The Fabric of Place: Yinka Shonibare's The British Library

The British Library, 2014, by Yinka Shonibare, Tate Modern 2019 © Yinka Shonibare. Photograph Oliver Cowling, Tate. Purchased with Art Fund support and funds provided by the Tate International Council, the Africa Acquisitions Committee, Wendy Fisher…

The British Library, 2014, by Yinka Shonibare, Tate Modern 2019 © Yinka Shonibare. Photograph Oliver Cowling, Tate. Purchased with Art Fund support and funds provided by the Tate International Council, the Africa Acquisitions Committee, Wendy Fisher and THE EKARD COLLECTION, 2019

By Sara Bellini

It was 2014, during what ended up being my final months in England before leaving for good. In my attempts to deal with work-related stress I started taking day trips to escape central London, and it was thanks to two of these trips I came to know the work of Yinka Shonibare.

Without knowing it at the time, my first encounter with his art dated back to my very first week in the country in 2011. His work Nelson's Ship in a Bottle was on display on Trafalgar Square’s Fourth Plinth, with its colourful sails made of the artist's signature Dutch wax fabric. The fabric (and the meanings behind it) would be the detail that stuck with me during the years, while the photos I took got lost in my poorly managed digital memory.

Dutch wax fabric visually identifies West Africa, including Shonibare's parents' native Nigeria, where he also lived as a child before moving back to the UK to study. What I didn't know about this textile is how complex its ties with colonisation, globalisation and identity are.

Dutch wax fabric takes one of its names from the Dutch merchants that started mass-producing it in the late 19th century, when it was first introduced to Africa through naval commercial routes. Their model was batik, a wax-resist dyed cloth from Indonesia, a Dutch colony until 1949. The initial purpose of the merchants was to break into the batik market with cheaper fabrics, but they couldn't compete with the original hand-made prints. Meanwhile the African market was prospering, driven by ex members of the Royal Netherlands East Indies Army in Indonesia who had returned to the Dutch Gold Coast in West Africa. Other European countries started making Dutch wax fabric and eventually local companies developed more African-inspired patterns. When African countries gained independence from their former oppressors after WWII, African wax print had interwoven its role into various African communities, especially in the West, enriched with local meanings and customs.

This is how we get to a British contemporary artist, born from Nigerian parents who had moved to the UK in post-colonial times. Shonibare explores all these themes in his works: (post-)colonialism, multiculturalism, history, identity.

The two exhibitions I saw when I was still living in London were at Royal Museums Greenwich and the installation The British Library at Brighton Museum. The British Library is a room lined up with bookcases where each book is covered in Dutch wax print and their spines carry the names of immigrants and children of immigrants that had made contributions to British culture. A computer was available to explore the library and find out about Zaha Hadid, Hans Holbein, Noel Gallagher and more famous and less famous names.

At the beginning of April 2019, Yinka Shonibare's work The British Library was purchased by Tate Modern. Another work from the same series, The African Library, is on display in the exhibition Trade Winds at the Norval Foundation in Cape Town until August 2019.


At Bradford's Rail and Bus Interchange: What Ship is This?

What Ship is This? – Photo: Robert Butroyd

What Ship is This? – Photo: Robert Butroyd

By Robert Butroyd:

Rav Sanghera wrote a play about it, Gerard Benson wrote two poems about it, and I’m standing with my back to the Victoria Hotel next to Fran, and we’re staring at it. At first glance it appears to be apologising for even being there, tucked away below the road. Apologising for replacing the double arched roof and fluted columns of the demolished Bradford Exchange with a functional angular box. But maybe Bradford Interchange is not the blight on the spirit that it thinks it is. Rav Sanghera thinks it’s a place full of fascinating stories. Someone at ‘Metro’, the ‘combined authority’, or whoever runs it now, thinks it has potential as an art gallery. Gerard Benson certainly thought it a place of poetry. So, we head across the road.

Fran spots the fractured white sails above the entrance. But what sort of ship is this? She compares it to stepping into Sydney Harbour with its famous Opera House, and its roof of white sails. In the canopy, above the queuing taxis pumping the air with diesel fumes and the drone of their throaty engines, I see the sails of an Egyptian felucca floating dreamily down the Nile. Rising above the sails the pyramid of glass resembles the bridge of a cruise ship, where the crew, thinking it a good idea at the time, took a short cut, maybe the Suez Canal, and having badly lost their way intended to moor up for a short while, but rather liked the place and decided to hang around.

Inside, the grumble of diesel is mixed with muffled conversations, instructions, exclamations, and the random bleeps of modern life: Greggs' oven warning the bacon will burn, reversing buses, pinging mobiles. The departure boards, timetables, shops, and commuters rushing for buses, trains and home remind Fran of the Paris Metro. She’s not thinking of the daily commute, but the first steps on a journey to a more romantic place. The interior reminds me of a place designed by airport architects: functional, a people moving machine, not a place to linger. But linger we must, as buses run late, or we run late, or we go to the wrong platform, or we misread the timetable, or granny is on the next bus, having missed the one we came to meet. Maybe that’s why someone thought to hang paintings along the top of the walls on the upper concourse. Something to distract, keep us out of mischief, keep us on our toes, keep us asking questions - not wrong ones like, where’s my bus? But right ones like, why are there these paintings of elephants, seals and clowns? Who painted them? Who put them there, and why haven’t I noticed them before?

Feet Not Made For Dancing – Photo: Robert Butroyd

Feet Not Made For Dancing – Photo: Robert Butroyd

Of course, there are other things we can do while we wait. How about a bit of dancing? Fran thinks it’s an intriguing idea. So did Gerard Benson. It was a moment three little dancing girls probably forgot as soon as their bus arrived, but it was a magical moment captured in his poem, ‘Snapshot: Interchange Bus Station.’ But dance, where? The three girls, up past their bedtime, watched over by their chatting mums, were inspired by what appear to be random patterns made by the red and blue tiles on the floor. The design may once have had an intention though it is hard to see now what that might be. Looking down Fran sees fragments of a star, oblongs, parts of a chessboard and other more peculiar shapes. Dancing to ‘an inner music’, the girls choreographed their moves between the lines, jumping together from one tile to another, flailing their arms. Children, expressing themselves in the moment, before they are told they can’t: can’t dance, can’t paint, can’t sing, can’t act, can’t write, told so often that in the end they can’t, and so, in the end we don’t. A moment of inspiration captured by a poem. Fran wonders ‘who sets down standards to tell us we are not good enough to do these things?’

On our way out we stop at the information point and Phil behind the desk is pleased that we ask about the paintings, telling us they are hung there all year, only taken down at Christmas. We are pleased too, pleased because they are unexpected, almost hidden, and that someone has made the effort, the effort to hang them and take them down, and then re-hang them. There can’t be any money in it for those who run the Interchange, whoever they are, or for the bus companies, or the artists. Until Fran pointed them out I had never even noticed the paintings below the roof, but now I see them, I hope the bean counters in accounts don’t. For now, I’ve found my ship, a ship of camels and clowns, of dancers and elephants, of stargazers, and joyful time wasters. This cruise ship can stay.  

***

This essay was inspired by:
Brief Encounters at Bradford Interchange, a new play by Rav Sanghera, Freedom Studios
‘Community Pride’, ‘Interchange Bus Station at Night’, and ‘Snapshot: Interchange Bus Station’, all by Gerard Benson (2014) The Bradford Poems, smith/doorstop books
Unnamed Artists, Bradford Interchange

Robert Butroyd is the editor of Good Companions around, an online project inspired by J.B. Priestley, who took delight in what we are often told are places of little consequence, but through closer inspection are found to be no such thing.

Imagined Cities: Stories from Berlin and Beyond

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Some familiar faces and new friends are getting together in Berlin on Sunday 5 May for a a literary event at the Sir Savigny Hotel, hosted by Influx Press. Our editor in chief Paul Scraton and contributor to Elsewhere No.01 Gary Budden will be reading, along with Berlin-based writers Donna Stonecipher, Linda Mannheim and Charlotte Wührer.

IMAGINED CITIES: Stories from Berlin and Beyond, is a night of literature exploring urban spaces and how we write them – from the German capital to London and New York – and the event will feature flash fiction, prose poetry, short stories and excerpts from city-based novels. It promises to be a lot of fun and we hope to see our Berlin-based friends there!

Sir Savigny Hotel
Kantstraße 144, Berlin (Google Maps)
7pm – Entry Free
Facebook Event Page


Five Questions for... Will Burns

Photo: Wendover Woods, courtesy of Will Burns

Photo: Wendover Woods, courtesy of Will Burns

We are extremely pleased to welcome the poet Will Burns to Elsewhere: A Journal of Place for the next in our series of “Five Questions” interviewers with writers, artists, practitioners and indeed anyone for whom place is central to their work, whatever that may be. You might have spotted Will on these virtual pages recently as we reviewed the new album Chalk Hill Blue that he made with Hannah Peel, a thoughtful and thought-provoking collection of poetry and music rooted in the landscapes of Buckinghamshire where Will lives.

Named as one of the Faber & Faber New Poets for 2014 and the poet-in-residence at the wonderful Caught by the River, Will’s poetry evokes a strong sense of place and was praised by The Guardian for its “quiet intelligence and subtle ways of seeing”, a description that we can only wholeheartedly endorse. A regular live performer, Will has read at festivals around the UK including Port Eliot, Green Man and Glastonbury and you can catch him at a number of festivals this summer as he tours Chalk Hill Blue with Hannah Peel.

On with the interview...

What does home mean to you?

Like most people I suspect, ‘home’ is a bit of a complicated word for me. It definitely applies to Wendover, the village in Bucks where I live now and lived from the age of about ten until I left home. And even after I left I’ve always come back. Sometimes only for a few months or so, and sometimes out of necessity - but I suppose the point is it’s always there, which is a function of home I think. I have to say London too. I was born there, and  I’ve lived there, in various spots, almost as many years as Wendover, all told. But London’s such a big thing isn’t it? The little areas you get to know might feel like home for the period you know them, but change is so fast there that you leave and a year or so later it feels entirely alien.

Which place do you have a special connection to?

I’m going to say the Rough Trade shop on Talbot Rd. My Dad was one of the owners of the Rough Trade shops until about three years ago, and I grew up seeing him in that shop as a child. Then I ended up working there in my twenties. I was there a few days ago and I hadn’t been there for a couple of years, and I realised just how burned into my consciousness and imagination the place is. Some of the posters, the counter, the architecture, the smells of the place. What a strange contradiction a record shop is - it changes completely every week when a new batch of releases goes up on the walls, in the racks in the windows, and yet at the same time it’s not changed for thirty years.

What is beyond your front door?

The main high street in Wendover. Although that section is actually part of the Ridgeway, so you’re on an ancient path the moment you put a boot out the door. It’s a classic market town high street with an abundance of charity shops. We’ve resisted chains for the most part though, so it retains a sense of itself. Take the road left out of the door and up the hill and you follow the Ridgeway onto the scarp. Ten minutes and you’ve got views across the whole vale. Nobody talks about the Chilterns really but they are a very beautiful place.

What place would you most like to visit?

I’d love to go to Iceland sometime. I’ve always loved the Sagas and the history of Northern Europe. But India as well. My grandfather was born there and it was him who inculcated my love of wildlife, partly through his stories of India. It has sort of remained as an unscratched itch ever since.

What are you reading / watching / listening to / looking at right now?

A new album by my all time favourite band came out today, so I’ll be with that non-stop for the foreseeable future. That’s Union by Son Volt. My capacity for listening to them is pretty much infinite. And I’ve not really been able to stop reading One Lark, One Horse by Michael Hofmann since it came out. I’m one of these obsessive types I think who re-reads and listens to things once I’ve fallen for them.

***
Will Burns website
Twitter

Vindstille

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By Ian C Smith:

I have my memories, some award winners
even if they lack the charm of a Doisneau
also, mementos of trepid exploration.
One, an example of good composition
always a comfort, I keep near my bed.
A woman stands on a jetty of rocks
holding an infant, her back to camera
motionless, facing a lake, or sea.
Clouds bank behind a distant boat.
The silence is a perfect example of art
in this early Scandinavian monochrome.
Mother and child.  Journey’s end or beginning.

I bought it in Denmark, driving from Norway.
Later, just off a ferry, near Lübeck
I captured heavy holidaying Germans
in a vast caravan park where it rained.
My tent humid, gear now locked in the car
I plodded around puddles to the laundry
where I tried to translate instructions.
I ended up screaming at a machine.
Watching hausfraus, obese twins, sniggered.
Ja, ja, I muttered, thinking of Arbus
as I bundled up my pathetic smalls.

My decrepit car tracked history’s map crabwise
amusing Europe’s posing border guards
their sneers echoing those lumpen twins’.
I cut myself opening a can of beans
bad news buzzing me again in the fast lane.
When I was no longer the slowest driver
East German police tailed me over potholes
past Leipzig’s cindering orange haze
after I shot their helicopter in a car park
my thoughts by then U-turning for home.
Was it Auden who said photography
brought a new sadness to the world?

With my precious lenses in leather pouches
and the knowledge that when the eye blinks
it sucks part of someone else inside it
as well as part of himself at that moment
I carried that woman and child in my pack
wrapped like my equipment and damaged hand
a talisman during those Sturm und Drang days.
It encourages me when opportunity lurches
as I round a corner of the human map.
I concentrate on the miracle of light.
Yes, that, and timing and silver emulsion.  

***

Ian C Smith’s work has appeared in, Amsterdam Quarterly, Australian Poetry Journal, Critical Survey, Live Encounters, Poetry New Zealand, Southerly, & Two-Thirds North.  His seventh book is wonder sadness madness joy, Ginninderra (Port Adelaide).  He writes in the Gippsland Lakes area of Victoria, and on Flinders Island, Tasmania.

Seven Days Walking by Ludovico Einaudi

Seven Days Walking is the title of the new album by Ludovico Einaudi Listen to it at https://lnk.to/Einaudi7DD1FP "I remember that in January 2018 I often went for long walks in the mountains, always following more or less the same trail.

"I remember that in January 2018 I often went for long walks in the mountains, always following more or less the same trail…”

Ludovico Einaudi is a prolific Italian composer and pianist, and has published 20 albums since 1988. In his work he is often influenced by the quotidian and nature: his album 'Una Mattina' is the perfect soundtrack for a lazy spring morning with a book and a good coffee, and in 2016 he recorded a heartbreaking 'Elegy for the Arctic' for Greenpeace. 

His latest project is 'Seven Days Walking', a series of seven albums that will be published in the next seven months; all focusing on a different day of the same walk in the Alps, and how the days change while walking, slowly but discernible. 

"The idea first came to me as I was listening to the recordings of the first sessions: each version seemed to me to have its own personality, with subtleties so distinct from one another that I was unable to choose which I preferred. I associated everything with walking, with the experience of following the same routes over and over, discovering new details each time. And so in the end I decided to thread them all together in a sort of musical labyrinth, a little like stepping inside the twists and turns of the creative process, to understand how a musical idea can develop in multiple directions, and changing once again at the moment in which it is heard."

You can listen to the album through a variety of different services here.

The invisible border

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“Where does Togo start?”

My guide looks out across the steep scarps of Ghana’s Volta Region, a vibrant green landscape that folds and curves like velvet curtains. His eyes trace the ferrous-red roads scratched between the hills before settling on one of the villages nestled in the valleys.

“It is that one,” he says, smiling shyly.

I return the smile and point my lens in the direction indicated, the reflections of the corrugated roofs leaving a temporary blind spot on my retina. Snap snap. Camera returns to case and we share another awkward smile.

We both know he guessed. He doesn’t have a clue where his country ends and its neighbour begins.

Why would he? The border is almost meaningless here; someone else’s line marked out decades before, when the Europeans carved up a continent to their uninvited whims and ideas. It matters little in the day-to-day living of life. While one side is Francophone country and the other Anglophone, the shared Ewe language is the one used to talk to friends or family who happen to be on the other side. And an ECOWAS passport allows for easy, visa-free movement across the whole region (a privilege that no one here would ever think of giving up through a plebiscite).

The name of the hill we are on – Mount Gemi – is another colonial legacy. This is not an Ewe word, not even Twi, but a contraction of the German Mission that came here to share the word of Christ, leaving a cross on its summit. Perhaps there would be a little more acknowledgement of the boundary if the Europeans had been a little more decisive, but it has shifted many times since then. Mount Gemi’s summit was once in a country that no longer exists, German Togoland. Little wonder that most ignore it.

We leave the summit and its cross behind and set off back to Amedzofe. Most of the village’s residents are watching the local football team’s match – are the opponents Togolese? – but we continue past the pitch to the village square. Ghanaians wait for the cooler evening air to meet with friends, thus avoiding the worst of the daytime heat. This respite comes a little earlier in this hilly country – we’re at around 600m – and even though the sun is still out, Amedzofe’s older inhabitants are already congregating in stone seats, waving as we pass.

Adjacent to this rendezvous point is the small visitor centre. Inside, my guide diligently asks his boss to identify exactly where the border lies. Maps are withdrawn from a large wooden chest and the obliging superior shows me where we are, then where the border is. My guide wasn’t too far off, and his face displays a mix of pride and relief. It’s around five miles away, the boss-man says; shall I take you there?

I thank him and decline. Time to move on; there are more hikes to be had further along this invisible border.

*

The border is much closer at Wli (pronounced ‘Vlee’, another linguistic leftover from the Germans). There’s even a checkpoint at the end of one road from the village, where the guards will happily mark your passport with Togo’s stamp and let you potter about in another country for a while, all for just a few cedis.

A more popular activity for the growing numbers of tourists – mostly young volunteers who comprise Europe’s present-day, less disruptive mission to Ghana – is to the double-drop Agumatsa waterfall, the highest in West Africa (although not the only one to claim this title). An easy path meanders through fruit farms and forest to the lower falls, where you can swim in the plunge pool and sip coconuts after. But I opt for the harder route along the steep-sided cliffs of this natural amphitheatre, which leads to the upper falls.

It’s a steep, sweaty climb, and its unpopularity relative to the signposted lower route is evident as my guide hacks constantly at the overgrowth – grasses, vines, saplings – barring our way. Eventually, after ninety minutes of slipping and sliding, swishing and swearing, we reach a viewpoint overlooking the hidden upper falls. Any waterfall is a captivating sight, but this one is flavoured with exoticism by being glimpsed through a thick frond of creepers and ferns. And it has further novelty to its name: the water leaves Togo, crashing down an 80m drop into Ghana. A truly spectacular border crossing.

The path continues beyond the viewpoint, and at some point along it enters another country. But there’s no border post, no fence, no wall up here; nothing except a leaf-covered footpath and a neat stack of felled trunks, about a hundred metres ahead.

Are those in Ghana or Togo?

I don’t bother asking out loud this time. It’s just forest.

*

Only when the border is close to running out of land does it assert itself. Lomé snuggles into the corner where the line meets the sea and here, things are done properly.

I’ve always wanted to walk across a national border. Perhaps it’s a legacy of growing up on an island, where our neighbours are all a boat ride or tunnel away. And Ghana/Togo indulge me in style. Late one Friday evening, two hours after departing the heat and hustle of Accra, a taxi drops me in Aflao, a town whose main purpose is to wave goodbye to those leaving the country or welcome those arriving, the lines of snack stalls ready to provide sustenance on their way.

From here, I proceed on foot beneath a crumbling arch, Ghana’s signatory black star on top, and wait for a stern border guard to scrutinise my passport for … what, exactly? Once waved through, I approach his Togolese counterparts. They usher me through without question; it’s late, they’ve evidently checked enough passports for one day. I raise a hand in acknowledgment and walk into another country.

Now this is a border. There is change, distinction, separation. A city springs up immediately around you; no suburbs, no urban sprawl, at least on this side. Just a few metres from the neatly farmed fields that surround Aflao are high-rise buildings, crowded streets and that distinctive scent of city tarmac warmed by tropical heat. There is a busy hum of horns and engines, the chaos of a thousand people in each street, an urgency that only urbanity provides. It feels a long way from Mount Gemi and Wli, where the border is little noticed.

Other changes, too. Motorbikes, largely absent in Ghana, zip all over; the bread sold by street vendors is long and crusty, not soft and stodgy. And the language of the capital, into which people from all corners of the country pour, is the communal French, local languages reserved for when you meet someone from ‘home’. Yet just a few metres back that way, barely a word of French is understood. I hail a motorbike, ignoring the common-sense warnings about riding on one without a helmet, and struggle to summon enough schoolboy French to get me to the hotel.

*

Two days later, my brief sojourn over, I walk back across the border. The same taxi driver is waiting, as agreed, and we soon head west.

‘Do you know how the border is marked beyond the checkpoint?’ I ask.

‘It is a fence, I think. Yes, a fence.’

‘Do you know how far it goes? Because I was in Wli a few weeks ago and there isn’t a fence there, so I wondered where it stopped.’

The driver gives me a bemused glance in his rear-view mirror, then turns up the radio so that it is loud enough to drown out any more daft, irrelevant questions from the back seat.

***

Tim is an editor on Elsewhere: A Journal of Place and the author of Love In The Time of Britpop. You’ll find him on twitter here.          

Return to the Trades Club: Music & Literature with Caught by the River

Our friends at Caught by the River are following up their recent sold out event at the Trades Club in Hebden Bridge with a follow-up double-header on Saturday 6th July. The daytime event will be Caught by the River’s first ever fiction-centric event, with a fantastic line-up of established and up-and-coming writers. In the evening, music takes centre stage with performances from Dean McPhee and Andrew Wasylyk, after which Heavenly Jukebox DJs will spin tunes ’til chucking out time.

This looks like a wonderful day of music and literature and well worth checking out for anyone within striking distance of Hebden Bridge, where the walks heading out from the the town will be the perfect way to clear your head on the Sunday. Here’s some more detail about what’s going on:

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FICTION: READINGS AND CONVERSATIONS

The daytime event (doors 10:30am) will feature:

Jessica Andrews - reading from her hotly anticipated London/Donegal-set debut novel Saltwater (published in May by Sceptre), and discussing it with journalist and short story writer Anna Wood.

Wendy Erskine - talking about and reading from her debut short story collection Sweet Home, originally published by Stinging Fly Press in 2018, and due for a Picador reprint in June 2019. Wendy appears in conversation with author David Keenan, who wrote of Sweet Home in the Guardian: ‘Erskine’s arrestingly original debut short-story collection bears the ghost of 68-98, as she writes about the magic, ferocity and surrealism of contemporary Protestant Belfast.

David Keenan - presenting his recent Troubles/punk rock/Perry Como-laced second novel For the Good Times, and answering questions put to him by writer and broadcaster Emma Warren.

Helen Mort - reading from and discussing her debut novel Black Car Burning (Caught by the River Book of the Month for April 2019) with Wendy Erskine. When reviewing Black Car Burning for the CBTR site, Erskine said: ‘[in this] layered and watchful novel, the stuff of people’s lives – trivial, quotidian, messy, painful – is rendered with imaginative precision and poise’.

Anna Wood - recent winner of the Galley Beggar Press Short Story Prize - reading a selection of her published and unpublished stories.

MC duties for the daytime event will be taken on by longstanding Caught by the River contributor Emma Warren.

MUSIC: ANDREW WASYLYK

The evening event (doors 8:00pm) will feature an intimate live performance from Andrew Wasylyk, who presents songs from his acclaimed third album The Paralian - ‘a conclusion embued with blue and golden melodies that land in a territory akin to experimentalists such as Robert Wyatt and Brian Eno. Through which, Wasylyk weaves the listener along a contemporary-classical, ambient and jazz library-dream shoreline of Scotland’s east coast.

Support comes from West Yorkshire solo electric guitarist Dean McPhee (‘Simultaneously soaring and depthless, soothing and unnerving, solemn and joyful, McPhee’s excursions feel weird, unknowable, as if the path we’re on is both bright and labyrinthine, a certain route to the unknown’ says MOJO), with the Heavenly Jukebox DJs ’til close.

Tickets for the daytime event cost £15 (Trades Club members £12); evening event £12 (Trades Club members £10). A limited number of combined tickets are available for £23.

Buy your tickets
Caught by the River
Trades Club






April Book of the Month: The Border by Diarmaid Ferriter

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The Border - The Legacy of a Century of Anglo-Irish Politics
by Diarmaid Ferriter
Published by
Profile Books

Review: Marcel Krueger

It's quiet as I cross the border. The Enterprise emerges from the granite flanks the Gap of the North, for a moment there is the small grey hulk of 17th-century Moyry Castle visible to my left, and then the train chugs into the fields and hedgerows inside the Ring of Gullion. I've slipped into the North. While there is no visible sign of it, there is always a moment however that indicates the division between the Republic and the United Kingdom: when the phone networks change and the onboard wifi skips for a moment. A few phones across the almost empty carriage of the afternoon train start beeping, but that’s the only indication of a chance in jurisdiction. I could pay my tea in Pound or Euros all along the way anyway.

As I write this, the ship of fools that the House of Commons in Westminster has become is with every day producing new proof that as a parliament it is no longer functional and increasingly declaring its own bankruptcy over the issue of Brexit, and as Professor Tanja Bueltmann put it on Twitter: 'As a historian I am fascinated by watching a democracy dismantle itself.

As an EU citizen I am worried about what is happening to my home. As an observer I am facepalming basically every minute now. Never forget: everything that is happening is a *choice*, not a requirement.' And one of the things that is, unsurprisingly, seemingly confusing the British parliament is the border on the island of Ireland, the one I cross so often, quietly, on the train. If they would have time in between voting down any constructive motions for any progress, I would make historian Diarmaid Ferriter's latest book mandatory reading for every single Westminster MP. It's a small book, just 184 pages, but it concisely and understandably lines out the history of the Irish border from its creation in the 1920 Government of Ireland Act to the present day with (or without) its Backstop.

In 7 short chapters, Ferriter charts the negotiations between the Irish revolutionary government and the British Crown that lead to the Anglo-Irish treaty (and subsequent civil war in the south) and the creation of the border; and the often bizarre details of its inception, for example that the newly created border in Silesia between Weimar Germany and the new Polish Republic served as one of the blueprints for the Irish one. From then on he (literally) follows the border and its political implication for the leaders in Dublin, Belfast and London over the next decades, into the conflict in the North and how the subsequent opening of the border as part of the Good Friday Agreement helped overcome division and sectarian hatred and slaughter.

But this book is not purely historical or political non-fiction. Ferriter also weaves in voices from all areas of society and what the border meant and means for them, and how much the two countries on this island are interconnected: there's the Irish Football Association/Football Association of Ireland and Gaelic Athletic Association history of a divided and yet united Ireland (in sports at least) and the perspective of writers and poets; like Eugene McCabe (who's farm driveway crossed from Monaghan into Fermanagh) describing the borderlands as a '"dim, hidden country, crooked scrub ditches of whin and thorns stunted in sour putty land; bare, spade-ribbed fields... housing a stony-faced people living from rangy cattle and welfare handouts... To them a hundred years was yesterday, two hundred the day before."' And then, a few decades on, there's also the man who owns a bridge across the border and decides to plant his chip van smack-bang in the middle, avoiding taxes North and South. As Ferriter puts it, when referring to the shared commemoration of the Irishmen who fought in World War I: 'Such attention to inclusive commemoration, alongside the peace process and the sense of an "invisible" or "soft" Irish border, greatly improved relations between North and South; ultimately, up to 30,000 were travelling over the border each day, and that was convenient and valuable for both jurisdictions.'

What's most striking in this book is the crystal-clear analysis of past and contemporary blunders especially in London. The last few pages addressing the implications of Brexit on the Irish border are interspersed with recent quotes by English politicians who seem to have unlearned everything that should have been the lesson of the almost 30 years of conflict in Northern Ireland followed by twenty years of peace. It hurts to read these bon mots of buffoonery collected in one place, and Ferriter's analysis sadly only increased the clinching of my guts and the fear of what mini-Trump Boris Johnson or the living cartoon Jacob Rees-Mogg might do if given free reign over politics that have a direct and immediate impact on the communities on this craggy island.

But there was, it seemed, a return to the politics and and ignorance of the past over the course of next two years as a succession of clownish Tories revealed the depth of their ignorance and contempt when it came to Ireland, none more so than Boris Johnson, foreign secretary from July 2016 to July 2018, who embarrassingly suggested the invisible boundary between the London boroughs of Camden and Westminster as a possible model for a post-Brexit border.

Ferriter has no solution for the dilemma of Brexit, but ends his book with a quote by Benedict Kiely, 'the most that can be hoped  for is that all Irishmen will some day learn to view the past without passion, ...'

The next time the House of Commons suspends its sitting amidst a crisis that has implications for millions of people because of a leaking roof or sewage leak, every single MP should a) receive a slap with this book (as I said, its relatively small) and then read it. The border with its past tragedies and current hopes must stay open.     

***

Wherever possible we recommend that readers of Elsewhere buy their books from a bricks and mortar bookshop or direct from the publisher.

Marcel Krueger is the Books Editor of Elsewhere: A Journal of Place. His writing has been published in numerous places both online and in print, and he is the author of Babushka’s Journey: The Dark Road to Stalin’s Wartime Camps (I.B. Taurus, 2017) and the upcoming Iceland: A Literary Guide for Travellers (I.B. Taurus, 2019). You’ll find him on twitter here.


100 Years Bauhaus: Bauhaus Museum in Weimar

Foto: Andrew Alberts, © heike hanada laboratory of art and architecture 2019

Foto: Andrew Alberts, © heike hanada laboratory of art and architecture 2019

This year marks the centenary of the Bauhaus, and there are celebrations taking place all around the world – anywhere, in fact, that the design school’s influence can be felt. In Weimar, the city where it all began back in 1919, a new museum has opened in a building designed by Heike Hanada and inaugurated earlier this month.

The intention of the Bauhaus Museum in Weimar is to be both a dialogue with the past and an interrogation of the future, and developed around the fundamental question: “How do we want to live together?”* In an echo of the founders of the Bauhaus, questions of how we build a society and where art and technology, architecture and everyday life function together, are key themes of the new space.

As a reflection on the past, present and future, the location of the Bauhaus Museum itself, close to the Nazi Gauform and the Jakobsplan student accommodation from the GDR, is a reminder of how the political-economic landscape, architecture and community life are always intertwined.

Bauhaus Museum, Weimar (Google Maps)
From April 2019
Museum website

*Wie wollen wir zusammenleben?