This chapter depicts how the process of cominghome from war is understood and experienced among the various former combatants interviewed for this book. The idea of cominghome, and the process of cominghome, are in part metaphorical, as not everyone moves physically when they return home. This process also needs to be unpacked and problematized as the division between war and peace in individual lives is not clear-cut. This chapter is a starting point for such a discussion. Cominghome can also be marked by a particular moment which is key
This book is about understanding how former combatants come home after war, and how their political lives are refracted by the war and the experience of coming home itself. In particular, it captures the political mobilization among former combatants as they come home from three very different types of war: civil war (Colombia), war of independence (Namibia), and interstate war (United States involvement in the Vietnam War). The book provides a much-needed long-term perspective on peace. It also demonstrates the artificial division between literatures across the Global North and Global South, and demonstrates how these literatures speak to each other just as the three cases speak to each other. The novel use of interviews to document life histories and the inside perspective they provide also give a unique insight into the former combatants’ own perspectives on the process of coming home and their sense of political voice. This book is not about peacebuilding in the sense of interventions. Rather, it examines peace as a process through studying the lived experiences of individuals, displaying the dynamics of political mobilization after disarmament across time in the lives of fifty former combatants. The book demonstrates how the process of coming home shapes their political commitment and identity, and how the legacy of war is a powerful reminder in the lives of these former combatants long after the end of the war.
Wars have a multitude of personal consequences, but they also have societal consequences as a result of the political lives that develop in their wake. Just as the war and cominghome shape the politics of these former combatants in multiple ways, these former combatants shape larger processes of maintaining peace, politics, statebuilding, welfare systems, and democracy. This book sought to depict an insider's understanding of the experience of living politics after war, and how this process is understood by individual former combatants across
This book is not about peacebuilding in the sense of interventions. Rather, it examines peace as a process through studying the lived experiences of individuals. By focusing on the long-term political mobilization of former combatants after disarmament, the book displays how the dynamics between political mobilization , identity , and networks vary across time in the lives of fifty former combatants as they move toward peace and cominghome. “Cominghome” is not a clear-cut experience, and is one that needs to be unpacked. The book
This chapter turns to the political activity the former combatants have engaged in after war. Their political mobilization has waxed and waned over the years, and their veteran identity as well as veteran networks play a role in this dynamic. As such, the chapter tries to display how former combatants connect their experience of war, and of cominghome, to their subsequent political mobilization. The chapter shows how experiences covered in the earlier chapters – such as cominghome, questions of identity, relationship with the state, and
Deporting Black Britons provides an ethnographic account of deportation from the UK to Jamaica. It traces the painful stories of four men who were deported after receiving criminal convictions in the UK. For each of the men, all of whom had moved to the UK as children, deportation was lived as exile – from parents, partners, children and friends – and the book offers portraits of survival and hardship in both the UK and Jamaica. Based on over four years of research, Deporting Black Britons describes the human consequences of deportation, while situating deportation stories within the broader context of policy, ideology, law and violence. It examines the relationship between racism, criminalisation and immigration control in contemporary Britain, suggesting new ways of thinking about race, borders and citizenship in these anti-immigrant times. Ultimately, the book argues that these stories of exile and banishment should orient us in the struggle against violent immigration controls, in the UK and elsewhere.
the war itself and also cominghome influence this process. The veteran identity is salient for almost everyone, and, as they tell us, the importance of this identity has increased over time. For most, the war experience is inescapable, not least because war is something which society positions itself in relation to, as well as against. Aspects of this veteran identity imply political engagement: for instance, “duty”, “responsibility”, and “service to others” are named as common traits by participants from all three cases, as obligation during war translates to an
Manchester: Something rich and strange challenges us to see the quintessential
post-industrial city in new ways. Bringing together twenty-three diverse writers
and a wide range of photographs of Greater Manchester, it argues that how we see
the city can have a powerful effect on its future – an urgent question given how
quickly the urban core is being transformed. The book uses sixty different words
to speak about the diversity of what we think of as Manchester – whether the
chimneys of its old mills, the cobbles mostly hidden under the tarmac, the
passages between terraces, or the everyday act of washing clothes in a
laundrette. Unashamedly down to earth in its focus, this book makes the case for
a renewed imaginative relationship that recognises and champions the fact that
we’re all active in the making and unmaking of urban spaces.
At a time when monolingualist claims for the importance of ‘speaking English’ to the national order continue louder than ever, even as language diversity is increasingly part of contemporary British life, literature becomes a space to consider the terms of linguistic belonging. Bad English examines writers including Tom Leonard, James Kelman, Suhayl Saadi, Raman Mundair, Daljit Nagra, Xiaolu Guo, Leila Aboulela, Brian Chikwava, and Caroline Bergvall, who engage multilingually, experimentally, playfully, and ambivalently with English’s power. Considering their invented vernaculars and mixed idioms, their dramatised scenes of languaging – languages learned or lost, acts of translation, scenes of speaking, the exposure and racialised visibility of accent – it argues for a growing field of contemporary literature in Britain pre-eminently concerned with language’s power dynamics, its aesthetic potentialities, and its prosthetic strangeness. Drawing on insights from applied linguistics and translation studies as well as literary scholarship, Bad English explores contemporary arguments about language in Britain – in debates about citizenship or education, in the media or on Twitter, in Home Office policy and asylum legislation – as well as the ways they are taken up in literature. It uncovers both an antagonistic and a productive interplay between language politics and literary form, tracing writers’ articulation of linguistic alienation and ambivalence, as well as the productivity and making-new of radical language practices. Doing so, it refutes the view that language difference and language politics are somehow irrelevant to contemporary Britain and instead argues for their constitutive centrality to the work of novelists and poets whose inside/outside relationship to English in its institutionalised forms is the generative force of their writing.
Women Art Workers constitutes the first comprehensive history of the network of women who worked at the heart of the English Arts and Crafts movement from the 1870s to the 1930s. Challenging the long-standing assumption that the Arts and Crafts simply revolved around celebrated male designers like William Morris, this book instead offers a new social and cultural account of the movement, which simultaneously reveals the breadth of the imprint of women art workers upon the making of modern society. Thomas provides unprecedented insight into how women – working in fields such as woodwork, textiles, sculpture, painting, and metalwork – navigated new authoritative roles as ‘art workers’ by asserting expertise across a range of interconnected cultures so often considered in isolation: from the artistic to the professional, intellectual, entrepreneurial, and domestic. Through examination of newly discovered institutional archives and private papers, and a wide range of unstudied advertisements, letters, manuals, photographs, and calling cards, Women Art Workers elucidates the critical importance of the spaces around which women conceptualised alternative creative and professional lifestyles: guild halls, exhibitions, homes, studios, workshops, and the cityscape. Shattering the traditional periodisation of the movement as ‘Victorian’, this research reveals that the early twentieth century was a critical juncture at which women art workers became ever more confident in promoting their own vision of the Arts and Crafts. Shaped by their precarious gendered positions, they opened up the movement to a wider range of social backgrounds and interests, and redirected the movement’s radical potential into contemporary women-centred causes.