You Can Kill Each Other After I Leave
Refugees, Fascism, and Bloodshed in Greece
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In the vein of George Orwell's Homage to Catalonia and Martha Gellhorn's The View from the Ground, a remarkable work of reportage based on hundreds of hours of on-the-ground reporting, that tells how Greece's violent far right is trying to destroy the birthplace of democracy . . . In 2012, Greece’s far-right political party the Golden Dawn were building a significant street presence in Greece. Over the previous decade they had grown from a tiny group of neofascist brawlers to a formidable vigilante force responsible for multiple murders, street fights and shootings. On the eve of the 2012 el...
In the vein of George Orwell's Homage to Catalonia and Martha Gellhorn's The View from the Ground, a remarkable work of reportage based on hundreds of hours of on-the-ground reporting, that tells how Greece's violent far right is trying to destroy the birthplace of democracy . . . In 2012, Greece’s far-right political party the Golden Dawn were building a significant street presence in Greece. Over the previous decade they had grown from a tiny group of neofascist brawlers to a formidable vigilante force responsible for multiple murders, street fights and shootings. On the eve of the 2012 election one of their candidates said that the “knives will come out after the elections.” And the knives did come out. Golden Dawn became a significant parliamentary presence and used it as a platform to escalate their terror campaigns against migrants and leftists across the country. They also became an inspiration for far-right groups across Europe and the Americas. Journalist Patrick Strickland first arrived in Greece in 2015 to cover the European refugee crisis, just as Golden Dawn were ramping up their campaign of terror. With an eye for journalistic detail that recalls Orwell’s reportage in Spain, Strickland traces the antecedents of Golden Dawn to the dark years of Nazi occupation and subsequent military dictatorship, and looks at the post 2008 economic crisis that emboldened the far right. He also introduces us to the resistance forces standing up to the right, taking us to the Greek islands where people rallied together to support the hundreds of thousands of refugees traveling across the Aegean Sea. Strickland also takes us to the anarchist squats in Athens where activists took over abandoned buildings and opened them up to the refugees, a tactic they viewed as an anti-fascist alternative to dooming migrants to life in the squalid refugee camps. You Can Kill Each Other After I Leave is an exemplary work of narrative nonfiction and compelling journalism that provides an intimate portrait of the stories of migrants and activists resisting the growth of the far-right, as well as a vivid and shrewd analysis of the evolving political landscape in Greece and Europe.
