The Outlaw Ocean, by Ian Urbina

Summary: an impressive work of investigative journalism detailing the vast scale of human rights abuses and environmental damage in the world’s oceans.

The Outlaw Ocean is based on a celebrated series of articles that Ian Urbina wrote for the New York Times on the struggles for human rights and environmental standards in the vast lawless expanses of the world’s seas.

It is an impressive achievement, but also a deeply depressing one. As well as the continuing butchery of the planet’s whales, Urbina catalogues the environmental devastation of bottom trawling, the damage caused by the oil and gas industries, the risks arising from the destruction, “bleaching”, of the world’s corals, and the routine and brutal enslavement of seafarers, particularly fishermen, on the world’s ships and boats.

There are some heartening descriptions of the work of activists, such as those of Stella Maris or Sea Shepherd, who strive to bring some measure of humanity to this brutal realm, and there are exciting descriptions of some of their operations. But, appositely enough, all these seem like drops in the ocean such is the scale of the both environmental and human rights challenges.

Urbina shows how the abuses at sea are perhaps the most extreme example in history of the “tragedy of the commons” – the idea that when, in effect, everyone is responsible for something then no one actually takes responsibility. International maritime law, such as it exists, empowers states with its enforcement. This means that on the high seas – beyond territorial waters – a vessel flagged to a particular country can only be boarded by a war ship of that country. So the vast majority of the ships are simply never inspected at all. A land locked country like Mongolia, to which many ships are registered under flags of convenience, does not even have a navy.

Much maritime law, such as the 2006 international convention, does not apply to fishing vessels anyway which can do so much environmental damage through overfishing and other devastating fishing practices. Consequently slavery is also endemic on these vessels, most notoriously on the high seas of South East Asia. But I have also encountered it in the territorial waters of Myanmar and Ireland due to poor regulation and inadequate inspection.

Those who are enslaved are generally migrants, so desperately poor that they are driven to seek work from unscrupulous labour brokers. Urbina describes how sharp practices amongst labour brokers lead to seafarers becoming debt bonded, a form of slavery recognised in international law. Once this has happened the boat captains who receive them as crew routinely use physical violence, including murder, to keep discipline.

Urbina’s impressive work shows how the roots of enslavement on the sea lie on land in the indebtedness of the families and communities from which seafarers originate. This is something I also found in 2019 when researching the enslavement of raft fishermen in Myanmar’s Gulf of Motama. Hence it is a logical extension of Urbina’s research that prevention of slavery requires focussed attention on eliminating the debt that is the key mechanism for so much contemporary slavery.

Such is the scale of “modern” slavery, currently estimated as affecting over 40 million people globally, that meaningful action to reduce these numbers would require a response of comparable imaginative and actual scale to the Marshall Plan. Such a plan should focus on creation in slavery vulnerable communities of decent work, and direct cash transfers to secure early child development and school attendance. A crackdown on usurious money lenders and unscrupulous labour brokers would also be a welcome thing.

Until that happens Urbina’s work will stand as an appalling indictment of the human rights and environmental carnage at sea that the world is collectively turning a blind eye to.

To Kill a Man, by Sam Bourne

Summary: a meditation on the debasement of justice disguised as a pageturing thriller

Natasha Winthrop is a big deal. A high-profile Washington human rights lawyer who has just gained national attention as Democratic counsel in televised Congressional hearings.

Then a man breaks into her apartment intent on rape. This is the man’s last big mistake as Natasha manages to kill him in the course of the attack. The cops though… the bleeding cops! They never liked Natasha. It’s getting like they can’t murder black people in broad daylight any more without some bleeding-heart lawyer like her taking a law suit against them. So, if there are a few discrepancies in Natasha’s story, well then there’s no doubt that she’s going to get the benefit of. 

Natasha though, she’s a smart enough cookie to know when she needs reinforcements. So she picks up the phone to Maggie Costello, sometime international peace mediator and counsellor to presidents, but full-time Dublin street fighter who’s never seen a trouble she couldn’t shoot. 

Sam Bourne’s (Jonathan Freedland) Maggie Costello series is set, for the most part, in Washington DC politics. This is a subject that Freedland knows well as a former Guardian correspondent. The series specialises in plots that resonate with major contemporary issues. These have included having a megalomaniac imbecile in the White House, and the undermining of the factual framework for public discourse. It also should be said that, while not the main issue, a not inconsiderable achievement of these books is that Freedland captures the cadences of Dublin speech so well. Maggie’s exchanges with her sister are a particular pleasure, note perfect in the rhythms of Irish sibling banter.

This episode of Maggie’s adventures focusses on the disturbing fact that in the US, similar to many other places, less that 1% of perpetrators of rape or sexual assault ever see the inside of a prison cell.  Given this, the book ponders, is society saying sexual violence is actually now as acceptable as speeding or doing weed?

To Kill a Man is a deeply satisfying, thought-provoking thriller and meditation on the state of the Brexity, Trumpton world in which we live. It is, paradoxically, a perfect summer distraction from the insanity of that world which, nevertheless, reminds the reader of just how insane it remains.

The Dutch House, by Ann Patchett

Summary: “Happy families are all alike; every unhappy family is unhappy in its own way.”

When reviewing for the first time the play, “Waiting for Godot”, the theatre critic Vivian Mercier, writing in the Irish Times, famously described it as a play in which ‘nothing happens, twice’.

I had a similar thought when reading Ann Patchett’s “The Dutch House.” Nothing happens a lot in it.

Its narrator, Danny Conroy, describes his generally unremarkable life in an account that hops back and forth in time, much like an unreliable memory. Son of a wealthy property developer father in Philadelphia, Danny is really brought up by his older sister Maeve. She takes on maternal responsibilities after their mother’s departure from the family home – the Dutch House of the title. Maeve’s burdens are added to when their father acquiesces to marry Andrea. While the two step-sisters this brings them may not be ugly, Andrea certainly carries a measure of evil with her.

Danny, aware enough to know that he is self-absorbed, gets to go to medical school through Maeve’s efforts and wiles. But he never really practices as a doctor opting instead to become a property developer like his father. Maeve becomes the finance manager of a food company. Danny marries and has a family. Unfortunately, Maeve and his wife, Celeste, do not really get on. 

Around them America is changing, with the Vietnam war, and the demands for civil rights. But these barely encroach upon Danny’s consciousness. Maeve is, we learn in passing, socially engaged.But Danny is never really interested enough in what she is doing to tell the reader more.

So, that’s about it. 

But I don’t want to sell this short. “The Dutch House” is, perhaps, the literary equivalent of a still life of a fruit bowl: an exquisitely crafted rendering of ordinary life, or rather of life of unfulfilled potential. Selfless, wise-cracking Maeve, one feels throughout the book, should be the heroine of golden era Hollywood, a sort of Rosalind Russell figure from “His Girl Friday”, working on front page exposes of graft and corruption instead of being stuck, happily she claims, with balance sheets. By the end of the book one feels that her niece and namesake Mae is on the verge of the sort of life that Maeve should have lived.

“The Dutch House” is shot through with this sort of melancholia, and moments of unambiguous grief. It is a beautifully written and haunting book.

Lincoln in the Bardo, by George Saunders

Summary: the restless dead, and their thoughts on the mid-19th century state of the union

In certain schools of Buddhism the “Bardo” is an intermediate place between death and rebirth or heaven. It is into this Purgatory that William Wallace Lincoln, third son of Abraham, arrives in 1862.

Unlike the other children who arrive there Willie lingers, longing to see his father again. Some of the older ghosts – a young man regretful of his suicide, a middle-aged man pining for his young wife, a elderly minister fearful of what lies beyond – worry about what will befall Willie if he stays too long. So they take it upon themselves to help the young fellow move on. As a result they encounter the devastated president, come to visit the grave of his beloved son.

Lincoln in the Bardo is a strange book. Literary critics call it “experimental”. Portions of it, those providing the historical context, are edited from the vast literature of Lincoln and the Civil War. Into this context George Saunders creates a sort of American “Cré na Cille”, populating his narrative with the ghostly denizens of the graveyard where Willie lies.

A cross-section of American society from independence until 1862 is here: white supremacists dwelling alongside the slaves dumped in a common pit; wealthy misers rubbing ectoplasm with alcoholic down-and-outs. They reflect the nation at the moment of crisis that Lincoln confronts. Their stories, their memories of their past lives and their gossip on the current scandals of the graveyard society, are by turns hilarious and shocking, always entertaining and ultimately gripping.

At first President Lincoln’s presence in the midst of this cacophony of voices seems almost incidental. But it is not. Rather his presence is catalytic, provoking profound changes to the social order of the Bardo just as he is about to lead profound changes to the order of the Union.

Lincoln may sometimes be thought of as one of the last fatalities of the Civil War. But he wasn’t that. George Floyd may hold that dreadful distinction at the time of writing, but of course that won’t last for long. But Lincoln, alongside the likes of Martin Luther King, offers a glimpse of how much better America can be when it confronts its own original sins of slavery and genocide. That idealism echoes in this book.