Interview
Change
Gaza
Israel
Middle East
S&U interviews
Suffering
War & peace
11 min read

Eye witness: life and death in Gaza’s European Hospital

Returning plastic surgeon Tim Goodacre reports on the struggles, the despair and the dignity of the people and the medics of Gaza during their long nightmare.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

Medical staff stand beside a bed in which a man lies with an amputated leg.
Medics confer about a patient in Gaza's European Hospital.
Tim Goodacre

Tim Goodacre is a vastly experienced plastic surgeon who recently spent two weeks in a hospital in Khan Younis treating the extensive injuries of the people of Gaza. I caught up with him to ask about his experience there.  

Graham: Let me start by asking what was it like getting into Gaza? What was the process and how difficult was it to actually get in in the first place? 

Tim: We went in as an emergency medical team under the under the auspices of the World Health Organisation, which is coordinated with UN OCHR. It was easy obviously to get to Cairo. Then we joined a convoy, a group of cars convening in the small hours of the morning in Cairo and then being escorted across the Sinai desert. We got to the border in time for dusk. What was staggering at that stage was seeing the number of lorries lined up, waiting on the Egyptian side to get in. They were two deep on one side, one deep on the other with a thin passageway through which we could drive through for mile after mile after mile of these lorries. 

Was this humanitarian aid sent from other nations? 

Absolutely. It was aid labelled from different countries or agencies. Crossing Rafah the next morning was all pretty haphazard and chaotic, but we met our driver on the other side. We then had to travel to Khan Yunis on the coast road because it was the safest part of the south Gaza strip. We went through a route called the Philadelphia Road, which is a gap between the two borders. As we drove along, we immediately were jumped on by some young lads who had put razor wire across the road. We picked up two of them who hung onto the car each side, with our window s firmly shut. As we sped along, they were our ‘protectors’, taking a pitiful sum to ensure that we would not be stopped at further razor wire and our vehicle plundered. It was our first experience of the lawlessness that's inherent at the moment in Gaza. 

All along that side of the road there were people putting up new tents after a recent further mass displacement, as far as the eye could see. It made a huge impact on me - the devastating plight of the people who were there. It looked like those pictures of Glastonbury or Woodstock, where as far as you could see, the rolling fields or sand dunes or whatever were totally covered in makeshift dwellings. It was pretty cold and windy. And subsequently, while we were there, it rained an awful lot and your heart just went out to these people.  

So these were people living in tents and temporary shelters? 

 Well, not really. They're barely tents. They're just finding flimsy bits of wood, putting them up and nailing them together. And these are not just the very poorest of the poor. This is everybody. Many of them were people from very well-to-do houses whose families have been displaced. I've worked in many parts of the world where there's poverty, but I’ve never seen so many people displaced.  

One of the things that's remarkable however is the relative cleanliness, the desire to maintain dignity in the most appalling circumstances. But a young lad who’s now a young doctor (who I have worked with for a decade now) came to see me and he was the most dejected person I've ever met. He said to me ‘they've taken away my dignity’. The abject pain in his face was something that I won't forget.  

You’ve been to Gaza many times before. What was different about this time? And you've seen it in the aftermath of previous wars and conflicts. What was what was particularly different this time? 

 It's utterly different – it’s the displaced population with nowhere to go and seeking shelter. When I first went in 2014 after Operation Protective Edge, I was taken to a huge neighbourhood of northeast Gaza, which had been flattened and at the time the impact on me was extraordinary. When I’ve visited subsequently over the last decade, they will show you this bombed out building and that flattened area, but I've never seen such vast numbers of displaced people. On the second day we moved into the European Gaza Hospital (EGH), which is where we were going to stay for the two weeks we were there. Inching slowly along amidst endless hordes of people walking around, seeing the dejection, despair, the hopelessness with nowhere to go - this for me is what defines this whole episode and makes it very different from others. This is in no way a diminution of other conflicts and human tragedies, but when there was bombing in Baghdad or in Kiev and Ukraine, people might go into underground shelters - there are places they can perhaps go to escape. Even in massacres such as in Darfur or Congo, there are places to run to. There is nothing like that in Gaza. 

Was there a pattern to the kind of medical emergencies and wounds that you were having to deal with? 

 The vast majority of injuries were the impact of high explosives, so we naturally saw quite a lot of burns, although the majority of severe burns alone were being managed by the Red Cross team also at EGH. Some of them were people who had been crushed and pulled out of buildings which had collapsed. But that was that was the minority. The majority of our cases were direct results of bomb blasts. Every time you hear a bomb, somebody is being killed, yet many others are caught on the fringe of that. Shrapnel travels at astronomical speeds and hits people in in a completely random way. These injuries are devastating. There were scores of people coming in with limbs missing. Seeing somebody with a leg off at the thigh, a leg off below the knee, an arm ripped off was all too common. It was hard to take in - you have to become somewhat immune to the backstory behind each dreadful injury, and concentrate on the carnage in front of you, to be able to deal with the constant onslaught of cases. 

How were the medics coping with it? You were there for two weeks. They are there for months, presumably on end? 

 I think it's incredibly important that we don't focus on the visiting medics. I usually peeled off at about 9pm or so in the evening - I had to go to bed and had to have a rest, but there were people trying to work through the night. What I want to focus on is the local people, particularly a young colleague, Ahmed, who was 36 years-old. He was statesmanlike in his ability to pull things together. His family are actually mostly in Dublin as they've got Irish passports. I cannot tell you how much admiration I have for that young Gazan man who shared his room with me.  

He has been managing to create a team who work alongside him, since many of the staff who had worked at the hospital before (some of whom we had trained over several years in limb reconstruction) were not there. That is because they might not be alive, or having to support their displaced families, or simply are afraid to travel in daily to the hospital, or whatever. It is a huge demand on individual doctors to leave a family group (who invariably try to stay together, so that if they are bombed, they all die together and do not have to be a sole survivor.) to then work away from such possible loss of all their family members. It's an incredible sacrifice to be working in medical care when your family are all huddled together in a place where they may all lose their life, and that gets to them in the end.  

The orthopaedic side is almost on its knees. Most of the system in the hospital is utterly on its knees. There were early years medical students who had been taught quickly how to manage wounds and to skin graft. They haven't got any pay, but some people have given a little money to my colleague’s account to try and give them some support. There were IT students and all sorts of others pulling together. How people can work in in such adversity and make things happen is quite a testament to the to the strength of humanity.  

It all begins to play on your mind, and you start thinking is there another one coming? And you get no warning when the attacks are unleashed. 

What was it like living under the bombardment, which was presumably pretty constant during your time there? 

There may have been the odd period of four or five hours when there was no sound of close bombardment at all, although during that time there was probably small arms fire going on somewhere. But otherwise, it was relentless. One became somewhat used to the bombs in the distance, but when they're close by… Every time one of these bombs goes off, there are people dying. And that really that played on your mind. So huge numbers were seeking shelter anywhere in the vicinity of the hospital. If you can imagine a hospital corridor where every route is full of makeshift shelters, and you just go up around a stairwell and on the corner of each stair, there will be a family which will be hanging drapes up, trying to find some sort of privacy and dignity among the utter destitution.  

I found it very difficult to sleep during those times. The hospital is in a quadrant, a square. On one corner there was a supermarket which latterly was hit by an F16 delivered weapon. You could hear the sound of the rocket go off alongside the scream of the low flying fighter jet, and the whole building shook. There's also the incessant sound of drones. It all begins to play on your mind, and you start thinking is there another one coming? And you get no warning when the attacks are unleashed.  

It made me realise what soldiers undergo when they get what used to be called shell shock. There, even if you're not injured yourself, this constant shocking damage gets to you. I knew we had the knowledge that after a short time, we would be getting out - but it made me realise how tough Ahmed and others working there have to be. It will be having a devastating impact on the population, and for a nation.  

I imagine the psychological effects of that are going to last for a long time in the lives of these people. You don't get over that quickly. If you live with that level of tension, thinking any moment now, I could die, that must stay with you and the marks of that stay for a long time. 

I'm sure that's true. I'm not an expert in PTSD and things like that. Ahmed is a Muslim and said to me more than once that when you believe in an afterlife, you believe that your time will come at some point, and you accept that. We don't know when it is or where it is, but it will come. I have frequently wondered whether any of the fighter jet pilots have ever experienced themselves what it’s like to be underneath the impact of one of their weapons? Having felt somewhat what it is like to be on the other side of such an onslaught, I do wonder whether very many of those involved in ordering conflict really have any kind of understanding of what devastation feels like, when there is nowhere to run? I fear for what this conflict does to the humanity of both sides. 

I genuinely don't feel brave, I don't. I'm not the kind of person who sees lights in the sky, but I know it was God’s calling to go there. It was simply the right thing, 

Did you see any sign of hope or anything that gave you a sense of the way out of this? 

 The sense of hope is within the people who are there. There are many people who say they still really don't want to leave. They feel this passionately. It's their land. They do want to see a new Gaza. I tried to be somebody who lifted spirits. Communities can be rebuilt and there may be a new future which will come from the dust. I've been in touch with people in my University Medical school in Oxford to see whether we can do something about getting these young people's education continued.  

You can imagine there wasn’t a lot of laughter in the whole environment, but on the few occasions when I did gather together with my colleague’s small group of young students and volunteers, usually late into the night, we would eat whatever food goodies they had to hand, and their sense of fun would burst out. Together there was a very strong sense of community amongst them. 

How did your Christian faith inform the way you interacted with the situation? How did your Christian faith help you process what you were seeing and experiencing there? 

 I must say it was a deeply spiritual time for me. It was absolutely powerful to me to know that God cares and loves each and every one of these people. I longed to organise a football game with the kids. I was told that they had tried to do that, and it had become too dangerous. So there seemed to be no organisation around looking after the well-being of the children, their education, or the deeper impact on them of this war. People were jammed into the hospital, obviously because it was seen as a safe space, and it was humbling to think that us (as foreign workers) being there made them feel somewhat safer. It humbled me immensely.  

I felt nothing but a sense of privilege in being a witness to all this. I was reading the Psalms regularly in daily prayer. There's also something about that land being the place where God himself suffered in Christ and went through his own agony, and that the Holy Family escaped through Gaza to Egypt.  

I genuinely don't feel brave, I don't. I'm not the kind of person who sees lights in the sky, but I know it was God’s calling to go there. It was simply the right thing, a privilege and an honour to have such access which comes with having my particular background of skills and past history with Gaza. God is over all these matters, and we are compelled to respond. 

 

Tim Goodacre is a Reconstructive Plastic Surgeon based in Oxford, with extensive experience of working in diverse environments outside the UK. He is immediate past Vice President of the Royal College of Surgeons of England. 

Essay
Art
Culture
Trauma
7 min read

From egalitarian to elite: 100 years of Art Deco

Birthed by a lost generation, its legacy is not what its creators sought

Sarah Basemera is a circular economy enthusiast and a founder of Canopi, a boutique for recrafted furniture.

An art deco poster shows the heads of three woman against a beach background.
McGill Library on Unsplash.

Agatha Christie, The Savoy Hotel, Cartier, The Great Gatsby, and All That Jazz sit under the gilt-edge umbrella that is Art Deco. This design movement blossomed for two decades. In 2025, Art Deco turns 100 years old. Today, it's a celebrated era for its gift to design, but what can we learn from this period, and how have the ideologies of this period stood the test of time? 

Art Deco saw  geometric patterns with rectilinear lines, rich jewel contrasting colours with luxury exotic materials, virtuosic craftsmanship, and streamlined expression in architecture, furniture, fashion, art, and jewelry.  

On the surface, this style had many muses, from traditional African art to Cubism. It linked the discovery of Tutankhamen in 1926 with the ceramics of Japan. The bold theatrical colours of the costumes and stage designs of the Ballet Russes, also made a huge impression on Deco creatives. It infused their work with the first vibrant, intense strokes of modern design.  

Over the past 100 years, we have applied Art Deco ideas in different ways, taking what we want from it when we needed to. 

It was the first truly international style, yet it had distinct local expressions. American Art Deco – such as the ornate topped skyscrapers like the Empire State building, had a different expression from opulent Parisian objects such as Cartier alabaster cigar boxes. 

The original Art Deco creatives sought to capture the essence of beauty refined to its simplest form. There was a focus on geometric shapes, symmetry and measured ornamentation.  They wanted to remove the excess frills of previous generations and refine the design.   

Under the gilt-edged Art Deco umbrella were two somewhat opposing arms – the decadent strand vs the essentialist. Today, in popular culture, we remember this period for the Roaring Twenties, excess and hedonism. The decadent strand favoured luxurious, opulent craftsmanship. Its products were attainable only by a small pool of wealthy patrons. 

The essentialist strand – "Art Deco de Moderne" began with noble intentions. They prized efficiency and simplicity, characterised by geometric rectilinear designs. These creatives wanted design to respond to the changing needs of the age. They wanted great design to be accessible to more people. Both strands recognised the power of design to elevate the human experience. They invested in the endeavour to craft beauty across the entire sphere of life, from elevated factories to generous streamlined apartments. 

Vogue Cup and Saucer, 1930, V&A Museum.

An art deco cup and saucer on display.
Vogue cup and saucer, 1930.

100 years later, the problem of accessibility of good design hasn't been fixed. Craftspeople still need to find ways to sustain a living. Handmade design from natural materials is still mainly attainable by the wealthiest. Local craftsmanship is in crisis, and many of us do not know and cannot afford artisans to make things for us from natural materials. Many skilled artisans cannot maintain workshops in our cities. 

Art Deco designers may not have described themselves as hedonists, but they certainly produced goods with this dazzling class in mind. These designers had to be at ease with this world and knew how to play its game to remain commercially viable. So why did the Art Deco Age gush with an ideology of hedonism?  

The philosophy of hedonism from the interwar period reflected the worldview of the so-called 'Lost Generation'. American author Gertrude Stein famously said to a young Ernest Hemingway years after World War I: 

"All of you young people who served in the war... You are all a lost generation . . . You have no respect for anything. You drink yourself to death ...". 

This mood was the backdrop to the literary and creative landscape of the 1920s. 

 When the Great War ended, people wanted to celebrate - play, party and travel, but euphoria for some turned to excess. The simple joys of living here and now became an absolute value. They had witnessed the horrors of war, the fragility of life and were jubilant, wishing to live life to the full. Knowing life could be cut short, the doyennes of the age swung into excess, supposedly breaking free of Christian values, only to find they became trapped in cycles of gratification that didn't deliver. "Let us eat and drink, for tomorrow we die!" 

This unbridled hedonism was their feast after the plague - it was a coping mechanism. They couldn't think about the future – living here and now was a maxim underpinning this period.  

The Lost Generation grasped the concept of being present in the moment, but they also discovered numbing pain was a deeply unsatisfying solution. 

Fast forward a hundred years, and hedonism is still elusive and utterly unhelpful. It still has a numbing rather than a healing effect. Perhaps its modern relative is bingeing. You know what your binge is, and so does Netflix and our NHS.  

What can the hedonists hijack of Art Deco teach us? Looking sympathetically on this era – hedonism appears to be a coping mechanism. Something humans have needed for aeons. "Do not worry about tomorrow for tomorrow will worry about itself. Each day has enough trouble of its own",said Jesus. The Lost Generation grasped the concept of being present in the moment, but they also discovered numbing pain was a deeply unsatisfying solution. 

Ideally, the weight of grief and loss must be wrestled with, carried, shared and not buried. In great pain, it is still wiser to face it, wrestle, get help and cry out to God. In our age, we have the benefit of hindsight to know that burying trauma produces unhealthy outcomes in the long term. We have the privilege of being able to access counsellors, therapists and psychologists.  

The fragility of being in the shadow of death doesn't hang over us today in the West, because we haven't had a recent World War. The closest reminder came through the COVID-19 pandemic. For a moment, we were all forced to focus on simpler things and live less frenetically.  

Another ideology underpinning the age of Art Deco was the belief in the transformative power of the machine age. In this era, confidence rose in the ability of machines.  Steamships, aeroplanes, automobiles, electrification and telecommunications were transformative innovations.  

The rise of machines represented a break from the failed past and the move into modernity into the future. Some of the more modern leaning Art Deco designers took inspiration from the shapes of the new machines and hoped that mass production would lead to more democratic outcomes, with good design being available to all. From Art Deco de Moderne, we began to learn the beauty of simplicity. Efficiency and essentialism were prized. It was the forerunner to Modernism proper. Sadly, this aspect has been butchered over the decades and reproduced unfaithfully in architecture and consumer products. The principle of celebrating the inventiveness of man slowly evolved into something less noble. The desire to return to the essence of good design was galvanised by the need to rebuild fast after World War Two, both as a sign of triumphalism but also to give the nation decent homes. Council house homes were built quickly to rehouse the nation using cheap materials. 

Today, mass production has indeed made design more accessible. More of us have access to contemporary-designed objects and clothes because they are manufactured quickly out of cheap, synthetic, non-biodegradable, toxic materials, at the sweat and tears of workers who are trapped in inhumane conditions, rarely seeing sunlight or fair wages. 

Nevertheless, 100 Years of Art Deco design has shown us that quality still endures over quantity. The Art Deco legacy of brilliant buildings made of robust materials, with subtle virtuoso ornamentation, has survived the test of time. Though more of us can enjoy contemporary design at affordable prices, I doubt we will cherish most of what we own today even 20 years from now. It is mass-produced, less durable and made from low-grade materials and built to pass. 

Art Deco teaches us, our legacy is not in our hands but in those who remember us. Today, we look back at Art Deco not as egalitarian or hopeful but as opulent and lavish. The intellectuals of that age openly lived torn by their excesses, some even dying by suicide. Yet it was meant to be designed for the ordinary person and to elevate all. By simplifying design to its essence, it was supposed to democratise design. 

From Wall Street Deco to the frivolous woos and woes of Wodehousian characters and music in the keys of Jazz, this era has made its distinguished, enduring mark on the arts. Beneath the sparkle, what has developed an enduring patina with age, is the high quality of craftsmanship across all fields. 

Looking beyond the arts, the Lost Generation has taught us that escapism is elusive and to be cautious but not charmed by machines. We can delight in excellent craftsmanship and cherish the beauty of essence. 

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