POC are just like you and me. Sure, there are technical, mostly visual, differences between us. However, considered in the grand scheme of things, such differences are quite trivial.
Far from a weakness, this diversity is a strength; we all play a role in moving our democracy forward, and ensuring the public realm remains a lively and vibrant place. Of course, by POC, I am referring to People of Commentary.
POC are everywhere. Turn on the television and you’ll be greeted by POC. Scroll through any social media feed, and without much effort, you’ll find posts made by POC. Walk through the middle of London, and soon enough, you’ll sight chattering congregations of POC.
Given the apparent omnipresence of POC, one eventually begins to ask: where did they come from? Were there this many POC in Britain 50 years ago? Yes, I know I’m pushing my luck.
In all serious consideration, the voice of commentators, self-described or not, for better or for worse, constitutes a large chunk of public, especially political, discussion in Britain.
Conversely, and it would seem simultaneously, we have witnessed a rapid decline of public intellectualism over consecutive decades. Indeed, the noted absence of intellectuals from public life is underscored when most people struggle to define what an intellectual actually is.
Many are inclined to believe that the British are, by their very essence, an anti-intellectual people. Distrustful of abstraction, they very much prefer a hodgepodge philosophy of empirical observation and sainted “Common Sense” – both of which, especially the latter, intellectuals supposedly and infamously disregard.
An immediate glance at ongoing matters would support this position. Despite the fundamental disagreements constituting the “Gender Wars”, it is clear that both sides consider Britain, thankfully or regrettably, uniquely resistant to transgenderism. In my view, this can be traced to our Anglo-Saxon forbearers, who gradually removed the notion of gendered words in our language besides the ones which speak to the empirical (that is, biological-anatomical) distinction between men and women.
All this said, empiricism isn’t exactly synonymous with “anti-intellectualism”, just as the names Francis Bacon, Thomas Hobbes, David Hume, George Berkeley, or Edmund Burke rarely come to mind when discussing “anti-intellectuals”. We can safely assume that intellectuals primarily deal in ideas, but we can’t safely assume said ideas are purely rationalistic and abstract.
Herein lies the distinction: there’s a difference between contemporary “anti-intellectualism”, which has contributed to the explosive ascendancy of POCs, and the “anti-intellectualism” which is distinctly “intellectual” in nature – pertaining to the limits, rather than uselessness, of intellectualism-as-abstraction. As such, we should consider post-war anti-intellectualism as a degeneration of a healthier and more measured position.
Without placing too much weight on the origins of Britain’s post-war anti-intellectualism, I would argue that such a precise attitude be attributed to the popularity of the ideas of George Orwell, as conveyed by cultural osmosis, rather than extensive reading; specifically, his preoccupation with ‘Ordinary People’ and the ways in which they are different to the class of ‘Intellectuals’ whom Orwell sought to disassociate himself.
This is an excerpt from “Ides”. To continue reading, visit The Mallard’s Shopify.
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Dostoevsky’s Answer to the Problem of Evil: A Lenten Reflection
Having tackled the growing hydra of socialist radicalism through his previous major novels, Fyodor Dostoevsky set out in The Brothers Karamazov to address what he saw as the fountainhead of the mid-century Russian ideological shifts: the loss of faith in the the gospel and in the Orthodox Church as the means established by Christ to display that gospel to the nations.
To be sure, Dostoevsky saw this loss of faith primarily in the upper-class intelligentsia and the later populist youth. The former, the Westernizers of the 1940s-60s whom Dostoevsky pilloried in everything from Notes from Underground to The Devils, had intended to enlighten the peasant class—part of which involved relieving them of their superstitious belief in Christ’s divinity and Christian morality. The latter generation of 1870s Populists broke from the amoral nihilism of that generation (in no small part due to Crime and Punishment and The Devils) and instead venerated the peasants’ simple way of life and native morality; however, refusing to acknowledge their source in Christ and the Russian Orthodox Church, the populists still maintaining secular aims.
Dostoevsky’s response to both groups was to advocate a return to the fullness of the faith in Orthodoxy, which could satisfy all needs of the human individual, both physical and transcendent. However, having previously been a radical himself, Dostoevsky was ever willing to pursue this goal through a conciliatory approach, especially if he might thereby rescue some readers from the contradictions and potential disasters of radicalism. He does this in The Brothers Karamazov by taking seriously a primary objection to Christianity: the problem of evil.
Ivan Karamazov: The Problem of Evil
He articulates the problem of evil through Ivan Karamazov. In Book Five, Chapter V, “The Grand Inquisitor,” Ivan follows up his description in the previous chapter of the senseless abuse of children (all gathered by Dostoevsky from real-life newspaper stories) to his little brother Alyosha, a would-be priest, with the one of the most famous stories-within-a-story in world literature. These chapters, according to Dostoevsky’s letters, are among the most important in the novel. They lay out the problem of evil and its refutation—through a parallel story-within-a-story: Book VI, The Russian Monk, which presents the life and sayings of the local monastery elder Fr. Zosima, compiled by Alyosha long after the novel’s events.
Acknowledging himself as no philosopher—to say nothing of his being an Eastern Orthodox Christian, who generally eschew Western theory-forward approaches in favor of ascetical practice and theosis as proof of the faith—Dostoevsky does not merely present logical arguments for or against Ivan’s atheism. (Indeed, one of the greatest aspects of this self-proclaimed atheist is that it is debatable whether Ivan believes his own professed atheism. He often waffles in, and at times regrets, his stance and, like Dostoevsky’s previous protagonists, is horrified upon seeing his stated beliefs actually lived out by Smerdyakov. Furthermore, Ivan often fits less the title of Enlightenment philosophe and more that of Romantic hero in protest against an unjust God whom he nonetheless believes in.) Rather, Dostoevsky addresses Ivan’s problem with evil not with a matching argument and polemical story, but with the life of a saint.
Fr. Zosima: A Holy Life
In Book VI, The Russian Monk, Dostoevsky breaks from the novelistic form and uses, instead, the mystical, timeless mode of hagiography. Because it is ordered by a moral message rather than causal events or their concomitant psychological elements, such a mode has struck many critics as dismissable, being unrealistic or simply jinned up. Dostoevsky acknowledges this in a letter to Konstantin Pobedonostsev, the Russian Orthodox Church’s representative in the Tsar’s cabinet: “Something completely opposite to the world view expressed earlier appears in this part, but again it appears not point by point but so to speak in artistic form. And that is what worries me, that is, will I be understood and will I achieve anything of my aim?”
Nonetheless, by answering the problem of evil with a holy life lived in spite of evil, he tells his assistant editor, Dostoevsky intends to show “that a pure, ideal Christian is not something abstract, but graphically real, possible, standing before our eyes, and that Christianity is the only refuge from all its ills for the Russian land,” and, presumably, for those of the rest. In short, Dostoevsky answers the world’s evil with holiness—with the saints alive in every generation of Orthodoxy that allow the Church to call itself “Holy” in the Nicene Creed and by whose theotic prayers and actions it redeems a fallen world.
The Russian Monk, however, goes beyond merely presenting one exception to evil. Contrary to the atheist-materialist-socialist arguments (then and now) that people and their actions are merely effects of environment, Dostoevsky maintains that part of the image of God in man is an inalienable individual moral agency. Thus, the redemption shown in Fr. Zosima’s story is available to all. Far from presenting merely one anecdote, The Russian Monk transforms all characters in The Brothers Karamazov into potential likenesses of Christ and His redemption of the world.
As Nathan Rosen argues, this opposite pole of “The Grand Inquisitor” defends the faith not through rational argument but through aesthetic fullness—by presenting a man who embodies in his own life the story and truth of Job. According to Rosen and other sympathetic critics, Zosima’s story, “is the literary equivalent of a precious hallowed old church icon,” and as such it renders the rest of the novel, broadly, and Alyosha’s path, specifically, into the realm of iconography—the tradition that, following Christ’s being the first Icon of God the Father, reveals the truth of the gospel through aesthetic incarnation.
Grushenka: Dostoevsky’s Magdalene
And, yet, at the time of the novel’s events, Alyosha is not as sanguine as the later Alyosha who recorded Fr. Zosima’s life. Indeed, between his conversation with Ivan (and the discovery of his own unsuspected resentment of God it revealed) and Fr. Zosima’s non-miraculous death*, his faith is quite shaken. He is, thus, primed for either a full loss of faith or a restoration in the chapters preceding “Cana of Galilee,” which Dostoevsky describes to his assistant editor as “the most significant [chapter] in the whole book.”
Having felt his faith shaken by Ivan’s “poem” and the circumstances of Fr. Zosima’s death, Alyosha reverts to the way of life he knows to be native to himself as a Karamazov: sensual degradation. Agreeing to go with the atheist student Rakitin (who’s just been wishing to trip up Alyosha so he might gloat) to the home of his father and eldest brother’s paramour, Agrafena “Grushenka” Svetlova, Alyosha intends to…do whatever Dostoevsky’s readers might infer from the author’s 19th-century understatement.
Grushenka immediately catches the mood and starts to flirt with the boy. Any other time she would have been more than willing to get her claws in yet another Karamazov male—especially the one who, by his purity, represents the moral opposite of her supposed fallenness. Although she conceals some secret joy altogether different from her vengeful persona of seduction, Grushenka begins to play the harlot she knows Alyosha considers her to be. “She suddenly skipped forward and jumped, laughing, on his knee, like a nestling kitten, with her right arm around his neck. ‘I’ll cheer you up, my pious boy.’”
And, yet, far from falling to her ways, Alyosha discovers that Fr. Zosima’s teaching was not altogether without fruit. “This woman, this ‘dreadful’ woman, had no terror for him now, none of that terror that had stirred in his soul at any passing thought of woman.” Furthermore, he soon learns that the joy hidden beneath her flirtation springs from the recent discovery that the man who had seduced and abandoned her as a teenager is returning, and that she is willing to forgive him.
This turn of events has emptied her impulse to reduce Alyosha to her fallen position. “It’s true, Alyosha, I had sly designs on you before, for I am horrid, violent, but at other times I’ve looked upon you, Alyosha, as my conscience…I sometimes look at you and feel ashamed, utterly ashamed of myself.” No doubt this shame had driven her late desire to cause Alyosha’s fall.
However, just as Ivan’s description of the suffering of children primed the way for the denial of Christ in “The Grand Inquisitor,” Grushenka’s act of forgiveness for being seduced as a young girl is the prelude to her—and Alyosha’s—redemption. For, after overthrowing nearly a decade of resentment in the name of forgiveness and reconciliation, Grushenka finally learns of the death of Fr. Zosima. “She crossed herself devoutly. ‘Goodness, what have I been doing, sitting on his knee like this at such a moment!’ She started up as though in dismay, instantly slipped off his knee and sat down on the sofa.”
Witnessing such an immediate response of reverence begins the restoration of Alyosha’s faith. To Rakitin, who is still proud of having delivered Alyosha to Grushenka, Judas-like, for 25 rubles, Alyosha says, “look at her—do you see how she has pity on me? I came here to find a wicked soul—I felt drawn to evil because I was base and evil myself, and I’ve found a true sister, I have found a treasure—a loving heart. She had pity on me just now…Agrafena Alexandrovna, I am speaking of you. You’ve raised my soul from the depths.”
The paired forgiveness and reverence of Grushenka, the person Alyosha least expected to show such things, provides the miracle he was waiting for: the manifestation of Fr. Zosima after death. For, besides her forgiveness of the officer, in fearing what effect her own seductiveness might have had on Alyosha Grushenka displays Zosima’s core message. Assuming one’s own moral responsibility—not merely for one’s actions, but, according to Fr. Zosima, for all men’s actions—is the whole means of acquiring the likeness of Christ, and Alyosha sees Grushenka, of all people, practice it.
From the Orthodox perspective, in thus fulfilling her innate human image of God with behavior according with His likeness, Grushenka has become a living icon, as Christ, the first Icon, had been. Grushenka’s is the miracle of a Magdalene conversion, manifested before Alyosha’s eyes, and it primes him for his own symbolic incarnation of Fr. Zosima’s—and the unnamed Christ’s—message, spirit, and way of life in the climactic next chapter.
Alyosha: A Living Icon
Ultimately, each reader must decide for him or herself whether Dostoevsky’s answer to the problem of evil, indeed, answers it. Many critics have considered Ivan’s objection to Christianity insurmountable. Leaving aside possible confirmation bias in such academic interpretation, things are, admittedly, not helped by the response’s seeming so obscure—even arguably interrupting—especially to Western audiences that have generally foregone monasticism, iconography, and veneration of saints since the Reformation and subsequent Enlightenment.
However, the true answer to evil, according to The Brothers Karamazov, is not a simple one-and-done response provoking a change of mind (though Alyosha’s realization in “Cana of Galilee” of the Orthodox sacramental view of creation involves just that). Rather, it is a disposition and way of life depicted first through Fr. Zosima, then the redeemed Grushenka, and finally through a not much older but very much wiser Alyosha, who through the rest of the book follows his Elder’s direction in living out the gospel in the real world, amidst but not stifled by its temptations and evils.
And, indeed, when Alyosha meets the fourteen-year-old self-described radical, Kolya, who both parodies Ivan and represents a serious ideological influence on his younger friends, he is unperturbed. Doing what Dostoevsky hoped, himself, to do with The Brothers Karamazov, Alyosha redirects the good-hearted youth’s radicalism into a simple and more impactful Christlike love of the least of these—specifically, the smallest, Ilyusha—and he manifests the humble confidence and tranquility not merely of his former elder, but of Christ and His sacramental life.
*It was considered a proof of a holy man’s life that his body did not decompose post mortem; the lack of such incorruptibility in Fr. Zosima leads Alyosha to doubt whether, as Ivan has lately denied, a God of justice exists. Ironically, by expecting a grandiose miracle to meet his spiritual crisis, Alyosha discovers that he is little better than those described by Ivan in “The Grand Inquisitor” who are too weak for the moral freedom (and responsibility) inherent in Christianity. It also reveals Alyosha’s desire to defer his moral responsibility (an antiChristian impulse in Dostoevsky) to the holy man’s direction.
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Barbie, Oppenheimer and Blue Sky Research
Barbie or Oppenheimer? Two words you would have never considered putting together in a sentence. For the biggest summer blockbuster showdown in decades, the memes write themselves.
In recent months (and years!), we’ve seen flop after flop, such as the new Indiana Jones and Flash films, with endless CGI superheroes and the merciless rehashing of recognised brands. The inability for film studies to recognise and attempt anything new has only led to the continued damage of established and respected franchises.
This in part is due a decline in film studios being willing to take risks over new pieces of intellectual property (something the Studio A24 has excelled in), and a retreat into a ‘culturally bureaucratic’ system that neither rewards art nor generates anything vaguely new, preferring to reward conscientious proceduralism.
Given this, there has been widespread speculation that films like Oppenheimer will ‘save’ cinema, with Christopher Nolan’s biographical adventure, based on the book ‘American Prometheus’ (would highly recommend), being highly awaited and regarded.
Although, I suspect cinema is too far gone from saving in its current format. I do believe that Oppenheimer will have long term cultural effects, which should be recognised and welcomed by everyone.
In the past, there have been many films that, when made and consumed, have directly changed how we view topics and issues. Jaws gave generations of people a newfound fear of sharks, while the Shawshank Redemption provided many with the Platonic form of hope and salvation. I hope that Oppenheimer can and will become a film like this, because of what Robert Oppenheimer’s life (and by extension the Manhattan Project itself) represented.
As such, two things should come out of this film and re-enter the cultural sphere, filtering back down into our collective fears and dreams. Firstly, is it that of existential fear from nuclear war (very pressing considering the Russo-Ukrainian War) and what this means for us as species.
Secondly, is that of Blue-Sky Research (BSR) and the power of problem solving. Although the Manhattan project was not a ‘true’ example of BSR, it helped set the benchmark for science going forward.
Both factors should return to our collective consciousness, in our professional and private lives; they can only benefit us going forward.
I would encourage everyone to go out tonight and look at the night sky and say to yourself while looking at the stars: “this goes on for forever”. In the same breath, look to the horizon and think to yourself: “This can end at any moment. We have the power to do all of this”.
Before watching Oppenheimer, I would highly encourage you to watch the ‘Charlie Dean Archives’ and the footage of atomic bombs from 1959. Not only is the footage astounding, multiple generations have lived in fear of the invention; the idea and the consequences of the bomb have disturbed humans as long as it has existed.
Films like Threads in Britain played a similar role, which entered the unconscious, and films like Barefoot Gen for Japan (this film is quite notorious and controversial, but a must watch) did the same, presenting the real-world effects of nuclear war through the eyes of young children and the fear it invokes.
In recent years, we have seemingly lost this fear. Indeed, we continue to overlook the fact this could all be over so quickly. We have forgotten or chosen to ignore the simple fact that we are closer than ever before to the end of the world.
The pro-war lobby within the West have continually played fast and loose with this fact, to the point we find ourselves playing Russian roulette with an ever-decreasing number of chambers in our guns.
In the past, we have narrowly avoided nuclear conflict several times, and it has been mostly a question of luck as to whether we avoid the apocalypse. The downside of all this is that any usage of the word ‘nuclear’ is now filled with images of death and destruction, which is a shame because nuclear energy could be our salvation in so many ways.
Additionally, we need to remember what fear is as a civilisation; fear in its most existential form. We have become too indebted to the belief that civilisation is permanent. We assume that this world and our society will always be here, when the reality is that all of it could be wiped out within a generation.
As dark as this sounds, we need bad things to happen, so that we can understand and appreciate the good that we do have, and so that good things might occur in the future. Car crashes need to happen, so we can learn to appreciate why we have seatbelts. We need people to remember why we fear things to ensure we do everything in our power to avoid such things from ever happening again.
Oppenheimer knew and understood this. Contrary to the memes, he knew what he had created and it haunted him till the end of his days. Oppenheimer mirrors Alfred Nobel and his invention of dynamite, albeit burdened with a far greater sense of dread.
I hope that with the release of Oppenheimer, we can truly begin to go back to understanding what nuclear weapons (and nuclear war) mean for us as a species. The fear that everything that has ever been built and conceived could be annihilated in one act.
We have become the gods of old; we can cause the earth to quake and great floods to occur and we must accept the responsibility that comes with this power now. We need to fear this power once more, especially our pathetic excuse for leadership.
In addition to fear, Oppenheimer will (hopefully) reintroduce BSR into our cultural zeitgeist – the noble quest of discovery and research. BSR can be defined as research without a clearly defined goal or immediately apparent real-world applications.
As I mentioned earlier, whilst the Manhattan project was not a pure example of BSR, it gave scientists more freedom to pursue long-term “high risk, high reward” research, leading to a very significant breakthrough.
We need to understand the power of BSR. Moving forward, we must utilise its benefits to craft solutions to our major problems.
I would encourage everyone to read two pieces by Vannevar Bush. One is ‘Science the Endless Frontier’, a government report, and ‘As we may think’, an essay.
In both pieces, he makes a good argument for re-examining how we understand scientific development and research and calls for governmental support in such research. Ultimately, Bush’s work led to the creation of the National Science Foundation.
For research and development, government support played a vital role in managing to successfully create nuclear weapons before either the Germans or Japanese and their respective programs.
I believe it was Eric Weinstein who stated that the Manhattan project was not really a physics but rather an engineering achievement. Without taking away from the work of the theorists who worked on the project. I would argue that Weinstein is largely correct. However, I argue that it was a governmental (or ‘human’ achievement), alongside the phenomenal work of various government-supported experimentalists.
The success of the Manhattan Project was built on several core conditions. Firstly, there was a major drive by a small group of highly intelligent and functional people that launched the project (a start-up mentality). Secondly, full government support, to achieve a particular goal. Thirdly, the near-unlimited resources afforded to the project by the government. Fourthly, complete concentration of the best minds onto a singular project.
These conditions mirror a lot of the tenets of BSR: placing great emphasis on government support, unlimited resources and manpower and complete concentration on achieving a specific target. Under these conditions, we can see what great science looks like and how we can possibly go back to achieving it.
Christopher Nolan has slightly over three hours to see if he can continue to make his mark on cinema and leave more than a respectable filmography in its wake. If he does, let’s hope it redirects our culture away from merely good science, and back towards the pursuit of great civilisational achievements – something always involved, as a man with a blog once said: “weirdos and misfits with odd skills”.
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10 Best Books on International Politics
When we read books about politics, many of us may be more inclined to read about what happens in the Anglosphere. It’s natural really- it’s our language, closer to our culture and what we see about on the news.
It is, however, always refreshing to expand our horizons. Here are ten of my favourite books, handpicked, on non-Western international politics and history.
Dictatorland: The Men Who Stole Africa- Paul Kenyon
You may have already read my glowing review of this book and if you haven’t, get to it. This book discusses several contemporary and older dictators of Africa, from the slain Gaddafi of Libya to the man who has been in charge of Equatorial Guinea since 1979. It starts with colonialism, slithers through independence and continues afterwards. Some dictators were murdered, others remained for years or were finally booted out of office.
It’s a great study of colonialism, the promise of freedom and how these countries suffered under the men who offered them so much. These nations should be rich due to oil and other resources, yet only a few manage to make money from said resources. We learn about dictators who are worth billions, contrasting with the people who live in abject poverty.
Best Feature: Covers several countries, allowing the reader a greater scope.
Queens of the Kingdom: The Women of Saudi Arabia- Nicola Sutcliff
Everyone has their own preconceived ideas of Saudi Arabia, so prepare to have your views challenged. Sutcliff interviews a large number of women who live in the mystical kingdom- wealthy housewives, educated entrepreneurs and illiterate village dwellers among them. They give their views on everything from marriage to education.
Some are thrilled with having their family keep them close and husbands who are their guardians. Others have experienced insurmountable horror with beatings and underage marriage. What links them all is a love for their culture and country, no matter what they think of their society.
Best Feature: The women really tell you what they think.
El Narco- Ioan Grillo
Many readers will have watched Netflix’s hit show Narcos, which shows the work of the DEA in Colombia and the life of Pablo Escobar. Grillo’s book is the real deal, chronicling the Mexican drug cartels that have gripped the beautiful Central American nature.
There’s no glamourising money, cars and women here. It’s all gritty, the truth behind the devastation. Kidnappings, murders and tortures are aplenty. Friends turn on friends. Journalists are targeted. Innocent people are killed in the crossfire.
Best Feature: Grillo lays out the strategies of successive Mexican and American governments regarding the War on Drugs.
Our Bodies, Their Battlefield: What War Does to Women- Christina Lamb
I’ve read a lot of books and watched a lot of documentaries about depressing issues, but this book is easily the most shocking and heartbreaking thing I’ve ever read.
From the refugee camps in Syria to the survivors of Rwanda, we learn about the use of rape as a weapon of war and what it does to women. These women have been raped and tortured. Babies and elderly women aren’t exempt from brutality. Governments ignore it. Rapists get away with it. Families and communities shun victims.
It’s extremely brutal and doesn’t pull punches when it describes what happens to these women, but there are moments of hope that shine through.
Best Feature: It shows how war rape has been used for centuries and in every corner of the world
Shake Hands With the Devil- Romeo Dallaire
Up to one million people were killed in the space of a few months in three months in 1994 Rwanda. This book is written by Romeo Dallaire, leader of the United Nations Assistance Mission for Rwanda (UNAMIR). Dallaire had a front row seat to the slaughter, taking us from his early life in terror-ridden Quebec to his life after Rwanda.
It makes one pretty angry- Dallaire desperately tried to get the UN to take notice of what was about to happen, but was ignored. People on the ground did nothing. Villagers slaughtered the people they lived with for years. Dallaire suffered from PTSD and attempted to take his life several times afterwards. It’s essential reading.
Best Feature: It really portrays the absolute hell on earth that is the Rwandan Genocide
First They Killed My Father- Loung Ung
I’m pretty much a hard arse when it comes to movies, but the film of this book had me crying.
Loung Ung was one of seven siblings in a prosperous, middle-class Phnom Penh. Her life turned upside down upon the arrival of the Khmer Rouge and rise of Pol Pot. Ung then lived through the unimaginable- the death of most of her family, living through forced labour and being a child soldier.
It was a book that made me often wonder if I was actually reading a true story, for it felt like I was reading a fictional dystopia.
Best Feature: Gives an inside view of one of the world’s most horrendous contemporary crimes
Persepolis- Marjane Satrapi
Unusual in that it’s a graphic novel, Persepolis is the true story of the Iranian-born Marjane Satrapi. Born into an intellectual, liberal Iranian family, Marjane Satrapi was young when the revolution happened. From the first time she was forced into a hijab, Satrapi hated the new regime. Her rebellious nature led her family to send her abroad out of fear she’d be executed.
Satrapi contrasts her life in the West and in Iran. She talks about her family, what romance is like in the conservative regime and how she sneakily listened to American rock music.
Best Feature: It’s a story of a fish out of water in a very real way
Girl With a Gun- Diana Nammi and Karen Attwood
Diana Nammi was only a teenager when she became part of the Peshmerga, part of Iranian Kurdistan. Nammi fought on the frontlines and in the process became one of Iran’s most wanted people. She saw death and survived it herself.
Nammi now resides in the U.K., founded a charity for women and has been instrumental in the fight against child marriage. She had to move her for her own safety, but her love for her people is clear.
Best Feature: Gives a great insight into Kurdish culture
Without You, There is No Us- Suki Kim
North Korea is the world’s most secretive country and in this book, Suki Kim infiltrated it. The journalist spent some time as a teacher for the elite’s sons. Her notes and documents had to be kept secret and her life was restrictive. Suki discusses how she became close to her initially unwilling students, where the two cultures learned about one another and how the prospect of watching Harry Potter thrilled them.
It’s sweet but sad- these kids are just like us, yet live in a regime which doesn’t allow their full potential. On top of that, it’s a very personal look at North Korea instead of the outside analysis that is usually the only thing available.
Best Feature: We get to know these teenage boys and their dreams.
Nuclear Folly- Serhii Plokhy
I’m cheating slightly here as a chunk of the book is set and about the US, but it gives equal treatment to Cuba and the Soviet Union. The year is 1962 and when recon planes catch sight of missile structures on Cuba, all hell breaks loose. We learn about the origins of the Cuban Missile Crisis, Castro’s desperate attempts to fight the US, Khrushchev’s role and how the Kennedy administration reacted.
It’s pretty shocking to read how damn close the world came to nuclear war and how Robert McNamara (Secretary of Defense under Kennedy) only learned that the missiles were offensive and not just defensive thirty years later. Each of the three leaders had their own fate- Kennedy was assassinated a year later, Khrushchev was eventually pushed out for his role and Castro outlived them both by decades.
Best Feature: Very intricate in details
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