I bring you a book that appealed to me for a variety of reasons. I hope you find it interesting as well.
Battle of Britain Broadcaster: Charles Gardner, Radio Pioneer and WWII Pilot by Robert Gardner
In 1936 Charles Gardner joined the BBC as a sub-editor in its news department. Shortly afterwards, he was joined by Richard Dimbleby and together they became the very first BBC news correspondents. They covered everything from shipwrecks to fires, floods to air raid precautions and, in Garner’s’ case, new aircraft. Their exploits became legendary and they laid down the first principles of news broadcasting – of integrity and impartiality – still followed today. With the outbreak of war Charles Gardner became one of the first BBC war correspondents and was posted to France to cover the RAF’s AASF (Advanced Air Strike Force). He made numerous broadcasts interviewing many fighter pilots after engagements with the Germans and recalling stories of raids, bomb attacks and eventually the Blitzkrieg when they all were evacuated from France. When he got home he wrote a book AASF which was one of the first books on the Second World War to be published. In late 1940 he was commissioned in the RAF as a pilot and flew Catalina flying boats of Coastal Command. After support missions over the Atlantic protecting supply convoys from America, his squadron was deployed to Ceylon which was under threat from the Japanese navy. Gardner was at the controls when he was the first to sight the Japanese fleet and report back its position. Gardner was later recruited by Lord Mountbatten, to help report the exploits of the British 14th Army in Burma. He both broadcast and filed countless reports of their astonishing bravery in beating the Japanese in jungle conditions and monsoon weather. After the war, Gardner became the BBC air correspondent from 1946-1953. As such, he became known as The Voice of the Air,’ witnessing and recording the greatest days in British aviation history. But Perhaps he will best be remembered for his 1940 eye-witness account of an air battle over the English Channel when German dive bombers unsuccessfully attacked a British convoy but were driven off by RAF fighters. At the time it caused a national controversy. Some complained about his commentary being like a football match,’ and not an air battle where men’s lives were at stake. That broadcast is still played frequently today.
Robert Gardner, Charles Gardner’s son, worked as a journalist for four years before moving into public relations with the British Aircraft Corporation becoming Head of Publicity and later Vice President of British Aerospace and BAE Systems. He is the author of From Bouncing Bombs to Concorde – The Authorised Biography of Sir George Edwards. Robert Gardner, who is now retired, was appointed MBE in 2001.
I thank Rosie Croft from Pen & Sword for providing me a hardback review copy of this book that I freely chose to review.
What initially intrigued me about this book was the mention of Charles Gardner’s career as a broadcaster for the BBC. I am a fan of radio and as a volunteer at local radio stations for the last few years (first on Penistone FM, in the UK, and now on Sants 3 Ràdio, here in Barcelona), I wanted to read about an important pioneer’s experiences. When I read more about Gardner and his career, both with the BBC and also as a pilot and collaborator with the British Aircraft Corporation, I wanted to know more.
This is a book, written by the son of the protagonist, and as such, it has the virtue of including plenty of personal details and memories that are not easily available anywhere else. Charles Gardner wrote and published books about WWII and about aviation and aircraft, and we have access to many of his broadcasts and articles —and there are excerpts of those in the book as well— but the author has had privileged access to materials such as notebooks, letters, and also, of course, to stories he heard first-hand and lived, and that makes this a much rarer opportunity for those interested in the story of this pioneer, a man who loved the news, journalism, and also planes and flying, to the point that he decided to learn to fly and that would influence his later career in the BBC and also his time in WWII.
This book highlights some events, like Gardner’s life broadcasting of an air-battle between British and German planes in 1940 (a first, and somewhat controversial broadcasting), his friendships (Richard Dimbleby, New Zealand pilot ‘Cobber’ Kain, with Sir George Edwards, his connection to Lord Mountbatten…), his time broadcasting in France and following the RAF before enlisting as a pilot and being involved in actions in Europe and later in East Asia (Ceylon and Burma)… There is also content about his return to the BBC after the war and a chapter about a royal secret and Gardner’s involvement in it (and yes, it concerns Elizabeth, a princess then, and Philip, her future husband. Yes, romance is involved as well). I loved the details about the beginning of Gardner’s journalistic career at the Nuneaton Tribune and the Leicester Mercury and also the account of the first years with the BBC, that reminded me very much of what is like to report on local news: you might be covering an anniversary even today, the opening of a new facility tomorrow, and interviewing some local celebrity the next day. The difficulties he and Richard Dimbleby had trying to broadcast from France and getting access to a broadcasting vehicle highlights how different things were (we were not all connected then), and I loved the inclusion of snippets of how the family was experiencing the same events (his wife and his growing number of children moved a number of times to follow him during the war, and those stories make for great reading material in their own right).
The book also includes many black and white photos of Gardner, his family, the locations… There is an index and detailed notes and resources for each chapter.
This is a great read and a book I recommend to people interested in Charles Gardner, in the history of the radio, news reporting, BBC and media in the UK, in WWII history, particularly the RAF, and in British aviation in general.
You might want to check this article by the author where he talks about his father and about this book.
Thanks to Pen & Sword and to the author for this opportunity, thanks to all of you for reading, and remember to like, share, comment, click, review, and especially, keep safe and keep smiling (even under the mask). ♥
Today I share the review of the last of the books I had already on my Kindle that has made it into this year’s ManBooker Longlist. The shortlist should be coming out this week. I wonder if any of the ones I’ve read will make it. This one I really liked and I hoped it gets there, but there are many I didn’t read so…
LONGLISTED FOR THE MAN BOOKER PRIZE 2017
‘Elegant and evocative … A powerful exploration of the clash between society, family and faith in the modern world’ Guardian ‘There is high, high music in the air at the end of Home Fire‘ New York Times
Isma is free. After years spent raising her twin siblings in the wake of their mother’s death, she is finally studying in America, resuming a dream long deferred. But she can’t stop worrying about Aneeka, her beautiful, headstrong sister back in London – or their brother, Parvaiz, who’s disappeared in pursuit of his own dream: to prove himself to the dark legacy of the jihadist father he never knew.
Then Eamonn enters the sisters’ lives. Handsome and privileged, he inhabits a London worlds away from theirs. As the son of a powerful British Muslim politician, Eamonn has his own birthright to live up to – or defy. Is he to be a chance at love? The means of Parvaiz’s salvation? Two families’ fates are inextricably, devastatingly entwined in this searing novel that asks: what sacrifices will we make in the name of love?
A contemporary reimagining of Sophocles’ Antigone, Home Fire is an urgent, fiercely compelling story of loyalties torn apart when love and politics collide – confirming Kamila Shamsie as a master storyteller of our times.
An Amazon Best Book of August 2017: You don’t need to recall much about Sophocles’ tale of Antigone to be swept up by Kamila Shamsie’s plot-driven and lyrical contemporary retelling. Shamsie, a native of Karachi who has written six previous novels, sets Home Fire among two Pakistani émigré families living in very different communities in London. Isma Pasha, the devout orphaned daughter of a jihadi fighter, has raised her younger sister and brother in the largely Asian neighborhood of Wembley. Eamonn, the son of the British Home Secretary (a secularized Muslim) has grown up in posh Holland Park. His family has the power to help hers, and their friendship leads inexorably to a dramatic political crisis. The classical antecedents of this story are virtually invisible behind precisely-noticed modern-day details of Twitter trends, tabloid news, and text messages. Shifting points of view allow Shamsie to explore the different relationships at stake, from family loyalties to sexual passion, and these intimate connections counterbalance her broader political point. This is a beautifully-written, angry, romantic novel that succeeds in being both timely and timeless. –Sarah Harrison Smith, Amazon Book Review
“Ingenious and love-struck … Home Fire takes flight. … Shamsie drives this gleaming machine home in a manner that, if I weren’t handling airplane metaphors, I would call smashing. … Builds to one of the most memorable final scenes I’ve read in a novel this century.” —New York Times
“[U]rgent and explosive … near perfect … a difficult book to put down.” —NPR
“[A] haunting novel, full of dazzling moments and not a few surprising turns…Home Fire blazes with the kind of annihilating devastation that transcends grief.” —Washington Post
“This wrenching, thought-provoking novel races to a shattering climax.”—People Magazine
“A Greek tragedy for the age of ISIS … spare as a fable yet intensely intimate.” —Vogue
“Her last, perfect word serves as a contemporary, against-all-odds, global prayer… Shamsie’s latest is a compelling, stupendous stand-out to be witnessed, honored, and deeply commended.”—Christian Science Monitor “Shamsie’s timely fiction probes the roots of radicalism and the pull of the family.” —O, the Oprah Magazine
“A blaze of identity, family, nationalism, and Sophocles’ Antigone.”—Vanity Fair
“All of Shamsie’s novels are deeply moving and morally complex, leading to the kind of rich reading experience most of us hope for in every novel we pick up. Her newest has all of that and more.” —San Francisco Chronicle
“Intelligent, phenomenally plotted, and eminently readable.” —Bitch “Remarkable… [an] engrossing work of literature, one not only important to current political conversation, but also that holds timeless truths and a story that never grows old.”—Chicago Review of Books
“Shamsie’s prose is, as always, elegant and evocative. Home Fire pulls off a fine balancing act: it is a powerful exploration of the clash between society, family and faith in the modern world, while tipping its hat to the same dilemma in the ancient one.“ —The Guardian
“Home Fire is about love, loyalty, and sacrifice — and it makes the headlines we read every day hit home in a way that will inspire any reader to fight for what’s right.” —Bustle
“Shamsie’s incredibly moving story addresses the conflict between what we feel to be right versus what the law tells us is right, and what we will sacrifice in the name of family.” —Real Simple
“[A] powerful story of the complexities of love, family and state in wartime …timely and tragic, with an unforgettable ending.” —BBC.com
“Home Fire is Shamsie’s seventh and most accomplished novel. The emotionally compelling plot is well served by her lucid storytelling, and she digs into complex issues with confidence… As this deftly constructed page-turner moves swiftly toward its inevitable conclusion, it forces questions about what sacrifice you would make for family, for love.” —BookPage
“Moving and thought-provoking.” —The Millions, Most Anticipated
“Gut-wrenching and undeniably relevant to today’s world… In accessible, unwavering prose and without any heavy-handedness, Shamsie addresses an impressive mix of contemporary issues, from Muslim profiling to cultural assimilation and identity to the nuances of international relations. This shattering work leaves a lasting emotional impression.”—Booklist, starred
“Memorable…salient and heartbreaking, culminating in a shocking ending.”—Publisher’s Weekly
“Two-time Orange Prize nominee Shamsie (A God in Every Stone) has written an explosive novel with big questions about the nature of justice, defiance, and love.” —Kirkus Reviews
“Home Fire left me awestruck, shaken, on the edge of my chair, filled with admiration for her courage and ambition.” —Peter Carey, Booker Prize-winning author of Oscar and Lucinda
“Shamsie’s simple, lucid prose plays in perfect harmony with the heartbeat of modern times. Home Fire deftly reveals all the ways in which the political is as personal as the personal is political. No novel could be as timely.” —Aminatta Forna, author of The Memory of Love
“A searing novel about the choices people make for love, and for the place they call home.” —Laila Lalami, Pulitzer Prize finalist for The Moor’s Account
“A good novelist blurs the imaginary line between us and them; Kamila Shamsie is the rare writer who makes one forget there was ever such a thing as a line. Home Fire is a remarkable novel, both timely and necessary.” —Rabih Alameddine, author of An Unnecessary Woman
About the author:
Kamila Shamsie was born in 1973 in Pakistan. She is the author of four previous novels: In the City by the Sea, Kartography (both shortlisted for the John Llewellyn Rhys Prize), Salt and Saffron and Broken Verses. In 1999 she received the Prime Minister’s Award for Literature and in 2004 the Patras Bokhari Award – both awarded by the Pakistan Academy of Letters. Her latest novel, Burnt Shadows, was shortlisted for the 2009 Orange Prize. Kamila Shamsie lives in London.
Thanks to NetGalley and to Bloomsbury Publishing for providing me with an ARC of this novel that I freely chose to review.
When I read in the description of this novel that it was a contemporary version of Antigone, I was intrigued. If all Greek tragedies are powerful stories, I’ve always been inclined towards those that figure female characters at their centre, and by the moral questions they pose. The author explains, in a note at the end, that the project had started as a suggestion to write a modern adaption of the play for the stage but it had ended up as a novel. Her choices on adapting the original material make it, in my opinion, very apt to the current times, whilst at the same time preserving the eternal nature of its moral and ethical questions.
I don’t think I can improve on the description of the novel that I’ve shared above, but I thought I’d offer a few more details. The story, told in the third person, is divided into five parts, each one narrated by one of the main characters of the story. First, we have Isma Pasha, the oldest sister of a Pakistani-British family. When her mother died, she sacrificed herself for her twin sibling and left her studies to support them until they were old enough to choose their own paths. She is serious, studious, hard-working, and remembers a bit more than her siblings do what it was like when her father, a Jihadist who was never home, died on his way to Guantanamo Bay. The questions, the surveillance, the suspicions, the need to be ‘beyond reproof’… When her sister Aneeka, is about to start university, and her brother, Parvaiz, is pursuing a career in sound and media studies, she accepts an offer by one of her old professors to continue her studies at Amherst College in Massachusetts. She enjoys her quiet life there and meets a young man, Eamonn, whom she recognises as the son of an important UK politician, and one that had had some dealings with her family in the past. Although from very different social classes they share some things in common (they are both from London and they have Pakistani family, although Eamonn knows very little about that side of things). Their friendship never develops into anything deeper, but it brings hope and possibility to Isma’s life.
The next part is told by Eamonn, who intrigued by a photo he’d seen of Isma’ sister, tracks her down, and despite the secrecy surrounding their relationship, falls for her.
Parvaiz’s story is that of a young man brought up among women, who is very close to his twin-sister, Aneeka, but annoyed because the women in his life make decisions without him and he has no male role-model to guide him. A chance meeting with a man who tells him he knew his father ends up in his indoctrination and eventual joining of the Caliphate.
Aneeka’s chapters talk about her grief and her determination to do what she thinks is right, no matter the price or the consequences, both to herself and to those around her. When is love too much and how far would you go for your family?
Karamat Lone, the British Home Secretary, has the two final chapters. He is of Pakistani origin but has abandoned much of his culture and identity (including his religion and his way of life) and advocates assimilation and harsh punishment for those who don’t. Like for Aneeka, for him, there can be no compromise. He repeatedly chooses politics and his official life over his family and that has terrible consequences.
Shamsie has created multi-faceted characters, all distinctive and different in the way they feel, they see the world, and they relate to others. I found Parvaiz’s story particularly effective and touching, particularly as his decision might be the most difficult to understand for many readers. He loves sounds and the way he describes everything he hears is fascinating. The story of his indoctrination and the way he ends up trapped in a situation with no way out is hard to read but totally understandable. They choose him because he is a young man, vulnerable, looking for a father figure, and easy to manipulate. He makes a terrible mistake, but like the rest of the characters, he is neither totally good nor bad. They all keep secrets, in some cases to avoid others getting hurt, in others to try and save somebody or something. At times questions are not asked so as not to shatter an illusion, and at others, even the characters themselves no longer know what the truth is. The structure of the novel allows us to see the characters from their own perspective but they also appear in the stories of the others, and that gives us a better understanding of who they really are, how they appear to the rest of the people, and of the lies they tell themselves and others.
The novel deals with a number of relevant subjects, like terrorism and counter-terrorist measures, religion, ethnic and religious profiling, social media, surveillance and state-control, popular opinion and its manipulation by the media, politics, identity, family, love (many different kinds of love), ethics and morality. Although many of these topics are always at the centre of scholarly and popular debates, now they are more pressing than ever.
This is a beautiful book, lyrical at times, full of warmth and love (family love, romantic love, love for knowledge and tradition…), but also of fear and hatred. It is passionate and raw. We might not agree with the actions and opinions of some (or even all) the characters, but at a certain level, we get to understand them. We have fathers (and most of the men, although not Eamonn) prepared to sacrifice their families and their feelings for what they think is a higher and mightier good (country, religion, politics…). We have women trying to maintain the family ties and do what is right beyond creed, country lines, written laws, and paperwork. And a clash of two versions of family, identity, and survival condemned to never reaching an agreement.
I highlighted many lines of the text (and although always in the third person, the language and the expressions of the characters are very different in each segment), and some are very long (another writer not concerned about run-on sentences at times, although they serve very clear purposes), but I decided to share just a few examples:
Always these other Londons in London.
He was nearing a mosque and crossed the street to avoid it, then crossed back so as not to be seen as trying to avoid a mosque. (This is Eamonn walking around London).
She was the portrait to his father’s Dorian Gray —all the anxiety you’d expect him to feel was manifest in her. (Eamonn thinking about his mother).
Grief was what you owed the dead for the necessary crime of living on without them. (Aneeka thinking about her brother and about grief).
This was not grief. It was rage. It was his rage, the boy who allowed himself every emotion but rage, so it was the unfamiliar part of him, that was all he was allowing her now, it was all she had left of him. She held it to her breast, she fed it, she stroked its mane, she whispered love to it under the starless sky, and sharpened her teeth on its gleaming claws.
The human-rights campaign group Liberty issued a statement to say: ‘Removing the right to have rights is a new low. Washing our hands of potential terrorists is dangerously short-sighted and statelessness is a tool of despots, not of democrats.’
He looked like opportunity tasted like hope felt like love (Anika about Eamonn).
Working class or Millionaire, Muslim or Ex-Muslim, Proud-Son-of-Migrants or anti-Migrant, Moderniser or Traditionalist? Will the real Karamat Lone please stand up? (The newspapers talking about Karamat Lone, the Home Secretary).
Who would keep vigil over his dead body, who would hold his hand in his final moments? (Karamat thinking about his mother’s death and then his own).
This is a powerful book and a novel that made me see things from a different perspective. What happens to those left behind? We are used to hearing about the families of young men and women who leave them and their country of birth to join terrorist groups. We hear of their surprise at what has happened, they seem unable to react or understand how their son, daughter, sister, brother… has become somebody they no longer understand or know. But, what must life be like for them afterwards?
There are elements that might stretch the imagination but for me, they fit within the scope of the story (it is supposed to be a tragedy, after all) and the novel treads carefully between realism and dramatic effect.
A great novel that brings to life many issues that are sometimes ignored in the political and media discourses but that are fundamental if we want to reach a better understanding of the situation. A book for people who are looking for something more than a good story and a bit of entertainment, and are prepared to ask themselves some questions. Another author I had not read yet but whom I will eagerly follow from now on.
Thanks to NetGalley, to Bloomsbury, and to the author for this extraordinary novel, thanks to all of you for reading and remember to like, share, comment, click and REVIEW!
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