A Dictator Is Exploiting These Human Beings
A small Kurdish boy is sitting on the ground in a damp Polish forest, a few miles from the eastern border with Belarus. The air is heavy with cold and fog. The boy is crying.
Around the boy, sitting in a circle, are his parents, uncles, and cousins, all from the same village near Dohuk, in Iraqi Kurdistan. There are 16 of them, among them seven children, including a four-month-old infant and an elderly woman who can scarcely walk. They don’t speak Polish, or English. One of the boy’s relatives, a man named Anwar, speaks Arabic. Through a translator, Anwar says that the family has been in this forest, moving back and forth between Poland and Belarus, for two weeks. They have eaten nothing for the previous two days.
Surrounding the boy and his family is another circle, this one containing people with cameras. The people holding the cameras are Polish, Swedish, Slovenian, German, Japanese, American. I am one of them. We were all given this precise location on Tuesday by Grupa Granica, a Polish volunteer organization created in the past couple of months to help migrants; its name simply means “Border Group.” The group’s spokesperson sent out text messages with the GPS coordinates of this family because they wanted as many journalists as possible to record the moment when Anwar asks the Polish border guards for asylum. He will hold up a sign, in English. The translator, Jakub Sypiański, also a member of Grupa Granica, will translate his request into Polish as well. Sypiański explains that if media are present, it will be more difficult for Polish border guards to ignore the request and to force Anwar, the boy, and the rest of the family back into the forest, back toward the border, as they have forced other, similar families back toward the border over the past several weeks. Sypiański tells me later that he has personally seen families ask for asylum, only to be taken back to the border immediately afterward.
The scene has a false kind of familiarity because we in the West have all seen this combination of players—migrants, journalists, humanitarian volunteers—in photographs or on television before. But the sequence of
