Samwise Gamgee returns to the Shire, in the final scene of Return of the King (2003)

Samwise Gamgee returns to the Shire, in the final scene of Return of the King (2003)

“There is no safe place from the injuries of history; home as a place or a time of innocence can only be an illusion. But the poet doesn’t recover the bitter past to serve present grudges – his acts of remembering, his quest for identity are grounded in generosity.

“And from this sense of loss and recovery, this mix and merging, this reckoning with the complexities of the past, present national identity and patterns of belonging can be fruitfully formed. The way Walcott has worked the material of his complicated memories and inheritance in the Caribbean represents an exemplary openness to making a new model of the homeland, which doesn’t exclude, but rather includes, which doesn’t justify, but seeks to understand. No home is an island; no homegrown culture can thrive in permanent quarantine. We’re all wayfarers and we make our destinations as we go.” – Marina Warner


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Read related: Virtual Borders, Virtual Wars

Filmkrant – Slow Criticism – Wither Europe?


Thanks to the miracle that is the internet, I was given the opportunity to contribute to Filmkrant’s critical round-up of the European continent’s cinematic produce, where I was asked to focus – of course – on the Maltese Islands.

The project appealed to me because contributors weren’t expected to scrounge around for hard facts and statistics, or trot out iron-clad opinions. Instead, they were hoping to create a collection of ‘slow criticism’ pieces, which would hopefully offer up a more ephemeral and intimate glimpse of European cinema.
To quote the magazine’s editorial:

‘We weren’t looking for facts & figures, for economics & industry, but for a snapshot, some instantaneous, and haphazard exposure, an examination of the cinematic pulse, a shipwrecked treasure from the tidelines, a message from the fault lines of history and the trenches of life. We asked them to be foreign correspondents in their own countries, travelling ambassadors in the realm of cinephilia, to lend us their ears and eyes and hearts and other senses to become the intelligences of this weird and wonderful beast that is Europe.’

Click here the editorial and links to all contributions.

Click here for my contribution on Malta.