CW: Murder, suicide, abuse
by Alessandra Arpaia
In recent years, Italy has undergone enormous internal change as a result of mass immigration from sub-Saharan African countries. The situation has been exploited and manipulated from every angle by the Italian media, politicians and organised crime gangs, fostering hostility towards migrant labourers as well as fuelling their exploitation. Right-wing political elites are adept at harnessing the power of social media to influence the masses; but this is a tactic that needn’t be irreplicable for social justice movements and activists on the Left, too.
The last days of Trump have come at last, heralding an inevitably vast amount of journalistic analysis. Trump has been criticised continually through his presidency from many angles by commentators across the media spectrum. Now, as we seek to understand the terrifying exceptionalism of the past four years, classical political thought has once again reared its head. In order to criticise Trump, many invoke writers who have become associated with a collective anxiety – Orwell, Kafka, and, most frustratingly, Machiavelli. Niccolò Machiavelli and his writings have been associated with despotism and evil ever since his works were placed in the Index Librorum Prohibitorum by the Catholic church. But to describe Trump as Machiavellian is a misunderstanding of the controversial but frustratingly correct political theorist who warned against tyrants like him.
I recently moved to Forest Hill, and amongst the shops, pubs and restaurants, I found a pop-up gallery displaying the work of local artist Maria Luisa Azzini. Normally found in Greenwich Market, Azzini is originally from Florence, Italy, though she has been based in London for nearly twenty years now.
In the present times, the visual arts is just one of the many industries that needs support, with arguably very few industries not heavily impacted by the COVID-19 pandemic. It’s possible to buy Azzini’s work from as little as £45 for a print (£55 framed), to a few hundred pounds for an original painting. Each print is unique as Azzini touches them up with small strokes of silver and gold.
By Sarah Edgcumbe
Since the beginning of the conflict in Syria in 2012, over three million civilians have fled the country. The vast majority are currently living in Lebanon, Turkey, Iraq, Jordan, Egypt and Libya. Afghanistan has been subjected to war for four decades resulting in Afghans comprising the second highest refugee population in the world, yet the vast majority of Afghan refugees live in Iran and Pakistan. This resettlement of Syrian and Afghan refugees in neighbouring countries is no anomaly: the majority of refugees around the world reside in countries neighbouring their own. These countries often have poor economies and fragility of peace and governance, yet they often accommodate millions of refugees.
by Sarah Edgcumbe
Owen Jones recently pointed out that the far right is now at its strongest since the 1930s. A horrifying reality of today’s populist Europe. These groups have been unfailingly and cynically opportunistic in using terrorist attacks in Europe to galvanize hatred against Muslims, whilst presenting themselves as protecting white European innocents from the depravity of the Qu’ran, or simply as “not racist” concerned citizens who feel that we should help “our own” (read: white) homeless before helping others. This mindset has contributed to the election of far right governments in Poland, Hungary and Italy and demonstrates that we should not view these groups as fringe street-movements – they are effecting political change with horrifying efficiency through influencing voters.
Mainstream media is in on this, of course. As Chris Jarvis wrote in October 2016, the media’s reaction to refugees and migrants has been nothing short of inflammatory. The influence of mistruths presented in the media has led to vilification of refugees and migrants. In our failure to protect vulnerable people who are unable to seek protection in their country of origin, we have failed to learn history’s lesson. Enoch Powell would be proud of us. We should all be fucking ashamed of ourselves.Continue Reading
by Jonathan Lee
A new project to count the number of Romani Gypsies and Irish Travellers in London was recently launched by London Gypsies & Travellers and Mapping for Change. Their goal is to provide an accurate estimate of the numbers and distribution of GRT (Gypsy, Roma and Traveller) people across the city.
Official census statistics on Romani and Traveller people in the UK are famously inaccurate (only 58,000 in the 2011 census). This is partly because neither group are traditionally very fond of official registers, particularly those which record ethnicity.
And why should we be?Continue Reading
by Alex Valente
Contains strong language.
If your opinion, if your ideology, if your personal mindset is that certain groups and communities of people are inferior to others, you do not deserve and will not be allowed to promote that idea. Fuck the notion of censorship, fuck the moderate, tolerant conversation, fuck the high road. Your ‘opinion’ denies the existence of a large portion of the world around you, and actively strives to suppress it. So you know what? Fuck you.Continue Reading
by Alex Valente
Original Italian by Verusca Costenaro (1974 – ), ‘Il coraggio che fa primavera’
It’ll be from your comicseyes
that a new courage will rise
for the autumn, it’ll tangle in the wind
and the wind will paint it snowinter
so that the sun may thaw it
fresh in spring, it’ll be
a bearing of violets and mixture of calls,
cerulean choir bearing life in the background to desire,
the sprint of wings on the field, to feed on the grass that will grow,
summervoice adorned of an evergreen yellow,
a remedy to the fears brought by good
dreams of a small evening in august.
Featured image via caffellattefirenze
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by Alex Valente
CW: racism, sexism, fascism
There’s an old home-grown metaphor that runs in the Italian side of my family – which may have been acquired by my great-grandfather through his context and peers, I just have never heard it anywhere else – which goes as follows:
Italy is a watermelon. The thick, green skin on the outside is democracy, the Republic. The thin white layer that keeps everything inside together is the Democrazia Cristiana (Christian Democracy, the centre party that governed Italy after WWII, and the ancestor of pretty much all centrist politicians since). The red pulp is the Socialist, Communist heart of the country. But the seed, the black seed from which it all grows – that’s Fascism.
by Alex Valente
A quick preface to the following, which also serves as a way to convince myself that I am … allowed to write about this, rather than the Bologna protests, or the political mess in Rome, or the current turmoil on the Italian left-of-centre party PD, or the upcoming women’s general strike. Those are things at the front of my mind – but I will take this week to find a little glimmer of beauty in a sea of constantly rising anger, instead.
Enter then, one of the two films I saw this year that made me think about language, and how we use it, and how it is used in the media. The other is Arrival, and so much has been written about it already, I decided to focus on Makoto Shinkai’s gorgeous animated film 君の名は (‘Kimi no na wa’), released in English as Your Name.Continue Reading