Sometimes a novel can get across what others’ life is like more indelibly than the best-written news story. That’s certainly the case for the Turkish-Dutch marriage at the heart of Jessica JJ Lutz’s new novel De Nederlandse Bruid (De Geus, 2014). Like good non-fiction, this confident handling of a far-away culture has clearly been years in the making, and the well-told tale transports the reader to the heart of a normally inaccessible group of characters. And at a time when Europe is struggling with questions of Muslim, Turkish and other integration, it neatly flips the debate on its head by following a European migrant into Muslim lands.
The story of ‘The Bride from Holland’ is that of a young Dutchwoman, Emma, an under-employed recent university graduate who decides to follow love and the star of her fate. When her fellow-student boyfriend suddenly has to wrap up his studies in Holland and take over his dying father’s business, she leaves her homeland behind and travels east to stand at his side in his new job: clan lord of a remote Euphrates mountain valley in Turkey’s Kurdish borderlands.
Despite her privileges, Emma soon finds she has exchanged the middle-class comforts of north Europe for hard work, chronic feuding, codes of family honour, everyday deaths, loves, jealousies, suffocating traditions and lies that live for generations — the kind of all-or-nothing society that Shakespeare had to go to mediaeval Italy to find. For days after finishing the story, I couldn’t shake this completely convincing world out of my head, and wished that I could have stayed a part of it for longer.
The tightly woven plot is seamlessly sustained – a wedding, a murder, a suicide, adultery, treachery, ancient gold, a road, a mountain insurgents’ war and more – without losing any of Turkey’s intimate, audio-visual reality. People live vividly in the present tense, but are unable to cut themselves off from their past. And along the way, a first disoriented Emma is forced to grow up, find herself, and discover that even today, eastern marcher lords and their ladies, like everyone else, have many a dragon to slay before they can hope to secure their realm or riches.
A rural community in Turkey is no easy place to discover on one’s own. Much is left unsaid to outsiders, and more drama unfolds inside it than is apparent on the surface of poor concrete houses and chaotic family smallholdings. Jessica Lutz draws characters as they are, without a wasted word or a hint of condescension. The polished plot sweeps smoothly from the Rhine estuary commuter town of Ijsselstein to the ancient hill country of Gerger, which overlooks what is now the huge lake of Euphrates river water backed up behind the Ataturk Dam. The narrative is propelled forward by sharp, gripping dialogue that crackles with humour and cunning.
There’s one such comic moment a series of misunderstandings at the wedding – including a bottle of goat’s blood – when the bridegroom has to exclaim to his headstrong new wife: “Listen, here we don’t get married for pleasure”. Later, hearing tales of past battles when touring their new hardscrabble domains, Emma asks why the village clansmen no longer spend their winters pursuing heavily-armed blood feuds. She is told simply: “There’s television now”. Above all, what comes through is a Turkish Kurd community that is obviously very different in its concerns about religion and honour from Dutch society, but also principally motivated by much the same things as Europeans: power, love, land, jobs, money — and quick illicit profit if it might be got away with.
Lucky Dutch readers, who are already able to devour this novel. Buy it now! And producers of Turkish sitcoms, you need look no further for your next dramatic story. As for those other worried Europeans who struggle to make sense of how their societies are becoming ever-further intertwined with those of their Muslim countries to the east, I hope you will get the chance to read ‘The Bride from Holland’. Europeans are right to be worried by the problems of slow development in their eastern neighbourhood. But there’s a lot Europeans may not know, and above all, do not feel about their neighbours. When they finish a rare book like this, truly and elegantly able to reflect the inner dynamics of Anatolian society, they’ll find that they are a lot less scared.
(This is a version of an article published in Turkey’s Today’s Zaman. For the record: I am married to Jessica JJ Lutz.)
De Nederlandse Bruid, 234 pp, was published by De Geus in Breda, Holland in November 2014. Dutch paperback and ebook versions can be bought from the publisher here.
Endorsements and Reviews
“With some thirty years’ experience in Turkey, Jessica Lutz is the Netherlands’ best-informed connoisseur of this region. After her very successful book, ‘The Golden Apple: Turkey between East and West’, she has now turned to fiction. ‘The Bride from Holland’ is not just an exciting book. It lives and breathes Lutz’s deep bond with this land”. – Bram Vermeulen, Netherlands’ 2008 Journalist of the Year and a Dutch TV correspondent in Africa and Turkey.
“‘The Dutch Bride’ grabs you from the first pages, drags you into the claustrophobic isolation of a Kurdish village. Does love really conquer all? You will discover the limits of idealism, good intentions, and your belief that you can do things differently.” – Joris Luyendijk, Dutch anthropologist and best-selling author on the Middle East.
“An extraordinarily stirring and atmospheric book, which intensely brings to life the fragrance and hues of one of the most beautiful places on earth.” – Stine Jensen, Netherlands’ leading television philosopher.
“A thrilling cultural novel, in which the reader cannot escape from their own prejudices. Hooray, that a book this classy can still be written and published! Absolutely worth it: I read it at a gallop from beginning to end”. – Ebru Umar, Dutch-Turkish author, columnist and women’s magazine editor.
“A must-read in which the characters are tangibly real and the raw east of Turkey comes to life. I could almost see the morning light and smell the scent of wild flowers. Jessica describes the traditions, customs and life so vividly that I became homesick for my beautiful, complicated country”. – Fidan Ekiz, Dutch-Turkish television personality.
“Very successful, counter-intuitive and enriching … the cultural-historical background is woven into the personalities, dialogues and plot. In one great, flowing movement you are taken on a journey to an out-of-the-ordinary-world place where, amazingly easily, you can recognise your fellow man”. – Maryse Vincken, De Scriptor, 30 Nov 2014.
“An excellent, realistic, and most of all intriguing story. It’s a contemporary novel full of idealism and dreams, which find traditions and hard life standing in the way, without being unbelievable for a moment. The flowing writing style and the fine exploration of emotions, doubts and threatening situations complete the whole. I enjoyed it and while reading I felt that I was right there in Anatolia … five stars!” – Patrice, Leesclub van lettervreters De Perfecte Buren, 16 December 2014.
“A fascinating book with many unexpected twists and a surprising end … I really recommend it, especially for those who want insights into Turkey behind the scenes, and beyond inter-cultural frictions”. Nikolaos van Dam, former Dutch ambassador to Turkey, Middle East specialist and author.
Holland’s enfant terrible of Middle East journalism, Joris Luyendijk, proved the law of unintended consequences back in 2006 when he blitzed the Dutch news-reading public about the shortcomings of his adopted profession. He had hoped that his book Het Zijn Net Mensen (published in English as ‘Hello Everybody!’ but roughly translatable as ‘they’re almost human, aren’t they?’) would stir the media to raise their game and prompt wider intellectual curiosity about the region. As sales soared, however, he found he hadn’t counted on one common reaction.
“People would come up to me, clap me on the shoulder and say, ‘I always wondered if the media was lying! So since that you say that they do, I’m just going to cancel my [newspaper] subscription’”, Luyendijk told me on his whirl through Ankara to promote the Turkish version of his book (Herkese Merhaba!) – its 14th language translation.
The account of his five years reporting from the Middle East – on top of years of Arabic study — came out four years before my own Dining with al-Qaeda. The narrative of journalistic self-criticism comes from different perspectives, but the conclusions of our two books are so much on the same wavelength that when Hello Everybody! came out, the Guardian newspaper reviewed them together.
I’d never met Luyendijk, however, and it proved a delight to share a podium with him in Ankara last week at a lively outpost of Dutch civilization, Leiden University’s NIHA Institute. We discussed our pet loves and hates in journalistic coverage of the Middle East, and his book’s central arguments: that Western coverage of the Middle East is superficial, misleadingly uprooted from its context since it is purveyed by a crisis-hopping class of “presenters”; that few of these talking heads speak local languages; and that time pressure forces many to work from agency copy forwarded by their headquarters. It points out that few spend much time outside their hotels, omit the human context and have little special knowledge of local peoples who are caught up in long, complicated disputes that are not all of their own making.
Some in the Dutch media establishment rejected this newcomer’s lèse majesté, and indeed what makes the book so readable and hard-hitting is its funny mix of oversimplification, exaggeration and iconoclasm. Luyendijk claims an outsider’s legitimacy, insisting (often with a thump of his fist into his hand) that he has been first and foremost moulded by his first career as an anthropologist. His study of journalists in action, he believes, is scientifically analogous to the work he’d really like to be doing: studying Dutch-speaking grandchildren of the arrow-shooting aboriginals of the Surinam rain forest.
For our audience in Ankara we argued over whether to blame television or parti pris op-ed columnists for the Middle East’s wars and the shortcomings of Western reporting of them. I found his book over-envious of the well-funded correspondents of the great U.S. media outlets, a position which I (mostly) greatly appreciated during my decade on the staff of the Wall Street Journal. In fact, I was jealous of him, I said, because any story he wrote would have a head start in getting closer to the truth because he was writing for an open-minded, well-educated, relatively neutral country like the Netherlands. We sparred over whether to blame the reporter or the audience for journalism’s lack of far-sightedness and nuance, and found a useful scapegoat in the editors. Then we wondered if more editors wouldn’t improve a brave new Dutch initiative of collaborative, crowd-funded journalism, de Correspondent, which allows writers perhaps too much space.
Luyendijk kept his insights flowing at another launch event at the Dutch ambassador’s residence, acknowledging how much had already changed in the business since he was having agency copy faxed to him. Back then, not having images from, say, Chechnya, meant that the deaths of thousands never even got on the TV news. At the same time, the neatly choreographed if sometimes deadly daily Arab-Israeli ballet of Palestinian stone throwers vs Israeli troops in a small corner of Ramallah – filmed by the global media and watched by spectators, both served by falafel sellers – made it seem as though the Middle East was ablaze with violence.
Now, he said, leading blog sites are helping editors frame their ideas on the Middle East (he singled out the “excellent” website Arabist, for instance). An articulate modern-day Dutch embassy dragoman in the audience noted the paradox that there is now a plethora of film from Syria, but that these cellphone shorts have done little to blunt the violence ripping the country apart. Luyendijk doubted that this holy grail of 100 per cent truth or objectivity could ever be attained. (“A report is always going to be either ‘Ajax beat Liverpool’, or ‘Liverpool lost to Ajax’”). He proposed a better gold standard would be trustworthiness. In journalistic terms, we agreed, that could be defined as “an honest best shot”.
Both maybe it’s easy for us to talk. We are no longer burdened with the intimidating task of making sense of day-to-day Middle Eastern turmoil for a non-expert audience. I’m now with International Crisis Group, and find its research, reports and advocacy method far better suited than journalism for detailing, explaining and ultimately trying to do something to end Middle East turbulence. But, illustrating Luyendijk’s point about simplification, even the best-intentioned broadcast media still often find it easier to keep calling me a journalist, as here on Dutch TV news last week.
Fed up with requests to come in on the fourth day of every crisis to criticise the media coverage, Luyendijk has moved to London and reinvented himself as an anthropologist of the banking business. He has blogged from the front lines of finance for the Guardian (here), an experience he’s now turning into a book. After hearing him retell some of the stories whispered anonymously to him by apparently self-hating Masters of the Universe, I’m looking forward to reading it — if he survives the the English food, out-of-body encounters with the British intellectual classes and all-year-round swimming at the open-air Lido lake on Hampstead Heath.
After that Luyendijk says his next project will be the European Union and its native species, the Eurocrat. He has his work cut out. Europe’s often self-imposed sense of slow decline means that even NIHA, the Dutch centre of learning in Ankara where he and I talked, will close down this year. But I parted company with him with a reinvigorated belief in the qualities and energy that Europe still has, if only Europeans could articulate it better.
Thinking too about Luyendijk’s insistence on the importance to his work of his scientific background, I feel even more flattered to remember how an elderly Canadian professor once came up to me after I’d presented my last book Sons of the Conquerors at Montreal’s McGill University. After listening to me talk about this account of my search through two dozen countries for the soul of the Turks, he told me: “you know, Mr. Pope, you could almost have been an anthropologist”.
A full video of our debate can be found here http://youtu.be/BdLqFqOCiRs
A lovely review of Dining with al-Qaeda in The Guardian of the UK by Ian Black, who paired my book with Joris Luyendijk’s Hello Everybody!, newly published in English. I thought Luyendjik’s book was great and I found that we shared many perspectives, even if the Dutch reporter based his assessment on a quite short experience. One thing I couldn’t understand was why he often felt disadvantaged by not working for a US publication: I would have thought that it would have been liberating working for the excellent Dutch media he represented. Maybe US reporters enjoyed somewhat more privileged access, but I think that over the years all of us were given less and less time with real decision makers in the region. Original review here.
TWO JOURNALISTS PONDER THE HAZARDS OF REPORTING ON THE MIDDLE EAST—
Hugh Pope and Joris Luyendijk describe their experiences in the Middle East in Dining with Al Qaeda and Hello Everybody
By Ian Black, Middle East Editor
18 May 2010
Foreign correspondents covering the Middle East are the first to admit that it isn’t an easy beat: partisan views, authoritarian regimes and marginalised opposition movements are routine hazards. Add in issues as divisive as the Israeli-Palestinian conflict, al-Qaida, oil, the US invasion of Iraq and theocracy in Iran – and the word “minefield” conveys just how treacherous the territory can be. Real war-zones and men with guns are part of the landscape too. And so are expectations and agendas back in the newsroom.
Two excellent new books describe some of the tricks and dilemmas of this trade. Hugh Pope left the field after nearly 30 years reporting for British and US news agencies and papers. Hello Everybody! Dutch journalist Joris Luyendijk tells the story of his five years in the region in a breezy but self-critical account of “one journalist’s search for truth”.
Pope’s book Dining with Al Qaeda is terrific on spice-scented bazaars, maddening border crossings, sinister secret policemen and sexual mores in unlikely places – as well as Islam, democracy and other staples. But he is also thought provoking on the difficulty of conveying the reality of the “dysfunctional backyard” that is the Middle East to western, especially American, audiences who are used to a diet of infotainment and familiar, easily digestible narratives.
In his final media job at the Wall Street Journal he battled to keep his stories “out of the ruts of traditional coverage of good ‘moderates’ versus bad ‘radicals,’ a misleading focus on an Arab-Israeli ‘peace process’ that has yet to proceed anywhere, and the way many people overemphasise the role of ‘Islam’ as an analytical tool in assessing the Middle East”. An editor at the Los Angeles Times urged him not to use the word “Kurd” if he wanted his stories published. It reminded me of the joke of hard-bitten American correspondents in Lebanon in the hostage-taking 1980s: “What’s a Druze and who gives a shit?”
This can be a frustrating and dangerous craft: not only did Pope struggle to explain Saudi Arabia to suddenly interested readers after 9/11 but had to draw on his Quranic knowledge to convince a jihadi interviewee it was not his duty to kill him as an infidel. His Jewish WSJ colleague Danny Pearl was not so lucky when he encountered al-Qaida in Pakistan.
Changing technology is part of this story: Pope is old enough to have filed copy by telex and fiddled with those crocodile clips used to attach early laptops to hotel phone lines. Luyendijk, using mobile phones and the internet from the start, recalls how Syrian censors blocked his Hotmail account and moved on to YouTube a few years later. Facebook and Twitter helped the opposition in last summer’s Iranian presidential elections.
Both fretted about how to deal with the pressure to deliver stories that filter, distort and manipulate reality. Notebooks bursting with hard-gained insights can count for little if the item has been pre-scripted according to stock assumptions and prejudices back at base in New York, London or Amsterdam.
Pope is an accomplished linguist with Arabic, Persian and Turkish under his belt: he wears his learning lightly but it shows in the quality of his writing – short on pyrotechnics but long on understanding. Luyendijk is good on bridging the gap between the modern standard Arabic most foreigners study and the different dialects spoken in every country and region. Too little ability to speak means over-dependence on local fixers and translators on the payroll of the ministry of information.
Pope bravely tackles the reputation of his onetime Independent colleague Robert Fisk, for many a cult figure who “manages to step around the cautious conventions of Middle Eastern reporting and drive home at an emotional level the injustices of the dictators and the cruel side of US policies”. But he is not the first journalist to wonder with envy and irritation how Fisk “managed to get an amazing sounding story from a dull day we all spent staking out Israeli anti-insurgency troop movements in south Lebanon”. Drama and colour may be easier to deliver than accuracy, analysis and insight: “Our readers were too far away, physically and mentally, to grasp the emotional context of careful reporting,” he gloomily concludes.
Reporting on the run-up to war in Iraq for the WSJ, he says, was a depressing time: a carefully researched article warning of “unintended consequences” for foreign conquerors had no effect on the pro-war juggernaut: it was published a few days before the tanks began to roll. Shortly afterwards Pope got his first call from the paper’s baffled opinion page editor who wanted the correspondent to explain why Iraqis were resisting their American liberators. It was a short conversation.
Pope’s book, acclaimed in the US, has yet to be published in Britain. Luyendijk’s, now out in English (Profile Books), sold an extraordinary 250,000 copies in the Netherlands. It’s just as well neither heeded the advice one old hack offered the young Dutchman. “If you want to write a book about the Middle East, you’d better do it in your first week,” he counselled. “The longer you hang around here, the less you understand.”