Distance Does Not Mean Protection | Marsascala Under Attack (Again)

Having lived in Marsascala between 2015 and 2020 and seeing the sleepy-but-bustling former fishing village once again become a target for suffocating over-development, I’ve decided to look back on some of my impressions and memories of the town, partly motivated by simple nostalgia, partly by an urge to help myself understand just why the authorities and the business class so often make it a point to single out Marsascala in their ongoing drive towards uniform devastation. This is the second blog post in this erstwhile series.

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Marsascala always struck me as one of the few villages or towns in Malta whose borders are actively separated by clear distances.

Most of Malta’s localities exist on parallel and intersecting lines – like the twin cities of Besźel and Ul Qoma in China Mieville’s fantasy-noir novel The City and the City. Plant yourself at any border on the island and you’ll likely find yourself facing or tailing a couple more. Not so with Marsascala.

The road that extends from its closest Southern cousin of Zabbar feels like a proper ‘highway’ between one town, city, village and the next. Neither is it terribly feasible to walk to nearby villages through its other end – a one-hour trek to its more decorated fishing village cousin of Marsaxlokk is certainly beautiful in the right conditions, but impractical in others; opting to walk to the equidistant Zejtun is neither a pretty nor safe proposition.

And trudging through the ‘pedestrian’ highway to Zabbar (and nearby Birgu) would be pointless – it’s a strip of land designed exclusively for cars, and all the ramblers would get out of it would be inhaled fumes.

But this isolation equals neither boredom nor tranquility, much as I sometimes wished that to be the case. Marsascala is ‘bustling’ in various senses of that loaded word. A fishing village turned summer-house location for local families turned expat haven turned half-hearted tourist spot.

A few decent restaurants have popped up in recent years, but the provision of overall services remains on the sketchy side. No need to pine for the mercilessly ‘sleek’ counterparts of Sliema and St Julian’s – which would be uncomfortable for a host of related or vaguely-related reasons – but moving to the more centralised and quieter area of Rabat has quite literally brought home the benefits of the more traditional village structure.

Marsascala, on the other hand, is marked by long stretches and disproportionate distances, only to be stoppered by sprawl on its edges and contours. The long promenade cuts a swathe across Zonqor Point and St Thomas Bay on either end, and both of them are then burdened by apartment blocks – snails carrying a shell of cramped-together dwellings. In between are the shops, restaurants and yes, some villas with ‘unobstructed views’ for those who can afford them.

It’s a mish-mash rearing for change – or rather, for streamlining and ‘completion’ – a completion which in Malta signals only oblivion.

This is why a raggedly hybrid place like Marsascala is so vulnerable to attacks of ‘development’. Its liminal state – between warm summer dwelling and tourist hub, between fishing village and cool hangout – is an affront, an offence.

And its edges must be smoothened into the choking nothingness that Transport Malta, the Planning Authority and – crucially – the status-hungry populace want. Anything that just “sits there” is a waste of time and resources.

The poverty of the Maltese school system – a reheated version of utiliatrian British methods based on rote learning and mechanised exams – means there is no oxygen left to cultivate a sense of enrichment and belonging in leaving things just as they are, and enjoying them as such.

Which is why we are left to suffer under the yoke of public officials such as the Planning Authority’s executive chairperson Martin Saliba, who equate the zombie-brained expansion of ugly urban sprawl with an inevitable drive towards a vaguely-defined “modern era” for Malta.

Distance is what isolates Marsascala, and what makes it vulnerable. You reach it after a long stretch, and you find it to be all alone. You imagine it cupped in the palm of a distracted sea-goddess.

No UNESCO-protected fortifications defend it from attack, alas.

Read more: Resistance & Self-Compassion: The Case of (and for) Marsascala

Resistance & Self-Compassion: The Case of (and for) Marsascala

The seaside village of Marsascala which served as my home for roughly six years up until recently has once again become a beacon of environmental resistance in Malta, after a government-sponsored proposal to choke its bay with a vulgarly gigantic yacht marina has led to a near-unanimous uproar among both activists and locals.

If the root of the complaint were not so depressing, such a united front would have been inspiring to witness. After all, it’s a ripple that follows on from a similar wave or organised dissent back in 2015, when the ‘American University of Malta’ was proposed on the same village’s outskirts.

This was to be a beacon legacy project for disgraced former prime minister Joseph Muscat and his chosen coterie of movers and shakers in the political and business world – a Malta-Jordan collaboration built on virgin land with a pre-packaged, pre-purchased American university syllabus aiming to attract further ‘high net worth’ individuals to spend their money in Malta and Gozo.

That the project is now little more than a shadow of its proposed self stands as something of a feather in the cap of the same environmentally-conscious protestors who took to the streets to fight it tooth and nail.

We should remember this. We often denigrade ourselves for not doing enough, or for doing too little, too late. Or for not accepting that the status quo will carry on in its usual churn regardless, and give into apathy and a sense of futility as a consequence.

But the long view is that while short-term battles may be lost and while, on the environmental front at least, the political and business hegemony may continue to treat us with utter contempt (whose unholy alliance is still not taboo, even after it was a direct contributor to the murder of a journalist), taking a stand still matters.

There’s a lot to scoff at in the current generation’s earnest, somewhat pat ideas on how to make life marginally more tolerable – as was the case for generations past. But I would insist on encouraging everyone involved in this ‘resistance’ to exercise a degree of self-compassion.


Following the concerted uproar, the American University of Malta was set to be split into two campuses – one ostensibly to remain in a ‘reduced’ capacity on Marsascala’s Zonqor Point, the other to occupy an historic colonial building at the harbour town of Bormla. The extension back to Zonqor will only happen if the Bormla campus fills up. This remains an unlikely outcome, given how student count amounted to under 100 by late 2019.

Activists should allow themselves not just self-compassion here, but an enlivening jolt of sadism too. This is a call to laugh at the critically wounded near-corpse of a mortal enemy. To cackle in the face of at least one of these offenders – who cackle at our earnest attempts to counter them nearly 24/7, as more and more obscenities crop up at every corner.
It may not be the most noble emotion to indulge, but we deserve it. If anything, it will give us fuel for the next fight… which will always be around the corner.

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I’ll be putting out some follow-up posts to this one, in which I’ll finally be dumping some memories and impressions of the town. Don’t expect amusing trivia and historical rigour. But feel free to expect pretty much anything else. I know I am.

A Vipers’ Pit | Press Coverage & Reviews

With A Vipers’ Pit (Is-Sriep Regghu Saru Velenuzi) enjoying a healthy run at Eden Cinemas, I thought I’d compile a little guide for prospective viewers before they take a chance on our political thriller-family drama-literary adaptation.

Response has been better than anything I had every hoped for: reviews ranges from ecstatic to ecstatically disappointed, but indifference was never the least bit part of the equation. For a low-budget debut based on a beloved book which attempts to treat national wounds, it’s just the kind of response you want.

So here’s a handily collated list of some previews, interviews and even reviews that the film has already amassed so far.

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Interviews with director-producer Martin Bonnici

Martin Bonnici. Photo by James Bianchi/MaltaToday

Times of Malta

MaltaToday interview

Eden Cinemas Interviews: Part 1Part 2Part 3 (video)

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Cast & Crew Interviews

8.97 Bay interview with actors Chris Galea Joseph Zammit, Gianni Selvaggi and Erica Muscat and myself.

Newsbook interview with actors Joseph Zammit and Gianni Selvaggi.

LovinDaily interview with Erica Muscat (video)

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Chris Galea as Noel Sammut Petri

Reviews & Critical Essays

MaltaToday

Times of Malta

Ramona Depares

David Hudson

Virginia Monteforte (Italian / English)

Mark Vella (Maltese)

Ad Lib Talk (video)

Letterboxd

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…aaand we’ve even made it to Malta’s ‘most serious’ news site.

The film is currently showing at Eden Cinemas. Book your tickets here.

Lifting the Lid on the Vipers’ Pit

Starting from this Friday (6 August), those of you based in Malta can watch a film I wrote at Eden Cinemas in St Julian’s.

This is the first feature film script of mine to be produced, and suffice it to say that I’m excited about how audiences are going to react to our adaptation of Is-Sriep Regghu Saru Velenuzi (literal translation: ‘The Snakes Are Venomous Again’; our translation, ‘A Vipers’ Pit’) by Alex Vella Gera, a novel whose trajectory I’ve followed from a very early stage back in 2012.

Director-producer Martin Bonnici called me up to ask if I’d be on board with adapting the novel back in late 2015, by which point the book had been established as a landmark of contemporary Maltese literature. This had partly to do with its thrilling core conceit – a group of ultra-Catholic nationalist insurgents plan the assassinaton of firebrand socialist prime minister of Malta, Dom Mintoff, in the 1980s – but also for more formal reasons.

Vella Gera’s novel is written in the bilingual register which reflects how a large part of the Maltese population speak; a linguistic schizophrenia that stands in for the binaries of social class on the island. The middle classes speak English, the working classes speak Maltese. At least, that’s the boilerplate belief, which has of course always been more nuanced on the ground than on paper. Middle-class born Noel Sammut Petri decides to break with that tradition after a move to Brussels, insisting on speaking Maltese in Maltese company.

It may seem like a small detail, but it speaks volumes. Where the English-speaking Maltese are either coded as elites or subject to gentle (and not-so-gentle) ridicule for the most part, Vella Gera chooses to depict this reality honestly, filtering some of this understandable distaste through the now liminal figure of Noel.

It’s one of the many ways in which the book resists an earnest, try-hard attempt to flaunt an idea of Malteseness that can be packaged and sold, and it’s probably the reason why it felt so refreshing to so many. Despite the attention-grabbing Mintoff plot, at its core the story is about the emotional landscape of the people trying to navigate the uncertain morass that is Malta: an infant Republic in its early segment set in the 1980s – following Noel’s father Richard as he’s pushed to serve as triggerman for the Mintoff assassination – and an EU member state at the cusp of regime change in 2012.

Vella Gera himself told me as much while we were conducting an email interview about the book prior to its publication in 20 October, 2012. Here’s a quote that didn’t make the final cut:

“I wanted to steer away from narratives dictated by the political parties. In a way, this book is a direct challenge to that bipolarism. Not that I’m propagating a “third way”, which is really conservatism by another name. However, like Noel, I too am aloof from the tug of war of local politics, so if my book were to be “unofficially boycotted” I think in a way it would be a success because it would underline that aloofness and continued lack of understanding of where I really come from

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“Obviously, I have my political opinions, which to a certain extent continue to validate that aloofness, because I find very little in Maltese politics to rejoice over. I wonder who Noel would vote for. Probably [Green Party] AD, or perhaps he wouldn’t vote at all, or then again, he’d vote Labour just to spite [his property magnate friend] Roger. But I never get into these intricacies, because I find them very dull to deal with […] Personally I tried to steer away from getting too specific about anything except the gut feelings of people, which is what I’ve always felt is missing in most Maltese political fiction. That gut feeling that cannot be brushed aside or censored, or made more palatable with a joke or a witty aside, or some satirical tone.”

Despite its many changes to the source novel, I also sincerely hope that our film adaptation manages to convey a similar commitment to the complex emotional spaces the characters occupy, in favour of safely packaged assumptions, and jingoism by any other name.

Is-Sriep Regghu Saru Velenuzi (A Vipers’ Pit) will be screening at Eden Cinemas, St Julian’s, from 6 August. True to its bilingual source novel, the film will be in both Maltese and English, andcome with English subtitles. Book your tickets here.