After the first war, before the next

Once more border clashes between Armenia and Azerbaijan are occurring. Lika Zakaryan reflects on what happened since the last war ended.

Lika Zakaryan

Lika Zakaryan is a writer and photographer based in the Republic of Artsakh (Karabakh).

A child protestor holds a placard at a demonstration

Artsakh citizens protest against the blockade and its effects.

VoA, Public domain, via Wikimedia Commons.

More than two years ago the war between Armenia and Azerbaijan for Nagorno-Karabakh/Artsakh ended, but many fundamental issues remain. Who will provide security and services for the region’s residents - Armenians? How is humanitarian aid managed and by whom?. And, nobody knows if the so-called “ceasefire” will hold. 

Azerbaijan won the war, with the Armenian side losing significant territory in and around Nagorno-Karabakh. Over one-third of the population became refugees, losing their homes and everything they managed to create during all their lives. Now Azerbaijan controls those territories, but they mainly remain not inhabited. Those territories that remained under the control of Armenians, are still populated only with Armenians, and Azerbaijanis have to approached them. In order to prevent any armed conflict in the region (in fact, to protect Armenians from Azerbaijanis) 4,000 Russian soldiers-peacekeepers and emergency services staff keep an uneasy peace. 

They were already in Artsakh within hours of the peace agreement’s signing. Artsakh is part of Nagorno-Karabakh, an Armenian enclave within Azerbaijan. Since then, peacekeepers have done a lot: escorting villagers to visit graves, mediating disputes, tending crops, and fixing water pipes. They set up checkpoints along the only road connecting Artsakh to Armenia, to ensure a safe corridor for Armenians living in Artsakh.  

Before the war, there were 150 000 Armenians living in Artsakh. After the war, the numbers decreased to 120 000. Some people didn’t come back from Armenia, where they found a shelter, after losing their homes. Some moved to Armenia or Russia because they didn’t want to live in uncertainty. And, unfortunately, wars take lives, and some people lost their lives during that period. But mostly the people of Artsakh remained resilient and wanted to live in their homes or create new ones, even not knowing for how long they will last. 

It is said in Artsakh and Armenia, that every human being now living in Artsakh is a hero. They say that because it’s not easy to sleep every night not knowing if you are going to wake up in the morning tothe sounds of bombs, or if you are going to wake up at all. Because since the end of the war Azerbaijan has done so much to traumatize people physically and mentally.

According to the peace agreement Armenians and Azerbaijanis should remain in the positions they were in at that moment. In other words, after the signing and the cease-fire, they have no right to move forward and occupy new territory. However, after just one month, Azerbaijan entered and captured two Armenian villages, taking more than 60 Armenians as prisoners of war. After that, during those two years, similar military operations were repeated numerous times by Azerbaijan. Again, people were afraid of the sounds of war, they heard and saw military drones, and felts those feelings again.

It was also a manifestation of psychological violence that the Facebook page of the Artsakh National Assembly was hacked, with a flag of Azerbaijan posted as the main picture. The accompanying text read:

“We call on the Armenians living in Karabakh to leave the occupied territories of Azerbaijan within 168 hours, otherwise all Armenian citizens will be killed.”

People had no idea if they should believe that threat or not. Maybe this was just another provocation, but could it really happen? Did they need to evacuate everyone. Or not believe it and stay in their houses? No matter how hard people try to stay strong, no one closed their eyes that night, thinking that it was possible that Azerbaijanis will enter the cities and villages and commit a genocide against the peaceful residents. 

Many violations happened during these last two years. And then since December 12, 2022, Azerbaijan has blockaded the only road connecting Artsakh to Armenia depriving residents of a basic right - a right of freedom of movement. It’s the only road people can travel in and out on, the only road through which the 120 000 people get food, medical and other supplies. It's the only road that connects Artsakh with the outside world. Blockading this road caused a humanitarian disaster. Lack of food, medicine, work, and cash. Nobody can pass along that road.

The blockade was not enough, and Azerbaijan decided to shut off gas and electricity supplies to Artsakh again during the coldest months of winter. People simply do not have the opportunity to warm up. In a sub-zero temperature, people were deprived of the opportunity to turn on a small heater for hours. The little children, unable to stand the cold, fell ill and ended up in the hospital.

The healthcare system in Artsakh is still a little weak. There are hospitals, but people who are in critical condition, between life and death, are mostly transferred to Yerevan, the capital of Armenia, in order to receive proper treatment there. However, due to the blockade, some people could not be evacuated, and died.

Also, a food rationing system was introduced in Artsakh, where people can get food only with a coupon. According to the system, every person gets one kilogram of rice, one kilogram of pasta, one kilogram of sugar and one kilogram of buckwheat in a month. With those coupons, people come to the stores and buy their share.

Food is so scarce that locals have begun to notice that street animals are starving to death because they can't find food in the dumps. The reason is that people have nothing to throw away.

Many families have been divided because one or another family member mistakenly stayed on the other side of the blockade. Many people went to Yerevan to see a doctor and due to the road’s blockade cannot return home. The same impact was felt for those going in the opposite direction. In total, 1,100 people remained in Armenia and did not manage to return to Artsakh.

Artsakh children are deprived of the right to education. Schools and kindergartens are closed for months because there is no way to heat them. Also, they cannot feed children in kindergartens due to the lack of food, and children in schools cannot take food to school, because there is almost no food at home. And sitting for six or seven hours without food is very difficult for children.

Azerbaijanis also regularly cut telephone and Internet wires, and people are deprived of the only opportunity to even connect with the world virtually.

People are trying to overcome all these difficulties, but no one knows when these provocations and torments will end. When they will finally be able to live decently. And the world hasn't even heard of that small area in the far South Caucasus and the resilient people of Artsakh, who are so loyal to their roots and homeland.

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15 October 2024

6 min read

The elegies that fail the forgotten places

Storytelling’s not about giving people a voice, it's about listening to what they’re singing.

Elizabeth Wainwright

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

A book's front cover beside a portrait of the author, JD Vance

J.D. Vance book promotion, 2017.

Does it matter who tells the story of a place? It’s a question I’ve sat with as a writer, a community worker, and as someone who returned to my native West Country after a long time away. My departure and return to this place brought with it a sharper awareness of the labels this rural region could invite; of the way its people could be portrayed; of how easily they can be reduced to a one-dimensional stereotype that fosters little understanding.

And I am both reducer and reduced. I am a proud Devonian, rooted in soil thick with my ancestors, whilst also craving the culture and variety of elsewhere. My story of life in this place is complex. It’s a story that’s mine to tell, and not representative of anyone else from here – just as the people I’ve worked with in communities here and across sub-Saharan Africa taught me too: this person is not this place. This story is not this people.

Stories matter – stories told; stories hidden. They shape our identity, our opinions, our possibilities. John Steinbeck wrote that:

“A man who tells secrets or stories must think of who is hearing or reading, for a story has as many versions as it has readers. Everyone takes what he wants or can from it and thus changes it to his measure. Some pick out parts and reject the rest, some strain the story through their mesh of prejudice…”

Stories told reflect stories carried, like light refracted through a prism. A story’s colours tell us something about who tells the story and how they see the world. Which is one reason perhaps that JD Vance’s memoir Hillbilly Elegy: A Memoir of a Family and Culture in Crisis came under scrutiny, especially since he was named Donald Trump’s vice-presidential running mate in the forthcoming US election.

Hillbilly Elegy tells the story of Vance’s white working-class family, from his grandparents in the Appalachia region of Kentucky to his own coming of age in Middletown, Ohio. Vance raises questions about how local people, including his own family, are responsible for their own misfortunes, including poverty and addiction. His book came out in 2016, at just the right time to give many Americans an insight into why so many people like Vance’s relatives and past neighbours had voted for Donald Trump. It was painted as the voice of a forgotten community, and it became a bestseller, admired by some for its portrayal of Appalachian culture by someone from the inside. But reading people who know the places he talks of, it becomes clear that the book is “rife with stereotypes and classic Republican talking points peddled under the guise of lived experience,” as one commentator said.

Sarah Smarsh, author of books including Bone on Bone: Essays in America by a Daughter of the Working Class, said in a Guardian piece published in 2016,

“that the media industry ignored my home for so long and left a vacuum of understanding in which the first glimpse of an economically downtrodden white is presumed to represent the whole.”

A Bitter Southerner article responding to Hillbilly Elegy said that generalisation means that “…complexity gets simplified, the edges get rounded out[…]Appalachia has been written about and photographed in such a compelling (if fabricated) way that the descriptions of passersby took on more weight than the lived experiences of the people being described. What remains is a concept of a place that is both wildly romantic in its natural beauty and backward enough to justify the destruction of that very nature.”

We live in divided times, but often I find it hard to discern real division versus the media-created story of division. Theirs is a story that gets things wrong. Smarsh reflects how “countless images of working-class progressives…are rendered invisible by a ratings-fixated media that covers elections as horse races and seeks sensational b-roll. This media paradigm created the tale of a divided America…” This is why it matters that we hear stories that do not fit that paradigm. A many-voiced 2019 publication Appalachian Reckoning: A Region Responds to Hillbilly Elegy offered some of those stories in response to Vance’s painting of Appalachia.

Vance thought he could write the story of a 13-state region, but many Appalachians were unhappy about him becoming their spokesperson, especially when he seemed to blame the poor for their poverty. Appalachian Reckoning is a graceful counter to this: not silencing Vance’s own story but offering many more views and stories from Appalachia. Its co-editor Meredith McCarroll said she wanted to “complicate any singular view simply by including multiple ones. I wanted to create a chorus of voices, “each singing what belongs to him or her and to no one else,” to borrow from Walt Whitman’s view of place.” The publication offers cultural nuance, emotional connection, and a “context for some of the claims Vance makes in his book when it moves beyond memoir, and to pass the mic to a wider range of writers, poets, photographers, activists, and artists who make Appalachia a place far too complex to capture and far too dynamic to die.”

This approach feels important now, in the world as is it, with a media that often overlooks nuance, and with a culture that has become so visual that the way things are styled and framed and presented to us online can often be quite different to the reality. It is important to know the difference, and stories can help us discern that.

This symphony of existence can, if we give each voice its space, subvert paradigms of division and fear.

There are stories that are easy to peddle and easy to buy into. In charity work, I saw how the story of the benevolent professional outsider could shape things, leaving little room for local stories and experience. In politics I saw how the story of opposition got in the way of all the people getting on with the everyday work of restoring and caring for their communities across lines of difference. We can, unknowingly, make a place and a people shrink or even disappear with the stories we carry or amplify, or ignore.

Stories wielded unwisely can shrink faith as well as people and places. The Jesus who I did not grow up with but came to know slowly as an adult is a Jesus of nuance, compassion, and deep listening. He would not, I think, recognise the brand of Christianity that can be used to justify particular politics. That religion and politics have in places become so intertwined is perhaps a reflection of the reduction of the vastness of the Bible and the many diverse voices it contains into one story that serves a particular group of people. Jesus again and again subverted what empire and hierarchy and tradition expected of him. He invited people into his story over and over, curious about their own story but never using it as a reason to include or exclude.

When I think about who tells the story of a place – or of a people, a time, a faith – I see that really, there is never one story anyway. There is a chorus of voices, each a little different, each part of a vast harmony that – if we have the ears and heart to hear it – sings a song of challenge and joy, of despair and illumination. Former US president Woodrow Wilson said, “the ear of the leader must ring with the voices of the people”. Storytelling is not about giving people a voice – something I heard a lot in charity work. It is about listening to what they’re already singing. This symphony of existence can, if we give each voice its space, subvert paradigms of division and fear, of biased framing and selective storytelling. It can sing us back to ourselves, helping us see each other. And isn’t that what softens hearts, isn’t that why we tell stories? Author Kazuo said in his Nobel acceptance speech that “stories are about one person saying to another: This is the way it feels to me. Can you understand what I'm saying? Does it also feel this way to you?” Stories are not tools of manipulation or power, but pathways to encounter, to relationship, to understanding. They are, perhaps, the only way through divided times.