After the flood

To cross the road that killed my mother, my children's hands in mine.

I've wanted to make this journey for a long time. It's a short journey and it doesn't have a destination. 

It was 13th December 2015 - 10 years after my mother was hit by a car. She died the next morning. A few of us had gathered at my sister's flat (where we both grew up). But no-one really mentioned her.

"Come with me for a walk."

"I don't want to."

"I'll give you hula hoops."

"Okaaaay." 

I put their little coats on their little bodies and we walked the short distance from the flat to The Crossing. The Crossing used to be just a crossing, banal. It meant nothing to me. 

And it means nothing to my children.

Just like my mother. She's dead to them.

So I wanted to cross the crossing with my babies.

To show that I could trample on death with strength, defiance and maybe even joy. Those few steps a testimony to survival. 

That was part of it.

But really what I wanted was for our feet to dramatise what breaks my heart most of all.

The fact that they were born after her death. The fact that nothing I say about her will ever conjure her in their minds, will ever suggest her flesh or her energy.

To them, The Crossing is just a crossing. The woman who loved me, who would have loved them (so much!) is just someone who lived Before.

And young children live only Now, and their blameless egocentricity teaches them that the world doesn't exist when they close their eyes, and Before is nothing but a story. Because of all this, my mother's existence has no meaning to them. 

Just as The Crossing had no meaning to me Before.

Just as it has no meaning to every other pair of feet that cross it.

I wanted to witness that. I wanted to walk this most painful walk with little people who knew nothing of the pain.

I didn't tell them what The Crossing was to me. "We're going to Tesco," I said.

See? She is dead. They don't know her. They never will.

Yet the crossing still stands.

And so do I.

Vegan jam doughnuts

Ingredients:

  • 200ml vegan milk (use a creamy one without a strong flavour - e.g. coconut based, soy, oat, almond but NOT rice (too thin) or hemp (flavour too strong)
  • 100ml vegan cream (I use oat cream)
  • 260g plain white flour
  • 260g strong white (bread) flour
  • 70g vegan caster sugar (unbleached)
  • 1.5 tsp baking powder
  • 1 tsp salt
  • 1.5 tsp brandy (I use a cheap cognac that I keep in the cupboard for cooking)
  • 1.5 tsp vanilla extract
  • 3 tbsp potato starch/flour (farina) OR 2 tbsp cassava flour and 1 tbsp potato starch OR 3 tbsp egg replacer (eg No Egg)
  • 3 litres vegetable oil
  • Extra caster sugar for coating
  • Vegan jam for filling
  • OPTIONAL: zest of 1/2 a lemon and 1/2 an orange. OR, if you can't get unwaxed citrus fruits, use 1/2 tsp orange extract and juice of half a lemon

Parents should opt out of the phonics test for 5-6 year olds

This is the email we sent to the headteacher at our 5-year-old's school. I urge all parents of primary school children in the country to do the same. 

Dear X

I hope you are well and enjoying every aspect of your busy life.

I'm writing to run something by you about the Phonics Screening Check for 5-6 year olds.

Having thoroughly researched this test, we would like to opt out, but would like to understand whether there will be negative consequences of this action - either for you and the school, or for M. We would appreciate your guidance on this.

This is not about M (or, later, M2), as he finds phonics fun, and they happen to work for him. This is about children everywhere, and about teachers. The opt out is for these reasons:

1) Children of five and six are too young to be told that they have 'failed' at anything. Infancy should be a time of possibility, potential and curiosity. Tests quash all of these.

2) Teachers are the experts, not politicians. It is unacceptable that such directives are issued to experts by politicians and bureaucrats.

3) Phonics don't work for every child. They may work for some (including M), but there is no reason to elevate children like him above children who tend more towards sight recognition or, indeed, children who have not yet been able to read at all.

4) Time and resources spent drilling children for the test would be better spent on other things, such as art materials, books and extra support for slower learners.

We don't want to cause any problems for you. We have every faith in all the staff of Y and love the school with all our hearts. We know that F, and others, don't need this test to tell them how the children are doing. They already know, just as you, as Head, already know how your teachers are doing.

We're doing this for the children and in solidarity with teachers and teaching unions, whose voices the government has ignored, and will continue to (try to) ignore.

We're inspired by the actions of parents in New York State who, after teaching unions were ignored in their calls for a boycott of standardised tests, decided to boycott it themselves. 

Please do tell me if this will cause problems for you. I realise that even reading this email has caused you extra work and inconvenience, and we apologise for that.

Warm wishes

Alex and E

Banana and Oreo steamed pudding (vegan)

This is like eating a cuddle. It is not good for you.

You will need a 1.2 litre pudding basin, a trivet, kitchen foil, greaseproof paper, a deep saucepan, and kitchen string (i.e. not synthetic, which melts)

INGREDIENTS:

1 packet of oreos
3 tbsps golden syrup (substitute agave if you're feeling healthier, but what's the point, in this context?)
2-3 ripe bananas (depending on size)
175g self-raising flour
175g vegan margarine, plus extra for greasing basin (e.g. Pure)
150g dark muscovado sugar (or alternative unrefined sugar)
1.5 tsps baking powder
3 tbsps No Egg (or alternative egg replacer)
3 tbsps water


INSTRUCTIONS:

  1. Grease the basin well with margarine
  2. Put three tbsps golden syrup into the bottom of the basin
  3. Wrap the oreos in a tea towel and bash them with a rolling pin until they are mostly crushed
  4. Mix the crushed oreos, flour, margarine, bananas, sugar, baking powder, No Egg and water - either in a mixer with paddle attachment, or with a wooden spoon. Make sure it's all well mixed, with no lumps (apart from the odd piece of oreo)
  5. Pour the mixture into the basin (on top of the golden syrup), and smooth it out with the back of a wet spoon
  6. Cut out a piece of kitchen foil and a piece of greaseproof paper, making sure both are easily large enough to cover the top of the basin
  7. Follow these instructions to cover and tie the basin - do it properly, or you will have a soggy pudding
  8. Place the trivet in the bottom of a deep saucepan and boil the kettle
  9. Pour enough boiling water into the saucepan so that it will come about halfway up the basin but not touch the foil/greaseproof paper
  10. When the water in the pan is boiling, carefully lower the basin onto the trivet (using the string handle you created in step
  11. Cover the pan immediately and steam - do not remove the lid for the first thirty minutes
  12. Steam for about two hours - do not let the pan boil dry as the pudding will burn and the basin may crack
  13. Pudding is ready when the top feels springy to the touch
  14. Turn the pudding out onto a plate
  15. Optional - pour more syrup over the top before serving

Best served with custard - Birds Eye is vegan if you make it with non-dairy milk

Mummy what is war?

The moment had come.

Well, we had to begin by watching a video of the Edwin Starr song, WAR! What is it good for? That was easy, that was fun.

Then we got out the plastic globe. The best way of throwing the absurdity of war into sharp relief is to try and explain it to infants. Especially the First World War. It took only a few seconds of looking at Europe on the globe to baffle all three of us. How could such small and closely packed countries start killing each other? But they are such pretty colours on the spinning globe! Infants' understanding of right and wrong is both naive and perfect. They are constitutionally incapable of understanding colonialism, empire and war. Unless you brainwash them accurately. We turned to the iPad and found out that more than twice the population of today's London were killed in that war. Wide eyes. Adding to the their bafflement is the fact that they have very important and much loved people in their lives who come from Bosnia, Serbia and Germany.

Soon we got on to the Second World War. That was easier to explain. I think everyone finds that one more straightforward.  Solzhenitsyn called it Europe's last moral war. But it was inevitable that the conversation would turn to the Holocaust. They didn't take it in, or perhaps it will come out later, in tear-jerking questions at bedtime. But I've never seen their eyes so open as when hearing for the first time about Anne Frank and her diary. "But what does it say, Mummy? Read it to me! I want to know what it says!" Somebody please pass me a heavily edited version.

Soon, I had to explain how their own grandparents survived the Holocaust. We talked about dangerous journeys taken by people who faced certain death at home. That there are people making such journeys today, hiding in ships, under trucks, trains, risking everything just to escape. I said, hugging them, that I was so glad that their great-grandparents had escaped, because otherwise they wouldn't exist. 

There is a photo on the wall of my great-grandfather's funeral in Lithuania. He died relatively young, in about 1925. No-one alive knows why the photo was taken. Gathered around him are thirteen mourners, wringing their hands: with cold? With despair? Was it even possible to distinguish between the two? There is no way that anyone present would have owned a camera. They barely owned a coat, and only one of them is wearing gloves.

I took it down from the wall. I said to the children, this is mummy's family. That is my great-grandfather, he is dead. "How do they look?" I asked. "Do you think they're happy? Do you think they're rich?"

"No," they said, blinking.

"Look outside," I said, "now look around you." We were sitting on the sofa; central heating, soft electric light. Warm, clean bodies in fresh-smelling clothes. "Now look back at the photo - where would you rather live?"

"Here, mummy," they said, patently perturbed that there could exist any other possibility for them, least of all one drenched in monotone and misery.

This is the photo.

My great-grandfather's name was Micha Bar-Yosef. And these are the mourners' names (L - R):

Menachem Mendel, Nechama, Elchanan (shopkeeper), unknown, Sotze Herman, Avraham, Beila Isaacson, Glicka, Beila Levitas, Raicha (Avraham's wife), Fruma, Berel Herr, unknown.

This was the family shop, owned by Elchanan Mankowitz:

Lithuania, 1998
I found Micha's grave by chance (there are no records) in the overgrown Jewish cemetery just outside the town. It had been made wonky by wind and subsidence, and the inscription was shallow and hard to read. I rubbed chalk over it to make it easier to read. The surname had been rendered in Hebrew with the letter Yud instead of Aleph, reflecting the contemporary pronunciation of 'Minkowitz,' which I prefer to this day (not least because I would have preferred the nickname Minky to MANKY).

My facial expression, it makes sense. The sun was fierce, and it felt like some eerie enchantment had intervened, because the chances of finding his grave by any methodical means were as slim as a blade of grass. The cemetery, taking up some acres, was more windswept than Lindisfarne, and with weeds so long you needed a snorkel to traverse certain sections. A neighbouring man appeared with a long scythe. I wish I could remember where he came from. Maybe he had been working in a bordering field. The old woman who now lived in the mortuary came out to speak to us, with audible fear and shame shaking her voice - or perhaps there was something darker there. She would have been a young woman in the 1940s. In such a setting it is not possible to restrain the mind from asking awful questions. The mouth can be shut at will.

The percentage of the Jewish population that was murdered was higher in Lithuania than in almost any other country: around 94%. All of my family who stayed were murdered. The Germans didn't need to build any large Auschwitz-style concentration camps there, because a sufficient number of local people - and imported thugs - rolled up their sleeves and massacred their Jewish neighbours, mostly between 1941 - 1944. Drive on many a Lithuanian highway and you will see signs pointing off the road to a 'Jewish Genocide Site.' You follow the sign to a clearing in the forest so beautiful that only birds should sing, and there lies a mass grave, beside it a euphemistic and aggrandizing Soviet monument, then trash from picnickers, sunlight through pines and silence, silence. Someone told me that some locals are worried that Jews who come back in search of their history may try to reclaim the property that was stolen and redistributed when their (grand)parents were murdered. Me, I saw my grandparents' villages. Haters can keep the hovels! I'm staying in north London.

Perhaps the man with the scythe was part of the family who now called the Jewish morturary home. Deferentially, he hacked away at the wayward weeds.

Micha could breathe again.

Here is the sun setting over the cemetery that evening. You can see the mortuary in silhouette.


Meanwhile, back in London, 2015, it is January, and the sun sinks fast. But the soft lights continue to shine, and we are still on the sofa, warm and together. How happy to be right here, right now, and not standing bereft in a cold Lithuanian field, wanting desperately to stay alive, yet gazing at a dead man, perhaps with envy.

To the lucky, a warm sofa.

To everyone else, a safe journey, towards a warm sofa for the next generation.

I wish Micha and the mourners could sit here with us.

Dead people

Dead people really piss me off. The way they just keep being dead, and they never relent, no matter how hard you beg. They're just so stubborn. My mother was stubborn while she was alive too. In fact, I think that's why she's dead.

Nine years ago tonight she got knocked down by a car. My mother got run over. She got knocked off her bicycle. She was cycling home and got hit by a car. She was involved in a terrible accident. What do any of these words reveal about what happened? They don't reveal. They hide. They tell, but they hide.

On the one hand, it is true. You have a woman who was riding along on a bicycle who then wasn't riding along, because she was flying through the air and landing in the gutter. And the thing that stopped her riding along was another car, and that other car was moving.

But what I'm thinking of tonight, nine years on, is this:

I'm thinking of the woman on her way home from work. She's riding her bicycle from West Kensington to Earl's Court. There's just one road left to cross. It's Cromwell Road - the A4 - London's spine.

(Who here knows Cromwell Road? Then you know).

The crossing she rides up to has a red bicycle and a green bicycle, in addition to the red man and the green man. It's December, it's dark, it's 8 o'clock. What does she do?

Who knows - she's dead, so we can't ask her.

That might be the ultimate truth, and she was my mother, and I would love to hear her side. But there were witnesses. I heard them. At the inquest. Everyone said, and the coroner concluded, that she had tried to ride across the road when the bicycle and the man were red. I didn't have any trouble believing that conclusion, but I was ashamed of it for many years. I didn't tell anyone about it until two years ago.

"Random accident." Who in this city hasn't crossed a road when the man was red? 

But I don't think it was random. I think it was typical of her. And that's why I'm angry. My neck hurts. I'm vibrating.

We were always cycling, my mother, my sister and I. We cycled to school, first in Hammersmith, and then in Fulham. We cycled everywhere. And every time, my mother put the fear of death in me. The fear of her death. "Please," I would say, "be more careful." And every time she dismissed my worry, "Well I've got this far, haven't I?" She suffered from the illusion of immunity and that's what killed her. That, and impatience.

She was not a person who liked to wait. For anything. And I think she lacked a magical sense of the precariousness of life. I think that killed her too.

It wasn't random.

Impatience and the illusion of immunity.

I am angry.

It doesn't matter how happy I am. Every year the anniversary destroys me. Every year I have the sense that I am waiting for something terrible to happen. My whole body tenses as though I, and not she, am about to be hit. And whose fault is that?

I did a cost benefit anaylisis. It didn't take long:

  • Cost of waiting for lights to change: one cold and boring minute
  • Benefit of waiting for lights to change: not dying
  • Cost of not waiting for lights to change: being dead forever*
  • Benefit of not waiting for lights to change: getting home a minute sooner

* (the list is actually endless, and is still growing today)

I want to say this. If there is something you can easily do that will increase your chances of not dying, please do it. If you're at the lights and it's a dark night, and the road is big, then wait. If the zebra crossing is a hundred yards away, walk to it. Put your seatbelt on before you drive off. Be late and alive rather than on time and dead. Do not talk on the phone or fiddle with the stereo while driving. Are you in such a hurry that you will risk being dead forever? Or killing someone else? Forever? I couldn't understand it before she was dead, and I understand it even less now.

For the love of life, if you are going to die, let it be for a good reason!

People I speak to, they say, "she's a part of you", "she'll be in your heart forever." But that's not how I feel tonight. I feel angry and empty. When people are dead it means that they are dead. That's what it means.

Einav says I'm too hard on my mother. She says everyone does it, people relax when they get close to home, they take chances they wouldn't normally take. And I think of my stubborn, impatient mother, as she approaches the crossing. And I say: "Really? Cromwell Road. 8 o'clock on a dark December evening. You couldn't have waited for the lights to change?"


This is the crossing. Picture it pitch black. Picture it tonight. You're almost home. Would you wait for the lights to change?

The world stands on three things

The world stands on three things: falafel, tahina and love.

Also sleep.

Right, let's agree to allocate a half point each to love and sleep.

So - the world is a chair with two good legs, and two flimsy ones.

For the sake of stability, we ought to place tahina and falafel at diagonally opposing corners. Love and sleep can just fill in the gaps.

Unless the chair is going to be placed against a wall. If the chair is against a wall, then maybe put sleep and love at the back, and tahina and falafel can both go at the front.

Just don't rock it, okay?