streets and being arrested. The novel explores the British Asian experience in the context of the “war on terror” and Islamophobia. “I have lived and fought against various waves of racism in Britain, but the current Islamophobic one, the new racism, is far more insidious and divisive than those which preceded it,” says Mehmood in his blog.
This novel is a sequel to You’re Not Proper, which explored, in the author’s words, “what it is to be a Muslim teenager in the west today”. While it featured two teenage women’s search for identity and belonging — one with a Pakistani father and white Christian mother, the other her Hijab-wearing school friend — Mehmood’s sequel is, interestingly, told from the point of view of a white working class British youth.
Jake’s father was in the army. His elder brother is missing in action in Afghanistan. Jake is in love with a Muslim girl. We are introduced to diverse Asian characters and to white racist friends of his brother, and to the tensions both within and between the two communities, through Jake’s eyes.
While the novel reads like a pacey thriller, the teenage love story is treated with convincing tenderness. And there is sympathy for British soldiers. One scene features physically and mentally scarred ex-soldiers discarded by the state, and Military Friends and Families Against War make an appearance.
Daraja Press
Tariq Mehmood’s new novel is uncompromising but hopeful in its portrait of the impact of the war in Afghanistan on a northern city in Britain, finds Sarbjit Johal
https://www.counterfire.org/articles/book-reviews/20045-you-re-not-here-book-review
Sarbjit Johal December 20, 2018
mehmood_novel.jpg
Tariq Mehmood, You’re Not Here (Daraja Press 2018), 238pp.
‘I feel her words more than I hear them’.
Tariq Mehmood’s latest novel, You’re Not Here, is set in Boarhead, an imaginary town in the North of England where the main character, seventeen-year-old Jake, lives and works with his Dad, who is a traditional white working-class carpenter. However, Boarhead is a place where people defy all stereotypes and devise creative ways to survive, a place where people
who have for too long been left to their own devices, to defend, protect and look after themselves. So, when the British Army goes into Afghanistan and starts killing Muslims, and destroying their homes, while the bodies of dead soldiers start coming back home, the tensions in Boarhead erupt out into the open. Young Muslims become angry and upset, and the white youth start giving their support to this horrific war, and start calling the Muslim youth ‘traitors’ for not supporting the British Soldiers.
While Jake’s brother, Dexy, goes to fight in Afghanistan, Jake falls in love with Leila Khan, an Afghan girl living in Boarhead. It is through this contradictory thread that Tariq Mehmood explores what it means to have a national identity, to be a real man and to really belong in a country which is always waging wars. From the name of the town Boarhead (pig’s head) to the names of roads and buildings (St Enoch’s Road, the Queen Victoria statue, and the cafe where the menu lists Vindaloo Porky to Trotter Tikka (opened by Curly, who can neither read nor write, and spent most of his life on the dole), Boarhead is a place facing economic decline where race, racism and present-day war shapes everything.
The novel raises questions about what is culture? What is Asian, and what is English? What happens when people do not fit their stereotypes? And how to create a people’s culture of resistance? It shows how war strengthens racism, how it affects who dies, who lives, who gets a job and who doesn’t, who belongs, who doesn’t and what happens when people dare to defy orders, refuse to follow the duty forced on them and decide to determine their own lives.
Surviving destruction and loss
It reveals the struggle of people whose lives once destroyed by war are again wiped out in the West, like the maths professor from Iraq, who is a taxi driver in Boarhead. His university in Iraq was bombed to bits and in Boarhead he is seen as a Pakistani, when in actual fact he is a Christian Arab. You’re Not Here refers to all those loved ones who are gone or missing, and in Jake’s case it refers to his mother, brother and the longing he feels for Leila. You’re Not Here shows the things people hold on to when everything else is falling apart and nothing makes sense. For example, Jake’s father starts reading the Bible when he loses his job.
The people in Boarhead have cast and recast themselves in a constantly changing backdrop. This is a place where old Victorian mills have been knocked down to be replaced by shops like Asda and new private flats for sale, and the only place where you can have any privacy is a graveyard in an unused church.
Whether it’s food, clothes, language, looks, nothing here conforms to any static idea of culture. The chapter, ‘Doris’s Kebabs’, where Jake meets Leila’s father, is absolutely hilarious. Leila’s father, who has green eyes, introduces himself as Peter but Jake finds it difficult to see him as a ‘Peter’ and keeps calling him ‘Sir’. Reading this reminded me of a close uncle who used to be a wrestler in Punjab. After coming to Britain and working in farms and factories in West London, he would insist on being called Peter Singh when his actual name is Pritam Singh.
Jake is also surprised to see Peter drinking alcohol, drinking so much, and drinking it so fast. Whereas Jake, who is expected to drink, doesn’t drink alcohol at all. Peter’s comments on the kebabs he eats, ‘Even my wife can’t make them like Doris’, the way he speaks a mix of English and his own language, give space to a dynamic culture. Peter’s words even challenge the Hindutva fascists in India who portray Muslims as people who kill cows. Peter laments the large number of animals killed in war and expresses his sorrow at the murder of a cow in his village in Afghanistan. A cow which Peter himself had named, a cow whose mother his father had raised, a cow which had been the envy of the village.
Resistance and dissent, great and small
The book is littered with laugh-out-loud moments. The challenge to conventional right-wing culture comes from unconventional places. In one chapter, Abu Khalid, a religious leader criticises the owner of a shop called ‘Paradise Foods’ for displaying his tomatoes and cucumbers in a ‘rude’ way. He asks: ‘How can you do this when there are sisters around,’ and then goes on to accuse the shop keeper of ‘promoting sex and temptation’. Abu Khalid is then confronted by an old Pakistani woman who picks up a cucumber and asks him, ‘Shall I show you what I can do with this?’ Later in the story we learn that this religious leader is linked to some ‘powerful people in high places.’
The story of another character, Ali, is of an Asian shopkeeper who is determined to keep going despite the daily onslaught of racist abuse and armed raids, in an area where there are very few non-white people left. He has even opened a photo-booth inside his off-licence to keep the business alive. Ali is tall, has a six pack and owns a huge Alsatian dog called Twinkle with whom he speaks in Punjabi.
Jake goes to ‘Ali’s Offy’ to get a photo for a visa to Pakistan and to buy a bottle of whisky for his dad. Jake’s dad either drowns his emotions in alcohol, or in his work. When he’s working, Jake’s dad looks like a totally different person, much younger and full of energy and when times get tough, his solution is to work even harder.
For Jake’s father, this pride in the work ethic, this pride in a respectable ‘soldiering’ family is also tied up with how he sees himself as a man. For example, at home, when he cooks, Jake’s dad always manages to burn the food. His opinions of what he thinks of men who cook are made clear in his comments to Jake, who enjoys cooking: ‘You’ll make someone a good wife one day’.
Leila and Jake are both outsiders in their own way. Leila is very articulate and confident in public and constantly challenges Jake, but she comes across as being more deferential in the family. However, Leila does not aspire to be a ‘respectable’ Muslim woman, and Jake does not want to be a ‘respectable’ working-class man. He doesn’t drink, smoke, and is not ‘macho’.
Dexy is the older, protective brother who has Rambo posters in his bedroom, who’s ‘all emotion one minute and off his head the next’. He wears gold rings, hates Muslims and refers to hijabs as tents. But everything is never black and white, and that’s what makes this book interesting. Some soldiers come back from the war with very different perspectives than with which they departed. The novel has a hopeful aspect, even as it highlights destruction and suffering, as some of the characters find unexpected connections and solidarities in growing disillusion and opposition to imperialist war.
The ending is great, but just like real life, it is not a ‘happy ever after’ ending. It would have been interesting to hear more about Ali and his background as well as about Leila’s brothers and mother. Another criticism is that, at times, Jake, the central character, just seems ‘too perfect’. However, the story, the characters, the way the novel is structured, all makes this a really brilliant read.
There are so many powerfully realistic scenes. For example, the passage where Jake goes to find out why his friends have turned against him, really made me empathise with Jake’s pain. This is a singular feature of this novel, the ability to bring together people who are supposed never to meet. Then there is the section where Jake is cooking a stew and you follow the whole process from the chopping stage up to the eating stage, and the tension builds right up. Then there is the bus journey with its details of bus tickets and bus stops along with the ‘policing’ of young people by drivers, which all comes alive as you read it.
There are also some very interesting facts too, like the link between a Scotch Whiskey Brewery and Pakistan, or that there are the soldiers who go to fight wars, and when they die no one ever hears about them. An important and unforgettable feature of this novel is the way in which Tariq Mehmood uses language. There are the funny names like the Mucky Duck pub, Go-East Go West travel agency, and Kurly’s Kurry Kabin. Then there is the technique of joining old words to create new ones like the ‘ohgoddoIhaveto’ look or the ‘Pleasepleaseplease’ and the ‘dontyouworryson’ smile.
Although the novel is aimed at young readers, this book speaks to adults too. It dares to give space to that humanity which connects us all. And it screams out loud:
‘No to Racism,
No to Poverty,
No to War!’
Daraja Press
The narrative is packed with authentic voices, often humorous observations and insights, The novel reads like a thriller. It reaches an action-packed and moving climax, but, unlike a thriller, we are left uneasy about what may happen next.
Helen Goodway, Red Pepper, Summer 2019