A wry and delicate novel about the ancient human fact of migration.
Journey’s End. Review of Mohsin Hamid, Exit West. Financial Times, 25 February, 2017.
(Slightly) longer version below…
The tragedy of Europe today, Mohsin Hamid has suggested in his essays and journalism, is an inability to articulate a desirable future. Whether in Discontent and its Civilizations, his collected dispatches from New York, London and Lahore (the three cities he has called home), or his reflections on Britain’s response to refugees, he sees modern nation states as mired in an illusory nostalgia that forgets an ancient history of human wandering and scattering, of border-crossing and diaspora.
So what might the future look like if the free world extended real freedom of movement to the millions of people who choose to (or have no choice but to) leave their homes and seek a life elsewhere? This is the question that underlies his latest novel, Exit West, a thought experiment that pivots on the crucial figure of this century: the migrant. Continue reading
Introducing the Bodley Head / FT essay competition.
Financial Times | 11 November 2016.
Just before I turned 30 I was homeless for a while. Homeless is the wrong word, an exaggeration. But I was in Edinburgh with little money and nowhere to live – and the days were getting shorter. So I took myself off to the Scottish islands with a bike and two red waterproof panniers. The plan was to stay in bothies – stone cottages that shelter hikers and climbers, remote structures in the hills where you just arrive and take your chances.
I started in Oban on the west coast, then pedalled south to the ferry port on Loch Tarbert – one of the long fingers of ocean that reach deep and diagonally into Argyll. This was a mistake, since there was too much traffic on the mainland. Massive cold fronts broke in off the Atlantic, one after the other. I tried to cycle in the lulls between showers but was soaked through my Gore-Tex by rain and truck spray. I found myself unable not to take the headwind personally. I would burst regularly into tears on the hard shoulder – homeless, jobless, indebted and drenched. Continue reading
From Cape Town to Dar es Salaam, and back again…
A genre-busting book, Under Nelson Mandela Boulevard does a rare thing: it is non-fiction that breaks the mould of works that look in on the continent from the outside. It shows the ancient and complex connections that exist within and beyond African borders in emotional, historical, cultural and metaphysical ways that others shirk from. (Billy Kahora)
With photographs by David Southwood | Memory Card Sea Power.
Not sure about J. M. Coetzee’s Schooldays.
New Statesman | 5 October 2016 | PDF.
Visiting William Kentridge at his Johannesburg studio.
Profile for Financial Times magazine | 2 September 2016 | [PDF].
My (longer) edit, with The Nose reinstated:
I knew I was at the right place because of the cats. Two sculpted, spiky creatures faced each other atop the gates in Houghton, one of Johannesburg’s wealthy, jacaranda-shrouded suburbs. I recognized them from drawings, etchings and films – in which cats emerge from radios (Ubu Tells the Truth), curl into bombs (Stereoscope), turn into espresso pots (Lexicon). Now they had become metal, swinging open to reveal a steep driveway and above it a brick and glass building perched on stilts amid foliage: the studio. A gardener directed me past some cycads to the right entrance and there an assistant ushered me in to meet William Kentridge. He was wearing a blue rather than a white collared shirt, but in all other aspects conformed to his self-appointed uniform: black trousers, black shoes, the string of a pince-nez knotted through a button hole, the lenses stowed in a breast pocket when they were not on his nose.
Svetlana Alexievich and the nuclear imagination.
Reflecting on Voices from Chernobyl for the South Africa PEN essay series.
18 August 2016.
In my twenties I worked for a while as an usher at a small cinema in Edinburgh. My job was to tear tickets, sit through the screening to make sure that projection and sound went ok, then clear up any trash. It was a beautifully pure way of absorbing film: you never paid; you never chose. You never worried whether the person next to you was enjoying it. You were alone, dressed in black, invisible.
I watched hundreds of films in those dark winter afternoons – from Korea and Cameroon, Iran and Italy, Russia and Romania – most of which I have never seen any trace of since. It was an education. One was about a group of three young anti-capitalists who break into the homes of rich businessmen and leave messages that “The Fat Years Are Over” – this is the original German title. At some point the good-looking threesome (they are also in a love triangle) end up kidnapping some heartless industrialist. They take him to a remote cabin and try some political re-education, intent on making him see the error of his ways. (It turns out, of course, that he was once a passionate anarchist in his youth.)
I can’t remember how the film ends, but this narrative premise – this fantasy of abducting the powerful and forcing them into dialogue – is one that many frustrated citizens must indulge in at some point… [Read more]
An interview with Rustum Kozain.
The following conversation took place on 31 July 2015 at Rustum Kozain’s flat in Tamboerskloof, Cape Town. Prior to my arrival, Rustum had prepared a chicken balti with cabbage according to a recipe from Birmingham, and also a cauliflower and potato curry. During our discussion (lasting one and a half hours, condensed and lightly edited here) he occasionally got up to check on the dishes — which we ate afterwards with freshly prepared sambals…
Wasafiri, 31:2 | 2016 | 76-80.
RK […] The idea of sonority — I have to agree with you. I do have a thing for the sound of words. So the sound of a word often plays a large part in its choice in a line or a poem. Why don’t I sound like Linton Kwesi Johnson? That’s one of my greatest frustrations in life [laughs] — that I can’t write like LKJ in any believable way. Part of that is because I don’t have a Caribbean background. A large part of Johnson’s charm has got to do with the language he is using, which is tied so closely to drum rhythms in the Caribbean. He has a gift but he also has that legacy or that inheritance that he can work with. I’ve tried writing parodic poems in [my reggae-sourced] Jamaican Creole, but it’s rubbish. I’ve tried writing hip hop as well, but there is a particular skill in composing for oral performance that I don’t have.
HT I was raising the question of slowness, but certainly not as a lack. Because, in a sense, what I find when reading poetry nowadays is the need to remind myself to slow down. I think we’re all programmed to read so fast now – online and on screens – to read instrumentally and for content. So I sense the kind of syntactical mechanisms you put in place to ensure a certain productive slowness…
Dagga (An Extract) | African Cities Reader 1
The shame of being a man – is there any better reason to write?