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 EDITED BY ELLEKE BOEHMER

AND DOMINIC DAVIES

P L A N N E D
V I O L E N C E
POST/COLONIAL URBAN INFRASTRUCTURE,

LITERATURE & CULTURE

Planned Violence
 Elleke Boehmer • Dominic Davies
Editors

Planned Violence
Post/Colonial Urban Infrastructure, Literature
and Culture
Editors
Elleke Boehmer Dominic Davies
English Faculty City, University of London
University of Oxford London, UK
Oxford, UK

ISBN 978-3-319-91387-2    ISBN 978-3-319-91388-9 (eBook)

https://doi.org/10.1007/978-3-319-91388-9

Library of Congress Control Number: 2018952935

© The Editor(s) (if applicable) and The Author(s) 2018

This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights of
translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on
microfilms or in any other physical way, and transmission or information storage and retrieval,
electronic adaptation, computer software, or by similar or dissimilar methodology now
known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information
in this book are believed to be true and accurate at the date of publication. Neither the pub-
lisher nor the authors or the editors give a warranty, express or implied, with respect to the
material contained herein or for any errors or omissions that may have been made. The
publisher remains neutral with regard to jurisdictional claims in published maps and institu-
tional affiliations.

Cover illustration: JULIE MEHRETU, Mogamma (A Painting in Four Parts): Part 3, 2012
Ink and acrylic on canvas, 180 x 144 in., 457.2 x 365.8 cm.
Courtesy of the Artist; Marian Goodman Gallery and White Cube.
Photo credit: Ben Westoby

This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
 Acknowledgements

We are very grateful to the Leverhulme Trust for the International

Network grant IN-2013–003 that allowed us to set up ‘Planned Violence:
Post/Colonial Urban Infrastructures and Literature’ (2014–16). The
essays that appear in Planned Violence arose from the project workshops
and responses to them. Elleke Boehmer was the Principal Investigator on
the project, and Dominic Davies the Network Facilitator.
Warm thanks to our research collaborators on the project, and to the
institutions with which we were able to work due to their involvement:
Pablo Mukherjee at the University of Warwick; Sarah Nuttall at the Wits
Institute for Social and Economic Research (WISER) in Johannesburg;
Ruvani Ranasinha at King’s College, London; GJV Prasad at Jawaharlal
Nehru University, New Delhi; Alex Tickell at the Open University. Thanks
also to Pamila Gupta (WISER) and Lakshmi Menon (JNU) for attending
most of the workshops. We are particularly grateful to Pablo Mukherjee
for his insight and assistance in the early stages of mounting our applica-
tion to the Leverhulme Trust, and to the research support staff in the
English Faculty office for their kind help, especially Katie MacCurrach.
Our thanks also go to Josh Hambleton-Jewell for diligently indexing this
book.
Julie Mehretu’s evocative artwork appears on the cover of this book
and is discussed in its pages. We are grateful to her for allowing us to use
her work in this way, and to Nicholas Simcik Arese for forging the link
with her. Erica Lombard dedicated her time and stellar designer skills to
creating the project website, http://plannedviolence.org/, which func-
tioned—and continues to function—as an archive and online forum for

v
vi ACKNOWLEDGEMENTS

the Network. Thanks also to Erica for the series of five beautiful posters
she created for the project workshops. We are very grateful to her for her
­energies and vision. Elleke and Dom would also like to thank the friends
and colleagues who helped us create the photo-essays with which we
image-­mapped social and economic divisions in the cities of Johannesburg,
Oxford, and Milton Keynes, especially Charne Lavery and Alex Tickell.
Further thanks to Alex also for his photos of Mumbai, to Nicholas Simcik
Arese for his of Cairo, and to Bradley Garrett for his of London. Bradley’s
photos are also featured in this book.
Across the two years of the project, we held four workshops on three
continents (at KCL, JNU, WISER, and Oxford), and a final closing key-
note lecture accompanied by a photo exhibition that took place at the
University of Warwick. With the support of The Oxford Research Centre
in the Humanities (TORCH) and the British Council (USA), we were
also able to hold two follow-up workshops under the network title
‘Divided Cities: Culture, Infrastructure and the Urban Future’. Our grati-
tude goes to both TORCH and the British Council (USA) and to Victoria
McGuinness, in particular. Further thanks also to TORCH for hosting the
‘Planned Violence’ exhibition after its launch at Warwick. The exhibition
included images from our photo-essays, 2015–2016, professionally pre-
pared as posters by Ruth Scobie.
A wide range of researchers as well as independent scholars, writers,
dramatists, performance poets, city anthropologists, and visual artists par-
ticipated in the project across its two years. We are privileged to include a
sample of their vigorous and wide-ranging work in between these covers.
We are also grateful to all our contributors for their patience through the
sometimes drawn-out process of putting this book together. We should
like to acknowledge our gratitude to everyone for their involvement by
naming all the ‘Planned Violence’ workshop participants here, in alpha-
betical order: Ackbar Abbas, Nicholas Simcik Arese, James Attlee and
Non-Stop Tango, Kanika Batra, Debaditya Bhattacharya, Lipi Biswas,
Mita Bose, Sid Bose, Keith Breckenridge, Terence Cave, Grégoire
Chamayou, Sharad Chari, Vibha Chauhan, Brian Chikwava, Imraan
Coovadia, Tom Cowan, Selma Dabbagh, Rana Dasgupta, Bob Eaglestone,
Tunde Euba, Matt Feldman, Corinne Fowler, Bradley Garrett, Claudia
Gastrow, Mark Gevisser, Divya Ghelani, Vishwajyoti Ghosh, William
Ghosh, Paul Gilroy, David Theo Goldberg, Ananya Dutta Gupta, Narayani
Gupta, Sarah Harrison, Sohail Hashmi, Tonica Hunter, Jeremy James and
GLYPT, Manju Kapur, Michael Keith, Stuti Khanna, Kavita Krishnan,
 ACKNOWLEDGEMENTS vii

Loren Kruger, Ole Birk Laursen, Louisa Layne, Stephen Legg, Bettina
Malcomess, Zen Marie, Maurizio Marinelli, Achille Mbembe, Kei Miller,
Ankhi Mukherjee, Courttia Newland, Sarah Nuttall, Bodh Prakash, Rina
Ramdev, Mike Rubenstein, Someshwar Sati, Aman Sethi, Rachna Sethi,
Yasmin Sidhwa and the Pegasus Theatre Group including Louis Rogers,
Iain Sinclair, Preeti Singh, Florian Stadtler, SuAndi, Julie Taylor, Stephen
Tuck, Jo Tyabji, Eyal Weizman, James Whitfield, and of course, the core
project group. We would like especially to remember the late Jan-Georg
Deutsch, who contributed to the final Oxford workshop with his usual
mix of energy, critical vigour, and humour.
Finally, Elleke would like to thank Steven Matthews and Thomas and
Sam Matthews Boehmer for their support and interest throughout, and
Dom is as ever grateful to Emma Parker, Jane Barber, and Simon and Ruth
Davies. Thanks from us both to those always ready to rally round in
Brighton, London, the Hague, and Oxford.

Oxford, UK Elleke Boehmer

London, UK Dominic Davies
 Contents

1 Planned Violence: Post/Colonial Urban Infrastructures,

Literature and Culture  1
Elleke Boehmer and Dominic Davies

Section I Planned/Unplanned Cities  27

2 White Cities, Black Streets: Planned Violence and Native

Maps in Richard Wright’s Chicago and Modikwe Dikobe’s
Johannesburg 29
Loren Kruger

3 Grey Space, Tahrir Laser: Conspiracy, Critique and the

Urban in Julie Mehretu’s Depictions of Revolutionary
Cairo 49
Nicholas Simcik Arese

4 Thames Valley Royal (or, Maxwell in Oxford): The Story

of a Football Club and the History of a City 71
William Ghosh

ix
x Contents

5 Slums and the Postcolonial Uncanny 87

Ankhi Mukherjee

6 The Not-so-Quiet Violence of Bricks and Mortar105

Zen Marie

7 Intervention I. What You Find in the River: Isolarion

Ten Years On121
James Attlee

Section II Forensic Infrastructures 135

8 The Intimacy of Infrastructure: Vulnerability and

Abjection in Palestinian Jerusalem137
Hanna Baumann

9 Sound Systems and Other Systems: The Policing of

Urban Aesthetic Spaces in the Poetry of Linton Kwesi
Johnson159
Louisa Olufsen Layne

10 ‘Throwing Petrol on the Fire’: Writing in the Shadow

of the Belfast Urban Motorway177
Stephen O’Neill

11 Writing the City and Indian English Fiction: Planning,

Violence, and Aesthetics195
Alex Tickell

12 Blue Johannesburg213
Pamila Gupta

13 Intervention II. Take Me There231

Selma Dabbagh
 Contents  xi

Section III Structural Violence, Narrative Structure 235

14 ‘A Shadow Class Condemned to Movement’: Literary

Urban Imaginings of Illegal Migrant Lives in the Global
North237
Ruvani Ranasinha

15 ‘A Dagger, a Revolver, a Bottle of Chloroform’: Colonial

Spy Fiction, Revolutionary Reminiscences and Indian
Nationalist Terrorism in Europe255
Ole Birk Laursen

16 Detecting World-Literature: (Sub-)Urban Crimes in the

Nineteenth Century273
Upamanyu Pablo Mukherjee

17 Weird Collocations: Language as Infrastructure in the

Storyworlds of China Miéville289
Terence Cave

18 Aquacity Versus Austerity: The Politics and Poetics of

Irish Water305
Michael Rubenstein

19 Intervention III. Control323

Courttia Newland

20 Afterword331
Sarah Nuttall

Index 341
 Notes on Contributors

James Attlee is the author of Station to Station: Searching for Stories on

the Great Western Line (2015), shortlisted for the Stanford Dolman Travel
Book of the Year Award 2017, Nocturne: A Journey in Search of Moonlight
(2012), and Isolarion: A Different Oxford Journey (2009), as well as
numerous essays, chapters, and articles, mainly concerning art and books.
His latest book, Guernica: Painting the End of the World, was published in
October 2017.
Hanna Baumann is a research associate at The Bartlett’s Institute for
Global Prosperity (University College London). She completed her PhD
at the Centre for Urban Conflicts Research, University of Cambridge, in
2017.
Elleke Boehmer is Professor of World Literature in English at the
University of Oxford, Director of the Oxford Centre in Life Writing
(OCLW), based at Wolfson College, and a foundational figure in the field
of colonial and postcolonial literary studies. Her monographs include
Colonial and Postcolonial Literature (1995/2005), Empire, the National
and the Postcolonial: Resistance in Interaction (2002), Stories of Women
(2005), Nelson Mandela (2008), Indian Arrivals (winner of the ESSE
2015–16 prize), and Postcolonial Poetics (2018). Her novels include The
Shouting in the Dark (long-­ listed Sunday Times prize, 2015), Screens
again the Sky (short-listed David Hyam Prize 1990), and Bloodlines (short-
listed SANLAM prize 2000). She edited Baden-Powell’s Scouting for Boys
(2004), and the anthology Empire Writing (1998). She holds an Honorary
doctorate from Linnaeus University in Sweden.

xiii
xiv NOTES ON CONTRIBUTORS

Terence Cave is Emeritus Professor of French Literature at the University

of Oxford and Emeritus Fellow of St John’s College. His publications
include The Cornucopian Text: Problems of Writing in the French
Renaissance (1979), Recognitions: A Study in Poetics (1988), How to
Read Montaigne (2007), and Mignon’s Afterlives: Crossing Cultures from
Goethe to the Twenty-First Century (2011). In 2009, he won the Balzan
Prize for literature since 1500, and during 2010–2013, he was
Director of the Balzan project ‘Literature as an Object of Knowledge’
at the St John’s College Research Centre, Oxford. His book Thinking
with Literature: Towards a Cognitive Criticism was published in 2016.
Selma Dabbagh is a British Palestinian writer of fiction who lives in
London. Her first novel, Out of It, was published in 2011 to positive
reviews in the UK, the USA, and the Middle East. It was nominated as a
Guardian Book of the Year in 2011 and 2012. She has also written and
published numerous short stories with Granta, Wasafiri, Saqi, Telegram,
International PEN, and others. Several of her short stories have been
nominated for awards and been viewed favourably by international panels
of judges. She has also produced numerous blogs and pieces of journalism
for newspapers and magazines—from The Guardian and the LRB in the
UK to GQ in India. Short pieces of her fiction and non-fiction have
appeared in numerous anthologies. She wrote an Imison Award-­nominated
radio play produced by BBC Radio 4, The Brick, which was broadcast in
January 2014, and regularly reviews works of fiction, films, and plays
about or by Palestinians for The Electronic Intifada. Her work has been
translated into a number of languages including Arabic, Mandarin,
Spanish, Portuguese, Italian, and French.
Dominic Davies is Lecturer in English at City, University of London. He
holds a DPhil and a British Academy Postdoctoral Fellowship from the
University of Oxford. During this time, he was also the Network
Facilitator for the Leverhulme-funded ‘Planned Violence’ Network
and the British Council US and TORCH-funded ‘Divided Cities’
Network. He is the author of Imperial Infrastructure and Spatial
Resistance in Colonial Literature, 1880–1930 (2017) and Urban Comics:
Infrastructure and the Global City in Contemporary Graphic Narratives
(2019), as well as a number of related journal articles and book chapters.
 NOTES ON CONTRIBUTORS xv

William Ghosh was an Amelia Jackson scholar at Exeter College while

writing his doctorate, and now lectures in English at St Hugh’s College,
Oxford, University of Oxford. His research interests centre on the litera-
ture and intellectual history of Britain and the Caribbean from 1945 to the
present day.
Pamila Gupta is Associate Professor at WISER (Wits Institute for Social
and Economic Research), at the University of Witwatersrand in
Johannesburg, South Africa. She holds a PhD in Anthropology from
Columbia University. Her work has been published in Interventions,
Critical Arts, African Studies, Ecologie & Politique, Island Studies Journal,
Journal of Asian and African Studies, Ler História, and Public Culture.
She is the co-editor of Eyes Across the Water: Navigating the Indian Ocean
with Isabel Hofmeyr and Michael Pearson (2010). Her monograph enti-
tled The Relic State: St. Francis Xavier and the Politics of Ritual in
Portuguese India was published in 2014. She is working on a new book
manuscript entitled Ethnographies of Lusophone Decolonization in India
and Southern Africa (forthcoming).
Loren Kruger is the author of several books, most recently Imagining
the Edgy City (2013), and Post-Imperial Brecht (2004), which won the
Scaglione Prize for Comparative Literary Study awarded by the Modern
Language Association. Her articles on Chicago and Johannesburg have
appeared in such journals as The Drama Review, Journal of Southern
African Studies, Research in African Literatures, and Telos, and in essay
collections such as Performance and the Politics of Place (2008). She is
Professor of Comparative and English Literatures, African Studies, and
Theatre and Performance Studies at the University of Chicago, where she
is also affiliated with the Center for the Study of Race, Politics and Culture.
Ole Birk Laursen is a lecturer in Postcolonial Indian Literature at NYU
London and an honorary research associate at The Open University. His
research concerns the literature and history of Black and South Asian
people in Europe, with a particular focus on anti-imperialism and anar-
chism. He is co-editor of Reworking Postcolonialism (2015), Networking
the Globe (2016) and a special issue of SubStance (2017) on comics and
anarchism. He is currently editing a collection of essays by the Indian
anarchist M.P.T. Acharya (2019) and writing a monograph entitled The
Indian Revolutionary Movement in Europe, 1905–1918 (2020).
xvi NOTES ON CONTRIBUTORS

Louisa Olufsen Layne holds a DPhil in English Literature from the

University of Oxford. Her doctoral thesis focused on the poetry of Linton
Kwesi Johnson. Her research and participation as an organiser in the Race
and Resistance Network (TORCH) in Oxford centres on the exploration
of new approaches to conceptualising the close relationship between
aesthetics and politics in the music and poetry of the black Atlantic.
She is Lecturer in Comparative and General Literature at the
University of Oslo.
Zen Marie is an artist who works in a variety of media, including photog-
raphy and film making, performance, sculpture, graphic processes, and
writing. His areas of focus include international sport, identity,
nationalism, and public infrastructure. The binding link between
these diverse areas has always been the relationship between power
and its subversion. He lives and works in Johannesburg, South Africa,
where he is Lecturer in Fine Art at the WITS School of Art. He is also
a PhD candidate at WITS, with a focus on areas of art and theory in
relation to what he calls situated aesthetic practice.
Ankhi Mukherjee is Professor of English and World Literatures at
Oxford. She is the author of two books, Aesthetic Hysteria: The Great
Neurosis in Victorian Melodrama and Contemporary Fiction (2007) and
What Is a Classic? Postcolonial Rewriting and Invention of the Canon
(2014), which won the British Academy prize for English Literature in
2015. She has edited two volumes, A Concise Companion to Psychoanalysis,
Literature, and Culture (2014) and After Lacan (2017). Her articles have
been published in peer-reviewed journals such as PMLA, MLQ,
Contemporary Literature, and Paragraph and she has contributed essays
to collaborative volumes. Mukherjee is on the editorial board of Cambridge
Journal of Postcolonial Literary Inquiry, Women: A Cultural Review,
Contemporary Literature, and Oxford Bibliographies Online. Her current
book project, for which she has received research grants from the AHRC
(Arts and Humanities Council, UK) and the Wellcome Trust, examines
the relevance of psychoanalysis for the psychic maladies of the urban poor
in global and postcolonial cities.
Upamanyu Pablo Mukherjee is Professor at the Department of English
and Comparative Studies, Warwick University, UK. He teaches and
researches in the areas of British imperial literatures and cultures, postcolo-
nial literary and cultural theories, environmental studies, urban studies and
world and comparative literary theories. He is the author of Crime and
 NOTES ON CONTRIBUTORS xvii

Empire: The Colony in Nineteenth-Century Fictions of Crime (2003),

Postcolonial Environments: Nature, Culture and the Contemporary Indian
Novel in English (2010), Natural Disasters and Victorian Empire: Famines,
Epidemics and Literature (2013), and with the Warwick Research Collective,
Combined and Uneven Development: Towards a New Theory of World
Literature (2015), as well as a number of essays, articles, and book chapters.
He edited Victorian World Literatures: A Special Issue of Yearbook of English
Studies, 41:2 (July 2011) and was a member of the working group of the
Leverhulme-funded International Network, ‘Planned Violence: Post/
Colonial Urban Infrastructures and Literature’ (2014–2016). Mukherjee is
writing a book on the relationship between science policy and science fic-
tion of postcolonial South Asia.
Courttia Newland is the author of seven works of fiction that include his
debut novel, The Scholar. His latest novel, The Gospel According to Cane,
was published in 2013 and has been optioned by Cowboy Films. He was
nominated for the Impac Dublin Literary Award, The Frank O’Connor
award, The CWA Dagger in the Library Award, The Hurston/Wright
Legacy Award, and The Theatre 503 Award for playwriting as well as
numerous others. His short stories have appeared in anthologies including
Best British Short Stories 2017 and have been broadcast on BBC Radio 4.
In 2016, he was awarded the Tayner Barbers Award for science fiction
writing and the Roland Rees Busary for playwriting. He is Associate
Lecturer in Creative Writing at the University of Westminster and is com-
pleting a PhD in creative writing.
Sarah Nuttall is Professor of Literature and Culture and Director of
WISER (Wits Institute for Social and Economic Research) in Johannesburg,
South Africa. She is the author of Entanglement: Literary and Cultural
Reflections on Postapartheid, editor of Beautiful/Ugly: African and
Diaspora Aesthetics, and co-editor of many books including
Johannesburg: The Elusive Metropolis and Loadshedding: Writing On and
Over the Edge of South Africa. For four years she has directed WISER, the
largest and most established Humanities Institute in the Global South. In
2016 she was Oppenheimer Fellow at the DuBois Institute at Harvard
University.
Stephen O’Neill is a final-year PhD student and teaching assistant at the
School of English, Trinity College, Dublin. His research, under the super-
vision of Dr Tom Walker, investigates the country and the city in the Irish
xviii NOTES ON CONTRIBUTORS

novel from 1922 to 1965, and is generously funded by the Irish Research
Council. He was one of the organisers of the Institutions and Ireland
series in 2016, and in 2017 he was a visiting fellow at the University of São
Paulo under the auspices of the SPeCTReSS project.
Ruvani Ranasinha is Senior Lecturer in Postcolonial Literatures at
King’s College London. She was a member of the working group of the
Leverhulme-funded International Network, ‘Planned Violence: Post/
Colonial Urban Infrastructures and Literature’ (2014–2016). Her
research focuses on South Asian writing, postcolonial book history, and
transnational feminism. She is the author of Hanif Kureishi (2002), South
Asian Writers in Twentieth-Century Britain: Culture in Translation
(2007), Contemporary Diasporic South Asian Women’s Fiction: Gender,
Narration and Globalisation (Palgrave, 2016), and the lead editor of
South Asians and the Shaping of Britain, 1870–1950 (2012). She is an
associate editor of the Journal of Postcolonial Writing and on the edito-
rial board of the feminist digital humanities project Orlando.
Michael Rubenstein is Associate Professor of English at Stony Brook
University. His book, Public Works: Infrastructure, Irish Modernism, and
the Postcolonial, received the Modernist Studies Association Prize for Best
Book in 2011. He co-edited, and co-wrote the introduction to a 2015
special issue of MFS Modern Fiction Studies on ‘Infrastructuralism’. His
2017 essay, ‘Life Support: Energy, Environment, and Infrastructure in the
Novels of Mohsin Hamid’, appears in the online journal Post45.
Nicholas Simcik Arese is Postdoctoral Research Associate at ESRC
Urban Transformations (Anthropology, University of Oxford) and
Research Associate at the Oxford Programme for the Future of Cities. A
legal geographer and architect, his current ethnography explores concep-
tions of rights, ownership, and law by homebuyers and squatters in a gated
community during Egypt’s 2011–13 revolutionary period. He trained at
the Architectural Association and in 2017 completed a DPhil at the
University of Oxford.
Alex Tickell is Senior Lecturer in English and Director of the Postcolonial
Literatures Research Group at the Open University, UK. His research
interests include the history of Anglophone literary cultures in South Asia
and contemporary Indian fiction in English. He is author of Terrorism,
Insurgency and Indian-English Literature, 1830–1947 (2012) and a guide
to Arundhati Roy’s The God of Small Things (2007), and is, more recently,
 NOTES ON CONTRIBUTORS xix

editor of South-Asian Fiction in English: Contemporary Transformations

(2016). Tickell is editing volume 10 of the forthcoming Oxford History of
the Novel in English: The Novel in English in South and South East Asia
since 1945. He has published in journals such as Postcolonial Studies,
Journal of Commonwealth Literature, Journal of Postcolonial Writing,
Literature & History, and Nineteenth-Century Literature, and he was a
member of the working group of the Leverhulme-funded International
Network, ‘Planned Violence: Post/Colonial Urban Infrastructures and
Literature’ (2014–2016).
 List of Figures

Fig. 3.1 Julie Mehretu, Mogamma (A Painting in Four Parts): Part 2,

2012, ink and acrylic on canvas, 180 × 144 in. (457.2 ×
365.8 cm.). (Courtesy of the Artist; Marian Goodman Gallery
and White Cube; Photo credit: Ben Westoby) 51
Fig. 3.2 Detail from Julie Mehretu, Mogamma (A Painting in Four
Parts): Part 2, 2012, ink and acrylic on canvas, 180 × 144 in.
(457.2 × 365.8 cm.). (Courtesy of the Artist; Marian
Goodman Gallery and White Cube; Photo credit: Ben
Westoby)53
Fig. 3.3 (a) A tweet showing “It is not a Coup” projected onto the
Mogamma building in Tahrir Square; (b) A Twitter account
claiming to be Tahrir Laser 57
Fig. 3.4 Detail from Julie Mehretu, Mogamma (A Painting in Four
Parts): Part 2, 2012, ink and acrylic on canvas, 180 × 144 in.
(457.2 × 365.8 cm.). (Courtesy of the Artist; Marian
Goodman Gallery and White Cube; Photo credit: Ben
Westoby)63
Fig. 4.1 Beech Road Stand at the Manor Ground. (Source: Steve
Daniels, Wikimedia Commons, https://creativecommons.
org/licenses/by-sa/2.0/)76
Fig. 4.2 The East Stand of the Kassam Stadium under construction.
(Source: Steve Daniels, Wikimedia Commons, https://
creativecommons.org/licenses/by-sa/2.0/)80
Fig. 8.1 Map of Jerusalem and environs, including multiple,
transecting borders and the ‘exclaves’ of the city cut off by the
Separation Wall 142

xxi
xxii List of Figures

Fig. 8.2 Film still from Whole in the Wall (2013). (Courtesy of Khaled
Jarrar and the Ayyam Gallery) 143
Fig. 8.3 Film still from Infiltrators (2012). (Courtesy of Khaled Jarrar
and the Ayyam Gallery) 144
Fig. 8.4 Film still from Journey 110 (2008). (Courtesy of Khaled Jarrar
and the Ayyam Gallery) 146
Fig. 8.5 Film still from Infiltrators (2012). (Courtesy of Khaled Jarrar
and the Ayyam Gallery) 149
Fig. 12.1 Photo taken by the author 215
Fig. 12.2 Photo taken by the author 219
Fig. 12.3 Photo taken by the author 222
Fig. 12.4 Photo taken by the author 225
Fig. 12.5 Photo taken by the author 228
 CHAPTER 1

Planned Violence: Post/Colonial Urban

Infrastructures, Literature and Culture

Elleke Boehmer and Dominic Davies

Introduction: The City Always Wins

In the first pages of his debut novel, The City Always Wins (2017), Omar
Robert Hamilton describes Cairo, the city of the title, as an urban space
‘of infinite interminglings and unending metaphor’:

Cairo is jazz: all contrapuntal influence jostling for attention, occasionally

brilliant solos standing high above the steady rhythm of the street. […]
These streets laid out to echo the order and ratio and martial manage-
ment of the modern city now moulded by the tireless rhythms of salesmen
and hawkers and car horns and gas peddlers all out in ownership of their
city, mixing pasts with their present, birthing a new now of south and
north, young and old, country and city all combining and coming out
loud and brash and with a beauty incomprehensible. Yes, Cairo is jazz.
(2017: 10)

E. Boehmer (*)
English Faculty, University of Oxford, Oxford, UK
e-mail: elleke.boehmer@ell.ox.ac.uk
D. Davies
City, University of London, London, UK

© The Author(s) 2018 1

E. Boehmer, D. Davies (eds.), Planned Violence,
https://doi.org/10.1007/978-3-319-91388-9_1
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