By Andrea Scrima
It’s said that European societies are always about assimilation, and that’s almost true, but not entirely. Minority cultures alter the dominant culture in subtle ways. My twenty-one-year-old son speaks with a Turkish-inflected accent he shares with most boys his age who have grown up in Berlin. It’s a mark of masculinity, of coolness, and the ones who go on to college eventually outgrow it—or don’t, because the ways in
which it affects everyday German speech will only become apparent in hindsight, after its traces are already securely imbedded in the language. In Europe, the immigrant presence rarely finds acknowledgement in high culture, but you can see it wielding its influence on popular culture in subversive ways. The Turkish ghetto identity, which developed in response to the discrimination a younger, German-born generation of second- and third-generation migrant worker families continues to face there, particularly in the wake of German Reunification and the deadly xenophobic attacks that followed, has always identified heavily with Black American subculture. The Turkish-German assimilation of Hip Hop and Rap was seamless: it gave them a language, dealt embarrassing blows to German political correctness and its many blind spots, incorporated taboo themes otherwise held to be racist, sexist, or anti-Semitic, and posed questions that cultural commentators, at a complete loss, are still largely trying to evade.
Some time ago, I went to see Almodóvar’s Pain and Glory with a friend; the film made us hungry, and when we reached Bahnhof Zoo we decided to have a Döner. The young Turkish men working there tried their macho number on us—that unquantifiable, unmistakably sexualized nonchalance as they performed a few moves to the music playing and neglected to take our orders until, appraising our appearance, they realized we were old enough to be their mothers and morphed almost instantly into respectful sons. Paying for our sandwiches, we tried to decide what had annoyed us the most about the film—whether it was the self-absorption and vanity, the male artist cliché, or the absence of any viable female roles apart from the idealized mother and doting assistant—when all at once the volume was cranked up loud and a young Turkish-German guy in a baseball cap came rushing inside and thrust his arms out ecstatically in response to the blaring music. The beat was so loud it penetrated the muscles in my arms and legs; when I heard the words “my neck, my back, lick my pussy and my crack” over and over, I jumped up and nearly accosted him. I don’t know what I’m doing in moments like these; the volume was earsplitting, and my body responded to the situation as it would to any other assault. I was shaking with a rage I rarely feel—a rage that wants badly to get into a fistfight, because my mind doesn’t understand that I’m a middle-aged woman and not a boy from the Bronx like my father was, and hence ridiculous—and as the fury blots out all thought, I feel the wave of physical aggression swelling inside me urgently seeking an outlet. The situation felt primal, imminently violent; distant epigenetic memories of war and bloodlust shivered in my veins. Turn the music off, I shouted, the lyrics are misogynistic. Read more »

Sughra Raza. Public Garden Water Feature, Boston. June 2022.






The international academic conference circuit—for an amusing account of such circuits, one may read the British writer David Lodge’s novel Small World, which is second in his trilogy of campus novels, the first of which Changing Places is largely on Berkeley in the 1960’s—also brought me to some potentially hazardous situations. Once a reception given for us conference participants by the King of Spain indirectly helped me in what could have been a serious loss from a pickpocket in Madrid. The public reception hall was not far from the hotel where we were staying. I was walking there from the hotel with a fellow conference participant. I was busy explaining a particular point to her in conversation when I had a half-sense that two young women who brushed by seemed a bit too close, and I ignored that for a minute. The next minute I felt the inside of my jacket pocket and it was gone—a wallet containing not just money but a few important cards including credit cards (since then I have been careful not to put everything in the same wallet or pocket). So I excused myself from my companion and ran to a nearby policeman and told him about it. He brought out a whistle and made a signaling sound. Within 5 minutes another policeman from the opposite pavement came toward me with my wallet and asked me to check if everything was in place. Those two unlucky young women did not realize that as the King was to be there soon, the whole area was thick with plain-clothes policemen.


On the 13th September 2022, Jean-Luc Godard, the Franco-Swiss film-director, film-poet, film-philosopher, died at the age of 91. One of the most imaginative, rebellious, truly courageous artists on this planet whose existence, in more ways than can be enumerated in language, changed the face of our modernity, decided to end his life through assisted suicide, which is a legal practice in Switzerland, the country he had been living in since 1976, and in which he had spent his youth. He was not ill, ‘but exhausted’. In addition to everything else, his last action resonates with a magnitude that is as powerful as a political stand as it is as a last demonstration of a personal ethics which can be summarised as: moral integrity or nothing. A moral integrity, which he brought to bear indefatigably over the course of a lifetime in pursuit of freedom, resolution and independence – at whatever price.


The only thing worse than a good argument contrary to a conviction you hold is a bad argument in its favor. Overcoming a good argument can strengthen your position, while failing to may prompt you to reevaluate it. In either case, you’ve learned something—if perhaps at the expense of a cherished belief.