front cover of Alice in Sussex
Alice in Sussex
Mahler after Lewis Carroll & H. C. Artmann
Nicolas Mahler
Seagull Books, 2022
A twist on the classic tale of Alice in Wonderland told through Nicolas Mahler’s distinctive graphic novel style.
 
Alice is back in Wonderland. Here she meets the White Rabbit, who leads her down into his rabbit hole in search of an illustrated edition of H. C. Artmann’s Frankenstein in Sussex. Over the course of the novel, Alice repeatedly runs into the Rabbit, who quotes freely from other literary works by the likes of Herman Melville and E. M. Cioran.
 
Unlike in Lewis Carroll’s classic, Alice is not traveling the Wonderland we know. Rather, in Nicolas Mahler’s whimsical graphic novel retelling, she is in a house deep beneath the ground. On subsequent floors, she encounters the famous creations of Lewis Carroll: the Hookah-Smoking Caterpillar, the Cheshire Cat, the Mock Turtle, and many others. One after the other, these creatures address the terrors of childhood and youth. It is only when Alice reaches the ground floor of the house that we arrive at the inevitable climax: face to face with Frankenstein’s Monster.
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front cover of Arc of the Journeyman
Arc of the Journeyman
Afghan Migrants in England
Nichola Khan
University of Minnesota Press, 2021

A monumental account of one migrant community’s everyday lives, struggles, and aspirations 

Forty years of continuous war and conflict have made Afghans the largest refugee group in the world. In this first full-scale ethnography of Afghan migrants in England, Nichola Khan examines the imprint of violence, displacement, kinship obligations, and mobility on the lives and work of Pashtun journeyman taxi drivers in Britain. Khan’s analysis is centered in the county of Sussex, site of Brighton’s orientalist Royal Pavilion and the former home of colonial propagandist Rudyard Kipling. Her nearly two decades of relationships and fieldwork have given Khan a deep understanding of the everyday lives of Afghan migrants, who face unrelenting pressures to remit money to their struggling relatives in Pakistan and Afghanistan, adhere to traditional values, and resettle the wives and children they have left behind. 

This kaleidoscopic narrative is enriched by the migrants’ own stories and dreams, which take on extra significance among sleep-deprived taxi drivers. Khan chronicles the way these men rely on Pashto poems and aphorisms to make sense of what is strange or difficult to bear. She also attests to the pleasures of local family and friends who are less demanding than kin back home—sharing connection and moments of joy in dance, excursions, picnics, and humorous banter. Khan views these men’s lives through the lenses of movement—the arrival of friends and family, return visits to Pakistan, driving customers, even the journey to remit money overseas—and immobility, describing the migrants who experience “stuckness” caused by unresponsive bureaucracies, chronic insecurity, or struggles with depression and other mental health conditions. 

Arc of the Journeyman is a deeply humane portrayal that expands and complicates current perceptions of Afghan migrants, offering a finely analyzed description of their lives and communities as a moving, contingent, and fully contemporary force.

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