Comics Review: Neal Adams - Mad Genius

As a crusader for comic artists' recognition, he is practically a superhero himself.

The Super London Comic Con opens its doors on the 23rd and 24th of February for the second year, boasting a great line up of stars from the comics world, old and new. There are few creators though that can lay claim both to being a contemporary star and a legend in their own right; few that is other than Neal Adams.

Currently writing The First X-Men for Marvel, and having recently finished his brain melting Batman: Odyssey, Adams has been working in the industry since the ‘60s as both writer and artist. More than perhaps any other creator though, Adams changed the way that the industry works forever. The story of the poverty faced by the creators of Superman is perhaps not as well known as it should be, nor the fact that such stories were hardly rare in the history of comics.

The campaigning that Adams undertook, and the rewards he won for creators that still benefit to this day from his actions, make it very hard not to paint Adams as a de facto superhero himself. He’d laugh at that of course, but Adams had a huge impact on both DC and Marvel, when he crash-landed from the world of serialised newspaper strips and advertising.

As a teenager, Adams started out drawing Archie comics before landing a serialised newspaper strip, Ben Casey. It’s hard to imagine now, in a world of Nolan and Whedon spandex blockbusters, but for the early period of comics history, newspaper strips were the goal for comics artists.

“Back in the olden days when we were rubbing sticks together,” Adams smiles, “everybody wanted to have a comic strip, to live in Westport Connecticut, to have a Jaguar and to have a wife and two and a half kids, and to have a girl in town in their studio in Manhattan that they’d romance, and then they’d have people ghost their strip, it was like this big dream. Everybody wanted to do that. It’s not what I wanted to do!

“Yes I loved doing the Archie comic books but it was a terrible ordeal to be in that place at that time and getting the comic strip was a big deal for me. I didn’t make that much money. I did get married, I did have kids, but in the Bronx in New York, and I was a very hard working young man for those years and for the years following that. I lived a dream without it being much of a dream. But it was a big bloody deal, I can tell you that!

“It used to be that comic strips where the big thing and comic books were toilet paper. And things have quite changed, we no longer have, well I guess we might have, but really they’ve fallen into the background, we don’t have strips that are continuing stories… and those things were popular culture’s fantasy device to forget about the world. And then television came along and suddenly that wasn’t necessary. But comic books, kind of underground, you know, tunneling around underground for years, suddenly popped its ugly head out and comic books fell to the forefront. And then all the things that we talk about in comic books now have taken place and we are – my god! – taking over the world.”

Breaking into the comic books in the late ‘60s, Adams started working for DC, drawing a great number of titles from Superman and Batman, to the supernatural hero Deadman, a character that has been associated with the artist ever since. It was this title that brought Adams to the attention of Marvel, a publisher that the artist was keen to work for. Working on Both Sides was fairly common, as long as artists used a pseudonym – not something that Adams was interested in.

“Understand that early in my career I did a syndicated strip,” he explains. “Well doing a syndicated strip is in many ways more like adultness than comic books. When I did get into comic books it was after a whole other career, and when I got into comic books they didn’t even know who I was. All the syndicated strip guys knew who I was, advertising people knew who I was, there was a whole world out there that did know who I was, but the comic book people had no idea because they were living in, I would have to say the dark ages of comic books. So stepping into that was like dealing with Neanderthals. They didn’t have contracts, they weren’t fair, they didn’t return the original art, they were just a bunch of bullies, the publishers at that time. Yes on an individual basis, all very nice people, but as a group? Not to be trusted. “

Stan Lee offered Adams his pick of titles, including the ones with teams already on them, much to the artist’s surprise.

“I said, ‘Well Stan, why are you saying that? That’s, that’s very generous.’ He said ‘Well, to be honest Deadman is the only comic that the guys at Marvel here read’! [laughs] I said, ‘Ohh okay, I see. So what’s your worst-selling title?’ He said, ‘X-Men, we’re gonna cancel it in two issues.’ I said, ‘You know what, I’d like to do X-Men.’ He said, ‘I just told you we’re gonna cancel it in two issues.’ I say, ‘Well fine! You know for two issues I will do X-Men. And that will be fine.’ He said, ‘Well okay. We’ll [write/run] it as long as we can, we’ll make you a deal. You can do X-Men, then we cancel it, then you gotta work on an important book like the Avengers.’

“And that was a very funny story about ten years ago when the Avengers were nothing! [laughs] Now the Avengers are a big big deal, so the story’s not so funny any more. I say, ‘Well fine!’ He says, ‘Just one thing Neal, how do you wanna be credited, you know because you’re doing stuff for DC comics?’ I say, ‘Well Neal Adams will be fine.’ He says, ‘Well you know sometimes publishers don’t… you know aren’t… they just don’t want you to have a credit with two companies.’ I said, ‘Well I do, that’s fine’ He said, ‘Uhh... well you know if you are working for Marvel I’m not sure I want to have you working for DC.’ I said, ‘Well g’bye Stan! See ya!’ I started walking towards the door. He says ,‘No no no no! I’m not saying that, no it’s fine if you want to be listed as Neal Adams, no that’s fine!’

“In that thirty seconds, that ended that habit. Nobody did that any more. That was the end of it. Because it Neal did it, anybody can do it, right? [laughs] Some problems you can solve very easily. Just have to say the right thing at the right time. It wasn’t a big campaign it was just, oop! That was it. Goodbye.”

It’s no surprise perhaps given Adams’ determined nature, that big campaigns were indeed in the pipeline. At that time it was normal for artists to submit their artwork and not have it returned, meaning that they could not sell on their original art – a perk that artists today take for granted.  It sounds like a small change, but the impact upon the industry was huge, with artists financially more secure, and inspired to create a greater product for both the publisher and themselves.

“Well I think you have to say that people doubled their income, in a year,” laughs Adams, “by being able to sell the original art. If they couldn’t sell them for what they sold at DC or Marvel for, they weren’t very good, I’ve gotta say that. But it was a tough campaign, and it, it went through lots of stages, and one of the things that I do... it’s not so much that I win because I’m a pigheaded asshole, or because I win, it’s because I do my homework. I read the copyright laws, I read the laws on the books, if they apply, I read the common law and I look at other deals with other industries and I pay attention, so that if somebody wants to take the time to argue with me I’m perfectly willing to have the argument and to have the debate. But it’s really kind of a waste of time because I’ve probably done more homework on it than they have. And so yeah we’ll have the discussion but in the end, you know… it didn’t matter what they were saying or what they felt or they, whatever the significance it was, it was law. So you sorta have to obey the law!

“Look at the people who went to Image, they ended up making billions of millions off selling comic books. And they got little percentages, where you made a ton of money! So why wouldn’t you do that? Doesn’t that, the logic of it, don’t book publishers do that? They make money! They get to have big metal logos on their buildings that are made of marble, with marble steps and they get to act like they’re making the money when in fact some poor prick writer is writing little weird books and signing his name Stephen King and making them rich! I mean, it all makes sense, it wasn’t like I was arguing to take something away from the publishers, I was arguing to make them rich! Why would they fight with me, I have no idea. [laughs]”

The issue of Superman’s creators, Jerry Siegel and Joe Shuster, earning so little from their iconic creation while DC comics and parent company Warner Brothers became rich, has been angering fans for decades. Even now there are disputes over their treatment, but their fate would have been far worse had it not been for Adams leading the fight in the mid ‘70s. At that time, Shuster was almost blind, living in poverty, and ignored by DC.

“That was a big big fight that took months out of my life,” Adams recalls. “Not only were they not getting credit they weren’t getting any royalties, they weren’t being paid. Jerry was, he had a heart condition, he was approaching seventy, he thought he could recover some of his rights. His lawyers didn’t do their job for him, he was making seven thousand five hundred dollars a year working as a clerk - Joe was legally blind and lived in an apartment in Queens with his brother, [he] slept in a cot at night with a window next to him with tape on it holding it together... and these are the creators of Superman.

“Pretty bad, you know? You hear the story and you kind of go, ‘What can I do?’ Well fortunately I was in a position to do something. And it had gotten very deeply under my skin because these guys helped to create this industry. I mean, you could pay ’em as good as you pay a secretary for Christ’s sake. And so we had a little battle, Warner Brothers and I, and, and we sort of won, and it got taken care of, and it made Warner’s rich! [laughs] They had ambassadors of goodwill for the remaining ten years of their life, everybody was happy, everything was good, we were making money. So you know, I don’t go up against the dragon in order to kill the dragon, I go up against the dragon in order for him to buy a house and have kids and make a lot of money! [laughs]”

Adams was also making huge changes upon the comics pages themselves, with partner in crime, writer Denny O’Neill. Their Green Lantern/Green Arrow series in the early ‘70s was slightly ahead of its time, dealing with real life issues including racism and drug abuse that began a new wave of “relevant comics”.

“I remember in those days they used to make fun of us,” Adams recalls, “saying aww you’re just preaching, you guys are full of crap, and you know what, what we did was essentially change the comic book business because it was through that series of books - and you can forget about everything else and not even take the important stuff and put it into important slots - but the fact that we got rid of the comics code, between Stan Lee and Denny and myself, we got rid of the comics code and realised that comic books, it was about time to grow up, that one thing alone hanged comic books forever. But there were other things along the way, to talk about current problems of the day, to be entertaining while you’re talking about significant things. The assumption that you make is that if you talk about important things, you’re boring. No, not necessarily true. You can talk about important things and be very darn interesting. We showed that in those comic books.”

“Snowbirds Don’t Fly”, a two part anti-drugs story in which Green Arrow’s sidekick deals with a heroin addiction was the first comic to be published without the Comics Code seal, an extremely strict self-regulation body that was born on the back of the sensationalist (and largely made-up) findings of Fredric Wertham. The breaking of the code was a huge step in making comics more resonant with readers of all ages, and setting the scene for more mature storylines.

Adams also created one of the first black superheroes, the Green Lantern named John Stewart who is also the star of many DC cartoons, a creation that the artist is particularly proud of – “we changed the face of fiction for kids in the world to make things more reasonable and more reflective of reality. Thank god!” 

Was there resistance from the publishers and fans at the more liberal direction that Adams was pushing the industry?

“Not really. I mean I don’t know, who would argue with me? Really. I’m such a nice guy,” he grins. “The vice president of the United States under Richard Nixon in his first term was a guy named Spiro Agnew and we did a take-off of Spiro Agnew in the Green Lantern/Green Arrow series where [he] was this superintendent janitor of a kids school, and he had this little girl who had tremendous power, could control other kids minds, and he controlled her. And he looked like Spiro Agnew who of course as the vice president of the United States, and that’s pretty much what was happening in politics –Spiro Agnew was taking the power of the president and lashing out to the opponents of the Republicans at that time and using the power of the president to lash at other people, which people after a while started to resent.

“So anyway we did this character and the then governor of Florida sent a note to DC comics that said, how dare you do this, insult the vice president of the United States, if you do it again I will see to it that your comic books are not distributed in the state of Florida. And so the publisher came to Denny and I and said will you read this letter, this guy says they’re not gonna distribute… and we said well, they’re not going to distribute if we do it again but I don’t think we’re gonna do it again. We just did it! What he didn’t notice was that the little girl that he was controlling, the ugly little girl that he was controlling was a takeoff of Richard Nixon! [laughs] Mr Agnew did not make it to a second term as it turned out. I don’t think we caused that but I think probably us and a whole bunch of other people in combination made it very clear that he really shouldn’t be the vice president. I’d love to take credit for the whole thing! Bloody asshole.”

Thinking back to his last visit to the UK, Adams was at the centre of the creator rights movement within the industry. Summarily pounced on at a UK convention, he was invited to a pub where creators started to spill out their woes about the publishers of the time.

“I’m going, what, what’s this all about? So anyway, I sit, and they’ve put a pitcher of wine up there - I don’t drink, y’know, get me a Diet Coke or a Tab, in those days we had Tab, and they didn’t have any Diet Coke or Tab so I went up and I said, ‘So what are we here talking about?’ and then they started to explain to me… First of all they weren’t giving original art back, using artists one against the other, it was terrible. And they started moaning and groaning - I’m like oh so this is why I’m here, you’ve invited me up here putting this pitcher of wine in front of me cos you wanna MILK me. Right? They say ‘Yeah, that’s it!’

“So I poured a glass of wine, I started drinking wine, I sit, so we’re talking about it, they’re describing their problems like you know if they make a fuss suddenly they don’t get work, and there’s so few places they can work in England, there’s a little publisher over here then there’s the big publisher that’s a monster, and even people who get hired by him become monsters, and hard to deal with, and blah blah blah, I’m thinking Jesus this is England, you know, this is even worse than the United States, at least they were paid halfway decently, but really, keeping their original art, it was just awful.

“So finally I was on my second glass of wine and I said ‘Okay! I got it. I understand. You guys are a bunch of fuckin’ idiots. I don’t wanna hear anything from any cry baby, because you idiots, let me try to explain something to you. It’s a big world out there. There’s countries called France, there’s countries called Germany, there’s the United States! Do you know that, [in] America, that DC comics and Marvel Comics would love to hire you? And pay you competitive prices? And there are people in France that would love to hire you, and you’re stuck on this fuckin’ little island? And you’re not getting any work and you’re wondering what the hell you’re gonna do? Get off the island! Take a trip! Go to places where people can appreciate you and pay you money!

“’It’s totally insane, we have an international market, and you’re complaining to me that’cha got one fucked up publisher here, who, who runs you ragged, takes advantage of you, guess what, I just got the artwork returned in the United States! Work there, you’ll get all your artwork back, and then you can sell it, so whatever money you make you’ll double your money, or maybe more, because you’re talented, so wanna double your income? Go out, across the ocean, go down to France and get some work there. Do that stuff and escape these bastards, you know what? They’ll come after you begging. They’ll come after you begging.’”

A brief glance at the number of British creators now working in American comics suggests that Adams advice was certainly followed!

“And the revolution started!” he laughs. “They still do stuff for Great Britain, but they go to America, they’re artists of the world. They all have, you know reputations, they get their artwork back, we’ve leveled the playing field. I just didn’t have any idea going in that that was going on! I really had no idea. Well fine! We’ll have a revolution, screw it! Let’s go! Gimme a fuckin’ hammer, I’ll knock down your fuckin’ horse! Screw’em!”

Looking forward to the London Super Comic Convention this month, Adams gives a laugh that can only be described as dastardly. “Yeah, you know, I’d like to shake you guys up a little bit. You know, get you up on the floor. And dance!”

Adams will be signing and sketching both days of the convention – and quite possibly dancing – and is always happy to chat with fans. Prepare yourself!

Tickets are still available.

Master at work. Adams in his New York studio. Source: Getty

Laura Sneddon is a freelance journalist. Find more of her work at comicbookgrrrl.com

FRANCESCO ZIZOLA/NOOR/EYEVINE
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The refugee crisis proves that Fortress Europe is a fantasy

In 2015, more people landed in Greece in a single month than the whole EU has agreed to share over the next two years – and it's a tide that can't be turned.

On a stormy night in September 2002 a wooden fishing boat carrying 150 Liberian asylum-seekers broke up on a reef near the long, sandy beach at Realmonte, on Sicily’s southern coast. Tourists were dancing at a café nearby, but such was the noise of the freak hailstorm on the plastic roof that it was some time before they heard the cries for help coming from the water. Of the 35 Liberians who drowned, one was a 15-year-old girl. Most of the dead had no names; their graves, high in the walls of the cemetery at Canicatti, are marked only by a single letter of the alphabet, in bold black type, to distinguish one from another.

The reaction of the tourists and the local people, once they had recovered from the horror, was one of surprise. Who were these strange Africans, washing up on their shore? But the survivors were welcomed, fed and looked after; one of the women, who was pregnant, was given nappies and baby clothes. There was little press coverage of the event.

That was 14 years ago. Today, when the weather in the Mediterranean is fine, boats bring over a thousand people each day to the Greek island of Lesbos alone. Others ­arrive in Europe through Malta, Lampedusa and southern Italy and by the land route through the Balkans. About 42,500 people are said to be leaving their homes every day to seek protection. These people come from Afghanistan and Eritrea, from Libya, Mali, Nigeria, Somalia, Sudan and Tunisia, and from Syria, which on its own contributes 52 per cent of all the new arrivals. Well over four million Syrians are now refugees in 107 countries. There are young men and women, whole families, children on their own, and many of their sea journeys have been preceded by terrifying land crossings, negotiating deserts, bandits and traffickers. As the numbers keep growing, so the figures rather than the people become the story: so many on a single day in April, so many through Serbia, so many others into Italy. It is in order to turn these numbers back into people, each with an identity, past, character, fears and hopes, that three journalists have written new books about what Angela Merkel has described as the defining hum­anitarian issue of our age.

Wolfgang Bauer is a reporter for Die Zeit. In April 2014, taking with him a photographer and posing as an English teacher from the Caucasus, Bauer joined a Syrian friend planning to cross the sea from Egypt to Italy. He grew a beard and bought a false ID, but even so it was a perilous undertaking, because people-smugglers have little time for reporters who might expose their lucrative rackets. Most of the sea journeys are nightmares, involving leaking and capsizing boats and gangs of violent smugglers, often drugged, but Bauer experienced one of the worst. Even before his group left Egypt, they were kidnapped by a rival gang on to whose territory his smugglers were said to have strayed. What followed were days in squalid, unfurnished rooms while the gangs brokered a deal. Bauer excellently re-creates the predatory, tense world of these shadowy men, whom he likens to travel agents, constantly on the phone, bribing, threatening, changing plans. The man who negotiated his trip confided that he had sent 250 boats across the Mediterranean in 2013, each carrying about 200 people.

Once the deal was made, the group was moved to a beach – another dangerous moment, for here, as dusk falls, bandits arrive and smugglers try to extort more money. Here, too, families get separated and children disappear. Bauer never made it across the Mediterranean: dumped by his smugglers on an island and arrested by coastguards, he was eventually rescued by being able to show a European passport. His fellow travellers were not so lucky.

Charlotte McDonald-Gibson is a former deputy foreign editor of the ­Independent. Dividing her inquiry between the five years since the start of the Arab spring and chronicling the most significant moments in that period, she follows in the footsteps of a cast of travellers. One of these is Majib, an 18-year-old working in Libya when Gaddafi began to round up migrant workers. The son of a prosperous doctor and philanthropist, Majib had seen his father killed by a mob during fighting between Christians and Muslims. Subsequently the young man was kidnapped, smuggled and enslaved. Then there are Sina and Dami, an Eritrean husband and wife, both engineers, whose lives have been made impossible by President Isaias Afewerki’s repressive policies, which have driven over 320,000 of his countrymen abroad. McDonald-Gibson keenly evokes the hell of their voyages: water lapping over the sides of boats, nothing to eat or drink, failing engines, bodies thrown overboard. To read these vivid stories is to understand not just the enormity of what is taking place, but the courage and desperation of those who embark on them.

In March 2015, the Guardian appointed Patrick Kingsley as its first migration correspondent; he set out to visit 17 countries and write about people as they fled across deserts and seas. Of the three books under review, The New Odyssey is the most analytical, consistently trying to make sense of information and pin down the facts. Kingsley has gone further than the others in trying to explore the economics of the smugglers and their accomplices. He writes at fascinating length about the “second sea”, the Sahara, which most people from the Horn of Africa have to cross and where many die even before they reach the Mediterranean. In Agadez, he discovers about 50 compounds where smugglers gather their customers before despatching them in overcrowded Land Cruisers across the sands to waiting boats, with the connivance of the Nigérien military and police. Interviewing smugglers, he spells out the profits: with each of a group of 100 paying $1,000 or more, and the only costs involved the buying of old boats and bribery of coastguards, the profits are immense. Middle-class professionals from Syria face extortionate demands. It is a world of blackmail and thuggery against vulnerable, frantic people.

Once Libya had slid into civil war, its borders made porous by lawlessness, the Syrians found their route to Europe. What is striking is how appalling their lives had become before they were driven from their homes; how much they lost; how they were exploited, menaced, terrorised along the way; and how dismally and ungenerously they were treated on arrival. Some encountered kindness but this kind of treatment was the exception. How far they fled and the means of travel depended on how much money they could raise. All but a few arrived in Europe destitute, having lost houses, cars, jobs. As a mirror to modern life, all three books make for bleak reading.

It was only in October 2013, when 368 people drowned within sight of the Italian coast, that notice began to be taken of the mounting numbers of deaths at sea. The then president of the European Commission, José Manuel Barroso, vowed that such a tragedy would not be allowed to happen again. In its wake came talks, guidelines and promises. “As things stand,” Malta’s prime minister said, “we are building a cemetery within the Mediterranean Sea.” Pope Francis inveighed against the “globalisation of indifference”. That the deaths have not only continued but the volumes grown – 700 reported in 2013, 3,500 in 2014 and 3,771 in 2015, with the true figures certainly considerably higher – says much about the intractability of the problem, something all three writers try to address. As Bauer optimistically puts it, “We need to stop the wars in the Middle East from robbing Europe of its concept of humanity.”

All offer the same eminently sensible ideas: a need to improve lives in Syria’s neighbouring countries; the importance of identifying the dead; greater investment in Africa; more aid for Lebanon and Jordan, both home to vast refugee camps; more support for Italy and Greece, which bear the brunt of the arrivals. Yet these suggestions have been made many times, and there is little will to help realise them.

Rightly, Kingsley offers scathing criticism of the myth that European leaders like to milk – that the smugglers are the problem, and that once you do away with them, the frenzy of migration will cease. As the interceptions at sea, crackdowns on traffickers and strengthened monitoring of borders close one route, so another route opens. When the crossings to Lampedusa were reduced by more interceptions at sea, so those to Lesbos grew. When three fences with motion sensors tipped with razor wire – the trenches in between them filled with more razor wire – were put up at Ceutá, the Spanish territory on North Africa’s coast, a new route was found. In camps across Europe, in disused factories, tented cities and crumbling buildings, under dripping tarpaulins or clearly visible out in the open, the population of displaced and unwanted is growing steadily. If they were a nation, they would be the 24th-largest country in the world. In refugee circles, the vocabulary is all about growth: more child refugees, more migrants in detention, more people in more camps, more asylum applications.

As nationalist parties make electoral gains by delivering xenophobic speeches, and as political leaders squabble and temporise, with Merkel one of the few to consider the moral implications of the present crisis, so European countries prefer to erect more barriers, pay for more security measures and bicker over commitments, rather than attempt to reach humane and practical agreements. In the summer of 2015, the UN High Commission for Refugees was $2bn short of what it needed to keep its camps functioning in Egypt, Iraq, Jordan, Lebanon and Turkey. As Kingsley notes, more people landed in Greece in a single month in 2015 than the whole of the European Union has undertaken to share between its members over the next two years. The wealthy states, as Jeremy Harding wrote in the London Review of Books in 2000, “have learned to think of generosity as a vice”. At the peak of the landings on Lampedusa, Silvio Berlusconi spoke of the “grave danger” that refugees posed to Europe’s stability. The right-wing Lega Nord put it more succinctly: the party’s leader told migrants to “piss off”.

The future, in this context, does not look promising. Global warming threatens to send people displaced by flooding – the so-called environmental refugees – to join the flight to safety. Half the population of Bangladesh lives less than five metres above sea level. Given continuing conflict across the Middle East, the rise of murderous fundamentalism, the enduring powers of military dictatorships, and the extreme poverty and lawlessness in which so many parts of the world live, it is perfectly possible that up to three million more refugees could reach the shores and borders of Europe within the next three years. One of the things that makes the subject so confusing is the way it shifts: Egypt, once considered a safe haven in the Middle East, ceased to be one when Abdel Fattah el-Sisi and the military took power and turned against the Syrians who had found shelter there.

Whether those who flee are “good” refugees (in the sense of falling under the 1951 Refugee Convention, facing a justifiable “fear of being persecuted for reasons of race, religion, nationality” if they return home) or “bad” (so labelled because they are seeking work and a better life) has become largely meaningless in the world today. No one, ever, anywhere, wants to be a refugee, but for many there is no alternative. A Syrian man told Kingsley, in words that are repeated, in different forms, by many of the people interviewed for these three books, that whatever steps Europe takes to keep migrants out, even if they include bombing their boats, they will make no difference, because if he stayed home he was “dead already . . . a destroyed human being”.

There are precedents for the absorption of migrants, whose presence in Europe can in any case be hugely beneficial to ageing populations. At the end of the Second World War, not long before the Refugee Convention was drafted, about 12 to 14 million people made stateless by the fighting and the shifting borders were resettled throughout Europe. So were 1.3 million people after the war in Vietnam. In comparison to the numbers of refugees settling in countries bordering on those in conflict – there are 1.2 million Syrians living in Lebanon alone, and 85 per cent of the world’s refugees remain in their own regions – those who survive the journey to Europe are relatively few. It is the global South, not the prosperous North, that lies in the eye of the storm.

There is a crisis in migration but, as Kingsley insists, it is largely of our making, caused less by the flow of arrivals than the chaos of how we have received them. As right-wing parties make gains, governments respond with varying degrees of panic; scenes of rioting at borders, at train stations and at ports lead to more barbed wire, more attacks on refugees and more fodder for populist politicians. Yet sealing off Fortress Europe is not a viable proposition; fences and walls are nothing more than symbols, illusions for domestic audiences, promoting the fallacy that what is happening is a temporary phenomenon. And the more difficult it is made for refugees to reach Europe, the more refugees will die. Barriers, leaking boats, deserts and people traffickers are doing nothing to halt the flow. So, what will? There are 60 million people now on the move, half of them children. The choice that faces the West today seems to lie between an orderly system of mass migration – and chaos.

Caroline Moorehead’s book “Human Cargo: a Journey Among Refugees” has recently been reissued by Vintage

Crossing the Sea: With Syrians on the Exodus to Europe by Wolfgang Bauer is published by And Other Stories (144pp, £15)

Cast Away: Stories of Survival from Europe's Refugee Crisis is published by Charlotte McDonald-Gibson (272pp, £14.99)

The New Odyssey: the Story of Europe's Refugee Crisis by Patrick Kinglsey is published by Guardian Faber (336pp, £14.99)

This article first appeared in the 19 May 2016 issue of the New Statesman, The Great Huckster