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Gaza
Middle East
5 min read

The human cost of the Israel-Gaza war

A veteran volunteer surgeon laments a well lived life.

Tim Goodacre is a reconstructive plastic surgeon, and volunteer at a hospital in Gaza.

A young doctor wearing scrubs smiles.
AbdulRahman at work.
Tim Goodacre.

The Israel-Gaza war rages on. Every few days a new tragedy hits our dulled senses. The West Bank and now Lebanon are getting dragged into the conflict. Palestinians and hostages continue to die, and hunger and disease threaten Gaza's displaced people as autumn and winter approach. 

Yet what is often lost is the human face of this conflict. This is the story of one such life. 

AbdulRahman was an intelligent, gentle and diligent young third year medical student in his early twenties, with judgement well beyond his peers. Towards the end of 2023, as the war spread more viciously towards southern Gaza, he was one a group of around 10 students who volunteered to join the team of health care workers at the European Gaza Hospital (EGH). I was volunteering there as a reconstructive plastic surgeon and and met him in the hospital.

Both medical schools in Gaza before the war began were in the north alongside their parent universities. They had been destroyed during the onslaught in the early months of fighting. In the southern town of Khan Younis, the EGH was the sole surviving operational facility to which the wounded could be transferred. It was overwhelmed by the vast numbers of families also taking refuge in what was deemed a safer space than most of the surrounding war zone.  

Many of the senior medical staff and surgeons had retreated to scattered parts of the strip, displaced frequently by the ever-moving conflict and driven by the need to support their families and stay together. ‘Live together-die together’ is an understandable feature in the horror show of war. Students, frequently left with no money or resources, started to volunteer to serve in hospitals in exchange for a little food and a sense of worth in the work they could offer. Any functioning hospital, if briefly ‘deconflicted’ so they could provide relatively safe care, found itself staffed by a disparate crew of local staff, displaced students, and an indeterminate number of more senior surgeons from both Gaza and humanitarian agencies. 

His desire to learn all that could be learnt, and to try to become the best surgeon possible, was palpable.

It was into this chaotic mix that young AbdulRahman walked having fled his family home in the east of Khan Younis in November 2023. A bright young man, with great aspirations to qualify as a surgeon and serve his community, he had spent the first six weeks of the war at home, unable to attend his medical school in Gaza City to the north, but working hard at his studies regardless, using every online and library resource available to him.  

At some point in late November, the battle zone moved south, and his family home was shelled along with many dwellings in the vicinity. Caught in crossfire, he sheltered in his neighbouring relative’s house after his parents and other close family had escaped to Rafah. 

Abdulrahman told me the dramatic story of his escape into the house in which he survived for a week alongside his relative’s family when I spoke to him in late January 2024. This young man not only survived an ordeal of indescribable fear and potential slaughter, but he was then arrested and interrogated in brutal fashion by IDF forces.  

On his release after a harrowing week, he made his way barefoot to the nearest hospital, which happened to be the EGH. In that place of safety, he was given food and water and after recuperation, volunteered to work alongside a reconstructive plastic and burns surgeon who had recently returned to Gaza after training in the UK. 

Although his family were still all alive in Rafah in displaced makeshift shelters, he opted to stay and throw his weight into whatever he could do to support the hospital whilst continuing to learn his profession as a doctor. Travelling occasionally at great personal risk to see and support his family, he devoted all his waking hours to surgical work in EGH operating theatres and wards. His excellent command of English made him immensely valuable to any visiting surgeons who managed to access Gaza during the war months. He was always cheerful, always willing to respond to requests for his time, however stressful the surrounding clamour from desperate patients and relatives might become.  

When his working day was done, in the middle of the night he would arrange for his fellow students to have informal teaching seminars from whoever he could cajole to deliver them, and would absorb knowledge and ideas about best practice like a sponge. His desire to learn all that could be learnt, and to try to become the best surgeon possible, was palpable.  

I had every intention of supporting this fine young man in achieving his professional aspirations by whatever means I could once a ceasefire arose and he could be brought safely to Europe to continue his training. 

In the last week of August, AbdulRahman was sheltering in a relative’s house in Khan Younis. In the small hours of the morning an Israeli attack was launched on the neighbourhood and the house took a direct hit. AbdulRahman was killed instantly. 

He knew, as does every Gazan in these troubled times, that nowhere was safe, and all lives in that tragic zone are at risk. His is a story of a life tragically cut short, of the randomness and destructiveness of war. His death strikes right at the heart of my hopes for the remnant of the fine young population of such a desperately sad nation state. He, and those like him, could have been at the heart of the re-building of Gaza, able to live in what now feels a far-off peace. I cannot translate this into anger, as AbdulRahman himself had a passionate concern for peace and reconciliation, and never once spoke to me in many conversations of support for Hamas, or of hatred for those who had destroyed his country.  

What can be done however, is to honour his life and commitment with similar tenacity in supporting the pursuit of peace, justice for his people, learning and education for the remnant of the nation, and reconstruction of a Palestine that can proudly and honourably reflect the finest values it possesses. AbdulRahman was a great Palestinian, and his all too short life was one which I want to celebrate as one of the finest I have seen in many students of the next generation of doctors. May he rest in peace, and may a lasting peace come quickly to Gaza, to all of Palestine and the whole of the Middle East.

Article
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Film & TV
8 min read

Dear Greta Gerwig: how your Netflix Narnia can be a roaring success

Narnia fan John Kuhrt pens an open letter to a daunted Hollywood director on helping her handle the Great Story.

Jon Kuhrt is CEO of Hope into Action, a homelessness charity. He is a former government adviser on how faith groups address rough sleeping.

A film director stands next to a camera to look at its screen, while a camera operator looks on

Dear Greta, 

Congratulations on being appointed Screenwriter and Director for Netflix’s The Chronicles of Narnia. I really enjoyed your films Ladybird and Little Women and I am seeing Barbie this week as I have been away. It’s great to see a writer/director of your standing getting this crucial job. 

I know you feel daunted to take on this job and I am writing to share five thoughts on what you need to bear in mind to make the series a success. I cannot claim to know anything about producing films or TV series. But I do know about Narnia. 

Like millions of others, the books have been very significant to me. I read them first when I was a teenager, but I have continued to re-read them into adulthood. They have given me a reference point for some of my deepest questions about purpose, faith, life and death. 

Disney/Walden Media’s Narnia series faltered after three films. The Lion, the Witch and the Wardrobe (2005) was a huge box-office hit but was followed by less successful adaptations of Prince Caspian (2008) and The Voyage of the Dawn Treader (2010). I thought all three films had many good qualities but the abandonment of the project less than halfway through shows the challenges of bringing Narnia to visual life. 

So, with all this in mind, these are my five tips for how to create a great Narnia series: 

1. Understand the thinking behind the books 

The author, C.S. Lewis, was both an academic expert in medieval literature and a high-profile Christian author and communicator. He was a brilliant but complex man. Understanding him, his beliefs and his aims in writing Narnia is fundamental. 

The two best books on this subject are Michael Ward’s Planet Narnia: the Seven Heavens in the Imagination of C.S. Lewis and Rowan Williams’ The Lion’s World: a journey into the heart of Narnia

Ward’s book is a highly academic dissection of the hidden ‘key’ which Lewis implanted within each book (it was subsequently published in an abridged and more accessible version as The Narnia Code). The mish-mash of themes and diverse myths and legends in Narnia has puzzled and frustrated academic readers for decades. It was one reason why his friend J.R.R. Tolkein disliked the books so much. But Ward argues that the coherence and distinct atmosphere of each book comes from each being based on a different planet from the medieval cosmos. It is a thesis which has won almost unanimous affirmation. 

Williams’ book is very different. It is a short but deep reflection on the theology that Lewis was conveying through the Narnia tales.  His opening chapter discusses ‘The point of Narnia’ and he uses Shakespeare, Dostoevsky and Augustine to explore the ideas in the stories. He also assesses and responds to the criticism the books have faced. 

2. Recreate the distinct atmosphere of each book 

No other books have given me such a vivid experience of ‘going into another world’ as the Narnia books have. I now realise this is because of the most fundamental, yet intangible, strength of the books: the atmosphere, mood or tone that Lewis creates. 

As Ward writes, quoting Lewis: 

“Lovers of romances go back and back to such stories in the same way that we go ‘back to a fruit for its taste, to a region for its whole atmosphere – to Donegal for it Donegality and London for its Londonness.’ ” 

Lewis was fascinated by literature which drew the reader into enjoyment of a story by indwelling it: seeing ‘through it’ rather than ‘at it’. Ward coins the term ‘donegality’ to describe this hidden element which establishes an intrinsic quality: ‘…the inner meaning of a romance cannot be flagged up by the author without altering its true nature. It has to remain hidden, woven into the warp and woof the story.’  

The challenge for Netflix is that each Narnia book has a distinct ‘donegality’ based on the ancient themes and characteristics associated with the seven planets. This makes them very different to the Harry Potter books, which have a more uniform feel and consistency. Capturing the distinctive essence of each book will be vital to re-create the atmosphere Lewis aimed for. 

3. Embrace Narnia’s spirituality 

All adaptations of Narnia have to grapple with how they will handle the clear spiritual themes within the books.  Faith makes corporations nervous but ‘theological due-diligence’ will be a key part of the creative and strategic discussions.  I would advise Netflix to be bold and as true to Lewis’ thinking as possible. 

In its 1980s, the BBC airbrushed spirituality out and this was one factor which made it a poor adaption.  In contrast, Disney were braver in their films. As one newspaper wrote after the box office success of the first film ‘Disney finds a way to worship both God and Mammon’. 

However, Disney never got to attempt some of the most theologically challenging scenes in the series.  Narnia’s creation in The Magician’s Nephew and its apocalypse and depictions of heavenly re-creation in The Last Battle will be immensely difficult to convey on screen.  These scenes will not work without confidence and clarity about what Lewis was trying to get across. 

Rather than seeing them simplistically as allegories of Christian faith, it is best to see the stories as deeply infused with spiritual meaning. Rowan Williams answers the question ‘What is the point of Narnia?’ by saying that Lewis is doing nothing less than ‘trying to recreate for the reader what it is like to encounter God’.  He is trying to 

‘rinse out what is stale in our thinking about Christianity – which is almost everything.’ 

But this does not mean being preachy. Williams makes the point that ‘there is no church in Narnia, no religion even’. 

Instead the spirituality is embedded within the ‘non-religious’ action: the bravery, treachery, sibling tension, bullying, reconciliation and forgiveness which are jam-packed into the stories. Spiritual truth is embedded and woven within each story. 

4. Get the central character right 

The character of Aslan stands right at the heart of the books.  He is the only character who features in all seven books in the series, he sings the world into existence and presides over its end. He is the Beginning and the End, the Alpha and Omega of the whole story.  

Aslan is very obviously an ‘authority figure’ but Lewis’ achievement is to craft a character who is both immensely powerful and enduringly attractive. And the key to this is the subversive nature of his authority. In an age where there is so much questioning of structural inequality and systemic injustice this is an aspect which Netflix should emphasise. 

Rowan Williams draws this out with great insight: in Narnia ‘evil is cast as the ultimate force of reaction; we are invited to see ourselves as living ‘under occupation’ and summoned to join a resistance movement.’ Aslan’s wildness, his animality, represents the unpredictable world of grace which opposes the ‘ordered state of sin’ of the White Witch, King Miraz or (most deeply) the prisons we build for ourselves. Williams writes: 

‘Transcendance is the wildness of joy; and the truth of God becomes a revolution against what we have made of ourselves’. 

This is why Aslan’s victories lead to riotous partying.  As Williams points out this is an ‘explosion of liberating festivity’ which (uncomfortably for some Christian readers) includes pagan revelry. At the end of Prince Caspian both the god Bacchus and a drunken Silenus make appearances to celebrate the liberation Aslan brings. 

Aslan is the focus of hope not because he ‘saves souls’ but because he is the liberator of people and the whole of creation. Getting Aslan right will be a huge part of getting Narnia right. 

5. Interpret it for a new audience 

The Narnia books have faced criticism from authors such as Philip Pullman and J.K. Rowling. When Disney released the first film, Guardian columnist Polly Toynbee wrote an article titled ‘Narnia represents everything that is most hateful about religion’. 

Rowan Williams engages head-on with the accusations that the books have overtones of racism and sexism and that they glorify violence. Whilst allowing for the fact that Lewis was an author of his time, he accepts the discomfort that modern readers will feel, for example, in how the ‘dark-skinned’ Calormenes are presented.  

He also discusses one of the saddest parts of the stories: that former hero Susan is ‘no longer a friend of Narnia’ by the end of the series. Williams fairly defends this plot-line from those who claim it as evidence of Lewis’ misogyny. 

More obviously, the old-fashioned dialogue of the children (‘Golly gosh’, ‘By Gum, you’re a beast’ etc) is a turn-off for modern audiences. The Disney films modified this well and used the backdrop of the Second World War at the start of each of the films to provide a more gritty context than conveyed in the books.  

If you hold fast to the core of the books (see points 1-4) then stylistic changes and wise handling of aspects which are uncomfortable for today’s audience will enhance the series. All stories needs reinterpreting for a new audience. 

The Great Story… 

Narnia is a great story, but a key reason for its enduring popularity is because it reflects something of the Great Story of which we are all a part. As Lewis puts it himself in the conclusion of the final book: 

“Now at last they were beginning Chapter One of the Great Story which no one on earth has read: which goes on for ever: in which every chapter is better than the one before.” 

I wish you all the best with the production of the series and I look forward to seeing the result.  

Thanks, 

Jon Kuhrt, Narnia fan, South London (aged 51). 

PS: You might be interested in this talk I gave on The Magician’s Nephew, my favourite Narnia book.

 

(This article was first published on Jon Kuhrt's Grace+Truth blog in August 2023).