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Freedom of Belief
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Experiencing Tbilisi's cold shoulder

Georgia’s warm welcome doesn't extend to refugees fleeing Iran.

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

On a rainy night a pedestrian, holding a brolly, waits to cross a road.
Tbliisi, Georgia.
Aleksandr Popov on Unsplash.

On the surface, Georgia has a lot going for it: natural beauty, historic sites, lovely food and wine. 

It also boasts an extremely free market. Anyone can to set up a business of their choosing within a couple of hours, should they have the wherewithal. 

But therein also lies the rub. Life is not so easy for those without such wherewithal - perhaps they don’t have sufficient capital, or vision; a disability prevents them; or they try but fail. 

And then life is not so easy in Tbilisi. 

My focus on my recent trip to Georgia, as an employee of an Iranian Christian charity, was its small Iranian population - and principally those who have claimed asylum there. 

I spoke to several such individuals during my stay, and the conclusion that I reached was that Georgia is a lovely place to live, provided that you: a) have money; and b) are happy not to speak out about sensitive issues.  

Which, honestly, sounds eerily like the country from which my Iranian friends fled in the first place. 

When he ignored the warnings, the threats escalated. His car was broken into, and someone even came to his church, claiming to have a bomb strapped to himself. 

Take Reza, for example, who left Iran eight years ago and came to Georgia in the hope that in a country where nearly 90 per cent are Orthodox Christians, he would be free to practise his chosen faith. 

He even set up a church there, and for a while all was good. Until he started getting involved in protests against the regime back in Tehran.  

Reza joined demonstrations outside the Iranian embassy in Tbilisi - which is in a lovely area of town, right next to the Russian embassy and also, somewhat awkwardly, that of Ukraine. 

He also protested outside the “Ferdowsi Educational Complex” - a Shia school with a sign outside proclaiming it as an entity of the Iranian embassy. 

And for these protests, Reza received some, at first, gentle reprimands. He was called by a private number, encouraging him not to take such action again in the future. 

When he ignored the warnings, the threats escalated. His car was broken into, and someone even came to his church, claiming to have a bomb strapped to himself. 

It was only at this point that Reza decided, against his initial intentions, to claim asylum. 

But though the Georgian immigration service eventually acknowledged him to be a Christian - unlike many of his fellow Iranian asylum-seekers - they did not accept that this fact would put him at risk of persecution were he to return home. 

To which the only rational response is a wide-open mouth and outstretched arms. 

Have the Georgian immigration service not read the news? Do they not know that Christians - and more specifically, evangelical Christians and converts like Reza - face sustained and systematic persecution? 

The answer to this question, I was to discover, is two-pronged. 

Firstly, there is Georgia’s close relationship with the Islamic Republic, the reason for which, sadly and all too predictably, is of course money. 

“Georgia is a small country,” a lawyer who deals with immigration cases like Reza’s told me. 

“It’s surrounded by three big countries: Russia, Turkey and Iran, and can’t afford to have bad relations with all of them.” 

Both Russia and Turkey have history of seeking to occupy Georgia, while Russia has made no secret of its hope of re-establishing the territories it once held, including, one presumes, Georgia. 

In this context, it is little wonder that little Georgia does not feel able to cast aside so lightly its relationship with its third mega-neighbour, Iran. 

And when an Iranian claims asylum in Georgia - on whatever grounds - what message would it send for the Georgian government to recognise that claim? 

In the case of Christians like Reza, the message would clearly be that Iran persecutes Christians, which is an uncomfortable reality for a close ally of Iran to publicly admit. 

You can search his name on Google, in both English and Persian, and it’s safe to say that what you would find would not please the Islamic Republic. 

The second prong at play, meanwhile, which is equally uncomfortable to speak about, is the reality that in general Georgia’s Orthodox Christians tend to share some of Iran’s ill-feeling towards evangelicals. 

“They think of us the same way as Jehovah’s Witnesses,” Reza explained. 

“A Georgian friend of mine accused me three times of being a spy for America,” another convert told me. 

Another, whose case was rejected because Georgia’s immigration service did not accept he was a Christian, told me the questions he was asked in his interview related only to elements of the Orthodox faith, about which he had no idea. 

And when this individual sought to explain his own reasoning for his deeply held faith - for which he was arrested in Iran - they told him he could only answer the questions posed. 

And so he said that he could not. And so they rejected his claim, declaring that it had not been established that he was a Christian.  

An easy win.  

I could focus now on the particular challenges faced by asylum-seekers who are unfit to work - two of whom I met, and who receive no support from the state - but I would like to close with one final example which I think highlights the absurdity of the situation. 

And that is the example of Behzad Asiaie, an Iranian whose claim for asylum was based on his political activity and not his faith, although he has since converted to Christianity - for which he blames Reza, as, no doubt, would the Iranian and dare I say even Georgian government. 

The striking thing about Behzad’s case is that it’s extremely well documented. You can search his name on Google, in both English and Persian, and it’s safe to say that what you would find would not please the Islamic Republic. 

For one thing, Behzad has already spent a year in Tehran’s Evin Prison for his activism. Added to that, since arriving in Georgia five years ago, with no intention to claim asylum, he started a new activist group called Hamrasho (which means “all together”), which has organised protests about various things outside the edifices of the Islamic Republic in Tbilisi. 

As part of the protests, which is where Behzad met Reza, Behzad even filmed himself burning images of Iran’s Supreme Leader, and published it on social media. 

So, when the Georgian government rejected his eventual asylum case and told him that they didn’t think he would have any problem were he to return to Iran, the jaw really must drop open. 

My conclusion upon leaving Georgia was that it really is a lovely country -  provided that you have money and don’t make too much noise. 

I put this perspective to a Russian couple, who I met on my last night in town, and they - like Reza and Behzad before them - nodded in agreement. 

For they, like my Iranian friends, are exiles, having fled Russia because they are against Putin’s war. 

They told me they know of no other Russians among the thousands in Tbilisi who support Putin’s war, but nor do they know any who would be foolish enough to protest about it - whether back home, or outside the Russian embassy in the lovely Vake district of Tbilisi. 

I penned this article on my last night in Georgia in a Ukrainian restaurant housed roughly between the two edifices of the Islamic Republic of Iran, which felt about right. 

The entire restaurant is painted in the colours of the Ukrainian flag; the Wifi name is “Slava Ukraine”; and the password, I was told, translates as “super slava”. 

Which seems to be about the loudest protest that one can get away with in Tbilisi. 

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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 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.