Tuesday, June 17, 2014

Fugitive Pieces

Fugitive Pieces by Ann Michaels


I've started, tried to get into this book at least three times but I've abandoned it each time. I couldn't keep the characters straight, and couldn't follow the time line. Since then, I have watched a film version, which will help, and I've also read Jerzy Kosinski's The Painted Bird and Elie Wiesel's Night, which seem to me to be somehow related. Perhaps when I've finished my writing revisions and my current paperback, another Kathy Reichs, I'll give this one another try. Maybe not, if I can't get this Human Writes Activist blog to post again.

Saturday, May 24, 2014

What We All Long For - FIRST IMPRESSIONS



What We All Long For - FIRST IMPRESSIONS




I finished Dionne Brand's What We All Long For because it is an AI book club selection. I would not call it easy reading. It took a while to hook my interest in these second-generation immigrant young people trying to make lives for themselves in Toronto in 2002. Carla, the daughter holding the baby witnessing her mother's suicide; Tuyen The artist and Binh the MBA, the two BIC children raised by parents haunted by a lost child; Jackie, the daughter of hippy parents mourning the loss of dancehalls and the good old days; Oku, the poet drop-out obsessing about the same girl since high school; and Quy, the lost boy, remembering how he survived. I think my “suspension of disbelief” is hindered by the unconvincing characterization. With the possible exception of philosophy majors, I don't think people think in such abstractions. Nor are most 20-somethings thatself-aware. I can accept that the omniscient narrator, the poet/writer Bran, understands the emotional underpinnings of these characters. But I have trouble believing the characters. 

Is the plot thick enough to support the growth, the transformation of each character, as believable? They do grow, and that's a good thing. 

I don't have a problem with the coincidences or with the ending. One of the themes is the role of chance in our lives. A novel is by definition a contrivance. The structure of this novel is varied points of view leading to a final crash which brings all the plot threads together, like the movie.

The reviews of this novel sound very snarky. Beautifully disappointing. Political. Well-intentioned. Predictable sex scene. Soap-opera-ish. Race-based alienation. These all sound reductive to me.

What We All Long For - CANLIT THEMES:- The Same But Different


What We All Long For - CANLIT THEMES:

1) The-Same-But-Different traumas of all the migrants. Whether they came by train from
Halifax, or flew in from Jamaica, or arrived as refugees from camps in Thailand, these
people have baggage. All people have baggage. But, as I said, I am not convinced that twenty-somethings would

understand either themselves or their parents in this way. 

What We All Long For – CanLit THEMES - Coming-Of-Age


What We All Long For – CanLit THEMES

2) Coming-of-Age. Personally, I am old, and I have promised myself that I've read enough
coming-of-age novels of teens discovering sex and rejecting their parents. I no longer identify
with them. They are going through a stage. Been there. Did that. Learned something. Need to

learn more about older adults. Thus, where I am in my life impacts my response to the characters and the plot.  

What We All Long For – CanLit THEMES - The Immigrant Experience



What We All Long For – CanLit THEMES

3) The Immigrant Experience. I am pretty familiar with the first generation immigrant stories of

new Canadians as presented in CanLit. It is interesting to peek into the lives of the next generation, but I cannot say that anything surprised me or seemed to be a revelation. We are all individuals, from often confused families, and from other places before we got here. We all struggle to figure out what's going on and how we can best fit in. For some, those families or places of origin were more of a hardship than for others. Some had a choice and others had immigration thrust upon them. No one ever asks Where else would I rather be?

What We All Long For – CanLit THEMES - Becoming the Ideal Canadian


What We All Long For – CanLit THEMES

4) The Ideal Canadian: I kept thinking, these new people could benefit from more of a helping
hand, more of a feeling of being welcomed here. It might be useful for them to learn about
those who are already here, how they did it, how they broke out of the silos and interacted,

participated. Those already here could extend a hand of welcome with language, and social interactions, and schools, and employment, and patronage of businesses. We are all immigrants. Most of us whose families chose to come here arrived as "economic immigrants/migrants," poor people without hope of owning land in the old country, of breaking through the old class structures, seeking the freedom to be the best they can possibly be. Just like today's immigrants. For some, war and dislocation were the impetus for migrating. For others, not as much. All came with the knowledge that they have to work hard, and hoped to vaccinate their children with that knowledge too. Only Jackie seems to have picked up that lesson, of what she has to do to survive in a capitalist system. And Binh.

What We All Long For – CanLit THEMES - The City


What We All Long For – CanLit THEMES

5) Toronto as a character in the novel: Everyone hates Toronto. Its size implies dominance. Its lack of interest in anywhere else, smugness, can seem off-putting. I'm not that familiar with Toronto, having visited only twice, and not knowing the geography. The last time I was there, I never got over the feeling that the lake was on the wrong side of the street. Perhaps because of this, I envy Carla's familiarity, her fearless flying through the streets on her courier bicycle. 

What We All Long For – UNIVERSAL THEMES - Parental Responsibility

What We All Long For – UNIVERSAL THEMES

PARENTAL RESPONSIBILITY: We make such assumptions about parenting, about

what children need, about what parents are responsible for doing. We assume people choose to be parents, and in so doing, that they accept certain responsibilities. Yet we know that the generation gap which exists between parents and children works both ways too. The children expect certain things from parents and are resentful when they do not get them. The parents expect certain things from the children and may attempt to use money and/or emotional manipulation to ensure the children live up to the parental expectations. Unquestioned assumptions about marriage, fidelity, parental responsibility, gender, responsibility towards family, cause much of the stress for these characters. 

What We All Long For – UNIVERSAL THEMES - Divides

What We All Long For – UNIVERSAL THEMES


The RURAL/URBAN OUTSIDER/INSIDER Divide: How does the experience of these characters compare with my own at that age? The novel made me more conscious of the difference between growing up in a city and moving to a city when you leave home as I did at age 17. All rural children leave home as soon as they finish school, to find work or go on to post-secondary education. The ties are cut. You choose to go home perhaps two or three times a year. Rural people find a longed-for anonymity in the city where no one knows them, their parents, their families. They long to be as common, as unexceptional as a pebble on a beach, in order to be like the others or to find themselves. Psychologically, this is a very different way of growing up than it is for urban children living at home, guilted into visiting, bumming food and cash, being forced to create a scene, to be angry, to reject, in order to make the break which will allow them to grow up, become independent adults, if ever. Each of the characters in What We All Long For struggles to make this break, to cut the cord to their childhood past. They struggle to break away from their parents. They already have a circle of friends on whom they rely emotionally and financially. Their parents, like everyone coming from elsewhere, struggled without assistance to integrate into the city.

What We All Long For – UNIVERSAL THEMES - Globalization

What We All Long For – UNIVERSAL THEMES


GLOBALIZATION: In the novel, the World Cup works as a unifying interest for the characters from disparate parts of the globe. Games provide an opportunity for getting together, and for unexpected revelations of who knows what about "the others." When a television announcer says “I didn't know we had a Korea Town in the city,” the artist Tuyen is enraged. "You fuckers live as if we don't live here. " [p. 204] This exchange made me think about racism. How it works both ways. How sometimes it is accidental rather than deliberate. That the colour of my skin and my family background doesn't mean that I am anti-immigration. On the contrary, personally I am honoured. I love Canada and I feel honoured when others choose to come and make their home here and participate in, contribute to this country. New Canadians are helping the rest of us learn to love soccer at the same time as they are becoming hockey fans. New Canadians and their children bring languages with them. Language is part of who we are, of our individual identities. Our attitudes towards languages is indicative of our willingness or ability to mix. Our identities, those we bring and those we develop, determine the kind of Canada we envision. Shared space with common ground.

What We All Long For – UNIVERSAL THEMES - Human Rights Abuses


What We All Long For – UNIVERSAL THEMES


HUMAN RIGHTS ABUSES: Tuyen and Binh's family fled Vietnam at the fall of Saigon and after years in camps, arrived in Canada as refugees. They arrived with nothing. War would seem to be the greatest human rights abuse, creating refugees with nowhere to go. But it seems like a very difficult issue, focusing on the basic levels of human needs, food, shelter, security. Placing thousands of displaced people into strange often unwelcoming situations seems fraught with danger for all involved. Without adequate support, tragedy seems inevitable. It would seem to require much international cooperation. Neither individuals nor nations can be “the catcher in the rye.” To believe otherwise courts doom and/or madness.

Friday, May 23, 2014

What We All Long For - UNIVERSAL THEMES - COPING WITH GRIEF


What We All Long For - Universal Themes - Coping With Grief




Coping With Grief: It seems to me that another global concern, another experience which unites humanity, is the experience of grief and how we cope with the grief in our lives. Everyone who moves leaves or loses something, and hopes that the destination will prove to be "a better place." If we could see and honour that common experience in each other, we might be more tolerant, more understanding. Maybe that's what prompted Dionne Brand to write What We All Long For.  






Monday, April 28, 2014

The Cellist of Sarajevo - CanLit Reservations

The Cellist of Sarajevo



CanLit Reservations: Although I am a passionate reader and promoter of CanLit, have read almost nothing but for over forty years, for some probably ignoble reasons I have previously avoided this novel, Steven Galloway's The Cellist of Sarajevo. For (1) reason, because Vancouver Island artists Elizabeth Wellburn and Deryk Houston had earlier collaborated with the cellist Vedran Smailovic to create the illustrated children's book Echoes from the Square (Rubicon, 2002). A version is available on You Tube. (2) For another reason, I always suspect ulterior motives (a quest for $$$ and international sales) behind "Canadian" novels set elsewhere, with not even one Canadian character. I hold with Seamus Heaney that good literature reveals the self to the self, restores the culture to itself. (Of course, I'm paraphrasing abducting expanding what he said about poetry in "Feeling into Words".) Who will write about us, reveal us and our culture, if not us? We need to do this. (3) And finally, because looking outside ourselves for examples of human rights abuses could imply a "holier than thou" attitude, a blindness to our own failures. I know, we have a shared humanity, and that it is often easier to recognize problems in others before we see them in ourselves. I said my hesitations are ungenerous. 

The Cellist of Sarajevo - A Psychological Landscape

The Cellist of Sarajevo

A Psychological Landscape: With these reservations in mind, I did enjoy Steven Galloway's The Cellist of Sarajevo. I felt transported to that time and place where Canadian soldiers I know served. I could imagine the stresses of a population under siege attempting to survive while snipers above them try to foil their efforts. The psychological landscape feels real. Daily routines. Rituals. Memory. Markets and black markets. Conscription into the armed conflict.

The Cellist of Sarajevo - Identification With Arrow

The Cellist of Sarajevo

Identification With Arrow: The character with whom I most identify is Arrow because she is female and because I have also trained at target shooting, on handgun, shotgun, and AR-15 rifle. She has a skill and she is conscripted to assist "the defenders" of the city. As all trained marksmen know, being prepared to shoot at a human being is a big step. The protocol is drilled into you. The appropriate use of force. You may kill in order to prevent a death. Shoot a hostage-taker with a knife or a gun to the head of an innocent person. That's the easy one. You may kill a fleeing felon, "armed and dangerous," on the belief that fleeing authority makes him desperate and therefore more at risk of harming others to aid in his escape. You never shoot simply to wound or disarm, although this training is beginning to be questioned. In some cases, knowledge of the perpetrator may influence your assessment of the risk and thus your decision about whether or not to use lethal force. Snipers are not the negotiators. In some cases, someone of high rank will give the order to fire. Even then, the sniper is still responsible for the decision. Just like in a war, being ordered to commit an illegal act does not relieve the shooter of responsibility. So Arrow is comfortable with the first assignment, to counter-snipe the gunmen in the hills. However, she draws her own line. She refuses to shoot a civilian. She refuses to follow an order which she considers to be illegal or immoral. She knows the consequences. Symbolically, she puts her weapon down, as if to say Here I Stand, and she waits.

Have I ever experienced a similar sudden awakening or realization? Nothing quite so dramatic. I cannot say I have ever been given an illegal order. I have left jobs when I could no longer respect those who were giving the orders. Or when I could not accept existing policy such as Smoking Permitted in my Classroom or forced Christian prayer. 

The Cellist of Sarajevo - The Force of the Music

The Cellist of Sarajevo

The Force of the Music: I think it is the cellist's protest which has the power, more than the music itself. He protests by refusing to cower. By honouring the dead. Perhaps he is experiencing post-traumatic stress himself. By making a statement, he is also making himself a target. However, like the '60s slogan War Is Over If You Want It, I think it is naive to believe that if everyone in the city simply refuses to fight, that would end the siege. That's how bullies win. The people of the city did not start the conflict nor can they end it.

The Cellist of Sarajevo - Who Are These People?

The Cellist of Sarajevo

Who Are These People?: I like the point that the combating groups are not named, other than sniper and counter-sniper, siezer and defender, them and us. Who they really are/were is not the point. The point is how citizens cope within the middle of armed conflict. However, I think the more important theme is how to prevent such conflicts before they become this serious. Although it is probably not something the writer was interested in nor trying to do. I believe it is these causes of conflict which are part of our shared humanity that we are still struggling to learn to address. How to respect those who are different from ourselves. How to live in shared territory. The responsibilities of governments and of international organizations. The importance of finding and using non-violent means of pressuring governments to respect human rights. Ways to control the sale of arms and munitions. Ways to prevent criminals and criminal organizations from taking over countries.

The Cellist of Sarajevo - Sarajevo, Canada

The Cellist of Sarajevo 

Sarajevo, Canada. Could this happen here? The destruction of the city made me think more of what Vancouver would look like after an earthquake. However, unfortunately, I do believe that in Canada, civil war could also happen. The issues in Bosnia included the rights of minorities within a federation, control of territory, and sectarianism based on racism. I don't think combat will happen in Canada if Quebec decides to secede. However, I do think it may happen if we do not wake up and come to terms with the injustice and mistreatment of our First Nations, treatment which does not comply with either the UN Universal Declaration of Human Rights nor with the UN Declaration on the Rights of Indigenous People. See my: http://www.ImagineCanada2017.blogspot.ca/


As a student of history, I fear the use of army and police forces against people speaking up for First Nations rights. We have already witnessed such armed conflict against our fellow citizens, the Kenesatake Mohawk at Oka, Quebec, at Gustafsen Lake, BC, the Six Nations of the Grand River at Caledonia, Ontario, the Stoney Point Ojibway at Ipperwash, Ontario, and the Elsipogtog Mi'kmaq at Rexton, New Brunswick, to list a few. People pretend that it's about land, or law and order, but it's really about human rights, indigenous rights, treaty rights, and about hiding behind numbers, that old majority rule of outdated democracy, as an excuse to abuse the rights of others. And it's about the racism rampant in our nation even today which allows people to tolerate injustice just like the people of Sarajevo learned to live with the snipers in the hills. 

Tuesday, April 1, 2014

Human Writes Activist

Human Writes Activist




Three Day Road - Human Rights In Canada

Three Day Road - Human Rights In Canada

Amnesty International chose Joseph Boyden's Three Day Road for its first book club discussion.




The unjust treatment, the failure to honour, our First Nations, is, I believe the most important issue in Canada today. It distresses me to see prominent First Nations spokespeople, like Elijah in the novel, frantically proclaiming, attempting to convince others that "I am / we are worthy" when the real issue, the cause of all the pain and suffering, lies within us, the "other," those of us whose eyes are blinded by racism. Racism denigrates indigenous cultures, allows treaty rights to be defied and denied, allowed children to be abducted and indoctrinated, allows women to be desecrated, communities to be marginalized, colonization to continue. Racism assumes that all MUST assimilate, and causes the Elijah's to internalize a sense of inferiority and shame and anger. Racism is the issue, and racism is what has to be addressed before any change, any true reconciliation will be possible.

What can I do about it? I write. All I can do is write. I wrote about what I know and how I know it. My Dancing With Ghosts: A Cross-Cultural Education is available through the Canadian Museum For Human Rights website http://share.humanrightsmuseum.ca/writing/dancing-with-ghosts-a-cross-cultural-education/ and also on my own blog http://www.dancingwithghostsaneducation.blogspot.ca/ along with my other attempts to enlighten--Imagine Canada 2017 http://www.imaginecanada2017.blogspot.ca/ and We Are All Accomplices http://weareallaccomplices.blogspot.ca/2013/03/good-things-about-nanaimo-letter-to.html  I am still working on trying to place my The Truth About Reconciliation.

Artists like Joseph Boyden and Wab Kinew help us see First Nations from a different, more rounded perspective. But does no one else fear "preaching to the choir"? Only those people who have already been converted, who are already concerned about human rights, and righting wrongs, are likely to hear. How best can we expose, let alone address, the underlying causes of our dysfunctional relationship with First Nations in Canada? 

Sunday, March 30, 2014

Highlights - Half-Blood Blues

Amnesty International's second book club selection in Esi Edugyan's Half-Blood Blues. 


Half-Blood Blues is about a group of jazz musicians, the Hot-Time Swingers, trying to survive in Europe just before and in the early months of the Second World War. 

The novel is about moral complexity and ambiguity, and about the individual's need to come to terms with himself. 

The novel seems to ask the question What does it mean to be fully human? It is about integrating the positive and the negative which create every whole. About becoming emotionally mature. 

A second theme seems to be The role of art in elevating humanity. Feelings > commonality > empathy.



WHAT IS HALF-BLOOD BLUES ABOUT?

WHAT IS HALF-BLOOD BLUES ABOUT?

PLOT SUMMARY: Half-Blood Blues is about a group of jazz musicians, the Hot-Time Swingers, trying to survive in Europe just before and in the early months of the Second World War. The timeline jumps around in six chapters--Paris 1940, Berlin 1992 (which opens in Baltimore), Berlin 1939, Berlin 1992, Paris 1939, and Poland1992. In pre-war Berlin the musicians are persecuted by laws against their degenerate music and laws denying rights of citizenship and travel papers based on their place of birth, parental nationality, and race. Two of the musicians, Chip Jones, the drummer, and Sid Griffiths, the bassist narrator, are African-American friends from Baltimore, USA. The pianist, Paul Butterstein, is Jewish and epileptic. Ernst "the Mouth" von Haselberg on clarinet is a German rebelling against a Nazi father. Fritz Bayer, alto sax, chooses to stay in Germany. Hieronymus Thomas Falk, trumpet player, is the son of a Black occupying soldier and a German mother. As a half-blood German-speaker, he has no papers. Although German-born, he is denied citizenship. Ernst's father arranges for forged papers, exit visas for all three including Hiero to pass as American (as long as he doesn't speak).

Delilah Brown, a Canadian American singer with two passports, comes to Berlin to ask the musicians to come to Paris and play for/with Louis Armstrong. They arrive a few months before Paris falls to the Nazis. Delilah arranges for visas to allow Sid and Chip to leave with her for the States but there are no papers for Hiero. As they wait for his travel papers, they decide to cut their own blues record which Sid saves and smuggles out of the studio before Hiero is really satisfied with the take. Their "Half-Blood Blues" is a jazz interpretation of the second official German national anthem, the Nazi Horst Wessel song. They had taken the enemy's signature piece and made it their own. Hiero, who has been ill, insists on going out for milk. Sid agrees to accompany him. While Sid is in the washroom, the Boots arrive. Hiero has no papers. He is arrested. Sid can only stand and watch. Hiero spent the rest of the war in a concentration camp and they heard he died shortly after being liberated. However, just before Chip and Sid are set to fly over to Berlin in1992, for the premiere of the documentary about their group, Chip reveals to Sid that Hiero is alive and living in Poland.

Fifty years after the war, in Kurt Caspar's1992 documentary about the group, Chip betrays Sid by accusing him of being responsible for Hiero's arrest. A crime, he calls it, caused by personal and professional jealousy. Denying Hiero the way Peter denied Christ. Sid continues to tell details of their last days in Paris, revealing that, in order for the group to complete the recording, he had hidden Hiero's visa and papers which would have allowed Hiero to escape to Switzerland.


After the premiere of the film, Chip convinces Sid to come with him. They take a bus to Poland to visit Hiero. Sid confesses the truth to Hiero who is shocked but comes around. He has matured. He does not blame anyone. Chip also absolves Sid, telling him "We all done things we ain't proud of, especially back then." "What you done was inexcusable, Sid. Absolutely wrong" but at the same time his old friend recognizes that "you'd have given you whole life to spare him if you could." The novel is about moral complexity and ambiguity, and the individual's need to come to terms with himself. 

The UNRELIABLE NARRATOR:

The UNRELIABLE NARRATOR:


Who is the reliable narrator? Sid tells the story. To me, Chip is the one who betrays his friend, publicly, cruelly, in the documentary. In their younger days, Sid recalls Chip stealing from his own family members. In their Berlin and Paris days, Chip plays the Iago, teasing Sid about the woman he loves and her concern for Hiero. Sid seems believable where it concerns memory, plot, what happened, but he is less strong, unreliable, when it comes to interpreting his own and others' feelings. "Trust the tale, but not the teller." He is immature and insecure, and seems only to come of age in his eighties when he finally sees Hiero again. What Sid did to Hiero, withholding the papers, was morally wrong, a lie of omission which, if he had told Hiero that the papers had arrived, would have allowed Hiero to make his own informed life or death decision about when to flee Paris. Sid chose to put their art, the possibility of musical immortality, ahead of his friend's safety. 

RESISTANCE:

RESISTANCE: 

Was resistance possible? I don't believe at the time Hiero was arrested that Sid could have done anything. A friend of mine has published a memoir of growing up in Germany during this same era (Plagues and Placebos by Dr. Gerd Asche, amazon.com), witnessing classmates disappear, windows of businesses and synagogues being smashed, special needs people being hidden, state employees being pressured to conform, resign, or commit suicide if they refused to comply with Nazi policy. Sid was not responsible for nor could he in any way control the racist policies and anti human rights laws.

Bernhard Schlink's The Reader also tackles the conundrum of the options available to German people, to people in Germany, under the Nazis. Half-Blood Blues also has echoes of Michael Ondaatje's The English Patient, the repeated references to the lover's collarbones, the hero reading Herodotus, the link between language and papers and identity. In The English Patient, the anonymous patient rejects nationalism and the emphasis on paper identities and taking sides and attempts to live "under the radar," to continue his life as an explorer, cartographer, and lover. In a sense, all four of these books are about attempting to live a fully human life in spite of war and other people's inhumanity. As does Christopher Isherwood's 1939 novel Goodbye To Berlin which became I Am a Camera and later, the musical, Cabaret. The Hot-Times Swingers' version of Horst Wessel, their "Half-Blood Blues," is their answer to the Cabaret patrons singing "Tomorrow Belongs To Me." Their record, although it was confiscated, resurfaced fifteen years later and led to Chip's successful career. And when we meet Hiero again, his record collection confirms that not necessarily jazz but music survived in Europe in spite of the Nazi attempt to exterminate it. So in this sense, jazz, music, represents the human spirit, the spirit of humanity. As do the monumental metal statues surrounding Hiero (Thomas') home. A blind Hiero gazing at the sky. A protective Sid, cradling his bass. The friends have been with Hiero all along. 

Half-Blood Blues - THEME #1 - BEING FULLY HUMAN:

WHAT IS HALF-BLOOD BLUES ABOUT?

THEME #1 - BEING FULLY HUMAN:


Although the evil Boots and the feeling of impending doom are ever present, at the same time, the musicians themselves are not perfect. They are fraught with pettiness amongst themselves, and jealousies over sexual adventures and musical talents. As a microcosm, their personal failures parallel the larger failures of the Jim Crow laws at home, or of the Nazi regime. The plot and character development suggest that part of the human condition is this sense of competition and this “I'm okay, but these over here are not okay.” Or, as Hiero puts it when showing Sid the human beings in the Hamburg zoo, "A jack always reckon his own customs is the best in the world."

How can humanity address this failure, this ethnocentrism? Human rights legislation is the answer only as long as it is respected and enforced. Think Putin. Think Canada where, these last few years, we see governments disrespecting laws, denying treaty rights. The novel seems to suggest that all solutions are individual, and that the changes must all happen within each individual. Honesty, the ability to confess, to face the truth, to accept the failures of self and others, to say sorry, to offer forgiveness. So that the first theme of the novel seems to be this idea of what it means to be fully human, to embrace imperfection, to integrate the positive and the negative which create every whole, to become emotionally mature. 

Half-Blood Blues - THEME #2 - ART and HUMANITY:

Half-Blood Blues - THEME #2 - ART and HUMANITY:

A second theme in this novel seems to me to be the role of art in elevating humanity. The musicians seem able to make the connection between the conscious and the unconscious, to recognize and express emotions, to make the audience feel. The statues also express feelings, emotion, wherein rests our commonality. From feelings, empathy may arise. 

Human Rights Action - ROMA

Human Rights Action - ROMA


ROMA: I am not comfortable at all with the information provided on the education of Roma children. How do the Roma educate their children? What do their parents, their community, their culture, want the Roma children to learn​? The information given leaves the impression that someone else is responsible for the children, and that someone else is responsible for educating the children. It verges on feeling patronizing and condescending. Education by the state is often used as a way to force assimilation, acculturation. When the state becomes involved in education systems, it is assumed that the parents contribute to the curriculum and towards the costs (taxes, etc.)


Is education a human right? Whose responsibility is it? The parents, the community, or the state? Or others? If the child's culture is in conflict with state school attendance, what gives? When the child's education surpasses the parents, rifts can develop within the family. The parents have difficulty helping the children with their schooling, and the children feel pressured to choose between schooling and family/community. So, although I accept your premise that there is discrimination against and persecution of Roma in places in Europe, I am not convinced that suitable action options are offered here, nor that outsiders are the ones who should be deciding what should be done about this issue. What do the Roma want?