A Life Too Short: The Tragedy of Robert Enke

Ronald Reng's biography of the late German national goalkeeper is William Hill Sports Book of the Ye

As the sporting world digests the news of the death of Gary Speed, the former Leeds and Newcastle midfielder and lattermanager of the Welsh national team, the William Hill Sports Book of the Year has been awarded to the German sports writer Ronald Reng for A Life Too Short: The Tragedy of Robert Enke. The biography of the late Robert Enke, Reng's and German national team goalkeeper, was praised by the judges "for its powerful and insightful nature as well as its sensitivity and sincerity." It is the first translated title to win the prize. The book was first published in Germany (as Robert Enke: Ein allzu kurzes Leben), received widespread praise and soon became an international bestseller.

Graham Sharpe, the co-founder of the prize and the chairman of the judging panel, stated that:

Robert Enke was one of Germany's greatest goalkeepers and his tragic death shocked the world. Ronald Reng's intimate portrait - vivid, powerful and moving - is an outstanding piece of sportswriting and a very worthy winner of the prize.

The other judges were broadcaster and writer John Inverdale, award-winning journalist Hugh McIlvanney, broadcaster Danny Kelly and columnist and author Alyson Rudd.

In the NS's review of the book, Simon Kuper finds it to be "At times ... almost unbearably painful to read ... but this is the mature work of a writer who has gone far beyond sensationalism. It allows you to turn back and read football differently ... [It is] not just about Enke and depression, but about the stress that pervades most footballers' lives." Kuper notes that "Enke's widow gave him [Reng] the dead man's diaries and the poems he had written on his mobile ... Reng writes, 'I have deliberately excluded passages [from the diaries] that I see as too revealing.' Not many biographers would do that."

In September, Jonathan Derbyshire talked to Ronald Reng Enke's tragic life and death. Before Enke's suicide, he and Reng had agreed to work on the former's autobiography, although they never discussed the footballer's depression. Describing the national mourning in Germany which followed Enke's death, Reng said that "I was certainly taken aback. There was a feeling of not knowing what to make of it, and a lot of people were absolutely moved by his death and they wanted to show their grief ... This was something totally new in Germany - a big crowd gathering together to mourn." Reng told Derbyshire how "he [Enke] and [his wife] Teresa had this vision, a dream scenario, that one day Robert would have moved to Lisbon and we would all sit on a roof terrace and contemplate his autobiography."

"A Life Too Short" is published by Yellow Jersey Press.

BBC/YouTube screengrab
Show Hide image

Why hasn’t British Asian entertainment built on the Goodness Gracious Me golden age?

It is 20 years since the original radio series of Goodness Gracious Me aired. Over two decades, the UK media portrayal of Asians hasn’t used its success to evolve.

Save for a handful of special one-off episodes, Goodness Gracious Me hasn’t occupied a primetime TV slot for nearly two decades. Yet still it remains the measuring stick for British Asian comedy.

The sketch show, which transitioned seamlessly from radio to screen (it started as a BBC Radio 4 series in 1996), has stood the test of time and is as much a staple of modern British Asian culture as Tupperware or turning up an hour late.

What Goodness Gracious Me did so expertly was to take a set of serious issues facing first, second and now, I suppose, third generation migrants, and turn them on their heads. 

In making light of the pressures of academic expectation or family drama, Goodness Gracious Me wasn’t playing down the poignancy of such concerns; it was raising awareness and combatting their uglier side with humour.

It offered resonance and reassurance in equal measure; it was ok to have an embarrassing uncle who insisted he could get you anything much cheaper, including a new kidney, because other people like you did too.

That Goodness Gracious Me was broadcast on a mainstream channel was also a victory for minorities; it made us feel integrated and, perhaps more importantly, accepted. Against the backdrop of Brexit, what wouldn’t we give for that treatment now?

Really, though, the jewel in Goodness Gracious Me’s crown was its willingness to recognise diversity within diversity. It is a relic of a departed era when discourse on TV around Asians was different, when the broad church of that term was truly represented, rather than reduced to one catchall perception of British Muslims.

Goodness Gracious Me offered insight into the experiences and idiosyncrasies – religious or otherwise – of Indians, Pakistanis, Bangladeshis, Sri Lankans and even English people. It’s what made it so accessible and, in answering why subsequent programmes have failed to reach similar heights, this is a good starting point.

Without the flexible sketch format, the modern Asian sitcom Citizen Khan has struggled to cover multiple topics, and, by being specifically about a Muslim family, it leaves many non-Muslim Asians wondering: where’s ours?

I hasten to add that I feel plenty of sympathy for the British Muslim community, hounded by tabloid headlines that attack their faith, but it would be disingenuous to suggest that non-Muslim Asians are sitting pretty in 2016 and don’t need a similar level of support in terms of positive public perception.

The current volume of British Asian media products is fairly good. The BBC has its dedicated network, The Good Immigrant essay collection was one of the outstanding reads of the year, and we still have champions of comedy in Romesh Ranganathan and Nish Kumar.

But I think ultimately it comes down to the broadness of appeal, rather than the quantity of products. Goodness Gracious Me was not only able to engage the full spectrum of British Asia; it transcended its target audience and was on terrestrial TV.

The British Asian media on offer now is up against it, released as the country’s attitude towards foreigners completes a full circle back to the same suspicion my grandfather encountered in the Sixties.

Fewer outlets are willing to explore the stretch of what it means to be Asian, either by denying it due consideration in mainstream shows or by peddling their own monolithic observations. The BBC Asian Network, for example, is laudable in its existence, but does little to engage the young Asians who aren’t into techno spliced with Bhangra.

The mainstream representations of Asians in Western film and television that are commissioned, meanwhile, are irritatingly limited and sometimes inaccurate. In an article for the Guardian last year, Sara Abassi lamented the disproportionate appetite for “gritty post-9/11 films about conservative Pakistani families”, and that the researchers of American series Homeland failed to realise that the national language of Pakistan isn’t Arabic.

When I interviewed the actor Himesh Patel for the No Country for Brown Men podcast, he suggested that the answer to re-establishing Asians in mainstream media, both here and in America, was three-fold. The first challenge to overcome was for outlets to acknowledge that not all Asians fit the same religious or cultural profile; the second was to be open to placing Asians in non-Asian specific products to better reflect their presence in society.

Patel, who is best known for his portrayal of Tamwar Masood in the soap opera EastEnders, made his third recommendation based on this role. He felt that characters should be written with only their personality in mind, making the ethnicity of the actor who plays them incidental. Tamwar’s awkwardness but underlying kindness, Patel said, was what defined him – not his skin colour.

Goodness Gracious Me, though a primarily Asian show and a comedy at that, actually taught some salient lessons about representation. It succeeded in providing a window into a multiplicity of cultures, but at the same time wasn’t a total slave to the politics of identity – several of the 100-plus characters needn’t have been Asian at all. It was reflexive to the times we lived in and a perfect advertisement for empathy. That is why we still talk about it today.

Rohan Banerjee is a Special Projects Writer at the New Statesman. He co-hosts the No Country For Brown Men podcast.