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Can History be Radical?

This post was contributed by Dr Onni Gust, lecturer in colonial and postcolonial history at the University of Nottingham, and member of the Raphael Samuel History Centre – a research and educational centre, of which Birkbeck is a partner, devoted to encouraging the widest possible participation in historical research and debate.

On 30 June – 3 July 2016, the Centre will commemorate the 20th anniversary of the death of the socialist historian Raphael Samuel, along with the fortieth anniversary of the journal he helped to found (History Workshop Journal), with the Radical Histories Conference.

DCF 1.0

Here, Dr Gust gives an insight into some of the central themes to be grappled with at the London-based the conference.

In 1961, towards the end of the war of Algerian Independence against France, Franz Fanon published The Wretched of the Earth In this indictment of the psychological impact of European colonial power, Fanon called on his African brothers not to follow the path set by Europe but to start “a new history of Man.”  In this history, Europe’s crimes would be accounted for, but the overall aim would be to “create the whole man” as opposed to the “pathological tearing apart of his functions and crumbling of his unity” that European imperialism had engendered. Fanon’s vision for humanity lay in the creation of new concepts that would enable unity rather than division and inequality. History lay at the core of that radical reinvention of humanity.

Fanon’s was a polemic designed to provide inspiration and to galvanize those in the midst of a brutal and bloody war against French imperialism. His death in 1961, the same year that Wretched of the Earth was published, freed him from grappling with the realities of governing a newly-formed post-colonial nation and from the difficulties of researching and writing a redemptive and inclusive history.

Those who survived and have inherited the legacies of anti-colonial resistance, have born the burden of enacting the agenda that Fanon so powerfully laid out. That agenda was inseparably tied to the desires and disillusionments of mid twentieth-century socialism. Together, and in mutual constitution, socialism and post-colonialism looked to history as one mode through which a more equal and humane future could be enacted.

The radical potential of history

As a project of decolonizing and democratizing historical knowledge, History Workshop was a key forum in which that vision of a more humane and inclusive ‘people’s history’ was enacted. Yet the heyday of History Workshop, which ran concurrently with the emergence of ‘Subaltern Studies’ in India and post-colonial history more generally, also marks the growing disillusionment with post-colonial and socialist alternatives and the rise of an apparently inescapable neo-liberalism.

How far has the hope that was placed in the promise of history been lost, too? Has the faith in the power to right the wrongs of the past and build a more equitable future through the rewriting of history dissipated? Since the early ‘90s, post-colonial critique has cast significant doubt on the radical potential of history as we understand it (whoever ‘we’ are) to effect liberation.

The promise and potential of histories of subalterns – be they peasants, the proletariat, the enslaved, the racialized, gender and sexual minorities or the disabled – to open up agency now appears, at least in the academy, to be somewhat naïve. Gayatri Spivak’s critique of the Subaltern Studies project of recovering ‘subaltern’ voices in the archive ultimately determined that subaltern subjectivities were always mediated and compromised by the structures of state power that conditioned the historians’ access to the documents themselves.

In 2000, Dipesh Chakrabarty’s Provincialising Europe argued the power of history to effect agency was compromised from the very outset by its form. The narratives to which any subaltern history must fit inevitably referred back to a framework that emerged simultaneous to European-imperial structures of power. Anjali Arondekhar’s fabulous critique of the search for dissident sexualities in the colonial archives built on these positions to show how the archives simply reflected the fantasies, ‘perversions’ and paranoias  of its own elite. Taken together, these histories and critiques seem a far cry from the hope offered by Fanon’s revolutionary vision.

Questions

Yet at the same time as the academy (much of it emanating from the US institutions) appears disillusioned with the possibilities of historical knowledge as integral to liberation, history proliferates beyond its bounds. Local community archives, oral history projects, maybe even the trend for genealogy, rejuvenates a field outside of the parameters of academic knowledge.

Are these micro-projects, often based on the assertion and recovery of forgotten, or lost identities in the past, part of Fanon’s vision? Or do they merely fragment and therefore undermine the ‘whole man’ that Fanon believed was integral to the post-colonial world? What is their relationship to the history that those of us in the academy are trying to create, under the pressure of REF deadlines, funding parameters and a demand by administrators to teach subjects and approaches that are perceived to be marketable to students?

Do any of our histories really reconfigure hegemonic narratives or are we complicit in creating side-shows that act as charades of democratic knowledge? Where and how do such hegemonies conglomerate? The nation? The tenuous remains of Europe? The networks of global capital?

In many ways, the very title of ‘Radical Histories/Histories of Radicalism’ encapsulates this unsure and indecisive moment. The forward slash implicitly invites the questions of ‘where’ and ‘why’ and ‘how’ radical history can take place in neo-liberal times. The series of papers, exhibitions, films and performances, I have convened with colleagues under the broadly-conceived title ‘Radical Movements’ appear, as a group, to invite speculation rather than certainty.

What visions and templates of change did actors in the past – from Kashmiri Communists, to Transatlantic Anarchists, to ANC activists in London – hold for their own futures?  How do we navigate the increasingly precarious work conditions of academics in higher education and the housing crisis that, structurally, are parts of the same problem? What is the history, and the future of radical booksellers and what does it mean to historicize the miners’ strike?

In broaching these questions, the contributors to ‘Radical Movements’ hover between the historicisation of radicalism and the construction of radical history.

About the Radical Histories Conference (30 June – 3 July)

The conference will feature a weekend of discussion, celebration and debate bringing together activists, community historians, students, teachers, writers, artists, practitioners of history, from inside and outside universities. The programme will include film screenings, theatre, song, dance, walks and talks, stands, exhibitions, caucuses and debates.

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Meet the Kit de Waal scholar: Stephen Morrison-Burke

This post was contributed by Andrew Youngson, media and publicity officer in Birkbeck External Relations.

During Arts Week, former Birmingham poet laureate Stephen Morrison-Burke, was announced as the inaugural recipient of the Kit de Waal scholarship – a creative writing scholarship specially designed for budding writers who would not otherwise be able to afford a Master’s degree.

Stephen Morrison-Burke

Stephen Morrison-Burke

A few years ago, Stephen’s motivation to write poetry began to give way to a new writing urge: to write prose. The result is his debut novel, The Purple Sun – a semi-biographical tale inspired by his father’s experiences leaving his Jamaican homeland in the 1970s to begin a new life in the UK. This month, Stephen finished the final draft, an 90,000-word manuscript, which follows two-and-a-half years of writing, primarily in the very early mornings. (For the full story, read the news article here)

At the Arts Week event – the Creative Writing Alumni showcase – Stephen offered his thanks for the opportunity to undertake the MA Creative Writing (part-time) programme over the next two years, then delivered a rousing rendition of a poem of his, called Wishlist.

Here, Stephen talks about the scholarship opportunity, and his relationship with writing.

Hi Stephen. Why did you decide to apply for the Kit de Waal scholarship?

“When you are essentially teaching yourself, there’s a lot you don’t learn about the theoretical elements, such as structure, plot, pace and character development, so I thought the opportunity to go through that with professionals in their fields was something I didn’t want to pass up.”

How did you feel when you were interviewed to interview for the scholarship?

“Instantly I was overjoyed. It was a very tough time for me, and it can be pretty lonely writing by yourself. So when I got that through I can’t remember feeling as relieved as that in a long time. It wasn’t necessarily that I thought I could win, it was just more that I saw an opportunity to showcase what I had been working on for so long.

Why did you decide to write a novel?

“I had no intention of writing a novel, that’s the honest truth. It sounds mad, but I just had these gut feelings that wouldn’t go. And when I started to write, I just felt better, like I was finally doing what I was supposed to be doing. I felt relieved. But it’s strange that at the exact same time as I got these feelings, the poetry stopped.

“I had had my busiest month ever in poetry – I had met the Queen, I had travelled round the country, I’d written and performed a poem for Prince William – but come New Years Eve 2013, everything just stopped, and this novel took priority. Since then, I’ve done bits and pieces with poetry, but really I’ve just focused on this novel.”

Stephen Morrison-Burke performing poetry

Stephen Morrison-Burke performing poetry

Poetry vs prose

“Although they are similar, I have to treat them very different. I have to respect the art form of writing novels. Strangely enough, my poetry is mostly storytelling anyway.”

Why do you choose to write at 4am?

“I’m a nightmare. If the sun’s out, I always end up procrastinating looking at my phone or on the internet. If it’s dark, there’s nothing else I can do, so there’s no other choice but to write.”

Do you get writer’s block?

 “I don’t believe in writer’s block. I always believe I can write something, even if it’s nonsense, or just a short poem or something to plug the gap. But the writing is a slog, it’s hard work. There are no two ways about it. I thought it would be easier than it’s been, but I chip away at it one day at a time, one sentence at a time, one word at a time. I just turn up and make sure I’m writing something.”

Why does writing make you feel better?

“I felt like there was a lot I had to say that I wasn’t saying. There was a lot to get off my chest. I’m quite quiet and introverted, so by not getting it out it felt like it was building up. So when I was writing it was cathartic.

“From the things I had learned and experienced living in a tough part of Birmingham, to then boxing for 10 years of my life, to then all this poetry, there was a lot I wanted to say. I just wasn’t saying anything about that, so it was a relief to write it down. I thought I would only write one book and it would all come out in one go, but now that I’ve written one, I feel I could write another ten.”

How has your style developed over time?

“It’s certainly developed. It’s been a mirror of who I am as a person. I started off a little pretentious maybe, trying to impress. And certainly the poetic influence can make you embellish the writing. But the more I went along, and the more I read the likes of Hemingway, Steinbeck and Amy Hempel, the more I realised it can be straight to the point and not too airy fairy. It’s about trying to see things different to how everybody else does, which is why I’m so fascinated with the perspectives of children.”

What can you say about the background to your novel?

“It’s loosely based on a true story – my dad’s. My dad and I have been working on this together since Day One. He’s the one that said ‘you can do something with this, it’s going to be special’. He would always gee me up and gave me the motivation to see it through. It was just me on my computer, and he gave me the motivation to do something.”

(l-r) Kit de Waal, Stephen Morrison-Burke, MA Creative Writing director Julia Bell

(l-r) Kit de Waal, Stephen Morrison-Burke, MA Creative Writing director Julia Bell

The latter half of the book deals with violence. What can you say about that?

“That topic is not something my Dad would go into. That’s where I had to go into my own feelings. This is where I related back to Dostoyevsky’s Crime and Punishment, and started to be creative. It’s not just violence for violence’s sake. I wanted to understand the mind behind violence, and what would drive someone who’s intelligent to turn to that life.”

Does your poetry background influence your prose writing?

“I feel I’m able to draw on it. I focus on the form of novels and sometimes the poetry will come through. For instance sometimes words come out in rhyme. I have to stop myself, but then at times I find it creates a good rhythm to the sentence when two words rhyme. So I would be very careful and selective about how I use poetry. But there is a very thin line between the two, if a line at all. So I let them wrestle between themselves.”

How does it feel when you are in the writing flow?

“Being in the flow is very rare for me, to be honest. I’d compare writing to how I imagine riding rodeo would feel like. You have to hold on as tight as you can until it throws you off, and that’s the end of your day, when you run out of juice. It could be three hours, or one or seven. You just hold on as tight as you can and afterwards you wait for the next day to come round.”

How did you find the interview for the scholarship with Julia Bell and Kit de Waal

“They gave me a lot of encouragement, the fact that I had got that far. On the day I said to them it was great to hear that I was on the right track with my writing. They said it was brilliant, which was actually the first feedback I had had on the writing. I was so happy to hear that.”

What do you want to get out of the MA Creative Writing programme?

“If I’m honest, I came into this wanting to make some kind of living through writing books. But I don’t put any pressure on the course to deliver that for me. My goal is to make a living out of writing and I know the course will help me, to say the least.”

“I really want to contextualise books. When I read them, there’s no context beyond reading the introduction, so for the lecturers to paint a picture of the times the books were written, and to talk about what was going on at social and political levels, will be really useful. As it is right now, I read a book from first chapter to the last, but with little understanding outside of the words I’ve read. So it will be great to sit down with a professional to discuss the whys and hows.”

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RELAPSE – Identity: Performing Bodies, Crossing Borders

This post was contributed by artists Vasiliki Antonopoulou, Nikolas Kasinos, Dimitrios Michailidis and Penelope Koliopoulou – members of the RELAPSE collective, whose next exhibit ‘Identity’ will run at the Peltz Gallery Birkbeck School of Arts, 43 Gordon Square, from 28 April to 20 May.

RELAPSE - Identity exhibition at the Peltz

RELAPSE – Identity exhibition at the Peltz

On Thursday 19 May, the RELAPSE collective will hold a special event to coincide with its exhibition at the Peltz Gallery.

The evening, which runs as part of Birkbeck Arts Week 2016, will kick off at 6pm in room G01 in the School of Arts with a lecture by Dr Constantinos Phellas (Professor at University of Nicosia, Cyprus). Dr Phellas will address the identity development among ethnic minority lesbians and gay men, specifically Anglo-Cypriot men residing in London.

He will discuss some of the key cultural concepts and relevant historical factors that may shape the development of gay identity among Anglo-Cypriot men and provide accounts of sexual identity experiences provided by second-generation Cypriot gay men living in London to explore how these men negotiate their Cypriot and gay identities.

This first half of the evening will also include a roundtable. As with the collective’s current exhibition at the Peltz, the roundtable will focus on the concept of identity as constructed and performed through social rituals. How is identity embodied? How can its visceral manifestations be explored through art, to question political, social and religious ideologies of sexuality and the body? All will be discussed by attending speakers.

This event will be followed at 7.30pm in the Peltz Gallery itself with a drinks reception for attendees.

About the event:

Performing Bodies, Crossing Borders

  • Thursday 19 May, 6-7.30pm (followed by drinks reception to 9pm)
  • Room G01
  • Lecture by Prof. Constantinos Phellas and roundtable discussion
  • Event is free but booking essential
  • BOOK HERE

Find out more about the exhibit and RELAPSE in the previous Birkbeck blog article. The exhibition was curated by Dr Gabriel Koureas, and was made possible under the auspices of the Minister of Education and Culture of Cyprus, Dr Costas Kadis.

Open Call

Exhibition reviews

The exhibition team are inviting writers to visit our closing reception and submit their reviews.

Please send us your reviews at submissions@relapse-collective.com with the subject ‘reviews’ after the closing of our exhibition (May 19).

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Crystallography: From Chocolate to Drug Discovery

This post was contributed by Dr Clare Sansom, senior associate lecturer in the Department of Biological Sciences. Dr Sansom attended inaugural Rosalind Franklin Lecture during Birkbeck Science Week 2016.

Rosalind Franklin - slide

Birkbeck has already established lecture series in honour of some of its most distinguished alumni. Until 2016, however, Rosalind Franklin – co-discoverer of the DNA structure and perhaps the most widely recognisable of its ‘famous names’ – was missing from the list of honourees. This gap has now been filled; the annual Rosalind Franklin lecture forms part of the college’s Athena SWAN programme and will always be given by a distinguished woman scientist.

And fittingly, the inaugural lecture, which was part of Science Week 2016, was devoted to Rosalind Franklin’s own discipline, crystallography. Elspeth Garman, Professor of Molecular Biophysics at Oxford University, gave an entertaining and illuminating lecture to a large audience that included Rosalind’s sister, the author Jenifer Glynn.

Exploring crystals

Garman began her lecture by showing a short video that she had produced for OxfordSparks.net that used a ‘little green man’ to illustrate the method of X-ray crystallography that is used to obtain molecular structures from crystals. The rest of the lecture, she said, would simply go through that process more slowly. She started by showing some beautiful examples of crystals. All crystals are formed from ordered arrays of molecules. They can be enormous, such as crystals of the mineral selenite in a cave in Mexico that measure over 30’ long or too small to be visible with the naked eye.

In the early decades of crystallography, structures could only be obtained from crystals of the smallest, simplest molecules: the first structure of all, published in 1913 by the father-and-son team of W.H. and W.L. Bragg, was of table salt. When they were jointly awarded the Nobel Prize for Physics in 1915, the younger Bragg was a 25-year-old officer in the trenches on the Western Front. His record as the youngest Nobel Laureate was unbroken until Malala Yousafzai’s Peace Prize in 2014.

The Braggs’ discoveries paved the way for studies of the structures of many, many substances: including the chocolate of the lecture title. Few of the audience can have known that chocolate exists in six different crystal forms, or that only one of these (Form V) is good to eat. The process of ‘tempering’ – a series of heating and cooling steps – is used to ensure that it solidifies in the correct form.

Professor Nick Keep and Professor Elspeth Garman at the inaugural Rosalind Franklin lecture

Professor Nick Keep and Professor Elspeth Garman at the inaugural Rosalind Franklin lecture

Protein crystallography

Garman then moved on to talk about her own field of protein crystallography. Proteins are the ‘active’ molecules in physiology, and they are formed from long, linear strings of 20 different ‘beads’ (actually, small organic molecules known as amino acids). Chemists can quite easily find out the sequence of these beads in a protein, but it is impossible to work out from this the way that the string will fold up into a definite structure ‘like a piece of wet spaghetti’. And it is this structure that places different units with different chemical properties on the surface or in the interior of the protein, or near each other, and that therefore determines what the protein will do.

Protein crystallography only became technically possible in the mid-twentieth century, and even then it was a painfully slow and complex process that could only be used to study the smallest, simplest proteins. Dorothy Hodgkin, also a professor at Oxford, won her Nobel Prize in Chemistry in 1964 for the structures of two biologically important but fairly small molecules: penicillin, with 25 non-hydrogen atoms and vitamin B12, with 80. She is perhaps better known for solving the structure of insulin, the protein that is missing or malfunctioning in diabetics. This has 829 non-hydrogen atoms; in contrast, the 2009 Chemistry Nobel Prize was awarded for the structure of the ribosome, the large (by molecular standards) ‘molecular machine’ that synthesises proteins from a nucleic acid template. The bacterial ribosome used for the Nobel-winning structural studies is well over 300 times larger than insulin, with over a quarter of a million atoms.

Real world applications

Dr Rosalind Franklin

Dr Rosalind Franklin

Protein structures are not only beautiful to look at and fascinating to study, but they can be useful, particularly for drug discovery. Many useful drugs have already been designed at least partly by looking at a protein structure and working out the kinds of molecule that would bind tightly to it, perhaps blocking its activity. Some viral proteins have been particularly amenable to this approach.

Rosalind Franklin did some of the first research into virus structure when she was based at Birkbeck, towards the end of her tragically short life, and her student Aaron Klug cited her inspiration in his own Nobel lecture in 1982. X-ray crystal structures were used in the design of the anti-flu drugs Relenza™ and Tamiflu™ and of HIV protease inhibitors, and more recently still structures of the foot and mouth virus are helping scientists develop new vaccines for tackling this potentially devastating animal disease. The foot-and-mouth virus structure even made the front page of the Daily Express.

The equipment that Dorothy Hodgkin and her contemporaries used to solve protein structures in the 1960s and 1970s looks primitive today. Now, almost every step of protein crystallography has been automated. Powerful beams of X-rays generated by synchrotron radiation sources, such as the UK’s Diamond Light Source in Oxfordshire, allow structures to be determined quickly from the smallest crystals. It is even possible to control some of these machines remotely; Garman has operated the one at Grenoble from her sitting room. Yet there is one step that has changed remarkably little. It is still almost as difficult to get proteins to crystallise as it was in the early decades. Researchers have to select which of a large number of combinations of conditions (temperature, pH and many others) will persuade a protein to form viable crystals. Guesswork still plays a large part and some researchers seem to be ‘better’ at this than others: Garman adds the acronym ‘GMN’ or ‘Grandmother’s maiden name’ to her list of conditions to reflect this.

Yet, with every step other than crystallisation speeded up and automated beyond recognition, the trickle of new structures in the 70s and even 80s has become a torrent. Publicly available structures are stored online in the Protein Data Bank, which started in 1976 with about a dozen structures: it now (May 2016) holds over 118,000. Protein crystallography as a discipline is thriving, but there are many challenges ahead. We are only now beginning to tackle the 70% or so of human proteins that are only stable when embedded in fatty cell membranes and are therefore insoluble in water. It is possible to imagine a time when it is possible to solve the structure of a single molecule, with no more need for time-consuming crystallisation. And, hopefully, women scientists will play at least as important a role in the second century of crystallography as they – from Quaker Kathleen Lonsdale, who developed important equations while jailed for conscientious objection during World War II, through Franklin and Hodgkin to Garman and her contemporaries – have in the first.

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