Writing about a war will always be political writing, no matter what amount of hermetical hide-and-seek or aesthetical operations are involved.

Given that the label "immigrant literature" is already established, unavoidable for anyone with a migrant background and used in any given context, I strongly advocate an absurd amount of specification to go along with the label.

Never too late to learn a language. And the good literature to come with it.

Writing about a war will always be political writing, no matter what amount of hermetical hide-and-seek or aesthetical operations are involved.

It can stand in the way of narration in cases where we want the protagonist to actually go through some kind of catharsis while our own (non-fictional) experiences and stories lead to something banal or completely uninteresting.

By changing the way I experienced things, even just involving different details than in reality, I often felt I was betraying the past and playing an unfair game with the reader where he (of course) would ask himself "Did this really happen?"

Something as radical as a war can only be understood (if at all) through the collaboration of journalists, academia, artists and, of course, people.