“This and other cases highlight the fact that Turkey has a free expression problem,” said English PEN spokesperson Robert Sharp. “When ill-advised laws are put in place, then those with an ideological agenda will seek to use them to censor words or writing they do not like. This is why we campaign against ‘insult laws’ all over the world – including the UK. Censorship does not begin with the state instantly imprisoning authors and burning books. It begins with individuals using bad laws as weapons against each other.”
I was commenting on the ridiculous news that the board members of PEN Turkey were hauled into the Istanbul Prosecutors Office, to be questioned as to whether they had “insulted Turkishness” by they called Turkey’s censorship laws ‘fascist’. Thought-crime, essentially. It is a huge irony that a complaint at ‘fascist developments’ should be met by the sinster act of summoning all the board members for questioning… an irony apparently lost on the authorities.
Last week, I published two e-Books for English PEN. The first is Catechism: Poems for Pussy Riot, edited by Mark Burnhope, Sarah Crewe and Sophie Mayer. This is a fantastic piece of literary campaigning for three prisoners of conscience. The government of Vladimir Putin, in collaboration with the Russian Orthodox church, have sought to censor the satire and criticism directed at them by the punk art collective Pussy Riot, by convicting three of them on a charge of ‘hooliganism’. There is little English PEN or I can do to help with the legal battle. But what we can do is ensure that the feminist poetry and the dissident message is not suppressed. Catechism amplifies what Putin sought to silence. Download the eBook or buy a printed copy now! You can even make a donation if you feel so inclined. The other project is PEN Atlas: 10 Literary Dispatches from Around the World. It has been published to coincide with the international translation day conference taking place today in London. It is a re-packaging off some of the best content from our PEN Atlas online project.
In creating these publications, I applied some of the lessons learned during the course of my Insignificant Woman project. I also advanced my knowledge a bit too. I had been using the EPUB conversion cool within Lulu.com to create my e-book files. This tool is simple and easy to use (you just upload a Word Document) but is somewhat limited. For example, when you want to place two headings adjacent to each other in the text, it creates unnecessary page breaks. However, by good fortune I happened across the Sigil tool on the Google Project Hosting repository. It is not an entry-level program, but it is perfect for someone like me, who has basic knowledge of HTML and CSS. I used it to tweak an existing EPUB file for Catechism, but then used Sigil to create the PEN Atlas file entirely from scratch. Later, I used Calibre to convert and EPUB file into a Kindle ready eBook.
The state of free expression in Azerbaijan has be a major focus for English PEN in recent years. In 2009, we sent two of our members, Eva Hoffman and Alev Adil, to Baku to meet the writers there and to ask what the literary community in the UK can do to help. On their return, Eva filed a report for our OPEN magazine:
Such freedoms, however, are regularly violated in Azerbaijan. During our few days in Baku, we hear detailed and distressing stories of writers and journalists who have been imprisoned, or who have been persecuted in flagrantly unjust ways. … I must say that my writerly self felt a twinge of anxiety constricting my chest as I heard this story. To lose the fruit of so much work, which must have relieved the ghastliness of unjust incarceration — even while that incarceration continues! And yet, the spirits of our interlocutors seemed undampened.
We are now assisting some of those writers in the creation of a new Azerbaijan PEN Centre. PEN has also worked closely with our colleagues at Index on Censorship, Article 19 and Amnesty International on a series of demonstrations and campaign actions for imprisoned writers in Azerbaijan, including Eynulla Fatullayev, Emin Milli and Adnan Hajizade (all of whom have since been released). The video below records one such demonstration, and you can view our photo galleries from other actions.
This weekend, Azerbaijan will host the Eurovision Song Contest – a concept predicated on their idea of free expression. The arrival in Baku of the kitsch, glitz and music must inspire an improvement in the Azerbaijan Government’s approach to free expression. Our colleagues at Article 19, have run extensive programmes in Azerbaijan and provided crucial documentation of the abuse and harassment experienced by journalists who are critical of those in power. Their compelling report Running Scared: Azerbaijan’s Silenced Voices described the attacks and jailing of journalists, the ban on protests, and lack of independent broadcasting.
Index on Censorship (who share offices with both Article 19 and English PEN) have launched a petition for a Guilt Free Eurovison. We urge all PEN members and supporters to sign the petition, demanding that President Ilham Aliyev takes positive action to end the harassment against the writers, activists and musicians who are being attacked.
Last week I wrote a follow up to my Comment Is Free piece on Gunter Grass, this time for the New Statesman blog. Over the past few days, a “free speech moment” has been unfolding. These are the controversies where we get to discuss the first principles of free expression, and they usually begin when someone does something extremely offensive. Think of the public trolling of Anjem Choudry, or the English Defence League. Think of Liam Stacey, charged with a criminal offence for tweeting. Think of every controversial columnist, paid by the newspapers to be politically incorrect. These moments are frustrating, but at least campaigners like me are asked to make the case for free expression afresh, on sites such as this one. This week, the “free speech moment” has had both an historical and international flavour. Günter Grass, the Nobel Prize Winning German author, angered the Israeli government after he wrote a poem about their militarism. Israel, incensed that a former conscript in the Waffen-SS should write such a criticism, responded by placing a travel ban on the author. In the most recent twist, Grass has escalated the controversy by likening the Israeli government’s actions to those of the East German Stasi. There are two unresolved issues here. The first is whether a travel ban (declaring Grass a persona non grata, unwelcome should he wish to visit Israel again) is censorship. Clearly, such a move is less severe than the formal banning of Grass’s books; and many authors around the world (for example, in Iran, which was cited in the poem) suffer imprisonment for their transgressions. Nevertheless, placing this restriction on a person, purely because of what they have written, is a form of censorship. It prevents any Israeli citizens who happen to agree with Grass’s poem (and I am sure there are many, from every religion) from inviting him to speak. It precludes the possibility that those in Israel who enjoy Günter Grass’s oeuvre would ever have the chance to meet him at a literary event. A voice is suppressed. Until recently, the UK Border Agency were in the habit of denying authors and artists entry to the UK because a gallery opening or a book tour was considered a form of “work”. English PEN campaigned for reform of the system on the basis that freedom of expression also includes freedom of information, the right to hear dissenting voices. A travel restriction on an author denies this freedom, which makes it undemocratic. Such bans also have a “chilling effect” on other writers – will authors who regularly visit Israel now self-censor, if they hold opinions that the Israeli government doesn’t want to hear? The second issue is over Günter Grass’s actual words, including his latest ‘Stasi’ interjection? These “free speech moments” are frustrating because defending someone’s right to say something is usually equated with defending the content of what they say. Those whom the speaker has offended are always ready to conflate the two issues. We should remember that the oft-cited Tallenter quip on free speech (“I hate what you say, but defend to the death your right to say it”) also works perfectly well in reverse: I defend Günter Grass’s right to say things . . . but I hate what he says. The writer Kenan Malik goes further, and makes the point that if one vigorously defends free expression, one also has a moral duty to retort when people say unpleasant things. I don’t think that Günter Grass is saying abhorrent things, though in my opinion he has been deeply insensitive. His last comment is clearly a doubling-down, and the result is polarising. His poem, despite taking on the form of introspection, has not persuaded anyone that was not already of his point-of-view. For such an accomplished writer, celebrated for his turn of phrase, this is a shame. The great power of poetry and prose is their ability to help the reader empathise with someone of a different culture or history. Personally, I think Grass is capable of this, and should have written a different poem. But to say this is an act of literary criticism, not a statement of the principles of free speech.
Its the London Book Fair this week, and China is the controversial ‘market focus’ country. To mark this, English PEN staged a day-long forum on Chinese literature and invited artists both from inside China and in exile. One of the visitors was Ou Ning, who introduced his film about forced demolitions in Beijing, ahead of the 2008 Olympics. During the Q&A I asked Ou Ning about remix culture in china, and then followed with a rather loaded question about film vs literature. You can watch the event below or see my particular question on YouTube.
There wasn’t time for me to engage him in a debate, but I’m not sure I agree with Ou Ning’s assertion that film beats literature. Both are important. In the short term, I agree that film and video are superior in showing fellow Chinese people, and the rest of the world, what is actually happening. However, I’m not sure that providing that enhanced knowledge is sufficient to bring about lasting change. I think literature has an essential role in bringing about change, whether that is through an Arab Spring style uprising (a ‘Jasmine’ revolution?) or a kind of Chinese glasnost. A fundamental shift in mindset is required for either kind of reform, and I think the depth and nuance that long form literary work brings is essential to inspiring such a change.
Yesterday, English PEN took part in a demonstration with other free speech organisations outside the Embassy of the Republic of Azerbaijan. We demanded the release of Eynulla Fatullayev, and editor who was imprisoned for defamation of the state (i.e. criticising the government), a law which it is generally agreed is an infringement of the right to free expression. During the demo we made a short video, featuring yrstrly.
The protest was convened in part to show solidarity with Azeri writers and Fatullayev’s family, so providing a translation was essential. After edting it, we used a nifty tool called CaptionTube to create subtitle tracks for the video. Photos are available too:
Due to English PEN’s various free speech campaigns, I’ve been cited in a couple of print publications recently. I welcomed Jack Straw’s announcements on libel reform in The Bookseller, and celebrated a minor victory on Criminal Memoirs for Inside Time. There doesn’t seem to be a permalink for the latter article, so I’m reproducing it below. Continue reading “Inside Time”
English PEN have produced a briefing document on the proposed new Criminal Memoirs law. A new scheme will seize assets from ex-offenders who write about their crimes. All types of art and media will be affected, and there are few safeguards to prevent abuse. English PEN is calling on the Government to withdraw the proposed new law from the Coroners & Justice Bill, and to consult with prisoner groups and rehabilitation charities.