Global Progress Action was in London at the end of last month, filling Methodist Central Hall with politicians and think tankers of broadly defined ‘progressive’ politics from around the world. On the day, there was airport-style security, and everyone you didn’t recognise was the former prime minister of Sweden. Morgan McSweeney floated about on a protective cloud of staff as Rihanna’s ‘Umbrella’ played softly through the speakers.
Just after 5 a.m. on Wednesday, 8 October, Israeli forces had illegally boarded us in international waters, at roughly the same longitude as Port Said, Egypt. It was our twelfth day at sea in a forty-foot sailing boat, with medical aid and baby formula packed in the stern cabin and cockpit locker.
Last Monday, three judges at the International Criminal Court in The Hague delivered their verdict on Ali Abdelrahman Kushayb: guilty on 27 counts of war crimes and crimes against humanity, committed in Darfur, Sudan, during 2003 and 2004. It was an exemplary case, meticulously prepared and presented. It took three and a half years from the opening session to the verdict. Seventy-eight witnesses gave evidence in court. Stacks of documents were presented and pored over. I was the first witness, summoned in April 2022 by both the prosecution and the defence – an unusual arrangement in a tribunal based on the adversarial system – to help the court establish agreed facts about the background to the case and the conflict in Darfur.
John Heartfield’s cover designs for ‘Erotik und Spionage in der Etappe Gent’ by Heinrich Wandt (1928)
John Heartfield was forced to leave Germany in 1933. Even before the Nazis put him on their hit list, his art had caused controversy. In 1928 he designed the cover for a book about the mores of the German top brass (Erotik und Spionage in der Etappe Gent by Heinrich Wandt). When it was banned, Heartfield produced another, turning the censor’s scissors against the censor.
At sunset on a clear day you can see thirty miles across the Río de la Plata from Colonia de Sacramento to the skyscrapers of Buenos Aires as the sky behind them turns orange. Julio Cortázar once wrote: ‘I speak of Uruguay and Argentina as one country because they are, despite the nationalists.’ When Argentina’s economy collapsed at the end of 2001, Uruguay’s soon followed. It happened again with the Covid-19 pandemic and its aftermath. Argentina has 45 million people, Uruguay three million; the Buenos Aires metro area is more than seven times the size of Montevideo, where two-thirds of the country lives.
Israel has assassinated a record number of Palestinian journalists, refused to allow international reporters to enter Gaza, imposed internet blackouts during its most bloody assaults, asked Meta to take down more than thirty million social media posts, and allocated $150 million for its 2025 hasbara (propaganda) budget, a twenty-fold increase on previous years. And yet, despite all these efforts, global public opinion is turning against it.
If there’s anything ironic about being so scared of telling the wrong joke that you run straight into the arms of the House of Saud, it seems lost on the Riyadh Comedy Festival performers, who have, on the whole, described their experiences in Riyadh as positive – or at least positive enough to clear their consciences.