Content warning: references to and short descriptions of sexual harassment, sexual violence, xenophobia, homophobic & transphobic abuse.
Made by Sea and Wood, in Darkness, the debut novel by Alexandros Plasatis, weaves together a collage of stories that tell the experience of Egyptian immigrants in Greece through a variety of voices. The stories are primarily set in and around Café Papaya in Kavala, where Pavlo the waiter works nights, acting as both a main character and an observer of the Egyptian fishermen. In snapshots of a male underworld, violence dominates this narrative, as the central female character Angie the barmaid fights against being cast as a victim.
Content warning: racism, xenophobia, homophobia, examples of racist abuse
Children in Norfolk schools are usually taught about Black history within the context of the American Civil Rights movement — predominantly through figures such as Martin Luther King Jnr. or Rosa Parks. However, despite there only being a relatively small community in the county, Norfolk has a rich Black history going back centuries, much of which has largely been forgotten.
CW: sexual assault, rape
David Wiener’s TV adaptation of Huxley’s classic dystopia launched on Sky One and Peacock on July 15th 2020.
Set in New London – in a society where class is enforced by genetic engineering and hypnopaedic indoctrination, the use of the euphoric drug soma is universal, public orgies are wholesome fun and ‘mother’ is a swear word – Brave New World is a novel with many themes. One of them is misogyny and the mechanisms by which it is expressed and perpetuated. Consequently, the portrayal of the novel’s central female character, Lenina Crowne, and her relationship with John the Savage (the emotional core of the story) are huge contributing factors to the success or failure of any adaptation. Wiener faces the challenge of depicting a society he describes as ‘hugely problematic’ without condoning it, which raises questions about how the problematic aspects of the novel could, or even should be, adapted.
Few novels with openly queer protagonists are as enduringly loved, or have achieved such acclaim, as Patricia Highsmith’s The Talented Mr Ripley.
Tom Ripley is a charming, Machiavellian antihero whose talents include ‘forging signatures… and impersonating practically anybody’, and whose unreciprocated worship of Dickie Greenleaf, the prodigal son of a New York shipping tycoon, leads him to kill Dickie and assume his identity. He is also asexual, yet not a single adaptation of Highsmith’s work has addressed this. With a new adaptation in the works, in the form of a Showtime drama directed by Steven Zaillan and starring Andrew Scott, it’s important to acknowledge and reflect on the ways in which this aspect of Ripley’s character has been erased.
by Jonathan Lee
After the 2018 FIFA World Cup in Russia, England football fans had enjoyed a slightly improved reputation internationally for behaving themselves a bit better at away games in Europe. This illusion was shattered last week in Portugal for all the world to see, as boozy lads in shorts and polos attacked locals with bottles, wrecked cars, and clashed with police on the streets of Porto. It turns out that, without Russian ultras and law enforcement to keep them in line, England’s lads-on-tour stag party of intolerance and imperialist nostalgia is just as present in the travelling fan culture as it always has been. Embedded homophobia, a staple of the hooligan culture of old, also reared its ugly head again in Portugal with some England fans feeling unsafe among their own supporters.
“I experienced more homophobia in 3 hours here than I did in 3 weeks in Russia,” said Joe White, an English football fan and co-founder of LGBT+ supporters group Three Lions Pride. “And this has all come from England fans” he added. “LGBT+ is clearly not welcome.”
By KCL Justice for Cleaners Campaign
Content warning: mentions sexual harassment, homophobic abuse
This week, the KCL Justice for Cleaners Campaign released a short film revealing the struggles of migrant cleaners at King’s College London, a day before management made a recommendation to the College Council as to whether to end the outsourcing of cleaning. Through the film, cleaners speak in their own words about the violence of the outsourcing model and how mistreatment at KCL is normalised.
by Justin Reynolds
Writing in the midst of Europe’s interwar turbulence, the Italian political theorist Antonio Gramsci observed that ‘the old world is dying away, and the new world struggles to come forth: now is the time of monsters.’ Though contemporary parallels with Gramsci’s troubled world can be overplayed, these transitional times have spawned, if not monsters, an impressive array of fabulous beasts.
Donald Trump is President of the United States. Self-proclaimed socialist Bernie Sanders almost won the Democrat nomination. Silvio Berlusconi is once again on the verge of becoming the leading powerbroker in Italian politics. Jeremy Corbyn emerged from the deepest political wilderness to lead the Labour Party.
If, as the Brexit negotiations intensify, Theresa May’s vestigial authority finally fades away, the Government may have little option but to take a chance with a charismatic leader able to hold it together through sheer force of personality. And it is no longer absurd to suggest that, just as Labour members insisted on Corbyn, the Tories might turn to his mirror-image, Jacob Rees-Mogg.Continue Reading
by Robyn Banks
Here’s a sentence I’ve wanted to write for some time: Jo Johnson is no longer the Universities minister. Last week Theresa May ‘promoted’ him to the transport office and made him the new minister for London. His removal came just days after Toby Young was forced to resign from the Office for Students (OfS) board, in part due to his link to a eugenics conference held at UCL.
by Eli Lambe
CW: victim blaming, transphobia, homophobia, rape
Sitting in my mum’s living room, vaguely paying attention to what she had loaded up ‘on-demand’, I started to get antsy and agitated. The programme, a gritty ITV crime-drama called “Cold Blood” kept jumping out at me with its thinly veiled victim blaming, transphobia and homophobia. Because it was being played ‘on-demand’, the same few ads kept popping up. This, along with a summer of conversations that continually went nowhere, prompted the following rant/doodle/mess…