Today, the petition to rescind President Trump’s state visit to Britain signed by 1.8 million people will be debated in Parliament. Stop Trump demonstrations are planned for this evening across the country and are expected to draw more than 10,000 people to stand together in solidarity with migrants and against racism and Islamophobia.
Trump’s racist, Islamophobic, anti-refugee and anti-immigrant politics are the same driving forces as those behind the Brexit vote to leave the EU. In the context of the rise of reactionary and xenophobic politics worldwide, the Stop Trump programme of opposition is a joint effort with the One Day Without Us movement, staging its first day of action today. Tens of thousands of migrants and their supporters are staging a walkout from workplaces and places of education to celebrate the contribution migrant workers make to British society. In particular, the action aims to highlight their importance to the British economy: withdrawing their labour for a day would cost the UK £328m – 4% of the country’s GDP.
The British government is not just complicit with Trump's agenda: Theresa May has been a trailblazer in ramping up anti-migrant measures for years before her ascent to the premiership in her role as Home Secretary when she notoriously brought in 'go home' vans. While it debates the terms of Brexit, the government continues to run a brutal and inhumane detention system; demonise and deport migrants; refuse refugees, and extend the border regime deeper into British society, into our hospitals, schools and workplaces.
Verso presents a reading list of books that challenge and expose right-wing narratives about migrant workers and refugees by contextualising crises rooted in the violence of capitalism, legacies of colonialism and war waged by the West. This selection includes books that provide us with histories of resistance from which we can draw strength and inspiration for the fightback ahead.
In tribute to John Berger, who died on 2 January 2017, we excerpt ‘The Moment of Cubism’ from Landscapes, edited by Tom Overton. The 1967 essay of materialist art criticism, originally published in New Left Review, traces the lineages and legacies of Cubism. In it, Berger grapples with the sensation that “the most extreme Cubist works” – both “too optimistic and too revolutionary … to have been painted today” – are “caught, pinned down, in an enclave of time, waiting to be released and to continue a journey that began in 1907.”
An interlocking world system of imperialism; opposed to it, a socialist international; the founding of modern physics, physiology and sociology; the increasing use of electricity, the invention of radio and the cinema; the beginnings of mass production; the publishing of mass-circulation newspapers; the new structural possibilities offered by the availability of steel and aluminium; the rapid development of chemical industries and the production of synthetic materials; the appearance of the motor-car and the aeroplane: What did all this mean?
Andy Merrifield pays tribute to John Berger, who passed away aged 90 on 2 January 2017.
John died yesterday. I’ll remember his voice, his laugh, his charm and generosity. His words. Stripped-down words, mystical and carefully chosen words, earthy words, fierce words. They’ll always grab us, make us think, feel and act, piss people off. To weep for John is to weep on the shoulder of life. Remember him, gazing up at Aesop, in front of Velázquez’s great canvas?
He’s intimidating, he has a kind of arrogance. A pause for thought. No, he’s not arrogant. But he doesn’t suffer fools gladly. The presence of Aesop refers to nothing except what he has felt and seen. Refers to no possessions, to no institutions, to no authority or protection. If you weep on his shoulder, you’ll weep on the shoulder of his life. If you caress his body, it will recall the tenderness it knew in childhood.
John didn’t suffer fools gladly, either.