An ambitious meditation on the ability of narrative to shape our perceptions of one another and our experience of home

Marina Warner begins this dazzlingly protean book with a distinctly mundane memory. It is the 1950s, she is a young teen, and the highlight of her week is going to the Saturday morning “flicks” with a neighbour’s slightly older daughter. One particular movie scene has stayed with her: it involves a man dressed in a vaguely historical costume who is fleeing for his life. Face contorted with terror, he makes it as far as the door of a cathedral, whereupon he knocks loudly and cries “Sanctuary!” The door opens a crack, the man slides inside, and the Saturday morning audience breaths a collective sigh of relief. Even if the plot points remain hazy – is Robin Hood somehow involved? – the underlying principle needs no explaining. The fugitive has invoked the ancient right by gaining entrance to a designated sacred space. As long as he stays put his pursuers can’t touch him.

From these hyper-local beginnings, Warner sets out to explore and expand what “sanctuary” means in an age when millions are on the move around the world, chased out of their homes by environmental disaster, economic collapse, war and political oppression.