As a reporter, journalist, producer, and author, you have been always involved in issues related to war and conflict. Can you tell us more about your work?
I delve into many distressing subjects, exploring challenging narratives. My focus revolves around universal human experiences, particularly the impact of war on civilians. I'm very interested in understanding the effects on real people and the stories of those affected by tragedy. As well as the emergence of true colors, which reveal the common threads that bind us all.
There are different ways to tell a story depending on the audience and the desired connection with people. I've intentionally avoided restricting myself to just writing books or working in TV, as different mediums offer unique ways to communicate the same story. My first book "Muhammad Najem, War Reporter” is a graphic novel on the Syrian civil war. The book was a collaborative effort with Muhammed, a real-life Syrian activist and journalist. Despite our different backgrounds, we became close friends while co-writing and we shared profound conversations about the experience of losing a loved one.
This book describes difficult scenes such people dying, and a child being buried alive, but it was written for children. The goal is to help them to understand complex topics with explainers on Syria's context. Surprisingly, I've received feedback from adults admitting they don't fully grasp the Syrian conflict, and this was a helpful way for them to understand what was happening.
How do you handle ethical challenges when amplifying the voices of marginalised communities?
It's extremely challenging, it has to be done on a case-by-case basis and you need to understand your role. My purpose is not to narrate stories for individuals or impose my own interpretation. I see my role more as an amplifier of voices and stories. For instance, the collaboration with Muhammed on our book. We co-wrote it, ensuring he had agency to tell his own story, and all proceeds from the book went to support him and his family.
Ethical considerations particularly around money are often overlooked, especially when working with marginalised communities. I recently penned a significant article for the preeminent journalistic ethics foundation, delving into the complexities of compensating contributors.
The current media landscape is often criticised for sensationalism and biases related to selling news rather than informing the public. How do you maintain a balance?
I believe it's one of the significant challenges confronting our profession today. It involves to some extent, placing trust in our viewers and readers and acknowledging their desire for authentic stories. Sensationalism is easily discernible to most, and its prevalence undermines trust in journalism. While I may risk losing viewers or readers by narrating genuine, empathetic, and ethically sound stories, I'm comfortable with that.
I prefer connecting with an audience interested in engaging with material and thinking critically. Leaving a major network was part of that decision for me. I’m no longer driven by profit in the same way, allowing me to focus on stories I genuinely want to tell and approach them in an ethical manner. This shift has given me greater control over my career.
We also need to think more critically about this idea of objectivity or neutrality in journalism. There isn't really such a thing as pure neutrality because every person comes from their own lived experience. For so long we've called objectivity the perspective of cisgender heterosexual white men of Judeo-Christian background and there never has been such a thing as objectivity. It's more important for us to acknowledge where we're coming from, what our backgrounds are, what our biases are, and then do the work.
Your latest book “24 Hours in Charlottesville” gives a voice to an anti-racism activist who has stood up against white nationalism in the US. What were your motivations to write this story?
I lived in Charlottesville during my undergraduate studies working as a local news reporter, amidst the ongoing discussions about Confederate statues in the city and across the US. Following the Civil War, many Southern states erected monuments depicting triumphant soldiers on horseback, despite their defeat. Interestingly, these statues didn't emerge immediately after the war but took shape in the early 1920s amid KKK activity, racist hatred, and lynchings. They served as reminders of a contentious past.
During my time there, I witnessed the rise of white nationalism and the national white alt-right movement focusing on Charlottesville. Despite the narrative often portraying the events as sudden and shocking, the reality was that tensions had been escalating for months, if not years. From a journalistic standpoint, the most effective coverage came from anti-racist and anti-fascist journalists. Mainstream media, including myself as a part of it during that time, struggled to cover the situation adequately.
The challenge arose when media aimed to present 'both sides' of the story, implying a false equivalence, especially when one side advocates for genocide. The book primarily amplifies the voices of anti-racist activists, counter protesters, and members of Antifa, an anti-fascist and anti-racist political movement. Notably, I gained the trust of many Antifa members who had never spoken to the media before due to my past work, engendering confidence in the project. While Antifa is often portrayed as a militarised movement, the book delves into its multifaceted nature.
Could you provide a glimpse of your forthcoming book Stunt Girl, which is set for publication in 2024?
“Stunt Girl” is a historical fiction graphic novel delving into the realm of undercover journalism. It's a blend of a compelling narrative, a love story, and an LGBTQ-focused plot, something lighter in tone compared to my previous works.
As for my next major project, which links to my connections with King’s. I'm immersed in researching the evolution of anti-fascist journalism and the alternative media employed by anti-fascists for tactical advantages. This involves exploring how they use alternative media to predict and expose planned attacks by white nationalists, essentially turning the tables on them. The focus is on understanding the intricate intersection between journalism and anti-fascist media in this context.
Can you tell us more about your experience studying for an MA at King’s?
I did the remote learning programme from 2016 to 2019. It was an incredible opportunity because I was working as a journalist at CNN for almost six years and was constantly on the road travelling. This was crucial when I had to travel to Ukraine at the beginning of the war. The online programme was my lifeline, enabling me to pursue my master's, further my studies, and advance my career simultaneously; something I wouldn't have managed otherwise.
King's education provided a comprehensive context and understanding of the historical and theoretical foundations that shape our world. I can analyse current events through a nuanced lens. For instance, when the Russian invasion of Ukraine unfolded just after I completed the programme, my understanding of global dynamics allowed me to apply historical perspectives to comprehend the current conflict.
How was the experience of working as a reporter in Ukraine when the war started?
I was covering the Russian invasion of Ukraine for CNN. We went into the country a couple of weeks after the conflict began, when the situation was still fresh and dangerous. Even now, the danger persists but during that period uncertainty loomed large. In the week of our arrival, foreign journalists had been killed by Russian forces, heightening tensions. Despite being in the relatively safer western part of the country, where a significant refugee population sought refuge, air strikes persisted.
It was a transient point as people attempted to flee areas of intense fighting, yet air raids continued, disrupting our nights. We experienced a particularly close call when an air strike, just a mile away from our hotel occurred while we were broadcasting from the roof. Although the defence shield intercepted some missiles, one managed to break through and hit an industrial area we had been walking around earlier that morning. Fortunately, no lives were lost in that specific strike, though there were injuries.
What advice would you give to students who aspire to pursue a career in journalism or writing?
I find that focusing on studying content rather than journalism has been incredibly beneficial. Obtaining a master's degree in war studies and engaging in intensive intellectual work and research has proven more advantageous for my career as a journalist. I highly recommend that current and prospective students consider this approach as a pathway to becoming a journalist.
I discovered this programme through another CNN reporter who had previously enrolled, reaffirming that journalists find value in the programme. This remains an exceptional means of gaining a profound understanding of the world, particularly for those contemplating coverage of international issues.