Rainbow People is the third and final book in the late author’s Metamorphosis Trilogy. The title alludes to the term ‘rainbow children’, described in the introduction as:
“a species of children who are different enough to make them distinct from normality by virtue of the intensity of their curiosity for how things work, or should work, in the world around them, combined with a gentleness and even ‘sweetness’ of disposition to others.”
The story explores reactions to the recent migration of refugees from the Middle East to Europe as seen through the eyes of a man, Richard, a woman, Jenny, and a child, Sophie or Sophocles, who observe and discuss the crisis. The narrative structure is detached in style. Conversations are recounted, written down as he said/she said, along with the thoughts of those conversing – their remembrances of previous discussions.
Sparse background details are provided but these are fluid – the child, for example, is at times a boy and then a girl. An older man, Cyril, who is making a film on a beach, could be an acquaintance or Richard’s father. These details are unimportant in the message being relayed.
The first part of the tale is set on the Mediterranean coast near the border between Greece and Macedonia. The man, woman and child are walking towards a film crew. A group of actors are on the beach playing the part of refugees. The child takes off into the sea and is rescued, the performance filmed. The personal reactions of the observers are detailed alongside conversations about the crisis unfolding nearby.
“it may seem customary for people in trouble to be helped […] people who have been categorised as fugitives suddenly become those heading over a rainbow to a new existence – to one that is of a new nature – one which is reached by a recognition that sunlight and raindrops need not be opposites, but can together make something beautiful and the same.”
The reasons for human migration are discussed along with speculation on the preparations made by the migrants, their chances of success and acceptance by those already living in Europe.
The actors have not been fed that they may understand hunger, yet this is regarded as unnecessary, ridiculous, as are many actions surrounding the refugees.
“Even now, we seem to have learnt something of how ridiculous war is. But we are imbued with the idea that something should be done rapidly about a situation in which we find ourselves. And so we bomb people who we think must be causing the troubles”
There is talk of beauty, art and trust, of a need for tenderness as embodied in the actors’ reactions to the child.
The setting shifts to England where the man and woman plan a visit to the camp near Calais known as The Jungle. Richard muses that in a jungle the creatures have found ways to coexist, some living high up in the trees, some at ground level, all finding shelter. Their adaptation to the environment is achieved through instinct, without such planning and discussions as people in positions of power demand.
“the world’s large-scale problems, which were in almost everyone’s interests to solve, were brought to nothing by the strange obsession of humans that all this had to be explicable and validated by words”
Once in The Jungle, the trio observe the packed cars and vans in a traffic jam, all hoping to get to England. The child asks about sex and why her parents wanted children. Her mother answers:
“We wanted to change the world. And we got you.”
The child observes the people in the vehicles looking out their windows and wants to help.
“’What’s wrong with looking out of windows?’ Jenny said, ‘That’s all we do anyway.’ The child said, ‘You mean our eyes are windows.’ Richard said, ‘Or mirrors.’ The child said, ‘I don’t even know what I look like. ‘Jenny said, ‘No. Other people do.’”
As a story I found this a strange little tale although it does offer a window into the reasons behind the refugee crisis and the foolish behaviour of governments.
The book concludes with a postscript, by Shiva Rahbaran, in which she writes of meeting the author and their subsequent discussions. She asks:
“Can humans learn from their mistakes, and evolve into higher beings that can ‘become a rope over the Abyss […] a bridge and not a goal’ and thus save themselves from extinction? This question has been at the heart of Nicholas Mosley’s literary experiment for the past twenty-five years.”
Any Cop?: At around eighty pages in length this is a short work that offers much to consider. The philosophical debates were of interest although the author took as a given the need to save mankind as a species, despite his environmental negligence. In a book seeking to create bridges, to hope that those who come after will evolve into something better, perhaps this is fitting.