The start of the Greek summer

May is a beautiful season in Greece. Not too hot yet, brilliant sunny days interspersed with the occasional shower, a pure transparent sky.


The sea is still a little chilly but, once you’ve warmed up in the sun, the initial shock only lasts a few seconds. And the sense of well-being afterwards lasts for hours.


The sun is good for replenishing Vitamin D, and the heat seeps happily into the old bones.

Below, fishermen mending their nets

Athens, too, is showing its best side. Cafés have opened their terraces, although people are still wearing masks in the street. And the bougainvillea is out in all its glory.


I’ve been volunteering to teach Greek online to a bunch of boys (unaccompanied minors in a refugee shelter belonging to the Home project, about which I posted a while ago) and we finally got a chance to meet in person, which was lovely.

Philopappos monument. Photo: Wikipedia commons

We went for a hike on Philopappos hill. This large park, which is known for the beautiful landscaping and stone pathways created by architect Dimitris Pikionis, is the home of many indigenous bird and a great variety of plants and trees. It is a favorite promenade of Athenians and presents the visitor with great views of the Acropolis, the whole city of Athens and the Aegean Sea that surrounds Attica. In 115 AD, a monument dedicated to the exiled Roman Prince Gaius Julius Antichus Philopappos of Commagene (a region in ancient Armenia) was erected on top of the hill. 
After his exile, Philopappos settled in Athens, became an Athenian citizen and held religious and civil offices. He was considered a great benefactor and was highly esteemed by the residents.

Best of all, the backdrop: the Parthenon, under a  brilliant Attic sky. 

I can draw a cat

Here’s a post from the blog of Michael Richards, an artist after my own heart.

A Certain Line

Mickey (A5 Prismacolor indigo blue pencil 2020)

Axel Scheffler, perhaps best known as the illustrator of the Gruffalo, once said in a radio interview that if you can draw, people think you can draw anything. There are, he continued, so many things he wouldn’t even attempt.

As a young man this used to bother me enormously. Why can’t I draw a passable bicycle? If I can draw a dog why do I struggle to draw a horse? These days I simply avoid drawing bicycles or horses, but if my life depended on drawing a bicycle for some odd reason then I’d draw it like Quentin Blake.

I’ve also regretted never learning to play the guitar – or the acoustic bass. Why didn’t you then? you might ask. The answer, I’m afraid, is that I never wanted to be a mediocre musician and I was daunted by the amount…

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A figure from the past

Recently I came upon an article about the ”pizzardone”, as traffic policemen in Rome are known (due to the shape of their helmets, nothing to do with pizza!) They elegantly direct traffic while perched on a pedestal in central spots, such as the Piazza Venezia.

This brought back amusing memories, since we also used to have traffic policemen in Greece, at most major crossroads in the cities. In the very beginning they stood in the road, which must have been terrifying, given Greek driving habits. Then they were put on a dais, which eventually evolved into the cylindrical so-called ‘Barrel’.

They were a respected presence in their area, in their white gloves and white diagonal sash; some even acquired a measure of fame, like Mr. Nikos Kostakis, who for many years was a cult figure on Vassilissis Sofias Avenue. He was known for his impeccable manners, stern but unfailingly polite approach and perfect control of the flow of traffic. Impervious to weather conditions, in later years he was offered a desk job, but declined, preferring the outdoors and his daily contact with the public.

Mr. Kostakis, known as ‘the man with the moustache’

Later came the tradition of gifts deposited around the barrels by an appreciative public at Christmas and Easter. This tradition was inadvertently started in 1936 by the king, King George II, who stopped his car in front of the palace to wish the traffic policeman a Happy Christmas and left a gift of wine. This was copied by the public and became a custom. People gave what they could, sometimes just sacks of potatoes and baskets of eggs.


Bad photo, but I couldn’t resist the live turkeys!

Along with wine there were seasonal sweets such as kourabiedes, and toys for the policeman’s kids. As the years went by and Greeks became more affluent, the gifts became more valuable. Local shops joined in and donated household goods such as mattresses, boilers, or even refrigerators! The gifts would be taken to the police station and balloted out to all.

Photo Dimitris Harisiadis (from the Benaki Museum Archives)


This is all history, but I remember well our own barrel, and my mother wrapping a crate of wine in red crepe paper with a big bow. Like everyone else, we’d stop the car right in the middle of the junction, and she’d get out to deposit the crate at the base of the barrel, and wish the man on duty a Happy Christmas or Easter.


Most hilarious, though, was that at Easter the police saw fit to turn the barrel into a giant Easter egg, from which the poor man would emerge like a newly hatched chick.


So sad all this has been replaced with mere traffic lights.


Celebrating Greek Independence

Today Greece celebrates 200 years of her declaration of the War of Independence, which freed the country from 4 centuries of Ottoman rule.
The Greek Revolution was waged between 1821 and 1830 by Greek revolutionaries against the Ottoman Empire. The Greeks were assisted in their efforts by Great Britain, France and Russia, while the Ottomans were aided by their North African vassals, particularly the eyalet of Egypt.

The start of the revolution. Photo: Benaki Museum

The annual national holiday of March 25th, despite being marred by coronavirus restrictions, is being touted as a new starting point after a very difficult decade. Years of painful austerity drove the country deep into poverty, making one in two young Greeks unemployed and forcing more than half a million people to leave the country to find work abroad. No sooner had the economy started to recover, than the coronavirus pandemic hit and Greece slipped back into recession. Greeks really need to herald a new, more hopeful era.

The entire world will mark the bicentennial, since the Greek Diaspora thrives in every corner of the globe. Iconic landmarks in all of those countries will be illuminated in blue and white in honor of the Greek people and their struggle for freedom 200 years ago.


The battle of Navarino. Photo: Wikipedia

It is sobering to think that, despite the weight of her history, modern Greece is still a young country which, having missed the Renaissance, has had to struggle to catch up with her European neighbours. At least we had the good fortune to escape being included in the communist bloc after the war, something which has cost our Balkan neighbours dearly.

Heroes of the Greek Revolution. Photo: Google

🇬🇷 Footnote: A well-known Greek actor has proposed that, in order to properly celebrate the bicentennial, Greek men should grow moustaches like the ones above.

How important is plot?

A few years ago I watched a film called Arrival. A number of mysterious spaceships appear and station themselves near major cities on earth. Then nothing happens. The usual debates start: Shall we attack before they attack us? For once the doves prevail over the hawks, at least momentarily, and the American government hires a woman expert in language and communication to try and establish some kind of contact.

I’m very interested in language and means of communication between humans, or even between humans and animals; and in this instance the aliens were, in my opinion, portrayed in a very imaginative and subtle way. So I became fascinated by the ways this woman came up with in attempting to communicate with a species which has ABSOLUTELY NOTHING in common with us humans. We do not share any parameters of DNA, culture, location, experience or anything else.

Anyway, I found the film explored this subject well so, when two of my grandsons turned 11, I thought this would be an interesting film to watch all together (with something to discuss after). Well, that was not a huge success, to say the least. One of the boys kept pausing the film to criticize some technical or scientific detail they’d got all wrong, while the other kept up a running commentary on the ‘plot holes’. At the end I got mercilessly teased about the fact that I hadn’t understood half of it but it was just as well, because the whole story made no sense and if I’d tried, I’d have become even more confused. We ended up crying with laughter because yes, they were right in a way—the plot did contain holes, and a ridiculous and unnecessary subplot at the end. Moreover, when I looked up the reviews, I saw that I really hadn’t got the half of it. However, I still remember the scenes where the woman tries to find ways to connect to those aliens, and I still find them fascinating. This made the plot secondary in this instance.

At other times I can get so annoyed with the blatant disregard for continuity or even simple cause and effect, that I stop reading or watching. So, how important is plot in a story? Of course, a solid, well-constructed plot is a thing of beauty in itself. But the impact of it on the enjoyment of the story can be quite relative sometimes.
Mystery or crime writers can be so clever at unexpected twists and red herrings that they paint themselves into a corner—and you find that the brilliant page turner that kept you up all night ends in a damp squib. Or a denouement that defies all plausibility. But—you’ve still enjoyed the ride.
At other times the lack—or manner—of plot is so annoying that you’re unable to go beyond a couple of chapters or episodes. Is the difference in the quality of the writing? The characters? Your own mood? What do you think?

Also, I think that tastes have changed. Exposure to new technology means that we expect instant gratification: for example, usually we don’t even have to wait a week for the next episode of a series, we can binge on the whole thing at once. Thus people’s attention span has become shorter. We don’t feel we have the time to read reams of description. We expect short bites, hopefully ending in a cliffhanger, which keeps us turning the page, or going on to the next episode. Long, meandering novels like Middlemarch, or classical short stories such as those written by Charles Dickens or Herman Melville have given way to flash fiction and mini series.

I’d be curious to know if some of you still have the patience to read the old classics and enjoy the slower pace.

Anyone for a Limerick?

The limerick packs laughs anatomical
Into space that is quite economical.
But the good ones I’ve seen
So seldom are clean
And the clean ones so seldom are comical.

But limericks were not always bawdy. In fact the form was made popular in the 19th century by Edward Lear, a great believer in pure silliness. In 1846 he published A Book of Nonsense, which went through three editions and made limericks so popular that many people started using them to amuse, scandalise or satirise.

We used to have the Lear books and other collections of limericks, and as a child I read them so many times that I still remember my favorites. Here are some of them, interspersed with illustrations from the Lear books: 

There was an old man from Blackeath
Who sat on his set of false teeth
Said he with a start,
Oh lord, bless my heart
I’ve bitten myself underneath!!

I sat next to the duchess at tea
Distressed as a person could be
Her rumblings abdominal
We’re simply phenomenal
And everyone thought it was me!


A feisty young girl from St. Paul
Wore a newspaper dress to a ball
The dress caught on fire
And burnt her entire
Front page, sporting section and all.

The wonderful artist Edward Gorey also liked witty and sometimes unsettling verse, and joined the party with gusto: 


He illustrated the verse with his detailed ink drawings 


British wordplay and recreational mathematics expert Leigh Mercer (1893–1977) even devised the following mathematical limerick:

This is read as follows:

A dozen, a gross, and a score
Plus three times the square root of four
Divided by seven
Plus five times eleven
Is nine squared and not a bit more

Quite clever, don’t you think?

Not to be outdone, I’ve produced a few limericks of my own over the years, some of which you might have seen, since I made illustrations to go with them for Inktober 2019. (Posted Here )

And so, dear readers, hoping I have sufficiently inspired you by now, I would like to urge you to send me your own efforts. We’re not talking about a competition here, just a fun thing to do. No prizes to be had, but if I get enough, I will do a post on them and make a few illustrations, too!
So come on, people, put your humorous thinking caps on!

Snow on ancient stones

While people who live in northern countries are getting heartily sick of snowy conditions, in Athens deep snow is so rare and lasts so little that it’s a cause for celebration. Schools stay shut since anyway many of the roads are closed, and everyone just makes the most of it.


A friend who is fortunate enough to live downtown, close to the Acropolis and the ruins of the Parthenon sent me these wonderful photos.



The Parthenon

The entrance to the Odeon of Herodotus Atticus


Did the Ancient Greeks make snowmen? It’s very probable.

The Tower of the Winds was built around 100 – 50 BC by  Andronicus of Cyrrhus for measuring time.


At the foot of the rock


Flying the flag on the walls



An overview


Lemon sorbet: this one was taken by my sister in her garden

All other photos by Eugenia Kokkala-Mela, owner of the wonderful HEROES shop at the foot of the Acropolis. 

And the best of it? Tomorrow there will probably be brilliant sunshine, and all traces of slush will vanish.

The HOME project

I find myself at a loss writing about the refugee crisis, which might be taking a backseat to the pandemic in the public eye at the moment, but is far from over. I know both of these emergencies are very difficult to deal with, but I feel that the authorities are not making a very good job of managing either. Everyone has become quite weary of the constant stream of bad news, so I was glad to come upon the work of a wonderful young woman whose dedication and positive attitude have resulted in the foundation of the HOME Project, a non-profit organization set up to address the needs of unaccompanied minors in Greece.

Sofia Kouvelaki is the CEO of the HOME Project, and she very kindly agreed to answer my questions:

Tell us a little about your story and your engagement with unaccompanied refugee children.

My engagement with lone refugee children began when I went to Lesvos for a documentary on unaccompanied children in detention for the Bodossaki Foundation just as the refugee crisis was beginning in November 2014. At the time, there were only a few, self-organized volunteers in addition to the coast guard who were helping people out of the water. The situation was unprecedented.

During this time at Lesvos, I was thinking about my path in life and the great inequalities this world contained. I witnessed first-hand a situation in which many of the children had been dressed by their parents as the opposite gender in order to protect them from various dangers during their journey. Having to negate one’s whole being in order to save one’s life was very shocking to me.

It was at this point when I began to recognize the need for a support channel to bring aid to the most vulnerable, especially children who were travelling alone and were exposed to all sorts of threats.

Could you give us some details on the issue of unaccompanied refugee children in Greece?

In Greece, there are more than 4,100 unaccompanied children, of whom more than 2,020 are outside a system of protection (according to the latest data of National Center of Social Solidarity). This means that at the moment there are children in the streets, in camps, and exposed to all kinds of exploitation such as abuse, violence, drugs, organ trafficking and more. If these children are not placed in a safe shelter, they cannot and will not receive any information on their rights or have access to any appropriate services. Furthermore, they are missing crucial aspects of their development as they grow; such as access to education, access to mental and physical health services, and social inclusion.

The HOME Project addresses this issue by receiving children from camps, police stations, and detention centers and welcoming them in the safety of our homes in Athens, where we provide a holistic network of child protection services through an individual development plan for each child that we care for. This plan addresses the general and particular needs of each child, including physical and mental health, educational, social, life skills, and legal support with the ultimate aim of social inclusion.

From a broader perspective, we would like to change the way people perceive the refugee crisis, especially regarding minors. Integrating these children and youths into society can only have a positive effect, as long as their marginalization is eliminated and replaced with social inclusion and equal access to opportunities.


So, what was the next step—and how was The HOME Project founded? What organizations do you have supporting you?

The HOME Project began as a targeted intervention of child protection for unaccompanied refugee children in Greece. It was founded in response to the call made by President Obama to the private sector to help in addressing the refugee crisis in 2016. Our partners are people and organizations who truly care about children and believe in our model of child protection.

We started with the opening of the first shelters in 2016. Soon after, the IKEA Foundation and the Shapiro Foundation supported us to scale up our operations, reaching 11 shelters. Recently, with the support of the Dutch Government we managed to open 3 more shelters in collaboration with a Dutch NGO Movement on the Ground.

Currently, we operate 14 shelters and we have offered child protection services to more than 570 children since 2016. One shelter is for young children, from 5 to 12 years old; three are for underage girls including underage mothers with their babies and nine are for teenage boys 13 to 17 years old. There is also one shelter for the children who turn 18 and are supported in their step toward autonomous life.

Equally important are several private partners and foundations that have supported smaller scale projects, especially during the lockdown in Athens. Due to these latest public health developments, other donors covered the emergency budget needed to cope with the challenges of Covid-19 pandemic.


What is the action plan for THP beyond the infrastructure?

The Home Project shelter model is based on three pillars:

1. Provision of holistic network of child protection covering food, shelter, material, medical provision, social, legal and mental health support with the ultimate goal of social inclusion.
2. Job creation. We have created 170 jobs for refugees as well as for Greeks. In order to integrate into any society, people need a HOME but they also need a job. Half of our shelter staff is comprised of refugees who become role models for the children, demonstrating a better future is achievable.
3. Adding value to the local economy. We create value for the local economy by renting unused buildings—victims of the financial crisis—and we empower the engagement of local communities via community building events. The development of healthy relationships in the shelter and with the local community, as well as enhancing participation and social inclusion, are equally important. Specifically, we actively seek to collaborate with the neighborhoods in which the shelters are located. For example, we supply our shelters with everything needed from local grocers, butchers, supermarkets, and pharmacies. Through this practice, we aim to create a support system around each home and fight xenophobia and stereotypes.

How are the HOMES organized?

At the core of our model is child protection. Our Child Protection Unit consists of professional social workers, psychologists, lawyers, psychiatrists, and an implementation model, which concludes in an Individual Development Plan for every child we care for. The Individual Development Plan represents a complete framework of child protection and is an ongoing process, aligned with the development of a child in five main areas: a) Mental Health, b) Education, c) Life Skills and Socialization, d) Social Support, e) Legal Support. The HOME Project recognizes and addresses the reality of the needs of each child, which go beyond just nourishment and housing.
The staff in the shelters attend weekly supervision by external mental health professionals and receive monthly training from our Child Protection Unit in child protection protocols, in order to be prepared to take on the responsibility of replicating the parental environment as well as providing a system of social welfare and support that is nonexistent for these children in society.

You insist a lot on education as well?

Education is vital to the development of children, and all children under our care attend school. In addition to public schools, we have partnerships with two of the biggest private schools in Athens.

43 children have received full time scholarships at ACS Athens with the support of Shapiro Foundation and over 210 children have participated in the innovative, educational “Youth to Youth” Program in collaboration with ACS Athens and supported by IKEA Foundation; Similarly, more than 70 children participated in the innovative program “School Project” in collaboration with Athens College. As part of these programs every Saturday, by physical presence and/or online children of The HOME Project “buddy up” with students from these schools and are taught Greek, English, art, math, music, and sports. This initiative aims to create a space of interaction where youths from the school have the opportunity to socialize with refugee children as a way to fight xenophobia, break stereotypes, and bring the two communities closer.

I heard you’ve had a big success story regarding educational achievements?

We have one case of a young adult who had been accepted to Science Po in Paris. Though he was initially denied asylum and wasn’t able to travel, we began a large public campaign to push the authorities to review his application. His asylum request was subsequently granted by the minister himself along with the asylum of two other children under our care. He is now living in Paris and receiving an exceptional education. We are very proud of his success.

How do children arrive at The HOME Project and how long do the children stay with you?

The children we accommodate are being referred to The HOME Project from all sites, camps, detention centers and homelessness, through national authorities. The authority of the referrals recently moved to the office of the Special Secretary for the Protection for unaccompanied Minors at the Ministry of Migration and Asylum with a Ministerial decision from the National Center of Social Solidarity (EKKA). The Public Prosecutor for Minors in Athens remains the legal guardian of all minors referred to our shelters.

The length of the stay for each child depends on the individual case. We have children who with our support apply for asylum and stay until their adulthood, while we have cases able to reunite with their families in other EU countries and who stay with us until our legal team completes their process.

Do the children eventually reunite with their families? How does this process work?

Since the beginning we have already managed to help 130 children reunite with their families. However, this process can take more than a year, as we need to prove they are indeed part of the same family. This length of time can take an immense toll on the children. In one case, a girl under our care suffered from eating disorders for a year because she couldn’t join her mother in Germany. After receiving multiple unlawful rejections, the decision was challenged at a court in Germany and she finally received a positive answer. Though this process is often arduous, family reunification is a necessity for each child if possible.


Are there children who arrive in Greece without having other family members with whom they can be reunited? What happens to these children in the future?

There are children who do not have families to reunite with. These children have left their homes for various reasons such as war, persecution, or poverty. Other times they have been separated during the journey or the parents have passed away.

With our support these children apply for asylum in Greece and stay in our shelter until they reach 18. However, no child leaves the shelter until they are ready for the next step. Some of the children who remain under our care after their 18th birthday stay in the 18+ shelter; others move into their own apartment and find their own job with the help of The HOME Project. Many go into technical fields; becoming plumbers, electricians, tailors, and chefs.

During the last four years, 45 of our children have been integrated into the labor market with permanent or seasonal jobs after turning 18 years old. Additionally, several of the children formerly under our care are hired as cooks, cleaners, and caretakers in the shelters upon reaching adulthood. Having been given these jobs in the shelters, the new staff members serve as role models for the children they are caring for. In this sense, they instill hope in the minds of the children.

How has THP dealt with issues presented by the pandemic?

The pandemic has made operations more difficult. The complications mostly stem from the lockdown: employees cannot move efficiently from shelter to shelter. Asylum service offices have suspended operations and affect our lawyers who are working on important issues regarding the children. Moreover, we hired more staff to temporarily take the place of those who have a higher health risk and to ensure that the needs of all children were being met.

Despite the recent COVID-19 pandemic, we have successfully managed to support the community building aspect of our model through projects such as the WWF Shelter-Greening project, which included the offering of plants, flowers, fruits and vegetables to the neighboring local community as well as a mask creation project in which the children of The Home Project in collaboration with WWF Hellas and WaterMasks designed and produced protective masks for the homeless people of Shedia Street Paper. The project aimed to raise children’s awareness on environmental and social issues, while giving them the opportunity to give back to the community and express their solidarity amidst these challenging times.

Recently, during the holiday season, children created greeting cards which they shared in the neighborhoods and send by post to our friends and supporters in order to thank them. In this way they can learn universal human values that will accompany them throughout their lives.

In terms of the risk directly posed by COVID-19, testing is the most effective way in which we can combat the virus. There has only been one positive, asymptomatic case in the shelters from a child who got it at school, and the entire shelter underwent a 2-week isolation period. While no more cases were recorded anywhere in The HOME Project network, the pandemic has taken an emotional and financial toll.

What can people do to help?

People can help in three ways
• Financial support: The HOME Project welcomes donations from individuals or organizations – either single gifts or regular contributions.
• Time: Join our team as a volunteer
• Resources: All forms of support (e.g. materials, food, clothing, services, internships, job opportunities, etc.) can make a big difference in our work

People could also spread the word about our work towards the most vulnerable children and help us raise awareness on our initiatives. Europe of 2021 has to ensure that no child can be allowed to remain invisible or alone.

Let us talk of something frivolous

Life under the present conditions has become very monotonous. It’s impossible to plan anything and, although I’m never bored—having access to books, paint and nature helps—I must confess I find it hard to come upon interesting subjects to write about. There are no cultural outings or trips to be had, and I do miss dinner with friends in a restaurant (oh, the luxury!) and occasional evenings at the cinema, theatre or a concert.

Books aside, we’ve been obliged to fall back on Netflix for entertainment and the really good films or series are few and far between. Thus I have found myself watching the extremely popular series, Brigerton, which has managed to accrue over 80 million viewers—and one can see why: a steamy romance set in Regency England, full of family secrets and racy subplots. Pure froth and escapism, just right for this dreary winter.
Those of you who have not watched this extravaganza, or are planning to watch it and want to avoid spoilers, switch your laptops off now. Anyone else who feels like a trivia-fest, feel free to weigh in.

I greatly enjoyed the tongue-in-cheek look at the racially-mixed high society, the—at least partial—disregard for historical fact, the anachronistic musical scores, the petulant character and gravity-defying wigs of the Queen (see above), the lovely settings, the exquisite clothes and especially the beautifully choreographed ballroom scenes.
However, even more gravity-defying than the Queen’s wigs was the plot, or absence of it: instead of being a skeleton on which to hang the different parts of the story, it seemed to have been cobbled together with the sole purpose of taking the viewer from one set piece to another, necessitating a major suspense of disbelief.

Tell me, dear reader,

Why would the Queen be so determined that her nephew, who surely must have had a bevy of princesses and duchesses at his disposal, should marry the daughter of a minor lord?
Why was the Duke of Hastings’s vow to his father such a big secret? Couldn’t Daphne have asked her mother to find out, or asked Lady Danbury directly? (Well, I suppose that if she had, the story would have been over by Episode 2…) 
What happened to the Prince’s necklace? Daphne can hardly have just dumped it in the shrubbery.
How does Penelope, who is meant to be penniless and, surely, chaperoned, have access to a printing press and a horse and carriage in which she is seen gallivanting by herself in the middle of the night? (spoiler alert, in the ultimate twist she is revealed to be gossip columnist Lady Whistledown).
How does a ball held outdoors, which ends with the guests being soaked by a sudden shower, have chandeliers hanging above the dancers? (See below)

And what the hell is ratafia? (I admit I looked this one up—it is a kind of sweet wine, much favored by the ladies at the time. Also, I should have known this: my mother was a fan of the Georgette Heyer books, which I devoured at the age of around twelve—too long ago to remember…)

Lastly, all the male characters strut around in calf length riding boots, which seem to just …vanish (melt away?) when they decide to get naked with their love interest. In my experience, however, this kind of boot takes ages to pull off, or necessitates a boot-pull or a third party to help. That’s why modern riding boots have a zipper down the back of the leg…

I can hear you saying, who cares? No one, it’s just a bit of fun. But please, Shondaland, pull yourself , and the plot, together  before season 2!

The women’s gowns were ‘exquisite’ but I’d kill for that waistcoat

And just so you don’t think I’ve gone completely daft, I have two new recommendations for you: I greatly enjoyed Girl, Woman, Other by Booker Prize winner Bernadine Evaristo—a very shrewd look at human relationships via some avant-garde writing. Also a quietly elegant film called The Dig, about the pre-war archaeological discoveries at Sutton Hoo in Suffolk, starring Carey Mulligan, Ralph Fiennes and Lily James (new on Netflix).