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Wednesday, November 30, 2005

is it ok to beat your wife--hamidm asked

Velayat Faqih hamidm

you'd love this:

lu'cu'bra'tion n.
1: Laborious study or meditation.
2: Writing produced by laborious effort or study, especially pedantic or pretentious writing. Often used in the plural.

Illustration follows your quotes:)


[...forget this business about going to the cemetery..... answer a simple question : is it okay to beat your wife(s)?..... simple yes or no answer please ]

...hmmmmm...after agitative cogitation, consideration, meditation, and not forgetting empirical and non empirical hermenuitic contemplation offer this lucubration on your prestigiatory, sophistical, jesuitical desideratum: it is not duteous to verbally or non-verbally fustigate your wife, except with assimilative acquiscence in the heat of amorous gyneolatry (am cardless member of the pro hickey lobby group based here;)...and it is okay to flagellate another's wife or husband...if there are iron-clad guarantees that one can escape retribution...(and no am not hinting at what happened in that 'state')...should the urge or need arise...hope this is satisfactory riposte...

Sunday, November 27, 2005

drop the e: drop the e

when the hymen
of trust is betrayed
and splashed as a rant
..........as an ameliorant*
it is not easy to drop the e
and sing for legends
in their minds

____________________________________________________

*(ameliorant = ameliorate = rant )

Tuesday, November 22, 2005

is nothing for ever

if......nothing is forever

what about love with an l or L
and its perennial nemesis hate
and that smile
furtively as it plays on over innocent faces
yet to be affected by Love or Hate

hum jo youN behtay haiN nafratouN ki mauj maiN
hum jo larzaaN haiN mohabbatouN kay darya maiN
hum jo kisi joostoojoo e azli maiN haiN griftaar sadaa
hum jo mohooum ummeedouN kay khushgawar khaabaouN
ki taabir o taamir maiN haiN koshaaN sadaa

what of the utterances
of sages and simpletons snaking down
...down to the reservoir of Wisdom
or the lies that mushroom with each repetition
into Lies and Falsehood

khooshi -- ik muskurahat
ghum -- hazaar taa'nay
zindagi -- bhaNwar beech darya
such -- fik'r o ehsaas ka azaab
aur rooh -- ijtamiyyat ki maut,
infradiyat ki fat'eh aur
harf -- pehla aur aakhri -- la-faani harf,
libadah rooh ka

what of deception
raised to an art form
and of real Art
Mona's smile, Tut's frown, Rasputin's gaze,
Bard's plays, Mirza's kalaam, the written Word

and the prisoner of past, present and future, Time
and the kernel of time, Truth
and the tides of truth, Reflections
and the blend of time, truth and reflections, Life
and the core of life, Beauty
and the conscience of beauty, Soul
...my wandering soul

is...
nothing forever?

[...and sadly Kasim
no nihilist am I
wandering eternally
in search of elusive
smiles, I remain
temporal ]

____________________________

my response to Nothing's Forever - Kasim master

midnight madnes sale

rushing through the aisles
filled the cart
with two for ones

(was i programmed
or impulsive?)

used some
gave some away

am still left with
one extra god

anyone?

morn after

for a & a

things we hate
come to haunt
us always
at times we
expect least.

how can we
overcome?
simple dear
learn to love
them to death
and if you
can't do that
ignore them
for ever.

cold hands

for JB, AB and shubbs


'where is the chart?'
the nurse shuffles from her station
handing the chart to the doctor
'sorry, I was writing notations'

the close and distant relatives
hangers-on and passers-by even
stare and wait for
wisdom flowing their way


'the heart beat has stabilized
fluids are passing through
the blood is still there
we will change medication
and see if that helps
the breathing
................also'

chorus

'shukria doctor saheb,
thank you doctor,
may god bless you'

(doctor talking to himself)

the patient is slipping,
will not feel the dawn
do i tell them now
or let the peace reign

if i speak up now
they will start wailing
if i hold my peace
the night will pass in peace

i don't save
we do not save
we fight and fight some more

like in real life
we live, nor let live
we fight and fight some more

emotions and feelings -- a mask
fights lurk
we live, nor let live
we fight and fight some more

floor, the ward is full of those
lingering between here and nether

ah, well! i will go
have that tea and samosa
may be my splitting headache
will go away

and then some wonder
why my hands are cold

pizza isn't worth a poet's touch.

for rejeshwari

Pizza isn't worth a poet's touch.

is there a subject off limits i ask
as i struggle with the top of flask
and spill coffee all over the mask
and Beej who is delayed with Babson task
will shortly be here to take to task
while I indulge in gleeful bergamask

Wednesday, November 16, 2005

farmatay haiN

farmatay hain InsaaN ji
eh'l e sukhan ki baataiN
zindagi maut aur ranjish
souz, saaz paich o taab rumi
aalimouN falsafiouN
kay shikway shikayataiN
kya laina daina humaiN?

humaiN to sunao kuch
ghubaar e dil ki baataiN
woh bay a'waaz aah, woh dar'd
woh baar baar dar ko tak'na
woh intizar, woh bay chaini
her guzarnay walay ko
oon ka qaasid samajhna
aap is dayar e ghair maiN
woh pardes maiN meh'v e tann
dono tuk'tuki baNdhay
phone ko, screen ko, dur ko
aisay hee bay chaini say
ghoortay daikhtay hoNgay?
kuch to bataiN humaiN
kuch to sunaiN humaiN

Tuesday, November 15, 2005

apathy / bay gaangi

apathy
roar of silence
din of shivers
shrouded .........rags
reverberates

leaves whisper
cut off from
mother branch

waves from
oceans afar
plead with sand
millenium
removed from
father mountain

rhythmic arrhythmic
whirl of bodies
in shabistaan*

karbala* cries
of the
devastated
overwhelm

smile that flees
before flickering
on infant's lips
reverberates

hearts that echo
incoherence
don't hear muteness
..................shrouded in
fresh white coffin

who has the will
to hear these tales
inaudible

emptying our
hearts and wallets
will not affect
zombie fortunes
like us they will
survive
they will .....

*shabistan - coined by noon meen rashid: a place to spend a night
*karbala: the town where Imam Hussain, was accosted by the forces of Muawaiya. In Muslim history seen in context of a battle between the forces of 'right' and the 'usurpers'


bay gaangi
parday kaan kay sun'n kardainay wala shor e khamoshi
aflas maiN thar'tharratay kapkiyuN ki shOr o fughaaN
shaakhON say juda sajda kartay pattON ki shikayat
aahON ka pahaRON ko ooRa dainay wali siski
chatanON say jan'm der jan'm do'or rait kay zarrat ka shikwa
saat samandar taire ker mauj ki zar'raat e saahil say gila
shabistaanON maiN jismON ki bay hunghum o bay hangham raq's
teesri duniya kay labON ka, zeh'nON ka raag e karbala
azizOn kay bichaRnay per numm aankhON ki bay-busi
muskurahat jo bikharnay say pehlay jo hojati hay go'om

kis dil per hoga a'sar in bay-awaaz naghmON ka
nahiN sunay ga ab in geetON ka ehtijaaj koi
yeh sisakti, khaki faryaadaiN dhulay kaf'n maiN saji
hum aa'ghOsh dharti kay seenay say hoNgi chupkay chupkay
khaak khaak aaloodah hogi, khaak khaak say aashnaa hogi
in bay-aawaaz dastanON kay sunnay ki sak't naa'paid hay
nahiN sunay ga, nahiN sunay ga, ab koi nahiN....

kya jaib ko youN khali ker dainay say paraishaaN haalON
kay mitt jaiNgay ghumm, lOt jaiNgi muskurahataiN
...................................nahiN
hum aur woh bud-haal donON isi beh'r e talatum maiN
mauj e hawadis ka saamna kartay kartay mitt jaiNgay

Wednesday, November 02, 2005

Zahoor ul Akhlaque: Bushra Chaudry

Zahoor ul Akhlaque:

Brilliant
and
Unorthodox!

By Bushra Chaudry



Zahoor has a rich and immensely varied reservoir of new ideas, which move from objective naturalism to a subjective art of self-expression.

With the preview of an exhibition of his work done over the last two years at the Shakir Ali Museum, Zahoor ul Akhlaque took Lahore's art lovers to witness this luminous evidence! There was a collection of some eleven paintings on display, which offered the contemporary art some useful material for study and reflection.

Zahoor was originally trained in National College of Arts, Lahore. He also studied at Royal College of Arts, London and finally worked in America and Pakistan. So he has been exposed to the various trends in art developing around the international galleries.

The work can be divided roughly into two categories - the figurative work which includes the groups and the single and then the more abstract work, which contains elements of the first group and also does not break the forms.

Zahoor is a convinced, determined individual with a keen intellect, a traditionalist too! His unusual perceptive qualities are evident in his paintings, which excel in sensitivity, and subtlety of draughtsmanship. He is gifted in the interpretation of character and fidelity to the truth of the object.

His paintings instantly excite the higher aesthetic sense because of their brilliant colour and their unorthodox arrangement of figures. There were unusual relationships of form supplemented with colours and dripping of paint. His paintings reflect a keen observation endowed with brilliant pictorial vision. Free from academic idealism, he has translated traditional subject matter and composed it into a modern formula, which will significantly influence the generation of younger artists. He has a rich and immensely varied reservoir of new ideas, which move from objective naturalism to a subjective art of self-expression. Colour and light are made descriptive and deepened by an interest in new spatial conception, solid form, abstract design and more careful organisation of the picture.

While talking to him I found, that it is important to remember that this innovator, considered a revolutionary in seventies did not rebel against the fundamental tradition of sub-continent painting. He has rather followed practices that had their roots in miniature painting. He is what Cezanne had said of an artist, "one does not substitute oneself for the past, one merely adds new links to its chain. Reverent in his attitude towards the art of the past and yet open-minded to new ideas."

Zahoor has given to his work a heightened sense of clarity and order. Reuses small emphatic brush strokes in place of the short, shimmering technique of the impressionists! This is but one of the many steps that he has taken in his long and determined search for a more personal formula.

He so arranged his brush strokes that they followed the dominant lines of the design. Zahoor used a black crayon method that approximated in black and white the pointillist techniques of his oil painting, done with the thought of simplicity and an elimination of unnecessary detail in order to achieve unity through verity of form.

The compositions are vertical with too many intersecting planes at varied points, which results in a sort of visual harmony. The compositions work from the centre outwards. The images are controlled, atmospheric and strangely effective.

He also established in his paintings a close harmony between colour applied rhythmically, and modelling thus achieving a more solid illusion of dimension and depth.

basheer mirza - hasan abdi

Artists mourn BM's death

By Hasan Abidi


KARACHI: Noted painter Bashir Mirza's death is being widely mourned by artists and his vast circle of fans and admirers.

Born in Amritsar, BM, as the artist was lovingly known, migrated to Pakistan in August 1947 and settled in Lahore.

He was introduced to the famous modernist painter and trend-setter, Shakir Ali, who enrolled the young boy at the Mayo School of Art (former National College of Arts) from where Bashir Mirza graduated in 1952. Later he came over to Karachi and held his first exhibition at the Algerian Embassy in 1953.

In 1962 Bashir Mirza founded his Art Gallery inKarachi. In 1971 he left Karachi for Germany. During his stay abroad, he participated in several art exhibitions held in Munich, London and Paris. Back from Europe, he stayed for some time in Islamabad and did some marvellous paintings with Potohar in the background.

Again in 1975, he rejuvenated his Art Gallery and added to it an advertisement firm. The next year, Bashir Mirza launched the Shakir Ali award in the name of his teacher and mentor to encourage the young talents in the field.

During Benazir Bhutto's second stint in office, Bashir Mirza was appointed cultural attache in the Pakistan embassy in Australia. But he could not stay there for long due to poor health and came back.

Bashir Mirza was married but he was not a family man. The nectarous in him could not carry on with a battered marriage for much long. However, his series of paintings, the Lonely Girl, became very popular with the connoisseurs of arts.

Bashir Mirza was highly sensitive, imaginative and owned a sound intellectual background. His big painting on a clipboard of 27x4 feet done for a hotel in Islamabad illustrated symbolically four major problems confronting the people in the 21st century - human rights, the status of women, migration and environment.

CONDOLENCES: Noted artist and an old friend of Bashir Mirza said that BM was obsessed with creative work which had passed through many phases. He said BM's early period drawings were his most powerful work. Later on he painted expressionist paintings, followed by geographic abstracts. His next series was songs and colours.

After returning from Germany, BM painted his famous Lonely Girl series and later on the Flower Girl series. Eventually BM painted human figures which were very spontaneous in a powerful expressionist manner, he said.

Finally when BM was a cultural attache in Australia he painted a series of anti-nuclear paintings which were not allowed to be displayed due to his diplomatic status. Later the paintings were exhibited in Karachi.

Ali Imam said the paintings were BM's major passion in life and it was a pity that this odyssey in art had to come to an abrupt end. During his 35-year span as a painter BM set up the first art gallery in Karachi, later he also published an art monthly "Artistic Pakistan".

Leading artist Mansoor Aye said Bashir was among the leading few artists who had used the medium of acrylic in such a way. He was among the leading painters who had introduced modern trends in their paintings.

He said though Bashir Mirza had studied graphic arts in Lahore and after moving to Karachi over 35 years back also worked full time as graphic artist in a commercial firm, BM and he both used to do painting at Bashir Mirza's place till late in the evenings.

Talking about BM's health, he said he had some liver ailment and had also suffered from appendicitis a few months back.

Rabia Zuberi, who had known Bashir Mirza for over 35 years, taking about the artist said BM had force in his lines, used basic colours and was aware of the environmental problems which he highlighted through his paintings. "Bashir Mirza had depth in his work and he also did series of paintings on music and portraits."

She said BM was neither a coward nor a hypocrite. "Whether good or bad, people knew all about him as he had never hidden anything from the public and had always remained an open person." She said he used to visit her Karachi School of Arts frequently and always encouraged and guided the young artists.

knee jerkers

Uzma:

Interesting musings:

"... yet, sometimes in our zeal and passion for liberation, we become just as closed minded as the people we are fighting against. If we are truly "open-minded" that means we should be able to take people for what and who they are." And

"I then looked around and realized that these group of women talked to one another and understood one another, and were not getting as annoyed as I was by the entire event."

After your musings, the lines I selected in an earlier interact here appear more potent:

We speak similar languages,
but do not communicate.
Is it because we do not talk -
or because we do not understand?

Reflectively, I would say these lines also sum up beautifully the KJs here on the Chowk, too. These Knee Jerkers who oft times monolpolise and wear one down by shouting and proclaiming the superiority of their religion, culture or country.

dr mubarak ali - ameera javeria

DR. MUBARAK ALI
FIGHTING FASCISM
by Ameera Javeria

Dr Mubarik Ali greeted me warmly in the modest drawing room of his second floor apartment in Lahore's Cantonment. He is one of the very few historians born in this land to have attained international recognition, as well as domestic notoriety, for his original and unflattering views about Muslim rule in the Subcontinent. The doctor has the eminence and grace of a man that comes from plumbing the depth of knowledge. There was much to be said and so without further ado he fired away.

"Krushchev said that historians are dangerous people, so you have got to be wary of them", said Dr Ali with a wicked gleam in his eye. An apt remark for Dr Mubarik Ali has indeed stirred a hornets' nest in Pakistan, especially among the ideologues, because of his secular views about history, especially the Partition. His thesis is that the two-nation theory is the basis of Islamic fundamentalism in Pakistan. He believes that by deviating from secular thought, the Muslims of this country have alienated the minorities. "On an international level, we are branded chauvinists and fanatics because of our education". Dr Mubarik Ali's thesis is appreciated among the cognoscenti; but since we have many a religious zealot in the society, particularly in what passes for academia, there are occasional howls of protests.

Dr Ali's is a spartan lifestyle, with a distinct anti-elitist attitude. He takes pride in the fact that he has been working from the age of fifteen after completing his matriculation. Born in 1941 in Tonk, in Rajasthan (India), he traces his ancestry to the Pathans who left their rugged homeland in the north to settle in the more fertile plains of India. "My mother was from a religious family in Kasur while my father was from Sambhal, in Utter Pardesh". In 1952 the family had moved to Hyderabad, Sindh, where Dr Mubarik Ali received his early schooling. The move, however, proved to be unpropitious for his father who lost all his earnings in a risky business venture. Being the eldest sibling, Dr Ali had no choice but to work. Despite the hardships, he continued with his education earning his bachelor's degree from a night college after which he joined a secondary school as a teacher.

After securing first position in his Master's in History, Sindh University offered him a job as lecturer, a post that he held from 1963 to 1989. When he chose to leave the institution it was as the head of the history department. In 1970, he went to England in search of a scholarship in order to finance his doctoral studies. "At that time, £260 per annum was a huge sum for me and I had to work at all sorts of jobs to come up with that kind of money. I even sold diaries at Selfridges to support myself". This was when he found out that if he enrolled at a German university his tuition fee would be virtually non-existent and so it was to the Ruhe University, Bochum, that he proceeded from where he earned a Ph.D for his thesis titled "Mughal court life".

On returning home in 1972, Dr Ali found that he had been unceremoniously suspended from Sindh University. The university's chancellor when reaching this decision did not stop to consider that the reason for Dr Ali's one-year long leave of absence was caused by his pursuit of his doctoral studies abroad. Disheartened and disgusted, he resigned from Sindh University in 1989 and was thereafter employed at the Punjab University's South Asian Institute.

Dr Mubarik Ali is not, naturally, an antagonistic person nor does he nurse un-Islamic views as his detractors claim. He believes that Pakistan could prosper more as a nation if it shows a balanced patriotism, which means de-ideologising of the mind. He dismisses the notion that Pakistan's existence is underpinned by the two-nation theory and that it will collapse if this is undermined. This year, at a seminar in New Delhi, he read a paper that dealt with Pakistan's search for identity. The paper evaluates the construction and process of a national ideology that, after five decades of independence, has brought more harm than good.

When I asked him to comment on why we never had an objective study on the Partition when India has produced so much on this subject, he responded with a smile, "the Indians have researched this issue since they nurse a great sense of loss. We, on the other hand, are not expected to reveal any feeling of shame or loss as this might be perceived as dimming the glory of achieving independence. If we allow ourselves to do so we will negate the very two-nation theory this country is based on". Dr Ali went on to explain how successive governments have made desperate efforts to preserve the Pakistan ideology by distorting history in school textbooks and enforcing a penal code that awards 10-years rigorous imprisonment to anyone speaking against it.

The doctor also expressed his reservations about the educational system prevalent in Pakistan today. "Education is a positive thing but an ideological education can have disastrous effects. This is why I believe that an uneducated person is more broadminded, for he is tolerant". He expressed his disgust at the efforts aimed at twisting and distorting history which he said "is the victim of ideological states. Independent research and publication of textbooks have been compromised because of the state's intervention".

He lamented the fact that this opportunistic change in school curricula has not only altered the way we think as a nation but has ultimately cheated us of our true heritage. It is for this reason that he was critical of Ayub Khan's education policy. "At one time, ancient history i.e. the Ramayana, Mahabharat and the study of Buddhist culture and relics was part of curricula but it was done away with in 1962", explained Dr Mubarik Ali. After 1965 additional chapters on patriotism were added to school textbooks in an attempt to glorify military heroes.

Dr Ali wrote a research paper entitled "Akbar in Pakistan's textbooks" in 1992 in which he commented on emperor Akbar's conspicuous absence from Pakistani textbooks when dealing with the Mughal dynasty. "In l933, Muslim scholars in India started blaming Akbar for the downfall of the Mughal dynasty and declared him a taboo subject". For his part, Dr Mubarik Ali is of the opinion that it was due to Akbar's radical policies in India vis a vis the treatment of minorities, also known as "Sulh-e-qul", that truly "Indianised" Hindu-Muslim society.

Dr Mubarik Ali is a firm believer in history's binding force; according to him, distancing ourselves from our past can cause irreparable loss. "We suffer from serious misconceptions about Muslim rule in India: the Mughals did rule India for centuries but it would be wrong to call this Islamic rule; it was the rule of Muslim dynasties."

It is with a sense of deep distress that Dr Mubarik Ali looks on as history and research is increasingly confined to a handful of universities and government institutes that allow no freedom of thought and where researchers are forced to stick to parameters ordained by governments. "There is little room for a researcher to expand. Pursuing independent research could endanger your or your boss's career", he says. And certainly, a life of teaching is not as gratifying as it used to be. Dr Ali finds the attitude of today's students appalling which in turn has made him lose faith in teaching. He resents the fact that teachers in this country are being made to work for peanuts and links the intellectual decline in the country to the impoverishment of teachers.

Despite the grim scenario, Dr Ali has tremendous intellectual commitment to his work. His forty or so publications are a measure of his resolution. Even though it is rarely that he writes in English, his books have received critical acclaim abroad. "Back home, most of my readers are from Sindh, Balochistan and even from the Siraiki speaking belt". Dr Ali believes that if the government cannot perform its duties, then it is up to intellectuals to unite at a private platform for the promotion of research and independent inquiry. "Our society does not deserve to have a culture of its own if it fails to build its cultural institutions", he says.

The future for secular individuals in Pakistan perturbs him a great deal. "I fear a time when intellectuals will be completely isolated from mainstream society. There is no protection for free thinking individuals in Pakistan. And how can there be when these so-called lashkars go around branding us as enemies of Islam or foreign agents", he protests.

Waging a war against the government has never been an option for Dr Mubarik Ali even though he is constantly pitted against the establishment. He is a man, a rare breed in these violent times, who believes in bringing about change through debate and dissent. Unfortunately, our society is increasingly intolerant of all forms of dissent. "In Hitler's reign it was the society that turned fascist. It is easy to fight against the government but very difficult to fight against society", Dr Mubarik Ali concludes on a chilling note.

Tuesday, November 01, 2005

chowk aniversary 1999

3548 chowk@two on August 16, 1999
UMAIR, SAFWAN, GINNI, RADHIKA & OTHER CHOWKIES.

Cupfuls of thanks brimming with appreciation and gratitude for your efforts and perseverance over the last year. Ofcourse, you could not deliver without help from FOZIA QAZI, AATISH, REHAN ANSARI, RAS SIDDIQUI, ARIF ABRAR, UZMA, KAMRAN AKHTAR, ZEENAT JEHAN, FUTEMA, SAIMA SHAH, CONTENT, KAFIR, ROHAN OBEROI, CHEENO, JAWAHARA SAIDULLAH, ANNE SHAMIM, SOHAIL RABBANI, WASIQ BUKHARI, FEROZ KHAN, F. ZEHRA RIZVI, & BEENA SARWAR.

And specially,ANITA ZAIDI, SAAD SHAFQAT, BINA SHAH, V. RAMASWAMY,
AND SHANDANA MINHAS.

Over the last year, the best piece of writing I read was SHAHERYAR HASNAIN'S intro to his pictorial essay Karachi Part I. (And, this, despite KANEEZ REHMAN, and PERVEZ HOODBHOY'S tribute to EKBAL AHMED coming a close second).

I will light a candle for each one of these individuals and whirl in ecstasy (haal), for you have enlightened, amused, entertained and otherwise made this past year at Chowk memorable and colourful.

My thanks, in addition will also go out to the interactors, the chowkies, without whom these writers could not deliever what they did. (Note to Zehra: Were'nt you going to pick out the best interactions/comments and whip them into an article?)


Don't sellout Chowk, or you will lose your soul.


regards and best wishes

Jafar Zatalli- Intizar Hussain

A serious absurdist


By Intizar Hussain

Jafar, the absurdist, I mean Jafar Zatalli, was an interesting character. The elite of his time had dismissed him outright, saying that he talked nonsense and was obscene and vulgar. Jafar did not deny the charge of absurdity. Rather, he insisted upon it and had compiled his writings, prose as well as poetry, under the title Zatal Nama. And so he did not mind being called Jafar Zatalli.

The absurd, as understood by people in general, was with him a serious way of seeing and understanding things in human life. The men of opinion in his time and in later periods could hardly reconcile with this peculiar angle of vision. So his poetry was never considered worth serious treatment. Literary historians dismissed it as something non-serious.

We took nearly 200 years to realize that Jafar's Zatal was not devoid of meaning, that it carried with it a comment on the social situation of the time and human behaviour in general. So now literary historians such as Jameel Jalibi appear to recognize the significance of Jafar's Zatal. The latest work in this regard is that of Rashid Hasan Khan, the renowned research scholar from India who, after much research, has compiled the collected works of Jafar Zatalli and has brought them out under the title Zatal Nama.

The book has come to me as a precious gift from a friend in New York. He is Abdulwahab Khan Salim. He has a large circle of friends in the world of letters. He is fond of sending gifts to friends and it is always some precious book. In fact, he keeps an account of the intellectual needs of his friends. He has correctly assessed my intellectual needs and has sent me Zatal Nama.

Rashid Hasan Khan feels obliged to Ali Sardar Jafri, who felt unhappy the way Jafar Zatalli was ignored, and exhorted him to work on the poet. The scholar who was the first to point out the significance of Jafar Zatalli's verse was Mahmood Sheerani.

Mir Jafar Ali, more known as Jafar Zatalli, grew up during the reign of Aurangzeb and was murdered in King Farrukh Syer's time at the latter's orders. Rashid Hasan Khan calls him a bitter poet, a poet determined to speak what he sees and feels plainly and bitterly. This cost him his life. He, according to Rashid Hasan Khan, fares better than the so-called revolutionary poets of our time.

Rashid Hasan Khan has, on the basis of Jafar's verse, debunked some of the assumptions which have come to stay as admitted facts in respect of Urdu poetry and the Urdu language. One assumption is that the ghazal is the starting point of Urdu verse in Delhi and that it took a start the day when Wali Deccani's collection of ghazals reached the city. The other assumption is that the Urdu poetic tradition is essentially the tradition of the ghazal. One more assumption is that Urdu poetry is mainly Gul-o-Bulbul poetry revolving around the emotion of love, and is devoid of any kind of social criticism.

Rashid Hasan insists that Urdu verse in Delhi had already taken a start with Jafar Zatalli in the forefront, and that Jafar was not a ghazal writer. Wali Deccani's collection of ghazals reached Delhi well after Urdu verse had made a non-ghazal start.

As suggested by Rashid Hasan one can, keeping in view Jafar's verse, say that Urdu verse in Northern India took a start not as the poetry of love, but of social criticism. Jafar's verse was poetry of social criticism par excellence.

Zatalli was essentially a satirist. We find in his satire an admixture of the ridiculous and the sublime. He was acutely aware of the deteriorating social conditions around him. What is more, he had the honesty and the courage to say what he saw. He did not spare even the kings and princes when commenting on the corruption rampant in society. He was in the service of Prince Kam Bakhsh, the son of Aurangzeb, when he wrote a satire on him. In consequence, he was dismissed from his service. But when he wrote a satire commenting bluntly on the ruling ways of King Farrukh Syer, it cost him his life.

Zatalli's satirical verse gave birth to a new mode of expression, which soon evolved into a new genre known as Shehr Ashob.

Rashid Hasan has also tried in his introduction to determine the role of Zatalli in the evolution of Urdu as a language. Those were the times when Urdu was still in a formative stage. The odd linguistic innovations of Zatalli helped accelerate this process. The way he injected Persian words and expressions into Urdu couplets and newly-coined Urdu words and phrases in Persian couplets, and the way he coined new words, phrases and idioms appears odd.

But this kind of linguistic expression on his part went a long way in the linguistic evolution of Urdu. In his verse, Urdu appears to be speedily advancing towards becoming a developed language.

feroz

Mohtarmi Janaab GlennFerozovichKhanov:

Baad aadaab, arz hay kay aap ka is waqt Pakistan jana bohat naa-munasib hoga. Aap Fateh Fauj aur bahadur Afwaaj kay baray maiN jo likh rahaiN haiN oos say donouN campoN maiN aap kay dushmanouN ki taadaad barh rahi hay. Humaray ISI kay mole nay ek bulletin ki kapy humaiN bhayjee hay. Aap ki khidmat maiN hazir hay.

A.P.B.

Ref # PK786/990810/Chowk/Badmash/Feroz

To: All staff and officers at the border check posts.

Please look out for a 5-8, darkskinned, bespectacled, Pakistani male, possible carrying a Canadian or American Passport, short hair with shades of gray, with a permanent smirk, hanging out of left lips. When apprehended, please ensure no bones are broken. If force is used leave no marks on hands or face. Or you may be transferred to Thar. The said indiividual speaks broken Gujrati, Urdu and Punjabi. His English accent is a mix of Grammarian pseudo English half baked with Canadian and Mid western English. Further details are posted on the Entry Control List, rev 08/10. When apprehended seize his luggage. Do not touch any papers or computer disks. Dispatch them with haste to the same room we readied for Najam Sethi.

kaisa pyar

for shandy

Jeena kaisa azaab hay? Teri baataiN yaad aati haiN. One soul, divided again and again, incontrovertible, undiminsihed, unyielding yet seen. Seen in you and me. And all those other teeming millions, 12,130, 900, 6000.

We must have shared the same streets, lanes, boulevards, parks, buildings, planes, routes, seats at one time or another. And not exclusively at that. Why stop at thumbing the nose/s? Don't you envy the velcro fly?

As usual, words are far behind the thoughts. These fingers can't keep pace. Now, that thought, that beauty you talk about is everywhere. And nowhere. Not when the tactile urge overwhelms. Forget Tennyson, Asadullah, forget everyone that inherited the fragmented soul. Do we slow down as calendars fade and are filed away in memory's huge warehouse? Perhaps not, regardless of the physcian's assertions.


The magic is in love. The magic is in hate. One cannot go from an existential foray into the ethereal ocean of life with only one of them.

Tum aur hum, zindagi ki gaRRhi kay dou phaiyay. As is love and hate. Folks go overboard when seeking gratification with one balm only. I find you constantly inch forward to touch the truth. Is hate a harsh reality, unblinking, unyielding. Or is it controlable?

These days, I'm more inclined to treat them as horses pulling our chariots. One has to accomodate the grays. From wheels to force.

Channelised, purposeful. Seldom.

Na Hath hay baag pay naa paa hay rekaab maiN
Daikhiye rakhsh-e-umar kahaN thamay


I hope this is a correct quote. Hence we whirl. In another time, another place, we would have been whirling dervishes.

(Disclaimer: Am neither high, nor driven. Just drained.)

One of the better one from you in a long time. Ecstatic.

Pakistani women writers-By Deepti Priya Mehrotra

The avenue of expression


By Deepti Priya Mehrotra

The work of Pakistani women writers is now being acknowledged all across the globe

“Words for me are just balm — they soothe me when the anguish is too deep,” mused the Lahore-based writer Feryal Ali Gauhar. “In an increasingly insecure world, a woman speaks of conflicts generated, engendered and perpetrated by men.” Gauhar studied political economy at McGill University, trained in documentary film production in Europe and teaches film at Lahore’s National College of Art. Her first novel The Scent of Wet Earth in August was published by Penguin-India in 2002 and she has recently completed a second novel No Place for Further Burials, which focuses on the American presence in Afghanistan.

Gauhar was one of four women writers speaking in the basement lecture room of New Delhi’s India International Centre on September 22. The occasion was the release of And the World Changed: Contemporary Stories by Pakistani Women, a collection of short stories by 24 Pakistani women writers, published by Women Unlimited. The other three writers present were Muneeza Shamsie (the editor of the volume), Humera Afridi and Sabyn Javeri-Jilani.

While Shamsie and Gauhar live in Pakistan, Afridi is at present based in New York and Sabyn in London. In fact, of the 24 short story writers in the anthology, half live in Pakistan while the other half are based in the West.

Gauhar was particularly eloquent about being in India: “I traversed the narrow alleys of Chandni Chowk as a child. I remember the family packing a few belongings and travelling by train to Amritsar, from there to Bharuch, then a tonga and a bullock-cart ... I’m still travelling. Coming here is very difficult, because it is like being home and yet not being home.”

Afridi traced her urge to write to the state of virtual exile she has been in since childhood: “My family left Pakistan and I grew up in the United Arab Emirates (UAE). I don’t know whether I would have become a writer if I hadn’t been torn from Pakistan. I began writing poetry when I was 16 and, ever since, writing has become a sort of home. The UAE was a hostile and alien environment, where my identity was always being questioned. The desire to compensate for my dubious identity became an impetus for my writing.”

Afridi went to America to study English at Mount Holyoke and Carnegie Mellon universities, and is these days completing her Masters in creative writing from New York University. She has taught English in Jeddah, Dubai, Dallas and New York City. Having lived in six places during the past 10 years, she feels her writing “is neither here nor there. Moving so much, I have taught myself to appropriate cities. The novel I’m writing is situated in six places. Moving can, finally, be liberating ...”

Sabyn Javeri-Jillani was born and studied in Karachi. She moved to England five years ago and writes for Pakistani and British publications on culture and entertainment. “In South Asia, we come from such rich traditions of storytelling. All of us have many stories within us,” adding, “Karachi remains central to my work. I find that physical distance enables you to reach out to those nooks and corners of your mind and unravel memories. My writing explores the question of being suspended between different cultures. I write about home, but is home the place where you have your roots or the place where you take wings and fly?”

Muneeza Shamsie was born in Lahore, educated in England and lives in Karachi. She noted that the theme of ‘quest’ runs like a thread through all 24 stories in the collection. She recalled that as a student in England, “I couldn’t find a context for myself in geography, history, science or literature. South Asian writing attracted me because it challenged the empire.” Having edited two anthologies of Pakistani English writing — A Dragonfly in the Sun (OUP, 1997) and Leaving Home (OUP, 2001) — Shamsie feels that Pakistani women writers are at the “extreme edges” of both English and Pakistani literature.

While Shamsie is ‘regrettably’ monolingual, Gauhar speaks and writes in Urdu, Punjabi and English. She writes a column on political economy in the newspaper Dawn, but much of her creative writing is in indigenous tongues. “I wrote The Scent of Wet Earth in Urdu and Punjabi, and later translated it into English,” she reveals. “Instinctively, I find it contrived to write in a language so distanced and not even adequate to convey the emotional landscapes of a people. How can I write of the degrees of sadness mingled with joy in the month of saavan (monsoon) in the English language ...?”

Gauhar believes that the process, and not the product, is important for her. “The process of writing keeps me sane.” Gauhar described three years spent making a film on four colourful characters in Shahi Mohalla (literally ‘royal neighbourhood’, as Lahore’s red light area is euphemistically called). She felt privileged to have met and got to know such people. She notes that traditions like dastaangoee (literally, storytelling) are to be found in regional languages, but not in English — “globalization has destroyed a lot.” When asked whether she would like to write a novel in half-English and half-Urdu, Gauhar quipped, “Yes, par aap publish karenge?” (Yes, but will you publish it?)

All four writers reflected on their state of being ‘hybrid’, as South Asians who write in English. Afridi noted that she writes for a multi-ethnic diaspora, as much as for herself. Gauhar acknowledged there are pressures on the writer today. Her novel No Place for Further Burials features deaths of Afghans and Americans in Afghanistan and was considered too sensitive for publication in America, because the American public has been deliberately misinformed about the number of American militiamen killed in Afghanistan. It is a test of integrity whether a writer succumbs to such pressure or remains true to the essence she wants to share. Gauhar noted, “For me, any death is a death too many, whatever the colour of the corpse.” Afridi wryly noted that you don’t usually earn from writing fiction, so it can sometimes be difficult to justify such writing to one’s own self.

On a question on women’s writing specifically, Gauhar remarked, “Writing may be the only avenue of expression for many women. Men may whistle, saunter around and behave badly. In Pakistani society, we women do not whistle, wink or make salubrious noises. Women who were courtesans discussed sexuality over the centuries, and strung words together to compose songs. But those who composed at home were not recognized. It is the positioning of women — performing is out of bounds for us, as it was for middle-class Indian women a hundred years ago. You cannot sing and dance without being noticed, but you can write quietly.”

The evening succeeded in bringing about a deepened understanding and awareness of the concerns of contemporary Pakistani women writers. Indian writers share many of these concerns. Clearly, direct cultural and literary exchange across our borders is an idea whose time has come. — Dawn/WFS Service

Graveyards — a neglected social issue By Faiza Ilyas

Graveyards — a neglected social issue

By Faiza Ilyas

Among the jigsaw puzzle of graves lie pye-dogs and drug addicts, spoiling the sanctity of cemeteries. While there exists no authority to protect these places from unwanted elements, the graveyards are vulnerable to all sorts of illegal activities. People fear visiting these cemeteries as they are in the control of different mafia including land-grabbers and drug sellers, writes Faiza Ilyas

“Who cares about the dead in a society where human life itself has no value. Buried with profound grief, the deceased are forgotten in no time. Later on, only a few manage to take out time to visit the last resting place of their loved ones, which is one of the reasons that many graveyards, declared closed years ago, do not disappoint those looking for burial space. With government and society taking no responsibility of the dead, the mafia of undertakers exploit people and make money out of the misery of the common man who is duped even after death as he finds himself sharing his eternal abode with an uninvited guest.”

Beginning on a sad note, Hasan Ali, an office worker, laughed sarcastically when he said the last sentence. A regular visitor to the graveyard located in Shah Faisal Colony, Ali begins his day by offering prayers at his mother’s grave in a cemetery along Shahrah-i-Faisal, one of the oldest in the city, which he regards as his ancestral graveyard as many of his relatives are buried here.

“What is the government doing to alleviate the sufferings of the living? The poor are barely surviving hand-to-mouth with the persistent price-hike. Even a burial costs so much money now. The gravediggers are charging thousands of rupees for a grave already used for burial. And yet not a single penny is spent on the premises which is evident from the dilapidated conditions of cemeteries in the city.” His complaint can hardly be challenged.

Never on the list of government priorities, graveyards are a true reflection of the chaos existing in the society. Excluding the ones looked after by some associations, communities and institutions, such as the Gizri Graveyard in DHA under the Cantonment, almost all of them are devoid of proper planning and management. There is no system of registration of the dead either. And, if people avoid visiting the graves, they have strong reasons to support their action.

“In most graveyards there are no walkways. Those present in densely populated areas reached their maximum capacity years ago and were officially closed such as the ones in PECHS (along Tariq Road), Paposh Nagar, Sakhi Hassan (North Nazimabad) and Essa Nagri (Hasan Square). But, still, burial practices continue at these cemeteries due to shortage of space. Hardly any new cemetery has been set up with the mushrooming growth of new localities. Hence, in an overcrowded graveyard, one is compelled to desecrate other gaves by trampling over them to reach the resting place of his or her loved one, which is obviously not an appropriate thing to do. Besides, the graveyards do not have basic facilities such as water and electricity, according to Zia Jamshed, a retired banker residing in Gulshan-i-Iqbal.

People are also critical of the filthy conditions existing in and around the graveyard, which are sometimes used as a garbage dumping site. A case in point is the Azeempura graveyard in Shah Faisal Colony where alongside the boundary wall lie heaps of garbage and buffalo dung.

Owners of a cattle-pen in the locality as well as government refuse vans dump the waste in the open space adjacent to the cemetery. Later, when this garbage is set on fire, the smoke not only pollutes the environment but also causes hardships for people who come to visit the graveyard.

Voicing a similar opinion, Mohammad Hasan, a resident of Lyari who works in a newspaper office, said: “In contrast to western societies where graveyards are well maintained, and one would like to visit them for peaceful contemplation, here is a different story. Among the jigsaw puzzle of graves, lie pye-dogs and drug addicts, spoiling the sanctity of cemeteries. While there exists no authority to protect these places from unwanted elements, the graveyards are vulnerable to all sorts of illegal activities. In fact, some graveyards located in the under-privileged areas have turned into criminal dens. People fear visiting these cemeteries as they are in the hold of different mafia including land-grabbers and drug sellers.

For instance, he says that as the huge Mewashah graveyard, covered with wild growth falls into darkness, dacoits take refuge and operate from its vicinity. Incidents of robberies are common and there are instances when people who had come to visit the graveyard were deprived of their valuables in broad daylight.

Drugs and alcohol are openly sold in Mian Goth graveyard in Malir, according to Zarina Bibi who works as a maid in the same area. The illegal business goes on reportedly in connivance with the police which, at times, make false raids to apprehend them. She says that this is perhaps, to pressurize the drug barons to increase their weekly bhatta.

Narrating his experience with the undertakers, Mohammad Ilyas said that he had to pay Rs6,000 for his father’s burial in Mewashah graveyard a year ago.

“Notwithstanding the official records which declare Mewashah graveyard closed decades ago, it is still the preferred burial ground for many residing in the adjoining localities such as Pak Colony, Lyari, Keamari, Mohajir Camp and Pak Colony. The credit for this goes to the many undertakers working here who know which grave is seldom visited and is now ‘ready’ to take another body. Human bones found during digging are either buried in some other place or thrown in the garbage dump.

“In an under-privileged area like Lyari,” he says, “one is surprised to see that the poor pay exorbitant charges for burial. There are not one but many groups of gravediggers working here who demand money. When my father died a year ago, I had to borrow money from friends and relatives to pay Rs6,000 to the undertakers. Since that time, I have been paying Rs100 monthly to a mali to take care of the grave because otherwise it would be re-used.”

Some years ago a shocking incident was reported in the press about a naib nazim who allegedly demanded Rs25,000 from a man who had come to bury his father in a graveyard in Gulistan-i-Jauhar. The naib nazim accompanied by some police officials, said that the money was to be split between himself and the local police station. When the mourners refused to pay the amount, they were forced to take the body to another graveyard where it was finally laid to rest.

According to another report, the monthly income of some gravediggers amounts to Rs80,000. The citizens pay Rs1,500 upto Rs6000 plus (the figure varies from locality to locality) instead of the nominal charges mentioned in the bylaws approved by the city council last year. The gravediggers not only sell a grave to more than one customer, but are also involved in the sale of its parts including tombstones and sand blocks. This business has considerably improved their financial status and they own big houses and shops.

Endorsing this viewpoint, Syed Kamal Shah Ghazi, who was once the caretaker and owner of Mewashah graveyard, says that the gravediggers’ mafia has thrown him out of the premises of the graveyard, considering him a threat to their illegal activities. This land belongs to my great-grandfather who donated it to be utilized as a graveyard. The gravediggers’ mafia has taken control of the entire cemetery and are involved in all sorts of criminal activities.

However, he couldn’t verify the reports on grave robbers involved in the trade of human parts and said that he had read such stories in newspapers but he himself had never witnessed such an incident.

Besides the issue of a proper demarcation of graveyards, one practice which is prevalent in almost all graveyards is the construction of illegal structures which include mazars as well as mosques. Visit a graveyard and you can see a mazar named after a ‘spiritual’ personality, son or grandson of so and so. A glaring example in this respect is of New Karachi graveyard, where according to a report, 16 mazars have so far been established. These mazars which remain crowded throughout the day are actually dens of anti-social elements who have taken over the graveyard land in the name of mazars. Similar is the case with Mewashah graveyard.

Talking of land grabbers; there is another classic example. A major portion of the old Morraro graveyard near the Site area is now possessed by factory owners.

“Morraro graveyard is located on the other side of Sher Shah bridge. It’s more than 100 years old and the eldest daughter of Mewashah Baba was buried here. Actually, the land of Mewashah and Morraro graveyards has shrunk due to the increasing residential and commercial activities. If the premises of the houses located in the adjoining areas were dug, you would probably find human bones in them. Few people go to Morraro for burial now as it has almost been destroyed after the establishment of many factories there,” Syed says.

Though the situation is far better off in Christian cemeteries, they are still facing a host of problems. Father Joe D’Mello at St.Patrick’s Cathedral says: “Graveyards are one of the most neglected areas in our community, too. Some are not even fully protected by a boundary wall which makes them easy prey for encroachment. At times tombstones are broken or stolen, and then, there is the problem of water-logging and salinity, especially in a section of Gora Qabristan. We are running short of space. Sometimes old graves have to be dug, but for that permission is taken first. Nearly Rs800 to 1,000 are charged for a burial at Gora Qabristan which is reduced if the deceased is a member of the Christian cemetery board.”

According to supervisor Donald Pereira who has been serving there for 25 years, Gora Qabristan along Shahrah-i-Faisal, dates back to 1802. But despite being one of the oldest, it is still in a better shape as compared to other cemeteries. There are many ancient graves here and some are of the soldiers who died in World War I.

A portion at the back of the cemetery had been taken away by the army decades ago, which was also used as a graveyard. Now, it is closed for further burial. The cemetery’s land has been a target of commercial greed and attempts have been made in the past to install billboards and hoardings within the land that belongs to the graveyard.

At present, all Christian cemeteries in the city handle their affairs on their own with the help of area residents and there exists no central authority which can coordinate and oversee their work. This is a major problem which weakens their strength as a community to resolve their problems. However, work is in progress at different levels to sort out this issue.

Miani Sahib graveyard

Growing encroachments in the city’s largest historical graveyard — the Miani Sahib — may soon force Lahorites to find some other place outside the metropolis to lay the departed souls to rest. Buildings, houses, shops and even a marriage hall have been built on the land of the Mughal era Miani Sahib where scores of historical and religious personalities are buried.

The graveyard has a special significance for the citizens of Lahore as their ancestors are buried there. Spread over an area of 1200 kanals, it touches Lyton Road, Jain Mandar and Chauburgi. Several kanals from all the three areas have been encroached upon with the connivance of the government officials.

The encroachment reportedly started in the 1950s’ and the government filed a case against the occupants after it formed the Miani Sahib Graveyard Committee in 1962. “They have obtained a stay order from the court, therefore, the government cannot evict them from the land,” says a committee member. “We have recently demolished a marriage hall, illegally constructed on the premises,” he said.

Bibi Pak Damin Graveyard, the second largest in the city, has also been encroached upon. Other smaller graveyards in different localities like Badami Bagh, Township, Green Town, Gulberg, Begumpura, Shahdara, Shadbagh, Shalamarare also filled. The Christian graveyards in the city are, however, well maintained.

District Coordinator Officer (DCO), Khalid Sultan, says the government has selected land on Ferozpur and Baidian roads for the development of Miani Sahib II. “The Miani Sahib Graveyard Committee has been reorganized recently which is taking steps to retrieve the land from encroachers,” he explained. –– Zulqernain Tahir



Present status

There are 182 graveyards in Karachi. Of them, 163 are for Muslims and 19 for non-Muslims. Seventy fall under the control of City District Government Karachi, while 112 are looked after by associations. Seventeen including Mewashah, PECHS (Tariq Road), Paposh Nagar, Sakhi Hassan (North Nazimabad), Essa Nagri (Hasan Square), Shah Faisal Colony Gate (Colony Gate), Saudabad (Malir) graveyards have been officially declared.

Despite acquiring 579.89 acres of land and allocating funds in every budget, the last city government failed to establish any new graveyard. The encroachers’ mafia is also active on the land earmarked for this purpose in Malir and Gadap towns and once there was a report of city government officials being beaten up when they came here for demarcation. — F.I


An online graveyard
It is a fact that Information Technology and the Internet have changed the way we live our lives and carry on our day to day activities. However, this transformation is not limited to the living. Wadi-e-Hussain, a Shia graveyard, currently allows mourners to visit the graves and view the last rites of their loved ones online at www.wadi-e-hussain.com.

Founded in 1999, Wadi-e-Hussain graveyard is located off the Super Highway at a distance of 18 km from Sohrab Goth. The burial ground has a capacity of more than 50,000 graves and to date is the last resting place of almost 2,000 people. The graveyard is meticulously organized and reasonably priced. The graveyard charges 5,000 rupees per burial and when a new grave is added, as part of the graveyard services, it is photographed and the picture is uploaded along with brief personal details of the deceased. One can trace a grave online by either searching the website by entering the grave's ID number or the name of the deceased, or one can conduct a search by the month and the year of burial.

In addition to this, for an extra Rs1,500, an online video clip of the funeral is also uploaded on the website so that friends and relatives of the deceased, who were unable to attend the funeral in person, can virtually participate in the last rites. All the graves are identical and extra construction is strictly prohibited. Although the management takes orders from overseas Pakistanis, it prohibits advance bookings or attempts to secure land for an entire family or clan. –– Reba Shahid


A practical solution
True, more land should be allocated to cemeteries, but isn’t it time that we, as a society, debate this serious issue. The problem of over-crowded graveyards can be solved if some guidance is taken from religion. Islam has forbidden erecting solid graves and the wisdom behind this order is to avoid congestion in graveyards as well as turning them into monuments, displays of wealth or places of worship. This principle is followed in many Muslim countries.

Scholars agree that a grave of a Muslim should not be disturbed if flesh, bones, or other parts of the body remain there. But if the entire corpse has disintegrated into dust, then a new grave may be dug there. — F.I



Bylaws of graveyards
The only step taken so far to improve the condition of graveyards is the approval of Bylaws of Graveyards and Cremation Grounds 2004, which clearly mention the charges for gravediggers, their registration and responsibilities of different committees for the cemeteries. Unfortunately, the bylaws approved by the city council last year still remain to be implemented. This situation forces people to pay a lot to the gravediggers on the one hand and deprive the city government of its due share on the other.

The bylaws emphasized upon a proper layout plan for new graveyards, design and size of graves, provision of essential infrastructure and arrangements for proper upkeep and maintenance.

They also state that those associations, which have been allotted graveyards by the CDGK are answerable for maintaining cleanliness in the graveyard, proper arrangement of water and ensuring that the gravedigger is not overcharging.

In such graveyards, the allottee is bound to appoint a watchman, a gardener to remove garbage, animal faeces, trimming of wild bushes and watering of plants and maintenance of trees in the premises.

The bylaws also bind the graveyard workers to inform the relatives about any decay and damage taking place at any grave and to ask the relatives to get the grave repaired within the allotted time. It also directs closure of graveyards that have become crowded. — F.I


Mewashah graveyard
Mewashah graveyard is perhaps the only graveyard in the country which has graves of Muslims belonging to all the sects, members of minority communities such as Christians and even Jews. A place is also reserved for Hindus to perform their last rituals.

Named after Mewashah Baba (real name Syed Kabir Pasha who hailed from Afghanistan), the graveyard is located between Lyari and Pak Colony and is spread over 10km. Legend has it that while Syed Kabir Pasha was being taken on a ship to an island to be punished, he was saved by a big fish which helped him reach this place. The fish died just after reaching the shore whose bones are still preserved in a glass box in the graveyard premises.

According to Syed Kamal Shah Ghazi in those days the entire land up to Mithadar, Kharadar and Lea Market was under the sea. Impressed by the spiritual powers of Syed Kabir Pasha, the British gifted him this land which Mewashah Baba decided to use as a graveyard.

There are 130 small graveyards, many properly demarcated, within the graveyard itself, which are well taken care of by different communities. Despite its closure during the 60s’, everyday 15 to 20 burials take place here. Normally a grave costs between Rs2,500 to Rs4,000. With headstones and the use of marble, the cost can go up to Rs5,000 to one hundred thousand. However, charges for a katchi grave are comparatively less. — A.H

k k aziz By Altaf Hussain Asad

Hot Seat

By Altaf Hussain Asad

It is sometimes difficult to sum up the accomplishments of a man whose contributions in any field are mammoth. One falls short of suitable words to do justice to his or her achievements. Professor K.K. Aziz is also one such person who, as an outstanding historian, is not only held in the highest esteem in Pakistan but also across the globe for his in-depth erudition.

Author of almost 75 books, his area of interest is history, political science, Muslim art, and even poetry as he has complied a collection of the best of Persian poetry too. He has taught at renowned institutions as in Cambridge, Heidelberg, Manchester, Toronto, Khartoum and Oxford. Besides Urdu, Punjabi and English, he is well familiar with Persian, French, German and a smattering of Spanish and Italian.

As far as he can remember, books were a part of his surroundings. His father, Sheikh Abdul Aziz, also wrote books on Mughals and also did monumental work on Heer of Waris Shah by properly editing it. As consequence, Prof Aziz too got attracted to the printed word quite early.

“I have been reading books from an early age. It was my father who instilled in me the love of books and learning. Raising my pocket money, he wanted me to buy more books. At first, I read Phool magazine and some titles from Charana Library. On growing up, I got introduced to authors like Hardy, Dickens, Maugham and some others. I have also been studying Persian poetry from my early days as I believe that a man cannot be civilized unless he reads poetry,” says Prof Aziz.

Thus started Prof Aziz’s affair with books which remains as passionate today as it was in his childhood. Though he sat in the competitive examination as per his father’s desire, his heart was not in it. After two years of stay at F.C. College, Lahore, he joined Govt College, Lahore, where he was lucky to have tutors such as Patras Bukhari and Prof Sirajuddin. The days passed in the inimitable company of Patras Bukhari are so firmly etched on his memory that he is planning to write a book on him.

Prof Aziz feels a bit uneasy when asked to name just one book as his all-time favourite. He recalls few books that have left an indelible mark on his memory. History of Western Philosophy by Bertrand Russell is a book that is a treat to read. He is also all praise for the book Shakespearian Tragedy by A.C. Bradley. He is infatuated by Moorish culture, thus the History of Moorish Empire in Europe, a work by S.P Scott in three volumes, is a book for which Prof Aziz has unbounded praise.

Prof. Aziz also loves to read Urdu fiction and poetry. Since his father edited Heer of Waris Shah after painstaking research, he too came under its influence. In Urdu fiction, he names Krishen Chander, Premchand, Bedi and Manto as the writers whose works he reads with interest. About Manto he says, “I have different views on Manto. He only paints just one aspect of life. My opinion might be a bit biased but I think Manto was vulgar. In my estimation, Bedi has more depth than Manto,”

He terms Patras kay Mazameen as “unparalleled” and says he read the book almost 50 times. Of the other humourists, he likes Rasheed Siddiqi, Shaukat Thanvi and Kanhayya Lal Kapoor. Praising the creativity of Qurratulain Hyder, Prof Aziz states that books like Kaar-e-Jahan Daraz Hai amply show her firm grip on history. In the field of poetry, he ranks Ghalib as the best poet of Urdu.

Yes, he likes Iqbal too, but his opinion is not stereotyped about him. He says, “The Urdu poetry of Iqbal is not that promising. Apart from few poems like Shikwas Jawab-e Shikwa, Masjid-e-Qurtaba, etc, the rest of his Urdu poetry cannot be termed great. The real poetry of Iqbal is in Persian, of which we are not aware because we no longer study the language these days.”

He considers Nasir Kazmi is a great poet as he, according to Prof Aziz, “brought something new in the Urdu poetry”.

One feels tempted to ask him why we shy away from the discipline of history. He answers, “The powers that be do not want to impart the subject of history in the right manner. It is their aim that the nation does not get to know the real history of the country. As a result, we have been studying disfigured history since 1947. What we study is not history but is sheer mythology. In my opinion, no ideological state can produce true history.”

Prof Aziz is unhappy about the decline of Persian language as he thinks that we must learn it because all the primary sources of Mughal reign are in Persian. “Even the best work of Ghalib and Iqbal is in it”, states Prof Aziz sadly.

As for music, he only likes to listen to is any beautifully sung ghazal. Singers who appeal him are Mahdi Hasan, Amanat Ali Khan, Saigol, M. Kaleem, Nayyara Noor, Iqbal Bano, and, to a certain extent, Tina Sani. About Noor Jehan, he says that though she sang nazams well, but she “should not have been allowed to touch ghazals”.

“I have with me the tapes of songs sung by Spanish gypsies in their language. Historians are of the view that these gypsies migrated from the areas of Punjab and Sindh few centuries ago. I listen to their songs though I am not able to make heads or tails of it. While listening, it appears as if you listening to Punjabi ditties as there are Punjabi words in these songs,” discloses Prof Aziz.

Prof Aziz remembers watching his first movie in Batala when he was a student of Class Eight. On growing up, he watched mostly the English movies. Although his advancing age handicaps his memory a bit, he is able to remember few movies which he watched in the years gone by. These are Ben Hur, Casablanca, The Man in the Grey Suit, Waterfront, John of Arc, Gone With the Wind and he singles out Waterloo Bridge as his all-time favourite movie.

Though not a fond Urdu film watcher, Prof Aziz alludes to films like Heer Ranjha and Anarkali with some adoration. Without a second thought, he names Madhubala as his favourite actress. Concluding the conversation Prof Aziz says the ban on screening Indian movies must be abolished.

Favourite book: Many

Favourite actress: Madhubala

Favourite film: Waterloo Bridge
http://dawn.com/weekly/dmag/dmag14.htm

achchi khabrain ..

for charlie


paani ki kami hay
bijli nahiN hay
kaam nahiN hay
kapRa nahiN hay
chutth nahiN hay

ger kuch hay ifraat maiN
tou garmi hay buhat
aur minaar haiN her soo

hay na achchi khabar?

on writing and submissions - kan and salman

...infertility? well...she could have blocked fallopian tubes, he could have low count on them sperms…and then there is the test tube option, if you want to be ingenius (or devious) the milkman...kan she needn’t die...you have lots of possibilities with the story...

Kan:

...ok...let us start with a baby steps…

first this story and then a comment or two about other issues/queries you raised

how about first writing a simple straight forward story based on your notes for his story or this draft?...don’t worry about the length yet...just narrate it in chronological order...think of a dark night...around a lit camp-fire...friends huddled together...do a straight narration that would hold their attention and they would not leave or drift off to sleep....do not curb your inner self...let everything flow unimpeded...editing and self censoring will come later...

...once this draft is ready and up to your satisfaction...now you can play around with it...you can change the narrator, in first or third person, the tense, the order (flashback)...and last the length…and then final editing, checking for errors of fact or language, and then break it into smaller paragraphs...

now the quereies/comments

writing for whom?...this is tricky and inconclusive...most of what i write is for myself...hehh...for my hard drive only!...but then some of it makes it to the public domain...at this stage just aim for yourself as the ultimate reader...write for yourself...you may want to mould and edit it later for the target audience

target...obvious!...wherever you decide to submit the short story...do your homework for the magazine or site you submit your story for...the readership is different for the newtorker, playboy, and chowk...their median income, age, taste varies...let us take chowk as an example...english speaking desis who would be in the top 5-10 percent of their respective countries...of mixed heritage and values...and reading sensibilities...

...and within chowk’s readership the core readers for stories and poems is far less than ulcer generating topics...and within that small crowd you will have to judge their gender and age...

turns and twists remember the folks sitting around the fire-camp?...you have got to hold their interest...it is getting late, and it is getting chilly, and they want to call it a night...but cannot...your story is mesemrising them...

length gear it after the target site...on a monitor 1000 – 1200 words should be max...any more and you rapidly lose your readers...

language again ...write what comes naturally to you...worry about thesaurus later...also you will have to tailor it for the audience...can be done later

* * *

in this story...go for straight narration with a surprise ending in the end...not the beginning... hint: leave the tricks of the trade after you have mastered the art...just like the show skaters doing three and a half reverse twist...they make it seem so easy and flawless...but we forget the hundreds of hours of practice that gives of that illusion of ease...

***

Kan:

...if you don’t like my comments file them under G

first, these are not the opinion of a critic just a passionate reader...

when you write you write for yourself...but when you submit your writing for publication the emphasis changes subtly...you then write for the reader...

...who is your reader?…the target audience?...

will give you some feedback on this and i will appreciate if you can read salman’s story above this thread and read my comments there also...if for nothing then to get an idea where I come from?

...with 1700 words this story is a bit on the lengthier side for the monitors
...it is well written....and there are good descriptive passages
...you have boldly gambled with opening the story with the ending
...the success or failure of this story now depends on sustaining the interest of the reader and carrying him/her with you till the real end…this is where I feel you came up short
...early on the suspense has disappeared and the reader knows instinctively...ah....this is akin to insulting the reader in a sense...

...infertility...

...it can be a do or die situation for certain couples in a certain situation in a certain era...not very plausible with this upwardly mobile, educated young couple... she has options available...

perhaps if you explore and add some twists and angles?


**

Salman:

4200 words
well written
did is move me as a reader? No

why?

Ayeshah is the main protagonist...you build her character up...but the development is marred by too many ancilliary characters...i can see the need to develop ayeshah through the other characters...but they also detract...might help if the characters and story length is curtailed...and some twists introduced

by naming her as the rag doll you are doing o’henry in reverse...as a reader i feel let down...so she is a rag doll and you attempted to show how an open female person in that society is extremely liable to be misinterpreted...and you took your sweet time to deliver that message...as the saying goes succinctly hansi tO phansi with a certain derogatory context...so we read through the words to discover that she is a rag doll...

i felt let down...also am averse to first person narration...very few writers can successfully pull it off...it is at once the easiest as well as the most difficult vein to maintain throughout the narration

these are my personal opinions and you know other than a passaion for words am least qualified as a critic so you should take them with a grain of salt....

howard zinn

WORLD AFFAIRS

'Progressive change is possible'

Interview with Howard Zinn, historian and political activist.


To remain united in times of war is to surrender to the strategies and policies of the state. Falling in line, not thinking for oneself and obeying the state's commands are, according to famous journalist I.F. Stone, ways to avoid conveniently coming face to face with truth.

Howard Zinn's writings make a case for "transcendence", a need "to think outside the boundaries of permissible thought, and dare to say things that no one else will say". This statement is substantiated by Zinn in book after book, from A People's History of the United States to You cannot be Neutral on a Running Train, from Terror on War to Artists in Times of War and Rule by Force. The United States' governments, according to him, have economically and politically exploited its own people and people of the world.

This is largely kept out of the histories taught to school-going students. War, which has always accompanied economic exploitation, needs to be rejected at all costs. Zinn feels that the role of artists, activists and publishers is vital to resistance movements aimed at peace and protection of human rights as well as to offering a "a significant corrective to the triumphalism" of U.S. military power.

Zinn asks: "Are you going to leave the business of the most important issues in the world to the people who run the country?" At the outset, he makes a case against the professionals who deride any one who dares to comment on an important question concerning the nation. Zinn asserts: "All of us, no matter what we do, have the right to make moral decisions about the world. We must be undeterred by the cries of the people who say, 'You don't know. You are not an expert. These people up there they know'."

The White House or the Congress are not the only bodies that have to take decisions and which "know"; the involvement of citizens, as emphasised by Rousseau, is crucial to the running of the country. "When the government becomes destructive... then it is patriotic to dissent and to criticise." And, finally, Zinn sends out a clear admonishment of his country's rulers: "Men who have no respect for human life or for freedom or justice have taken over this beautiful country of ours. It will be up to the American people to take it back." He is of the view that the average citizen can shape history through social involvement.

In 1980, Zinn lay down his account of the American history in the best-selling A People's History of the United States. More than a million copies of the book have already been sold. It's a classic as well as an amazingly far-reaching and radical view of the world.

In his famous play, "Marx in Soho", Zinn resurrects Marx so that he can speak to the contemporary audience in Soho, urging them "to get off their asses" and remember that to be radical is to "simply grasp the root of the problem and the problem is us". His suggestion at the end of the play is: "Pretend you have boils (remember Marx had boils from which he suffered till the end). Pretend that sitting on your ass gives you enormous pain, so you must stand up. You must move, you must act."

Going beyond socialism or capitalism, he wants people to have food, medicine, clean air, pure water, trees and grass, pleasant homes to live in, and "some hours of work, more hours of leisure". As far as wars go, workers of all countries must unite against the criminal foreign policies, which squander people's blood and wealth and vindicate the laws of morals and justice in international affairs.

Complimenting Howard Zinn as a teacher, writer Alice Walker notes: "What can I say that will in any way convey the love, respect, and admiration I feel for this unassuming hero who was my teacher and mentor, this radical historian and people-loving trouble-maker, this man who stood with us and suffered with us? Howard Zinn was the best teacher I ever had, and the funniest." This was corroborated by Chomsky. Recently asked who he thought was one of the great dissidents of our time, he remarked "Howard Zinn" without thinking twice.

After serving in the U.S. Air Force as a bombardier during the Second World War, Howard Zinn went to Columbia University where he received his Ph.D. in history. He taught at Spelman College in Atlanta and later at Boston University. A history Fellow at Harvard University and a visiting Professor at the University of Paris and the University of Bolgnahis, his career spanning 40 years have put him at the forefront of contemporary intellectuals as a major radical historian and a progressive political theorist. His social activism has brought a new and sympathetic approach to the study and teaching of history.

Shelley Walia, Professor of English Studies at the Department of English, Panjab University, Chandigarh, interviewed Professor Howard Zinn recently. Excerpts:

Could you throw light on important influences on you in the early stages of your life?

I grew up in a working class family, reading Marx, Upton Sinclair, Lincoln Steffens, Jack London, Charles Dickens and Mark Twain. And most important of all, I became class conscious.

Could you elaborate on your becoming class conscious?

I grew up in a working class family, saw how hard my father worked, how hard my mother worked, without becoming prosperous. On the other hand, I saw in newspapers and magazines the photos of the rich, and I could not tell whether they did any work or not, and when I found out what kind of work some of them did it seemed to me dangerous for society. When I went to work in the shipyard - long hours, hard work, little pay - I realised that most of the people on the planet work hard, with very little compensation.

Would you say that the American society is deeply class conscious?

Americans are class conscious, though they don't use that expression. Americans know that the country is controlled by a small number of rich people. But they feel they can't do anything about that, so there is a sense of resignation in the face of something inevitable. But the history of the United States is a history of labour struggles, always involving class consciousness. Some of the most bitter labour struggles in the world have taken place in the United States, between the 1870s and the 1930s.

Should I say that your writings have been interventionist because you believe in 'libertarian anarchism'?

I don't like to label my views that way. I'm a certain kind of socialist, a certain kind of anarchist. Maybe 'democratic socialism' comes closest. I like Dalton Trumbo's vision which advocates 'socialism without jails'.

Could you comment on your brand of 'democratic socialism'?

A socialism that uses resources for human needs of production based on need rather than on profit, a roughly equal distribution of the country's wealth; there should be no person without adequate healthcare, housing and employment. And there should be no control of thought or speech.

How far is anarchism useful for social transformation?

A useful concept with which to be suspicious of centralised authority, to insist on individual freedom, to be sceptical of all governments, and to insist on grassroots democracy.

As a teacher, do you take your classroom as a place for provocative teaching methods to move students towards activism? You say students "need the right circumstances, the right openings". How do you provide these to enable them to begin new student movements? And how do you "mobilise class anger" to bring about social transformation?

Yes, the classroom should not be removed from the real world of social conflict. That would be depriving students of the most important kind of education as well as their preparation to become active citizens. I have always liked to bring my students out into the community, have them join organisations, become active, and then come back to the classroom to report on their experiences. You "mobilise class anger" any time you organise people around the problems of workers or of poor people.

In today's world of television and fast food culture, can "art as politics" or the role of the political theatre influence public opinion? Only a miniscule of the population is aware of such art forms. How do we make theatre reach out to larger audiences?

It's true that theatre has a limited audience, especially for the young who watch movies and television. But it is still a force, and can become more of a force if plays that are both entertaining and socially conscious are written and produced.

Could you comment on the plays that you have written and their social relevance?

My play "Emma" is about the anarchist-feminist Emma Goldman, who spoke against war, capitalism, the state, and in favour of women's rights, free love. My play "Daughter of Venus" is about the arms race, reflected in a family's internal conflicts of the 1980s Cold War period. My play "Marx in Soho" is a fantasy about Karl Marx returning today and commenting not only about the distortion of his ideas by the Soviet Union, but about the relevance of his critique of capitalism in today's world.

Could you say something on your support for the activists and students in the 1960s? I believe you were actively involved then in the anti-Vietnam War demonstrations? You have opposed the very idea of war emphasising that "no war is ever justified". Tell us something about your experience of flying into Hanoi in 1968 to receive the first U.S. prisoners of war released by the North Vietnamese government?

Yes, I was active in the movement against the Vietnam war. I marched and protested with my students. I came out of the Second World War with the conviction that war solves no fundamental problems and, instead, corrupts everyone who engages in it. As far as my experience of going into Hanoi you could read about that in my memoir You Can't be Neutral on a Moving Train. I can only say that it was the first time that I, a bombardier, experienced being bombed, as was true every day and night Daniel Berrigan and I were in Hanoi. It was a sobering experience. Bombing is terrorism. It terrorises people, and it kills the innocent, on an even larger scale than any brand of terrorist can achieve.

You have been a tireless political campaigner, standing up for peace, freedom from war and from political persecution and oppression. Do you think that your role as a dissident writer has in any way intensified movements that help to bring about a civil society?

We never know our effect. Of course there is a kind of feedback, in person, in letters, which makes me think my writings have had an effect on people and have moved them into political activism.

Would you not say that in the wake of the recent U.S. elections, the President's control of Congress will also allow him to put his stamp on the third arm of the federal government, the Supreme Court, the most powerful weapon in the country's continuing cultural war?

Yes, of course, all three branches of government will be controlled by the Bush administration. This puts a greater burden on social movements to act outside of the political structure by means of strikes, boycotts, demonstrations, refusals, civil disobedience, and resistance of all kinds. The opportunity to fill three or four vacancies in the court over the next four years could create a solid conservative majority, which could lead to a ban on abortion, among other potentially dramatic changes.

No violence can put an end to human passion for dignity and justice. Then how can the people of the U.S. allow the implementation of the Patriot Act?

Only by refusing to comply. Some librarians shredded their records rather than turn them over to the FBI [Federal Bureau of Investigation]. We must defend every person who is apprehended, publicise all acts that diminish our liberties and inform people that we are in a pre-fascist stage, which is destroying democracy.

Free market economy and the victory of capitalism has brought with it not happiness, but increase in poverty, disparities and violence. In this context how would you react to globalisation and its impact on the developing nations?

We must react to that with a globalisation of resistance, reaching out beyond national boundaries to create an international movement of solidarity.

Your comments on outsourcing. It has been a hot topic recently in the U.S. and India.



JEAN-MARC BOUJU/AP

Members of the International Longshore and Warehouse Union during a protest action in Los Angeles in October 2002. Howard Zinn: "Americans are class conscious, though they don't use that expression. Americans know that the country is controlled by a small number of rich people."

Outsourcing results in terrible working conditions abroad, and loss of jobs in the U.S. The remedies lie in organising working people in other countries and, in the U.S., demanding that workers who lose their jobs are guaranteed new jobs or are compensated with unemployment insurance adequate to take care of their families.

Do you think it would make a difference to corporate power if the Third World boycotts the products of the multinationals?

Boycotts are a very effective way for consumers without power to create a power that frightens the multinationals.

How would you describe the corporate control of the media which has left a majority of the population in a state of ignorance of trade proposals, international arms trade and the real reasons of going to war in Iraq? Where does the socialist politics of the non-mainstream media lie in the present world of multinational conglomerate control?

We need to develop alternative media. We have begun. We have several hundred community radio stations. We have the Pacific Network. We have cable stations like Amy Goodman's "Democracy Now". And we must use the Internet, which is a powerful tool for information and organisation.

Would you say many journalists still lose their jobs in the media for reporting against the policies of the government?

Much more frequent than losing their jobs is stifling their independence and forcing them into the orthodox consensus.

Is it possible to break the nexus between the media and the elites?

The only answer to that nexus is the nurturing of an independent media, alternative radio and cable TV, alternative newspapers, and especially the Internet, which has revolutionary possibilities in defying the orthodoxy of the media.

Would you agree that there is a definite conspiracy behind the nexus between the corporate media and the political elite?

There is no need for a 'conspiracy' or for planning. They simply have the same common interest and so behave in a way that looks like a conspiracy.

Then, is democracy in crisis these days?

Democracy has always been in crisis. In the U.S. today it is more in crisis than ever before, with the centralisation of power, with an imperial foreign policy defying public opinion, with the media centralised and with corporate control of the economy tighter than ever.

Is the threat to democracy not from the intellectual scientific community and the increasing flow of corporate funds into universities, foundations, managements and major law firms that represent the interests of corporate capitalism?

Certainly. Science and knowledge are ruled by money as is everything else in the society. The real workings of power have to be revealed to the public, especially the students in the classroom. This is mostly concealed from students, but a truly democratic education would teach them the realities.

For instance, no mention was made of atrocities at Guantanamo Bay or Abu Ghraib in the recent presidential debates. International law applicable to Prisoners of War (POWs) is thrown to the wind. What are your reactions to this conscious evasion of reality?

Of course, it is shameful that the Democratic Party is not an Opposition party at all, and that its candidate John Kerry paid no attention to Abu Ghraib. It is our responsibility to publicise these atrocities as much as we can because the political leaders won't do it.

Could you comment on the position of the Left in the U.S. today? Would you not agree that both the Democrats and the Republicans have betrayed all progressive principles won over the years in a society that calls itself liberal and free? Is progressive change possible in America where the role of the Left has almost disappeared and the Democrats deep down are no different from the Republicans?

I would say that progressive change is possible. The Left exists in America. You can't find it in the Democratic Party, but you can find it all over the country, in thousands of local organisations that struggle against the war, against militarism, and for the rights of women and the poor and the working people.

Do you think enough pressure can be brought to bear upon the U.S. government to stop its obsession with waging wars against countries and disguising them as 'pre-emptive acts'? Is the popular vote that went to Bush not an endorsement of his very muscular militaristic approach to international politics?

The pressure on the government already exists, but it needs to grow. Remember Bush only got 51 per cent of the popular vote. Forty nine per cent opposed him. And 40 per cent of the eligible voters did not vote at all. This is hardly an endorsement! More than half the country opposed the war, as shown in public opinion poll after poll.

Do you agree that as long as the Zionist lobby remains strong in the U.S., a solution to the West Asian problem is not possible?

Well the lobby may remain strong but the realities of the Middle East [West Asia] may dictate a solution, in spite of the PLO [Palestine Liberation Organisation].

Could you comment on the post-Arafat political situation in West Asia?

Arafat's demise is certainly a watershed in the history of West Asia. A blood-spattered retribution or a peaceful solution still remain the alternatives before Israel and the leadership that will now take over the PLO.

Where does the solution lie?

At a certain time in the future, we can't say when, the Jews in Israel will get tired of the unending violence and will demand that their government get out of the Occupied Territories.

Protest is vital to the notion of social transformation. But war-mongering, religious opposition to homosexuality, elitism and racism all have increased. To counter these anti-social or conservative trends, a new international Left is urgently needed. But how would you suggest we should go about it?

There is no magic formula. We must keep connecting across oceans and continents. Arundhati Roy is an example of someone who crosses all these lines and makes connections between the movements in India and in the U.S. We must do more of that.

Which other writers would you say are making all the difference through their writings that have the potential to intensify resistance movements around the world?

Noam Chomsky, Barbara Ehrenreich, Frances Fox Piven, Eduardo Galeano, Arundhati Roy and Tariq Ali.

What according to you is the role of the intellectual?

The proper role of the intellectual is to tell the truth that is not given in the media, in the textbooks, in the educational system; to be gadflies, whistleblowers, independent investigators, to give people a historical perspective, a philosophical basis, an understanding of the economic underpinnings of politics, and to inspire people with stories of those who have resisted oppression and injustice throughout history.

Have you ever felt over the years and especially in the post-9/11 period of being restricted by state pressure on airing your views on social and economic justice?

The only state pressure I have felt is knowing that the FBI was keeping a record on my activities. That never succeeded in restricting my activities.

amrita pritam by Nirupama Dutt

The girl from Gujranwala

PROFILE by Nirupama Dutt

BI will meet you yet again y Amrita Pritam



I will meet you yet again –
How and where?
I know not.
Perhaps I will become a
figment of your imagination
and maybe, spreading myself
in a mysterious line
on your canvas,
I will keep gazing at you.

Perhaps I will become a ray
of sunshine, to be
embraced by your colours.
I will paint myself on your canvas
I know not how and where –
but I will meet you for sure.

Maybe I will turn into a spring,
and rub the foaming
drops of water on your body,
and rest my coolness on
your burning chest.
I know nothing else
but that this life
will walk along with me.

When the body perishes,
all perishes;
but the threads of memory
are woven with enduring specks.
I will pick these particles,
weave the threads,
and I will meet you yet again.


This poem was written from the
sickbed to her partner Imroz

Translated from the Punjabi by Nirupama Dutt

* * * *

It is a pleasant December morning. The day is Thursday. The bus I take from Gurgaon, a suburb of New Delhi, drops me at the Phool Mandi in Mehrauli. Before starting on a day’s work in town, I venture into the flower market. Gardeners from farmhouses and nurseries gather there to sell flowers to the kiosks, florists and others who wish to buy the blooms on a bargain. There are roses aplenty in myriad hues, tall stalks of tuberoses and gladioli, small bunches of carnations and narcissuses. Of course, chrysanthemums in varying sizes and colours seem to have taken over the market. There are the snow-white big blooms with curling petals and smaller ones in pink, yellow and red. A gardener offers me a big bunch of blood-red blooms, flecked with orange for a few rupees. I just cannot resist the temptation and I find myself with the big bunch in my arms along with the bag and books that I am carrying. What will I do with them? It occurs to me that they must go to the girl from Gujranwala, which was famous for its blood-red malta oranges.

And who is this girl from Gujranwala? She is none other than Amrita Pritam, the celebrated Punjabi poet. Her poem, ‘Aj akhaan Waris Shah noon, kiton qabran wichon bol’ (‘I call out to Waris Shah today to speak from his grave’), written after the Partition, is loved across India and Pakistan:

I call out to Waris Shah today
to rise from his grave and
open a new page of the book of love.
Once a single daughter of the Punjab cried out,
and you wrote many dirges.
Today a million daughters weep
and look to you for solace...


Amrita wrote these lines to the poet to immortalised the folk heroine Heer a few months after Partition and the poem became a symbol of the catastrophe on both sides of the border. The story behind the writing is even more heartrending. Looking back, Amrita once told me: “Uprooted from Lahore, I had rehabilitated myself at Dehradun for some time. I went to Delhi looking for work and a place to live. On my return journey in the train, I felt the wind was piercing the dark night and wailing at the sorrows the Partition had brought. I had come away from Lahore with just one red shawl and I had torn it into two to cover both my babies. Everything had been torn apart. The words of Waris Shah, about how the dead and parted would meet again, echoed in my mind. And my poem took shape.”

Amrita is a poet of many seasons. She was born in 1919 in Gujranwala, now in Pakistan, in a Sikh household. I remember her partner, the artist Imroz, once jesting as she spoke of her birthplace, “You know Gujranwala is famous for just two things, blood-red maltas and Amrita Pritam.” Amrita’s father was a man of letters and encouraged Amrita to read and write. She published her first book of poems when she was just fourteen. However, it was in 1935 in Lahore that she got serious critical notice for her poems with the publication of the anthology Thandian kirnan . Then there was no looking back.

After the Partition in 1947, Delhi became her home. Her talent blossomed in the capital of independent India, and writing in Punjabi, her mother tongue, she was to take the language places. Among the honours she received for her writings are the Sahitya Akademi award, the Padma Shri, Jnanpith Award (the first Punjabi writer to be thus honoured), Cyril and Methodius Award (Bulgaria), and the Ordre des Arts et des Lettres (France). Besides poetry, she’s written essays, short stories and novels in Punjabi and Hindi, and her work has been translated into thirty Indian and foreign languages. She is also a former member of the Rajya Sabha, upper house of Parliament.

The story of Amrita’s life is one of amazing courage, resilience and achievement. What set her apart was her search for freedom and desire to live life on her own terms. She was reared in an orthodox environment yet dared to write of love. Walking out of a loveless marriage, she made her home with Imroz and their relationship has lasted over forty years. Although she is vocal about the rights of women and has portrayed the sorrows they face in a male-dominated world, Amrita always felt that men and women complete themselves in a meeting of the body and soul.

Defying the established norms of the society and carving out a special place for herself was not easy but she persevered and helping her along was her special talent for words. For three decades Amrita and Imroz brought out a literary monthly in Punjabi called Nagmani that had nothing short of a cult following. I have a special relationship with Amrita and Imroz dating back a quarter of a century. However, I am but one of a large and charmed circle because their magazine nurtured two generations of Punjabi writers. She brought onto stage the Punjabi poet Shiv Kumar Batalvi, fiction writer Dalip Karu Tiwana, Mohanjit, Manjit Kaur Tiwana, Gagan Gill and many others. Her address in New Delhi, K-25, Hauz Khas has become a site of literary pilgrimage. She also recorded in the magazine the changes happening in society. Amrita was forced to close the magazine three years ago as her health deteriorated. Recently, Amrita’s poetry reached an even wider audience, through the offices of India’s massive film industry. Pinjar , a film based on a novel she wrote nearly half a century ago, featured her famous poem to Waris Shah.

During her life Amrita has defied conservative society and many times earned the wrath of the Sikh clergy. She rewrote legendary tales of doomed love, and survived some of the most horrifying moments in subcontinental history. It’s no surprise she’s an inspiration to many. Her poem to Waris Shah is engraved on a memorial to 1947 at the Indo-Pakistan border at Wagah, along with a poem by the Pakistani poet Faiz Ahmad Faiz. Yet she is humble: she says she has merely returned what she learnt from the poetry of Sufi sages, and quotes a line from her own poetry: “I make no claims to talent, but I am proud of my love and dedication…”

And so I find myself outside that hallowed address, K-25, Hauz Khas, New Delhi, clutching the bunch of blood-red chrysanthemums. For the past three years, Amrita has been on a sickbed. Six months ago when I visited her with a small nosegay of orange poppies, she could still talk and once helped to sit up, she smoked a cigarette and inquired if I was in love these days or not. Laughing, Imroz said, “She would be, for the colour of the flowers is one of youth in bloom.” When he left her room to get some tea, she grew grumpy. When he returned she flirtatiously spoke out to him the line of a Punjabi song: Maradi nu chhad ke na jaayin mittara (‘Don’t leave a dying woman, my friend’). Imroz jokingly replied, “You keep saying you will die but you don’t!” Two months ago when I came to see her again, she could not sit up. Lying there she wept and said that it was time her body set her soul free. Then last month, she was deep in slumber, and I did not go to her room.

This time she is sleeping again. I sit down with Imroz to share a morning cup of tea. We’re seated at that familiar black dining table on which Imroz has splashed some colour: bougainvillea vines trail onto it from the windows. All around are sketches and photographs of the girl who won his love. And Imroz talks of his favourite subject – Amrita, of course. They have lived together for nearly half a century. A very open man, he has often talked to me about the love Amrita had for Sahir Ludhianvi, Urdu poet and film lyricist. Amrita, of course, has put it all in black and white. Today he talks about the first holiday the two had in Andretta, as guests of painter Sobha Singh in the summer of 1958. Then he asks me if I have seen the new book of poems and adds, with a murmur, “Her last book.” Everyone knows that the end is painfully near. There is a murmur from her room. He goes there and I follow him with the bunch of flowers in my hand. Amrita is writhing in pain and he caresses her face. I bend down to touch her and for a moment she stops sighing and flashes me that naughty girlish smile. It is Thursday, the holy day of the pir faqir . I put the flowers on the bedside table and the smile of the pir called Amrita falls into my lap as a blessing. The pilgrimage is complete.

ismat chughtai- REVIEW by Aisha Lee Shaheed

Friends in need

REVIEW by Aisha Lee Shaheed

My friend, my enemy: essays, reminiscences, portraits By Ismat Chughtai, Trans. Tahira Naqvi, Sama, Rs 395.00

Ismat Chughtai was one of the few grand dames of modern Urdu literature, though English translations of her works have proliferated in the past few years. This recent collection comprises twenty-one essays, ranging from commentaries on the state of modern literature to character studies of the author’s family and friends, translated by Tahira Naqvi. Chughtai achieved notoriety when her short story Lihaaf (The Quilt) incurred an obscenity charge by the British-Indian government in the mid-1940s. Less well-known and appreciated, amongst Anglophone readers at least, are her non-fiction works.

Divided into three sections, headed “Essays”, “Reminiscences”, and “Portraits” the pieces begin with Chughtai’s comments on the state of literature and the role of women in South Asian society. The latter portion of the book is devoted to her own personal recollections of family and friends, though these are always firmly positioned against the backdrop of Partition and shifting gender relations in the subcontinent.

Though little is needed in the way of editing for such a collection – Chughtai’s astute and acerbic writing stands alone – one would have appreciated a more reader-friendly volume. Though this edition is only available in Pakistan (a 2001 edition was released by the Indian-based publishers Kali for Women), a non-South Asian readership may be confused by some of the details. For one, many Urdu terms are left untranslated. Certainly, many words and phrases cannot be rendered into English without losing their flavour and specificity; however, one would expect a glossary or footnotes to help the non-Urdu speaking reader. Perhaps my own ignorance is a prime factor but, for example, upon reading that a prince fell madly in love with a princess every time he caught sight of her “slipper or her anchal” I was convinced that a sloppy proof-reader had horrendously misspelled ‘ankle.’ It was soon pointed out to me that this term referred to the bottom of a duputta , but after the sixth or seventh word needed looking up I began to wonder whether all readers would enjoy doing so much work to make sense of the text. Either the text is translated into English or it is left in Urdu: Hinglish may represent the spoken language, but it does not work as a vehicle of literature.

My second caveat is that for those unfamiliar with South Asian history, some contextualisation would help in order to understand the placement of these essays within political developments and within Chughtai’s own career as a writer. As the essays are ordered thematically, there is no sense of which pieces were written before or after Partition. Likewise, without some external cross-checking, it is often not clear if certain essays were penned during the heyday of the Progressive Writers Movement or in retrospect.

Nonetheless, for those who are not overly concerned with issues of translation or chronology, this is a certainly a valuable collection of Ismat Chughtai’s work. Chughtai was a highly embodied writer, by which I mean that she was always aware not only of the rapidly-changing society around her, but also of her own role within it. When writing about the key figures of the Progressive Writers’ Association, such as Saadat Hasan Manto and Krishan Chander, Ismat is aware of the individual personalities behind the literature, as well as her own contributions to that movement. Likewise, her comments on the status of women are not always overt, but instead run through her essays signalling her recognition that gender relations cannot be extricated from other aspects of social equality. It also suggests that as an upper-middle class, Muslim, Indian woman, Ismat was aware of the influence her own experiences had in shaping her observations about the society in which she lived. Eschewing omniscience, Chughtai revels in her ground-level view and constructs her commentary around conversations, impressions and personal experiences.

The collection begins on an evocative note, with the essay “Communal Violence and Literature” in which Chughtai declares:

“Communal violence and freedom became so muddled that it was difficult to distinguish between the two. After that, anyone who obtained a measure of freedom discovered violence came alongside…But 15th August came and went, leaving behind embarrassed, whimpering and teary-eyed masses. The hearts that had been singing were hushed, the dancing feet were stilled.”

This forceful piece discusses the need people felt to explain these revolutionary events, and how this manifested itself in literature. The Progressive writers used high realism and violently graphic language to condemn the excesses society before, during and after Partition. In the aftermath of independence, and the shedding of blood during that process, the tone of this literature became shrill and gory. Chughtai’s lyrical assessment of this literary moment implies that if these authors were creating work which seemed bleak, it was not because they were hopeless pessimists, but rather that they refused to be partisan in their politics, instead deeming all perpetrators of communal violence and injustice equally guilty.

Another facet of Progressive writing which came under criticism from the establishment was the degree of erotic content in the literature. In one essay, Chughtai provides a rebuttal, asserting that, “If contemporary literature is filthy then one can assume that the modern era too is filthy because literature is a representation of its times.” If literature, as she insists, is beneficial for both the creator and the consumer, then all facets of experience should become subject matter for a socially-aware body of work. This historicized approach to writing resurfaces in her essay “Heroine,” in which Chughtai argues that the way in which a female protagonist is portrayed in a narrative work is indicative of the status of women in the author’s specific time and place. Therefore, the argument follows that with regards to the Partition, violence and trauma necessarily foster violent and traumatic literary assessments.

Though the selections in this volume are all non-fiction, Ismat Chughtai uses certain narrative techniques to illustrate her points. One device is making the familiar appear strange, by turning conventions on their head. This has the result of making certain accepted behaviours appear ridiculous. For example, in “Woman” she points out that in Indian tradition, though a woman is widowed her bangles are to be broken it would be ludicrous to imagine a man’s watch or glasses smashed after his wife has died. Instead of didactic ranting against the social order, Chughtai’s style of dissent is more cheeky and ultimately, more persuasive.

Another way in which Chughtai injects a dose of reality into a social convention is in the darkly satirical “Story”, which begins as something of a fairy tale: “Once upon a time there was a king (it was only in the old days that a king had the right to exist).” However, soon after the reader is transported, one is brought sharply back to stark reality. When the allegorical prince is looking for a “damsel” he is informed that:

“The belle [in Bengal] has been reduced to a famine-ridden bag of bones. Don’t go to the Deccan either because the high prices of wheat have sucked the life out of the belles. The fisherwoman of Gujarat and Maharashtra also has no time for romance because there, too, the scarcity of wheat has forced her to eat cornmeal bread.”

However, Ismat Chughtai’s style was lighter than some of the other Progressive writers, and this collection is not all disparaging critique. She recounts the infamous Lihaaf trial with humour and wit (she seems to have been most pleased at the opportunity to visit Lahore, despite the unfortunate circumstances). Her visit to Pakistan in the 1970s provides vignettes of a very particular time and place: a Pakistan where a great deal of people still remembered India as home and understood the common bonds between the two countries.

Chughtai’s character studies are personal, charming and pithy. The eponymous story, “My Friend, My Enemy,” paints a portrait of Saadat Hasan Manto not as a larger-than-life author, but as a friend, a family man, and as a fallible human being. She describes him as a man with a scathing tongue, yet haunted by the memory of his deceased son; as an alcoholic, yet as a genius. This piece was written after Manto’s descent into addiction, madness and finally, death. The brutally honest statements she writes about him cannot override the fact that every word of this famous essay has been written with a fierce love and comradeship.

And this is the crux of Chughtai’s writings. At times her style is flippant, self-congratulatory, and hyperbolic. Nonetheless, the passion with which Ismat wrote about subjects that mattered to her – social equality, her family, the art of literature – compels the reader to not just be swept away by her story-telling and anecdotes, but to appreciate the unwavering conviction with which Ismat Chughtai wielded her pen.

firdaus haider -- by Haider Ghaznavi

Giving women ideas

Haider Ghaznavi

An exciting childhood and an unusual family history make Firdaus Hyder an aberration in Pakistan’s literary world. Firdaus Hyder’s grandparents and great-grand father migrated from the Kashmir Valley a few years prior to partition to escape persecution at the hands of Maharaja Hari Singh who had usurped their ancestral lands. Upon migrating the family settled in Gujranwala, where Firdaus was born to parents who were closely related. She casually tells me that the long line of zamindars in her ancestry ended when they moved to Gujranwala with practically nothing and had to start from scratch. Her great-grandfather Sufi Jamaluddin, ‘Mianji’ to family and friends, had to make clay bricks for a living.

Firdaus Hyder rose to fame in the Urdu literary world after her third book of short stories, Pathar Meri Talaash Mein, was published. She wrote the book immediately after her divorce; it was a very painful period in her life and the book, an emotional powerhouse, reflects this. Before that she had written Raasthay Mein Shaam and Baarishon Ki Arzoo , both of which were very well received by critics. Her most recent publication of short stories is Khaali Huwa Yeh Dil . Other than that, she has published a collection of articles, Kalam Ka Safar and three novels, Raazdaan , Nakshay Kadam and Pyar Ka Sagar . Her impressive portfolio also boasts two travelogues, one on Thailand, Dairon Mein Dairay, and one on her first trip to India, Yeh Duriyan, Yeh Fasileh . Short stories are her passion but she admits that, since getting involved in television, scriptwriting has taken up an increasing amount of her time and short story writing has been relegated to the backburner. Firdaus first got involved in scriptwriting when director Ghazanfar Ali, now chairperson of Indus Vision, approached her to write for the critically acclaimed Jaal , Pakistan’s first soap. This was followed by work for Wohi Asmaan , Kabhi Aashna Na Thay and Mystery Theatre , all produced by Indus Vision. Firdaus has written two teleplays: Subha , which was made for and sponsored by UNICEF and Wohi Khuda Hai , produced and directed by Iqbal Ansari.

Writing Jaal was both a learning experience and a great challenge. The story revolves around forbidden love, deception and extramarital affairs. According to Firdaus, the purpose of the theme was to spread awareness of women’s issues in our society and inform people of alternatives to living in a violent relationship. Screened on the Pakistani channel STN, it was a very daring step to take at the time. Firdaus took a lot of flak for what some considered an “inappropriate” production for a society with moral values! Once, at the Karachi Press Club, an Urdu journalist publicly censured her for plotting to encourage extramarital affairs among married women. But the coup de grace was Information Secretary Hussain Haqqani paying her a visit to caution her about the daring material in her play, “ Aap apna kalam halqa karayn !” He told her that MNAs had discussed and denounced her play in the National Assembly for brainwashing women to disobey their husbands! “Can you believe that? One would imagine they’d have more pressing matters at hand,” say Firdaus. “Unemployment, poverty, corruption, illiteracy, and human rights violations can take a back seat but let’s not give women any ideas. When Hussain Haqqani told me that, my jaw dropped!”

I ask which director Firdaus most enjoys working for. She doesn’t need to think twice before answering, “there are many good directors in the country but the kind of creativity and adventurism Ghazanfar displays in his work is unparalleled. He is bold enough to experiment with new ideas and break with tradition, which is what makes working for him such an enjoyable experience.”

Firdaus tells me that her personality and outlook were moulded by her childhood experiences. A smile lights up her face as she reminisces. She tells me she’s inherited her literary sense from her father, a Marxist poet who used to work for the telephone department. Firdaus and her family travelled all over the country as her father was posted to remote areas for work, but during the summers she always returned to Gujranwala where her maternal grandparents lived. “Gujranwala was like Paris to me, there was so much life there; shops, houses, lots of people and things to do unlike the remote areas where we had to spend most of our time.”

Firdaus was very close to her grandparents. Her grandfather, an employee of the irrigation department, used to make furniture solely to help out poor girls with their dowry or to sell it and channel the money to support widows and the disabled. “Mianji was a much respected citizen of Gujranwala. People adored him and came to him with all sorts of disputes, which he would calmly preside over. Everyone knew they wouldn’t be turned back if they brought their problems to him.” Her grandmother was a vivacious and feisty woman. Firdaus laughs and tells me that her grandmother never let any visitors sit idle; they were put to work, either crushing wheat to make flour, mixing clay to make huge storage containers or applying goya raali (a mixture of cow dung and clay) onto the mud-plastered roof to smoothen its surface so that wet unpeeled rice from the fields could be laid on it to dry. Every afternoon Firdaus’ grandmother worked on the spinning wheel, spinning cotton into thread. After that, wearing a shuttlecock burqa, she would visit the ill, solve disputes among women, or provide advice and counselling on various issues and problems – “I never saw nani sitting idle or wiling away her time,” Firdaus says.

Firdaus’ eyes moisten when she turns to a more painful part of her childhood. Her father was posted to Mona Dipu, near Sargodha, when she was seven years old, and the family lived there for a year. Upon leaving Sargodha, Firdaus was given for adoption to a friend of her father’s, whose wife was infertile. Firdaus tells me that the subsequent eight months she spent with Uncle Hassan, before moving back with her parents, were very traumatic. The man used to get drunk every night and brutally beat up his wife. Those months left deep scars, which are still expressed in her plays and stories. It was this experience that inspired her to campaign for women’s issues.

Firdaus had a strained relationship with her mother, who she says opposed every decision she made. After completing her Matric, Firdaus announced that she wanted to continue with higher education. The only person who supported her was her father. He encouraged her passion for education but told her that his financial position was not strong enough to send her to college. He suggested she take the private munshi-fazil exam series. After completing that in a year, Firdaus proceeded to the Lahore College for Women where she studied for her BA. She followed that by going to Peshawar University, where she completed her MA in Urdu and began teaching Urdu. It was during this period that Firdaus started writing short stories; her first was published while she was in Peshawar. After Peshawar, Firdaus went to Istanbul University for a year to study Turkish before returning to Pakistan.

When not working Firdaus spends time meditating and enjoys painting. She used to devote a lot of time to studying Sufism in Pakistan but not anymore: “I feel there are few genuine Sufis in the country. Most are quacks and fake pirs only there to con people for money.”

Firdaus is currently writing two plays, Dil Ki Dunya and Yeh Judai , her first that aren’t about women’s issues and domestic violence. Her latest book, Khali Huwa Yeh Dil , which is soon to be published, deals with fake police encounters and extrajudicial killings in Karachi. Firdaus feels that writers have a very important place in society and a moral responsibility to disseminate information to the masses. This statement leads me to ask what she thinks of the current state of world affairs, particularly the wretched circumstances of Muslims today. “I feel George Bush is the biggest terrorist on earth,” is her instant and emotional reply. “That is not to say that we in Pakistan have a government to be proud of. Obviously, our immediate concern should be to work towards improving Pakistan’s system of governance. I would love to do a play on Pakistani politics today. Unfortunately, I’m a slave to topics television channels want to screen. A disturbing trend in Pakistani television today is that crass commercialism has replaced quality and taste in our plays.” With Firdaus hard at work, though, perhaps there’s hope for change.

anand patwardhan-by Kathleen Mcclay

Anand Patwardhan, the 'Michael Moore of India,' brings his hard-hitting documentary films to campus

By Kathleen Maclay | 13 October 2004


Anand Patwardhan

BERKELEY – Despite nearly constant efforts to censor his work, Anand Patwardhan continues his nearly 30-year career of making hard-hitting and often controversial documentary films about the nuclear danger, religious violence and environmental threats.

The award-winning filmmaker from India will visit the University of California, Berkeley's Berkeley Art Museum/Pacific Film Archive (PFA) Oct. 21-24 as part of "Documentary Voices," a project bringing international documentary-makers to the PFA as resident artists.

After a Thursday, Oct. 21, screening of his film, "In the Name of God," and of a short, "We are Not Your Monkeys," Patwardhan will talk about film and activism. On Friday, he will address the audience after the showing of "Father, Son and Holy War." Patwardhan will talk on Saturday, Oct. 23, after the screening of "War and Peace," and on Sunday, Oct. 24, after the showing of "Bombay: Our City" and a short, "Occupation: Mill Worker."

Before he arrives on campus, his films "A Narmada Diary" and "Fishing: In the Sea of Greed" will be shown at the PFA on Thursday, Oct. 14.

For more information, call the PFA at (510) 642-1412 or visit the PFA website.

In the question-and-answer session below, Patwardhan shared with UC Berkeley Media Relations some of his thoughts about filmmaking and the current state of the world.

Q: Documentary films have generated increasing attention of late, at least in the United States. Is there a similar surge in other parts of the world, such as India? If so, to what do you attribute it?

A: Important documentaries were made in the U.S. even in the 60's. Later films like "Hearts and Minds" and "Harlan County U.S.A" won Oscars and by the 80's, several documentaries got theatrical release. But it was not until the phenomenon of Michael Moore that documentaries became box office super hits and actually began to shape mass opinion.

In India, the early documentary scene was dominated by government propaganda made by the Films Division of India, which produced newsreels and documentaries that were compulsorily shown before every commercial film. People either arrived deliberately late or walked out for a smoke during these films, and the tag of "boring" became inescapably attached to the documentary. It has taken several decades of sustained independent work to break this tag.

Today with the DVD revolution making the means of production accessible, the documentary has come of age, and public interest is rising, stoked by several ham-handed attempts by the state (India) to curtail the documentary filmmaker's right to freedom of expression.


Poster for "Father, Son, and Holy War" film, to be screened at UC Berkeley's PFA on Friday, Oct. 22

Q: You've called yourself "a non-serious person forced by circumstance to make serious films." What circumstances drove you into the documentary business, and what keeps you there?

A: As it turned out, all my films were driven by political events. I discovered early the joys of mixing my "art" with the desire to speak out about issues I was involved with. In the beginning, I saw filmmaking more in utilitarian terms, as a means towards an end, as a pamphlet that would be more exciting than the usual fare and would overcome the shackles of illiteracy. In time, I was seduced by the medium itself and began to take more interest and pay more attention to the craft of filmmaking and the ways of storytelling. But I don't think my original motivation ever left me, nor has the yardstick by which I judge whether a film has been able to communicate with people widely or not.

As a "non-serious" person, I would like to have made more playful films, but there is so little time left over from making and screening films about serious issues that I am usually too mentally exhausted. Sometimes, of course, the playful peeps through even in films of import.

Q: Do you think you make a difference in terms of the many issues relating to environmental and social justice, war and peace?

A: This may be wishful thinking, but the honest answer is yes, at least at the micro level. If I didn't think this, it would have been hard to sustain my own levels of engagement.

Where is the evidence? It comes in small ways, from individuals who speak out at screenings, from letters from viewers, from essays written by school and college kids, from a movie star who decided to become an activist, from a fundamentalist who questioned his own belief system, from an usher at a posh club where the film was screened who bicycled for miles to track me down and get a Hindi version of the film.

The list, fortunately, is very long and has always saved me from sinking into doubt and despair, no matter how hard the circumstances. Even the fact that the state and the fundamentalists have tried to suppress my work proved to me that they found the work threatening, i.e., effective.

Q: Your film "War and Peace" explored issues surrounding the nuclear tests conducted in India and Pakistan in 1998. Has the situation gotten better or worse since then?

A: We went through a period for about a year — after the Indian Parliament was attacked by armed gunmen allegedly sent by Pakistan — when Indian and Pakistani troops were eyeball to eyeball on the "line of control." Anything could have happened then, fingers were tightened on the nuclear trigger.

Since that time, there has been a palpable thaw. Peace talks have taken place, as have cultural exchanges. Perhaps more importantly for the masses in both countries, cricket and hockey matches have been played in an atmosphere of great cordiality, something we never expected would happen so fast. It seems clear that people on both sides want peace, but in both countries, fundamentalists continue their campaign of hate, and the balance could easily be tilted with a few well chosen terror strikes, so one can never breathe easy.

Q: What do you make of Iran's interest in nuclear weapons, and North Korea's nuclear capabilities? Do you have ideas of how these situations might be resolved peacefully?

A: I see the militarism of the U.S. as the single biggest threat to world peace. North Korea and Iran pale in comparison. When was the last time they invaded a virtually disarmed country? Is there a single terrorist whom we fear today who does not have a long history of being trained, armed or supported in the past by the U.S.?
We have to rethink the words we use, our core beliefs, if we are to come close to the reality of what is happening in the world.

Q: You wrote an essay, "How We Came to Love the Bomb." Can you give a short summary?

A: I wrote that article in despair over the fact that my country had abandoned the non-violent legacy of Mahatma Gandhi and embraced the path to nuclear disaster shown to us by our super power Big Brother. I also made a film, "War and Peace," documenting the mad euphoria that we saw in the streets as Indians and Pakistanis celebrated their newfound powers of mass destruction.

A few years later, when my film "War and Peace" was shown in the U.S., A. Hamrah of the Boston Globe wrote a perceptive piece comparing the jingoism seen in "War and Peace" with the recorded jingoism that greeted the destruction of Hiroshima and Nagasaki in 1945 and the development of nukes in the U.S. in the 50's. A whole bomb culture had evolved then with pop songs, T-shirts, the works.

Q: You protested the Vietnam War while living in the U.S. in the '60s. How do you feel about the Iraq war, and are there similarities between the two?

A: Both wars were illegitimate, immoral, but I think the reasons for the Iraq war are even more transparently venal. If there is less public protest this time than there was during Vietnam, I attribute it to the fact that there is no draft.

A majority of the young Americans being killed in Iraq are from low income groups and minorities. Sadly, it is only when rich kids die that America seems to really wake up. Perhaps only when those who vote for war are forced to commit a loved one into battle will wars come to an end.

Q: During your career, you've dealt with attempts by the Indian government to censor your films, and with Hindu activists who pressured the American Museum for Natural History in 2002 to postpone screening some of your films. Who are your biggest allies in trying to fight censorship?

A: Where the enemy has been state censorship, my biggest ally has been a healthy Indian Constitution that guarantees "freedom of expression" and dedicated civil liberties lawyers like P.A. Sebastian and Nitya Ramakrishnan, who have successfully defended my films. To date, despite repeated bans and attempted deletions, not a single frame of any of my films has been sacrificed. Although the official release of many films was delayed, in the end we were always able to win in court and through public pressure generated by a sympathetic press.
Where my opponents have been religious fundamentalists, my allies have been secular Indians of all faiths, all those who are marginalized by caste and creed, and the many Hindus who have always taken pride from the inclusivity and tolerance of their belief system.

Of the many attempts made by fundamentalists to shut down our screenings, very few have succeeded. In Kerala (India) last year, "In the Name of God" was banned by a district officer who gave in to threats by the Vishwa Hindu Parishad. But a month-long agitation that included street marches by secular Keralites forced the ban to be withdrawn. Even the Museum of Natural History in New York, facing an e-mail barrage by secular Indians, reversed its ban on the film. Unfortunately, it did not get up the guts to keep the screening on its own premises, but relocated it to New York University.

Q: You've been called the "Indian Michael Moore." Your thoughts about that description, and about the work of the American filmmaker?

A: It is an honor to be compared with Michael Moore. But my own films have never gotten into the mainstream. So I'm thrilled as much by Moore's work as the impact he has had. My heart went out to him on Oscar night. He stood up and was counted.

With his films, I've loved much of what he has done, although I'm not sure how exactly his work is understood by those who do not already agree with him. There is a nagging doubt about whether middle-of-the-road Americans take kindly to him.

I do not mean to be critical because I think those who like Moore see through the lies that the U.S. and the Bush administration have told the world, and their morale needs to be lifted. Moore does this brilliantly, but perhaps a less personal attack would have served better to bring out the systemic problems in the U.S.

At times I have also been accused of mocking my "enemies" and I always defended myself by saying that one needed a sharp instrument to cut through the layers of deceit and disguise. I think Moore's technique is legitimate, but sometimes he is guilty of striking too many blows even after his opponent is down for the count. That is what happened the second time he talked to Charlton Heston in "Bowling for Columbine." And "Fahrenheit 9/11" would have been better if it was less Bush-centric.

But nothing I say takes away from the sheer chutzpah of Mike. He is the best thing that has happened to America since (linguist and activist Noam) Chomsky.

Q: What are you working on now?

A: Doing screenings and fighting court cases. "Father, Son and Holy War" (1995) won two national awards in 1996 on the basis of which I approached state-controlled Doordarshan national TV to broadcast the film. When they, as usual, refused, l went to court and won. Then they went to Supreme Court, which is where the matter now stands.
I do have some half-finished films on the back burner, but it's too early to talk about them.

Q: What are your plans while at UC Berkeley?

A: Just doing the screenings, meeting with friends, recharging my batteries.

shah waliullah -- khwaja masud

Before and after Sir Syed Ahmad Khan


Prof Khwaja Masud

The writer is a former principal,
Gordon College, Rawalpindi

khmasud22@yahoo.com

Feuilleton

Shah Waliullah (1703-1762) and his school of thought have been the predominant influence in the Muslim religious and intellectual life from the mid-18th century onward.

Among Shah Waliullah’s main contributions is the fact that he broke the shackles of taqleed (compulsory adherence to any one of the four main schools of Islamic jurisprudence), which has been the single biggest factor in the intellectual stagnation of the Muslim thought.

Shah Waliullah’s main point of departure was the attempt to work out the social basis underlying the Qur’aanic injunctions. The Shariah, he pointed out, only aims at the reform of society. But, no Shariah takes place in a vacuum. It develops in the context and on the basis of usages and customs of the society concerned. This is also true of the Islamic Shariah. The customs of the Arabs, and, among them especially of the tribe of Quraish, constituted the raw material of the Shariah of Islam.

Iqbal also took the same line. After giving a summary of the prophetic method as explained by Shah Waliullah, in Reconstruction of Religious Thought in Islam, he says: "The Shariat values (ahkam) resulting from this application (for example, rules referring to penalties for crimes) are in a sense specific to that people; and since their observance is not an end in itself they cannot be strictly enforced in the case of future generations."

Preceding Iqbal, Sir Syed Ahmad Khan independently discussed the principles of the exegesis of the Qur’aan. He was dealing with the problem when the discoveries of natural sciences were sought to be rejected on the plea of being opposed to the Qur’aanic text. Sir Syed argued for the word God (revealed text) to be understood in terms of the work of God (ie nature); its meaning, he said, will have to be reinterpreted in the light of the ‘ever’ of the ever-growing human knowledge and the latest discoveries of science.

Sir Syed applied the same principle of exegesis of the Qur’aan in matters concerning social affairs. He came to the conclusion that cutting of the hands of a thief is not compulsory, nor is polygamy, nor slavery. The Qur’aan at one place enjoins adl (justice, equity) between wives; at another, it says equity is impossible (III, 13; III, 129). Sir Syed argued that, read together, the two verses sought to prohibit polygamy. In the same way, he argued that the Qur’aan sought to abolish slavery gradually.

Moulvi Chiragh carried forward Sir Syed’s idea in a more radical way. He says in Azam-ul-Kalaam fi Irtiqa-il-Islam, "The most essential civil and political problems of Islamic Shariah said to be based on the Qur’aan have been deduced from a single word or sometimes from a single phrase. Uncalled for insistence on following the letter, neglect of the true intent of the Qur’aan has become a characteristic of our exegesists and our jurists. Of the six thousand verses in the Qur’aan, there are only about two hundred, which relate not only to civil, penal, fiscal and political matters, but also to prayers and religious rites. It is obvious that these verses cannot provide definite guidance or specific rules about civil law."

About the traditions of the Prophet (PBUH), Moulvi Chiragh maintained that the Prophet (PBUH), his Companions and Successors had condemned the practice of compiling the Traditions, thus denuding them of religious authority.

About the third source of Muslim Law, Moulvi Chiragh notes that none of the four schools of Sunni jurisprudence has claimed any finality for their conclusions. They never insisted that their opinions or analogical deductions be compulsorily followed by their contemporaries, not to speak of the future generations.

Let us see what the Quaid-i-Azam had to say on the matter. On February 6, 1912, an amendment to the Special (Civil) Marriages Act was moved by Bhupendra Nath Basu in the Legislative Council. It sought to provide for the registration of the civil marriages between persons belonging to different religious denominations. Till then, both the parties to such marriages had to declare that they belonged to no religion. The amendment was lost. But the 1912 amendment is memorable for Quaid-i-Azam’s speech on the subject.

When Quaid-i-Azam rose to speak, the Law Minister, Sir Ali Imam, drew his attention to the Qur’aanic injunction prohibiting a Muslim male from marrying women outside the People of the Book (Ahl-i-Kita and, of course, the Muslims and Muslim women from marrying any but a Muslim.

Quaid-i-Azam, then, reminded the Law Member that it was not the first occasion in the history of legislation in India that the Council had either ignored or amended Islamic law in such a way as to make it suitable to meet the requirements of the times. He cited many examples. The Islamic Law of Contract was not recognised any more. The Islamic Penal Law, which had continued to be in fora even after the establishment of British rule in India, had been completely abrogated. The Law of Evidence, as set forth in the Islamic Law was nowhere prevalent in the country. Then there was the Caste Disabilities Removal Act of 1854. Under Muslim Law, a person in the event of apostasy lost all rights of inheritance. This, too, had been abrogated.

"I submit", said Quaid-i-Azam, "that these laws are the precedence which we should follow in order to be able to meet the requirements of the times. For this many a precedence can be found in Islamic Law."

On August 4, 1955, a seven-man commission was appointed to study the existing laws of marriage, divorce, and family maintenance to determine whether these laws needed modification in order to give women their proper place in society according to the fundamentals of Islam. Dr Khalifa Abdul Hakim, secretary of the commission, wrote in the introduction to the majority-report: "Islam is not the name of any static mode of pattern of life; it is spirit and not body; it is an aspiration and not any temporal or rigid fulfilment. The essence of life is constituted of permanence and change. The ideal only is permanent; the changes or the regulations that deal with particular situations of a particular epoch can never assume the status of the ideal. Land and capital mean different things in different epochs; the mode of the handling them must change accordingly."

The trouble with the traditionalists, as Khalifa Abdul Hakim sees it, had been that they confused the permanent ideal with the temporary regulations.

As a result, the Islamic law lies buried beneath the heap of retrograde legalism, its spirit smothered by centuries of obscurantism, clericalism and despotism.

Too often, too many people have been duped in the name of religion. But obscurantism stands doomed, though the struggle is tough and hard.

Inspired by the true and ever-fresh spirit of Islam, people are moving ahead, despite temporary setbacks. The direction of the path travelled by Islamic thought so far makes it amply clear.

Islam is a faith in which God provides mankind anew, every day, riches whereby we can understand and solve the problems created by an ever-changing reality and an evolving universe.

At one end, Islam relates itself to the immeasurable diversity of mankind; and, at the other end to the immeasurable greatness of the Divine.

bina shah -- saba imtiaz

Rising Star: Bina Shah

By Saba Imtiaz


Bina Shah is a name you might recognize from her frequent writings for Chowk, Dawn's The Review, and/or the lines of glossy covered books at nice bookstores. She is one of Pakistan's upcoming English writers, who has three published works to her credit, the latest being her novel The 786 Cybercafe. Bina talks to Bandbaja here about writing, music and more.

Chowk

When did you become involved with Chowk?
I got involved with Chowk back in 1998, when it had first started. I met Safwan Shah, the co-founder, who I told I was interested in writing. He suggested that I contribute to this new website. So I sent in my first piece, “On Becoming an Ex-Expatriate” and the whole system of instantaneous reader comments and feedback was so addictive, I was hooked from the first day!

How far do you think sites like Chowk help in improving relationships between people from the subcontinent, torn apart thanks to years of government propaganda and hatred?
Rather than helping, I think that it just gives people another arena to fight. But virtual fighting is healthier than real-life war.

What do you feel is Chowk's contribution to the literature scene?
It depends which scene you’re talking about. I think its best contribution is that it gives people the confidence to write. They get to express themselves and hear what people think about what they’ve said. It’s not always the best place for constructive criticism anymore, but sometimes you’ll get some feedback from a writer willing to help. It’s not the New Yorker but it definitely has its place.


Where they dream in blue

You've lived and studied abroad for an extended period of time, so why did you choose Karachi as the central location for your novel?
Karachi is the place I know best and it's where I live. I wanted to write something about this city because London, Paris, and New York have already been done. Also, Karachi is a very colorful place. It's a constant inspiration.

Most people have a severe aversion to beggars. On the contrary, one of Where They Dream in Blue's main characters is a beggar boy. Was there a more symbolic undertone to this character?
He’s a human being like all other beggars in this city. I know beggars can be really annoying but that doesn’t mean they aren’t worth writing about. I did make him an orphan on purpose because I remember reading about how they have symbolism in Sufism, but I'm afraid I can't remember what they’re supposed to symbolize.

Akbar’s character was rather interesting and intriguing. What was your inspiration behind him?
I have been amazed at the reaction to Akbar. Someone actually said he was “hot maal” on a Web site somewhere. I just imagined him as this really cool, cynical dude – your typical Pakistani guy who’s too smart for his own good. We all know people like that.

Were you satisfied with the response to the novel?
Amazed and gratified would be a better way to put it. I never thought it would strike a chord with young Pakistanis, but I'm glad that it did.


The 786 Cyber café

The 786 Cyber cafe centered on a story based on the infamous ‘other side of the Clifton bridge’. Don’t you think that generalization that people on that side are narrow minded and long-suffering is further emphasized in it?
Do you mean that I portrayed people on the other side of the bridge as narrow-minded and long-suffering? I think people on this side of the bridge are more narrow-minded in many ways. To be honest, I never thought "I'm going to write a book about the other side of the Clifton Bridge" but I was determined to write about people who would never have been to the Sind Club.

Do you feel you have grown as a writer?
I don’t really know. I think I realized that I should write in shorter sentences. I also took off the kid gloves so to speak – I was less afraid of offending people and I made bolder statements, although I took on more controversial topics than before. I said things more directly instead of tiptoeing around them.

How has the response been to the Cybercafe?
So far so good. I was surprised to see that people got very excited about the novel, associating it with the cybercafe scandal where some people were secretly filmed without their knowledge in cybercafe booths. I was very sorry about the repercussions those scandals had on the young people involved, but it certainly evoked a lot of interest in the subject of cybercafes, pornography, and religion, which is exactly what my book is about. I even found out later that the Muslim Council of Britain endorsed the novel as a "thoughtful debate" on the Internet and pornography in Pakistan.


The Literary Scene

Over the past few years, we've seen a number of Pakistani authors making it big on the literary scene. What do you feel about your contemporaries - Kamila Shamsie, Uzma Ahmed Khan etc? What do you think is the future of Pakistani literature?
I’m very proud that Pakistanis are starting to get noticed and I hope more of us make our way to the bestseller lists in the future. But it's not going to be easy because not enough of us read and not enough of us write. There's interest but I'm afraid it has to really multiply itself by a hundred percent for Pakistani literature to go anywhere.

The general opinion is that most English writers today are elitists who write from the slanted point of view of the privileged? How do you respond to such sentiments?
People who write in English are generally going to be economically privileged. They are not morally, intellectually, or genetically superior to those who write in Urdu. But just because a writer is more affluent doesn’t mean he or she cannot write about different social classes. Mohsin Hamid did it to great effect in Mothsmoke and I believe Maniza Naqvi and Uzma Aslam Khan also manage to write very well about classes other than the privileged.

There is a complete lack of literary activities here for the youth. What do you think?
I totally disagree with that statement. There are book fairs and book bazaars, lectures by authors, book launches, and all sorts of book-promoting activities that young people can take part in. There are essay competitions sponsored by foreign missions, private organizations, and the government.

The youth are striking out on their own by writing for websites like Bandbaja and Chowk, or their own blogs. They're being encouraged to write for magazines and newspapers like never before. Look at the children’s magazines that come out with all the major newspapers. If that's not encouraging reading and writing in young people I don't know what is.

What do you feel about the deeply rooted state of book piracy here? Do you think there is a solution to this problem?
I don't think there is any solution in the near future. I'd be lying if I didn't admit that we all take advantage of piracy, especially video and music piracy. I myself own several pirated Playstation games. It's all about economics, isn't it?

I have no problem with buying an original book but that's because I can afford it. But keeping books away from people because they're too expensive is as much a crime as selling someone a pirated book. By the way, I think second-hand bookstores and libraries are a good alternative to buying pirated books. Why not get something legitimately, but used, if you can?

Have you ever felt any prejudice against you, being a female writer?
Not at all. I am gender-free when I write. Besides, we are well beyond the days when I might have had to take a male pseudonym in order to be published and not be called rude names.

What is the deal with royalties in the book publishing world? How does the system work?
You sign a contract and get a fixed percentage of all sales of the book, and a certain percentage of any other deals that might come through – foreign publications, translations, television or movie adaptation rights.

Reading habits seem to be declining by the day, especially with the increasing popularity of the Internet. In a country like Pakistan where the literacy rate is already quite low, how do you feel this affects the present and future generations?
I'm not sure I’m qualified to answer that question. A society that can't read will eventually revert back to the law of the jungle. But I don’t think we’re going to become completely illiterate.

Do you think writing can be taken up as a full time profession in Pakistan, given that most writers today have day jobs and write on the side?
None of us is a millionaire from our books or our newspaper columns. It's more practical to take it as a part-time job until you’re in a position where you can do otherwise.


Personal

What do you do in your free time?
What most people do with their free time – waste it.

Where they dream in blue had a lot of references to rock band Junoon. Do you listen to Junoon? What other music do you enjoy?
I really enjoyed Junoon’s "Parvaaz" and listened to it constantly for a few months before starting to write "Where They Dream in Blue". My taste in music is very eclectic. I like the Smiths, Morrissey, U2, Sting, and the Police in Western rock. I also love classical music and am a keen piano player and flutist. I like Buddha Bar and instrumental music.

One of my favorite soundtracks is Gattaca; another is Amelie. I really don't listen to Indian music at all, but my favorite Pakistani album is (by) Fuzon, and I really like rai music from North Africa and traditional Celtic music.

You quit working to write full time. How is that working out? (Excuse the bad pun!)
I don't think I could have written my novels while working full time. It was absolutely necessary to take a sabbatical in order to do what I wanted to do.

What are your future plans? Any subjects in particular that you plan to write on?
Maybe a novel that is a little more international in scope. I might write about America next. Nothing firm as yet.

Any advice or words of wisdom to aspiring writers?
Read more books.

noon meem rashid- Parveen Rahim

N.M. Rashed - Iconoclast or sublime?

By Parveen Rahim

Noon Meem Rashed died as he had lived, denouncing conventional religion, rejecting all established norms and totally indifferent to the controversy his cremation aroused.

Iconoclasm, taken by itself, is sheer revolt, conceit, aggression and purely negative in form, but Rashed, also equipped with constructive genius, remains conspicuous not only for his utter rejection of all that is traditional, but also for the opening up of new vistas. Rashed refused to confine himself within the limits of literacy doctrines and schools. Language, style (which includes ghazal form), philosophy, technique and treatment have all acquired a new meaning in his poetry. A born rebel, Rashed was one of the leading pioneers of modern poetry, and in his dexterous handling of the blank verse and prose-poem is second only to Meeraji.

Jean-Paul Sartre, in his last interview, said that all creative writing required solitude, and like him, Rashed too, advocated the cause of the individual and emphatically asserted, in the realm of art, the supremacy of individual endeavour over stereotyped thought and ideology. He wished to be different and he found the prevalent subjectivism in poetry too constraining. The subjective treatment of art has also been deprecated by Goethe explicitly: "Poetry of the highest type when once it withdraws itself from the external world to become subjective, degenerates."

"Humanism", in the strict sense, is hardly a philosophy and is only made significant by Sartre's famous lecture "Existentialism is a humanism". Sartre's acceptance of "Closed Humanism" has visibly influenced Rashed's seemingly atheistic outlook, implying that man is the sole creator of meaning and value in the world and is abandoned to create and realize in his world such values as he can.

Destined for fame, with the publication in 1941 of Mavra -- his first collection of poems in free and blank verse - he was awarded instant recognition. In his preface to Mavra, Krishan Chandar acknowledges Rashed's innovations and shares with him, the pain of the downtrodden East. Rashed is disillusioned with his times. His heart bleeds for the ignominy and poverty the East has suffered for hundreds of years and which compels him to say:




and in yet another mood,





During the romantic Akhtar Shirani era of the early forties, Rashed, too lived through the ardours of romanticism but later laid them aside as he evolved into Guman ka mumkin.

Language is, strictly speaking, the basic raw material of the literary artist, but it is on discontent, disillusion, despair, frustration and heartbreaks that the true artist thrives and which assures his immortality. Would utopia be a befitting nurturing ground for Ghalib, Mir, Faiz, Rashed and Meeraji and would one accept a utopia without them?

The publication of Iran mein Ajnabi in the early fifties, was yet another landmark. The late Prof A.S. Bukhari, (popularly known as Patras) wrote to him from New York, congratulating him on his breadth of vision, on breaking new grounds and proclaiming him the "poet of Asia". Needless to say that there is again an abundance of Persian and Arabic vocabulary as well as the free use of political symbolism and the few poems which deserve special mention for their diction, treatment and style are: "Kon si uljhan ko suljhatey hain hum?", "Kashmakash", "Shab-i-gurezan", "Pahli kiran", "Zulm-i-rang", "Khud sey hum door nikal aey hain", "Maizban" and "Tail key saudagar".

>From Iran Mein Ajnabi to Ka-Insaan is a tremendous leap forward and has resulted in poetry which certainly has no parallel in blank verse amongst his contemporaries in thought, beauty, diction, positiveness, challenge and a larger-than-life canvas which includes all the colours of the rainbow. The late Prof A.S. Bukhari quite rightly wrote in his preface that the impact of Rashed's poetry, although universal, captivates the mind to total addiction. La-Insaan is undoubtedly his most beautiful collection of poems and "Hassan kooza gar" an unforgettable aesthetic experience. Through this poem Rashed identifies himself with Hassan and the symbol of pottery (koozey) which recurs constantly and forms a befitting refrain. The clay pottery is symbolic of his creation and by virtue of that he himself becomes the "creator". The thought profound, the diction at times aesthetic, at time Carlylian, the technique original; that is Rashed in "Hassan kooza gar".

I would like to quote lines from the poem:





In its treatment of the subject the most aesthetic poem is "Meer ho, Mirza ho, Meeraji ho", the most philosophic "Hamatan nishat-i-wisal ham", the most profound "Ham key ushaq natheen", the most challenging "Zindagi sey dartey ho?" the most illusively imaginative "Arzoo rahiba hai", the most ethereal "Salgirah ki raat", the most optimistic - "Is per pav hai boom ka saya" and "Hassan kooza gar" his masterpiece, the most beautiful synthesis of them all.

It is impossible in this brief evaluation to discuss all the symbols at length, but from La-Insaan to Guman ka Mumkin the deeper you immerse into them, the more enriched you emerge. Enriched, yes, but also hypnotized and in a state of trance. It is only after "experiencing" N.M. Rashed that I have been able to comprehend the meaning of Oscar Wilde's dictum: "All art is at once surface and symbol. Those who go beneath the surface do so at their own peril."

Rashed's poetry is studded with Persian and Arabic vocabulary which he attributes to his tutoring. Although the effect of the majority of his poems is mesmerizing, the rhythm soothing and soft, yet, when it comes to his prose poems he invariably sacrifices the sound effect, thereby purposely flouting yet another Aristotelian poetic tenet that "Poetry should please". The few specific poems I would like to mention for their jarring sound effects are "Marya gandhey", "Raat shaitani gaee to kiya hus" and "Zinjeel kay adami".

With the publication of his posthumous collection poems in Guman ka Mumkin, the transition from revolt, aggression and revolt to the philosophic and passive state of pensiveness indicates serenity, sublimity and maturity. The diction is noticeably different from his earlier poems in the lesser use of Persian and Arabic vocabulary. Rashed, though not unaware of the grandeur of the past, is strongly reminiscent of Andre Guide's view "Drink not from the waters of the past, Nathaniel". Despite the controversies he always aroused Rashed stands tall, a cut above the rest, in the Hall of Fame.

The title of the book Guman ka Mumkin, though extremely pleasing to the ear, is strictly speaking, abstruse. The poem itself discusses the beyond, the uselessness of arriving at any conclusion on the basis of religion, the futility of reasoning which leads only to ambiguity, the observation that time ironically is both the creator and the destroyer and arriving at the final conclusion that the sole reality, beyond the state of doubt, is the joint existence of "you and me".

The other outstanding poems from the collection are "Dil merey sahra naward-i-peer dill", "Andha kabari", "Dooi ki aabna", "Mujehy vida karo", "Yeh khala pur na hua", "Yaran-i-sar-i-pul", "Shab-i-wajood aur mazar", and the most sparkling of them all the ever recurring "Hassan kooza gar".

"Yeh khala pur na hua" in its choice of diction, the emphasis on the phonetic and the soft blending of images reminds one of "Meer ho, Mirza ho, Meeraji ho".





In "Shab-i-wajood aur mazar", Rashed mourns for the stagnant East and longs for a renaissance. The philosophy of "Naya nach" of "Yaran-i-sar-i-pul" and "Naya admi" more or less, rotates around a similar axis.

"Mujhey vida karo" is a profound observation of life, wherein, he strives to detach himself from the world, in order to concentrate more intensely on the finer nuances of life he has been unable to grasp because of the various diversions and the limitations placed on him by time and space. Here, you find, intellectual detachment of the highest order.

Trying to find the justification for his existence he exclaims:





But it is in his "Andha kahari", where his despondency is brought entirely to the surface. He knocks at every door, offering felicity, rejuvenense and innovation, only to be greeted by suspicion and disdainfully sent back .

It is strangely in his treatment of "Hassan kooza gar" that Rashed again excels. He is disillusioned by the limited comprehension he finds in us and proclaims himself the "poet of tomorrow", when he says:





>From Mavra to Guman ka Mumkin has been a long lonely, and arduous journey for Rashed. The positivism of La - Insaan, giving way to the profundity of thought and evolution is obvious from the following extracts:





Tired and pensive at the end of his journey, Rashed contemplates:








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general mitha -- khalid hasan


A soldier’s life


Khalid Hasan


How many people in Pakistan have read, I have been wondering since I put down what to my surprise turned out to be an “unputdownable” book, the late Maj Gen AO Mitha’s posthumously published autobiography, Unlikely Beginnings. Not many, one should presume, barring some in the army who knew the general, the man who raised the Special Service Group (SSG) in the 1960s. From the anonymity in which, he believed, such a special force must remain, it has since become something of a public spectacle and a showpiece, guarding important generals, including Gen Pervez Musharraf, and showing off on Republic Day parades, running on the double, knees kicked high up to the chin, with the men, a good many of them bearded, screaming “Haq Haq”. One does hope it is not a reference to Gen Zia-ul-Haq. The SSG also puts up a show of daredevilry for important visitors admitted to the Attock Fort. Why? I do not know and one shouldn’t even ask in a country where army messes are now rented out as shadi ghars for people to celebrate their weddings.

Gen Mitha was born to an affluent and politically influential Memon family in Bombay in 1923. His grandfather was a knight and important enough to have the viceroy of India accept a dinner invitation from him at the Taj. Mitha grew up in Bombay and the chapter devoted to his childhood and early years and how the joint family system, presided over by an imperious grandfather and an omnipresent, all-powerful grandmother who inspected her married daughters-in-law’s separate living quarters for any signs of undusted furniture, deserves to be included in a sociology textbook.

Mitha was a defiant young man and to his grandfather’s shock and anger rejected the career in business that had been chosen for him. He also rejected the bride that had been earmarked for him. He decided that he was going to find a career in the army. Accordingly, after finishing high school he joined a pre-cadet academy, and was selected for a commission in the British Indian army. He passed out of the Indian Military Academy, Dehra Dun, in 1942 and daredevil that he was, volunteered for the Parachute Regiment. He served in Burma and was dropped behind Japanese lines for high-risk operations. What I found somewhat shocking – because I had always thought otherwise – was the blatant racism that British officers practised against their Indian colleagues. If there were ten officers in a mess, two of them British, they would see to it that they had little, if anything, to do with their Indian counterparts. Thousands of Indians laid down their lives in the two Great Wars which had nothing to do with them. One can only speculate what would have happened if the Allies had lost the war and Subhas Chandar Bose’s Indian National Army, which contained many Muslims, had found the future of post-British India in its hands. It is one of those great unknowables about which we can only hazard a guess.

Mitha opted for Pakistan in 1947 even after his parents, who had first decided to go to Pakistan, changed their minds. Just around that time, he fell in love with Indu, daughter of Prof Chatterji of Government College, who had grown up in Lahore, but had since moved to Delhi. That it was not just puppy love but something more lasting was proved by Mitha’s perseverance, and four years after the young lovers’ separation Indu, against the wishes of her family, came over to Karachi and they were married. He remained in love with her till the end of his life. They had three wonderful daughters, two of them highly talented classical dancers.

Mitha describes the GHQ in Rawalpindi of the early days of Pakistan in graphic detail, with junior officers using wooden packing cases for desks and chairs and bringing their own pencils to work. Toilet paper that the British used to call “bog paper” was used to write on, as ordinary paper was just not available. “When I see the offices in GHQ today, with wall-to-wall carpeting, panelled walls and full air conditioning, I wonder how and why this desire for luxurious working conditions has crept in,” he wrote with some sadness. In 1953-54 officers above the rank of lieutenant-colonel were asked if Pakistan should accept US military aid. Mitha suggested that Pakistan should not, because aid would prevent the country from developing its own arms industry and leave it at the mercy of the Americans. It will also develop a “beggar mentality”, he predicted presciently.

This wise advice was, of course, ignored. The SSG was set up at the suggestion of the Americans as a force that would operate against the Russians if they overran West Pakistan. Cherat was chosen as the highly restricted site where the commandos were to be trained and based. The trainers were mostly Americans from the CIA, who came with their families, setting up a little America with all its gadgetry and attendant luxuries. Mitha’s sole instruction to his handpicked Pakistani officers was: “Be proud of your poverty.” He remained head of the SSG for six years and it was an SSG detachment that buried him with fullhonours, sounding the last post as it lowered this soldier’s soldier in his grave four years ago.

Gen Mitha was retired when he was just over 48 years old because Gen Gul Hasan added his name to a list of officers whose retirements were announced by Zulfikar Ali Bhutto in his first speech as president on December 20, 1971. It was a most treacherous blow as Mitha was too good a soldier and too reverent of tradition and rules to have had any Bonapartist ambitions. He had no hand in the officers’ “revolt” at Gujranwala and the hooting down of Gen Hamid at a GHQ meeting, events that, ironically, pushed out Yahya. In fact, it was Gul Hasan himself who was Bonapartist, something Bhutto always knew. He only used Gul Hasan.

According to Gen Mitha, it was Gul Hasan who saved Brig Zia-ul-Haq, as he then was, from being sacked. Zia was in Jordan. The year was 1971. Gen Yahya received a signal from Maj Gen Nawazish, the head of the Pakistan military mission in Amman, asking that Zia be court-martialled for disobeying GHQ orders by commanding a Jordanian armour division against the Palestinians in which thousands were slaughtered. That ignominious event is known as Operation Black September. It was Gul Hasan who interceded for Zia and had Yahya let him off. Mitha was treated very badly. His Hilal-i-Jurat was withdrawn in February 1972, something that also appears to have been Gul Hasan’s handiwork. He remained under surveillance through the Bhutto years. All doors of employment were closed on him and had it not been for the generosity of a friend living abroad, who asked Mitha to manage his farm for him, he would have been on the street.

After he died, one of his friends wrote to his wife, “At the end of a tumultuous life, all he wanted was a room to sleep in, one to write and eat in – a space to walk, reflect and gaze across the fields to the distant hills.” That is not a bad epitaph for a soldier.

muzaffar ghaffar - khadija hassan aftab

Many voices
REVIEW by Khadija Hassan Aftab

Is Muzaffar Ghaffaar’s elusive verse a jab at the sorry state of Pakistani writing in English?

Another voice: Thirty-five poems
By Muzaffar Ghaffaar, Ferozsons,
Rs 250.00

As the language of the soul, poetry does not lend itself easily to analysis. But in its depths it simultaneously hides and reveals the truth of the poet, and to the discovery of this end it is worthwhile to analyse. The collection Another voice, by Muzaffar Ghaffaar, is an especially interesting subject of investigation. The title suggests that the poems contained on its pages echo thoughts and feelings that have already been expressed by other voices that have found validation and legitimacy within society. Thus, the landmark humility of the true poet marks the literal surface of the volume and prepares the reader to expect the expected. But if one has previously read any of Mr Ghaffaar’s works one may rest assured that to do this is never wise.

There are several reasons why the title Another voice, departs from the tone of the poetry within, and becomes wry. First, there is a dearth of good Pakistani English literature (by which I mean writings by authors of Pakistani origin in the English language) on the market. Few, if any, voices have emerged that go beyond formulaic writing to ring true of the Pakistani experience. Fewer still elicit a reader’s empathy and perhaps none have managed to string words that carry a universal appeal. In an environment where readers are few and the serious writing community consists of only a handful of people, what does Mr Ghaffaar mean by calling himself just another voice?

The initial impression is that the author, mindful of the sorry state of Pakistani English letters, is simply being ironic. Conscious of the fact that poems are reluctantly taken to press (publishers much prefer marketing novels) and fewer still linger in public memory, perhaps the poet takes a satirical jab at the system from within. But a sad possibility pushes the irony aside and tugs at one’s heart: here is a volume of poetry, lovingly penned by a poet, baring his innermost thoughts and feelings to us, and it is afraid of being just another voice that will quickly fade away. Or worse, be misunderstood. The closing poem of the collection titled ‘The harvest’ betrays the truth of this latter possibility:

God
I understand;
It’s
never
going to be
understood.

The poems that form Mr Ghaffaar’s voice vary in theme, style, meter, length and tone. What is common between them is that all are rich in symbolism. Mr Ghaffaar switches from metaphor to allusion to personification with ease and he does so without sounding formal or stuffy. In general, the message his poetry conveys has moralistic tones and he often presents his system of values by showing what becomes of us (or what has already become of us) through their negation. In ‘Smoke screen’ he says:

City smells have gone awry. We cover
our nostrils, mutter in disarray and
look the other way. The city lambastes us
with the stench of dirty money…
…Unrelenting capillaries of gossip mark out
odorous men and women. To underscore
their identities they are impelled
by the unassailed, reeking gold
to spend on mile-long illuminations
as they make, one after another, lavish
sorry weddings for spoilt daughters.
We dine at these feasts, curse the hosts,
blame the stars and all our pet hates
then scurry on to the next subterfuge.

However ripe with moral lesson his poetry may be Mr Ghaffaar is never didactic and certainly does not pretend to impose his beliefs on the reader. He only shows us a mirror. Whether we choose to look into it or not, remains up to us:

‘The moment’

The moment
with fire in its eyes
will pounce on you
and bite off your flesh
digging its claws
to reach the bone

Or it will wither away
without touching you
without giving you deep kisses
and holding you to its bosom

Enter the moment
make it smile
make it bleed
and yell
and from its womb
bring out the babe

Look in the mirror:
you are the babe
and there is no one else around


Moving beyond moral considerations, Mr Ghaffaar asks questions of identity. In ‘Predicament’ he writes,

My allusions have shifted
from Milton, Donne and Eliot
to Fareed, the three Shaahs, heavens and this earth
and thus it is likely
to go

How does language
take to transference?
How does a journey traverse bridges
swimming on water
with crocodiles gaping?

Will someone please stand up
and say
this is okay?
Or will I
child of two, three
marvellous tongues
be guilt-smitten
and continue to look askance?

In stating his predicament Mr Ghaffaar voices ours. The questions he asks are questions we must ask ourselves as children who grapple with histories that divide us between tongues and then cheekily rule.

Elsewhere, Mr Ghaffaar departs from a social agenda and turns to introspection. He struggles with the human experience and realises a dislike for what the world makes of Man,

‘Quandary 1’

Each day
you unwrap me a little
take off etched labels
as you lovingly scrape away my scabs.
I peek out of the veils
and recognise myself a little
I resent this

Through his poems Mr Ghaffaar talks about nostalgia, pain, love, and deception; he talks about the human spirit; about ancestors; about loneliness. He pines for freedom as he paints clipped wings; he urges silence; he proposes poetry:

‘Myland – 1996 (and on…)’

…(The poet with shredded spine
shows his tears
dreading the wrath
of all
who dwell in the mirror)

‘Poetry’
…Rhythm and words
cohort with thoughts
dense as tropical vines
light as an infant’s tiny kiss…
…They solve nothing
but leave nothing at rest.

Here, in the last stanza of his ‘Poetry’, we find his real agenda. Mr Ghaffaar is a professor. It is his lot to keep probing into young minds to keep issues and arguments alive. And it is but only with debate and discussion that we may make a fresh start. Though words in themselves may not offer solutions they open doors that lead to some form of resolve.

Through his poetry, Mr Ghaffaar is also creating space for himself as a tool for uplifting society from its pathos. In doing so, he is staking the poet’s claim to being society’s moral teacher. His poem ‘Trials’ sums up the goal that his poetry inches toward – to bear his burden, to keep the torch of knowledge alive, so that his fear of not being understood with which he closes his anthology may never be realised:

…I try to enter grey caverns of young minds
to wheedle out
what they already know.
I throw out echoes
before making a sound
I can’t justify my being;
But I try

rajendra singh- 2001 Ramon Magsaysay Award

The water man of Rajasthan

Rajendra Singh, who has undertaken extensive water conservation efforts in drought-prone eastern Rajasthan, wins the 2001 Ramon Magsaysay Award for Community Leadership.

SUNNY SEBASTIAN
in Jaipur

RAJENDRA SINGH, the man who 'divined' water in the arid regions of eastern Rajasthan by building water-harvesting structures, is the winner of the 2001 Ramon Magsaysay Award for Community Leadership. The non-governmental organisation Tarun Bharat Sangh (TBS), which Rajendra Singh leads as its general secretary, has since 1985 built some 4,500 earthen check dams, or johads, to collect rainwater in some 850 villages in 11 districts in the State. The TBS has also and helped revive five rivers that had gone dry. The award is not only a recognition of his conservation efforts but also an acceptance of the traditional wisdom of the people of rural Rajasthan.

GOPAL SUNGER
Rajendra Singh, winner of the Magsaysay Award.

Incidentally, the honour has gone to an NGO working in rural Rajasthan for the second year in a row. Aruna Roy, whose Rajsamand-based Mazdoor Kisan Shakti Sangathan (MKSS) spearheaded the campaign for the right to information and transparency in development works, was the recipient of the 2000 Ramon Magsaysay Award in the same category.

In his reaction to the honour, Rajendra Singh said: "This is a recognition of the rural communities. The village society taught me the value of water. Prior to 1984 I knew nothing about water or its conservation methods."

Johadwala Baba (bearded man of check dams) to the villagers and Bhai Saheb (elder brother) to his associates in the TBS, Rajendra Singh said: "This is the triumph of the traditional wisdom of the people over classroom learning. It is time the governments recognised their deep knowledge of the land and the environment and made use of it for the uplift of the rural masses."

The draft of the citation for the Award, to be presented to Rajendra Singh in Manila on August 31, reads: "In electing Rajendra Singh to receive the 2001 Ramon Magsaysay Award for Community Leadership the Board of Trustees recognises his leading Rajasthani villages in the steps of their ancestors to rehabilitate their degraded habitat and bring its dormant rivers back to life."

Not long ago, when a group of five youth from Jaipur, which included Rajendra Singh, landed in Alwar district's Thanagazi tehsil, the villagers viewed them with suspicion. The backward Gujjars and the tribal Meenas branded them as child-lifters and terrorists. They were not to blame, for the villages, nestled in eastern Aravallis, were going through difficult times in the 1980s. Most parts of Alwar district had been declared a "dark zone", which meant that there was very little ground water left. Rivers and ponds were drying up and most of the menfolk had left for cities in search of work. Life in the villages had come to a standstill with farming activities getting severely affected and the bovine wealth, the backbone of the rural economy, shrinking in the absence of fodder and water.

Fifteen years and many johads later, water has restored life and self-respect in Alwar. Of late, several villages in the neighbouring districts of Jaipur, Dausa, Sawai Madhopur, Bharatpur and Karauli have been revived by the TBS. Neembi in Jamwa Ramgarh tehsil of Jaipur district is one such village which caught the fancy of planners this summer as the perennially drought-prone village had water at three feet from ground in the third consecutive drought year. Neembi's residents, who spent Rs.50,000 in 1994 to construct two earthen dams with the help of the TBS, now produce vegetables and milk worth Rs.3 crores annually.

Farming activities have resumed in hundreds of drought-prone villages with the rivers Ruparel, Arvari, Sarsa, Bhagani and Jahajwali flowing again after remaining dry for decades. The villages, which were deserted by its inhabitants, have been populated once again. There is a sense of belonging among the people as the gram sabhas created by the TBS to facilitate the management of the johads have a say in the general well-being of the community as well.

The rebirth of the Arvari was something of a miracle. In 1986, the residents of Bhanota-Kolyala village, with the help of the TBS, constructed a johad at its source. Soon villages around the catchment area and along the dry river constructed tiny earthen dams. When the number of dams reached 375, the river began to flow. "We were amazed," says Rajendra Singh, recalling the revival of the Arvari, which earned him the titles of water diviner and miracle man. "It was not our intention to re-create the river, for we never had it in our wildest dreams," he remarked. The villagers who revived the Arvari were felicitated by President K.R. Narayanan with the Down to Earth Joseph C. John Award in March 2000.

The residents went on to constitute a parliament of their own. Arvari Sansad, inspired by the Gandhian concept of gram swaraj, is a representative body of 72 villages in the areas served by the river. The Arvari parliament has framed 11 major rules to fix the cropping pattern and water use. The rules permit only landless farmers to draw water directly from the river and bans the cultivation of sugarcane and the raising of buffaloes as these activities would require relatively large amounts of water.

Rajendra Singh, who was associated with Jayaprakash Narayan's Sampurna Kranti (Total Revolution) movement in his student days, has mobilised the people to stand up and speak for themselves and use natural resources in a sustainable manner.

AN air of festivity filled Gopalpura on August 1 when Rajendra Singh reached the village where he introduced his community-based water harvesting method in 1985 by building the first structure. This was two days after the award was announced, but it was the first thing he did after accepting felicitations and addressing a media conference in Jaipur. (In fact, one full day had lapsed after the news was reported, but there was no clue of Rajendra Singh. Journalists eager to get his reaction after a chase learnt that he was at Shekhawati village looking for new locations to erect check dams. Rajendra Singh came to know about his Award from the morning's newspapers.)

Gopalpura elder Mangu Ram Patel (Meena) was the happiest man, for it was a teaser from him - thein to kuch karo Rajinder, kal favte gonti ler agyo (do something Rajinder, bring spade and pick axe tomorrow and start work) - that spurred Rajendra Singh and the bunch of youth who formed the Tarun Bharat Sangh, or Young India Association into action. The following day the youth were digging and desilting the Gopalpura johad, which had been neglected after long periods of disuse. A village resident recalls that the local Station House Officer (SHO) who reached the village looking for the "outsiders" and with an arrest warrant, found Rajendra Singh with a basket of mud on his head. He made a silent retreat.

Activities of the TBS are spread over an area of 6,500 sq km, which includes also parts of Madhya Pradesh, Gujarat and Andhra Pradesh.

RAJENDRA SINGH, 43, hails from Dola village of Meerut in Uttar Pradesh. He says the crusade he began, unwittingly, against marble miners in the Project Tiger Sanctuary of Sariska in the early 1990s made conservationists take note of his efforts. "The TBS found that even after constructing johads, the water level did not go up in the ponds and lakes around Sariska. But we soon found what was wrong. We traced the missing water to the pits left unfilled by the miners after their operations. Water collected in them, depriving the wells and lakes of water."

Rajendra Singh and his companions at Tarun Ashram, the TBS headquarters in Kishori-Bhikampura in Thanagazi tehsil bordering the sanctuary, took up the issue, which eventually led to the closure of 470 mines operating within the buffer area and periphery of the sanctuary. A public interest petition was filed in the Supreme Court. In 1991, the court issued an order against continuing mining in the ecologically fragile Aravallis. This was followed up by a notification by the Ministry of Environment and Forests in May 1992 banning mining in the Aravalli hill system.

TBS activists had to face the wrath of the mine owners. Rajendra Singh was threatened and attacked. The miners carried on a vilification campaign against them.

Vishnu Dutt Sharma, who was the Chief Wildlife Warden of Rajasthan at that time, recalls: "He was pulled out of the jeep inside Sariska by the agents of the mine owners. I saw them beating him even as the District Collector looked on. Initially my impression was that Rajendra Singh was a rascal who provoked the local people. After seeing him in this situation, I felt he was doing what I should have done - protect the forest land from mining activities."

Initially the forest authorities viewed TBS men with suspicion and banned their entry into the sanctuary. However, things changed dramatically for both Rajendra Singh and the park. The TBS constructed 115 earthen and concrete structures within the sanctuary and 600 other structures in the buffer and peripheral zones. These facilitated a rise in the groundwater levels and helped turn the area into a "white zone". So much so that the Forest Department invited the NGO to take an active part in the park's management. Rajendra Singh helped reform many poachers. Some of the reformed poachers have been recruited by the TBS as nahar sevaks (tiger protectors). Rajendra Singh also agreed to act as an intermediary between the park authorities and the inhabitants of 17 villages inside the park in the matter of their translocation.

Rajendra Singh has been instrumental in creating a people's sanctuary, Bhairondev Lok Vanyajeev Abhyaranya, spread over 12 sq km in villages upstream of the Arvari. During a visit to the wooded sanctuary last year this correspondent spotted the pugmark of a tiger. "We believe that a tiger in the neighbourhood of the village is a matter of prestige," one of the villagers, Nana Ram, said proudly.

Rajendra Singh's activities are indeed multifarious. He has set up educational institutions, mahila sangathans, forest protection committees and now a brotherhood for water conservators - jal biradiri. The TBS conducts padayatras extensively in order to reach out to the people. It has either initiated or participated in long marches. These include the Aravalli Bachao Padayatra (1993), the Gangotri Yatra (July 1994) and the Jangal Jeevan Bachao Yatra (February-March 1995). This summer's Akal Mukti (drought proofing) yatra was led by Rajendra Singh, along with a few sadhus.

A graduate in Ayurvedic Medicine and Surgery and a post-graduate in Hindi literature, Rajendra Singh initiated the documentation of medicinal plants and their uses. The TBS has an Ayurveda centre and a laboratory at Bhikampura.

DURING the past 15 years, the TBS has often fought with governments in power in the State over the people's right over the natural resources available in their neighbourhood. Ever since 1987 when the Rajasthan Irrigation Department served a notice against the first johad built in Gopalpura declaring it illegal, the NGO and the Department have been at loggerheads.

The Magsaysay Award has come at a time when Rajendra Singh is battling the Alwar district administration and the Irrigation Department to retain an earthen dam built at Lava Ka Baas in Thanagazi on the tributary of the Ruparel. The johad, built at a cost of Rs.9 lakhs three months ago, was the first of the water-harvesting structures the TBS had planned to construct with the help of business houses.

"So that everyone gets a chance to contribute towards water conservation and rainwater harvesting," Rajendra Singh would say in defence of soliciting the support of the rich. Pani ka kaam punya ka kaam hai (working for water conservation is a pious act), he tells the villagers.


#808 t`s cyber dargah #10
on October 4, 2004 1:16pm PT
for fraz:



Rajendra Singh - THE 2001 RAMON MAGSAYSAY AWARDEE FOR COMMUNITY LEADERSHIP
India
In 1985 Rajendra Singh gave up his job in Jaipur to restore Alwar’s degraded habitat. With four companions from the small organization he led, Tarun Bharat Sangh (TBS, Young India Association), he began organizing villagers to repair and deepen old johads - small earthen reservoirs used traditionally to capture monsoon rainwater - that had been abandoned for quite a while.
When the refurbished ponds filled high with water after the monsoon rains, villagers were joyous and Singh realized that the derelict johads offered a key to restoring Alwar's degraded habitat. Once repaired, they not only stored precious rainwater but also replenished moisture in the soil and recharged village wells and streams. Moreover, villagers could make johads themselves using local skills and traditional technology.
As TBS went to work, Singh recruited a small staff of social workers and hundreds of volunteers. Expanding village by village-to 750 villages today-he and his team helped people identify their water-harvesting needs and assisted them with projects, but only when the entire village committed itself and pledged to meet half the costs. Aside from johads, TBS helped villagers repair dams and deepen wells and mobilized them to plant trees on the hillsides to prevent erosion and restore the watershed. Singh coordinated all these activities to mesh with the villagers' traditional cycle of rituals.
Meanwhile, with others, TBS waged a long and ultimately successful campaign to persuade India's Supreme Court to close hundreds of mines and quarries that were polluting Sariska National Park. Guided by Gandhi's teachings of local autonomy and self-reliance, Singh has introduced community-led institutions to each TBS village. The Gram Sabha manages water conservation projects and sets the rules for livestock grazing and forest use. The Mahila Mandala organizes the local women's savings and credit society.
And the River Parliament, representing ninety villages, disciplines exploitation of the Arvari River and determines the allocation and price of its water. Now dotted with 3,500 working johads, Alwar is a different place. Fed by a protected watershed and the revitalizing impact of thousands of village reservoirs, five once-dormant rivers now flow year round. Land under cultivation has grown by five times and farm incomes are rising. For work, men no longer need to leave home. And for water, these days women need walk no farther than the village well.
Rajendra Singh is TBS's charismatic motivator. Villagers call him Bai Sahab, Elder Brother, and listen to his every word. People have become greedy, he tells them. They should learn again to be grateful to nature. That is why, he says, in Alwar, "the first thing we do in the morning is touch the earth with reverence." In electing Rajendra Singh to receive the 2001 Ramon Magsaysay Award for Community Leadership, the board of trustees recognizes his leading Rajasthani villagers in the steps of their ancestors to rehabilitate their degraded habitat and bring its dormant rivers back to life.
Courtesy Ramon Magsaysay Award Foundation

yusuf k hamied -- HIV Aids drug mfg - Michael SPecter

India’s Plague
by Michael Specter

This week in the magazine and here online (see Fact), Michael Specter reports on the growing threat of aids in Russia, which, in the past decade, has already had a dramatic decline in life expectancy. Since 2001, Specter has written a series of articles on the worldwide aids crisis, including this report from India, from 2001.



Late on an autumn afternoon a little more than a year ago, a nattily dressed chemist named Yusuf K. Hamied strolled into a conference room at the headquarters of the European Commission, in Brussels. He carried in his briefcase a simple proposition, and, in delivering it to the politicians, health ministers, and international pharmaceutical executives who were gathered there, he dispensed with the pleasantries and dry language so common in conversations about regulation, drug pricing, and global-tariff regimes. “Friends,’’ he began, although he was fairly sure he had none in the room, “I represent the needs and aspirations of the Third World. I represent the capabilities of the Third World, and above all I represent an opportunity.” It was time, he said, for the people who control the earth’s resources and its capital to face up to their “responsibility to alleviate the suffering of millions of our fellow-men who are afflicted with H.I.V. and aids.”

Speeches like this one have become standard in the era of globalization. But Yusuf Hamied is not the average do-gooder campaigning for a more equitable world. He is one of India’s most successful businessmen. He lives in (among other places) Windsor Villa, the Bombay home where Salman Rushdie was raised, and he earned a Ph.D. from Cambridge at the age of twenty-three. His father, who was also a chemist, and who helped start India’s first national university, at Mahatma Gandhi’s request, became rich by importing a popular sexual tonic from Germany. In 1935, he used the profits to start Cipla, the giant pharmaceutical house that the younger Hamied now runs.

Yusuf Hamied wasn’t in Brussels to talk about money. He was there because he was scared. Over the past few years, he had become convinced that his country was edging into an aids apocalypse every bit as severe as the one that has engulfed Africa. With the possible exception of South Africa, there is no country on earth where more people are infected with the aids virus than India. By last fall, Bombay, where Cipla has its headquarters, was competing for the dismal honorific of aids capital of the world, with more than two hundred and fifty thousand H.I.V.-positive inhabitants.

Hamied laid down a challenge for the officials he addressed that day: start selling drugs at prices that the poor can afford or I will do it for you. It wasn’t an empty threat. The Indian government long ago decided that only the process used in making a drug could be patented; the final product itself could be copied freely. In the West, Cipla is regarded, with not a little bit of rancor, as one of the great pirate enterprises of the corporate world—a company that flaunts international convention, routinely copies the molecular formulas of new drugs, and then sells for pennies in India what would cost a hundred times as much in Europe or America.

Hamied ended his speech in Brussels by reading a list of drugs that his company makes and the low prices he now intended to charge for them. Soon after returning home, he offered to donate supplies of a drug called neviraprane to the Indian government; when it is taken at the beginning of labor, neviraprane has proved to be remarkably effective at preventing the aids virus from being passed from mother to child. The government declined. In December, Hamied made his offer again—to the Prime Minister personally. This time, he heard nothing.

Then, on the morning of January 26, 2001—India’s Republic Day—the state of Gujarat was struck by the most devastating earthquake in the country’s history; at least thirty thousand people died, and seven hundred thousand were left homeless. “Somehow, that just really woke me up,’’ Hamied told me when we met in New York this summer, in his suite at the Palace Hotel. It was a muggy day, and from his lounge on the forty-seventh floor we watched as storm clouds danced around the building. “I sent medicine, and I was happy to do it,” he went on. “But afterward I sat down with my top managers and I said, ‘Look at what the hell is happening in our country. aids is the worst tragedy this country could ever experience—with the possible exception of a nuclear war—and it is a completely foreseen tragedy. Why are we all donating for Gujarat and doing nothing about this great plague?’ I decided right then that, if I had to, I would do it by myself. People think this is all about Africa, but it’s not. For me, it’s about my own home.”

So Hamied went out and started a revolution. Thanks to Cipla, a year’s worth of crucial aids medication that until recently sold in America for more than fifteen thousand dollars is now available in many parts of the Third World for three hundred and fifty dollars. Multinational pharmaceutical giants condemned Hamied. “Stealing ideas is not how one provides good health care,’’ Shannon Herzfeld, a spokeswoman for the American pharmaceutical industry, said last year.

Yet the big companies have also realized that clinging to patent laws during an international plague is bad for business, and the impact of Cipla’s decision has been extraordinary. Entire countries have shifted the focus of their public-health systems—simply because aids treatment suddenly seems affordable. Led by Secretary-General Kofi Annan, the United Nations this past summer held its first General Assembly meeting devoted solely to a disease. Soon afterward, the heads of the Group of Eight leading industrial nations met in Genoa and committed themselves to spending twelve billion dollars on aids, as protesters rioted in the ancient streets around them. This spring, a group of well-known Harvard professors released a lengthy document in which they, too, argued that it is no longer morally permissible for the West to deny patients in the world’s poorest countries aids drugs that could prolong their lives. From Africa to Brazil, Hamied and his crusade for access to thesedrugs have been embraced as a symbol of hope by activists who believe they are engaged in a global war against apartheid in health care.

The clamor has been so intense that few public-health officials have dared to say publicly what many believe: that it makes far more sense to try to prevent H.I.V. than to focus on treating it. The reasons are obvious: prevention averts the sickness and death that aids inevitably causes; many aids drugs are not only expensive but complicated, toxic, and difficult to take correctly. In addition, in countries like India—where per-capita spending on health care is about ten dollars a year, and where the government is committed to using public funds to finance it—placing emphasis on any costly treatment is hard to justify when scores of health problems that could be cured cheaply and easily are so common. Last year in India, there were more than 1.1 million reported cases of malaria; filaria, a parasitic nematode, which blocks the lymphatic system and causes serious swelling, is epidemic; Japanese encephalitis, which is spread by the Culex mosquito, is endemic and kills many children; yaws, a contagious, disfiguring infection, has been prevalent in India for years and is easily cured with a single shot of penicillin. Each year, there are two million new cases of tuberculosis; more than a thousand people die from it every day. India also accounts for seventy per cent of the world’s leprosy. Statistics like these tend to make Indians weary—and unwilling to listen when they are told that the latest disease to afflict them is the most dangerous.

“In America, there is an endless discourse about risk: which kids are at risk, what are the health risks, how do we guard against them?” says Mark Koops-Elson, an anthropologist at the University of Chicago who is writing his dissertation on India’s cultural and financial attitudes toward risk and health. “Which diseases are worse than others? There is no such conversation in India. Given the vastness of the problems that people in India face and the poverty that exists, most people just say our responsibilities lie with those who are closest to us. Trying to fix the entire society is too overwhelming.”

II



I flew into New Delhi at the beginning of June, almost twenty years to the day after the Centers for Disease Control, in Atlanta, published the first words about what would become the aids pandemic—an account of five unexplained cases of Pneumocystis carinii pneumonia among gay men in Los Angeles. Since then, twenty-two million people have died and forty million live with the infection, most of them too poor to receive even rudimentary palliative care. In its early years, aids was an absolute and fairly rapid death sentence. In 1986, however, hope for a prolonged life emerged when the drug AZT, or zidovudine, was shown to delay the degenerative effects that the virus has on the immune system. AZT was the first of a new class of antiretroviral drugs that work by suppressing the ability of H.I.V. to reproduce. This helps maintain the integrity of the immune system and postpones the development of opportunistic infections, which are often the cause of death in people afflicted with aids. Among Americans today, the prevailing view is that the aids epidemic has begun to wane. That is not true. Each day brings at least sixteen thousand new infections throughout the world. As many as one-quarter of them are in India alone.

The first cases of aids in India were not reported until 1986, in Bombay and in the southern industrial city of Madras, and until then there had been every hope that the nation would avoid the devastation that has occurred in countries like Zimbabwe and Botswana, where at least a quarter of the adult population is now infected with H.I.V. After all, it was said, the Indian family is remarkably close and sustaining. Surveys often show that Indian men, once they are married, are more likely to remain faithful than men from many other cultures; furthermore, half of Indian women marry by the age of eighteen, and more than ninety per cent are still virgins when they do. In much of Africa, on the other hand, there is little stigma attached to sexual promiscuity, and the incidence of venereal disease—which is a reliable barometer for the presence of H.I.V.—has always been high. In addition, despite the fact that half a billion people in India live on less than a dollar a day, millions of others are members of a rapidly growing middle class. The streets of Delhi, Madras, and Bombay are not simply overrun with beggars; they are also filled with motorcycles, schoolchildren in crisp blue uniforms, and eager businessmen toting laptops and riding to work in motorized rickshaws.

But prosperity itself—the new mobility, rising income levels, and the excellent system of national highways—has played a role in exacerbating the crisis. During the past twenty years, India has become one of the great migration centers of the world, and migrant populations are at a higher risk for aids. They are also more likely to spread the disease. There are at least a hundred thousand long-haul truckers shuttling back and forth across the subcontinent, more than two million prostitutes, two hundred and seventy-five thousand brothels, and tens of millions of seasonal workers who come to the big cities for a few months each year. aids travels along the truck routes as efficiently as white blood cells do along the arteries of the human body—and one can trace the evolution of the epidemic with eerie accuracy simply by comparing traffic patterns moving out of major cities with the rates of infection of people who live along the way. In parts of Nepal, H.I.V. is called Mumbai disease (Mumbai is the Hindi name for Bombay), because the people who contracted it uniformly went to work in the great city and came home sick. And, because there is a lag of many years between infection and any visible sign of illness, the epidemic can grow unnoticed until it is simply too large to control.

Not long after I arrived in Delhi, I stopped by the office of Swarup Sarkar, who is the head of the United Nations aids program for South Asia. Sarkar had just returned from a brief visit to Bangladesh, where the epidemic is spreading slowly, and he was planning a trip to the Burmese border, where it is much worse. He gave me a cup of tea and we sat down in front of his computer with a CD full of data, some colorful maps, and a few very disturbing suggestions about the future health of his country. On charts tracing the course of the epidemic as it moved through India, the country was shown in different colors, depending upon the prevalence of infection. A child would have been able to follow the coded patterns: the earliest map, from 1986, was mostly pale, indicating low levels of contagion; by 1990, a bright yellow had begun to appear in abundance. That color represented high-risk groups—gay men, sex workers, drug users—at least five per cent of whom had been infected. The numbers have been inching upward for years, but studies have shown that once the rate of infection among women who are tested in birth clinics rises above one per cent, it becomes nearly impossible to keep an epidemic like H.I.V. from seeping into the rest of the population. That is what is now happening in many parts of India. Red represents pockets of infection that have grown beyond that one-per-cent figure. The maps that Sarkar showed me from 1986 to 1990 had no red in them; by last year, much of the country, from Manipur, in the northeast, to Kerala, at the southern tip of the continent, was awash in crimson.

The course of the epidemic in India closely resembles the early pattern in Thailand, where infection spread almost exclusively among heterosexuals. Yet the differences in official policy couldn’t be greater. In the mid-nineteen-eighties, H.I.V. hit Thailand with force, and within a few years the government had prepared an aggressive campaign of information targeted directly at the people who were most at risk, preventing hundreds of thousands of new infections. But such success costs money, and requires commitment. Thailand spends more than sixty cents per person on H.I.V., whereas India spends a little less than six cents, or sixty million dollars a year—in other words, only twice what Thailand spends, although India’s population is sixteen times as large. From the king to local village leaders, Thai officials have made many public statements about the dangers of H.I.V. and about how the disease is spread. In India, in part because of a national reluctance to speak publicly about sex, nothing like this has happened. No movie stars appear at fund-raisers, no prominent politicians admit to being gay. No mayor would visit a hospice. India desperately needs a Rock Hudson or a Magic Johnson. “We had very few cases for years,’’ Sarkar said. “It was possible to do something, and all we did was watch.” In the nine years between the first cases of aids in the United States and the real beginnings of the epidemic in India, fictions and theories evolved to suggest that Indians were immune to H.I.V., that they had protective genes and simply couldn’t get sick in the same way that Africans or Europeans did. By 1994, however, it had become clear that such conjecture was nonsense. Meanwhile, the maps kept getting darker.

Sarkar, who is forty-eight, looks like a middleweight wrestler. His principal job is to help the United Nations formulate and carry out its aids policies; but, like virtually all countries that have been seriously affected by aids, India has consistently sought to minimize the extent of its problem. Not long ago, Prasada Rao, who runs India’s National aids Control Organization, complained publicly that the estimate of four million H.I.V.-infected Indians, which is frequently used by the United Nations and the World Bank—a figure that most experts consider very conservative—was “too high and not based on any sound epidemiological evidence.” No public-health official with experience in India believes that, and most think Rao himself knows better. When I first met Rao, I asked him the question that has so alarmed aids experts throughout the world: Did he think India would become another Africa? “I was afraid for a year or two when I began my job,’’ he said. “But I no longer have that fear. We are aware of the problems, and we are working hard to address them. I think it’s clear that we have begun to succeed.”

When I told Swarup Sarkar about my conversation with Rao, he simply shook his head in sorrowful acceptance. “We have told ourselves so many lies,” Sarkar said. “The government says officially that there are ‘only’ four million infected Indians.’’ He repeated the words. “Only four million. Possibly they are correct. But every time we have said the epidemic was limited, or not spreading as fast as in other places, we have been proved wrong. What is scary is that we don’t have any reason to say that we are seeing numbers that have reached a plateau. It would be very surprising to think that the aids epidemic has stabilized in India, where at least seventy-five per cent of the population gets no education. No intervention. Nothing. Whether it will suddenly have another jump’’—as the epidemic did in many places in Africa—“we simply cannot say.’’

III



Late one steamy night in the middle of June, I drove to the Pukkenthrui truck stop, which is about an hour out of Madras and just five miles from the spot on National Highway 47 where, in 1991, Rajiv Gandhi was killed by a suicide bomber. The monsoons were about to begin, and the ripe, heavy smell of tamarind rolled across the humid roadway. My guide was Nobin Jos, a thoughtful young man who runs the Trucker-Highway Community Health Project, an aids-education program that has such limited resources that the drivers use sawed-off logs by the road for seats during meetings. Steady traffic pounded the battered highway as we passed the city’s broad, festering slums. Most Indian cities, because they are extremely congested, don’t permit big trucks to enter during the day, so truckers move at night. It was a moonless evening, and as we started to pick up speed I saw a string of women standing by the side of the road, slowly waving red flashlights at the cars driving by. Eighteen-wheelers lined the shoulder.

“They are lonely and ignorant men, but they are desperate for work,’’ Jos told me after we arrived at the truck stop and stood watching his colleagues give a brief lecture on aids to the assembled drivers. (There were demonstrations with a wooden penis on how to use a condom, which was cause for great merriment among the startled drivers.) When they are available, a package of three condoms costs less than one rupee (about two cents), but not many men see the point of spending the money. None of the drivers spoke English. But Jos, acting as an interpreter, helped me talk with a few. We sat at a roadside restaurant, next to a military hotel, where flatbread baked in a kiln and we were served a dark, chalky tea in plastic jugs. The men wore turbans, N.B.A. T-shirts, and towels around their waists. Some were toothless, others were barefoot, and all of them were eager to chat. I was surprised by how few had heard of aids. None had any basic understanding of the epidemiology of the disease. “I only have sex once a week on the road,’’ a man from north of Bombay told me. Then he added, I think for what he assumed would be my approval, “And I always take a bath with lime water afterward.”

During nearly a month spent travelling through cities and towns with a combined population far larger than that of France, I noticed only two posters advertising condoms. One ad on a billboard in Madras, which featured an alluring woman, said simply, “Look before you sleep.” (I had no idea that this was an aids advertisement until I was told. It could just as easily have been about buying a decent mattress.) The only Indian television commercials that talk about H.I.V.—in Hindi and in English—were paid for by Cipla, not by the government; they are extremely well produced, but they dwell on the fact that new treatments make aids a disease that people can finally combat. Explicit messages about how one becomes infected are almost completely absent. Abstinence is neither preached nor practiced. India has a rich sexual history, but outside its biggest cities it remains deeply conservative, and public discourse about sexual conduct is limited.

While I was in Delhi, my driver was a sweet, middle-aged man from a northern hill town. Like tens of thousands of other such men, he returns to his village to see his wife and children no more than three or four times each year. I never had the nerve to ask him what he did about sex the rest of the time. Statistically, at least, the answer is clear: one study of seven hundred Tamil truck drivers showed that the percentage of those infected with H.I.V. rose from 1.5 per cent in 1995 to more than six per cent just two years later. By last year, more than twenty per cent of the drivers were infected—a figure with ominous echoes of the early epidemic in Africa, where aids made the inevitable leap from groups like truck drivers and prostitutes into the wider population. Many experts find it hard to believe that India can avoid a similar fate. “Even the most conservative government estimates predict that in seven years there will be at least ten million people infected with H.I.V. here,” Subhash Hira told me. He is the director of the aids unit at the noble, decrepit Sir J. J. Hospital, in Bombay, and a professor of infectious diseases at the University of Texas’s medical school, in Houston. “This is a heterosexual epidemic with the potential to destroy this society and decimate our economy. And nobody seems to be terribly concerned.”

Perhaps because the epidemic first appeared in Madras and Bombay, those cities have made the best efforts to deal with it. One morning, Suniti Solomon collected me at my hotel and drove me to her bright, tidy clinic on Raman Street in Madras. She is a short, soft-spoken woman, who treated the first aids cases in India and has probably seen more patients than any other infectious-disease specialist in the country. I spent most of the morning with her, first talking about aids and then sitting in on a counselling session. A barefoot woman with eyes the color of coal, hair coiled to her waist, and rings on nearly every toe crept into the office. She was thirty but looked younger. The woman had been selected randomly to participate in a health survey using residents from thirty of the nine hundred and forty-five slums in Madras. In exchange for answering a series of questions about her health and giving blood for research, she would receive free care (paid for by the National Institute of Mental Health, in the United States, which sponsored the studies). The woman’s anxiety was obvious. She lived in a slum near the beach that borders the Bay of Bengal. She had been feeling weak and dizzy, and had been unable to make it through her usual eighteen-hour day. “My husband pulls a rickshaw,’’ she told Solomon, an almost preternaturally reassuring woman. “He does not want me to be at this clinic.’’ She said that he had been treated before for sexually transmitted diseases, and had recently become quite ill.

“Do you know whether he has H.I.V.?” Solomon asked.

“What is that?” the woman replied blankly, staring at the wall clock, afraid of what would happen if her husband got home before she did. After she left, the doctor explained that the woman was in a “love marriage”—which among slum dwellers in southern India is still not common. It suggests a certain independence on the woman’s part; if the marriage had been arranged, she would probably never have had the resolve to come. “We will know in a day if she is infected,” Solomon told me. “But it will be hard to persuade her husband to come in to be tested or to permit her to be treated—even though it will cost him nothing.” Doctors have to deal with this problem every day, in every city. Of all the obstacles that physicians and aids agencies face in India, nothing is as discouraging as the plight of women. New brides are usually illiterate and are exposed to aids by the most highly valued factor in Indian culture: monogamous marriage. “Ninety per cent of my women who are H.I.V.-positive have a single partner, and that is their husband,’’ one of Solomon’s colleagues, at another hospital in Madras, told me. “I always say to them, ‘Don’t match your horoscopes for marriage. Please match your blood tests.’ But it’s hard to enforce. Imagine a girl’s parents asking a boy’s parents for a blood statement. Not in India; that will never happen.”

In many parts of the country, a woman is regarded as a relatively valuable farm animal; her health matters only because she is required to raise children and keep house. “No husband would allow a wife to go alone for an examination outside the immediate slum,” the sociologist Radhikha Ramasubban told me. “A woman has to have another woman, an older person, or a man act as an escort.’’ Ramasubban has been studying the health of women in the slums of Bombay for years. “Nobody is willing to free them from household duties, child-minding duties. And what is that one visit going to do? Even if you can get them to go, they won’t make the follow-up. And then the test, and the confirmation for the test. And going back for consultation. With tuberculosis, social workers used to go to their houses to find out if they had taken their medicines. With H.I.V., the treatment is far more complicated, and it must go on for life. Who is going to attempt that here? It’s such a hopeless task.”

IV



It is only after spending some time in India’s government hospitals that one can fully understand that the debate about access to the most advanced aids therapy, though good-hearted, is beside the point. The hospitals are depressing because they are filled with dedicated, well-trained doctors who don’t have enough money to do their jobs properly. At several facilities that I visited, needles are routinely bleached and used more than once, medical instruments are sterilized in giant soup pots, and patients had better hope that a family member or friend will bring them food if they want to eat. At the Hospital of Thoracic Medicine, just south of Madras, a former tuberculosis clinic that has become a vast government holding pen for hundreds of people infected with H.I.V., antiretroviral drugs are not offered or discussed; neither is aspirin. The patients are treated with as much compassion as an overburdened staff can muster, and that’s about it. As one nurse explained to me, “In America, you may do an MRI scan every time somebody has a headache. We can’t even take X-rays when somebody breaks a bone.”

Suniti Solomon’s Y.R.G. center, in Madras, presents a different and more complex picture. Y.R.G. is the biggest aids clinic in southern India, and it is probably the best one in the country. So far, eleven thousand patients have passed through it (not all of them H.I.V.-positive). With the help of foreign aid money and many donated drugs (from Cipla and other companies) and grants for research, patients receive counselling, testing, nutritional guidance, and what palliative care there is to offer. Doctors treat the many infections that H.I.V. can cause; they also explain the more fundamental powers of antiretroviral drugs, which are often available to those who can afford to pay up to two thousand dollars a year. Only about one patient in ten attempts to use the medicine.

In the past five years, the treatment for aids has had to become more complex in order to match the sophistication of the virus, which quickly learns to evade the effects of a single drug. Standard care has moved far from the days when AZT was the drug of choice; each patient must now take an assortment of medicines, which work together to suppress the virus. The therapeutic cocktail is called haart (highly active antiretroviral therapy), and a patient has to take at least three drugs a day; it also requires constant monitoring and medical attention. The treatment can dramatically improve an infected person’s prospects for a healthy future, but it must be fine-tuned frequently and taken for life. For many of Solomon’s patients, it is simply not an option.

Y.R.G also has a ward at a local hospital. The day I was there, the staff was struggling to deal with a long line of emaciated people waiting for help. N. Kumarasamy, who works with Suniti Solomon, keeps his medicines in metal gym lockers in the hallway—they serve as his pharmacy. In order to provide aids drugs, he takes whatever he can get; the occasional grant from a pharmaceutical firm or a few dozen doses of AZT brought back by a friend from an international conference. Kumarasamy was educated at Johns Hopkins, among other places, and when Solomon asked him to direct the health-care clinic he agreed without hesitation. “Lots of our patients come from other, pretty good clinics,’’ he told me. “Doctors see them as a liability and a waste of time. They are going to die, it’s an expensive disease to treat, so why bother? You have no idea how many famous people fly from Delhi so that they don’t have to be treated in their own town. The first thing they ask is ‘Do you recognize me?’ We always say no.”

The clinic—a former leprosy center that had been abandoned—is open and warm, but, even here, the stigma that surrounds aids in India remains. If you ask for Y.R.G. at the hospital reception desk, the clerk will look at you differently than if you were to ask for any other ward. This is typical. In Delhi, I had spent a morning in a leafy suburb at an aids group home owned by a prominent politician. It was lovely—light and filled with children, mothers, and the smell of curry coming from the communal kitchen. The man who owns the house has no idea that it is used as an aids-care center. If he did know, he would undoubtedly evict the group at once. Still, there is plenty of suspicion about the house in the neighborhood. No laundry man will go there, nor will fruit venders or trash collectors. Children steer clear of it. “They all look away when we walk down the street,’’ one H.I.V.-infected mother told me when I visited. “Nobody will even look at our faces.”

The stigma of the disease makes it hard for doctors and aid workers to do their jobs, but the obstacles that confront the patients themselves seem almost Biblical in their severity. “One day, this man came to see me,” Solomon told me. “A nice man, caring. He is a landlord and owns acres and acres. His only son is positive. Of course, people came to him and sought to arrange a marriage, and he kept telling everyone, ‘No, no, my son has to study and isn’t ready for marriage.’ And finally his own sister brought her daughter, which in south India is very common. She said, ‘You can’t do that, my brother, you have to marry your son to my daughter. It’s only right.’ So he told her the truth: ‘My son has H.I.V., and I don’t want your daughter to get sick.’ He saw the change in his sister’s face, and she walked away without a word. His wife, who had been hiding behind the door, heard what he said, and she told their son. The mother and child dressed in their best clothes and went out and bought poison powder in bulk. They drank it together and got into the car. Then the son drove as fast as he could into a big tree and killed them both. After that, the father came to me—his life was ruined. He said, ‘All I have done is try to save my niece from getting H.I.V., and now I have lost everything.’

“It was a very, very hard moment for me. I just left the office and went home. I have a dog, and I tell him things I would never say to a human being. So through my tears I told him all about the man who tried to save his niece.”

For Solomon and her staff, the stress is almost unbearable. She spends half her day fighting denial; the rest of the time, she must explain to her patients why drugs so commonly available in other countries remain too expensive for them. It is a difficult and often contradictory task: she knows as well as anyone that while drug treatment won’t solve India’s aids problems, it could help focus more attention on the implications of the epidemic. Indeed, one of the strongest arguments for providing expensive treatment to poor countries is that without it people will have no reason to learn if they are infected and no reason to change their behavior. But a simpler and cheaper approach would save more lives.

“I hear these people in the West talking about what we should have all the time,’’ Solomon said. “For us, it’s not about patents and pharmaceutical giants and money. It’s about our poverty, which is profound. If I were offered drugs or food, I would take the food, because I know it will give my patients a better quality of life. I would do that even if the drugs cost nothing. You have to distribute drugs, and they need to be used by the right date. You have to take eight glasses of water a day with some of them. You have to store some of them in a refrigerator. Nobody has a refrigerator here. On top of all this, there will be resistance developing to the drugs. People will take them as long as they can afford them, then they will stop. ”

Resistance develops when patients fail to complete the full course of treatment, and that can cause more harm than not taking a drug at all. (It is for this reason that tuberculosis has returned to such deadly prominence throughout the world.) Resistance makes it possible for any virus to gain resilience and power. “Look at penicillin,’’ Solomon said. “In 1949, if you took one hundred strains of staph, penicillin killed them all. Every one. Today, if you take the same one hundred strains, ninety-nine of them will survive because of indiscriminate use. You think that won’t happen with H.I.V.?” In fact, in America it is already happening. One recent study, based in San Francisco—which has some of the world’s most sophisticated medical facilities, experienced aids doctors, and motivated patients—predicts that by 2005 nearly half of all H.I.V. patients in the city will fail to respond to the drugs they currently use to treat the disease. When resistant strains of H.I.V. are passed on to others, the people who have been infected have a much harder time from the start and are less likely to respond to conventional treatment. “People will become resistant, and the disease will redouble its power,’’ Solomon continued. “All the while, people will be getting the message that there is a cure, and they will carry on having sex without condoms. Drugs used the wrong way kill people—and they are used the wrong way all the time. We have to get more training. Food. Clean water. Give us condoms, for God’s sake. Teach women to read. But keep your drugs. They really won’t help us now.’’

V



The most important question about Yusuf Hamied’s personal revolution has also been the most difficult to confront: Is the movement for affordable aids treatment, which Cipla almost accidentally came to represent, actually pulling attention and money away from the vaccines and preventive strategies that in India are most likely to save millions of lives? More than five times as much money is spent treating sick people as is spent keeping them healthy in the first place. And much of that money is spent on people who are on the verge of death. Can that be fair? One reason the debate between prevention and treatment has always been so difficult is that sick people are easily identified, they have names, and their suffering can be acute. Who would want to ignore such pain? Money spent on prevention, on the other hand, is often used to protect people we don’t even know. The public is vast and vulnerable, but it does not have a face or a name. (This is one of the reasons that aids-prevention efforts are so often weak. In the United States, for example, several hundred million dollars in federal funds is dedicated each year to prevention and education programs, whereas seven billion dollars annually is allocated for aids treatment.)

One is not supposed to make calculations like these, because they explicitly attach a cost to a human life; such thinking is considered callous and particularly unfair in an age of global wealth beyond measure. Nevertheless, we attach costs to human lives every day; in the United States, we know that lowering the speed limit by ten miles an hour would save thousands of lives each year, yet, as a society, we feel it’s worth that price to travel that much faster; we also know that alcohol and tobacco are responsible for much sickness and death. We don’t ban them, because we are willing to pay the price for the pleasure they provide.

aids activists insist that the potential devastation of the illness is so great that we cannot afford to make a choice between preventing the disease and treating the sick; whatever the cost, we must do both. But an essential question is often left unasked: What approach would help people in the poorest countries most? The Harvard economist Jeffrey Sachs has argued, for example, that if Americans contributed three billion dollars a year to combat aids in Africa, it would solve many problems and amount to only “about $10 a year for every American, the cost of a movie ticket with popcorn.’’

But would it? The idea that a small sacrifice from wealthy Western countries can alleviate much misery in places like Africa and India is comforting, of course, and it has become a first principle for the world’s many health politicians. “These distinctions between preventing aids and treating it are criminal,” Siddharth Dube, who has consulted for u.n.a.i.d.s. and the World Health Organization, told me. Dube was raised in Calcutta and has frequently written about aids and the health problems of India. “We are not living in the medieval ages, where a continent can be wiped out by the plague and nobody knows about it anywhere else. That we can know all this and yet do nothing is the most remarkable fact of our time. . . . aids is not watches or jewelry or software. People are dying. There are drugs, there is unimaginable wealth in this world, and the people who have the money are refusing to help. It’s that simple.”

Nothing about aids is simple, though. Providing treatment for even a minority of sick people comes at the expense of preventing many others from falling ill. It is true that many countries now permit local pharmaceutical firms to ignore patents and make some medicines more cheaply. But discussing any price reductions of these drugs is meaningless in countries like India, where poverty is so acute that the government can’t afford them. When I was in Delhi, for example, Indian officials were debating whether to add the hepatitis-B vaccine to their program for children—because it costs sixty-five cents a shot, and not ten cents, like other vaccines. How can you argue about whether it’s worth spending fifty-five cents to save a life and then begin to talk about spending immense sums on an extremely complicated treatment for a disease that cannot be cured?

The reality that the spread of aids could be greatly reduced through governmental effort has been routinely ignored by politicians in nearly every country. To focus on aids is to acknowledge the potential devastation the epidemic can cause, and politicians have rarely done that. What elected leader would wish to associate himself with a national calamity, particularly if it occurred on his watch or could largely have been avoided? This was as true in the United States in the nineteen-eighties and in Kenya and Zimbabwe in the nineteen-nineties as it is in India, China, or Cambodia today. “At all stages of the aids epidemic, politicians find reasons not to invest in prevention,’’ Martha Ainsworth, a World Bank economist, told me. Ainsworth, along with her colleague Mead Over, wrote “Confronting aids,” the best book on making economic decisions about handling the epidemic. “At the beginning, you take countries like India or Russia, and nobody is really sick. They have tens of thousands dying of tuberculosis every year. Nobody wants to spend scarce resources on aids, because it takes years to go from infection to illness. And then you get later into the epidemic’’—when millions of people can be visibly, disturbingly sick—“and everyone is demanding treatment. It is much less controversial to treat somebody who is sick than to talk about homosexuality, drug abusers, prostitution, sexual habits, or social mores.

“In parts of the world today, millions of people need treatment,’’ Ainsworth continued. “When you then say, ‘We are going to protect you by making sure that prostitutes and their clients use condoms and that drug users have clean needles,’ people say, ‘Don’t spend money on them. They cause the problem.’”

Yet the effect of focussing prevention efforts on high-risk groups like prostitutes and truck drivers cannot be disputed. It costs three hundred rupees to avert one trucker’s infection in India with targeted education programs and the distribution of condoms. That is about six dollars. For sex workers, the cost is less than three dollars. No treatment approach makes as much sense. Not long ago, Andrew Natsios, the Bush Administration’s chief of u.s.a.i.d., said that it wouldn’t pay to buy a complicated set of antiretroviral drugs for Africans, because they are people who “don’t know what Western time is” and thus cannot take the drugs on the proper schedule. His comments were patronizing and untrue, and he was condemned for them. If, however, he had said that most Africans shouldn’t use the drugs because they are so toxic that they are difficult to take regularly and, if not taken regularly, might create increased resistance and actually worsen the epidemic, he would still have been condemned. But he would have been right. Indian officials and Western health philanthropists have been forced into a nearly impossible position by the increased availability of cheaper aids drugs. Nobody has been placed more squarely in this vise than Prasada Rao, the director of the Indian aids program. “In a just world, there would be enough money available so that you wouldn’t have to pick and choose between prevention and treatment,” he told me. “But today that world does not exist, and that money is not available. When it comes to treatment with antiretrovirals, we don’t have a thousand dollars for a patient. We don’t have a hundred dollars. We don’t really have ten dollars. This is something that doesn’t seem to register in the West. The model of Brazil’’—where the government will pay for antiretroviral drugs—“doesn’t work here.’’ Brazil’s per-capita income of $5,029 is eleven times India’s, and Brazil spends twenty times as much per person on health care. India has a much bigger aids problem than Brazil does, and significantly fewer resources.

“They are wasting their money,’’ Rao said. “They are spending three hundred million dollars every year to treat one hundred thousand people. This is ridiculous. This is a figure nobody quotes. You may think I am unkind to say this, but it would be wrong, it would be even criminal, to take that money and spend it on one hundred thousand Indians. If you spend for some on antiretroviral drugs, whom do you choose? Do you save the mothers so they can spend more time with their children? Do you go for the élite class, who run the cities? When you spend money on these people, you are implying that others can die. Because that is what this drug movement is all about. This talk of denying people treatment. Look outside my window.” His office is on the grounds of the government health complex, in Delhi, a grim park filled with families looking for miracles that doctors can’t provide. “They are dying of malaria, of diarrhea, of leprosy. There are thousands of the blind. And aids is important, even more important. But you can’t tell me we should ignore everyone so that we can serve a few people. Not in this country.’’

Almost as an afterthought, Rao added, “What we need is a vaccine. We need attention paid to the nine hundred and ninety-five million Indians who are not infected with H.I.V.’’ Vaccines are among the world’s most effective health interventions. Millions of lives are saved each year by a standard package of cheap vaccines that reach three-quarters of the world’s children. However, there is little incentive for companies to invest in them. As the Harvard economist Michael Kremer has written, “Despite recent scientific advances which have increased the feasibility of developing malaria, tuberculosis, and aids vaccines, global R&D on these vaccines is woefully inadequate.”

Vaccine development is hampered not only by science—or even principally by science—but also by market forces and liability issues. When I asked Seth Berkely, the president of the International aids Vaccine Initiative, about the scientific obstacles that stand in the way of developing a vaccine, he acknowledged that there were many, but then said, “What would happen if tomorrow we had an H.I.V. mutation that started to spread by the respiratory route in the United States? Well, we would all work 24/7, and we would throw a ton of money at the problem.”

aids primarily affects poor countries, however, and, twenty years into the epidemic, there has been no such all-consuming effort to produce a vaccine. Most pharmaceutical companies believe that they will have a hard time selling enough vaccine in places like Africa or India to recoup their research costs. There is an irony here: research suffers because it is a global public good—and an extremely costly one—in which no single country has sufficient incentive to invest. As desperate as South Africa, India, and China are, it’s not realistic to expect the governments of these countries to put up five or ten billion dollars for vaccine research, particularly before it’s possible to know whether this research will succeed. Kremer has been the most eloquent advocate of creating a global system that would allow countries to buy vaccines in advance—in other words, of guaranteeing companies a market for their investment. That way, there would be a reason for them to take the risk.

“We must treat those who are sick with compassion and with whatever medicine we can provide,’’ Rao told me before I left his office. “But the answer has to be in the form of a vaccine. After all these years, I can’t think of anything more profoundly frightening than spending billions of dollars on drugs and making the epidemic worse.”

VI



"I make drugs,’’ Yusuf Hamied told me when I asked him whether it made sense to focus so heavily on treatment rather than on prevention. “I can only do what I do.”

With a billion people living in Hamied’s principal market, it is natural to wonder if the potential sale of H.I.V. drugs, and the profit it would bring in India, interests him. “We have four hundred products, and the aids drugs are twelve of them,’’ he told me. “You must understand my philosophy in life. For the year ending March 31st, our turnover was two hundred and twenty-seven million dollars. A profit of thirty-three million net, after tax and after everything, you see. It’s just my wife and I. We have no children. We are very rich. Even in the first six months of this year, our sales were up twenty-five per cent over last year. I’m not a revolutionary. I’m a businessman. But, really, how much money do you think I need?”

Hamied is an unlikely person to call himself an Indian nationalist, but he often does. His father, who died in 1972, was a Muslim from Aligarh, and his mother was a Lithuanian Jew. They met in Germany in 1925, while Hamied’s father was studying chemistry. Hamied has a place in Mauritius, is fond of Hong Kong, and travels frequently to New York. But he spends most of his time in a quiet, sun-drenched apartment not far from the center of London.

When I went to see Hamied, he was eager to share the yellowed treasures of his life—pictures of his Lithuanian grandparents, who died in the gas chambers, and one of the day, in 1939, when Gandhi came to visit Cipla in Bombay. There was a picture of Zakir Husain, who was India’s third President and one of Hamied’s father’s closest friends. There were also many pictures of Hamied, his younger brother, Mohammed, who helps him run the business, and the conductor Zubin Mehta, with whom he grew up, in Bombay. For more than fifty years, he and Mehta have remained as inseparable as two men who live mostly on airplanes and different continents can be. It was after riots erupted between Muslim and Hindu residents of Bombay, in 1984, that Hamied and his wife decided to find a place in London, though they are still tax-paying citizens of India.

“People who grow up in Bombay can never give up the vision of what it was,’’ Hamied told me during lunch at his favorite Chinese restaurant, near Hyde Park. “But that changed for me completely after the second round of riots, in 1992. In the thirties, my father often worked with this Jewish-run medical company in Germany. In 1938, he went with my mother to Berlin. One day, he was on a train and the Nazis came on and they started to talk to him; they thought he was a Jew and said, ‘Shut up, you bloody Jew.’ He saw what was happening maybe in a way that people who lived there could not, and he begged all his Jewish friends to get out. They laughed and said, ‘We are the intellectual élite.’

“My mother told me this story over and over—how the Jews of Berlin told my father they were safe because they were the intellectuals, the people who made the nation work. She said to always keep that in mind. And in 1992 I felt exactly as if it were 1938 in Berlin. In my own home. Because my name was Hamied. Everything in India is your name. A reporter rang me in the middle of the rioting and asked, ‘As a so-called eminent Indian Muslim, what are your views of what is going on in Bombay?’ I said, ‘Why are you asking me as a Muslim? Why not ask me as an Indian Jew? I am a Jew.’ I said, ‘Forget Hindu, Muslim, Jew. Let us talk about Bombay. Eight million of sixteen million below poverty. Seven million living on the streets. No water. No home. No sanitation. This is not religious. This is haves and have-nots. That is what is happening in Bombay, in India, and in the Third World. That is our future.’”



After weeks of torrential rains, the sun came out on my last day in India. I left Bombay early in the morning and drove north to one of Cipla’s factories, in Patalganga. The slums were alive with people taking advantage of the clear, dry air: kids, soaped up by their mothers, were enjoying their baths in rainwater that had been carefully collected the night before. Barbers with straight razors were at work by six; so were hawkers, prostitutes, and men selling mangoes by the side of the road.

It takes only an hour to ride from some of the world’s most crowded slums to the factory, which is filled with antiseptic rooms where hoods and gloves must be worn at all times. Cipla manufactures nearly every major type of antibiotic, as well as nasal sprays, iron chelators, cardiovascular drugs, and antidepressants. The company’s factories export to more than a hundred countries. The workers are well paid. Morale is high. I watched the stamping machines as they churned out as many as four thousand tablets every minute. Yet, at the end of each day, Cipla ships its aids drugs in bulk to Russia, Africa, Europe, and even to the Gulf of Oman, when, only miles away, people are infected (and will soon be dying) in numbers recorded almost nowhere else. Hamied told me it was his greatest shame. “Our first batch of AZT we had two hundred thousand pills, and we couldn’t even give them away in India,’’ he said; the drugs reached their expiration date before the government approved their use. This is just one of many bureaucratic problems facing even someone who has the money and the will to donate drugs in large quantities. Back at the main office, in Bombay, I sat with some of Cipla’s scientists and with Hamied’s younger brother, Mohammed. He handed me a bottle of pills that contained something called Triomune. It is a combination of three main aids drugs—mixed into a single tablet that can be taken twice a day.

Triomune can’t be manufactured in Europe or America, because each drug is made and patented by a different company. In those places, this pill, which eliminates much of the complication of the antiretroviral regimen, would clearly prolong some lives and ease the suffering of many patients. But is it the answer for countries like India, China, and Africa? Of course not. Even the increased efficacy of the pills does not change the economic facts: the Indian government can’t afford them. The simple cost of shipping the drugs around the country and storing them could equal the money the government spends on treating all other infectious diseases combined. A society that lacks a sophisticated health-care system, and one in which tens of millions of people do not even have access to clean drinking water, needs to focus on prevention. It simply can’t afford to start with the most expensive drugs for its most complicated disease.

Hamied understands all that; he told me so more than once. Yet he is a drug manufacturer, and he feels compelled to make his stand. “Maybe it’s just a prayer to cling to, but we need the prayer,” he said with a sad shrug the last time we met. “What else do we have to offer?”

the man who lost his past- paul berczeller

The man who lost his past

By Paul Berczeller

Merhan Karimi Nasseri has spent 16 years living in Charles de Gaulle airport. Now Steven Spielberg's Terminal has catapulted him to international stardom – but casts little light on who he really is, choosing to Hollywoodise his predicament instead



I first saw him, many years ago now, staring out with an uncanny gaze of blank intensity from the pages of a newspaper. Seated alone on a bench, immune to the endless motion of the airport around him, there was a curious inscrutability to his slight, balding yet dignified countenance. He looked like some unlikely cross between a Zen master and Chaplin's Tramp. He had these amazing long brows, as dark as his hooded eyes, and a small, perfectly groomed moustache perched on top of his upper lip. It was like a caricature of a face, five charcoal marks on a canvas. But strangely noble, too.

His name was Merhan Karimi Nasseri though he called himself "Sir Alfred". He lived in a lost dimension of absurd bureaucratic entanglement. That is to say, on a bench in Terminal One of the Charles de Gaulle International Airport, and he had lived there since 1988. For a series of insanely complicated reasons, the Iranian-born refugee was now a man without a country - or any other documented, internationally accepted identity status. Alfred couldn't leave France because he did not have papers; he couldn't enter France because he did not have papers. The authorities told him to wait in the airport lounge while they sorted the paradox out. That he did – for years and years.

Then one day, I heard that Alfred had finally been given his papers. He was free to go anywhere in the world he wished. Except now it seemed he didn't want to leave the airport after all. It was the only home - the only past - he had left.

I woke up that night burning with an idea for a movie about Alfred - co-starring Alfred himself. I counted the hours before I could hit my desk and get started on the script. To me, his unlikely nightmare was nothing less than one of the quintessential tales of our lonely, displaced, increasingly unreal age.

Perhaps I was a little overexcited, but I soon found that I was not the only one inspired by Alfred's true story. Every screenwriter in London seemed to have a version of his life in the drawer somewhere. And every single one (except mine) was a romantic comedy with a happy ending. None of the others had been made, nor would they ever be. Because word was out that over at DreamWorks, Steven - the Steven - was interested in the story. In sunny faraway LA, the big boys were preparing to immortalise Sir Alfred.

Meanwhile, down at the other end of the world cinematic digestive system, my friend Glen Luchford and I grabbed a DV camera and a few changes of clothes and drove overnight to meet Alfred in the airport. Fittingly, days turned into months and we ended up spending close to a year with him shooting our low budget, arthouse feature, Here to Where (2001). If you've seen it, I probably know you.

Recently, Alfred has been back in the news again. Spielberg's latest, The Terminal, starring Tom Hanks and Catherine Zeta-Jones, is playing on thousands of screens around the world. Media everywhere is asking the same old question. Who is Alfred? No one has a clue. Alfred least of all, it seems. That is exactly how he wants it - I have spent enough time with him to know that. He has been in the airport for 16 years now. I suppose my fantasy upon first meeting Alfred back in the summer of 2000 was that I would be the one to save him. Where friendly lawyers, concerned doctors, crusading refugee groups and assorted praying Christians had failed, I would succeed. I would be the one to convince him to finally leave the airport.

He lived in the basement shopping mall of Terminal One. The circular main building was a triumph of avant-garde airport design when it opened in 1974, but its swank jet-age days were long gone. Alfred's red bench was the only anchor in his life. It was his bed, living room and corporate headquarters. It was actually two benches pushed together, about eight feet long in total and gently curved, just about wide enough to sleep on if he kept his hands tucked under the pillow. (Alfred did have a pillow – and sheets – that he carefully laid down when he turned in for the night.) But he never slept during the day, though his eyes would often droop out of boredom; you could always find Alfred sitting in the middle of his bench, in front of a rickety, white Formica table, which he employed as a desk.

From this perch, Alfred would survey his world. The display windows of an electronics store were across a corridor to his left; he could see the back of a newsagent's to the right. If he moved to one side of his bench, he could gaze across to a MacDonald's on the outer ring of the level. If he moved to the other, there were the shuttered doors of the misleadingly named Hotel Cocoon.

Stacked around the back of the bench were boxes, suitcases and plastic bags containing everything Alfred owned in the world. This included: an extensive archive of newspaper, magazine and TV reports about himself; a rather large library donated by friendly passengers with lousy taste; giant files of postcards and letters from well-wishers around the world; his dry cleaning; a vast collection of McDonald's straws and - most tantalisingly - a diary which recorded in apparently exacting detail every day of his bizarre existence since he first appeared at Terminal One.

Sitting next to Alfred I tried to get into the rhythm of his airport life. It was punctuated every other minute by three chimes heralding the flight announcements, that exotic mantra of foreign destinations that practically drove me mad by the end of my first day there. But Alfred had evolved in his strange habitat; he was able to tune them out. Life in the airport followed a masterplan, designed and controlled by some far off power. Waves of passengers came and went, the same patterns of humanity every hour, every day - the tide would bring in the Japanese in the early morning, the Africans would wash past the bench late at night.

Many passers-by recognised Alfred; some had even made a special pilgrimage to meet him, first or last stop on their Paris tour. Even those who had never heard of him seemed to sense that this was no ordinary passenger. He provoked pity in all of them but Alfred certainly didn't see it that way. He had an extremely high opinion of himself. And besides, as he would quickly remind you, his situation was only "temporary".

During Alfred's first years in the airport, his basic needs were supplied by sympathetic passers-by and airport workers who knew of his Kafkaesque situation. People bought him food, gave him money and listened with sympathy to his tale. But by the time I met him, Alfred had developed a more retail approach to survival. Now he preferred to engage with the professionals of the media, people like me. In return for a few exclusive hours of his stream of consciousness tale, Alfred would graciously accept a small gratuity. The constant stream of journalists and film-makers passing through provided more than enough to keep him going.

And yet from the moment I sat down next to him I felt the force of his – there is no better word – dignity. Alfred seemed totally content within himself. He did not aim to please or play on your sympathy. He was not the homeless guy on the tube singing for a drink. Everything in Alfred's life was conducted on his own terms. In some sense he was a freer man than most.

Despite outward appearances, Alfred lived a life of total self-sufficiency and order. He kept himself meticulously clean and groomed, using a nearby airport bathroom. He hung his freshly dry-cleaned clothes from the handle of a suitcase next to his bench. He always ate a MacDonald's egg and bacon croissant for breakfast and a McDonald's fish sandwich for dinner. (Perhaps one day McDonald's will have the wit to sign Alfred up for a celebrity endorsement.) He always left a tip. Alfred was not, to put it bluntly, a bum.

Still, I felt sorry for him - how could I not? Because one thing was never made quite clear in all the reports about Alfred: just how far gone he was. When he got talking about politics or the economy you could sense the remnants of a fine mind. But when he turned to his past you were dragged into the labyrinth of Alfred's fragile mental state. All the stories he had ever told over the years, all the articles ever written about him, were jumbled together in his head to produce a narrative that changed from day to day. The more you pressed him, the more absurd his supposed memories would become until he would suddenly stop short and fall silent. There seemed to be something in his past that he needed to forget.

It was very frustrating. He once spent a week insisting to me that he was really Swedish. But his most consistent story, as far as I could piece it together, went like this:

After his physician father's death in 1972, his family summoned him with the news that he was illegitimate. His real mother was, in fact, Scottish. (Looking at him, this seemed unlikely.) His family rejected him and Alfred left home to study Yugoslav economics in northern England. (This, amazingly, turned out to be true.) He returned to Iran in 1974 and got caught up in anti-Shah demonstrations. Arrested and tortured by Savak, the Iranian ministry of security, Alfred was stripped of his Iranian nationality and expelled. He spent the next years roaming through Europe in a search for asylum. Finally, in 1981, Belgium granted him refugee status and identity documents. That should have been a happy ending, of sorts.

Instead, soon afterwards Alfred was robbed of his documents or – according to another version – sent them back to the authorities in what he called "a moment of folly". He left Belgium for France where he spent the next years in and out of jail on illegal immigration charges. Apparently, he tried to return to England but was turned back at Heathrow. It was at this point, in 1988, that he first settled into his limbo waiting for papers in Terminal One. A prominent lawyer took on Alfred's case and fought a 10-year legal battle to win him identity documents and the right to travel. But then Alfred refused to leave the airport.

If nothing changed, he would die on his red bench.

It seems very naive to me now, but I hoped that the making of Here to Where would somehow provide the catalyst for Alfred to reclaim a "normal" existence. It was the story of Paul Hugo, a selfish and incompetent American director (played by me, naturally) who goes to Paris to make a fiction film about Alfred's life. Along the way, Hugo's own life falls apart; his producer and crew turn on him, his main actor quits, his girlfriend leaves him and shooting grinds to a halt. The arrogant young man changes from using Alfred to identifying with him. Hugo redirects all his frantic energies to saving him - or what he thinks will save him. My plan was that the last scene would see Alfred and I leave the airport together both on film and in real life.

It didn't exactly work out like that. For one thing, Alfred wasn't going anywhere, despite all my best efforts. Otherwise, our script took over reality or perhaps it was vice versa - I wasn't sure after a while. My friend Glen and I were at each other's throats, the crew was in revolt, my girlfriend left me, the money ran out. Only Alfred kept his cool, looking on with his usual Zen-like detachment.

The last day of filming was an emotional one for me. My character Paul Hugo had spent the night in the airport sleeping on the floor next to Alfred. Early the next morning they were in the airport bathroom, looking into the mirror at themselves, shaving. Nothing had worked out as I hoped. I felt we had failed Alfred in every way.

"I'm worried about what's going to happen to you," my character said. He was still trying to get Alfred to leave the airport, though I had long given up.

"I followed my identification," Alfred replied. "But you've been doing that a long time, right?" "Yes, it takes longer," he said. "I know, but nothing has changed." "Many things have changed." "But you're still here, Alfred, right? You're still at the airport." "Yes," he replied, carefully grooming his moustache. "One of the airport's passengers. I'm always a passenger. If I go, I come back again. I'm not wandering. I don't wander."

Suddenly, Alfred turned his back on me and walked out of the bathroom. I broke down in tears - me, not Paul Hugo. Like everyone else, we had used him and were about to walk away. What did he truly understand about our intentions - about the cynical real world beyond his bench?

Alfred walked up to Glen in the corridor outside the bathroom.

"How did I do?" he asked.

Last week I flew to meet Alfred, three years since I last saw him. His noble Persian face lit up when he recognised me, but then it always does when he first sees a reporter. We shook hands. He seemed quite content.

"I am famous now," was the first thing he said to me.

That was the only thing that mattered to him any more. Not his family or friends, not his past or future - only the archive of articles about a wasted life and a poster advertising Spielberg's film which he proudly hung from a suitcase next to his bench. "Life is waiting," went the Hollywood ad slogan.

Alfred was thrilled about The Terminal, though he would never get a chance to see it. He was looking forward to the Oscars. I didn't want to shatter his daydreams by telling him what a load of puerile crap Spielberg's movie was. I doubt he would have believed me anyway. "Yes, my interest in America has gone up because of movie," Alfred said. "That is very good."

Apparently Alfred had received a cheque of several hundred thousand dollars for his life story. It had been deposited in the airport's Post Office bank. But Alfred had never cared much about money. He was now under the impression that DreamWorks was going to get him a passport and take him to California. Spielberg was going to come to his rescue; Tom Hanks was going to visit him at his bench. In fact, publicity material for the film didn't mention Alfred at all; they were distancing themselves from his depressing story. It wasn't exactly a happy Hollywood ending.

I asked him if he had heard from any friends or family since I last saw him. He grabbed an old Toronto Globe and Mail article from one of his suitcases. "It says that my relation has elapsed. Cut off. In this phase, I am without parents." I looked at the article. "He has taken to saying he has no parents at all," it said.

Alfred looked away from me for a moment. "He denied me. Not his son." He turned back to watch me write notes. He seemed pleased. "In 1968 they denied me, said I was not their son, so I left country. My parents, I suppose, are Americans. If Clark Gable says he's my father – I don't accept unless he has documents to prove."

One of the strangest things about Alfred's situation is that no one from his past has ever come forward. It is as if he had never existed before the day he was first spotted in the airport. Perhaps all of us intrigued by Alfred's story preferred it that way.

But once I decided to solve the mystery of who he really was, his acquaintances and family were surprisingly easy to find.

Alfred had four brothers and two sisters, all of them middle-class people who lived in Tehran, except for one sister who was a dentist in Luxembourg. One worked in a bank, another was a chemist, another worked for state television and radio. Their father, Abdelkarim, was a physician who worked for the Anglo-Iranian Oil Company in Masjed Suleiman, the birthplace of the Iranian oil industry - just like Alfred had always said. After he retired from the oil company, Abdelkarim moved the family to Tehran. He died in 1967 of cancer when Alfred was 22.

It seems the family had known for a long time about Alfred's plight. They were a very well educated family, knew the west well, and read newspapers from abroad. But they apparently always believed that Alfred was living the life he wanted, that he had some kind of master plan.

Alfred's closest relative was his brother, Cyrus, who was two years older than him. In their youth, the two boys seemed to have an idyllic childhood in Masjed Suleiman. "He was close to me and we usually had the same friends," he said. "We were mostly together. We had a good life. I liked swimming and Merhan used to play table tennis. He was very good at it."

Cyrus was a businessman who imported surgical supplies into Iran. He knew England well. He and his wife, Mina, had lived and worked there for many years. Their son still did. Cyrus was, in fact, responsible for Alfred attending university in Bradford. He was very reluctant to talk, at first. The family thought that Alfred's problem was still only one of papers - and they worried that speaking to me might cause their lost brother problems with the authorities. It seems that the family had no idea of Alfred's fragile mental state.

Alfred had lived with Cyrus and Mina for a time in London before moving into a flat of his own. They also lived upstairs from him in Tehran after they got married. At the time he was living with his mother. So Mina knew Alfred - or Merhan, as she scolded me when I used his new name - well. And the portrait both she and her husband painted of him couldn't be more different from the man now sitting on his bench in Terminal One. "What can I say, he was very normal in every way," she said. In every way? She laughed charmingly. "He was a good-looking man. Some of my friends wanted to be his wife or girlfriend. He had very normal relations with girls. But Merhan chose his own life and I guess it was not a family one."

We agreed that Merhan was a very intelligent man. "He was an intellectual. He spent all his time studying and reading books and listening to the radio," Mina said. "He talked all the time about politics. He read books on politics all day and night. It was very important to him. And then he started to do what he believed in."

One of the key parts of Alfred's story was always his arrest and torture by Savak because of his opposition to the Shah, followed by his deportation to Europe. Cyrus was reluctant to talk about this aspect of Alfred's life. But doing a bit more digging through sources in Iran, I was able to find out what really happened.

Apparently, Alfred participated in a student strike at Tehran University in 1970 to object to a new university regulation. Things started to get out of hand and Savak got involved. They questioned all the students and gathered up the ringleaders, about 20, including Alfred. After a few hours of questioning in a university classroom, the matter was apparently dropped. This was evidently Alfred's only serious problem with the security services.

There was no arrest, no torture, no confiscation of his passport and no deportation. It was not nearly as dramatic a story as Alfred now remembered. But he must have been scared. He certainly never forgot the incident.

The last time Cyrus and Mina saw Alfred was in 1976 when their son was born in England. Alfred had abandoned his studies in Bradford, apparently because his money had run out, according to Mina. (Actually, according to fellow students and teachers I spoke to, Alfred failed his course. They had all wondered what a young Iranian was doing in England studying Serbo Croatian.)

He left England to travel through Europe. For a while, he kept in touch, but then his letters stopped coming. With the revolution and then the war with Iraq, his family back home had their own problems to deal with. After four years without any contact, they went to the Foreign Ministry to ask for help trying to find him. "But we could not find any sign of him," said Cyrus.

Then in 1991, a family friend came upon Alfred at his bench in the airport. Amazed to find him after all that time, the friend went up to greet him. But Alfred wouldn't acknowledge that he knew him. The same thing happened on other occasions to other family and friends who tried to make contact with him. Finally they stopped trying. Was he ashamed of what he had become? Did the studious boy who loved politics consider himself a failure? Is that why he distanced himself from friends and family?

"Why did he say in the newspaper that his family rejected him?" asked Mina. "We do not understand that. That was not true. We thought this was the way he wanted to live. Everyone has his own life and he was going on in his own way. That's what we thought."

But I was curious - there were still things I wanted to know. The Alfred I knew was mentally ill. Had there ever been signs of it when he was younger? "No, no, not at all!" said Mina. "If there is something wrong with him now, it's not from the past. It must have happened to him there." This supported what Alfred's lawyer had said to me. He had arrived sane at the airport. At some point along the way - no one knew quite when - Alfred tipped over into madness. His life was indeed ruined by the absurdities of bureaucracy.

And what of Alfred's mother? It turns out that she died only four years ago - at the very time I was filming Here to Where. She knew all about what had happened to her son. And according to Cyrus and Mina, she couldn't understand why he insisted on saying that she was not his mother. It was the great sadness of her life. "He came from me," she told her other children. "Why does he say that?" Alfred doesn't know that she is dead. Cyrus is planning to fly to Paris next month to see his long lost brother. Perhaps Alfred's long journey still has another unlikely twist.

india's art house cinema -- lalit mohan joshi

the other night caught a bit of a mesmerizing movie salim langde pe mut ro a knowledgable movie buff had recommended...it was on Z...t


India's Art House Cinema
By Lalit Mohan Joshi

Well-known Indian film critic and historian, Lalit Mohan Joshi has edited the highly acclaimed book 'Bollywood - Popular Indian Cinema'. He edits 'South Asian Cinema' journal from London and has produced several acclaimed programmes on Indian Cinema for the BBC World Service, Radio and BBC Television in London and Birmingham

Following a decade in which (except for Bengal), cinema everywhere in India had lost touch with reality, 'art', 'parallel' or 'new wave' cinema emerged as a recognised genre during the late 1960s. The first to feel the sweep of the new wave was Hindi cinema.

The ground

Before the rise of the 'new wave', Mumbai-based Hindi cinema (currently termed Bollywood) had become cut off from social reality. Undoubtedly, films such as S. Mukherji's Junglee (Uncouth, 1961) or Shakti Samanta's Kashmir Ki Kali (The Girl from Kashmir, 1964) with loud entertainers like Shammi Kapoor with his funny yahoo antics or R. Nagaich's Farz (Duty, 1967) with Jeetendra with his

early 'jumping jack' image, won high ratings for their entertainment value. However, though popular with the new generation of viewers, such cinema was ephemeral and bore no resemblance to real life. This has not been so in the past. The 1950s for example, had been studded with films such as Raj Kapoor's Awara (The Vagabond,1951), Bimal Roy's Do Bigha Zamin (Two Acres of Land, 1953), Guru Dutt's Pyasa (Eternal Thirst, 1957) and Mehboob's Mother India (1957). Winning popular acclaim but at the same time not failing to raise relevant issues of rural and urban exploitation in independent India, they had succeeded in carving a distinct and lasting niche for themselves which is labelled neither as 'art house' or 'commercial' cinema.

The loss of moorings and drift away from social reality is attributable to a change in the Mumbai film scene. By the mid-60s death had removed three major filmmakers - Mehboob, Guru Dutt and Bimal Roy - leaving behind a huge vacuum. Those that remained seemed to have lost their original spark. Later works of Raj Kapoor, for instance, clearly appeared to lack the commitment and humanism that had shone through in films such as Awara and Shri 420 (Mr. 420, 1955). The creative lacuna bred unease and discontent among filmmakers and discerning audiences alike. It was, therefore, a gap or stasis that set the scene for change and a forward movement. Bollywood's art house cinema was thus born out of fatigue.



Rise

Surprisingly, it was a Bengali filmmaker, Mrinal Sen who took up the gauntlet and struck out on the path of change by making his low budget Hindi film Bhuwan Shome (Mr. Shome, 1969). The film was financed by the then newly established Film Finance Corporation (FFC) which later became the National Film Development Corporation (NFDC). Set in the 1940s, Bhuwan Shome not only launched a new kind of cinema but was also an attack on the establishment. It was the first low budget Hindi film to become a landmark in the history of Indian cinema. Sen's unconventional treatment gave his film originality, freshness and a modern feel. Within audiences tired of the usual run of the mill formula films, it created a new stir and felt like a breath of fresh air. Its success also prompted the FFC to support and finance similar ventures which helped build the so called 'new wave' cinema in the years that followed.

Another significant development of the 1960s that impacted positively was the setting up of the National Film Archive of India (NFAI) and the Film and Television Institute of India (FTII) in Pune. By facilitating exposure of indigenous creative talent to the best of world cinema, these bodies nurtured a new crop of filmmakers who wanted to explore and use the power of the film medium. Hindi cinema entered a new phase with the early works of Mani Kaul, Kumar Shahni, Saeed Akhtar Mirza and Ketan Mehta - all products of the FTII.

The exciting new possibilities in cinema drew talent from diverse fields towards the film medium. A cartoonist with a Mumbai based news weekly Blitz, Basu Chatterjee turned towards filmmaking with his debut film Sara Aakash (The Whole Sky, 1969). Based on a Hindi novel by Rajendra Yadav, its most striking feature was 'realism'. It made viewers feel they were not watching a film but were looking through the window of someone who lived somewhere down their lane. Both Sara Akash and Bhuwan Shome struck a new chord.



Realism

'Realism' became the mantra for the new breed of filmmakers. Fresh from the FTII, Mani Kaul and Kumar Shahani both admitted being influenced by the works of Robert Bresson and Andrei Tarkovsky. They also were deeply inspired by the genius and epic tradition of Bengali filmmaker Ritwik Ghatak who had been their mentor at the Film Institute. The creative ferment nurtured in FTII products led to memorable works. The long pauses and silences in Mani Kaul's debut film Uski Roti (A Day's Bread, 1969), for example, skilfully heighten the loneliness of Balo (Garima) the wife of a Sikh bus driver Sucha Singh (Gurdeep Singh). Interestingly, not everyone was able to appreciate fresh departures made by innovative filmmakers like Mani Kaul as well as Kumar Shahni. While many hailed their films, others spurned them.

Some within the new crop of filmmakers not only started expressing themselves in new ways, they also began to explore untrodden ground by taking up new subjects as well as issues that had barely been touched. Outstanding among them was M. S. Sathyu who made Garam Hawa (Hot Winds, 1975). The film poignantly depicted the hurt and insecurity of Indian Muslims in post-partition India. M. S. Sathyu came with a background in theatre and had been active in IPTA (Indian People's Theatre Association) for decades. His sensitive treatment converted his film into a landmark.

'Realism' was recognised as the most distinctive hallmark of the newly emerging Indian art cinema of the late1960s. It, however, needs to be recognised that it had been an element of Indian cinema right from its early days. Many classics of silent cinema had in fact been resonant with realism. In V. Shantaram's silent film Sawkari Pash (Indian Shylock, 1925), a poor peasant (played by Shantaram himself) loses his land to a greedy moneylender and is forced to migrate to the city to become a mill worker. Acclaimed as a realistic breakthrough, its shot of a howling dog near a hut, has become a milestone in the march of Indian cinema. Another Shantaram classic Duniya Na Mane (The Unexpected, 1937) is known for its daring attack on the treatment of women in Indian society.

Yet, not only in India but the general perception in the west too, is that realism was first injected into Indian filmmaking through the works of genius produced by Satyajit Ray. Even the contribution of Ritwik Ghatak, Ray's no less brilliant contemporary, received scant attention until very recent times.



Benegal, Nihalani & Mirza

The credit for re-introducing realism, however, must go to filmmakers of the 'new wave'. An outstanding filmmaker of this genre who entered the scene in the mid-1970s was Shyam Benegal. His debut film Ankur (The Seedling, 1974) was a breakthrough in more ways than one. It defied all the ground rules of popular Hindi cinema. Without a star cast, without a song and without melodrama, Ankur was produced with a paltry sum of Rs. 5 lakh but fetched more than a crore for producer Lalit M. Bijlani.

The 1970s found Benegal at his creative best. His first three films form a thematic trilogy. Ankur deals with the slow transformation of the feudal system in India. Nishant (Night's End, 1975) shows a kind of actual confrontation between feudal value systems and a new emerging rural society in India. In Manthan (The Churning,1976) one sees social change actually coming. The popular acclaim of these three Benegal films (Ankur, Nishant and Manthan), made him the pioneer of new cinema in the 1970s.

Another dimension of Benegal's contribution via his new wave films to mainstream cinema, was the infusion of fresh talent which dominated the Hindi film industry in the ensuing decades. "His sense of casting is one of the most acute one has ever encountered. The truth of this is amply evident in the names of some of the notable performers in the cinema today - Om Puri, Naseeruddin Shah, Amrish Puri, Mohan Agashe, Kulbhusan Kharbanda, Shabana Azmi, and the late Smita Patil - the list of his discoveries who have all made good, is impressive, to say the least. Even the faces launched by Satyajit Ray are not quite as many and except for Sharmila Tagore, have not invaded the mainstream the way Benegal's protégés have", acknowledges veteran film historian Chidananda Das Gupta.

Shyam Bengal's new wave films also contributed indirectly. Govind Nihalani, Benegal's renowned cinematographer for more than a decade, soon emerged from the behind Benegal's camera as a powerful filmmaker in his own right in the early 80s. His debut film Aakrosh (Cry of the Wounded, 1980) exposed the exploitation of tribals in rural India. "The spirit of new cinema was to look at our own society with new eyes, with a different kind of vision. It was a vision of questioning and finding new answers. it was an effort to find a new language to talk to the new generation of our own society about the new issues that were then emerging", recalls Nihalani.

Nihalani's Ardh Satya (Half Truth, 1983) is another landmark. "After two decades of its making I still come across young police officers at airports and else where who tell me they feel it's their story", admits Om Puri who played the police officer protagonist in the film. Exposing the nexus between corrupt politicians, the mafia and the police, the film became a huge commercial success.

Another bold and creative artist who entered the field was business executive turned filmmaker Saeed Akhtar Mirza. His cinema raised significant issues related to indigenous minority communities and to ordinary people. Albert Pinto Ko Gussa Kyon Ata Hai (What Makes Albert Pinto Angry, 1980) provided some insight into the world of Christian minority groups in India. Though Albert is portrayed as being genuinely concerned for his family and community, he is also depicted as a victim of his own false values and the oppressive forces of mainstream society. Likewise, Salim Langde Pe Mat Ro (Do Not Cry for Salim the Lame, 1989) and Naseem document Mirza's concern for sections within the Indian Muslim community. Another of his earlier works was Mohan Joshi Hazir Hon (Summons for Mohan Joshi, 1985) which in his own words focused on "the idea of decency sacrificed at the altar of pragmatism".



New Wave in the Regions- Kerala, Karnataka, West Bengal & Assam

The 1970s saw similar stirrings in regional cinema. Down south in verdant Kerala, there was a flowering within Malayalam cinema where a new generation of filmmakers emerged. Shot on location, P. N. Menon's Olavum Theeravum (1970) was a landmark in the realm of realism. It was followed by Adoor Gopalakrishnan's Swayamvaram (1972) which quickened the pace of new cinema in the area. M.T. Vasudevan Nair's Nirmalyam (The Offering, 1973) and G. Aravindan's Thampu (The Tent, 1978) were other works that inspired many filmmakers of that era.

Outside Kerala, the new wave rose prominently in the neighbouring state of Karnataka. Here, Kannada filmmakers such as B.V.Karanth, Girish Karnad and Girish Kassarvalli produced conspicuous works. Karanth's masterpiece, Chomna Dudi (Chomna's Drum, 1974), documented caste discrimination in rural India. Karnad's Kaadu (The Forest, 1973) and Girish Kasarvalli's Ghatashraddha (1977) were films that firmly and prominently placed Kannada cinema on the Indian new wave cinema map.

The new wave was not confined to south India alone. In the east, within Bengali cinema there emerged two young filmmakers Gautam Ghosh and Budhadeb Dasgupta. Both mirrored contemporary issues in their feature films. From nearby Assam, came Jahnu Barua's films like Aparoopa (1982) and Halodiya Choraye Baodhan Khaye (1987) which powerfully reflected the conflicts and change in Assamese society.



The magnetic pull of Hindi new wave cinema

With the passage of time, many a regional filmmaker was pulled into the vortex of Hindi cinema for drawing wider audiences and greater mass appeal. Ketan Mehta after making a breakthrough with a Gujarati film Bhavni Bhavai (A Folk Tale, 1980), shifted to Hindi with two significant films Holi (The Festival of Colour, 1983) and Mirch Masala (Hot Spices, 1986). Likewise, Marathi filmmaker Jabbar Patel made Hindi versions of Umbartha (1982) as Subah (1982), Bengali filmmaker Buddhadeb Dasgupta made his Andhi Gali (Blind Alleyway) in Hindi and Kannada filmmaker Girish Karnad made two Hindi films Godhuli (1977) and Utsav (The Festival, 1984).

Even veterans like Satyajit Ray did not remain unaffected by the pull force. In 1978 he made an excellent film in Hindi called Shatranj Ke Khilari (The Chess Players). Based on a story by the famous Hindi writer Munshi Premchand, it was a period film with an international caste that included Richard Attenborough playing an English general of nawabi times. The film became the launch pad for Saeed Jaffrey into Hindi cinema. All these films shaped Hindi new wave into a kind of national film movement.



Realism vs. Escapism

Although the themes of some 'new wave' films of the late 70s and early 80s such as Nihalani's Ardh Satya and Benegal's Manthan and Junoon won popularity within the masses, films of this genre generally remained confined to a limited circle of viewers made up of sections within the urban educated elite. It was perhaps the sharp contrast between new wave and commercial cinema that largely accounted for the former's lack of appeal with the masses. Like tales by Hans Christian Anderson or the Grimm brothers, films of the popular or commercial genre were peopled by fantastic characters who were either ugly, cruel and despicable knaves or beautiful, virtuous and pure-hearted heroes and heroines. Commercial filmmakers steered clear of picking themes that might remind viewers of their daily lives by concentrating on wealth, glamour, beauty, romance, dance and song. Even if compelled by the storyline to show poverty, sickness, disease or sadness, they scrupulously avoided spoiling the fun of viewers by not giving them an overdose of any such negative aspects of real life and by quickly nullifying any resemblance to it by strong infusions of dance, song, romance, cheap thrills like fight sequences or bawdy humour.

New wave filmmakers, on the other hand, were inspired by the social and political reality around them. Their films rejected the unrealistic situations and storyline, fantastic characters, melodramatic dialogues and the popular song and dance format of commercial cinema. It is, therefore, not surprising that mass audiences brought up on a staple diet that was not only different but almost diametrically opposed to that of 'formula' films, generally found new wave cinema far less attractive and palatable.

New wave filmmakers also went in a big way for stark themes and stark treatments. Rabindra Dharamraj's Chakra (1980) focused unrelentingly on the poverty, hopelessness, suffering, disease and exploitation in the slums of Mumbai. Prakash Jha's Damul (The Bonded Until Death, 1985), was a shocking depiction of the hanging of a bonded labourer. The film drew rare acclaim from the veteran Bengali filmmaker Mrinal Sen for avoiding close ups. "My aim was to emotionally alienate the audience. Avoiding close ups the camera always moved around to create unease among the audience", says Jha.



Extraneous factors

While the very nature of 'new wave' films tended to strip its makers of any hopes of ever hitting it big with the masses, a fresh challenge to their continuation and development within the new wave genre, came from the small screen. By the mid-1980s the expansion of the national television network in India created a growing market for television serials. Despite their creative energy and talent, new wave filmmakers functioned in a very unsure world. The pull of the small screen proved irresistible as those who had ruled the new wave and ridden high on its crest like Shyam Benegal and Saeed Akhtar Mirza joined the race to seize opportunities in this new field. Their involvement with serials like Bharat Ek Khoj (Shyam Benegal) and Nukkad (Saeed Akhtar Mirza), were immensely successful and set new trends. Though their talent found outlets and flourished in TV, their involvements in television had a detrimental impact on their kind of cinema. They eventually did return to their forte, but by the time they did so, both their focus as well as the scene had altered. "Between 1986 and 1991, I had got busy doing television and lost contact with the film business. When I got back, it was like waking up from Rip Van Winkle's slumber. Everything had changed. The non-traditional cinema had lost its entire audience to television", admits Shyam Benegal.

Never robust, new wave cinema, by the dawn of the 1990s, especially that based in Mumbai, was like a spent force devoid of almost all vigour, spontaneity and freshness. Some began to resort to survival techniques that exposed them to criticism. Among them a few who had earlier ruled the 'new wave', waived the rules of their kind of cinema by using stars and peppering their films with dance and song sequences. One of the icons of new cinema, Naseeruddin Shah is candid in his criticism. "They [new wave filmmakers] lost their commitment and began to cast stars in desperation. I think they fell on their faces doing that because they expected those stars to play real", says Naseer.

A prominent flaw regarding new wave cinema was its lack of an effective film distribution system. Art house cinema in the western world had the support of a distribution system as well as a regular circle of viewers no matter how small. Indian new wave cinema did not enjoy any such base. Some new wave filmmakers have identified this gap as a prime contributory factor for the decline of new wave cinema.

Many new wave filmmakers have, however, come forward with other points of view. Prakash Jha, who in recent years has resorted to a popular format of Bollywood filmmaking, is inward looking and critical of his own brethren. "We film makers are to be blamed. We went on making films not bothering where they will be exhibited. We went on collecting awards, money and loans." Shyam Benegal with his strong sense of the impact of historical forces and a powerful analytical ability, on the other hand, ascribes other reasons for the decline. "There is a certain process of marginalising that has taken place. Certain things have become invisible to a lot of people. If today I were to deal with the subject of poverty or with caste oppression, I wouldn't have the same kind of interest in the urban audience. Urban audiences would rather not see these things."



Expatriate Filmmakers

While new wave Indian cinema seems to be in the doldrums, a new generation of filmmakers like Dev Benegal with English August and Split Wide Open have tried to break new ice. Split Wide Open unravels the world of child abuse within Mumbai's high class society. In the 1990s expatriates such as Meera Nair and Deepa Mehta have also come forward with films that have hit national and international headlines. Although these films have raised new issues, many critics have spurned them as being carefully crafted attempts to steal the limelight by picking exotic and controversial themes. Barring Meera Nair's Monsoon Wedding, films like Deepa Mehta's Fire have neither won significant critical acclaim nor popular audiences either in India or abroad.



The present scenario

Though weak in Mumbai where it first rose, new wave cinema is still showing signs of life and vigour in the regions. A new generation of younger filmmakers like Rituparno Ghosh in West Bengal and Jayaraj in Kerala have emerged. Ghosh's cinema though reminiscent of Satyajit Ray, has a unique freshness. His Uneshe April (1995), Dahan (1997) and Utsab (2000) strongly reflect contemporary issues that are affecting modern India. The same is true with Jayaraj's Karunam, which poignantly depicts an elderly couple's vain wait for the return of their son who has settled abroad. Though filmmakers like Adoor Gopalakrishnan, T.V. Chandran and Shaji Karun have kept meaningful cinema robust and alive, mainstream Malayalam cinema which is inspired by the Bollywood model, is in the grip of the same malaise that Mumbai films suffers from.

Within Hindi new wave cinema itself, despite its near invisibility, the genre is scotched but not killed. With some digressions veterans like Benegal , Nihalani and Mirza have still not given up. They are exploring larger canvasses and trying for bigger resources. Shyam Benegal and Ketan Mehta have turned towards history with the former making his new feature film on national leader Subhash Chandra Bose and the latter on the 1857 Uprising.


Today 'New Wave' or 'Art' cinema can be best described as being in the margins. Whether it will revive and co-exist alongside popular Indian cinema the way it did in the 1970s remains to be seen. Meanwhile, a discerning audience stands and waits.

Pak Army:- The True Face of Jihadis- Amir Mir

Book on Pakistan Army Reveals Simmering Discontent, Conflict and Rivalry

Special SAT Report

ISLAMABAD, Sept 23: A new book written by a bold and brave young journalist of Pakistan speaks of “simmering resentment, raging ideological conflict and internecine rivalry” within the Pakistani Army and reveals that General Musharraf himself was pitted against a few of his own Generals.

The book, The True Face of Jihadis, written by Amir Mir, the former Editor of Lahore weekly The Independent, who was forced out of his job by the military regime a few months back because he would not stop reprinting articles in the South Asia Tribune, almost dares General Pervez Musharraf to hit him with sedition, like the jailed Opposition leader Javed Hashmi.

In great detail the book says everything, and much more than what PML-N leader Javed Hashmi was sentenced to 23 years in jail for.

“The resentment within the country’s most-disciplined force is believed to be simmering at two levels: among junior officers who view with contempt General Musharraf's attempts at getting the army to combat rather than abet Islamist militancy. And at the higher echelons where General Musharraf finds himself pitted against a few of his senior generals,” it says.

The author claims that the letter for which Javed Hashmi was sent to jail was not fabricated and that other members of parliament too had received copies of it.

“It is through anonymous missives that disgruntled officers now seem to be waging their battle,” the author says. “For instance, in the recent past, one such letter had divulged information about the arrest of Pakistan Army’s officers (Lt. Col. Khalid Abbasi etc), which was being kept secret by the military authorities.

“Though its contents were dismissed outright, the Inter Services Public Relations subsequently announced the arrest of army officers for their links with the al-Qaeda and other militant outfits.

The book quotes military circles saying that Army Intelligence had been reporting about the discontent brewing in the army. “For one, some sections are not pleased with the talk about striking a compromise with India on Kashmir. Second, they are opposed to Pakistan reducing its role in the region, on America's insistence. “

“In an attempt to mount pressure on Musharraf, the Islamist dissidents allegedly distributed an audiocassette titled Crush India among the border villages and the army camps, units and forward posts. “

“Given all these developments, it seems unlikely that General Musharraf's efforts to transform the Pakistan Army from a fundamentalist force into a moderate and liberal one will succeed in the near future.”

Following is an excerpt from Chapter 3 of the Book titled: Pakistan Army: Islamists vs Reformists

“Since the 9/11 terror attacks in the United States and General Pervez Musharraf’s subsequent decision to make Pakistan a frontline state in the US-led war on terror, conflicting ideologies have seemingly caused fissures in the Pakistan Army, pitting the Islamists against the Reformists.

These fissures, though, had rarely spilled out in the open, merely articulated as they were, through whispers in the corridors of power or innuendos in newspaper articles. All this changed in August 2003 following the arrest of a group of officers from the Pakistan Army for their alleged links to al-Qaeda and other extremist militant organizations. These arrests were followed by release of a letter in October 2003, allegedly by renegades within the force, written on a GHQ letterhead and sporting the monogram of the Pakistan Army. The letter, which launched a scathing attack against General Musharraf and his pro-US policies, literally brought to the fore the raging ideological conflict and internecine rivalry within the Pakistani Army.

As a matter of fact, the Pakistan Army became a politicized army in the very first decade after the creation of Pakistan. It literally became the power behind the throne in Pakistani politics and soon seized political control. Thereafter, the Pakistan Army has intervened frequently to seize political power by imposing military rule for protracted periods. While General Zia ul Haq’s dictatorial regime lasted for 12 years, General Musharraf seems to be headed for an equally long run. The Pakistan Army has thus ceased to be apolitical. Having tasted political power, it is subjected to the same corrosive influences of corruption and influence peddling as the politicians are accused of. At the same time, the top military leadership, despite claiming to pursue a liberal political agenda, continues to exploit Islamic fundamentalists as political allies.

The politicization of the Pakistan Army has already caused the spread of Islamic fundamentalism at all levels, which seems to be a natural phenomenon in Pakistan because of socio-economic causes. The large masses of the urban and rural poor, with no avenues for economic advancement, are being drawn to fundamentalism. As the soldiery of the Army is largely drawn from the rural and urban masses, it would be inescapable for them not to be infected with the virus of Islamic fundamentalism being propagated by thousands of deeni madrassas across Pakistan. During the Zia regime, the composition of the Pakistan Army cadre was changed at the expense of the urbanized, western looking middle class and upper class elite and preference in officers’ commissions was given to the emerging rural educated generation, which had strong leanings towards conservative Islam. This large body of Islamist officers, commissioned during the Zia regime, forms the backbone of the present day Pakistan Army, after being moved into the higher echelons since then.

The resentment within the country’s most-disciplined force is believed to be simmering at two levels: among junior officers who vie with contempt General Musharraf's attempts at getting the army to combat rather than abet Islamist militancy. And at the higher echelons where General Musharraf finds himself pitted against a few of his senior generals. Musharraf himself admitted on May 27, 2004 that personnel at a junior level within the Army and the Air Force were involved in assassination attempts on him in December 2003.

“Well, there are some people in uniform, junior level, ... Air Force and Army ... but they are very small," Musharraf said while responding to queries in Geo TV’s talk show “Follow up with Fahd” at his Army House residence in Rawalpindi. He informed that most of the armed forces personnel that were involved were now in custody and would be tried in a military court. But he did not disclose the category (commissioned officers or others) and ranks of the personnel accused of being involved in the plot.

Musharraf, however, claimed that the armed forces personnel already in custody were motivated by greed. “Some of them are not even for religious motivation, some of them are for money”, he said. However, Musharraf added that he was very much sure that none of the senior people of the armed forces were involved in the attempt on his life. “We have unearthed everything, we know exactly who is involved, we know the entire picture of both the actions and exactly the names, we know their faces, we know their identities, we know their families, we know everything”, he said.

Yet, this was not the first instance of involvement of army personnel in activities motivated by Islamic militancy in contravention of the military professionalism. It was a Hong Kong-based web newspaper (Asia Times) that on August 30, 2003 reported the arrest of several army officers, claiming that they were conspiring to stage a coup against General Musharraf. As other Pakistani newspapers began to speculate on the number of the officers arrested—and the conspiracy they were involved in—the normally reticent Inter-Service Public Relations Department, which handles the media and the army, issued a brief statement on August 31, 2003: “Three to four army officers of the rank of lieutenant colonel and below are under investigation by the agencies for possible links with some extremist organizations”.

Director General of the Inter Services Public Relations (ISPR), Major General Shaukat Sultan, however, remarked: “There is no senior officer among them.” Two lines of investigations were pursued in the post-arrest scenario: one, the connection between the incarcerated officials and extremist organizations; two, and quite incredibly, a possible link between some of them and India's Research and Analysis Wing. According to defence sources, those investigated for their RAW connections belonged to the ranks of non-commissioned officers. A dozen junior commissioner officers were arrested in Islamabad, Karachi and Hyderabad, primarily on charges of spying for India.

The investigations, which had actually begun in July 2003, came as a shock to intelligence authorities when it was revealed that the concerned officers, all of whom emanate from non-commissioned ranks, were in fact trained RAW agents. According to the intelligence sources, the whole episode kicked off with an anonymous call made to Mumbai from a Public Call Office in Hyderabad in December 2002. Though the caller, who provided sensitive Army information to the Indian side, could not be traced, he did drop a lead to the intelligence agencies by mentioning an address in the phone call. The Pakistani intelligence got its first break a few months later when a non-commissioned officer was arrested in Hyderabad. During the interrogation, he repeated the same address mentioned in the phone call. Subsequently, a few more Army officers were taken into custody from Karachi and Hyderabad.

During interrogations, the arrested officers conceded that they were trained RAW agents of Indian origin, planted in the Pakistan Army. However, it was the group allegedly connected to the al-Qaeda that posed an ideological challenge to the fourth military ruler of Pakistan – General Musharraf. The provenance of the episode goes back to March 15, 2003, when top al-Qaeda leader Khalid Sheikh Mohammad was nabbed from the Rawalpindi residence of a Jamaat-e-Islami office-bearer, Ahmed Quddus. Subsequently, Pakistani authorities were made to arrest Quddus' uncle, Major Adil Quddus, from Kohat in the NWFP on March 16, 2003.

The next round of arrests was made in August 2003, with the nabbing of five more middle ranking Pakistan Army officers, which appeared to be the first case of defiance within the Pakistan Army at the Colonel’s level. Two Colonels, two Majors and one Captain were picked up by the agencies over a period of two weeks in August 2003. Those arrested included Colonel Abdul Khalid Abbasi (General Headquarters), Lt. Col. Abdul Ghaffar (Headquarters Army Aviation Command), Major Muhammad Rohail (2nd Corps), Major Attaullah (2nd Corps) and Captain Dr. Usman Zafar (Mujahid Battalion).

Of them, Lt. Col. Abdul Khalid Abbasi was considered to be a religious-minded person who used to deliver daily lessons from the Holy Koran to junior officers of the Pakistan Army. One of the arrested army officers, Lt. Col. Khalid Abbasi was finally charged with giving asylum to the al-Qaeda operatives, one of whom was a foreigner. Khalid Abbasi was suspected when an alleged terrorist made a telephonic contact with him and sought his consent for two people to stay with him for a few days. This call was intercepted by the Americans who have laid down a state-of-the-art espionage system in Pakistan to monitor communications conducted through the airwaves.

But the interrogators failed to ascertain whether or not Lt. Col. Khalid Abbasi was connected to Major Adil Quddus, whose house in the Kohat Cantonment was thoroughly searched by army officials before his arrest—in a sequence of rapid events set off by the capture of the FBI's Most Wanted, Khalid Sheikh Mohammad. Those who interrogated Khalid believe that he might have shifted from his Karachi hideout to Rawalpindi in order to facilitate an assassination attempt on Musharraf. The assassination theory, however, received a fresh boost through an audiotape that the al-Qaeda released on the second anniversary of 9/11 (September 11, 2003).

In it, Osama bin Laden's deputy Dr. Ayman al-Zawahiri exhorted Pakistanis, "We ask our Muslim brethren in Pakistan: till when will you put up with the traitor Musharraf, who sold Muslims' blood in Afghanistan and handed over the Arab mujahideen to crusader America? The officers and soldiers of the Pakistani army should realize that General Musharraf will hand them over as prisoners to the Indians...." He then went on to add, "Act, O Muslims in Pakistan before you wake up from your slumber to find Hindu soldiers raiding your homes in complicity with the Americans.”

Zawahiri’s tape predictably fanned suspicions in the Pakistan army, prompting Musharraf to tell the BBC: “I have the full support of the armed forces of Pakistan and I must be the poorest commander if none of my Generals are with me. I have spent 40 years in uniform and I’m proud to say that I have always commanded from the front. I have been in the front and I have led from the front through personal example. Every man down to the sepoy is with me and behind me - let me assure you that. There should be no such misperception that anyone is against me,” Musharraf claimed while answering queries in a live BBC program, ‘Talking Point’, aired on September 11, 2003 on the second anniversary of the 9/11 attacks. The General was actually asked to comment on the tape-recorded message from Osama’s second-in-command, Ayman al-Zawahiri, in which he denounced him as a traitor.

Musharraf’s assertions apart, political analysts believe that the Pakistan Army has two schools of thought at present -- the Islamic fundamentalists and relatively more liberals. The split has sharpened because of the General's half-hearted attempts to give the Army a liberal outlook, acceptable to the West. Yet, his efforts are being resisted by some rogue elements that are the product of Zia era when public display of Islamic orthodoxy and conservatism was considered to be an asset. At the same time, the Army officers were taught during the days of Zia; who was the son of an Imam Masjid; that Islam was integral to the ideology of the Army. Before that, the Pakistan Army used to project a moderate and liberal face of Islam.

Whether a person strictly observed Islamic teachings and rituals or not was viewed as a matter of personal choice. However, Islam’s relation with the Army underwent a change in the 1980s due to domestic and external factors. Chief of Army Staff General Zia, who grabbed power in July 1977 by overthrowing an elected government, used Islam and conservative Islamic groups to legitimize his military rule and undercut the opposition to his rule. He pampered conservative and orthodox Islamic groups in the political and cultural domains and encouraged Islamic orthodoxy and conservatism in the Army. Zia was the first Army Chief and head of state to attend the annual congregation of the Tablighi Jamaat at Raiwind. Encouraged by this, many officers began to openly associate with the Tablighi Jamaat and publicly demonstrated their religiousness, something Army personnel avoided in the past.

Other religious groups also cultivated links with the army personnel. This fitted in with the Zia regime’s identification with conservative and orthodox Islamic values and the rise of Islamic conservatism in the society. Zia used to encourage his officers to say their prayers five times a day, and those who did so were looked at favorably when promotion time came around. Indeed, with the passage of time, it became essential that anyone seeking a top position in the army or the ISI displayed the appropriate religious fervor. Even better would be if an officer had a background in the Islami Jamiat Tulaba (the student wing of the Jamaat-e-Islami). Such a connection led to the emergence of the likes of Lt. Gen. Hameed Gul, Brigadier Imtiaz Ahmed Billah and dozens of others who made their names in political operations in favor of Islamic parties or in launching conspiracies to unseat secular parties, such as the Pakistan Peoples Party’s twice-elected Prime Minister Benazir Bhutto.

Even after Zia’s death in an airplane crash on August 17, 1988, people are careful to at least pay lip service to the Zia legacy. Musharraf himself, who claims to be a liberal compared to the former military dictator, praised Zia’s policies in these words: “He was a patriot and was a very God-fearing person”. Musharraf proved his affection for Zia by inducting the latter’s elder son [Ejazul Haq] in the federal cabinet in 2004 as Minister for Religious Affairs. The fact remains that even after Zia’s death, the Pakistani Army largely through the Inter Services Intelligence, as part of its strategic vision for the region, actively supported and promoted the Taliban in its formation and ultimate seizure of power in Afghanistan in 1996. The external factor contributing to this trend was Pakistan’s active involvement with the Afghan resistance against Soviet military intervention in Afghanistan (1979-89) and the subsequent activism of the Afghan mujahideen. The struggle against Soviet troops in Afghanistan enabled conservative Islamic groups to obtain acceptability and material resources they were armed with during this period.

The ISI’s active role in support of the Afghan resistance brought Pakistan Army personnel in contact with conservative Islamic groups who were engaged in armed struggle against the Soviet occupation. This popularized the strategy of armed struggle in support of Muslim causes. After the withdrawal of Soviet troops, the ISI maintained contacts with some Afghan mujahideen groups; the Taliban being the last of them. This factor adversely affected the delicate balance the Pakistan Army had traditionally maintained between Islam and professionalism. Many officers and men were attracted to radical Islamic ideology and thought that it could take precedence over professionalism. They talked of ‘jihad’ as a legitimate political strategy for the state of Pakistan. This line of thought persisted as the ISI was allowed to encourage many of the militant Islamic groups operating from Pakistan to pursue Islamabad’s official policy of supporting insurgency in the Indian Held Kashmir.

A decade-long ISI-sponsored Islamic militancy was bound to have implications for the army, whose personnel were directly exposed to Islamic militancy and propaganda by Islamic groups in support of militancy and a genuinely Islamic order for Pakistan. The Pakistani state openly identified with Islamic orthodoxy and militancy and it became fashionable to publicly support the militant Islamic groups engaged in insurgency in Jammu and Kashmir.

Having realised that the Islam-oriented activism adopted by the Pakistani Army officers was now affecting the organization’s professionalism and discipline, the military hierarchy is attempting to push back the politicized Islamic elements and to reassert the army’s tradition of keeping Islam and professionalism together. Under General Musharraf, the selection process for the higher echelons of the Army has been made rigorous with a strong emphasis on service record and professionalism. This minimizes the chances of an officer having a record of political activism or having links with extremist groups reaching the senior command level. The Army also looks after the material interests of its senior officers, both in service and after retirement, in a bid to dissuade them from giving in to extraneous religious or political influences.

Unfortunately, however, some religious-minded (pro-jehad) officers already inhabit the top echelons of the Pakistan army. The military top brass aside, the alleged release of an unsigned letter on the GHQ letterhead in October 2003 had hinted at the prevalent resentment among the second-ranking leadership of the Pakistan Army. The letter, written in Urdu in the form of a petition, had been circulating among army officers for quite some time before being made public on October 20, 2003 when the Alliance for Restoration of Democracy president, Makhdoom Javed Hashmi, addressed a press conference in Islamabad to release the same. But Hashmi's decision to make it public was construed as sedition and he was subsequently sentenced to 23 years in prison for inciting mutiny in the army.

Among other things, the letter on the GHQ letterhead had allegedly demanded that the army high command permit the Pakistani parliament to debate the Kargil venture, determine the motives behind the operation and the causes of its failure. It also launched a scathing attack against General Musharraf and his pro-US policies. Addressed to the ‘national leadership’, the letter states, “We, on behalf of the Pakistan Army, assure the nation that it is your army—the army of Islam and Pakistan, and we expect every member of the parliament, from whichever party he belongs, to work for the sovereignty of the parliament”. It goes on to describe Musharraf and his cabal as ‘national criminals’ who have not only plundered the national wealth with impunity but have also helped the Americans, Jews and Christians to kill ‘our Afghan brothers’.

“Pervez Musharraf has turned Pakistan—the fort of Islam—into a slaughterhouse of the Muslims”. The letter applauds the parliament, claiming that had it not been constituted, the Pakistani army would have been dispatched to Iraq to kill ‘our brothers’. The letter asked the parliament to discuss a range of issues: “What were the objectives behind the Kargil venture? Why did Pakistan suffer massive losses, even higher than what it sustained in the 1965 and 1971 wars? Why has not Pakistan, like India, instituted an inquiry commission into Kargil?” The letter then revealed information quite sensational—and incredible—in its sweep. It alleged that the commander of the Kargil war, Major General Javed-ul-Hasan, had been a military attaché in the US for four years, and had worked there under the CIA's supervision. “The Kargil war was waged at the behest of the US. He (Major General Javed) was even attacked by the officers and jawans for his poor planning of the (Kargil) war. But his mentors got him promoted as Lieutenant General, though he should have been sacked”.

Through a series of questions, the letter brought under the scanner the coup Musharraf staged against the then Prime Minister Nawaz Sharif on October 12, 1999. It asked: “What happened on October 12, 1999 (when General Musharraf seized power)? Which units of the Pakistan Army were directed to surround Islamabad?” Then the spotlight was turned on corruption in the army, questioning the allotment of prime plots of land to brigadiers and generals in Lahore.

Finally, the letter demanded that the parliament institute a national judicial inquiry comprising of those chief justices of the Supreme Court and provincial high courts who were in office at the time of the 1999 coup. “The patriotic elements in the Pakistan Army will reveal these national secrets before the national judicial commission so that the culprits are brought to task in accordance with Article 6 (awarding death penalty to anyone who overturns the Constitution) of the 1973 Constitution”. Just in case anyone had doubts about the agenda of those who wrote the unsigned letter, it concluded: “Our aim—a free army and a sovereign Pakistan”. Such damning information and prickly demands infuriated the military top brass, especially Musharraf.

Inter Services Public Relations Director General, Major General Shaukat Sultan thought the letter Hashmi had released was forged and meant to harm the unity of the armed forces. He had further said: “A high-level probe has been initiated into the communication and delivery of the letter, allegedly dispatched from the GHQ, though it seemed nothing more than a pack of lies”. Federal Information Minister Sheikh Rashid Ahmed dismissed the letter as a ploy by India's Research and Analysis Wing to damage Pakistan's armed forces.

However, there are those in the military circles who believe that the letter Javed Hashmi had released was not fabricated and that other members of parliament too had received copies of it. It is through anonymous missives that disgruntled officers now seem to be waging their battle. For instance, in the recent past, one such letter had divulged information about the arrest of Pakistan Army’s officers (Lt. Col. Khalid Abbasi etc), which was being kept secret by the military authorities. Though its contents were dismissed outright, the Inter Services Public Relations subsequently announced the arrest of army officers for their links with the al-Qaeda and other militant outfits.

According to the military circles, the Army Intelligence had been reporting about the discontent brewing in the army. For one, some sections are not pleased with the talk about striking a compromise with India on Kashmir. Second, they are opposed to Pakistan reducing its role in the region, on America's insistence. In an attempt to mount pressure on Musharraf, the Islamist dissidents allegedly distributed an audiocassette titled Crush India among the border villages and the army camps, units and forward posts.

The cassettes contained provocative songs, speeches and apocryphal stories about martyrs hoping to imbibe in soldiers the spirit of jihad The cassette reportedly stated: “Since Independence, our army has been fighting with the enemy which is five times larger and equipped with latest weapons. But our army is equipped with a special weapon the enemy doesn't have—the spirit of jihad Every Pakistani soldier is a soldier of Islam. He will be rewarded by Allah”.

The renegades had further circulated a booklet among junior officers, underlining the benefits of waging jihad against India. It stated, “One who kills a kafir (non-believer) will not go to Hell ever and there will be no shortcoming in his prosperity as regards to wealth and good food. The soldiers of Islam should know that winning or losing is in the hands of the Almighty and defeat can only be provided by God...” and that even if soldiers die during a jihad, “their pain would be equivalent to that of a mosquito bite”.

Given all these developments, it seems unlikely that General Musharraf's efforts to transform the Pakistan Army from a fundamentalist force into a moderate and liberal one will succeed in the near future. But the General, inexplicably, remains upbeat. Sample his response in the live BBC program, Talking Point, aired on September 11, 2003, "...Let me tell you, all my commanders are with me totally—each and every general is with me.” One hopes the General is right.

k k aziz -khalid ahmed

The unspoken ideology of Pakistan is a visceral disregard for learning. The state has thought of war more often than knowledge. Its people are mostly illiterate and those who are literate have grown up ingesting the lethal jahiliyya of state indoctrination. Charlatans rule the collective mind in the name of religion. Without a base of genuine shared knowledge Pakistanis have learned to agree on very little. It is a society that has begun tribalising itself back into the Dark Ages after celebrating its fifty years in existence in 1997. It doesn’t write back to KK Aziz. The truth is it has no answer to give. It is just that KK Aziz has outlived his era. Pakistan is simply waiting for him to die. That’s why no one writes back to him.

No one writes back to KK Aziz


Khaled Ahmed’s A n a l y s i s


Prof KK Aziz’s two-volume study of Islamic art is finally out. Each volume is over 600 ages and the book is in a larger-than-usual format to accommodate thousands of reprints and photographs that he has decorated the volumes with. He says it is, in many ways, the first time someone has taken a closer look at the inspiration behind Muslim painting, architecture, calligraphy, weaving (carpets), etc, at this scale; although he recognises the earlier studies by Guenon, Schuon, Burkhardt and Nasr. It took him 24 years to complete a work that was touched off inside him by the Cordoba mosque which he visited in Spain in 1980.

Pakistan’s greatest living historian with 37 works in print is a prisoner of proof. He writes nothing without proof, which he usually carries with him – years of diligent copying and photocopying from the libraries of the world. Embedded deep inside his positivist science, he is also an intensely emotional person. When he fell ill and had to be hospitalised in August 2004 – and noone came to his help – he had tears in his eyes. But he was more moved by the way he was treated by the state of Pakistan in connection with his magnum opus The Meaning of Islamic Art (Al Faisal Publishers).

KK Aziz’s peripatetic passions: He was subjected to excruciating emotional stress by General Zia after he came to power and found Aziz as the head of the National Commission of Historical and Cultural Research in Islamabad poring over the preparatory works of the Hamoodur Rehman Commission Report. He was hounded out of the country in 1978. He found a teaching assignment (Religion Politics and Society in Asia) in Khartoum (Sudan) but found the library in the university there completely inadequate. He was lecturing on South Asia in Heidelberg in 1982 when he began his contact with global scholarship on Islamic art. He spent six months studying the subject, then luckily moved to Heidelberg from Khartoum in 1983. He discovered that some of the best European minds had been attracted to Islamic art.

Aziz was drawn not only to the symbolic aspects of Islamic art; his grasp of world history also gave him an insight into its functional-social aspects. He was taking notes at feverish speed. He came back from Heidelberg in 1984 only to realise that some of the references needed revision, but was soon relieved to find that he had been asked by Heidelberg to come for another stint as a visiting professor in 1987. That clinched it, and he finished his manuscript in 1989. He was looking around for a publisher when in 1990 the Institute of Ismaili Studies in London invited him to work there. (The result of that was two big volumes on Aga Khan the Third with Kegan Paul Publishers.) He was in the neighbourhood of Cambridge where he could indulge his passion for Islamic art. He returned to Pakistan after his tenure at the Aga Khan Institute and rewrote the Islamic art manuscript till the new version was complete in 1994.

No one interested in Islamic art: Since he had a big work in hand, Aziz thought he could perhaps persuade someone in Pakistan to fund its typing. No one came forward despite several appeals made by him to the various powerful lobbies pretending to care for culture. He was no flash in the pan. His work was known in South Asia and all over the world, but still there were no takers. He typed the nearly 2,000 large pages of it sitting up in front of his word processor, working six hours a day in his late seventies. In 1994 when he offered the book to Ms Kaniz Yusuf then heading the National Institute of Historical and Cultural Research in Islamabad it was immediately accepted with the remark that no Pakistani scholar had even attempted such a work. The Institute signed a legal contract with the author on the publication of the volumes.

He was in England in 1994 when he received the communication from the Institute that it was unable to get his 300-page bibliography (volume three) typed because no typist was available to the Institute then in the midst of preparing an 8-volume history of Pakistan by the year 1997. Aziz wrote back asking for the notes on bibliography to him in England so that he could get them typed there. No reply to this was received from Islamabad. One director of the Institute, Hamadani, wrote him in 1966 that he had taken over as director but said nothing about the book. Then in 1998 some officer of he Institute wrote to say that poor Mr Hamadani had died but that he could not say anything on his own about the book.

Institute of Historical Research rejects history: In 1999 another letter from the Institute said that no new director of the Institute had been appointed. Aziz wrote back saying he no longer trusted that the Institute would abide by the contract it had signed with him and so he wanted his manuscript back. To this there was a deafening silence. He asked the Institute to approach the Ministry of Education in order to get the manuscript released or at least the handwritten bibliography on cards of which the author had kept no copy. No reply. By the beginning of 2000 Aziz was back in Lahore and wrote once again to the Institute, but to no avail. So he wrote to the much talked about education minister Ms Zubaida Jalal, requesting her to look into the matter.

He told Ms Jalal that his book had gathered dust for five years at the Institute which was not willing even to answer letters begging it to return his bibliography. He wanted her to conduct an inquiry into why the institute and the education secretary himself had not replied to his letters. More than a month passed. Ms Jalal did not deign to reply. Perhaps she was busy with greater issues of the nation’s education. He wrote her another letter asking her at least to return the bibliography, but she did not reply. Then he wrote to his old friend and renowned lawyer, Sharifuddin Pirzada, and put the case in his hands. Pirzada at least wrote back saying he would ask the education minister to abide by the contract signed with the author of the book. Nothing came of that promise too.

The Minister has no time: In 2003, Aziz wrote to the new director of the Institute, Dr Riaz Ahmad, telling him that since he was now going to publish the book himself, the Institute should kindly return his hand-written bibliography running to approximately 300 pages. Dr Riaz Ahmad did not reply either. Finally letting go of the matter and reconciling himself to printing the book without the bibliography, he wondered why the government of Pakistan was so averse to seeing his work on Islamic art in print. Anyone who gets to see his finally published two volumes today will wonder too. Ms Kaniz Yusuf, who contracted the book, could have told him the truth after being relieved of her job at the Institute as a PPP protégée, but she simply forgot about a person who is easily the most important living Pakistani in the discipline of history.

The saga of the book on Islamic art reminds one of what happened to KK Aziz’s father, Sheikh Abdul Aziz who died in 1965. (He was one of the three ‘sheikh’ roommates in England studying for law in 1905; the others were Allama Iqbal and Abdul Qadir.) Sheikh Abdul Aziz was a scholar in his own right who wrote on history and literature but whose work was neglected. He got his text of Hir ready but no one was interested in publishing his lifetime’s work. Finally, Dr Muhammad Baqir in Lahore took it and published a defective version, removing from it Sheikh Abdul Aziz’s scholarly introduction, which he (Dr Baqir) later published separately as his own. Prime minister Chaudhry Muhammad Ali, his old pupil, promised to help but forgot. In Pakistan people in power forget scholars. And Pakistan is being punished for their philistinism.

Books inside KK Aziz: KK Aziz has a large number of books inside him, struggling to see print, but the man is in declining health and no one is willing to help. (The writer got someone to approach Governor Punjab Khalid Maqbool with the request that he be made professor emeritus and given an honorarium to enable him to get his books out; but nothing as usual happened.) His books in the press are: In search of Islam in an Islamic State: Pakistan, 1947-1997, Toronto University Press, Toronto. The Aziz Ahmad Memorial Lecture delivered at the Centre of South Asian Studies, University of Toronto, in September 1999.

A Bibliography of Islamic Art, National Institute of Historical & Cultural Research, Islamabad. Correspondence: Letters written to and by K. K. Aziz, 2 volumes, AlFaisal Nashiran, Lahore. Sarod-i-Harf: Urdu Sha’iri ka Dusra Intikhab, AI-Faisal Nashiran, Lahore. Sukhanha-i-Guftani: Intikhab-i-Shir-i-Farsi, Al-Faisal Nashiran, Lahore. Autobiography, Volume I.

Before he is struck down by illness, caused by the back-breaking secretarial work he has to do to put his own books together, KK Aziz might succeed in completing some of the books that are in the works: Autobiography. Vol. II. The Punjab Academia: Teaching Staff of the University of the Punjab and the Colleges of the Province, 1864-1947, 4 volumes. Muslim India at Cambridge, 1864-1947. Islamic Scholarship at Cambridge: Three Studies. Ahmed Shah Bokhari: A Study. Some Notes towards the Making of a Dictionary of Muslim Indian National Biography, 1800-1947, estimated 6 volumes. Islamic Poetry: Its Place in Muslim Civilization estimated 2 volumes. The Mosque of Cordoba: A Celebration of Islamic Culture in Spain, estimated 2 volumes. Shorter Works of Abdullah Yusuf Ali, estimated 2 volumes. Who Was Who of the Islamic World, 632-2000. The Murder of Heritage: What we have done to Our Historical Legacy. Punjabi Language and Culture: An Obituary Notice.

But he might not. And who cares?

The unspoken ideology of Pakistan is a visceral disregard for learning. The state has thought of war more often than knowledge. Its people are mostly illiterate and those who are literate have grown up ingesting the lethal jahiliyya of state indoctrination. Charlatans rule the collective mind in the name of religion. Without a base of genuine shared knowledge Pakistanis have learned to agree on very little. It is a society that has begun tribalising itself back into the Dark Ages after celebrating its fifty years in existence in 1997. It doesn’t write back to KK Aziz. The truth is it has no answer to give. It is just that KK Aziz has outlived his era. Pakistan is simply waiting for him to die. That’s why no one writes back to him.

people's poets -- naruda by maurya & venkataraman

LITERATURE

The people's poet

VIBHA MAURYA
VIJAYA VENKATARAMAN

Remembering Pablo Neruda, on his birth centenary, for the power of his poetry, for his struggles against fascism and oppression and for the voice that he gave to the people of Chile.


NEFTALI RICARDO REYES BASOALTO (1904-1973), known to the world as Pablo Neruda, Chilean poet and political activist, became a legend in his lifetime. Neruda's first collections of poems, Crepusculario (1923) and Twenty Love Poems and a Song of Despair (1924), written at a very young age, won him acclaim in Chilean literary circles and form a part of popular lore in Latin America. He is also known for his participation in the anti-fascist struggle during the Spanish Civil War (1936 - 1939), his trade union activities as a member of the Communist Party in organising mine workers against the Gonzalez Videla dictatorship and his involvement in Salvador Allende's presidential campaign in Chile. While most literary critics divide Neruda's oeuvre into love poetry and political poetry, such a division is not justifiable because Neruda reached across to people's hearts and became a people's poet, as much in his love poetry as in his political poetry and writings.

Neruda's formative years as a poet coincided with a modernist movement in Latin American literature, Latin American Modernism, which created new literary forms to express the new personal and societal realities in the context of political independence. While works of poets such as Ruben Dario (1867-1916), a Nicaraguan - "Azul" (1888-1890) and "Prosas Profanas" (1896), for instance - gave Latin America a sense of telluric identity and self-confidence, they also marked a continuity in the tradition of literature as high art. Thus, these literary forms did not seek to alter the role and function of literature. It remained within the hermetic and aesthetic boundaries assigned to it, negating its social function. The avant-garde literature existed alongside modernism, and many critics and artists used these literary terms interchangeably. However, avant-garde artists were more radical in their aesthetic and political vision than the modernists. They had greater faith in the role of art and literature in society. They also considered the traditions of high art to be excessively restrictive and that is why they used radical and experimental methods to challenge established aesthetic or social traditions.

Interestingly, Pablo Neruda's first two collections of poems do not seem to be influenced by these trends. Unlike the avant-garde artists, who were experimenting with form, Neruda's first concerns as a poet sprang from an extensive and vivid exploration of nature. In these poems, the adolescent Neruda is concerned with nature and women as if he were discovering for himself the mysteries of nature and the secrets of women's bodies. Neruda's contact with the forests of Araucania, the volcanos, the cold torrential and interminable rain, the wind and the sound of the waves lashing the cliffs during his childhood in Temuco in the southern part of Chile, left a deep impression on his young mind and is probably the reason for his obsessive preoccupation with nature and its elements. Twenty Love Poems is a collection of intense and passionate poetry about adolescent love, written in a warm, humane and personal tone. Simple, yet original, in its use of imagery, it alternates between exultation and bitterness. Despite their subjective, melancholic tone, they are a tribute to the joys of life.

Having won a literary prize at school and some popularity in literary circles, Neruda wanted to explore the world and presented himself for a diplomatic post. When asked to choose a country from a list of names that all sounded equally unfamiliar to him, he chose Rangoon. He left for Asia in 1927 and stayed there until 1932. The first two parts of the three-part series entitled Residence on Earth, written in these years and published in 1933 and 1935, are recognised as high points of the avant-garde movement in Latin America, along with the Peruvian Poet Cesar Vallejo's Trilce (1922). These poems were radical and innovative in perception and forms of expression. Unlike European avant-garde movements, such as futurism, or euphoric modernism, which praised man's conquest over nature and technological achievements, Neruda internalised avant-gardism and modernism within the human consciousness.

The distinctiveness of his poetics lay in his representation of fractured and fragmented life, men/women dichotomies and the division between mind and matter. He tried to capture dislocated and broken relationships and the alienation and uncertainties of life. The poems reflect his deep disillusionment with life in Rangoon and Colombo. The distance from his homeland made him desolate and the feeling of solitude he experienced amidst two irreconcilable worlds - that of the Asian people and that of the British colonial administrators and merchants - permeated his poetry. The poems were pervaded by a sense of disgust and revulsion and display a deep resentment against the routine emptiness of life. The destiny of man in this chaotic and senseless world is portrayed in poems like "Walking Around", in which the poet is weary of existing in a world with which he cannot identify himself.

It happens that I am tired of my feet and my nails
And my hair and my shadow.
It happens that I am tired of being a man.
Just the same it would be delicious
To scare a notary with a cut lily
Or knock a nun stone dead with one blow of an ear.
It would be beautiful
To go through the streets with a green knife
Shouting until I died of cold.


Neruda's disillusionment and existential angst reflected in these poems often lead critics to categorise him as a poet of solitude and loneliness. However, it is also possible to read the poems as stories of a solitary man consciously fighting his solitude. His lifelong friend and comrade V. Teitelboim said: "Solitude weighed on Neruda, that's why he travelled from the South to the North, he came out of the rains to the sunshine, in search of poetry, of the world, of love and of friendship." Nevertheless, the bizarre experience in Asia did leave a mark on him. That is perhaps the only time when we see the poet in a sombre and self-reflexive mood. He himself describes these poems in a letter to his friend as "... piles of poems of great monotony, almost ritualistic, and of great mystery and sorrow like in the poets of yesteryears. It is very uniform, like something beginning again and again, like something rehearsed to eternity, unsuccessfully."

NERUDA'S posting in Spain in 1934 brought him in contact with young Spanish poets such as Federico Garcia Lorca and Rafael Alberti, Miguel Hernandez and Manuel Altolaguirre, who were experimenting with the avant-garde, especially surrealist, forms. Neruda was asked to edit the literary magazine Green Horse for Poetry and brought out five issues until 1936, when the Civil War broke out in Spain. In the prologue to the first issue, published in 1935, eight months before the outbreak of the Civil War in Spain, Neruda wrote: "This is the kind of poetry we are looking for, spent as if by acid by manual labour, penetrated by sweat and smoke, smelling of urine and lilies, touched by all the diverse professions. Impure poetry, like a suit, like a body, with stains of nutrition and shameful activities ... "

The political events of the 1930s in Spain, which culminated in the civil war, made these poets aware that art had to address social as well as political reality. Lorca's assassination in 1936 and the subsequent exile of most of the other poets who supported the Republican forces in the war changed the way Neruda looked at poetry. Neruda's Third Residence (1937) contains a poem, "Spain in my Heart", written during the Civil War. He expressed his outrage against the fascist forces in the famous poem "I'm Explaining a Few Things". He wrote:

One morning the bonfires
leapt out of the earth
devouring human beings -
and from then on fire,
gunpowder from then on,
and from then on blood.
...
from every house burning metal flows
instead of flowers,
...
And you will ask: why doesn't his poetry
speak of dreams and leaves
and the great volcanoes of his land?
Come and see the blood on the streets.

Some of these poems were so powerful that they became a part of the people's discourse against war. Neruda's addressees changed just as his style and content. For him, poetry was no longer a private statement but an utterance that belonged to the public domain. His "poems were never intended to be merely script or signs on a printed page but were to be uttered and declaimed in order to elicit a response", says Jean Franco, a well-known critic and professor of Latin American literature in Stanford University.

In 1936, Neruda went to Paris and helped organise the Anti-Fascist Writers' Congress in Madrid in 1937. He returned to Chile soon after to find that the Nazis had supporters all over Latin America. This persuaded Neruda to find a tone in his poetry that would accompany people in their struggle for survival and justice. Neruda returned to Paris briefly, in 1939, to help in rescuing Spanish intellectuals who were seeking refuge in Chile, and his experience with the refugees from the concentration camps further deepened his commitment to this new poetic vision.

NERUDA'S last diplomatic assignment in Mexico in the early 1940s brought him in contact with Mexican muralists and painters. He began work on his Canto general (1950), envisioned as a poem of epic dimensions on the history of Latin America. Neruda confesses that his visit to the Incan ruins of Macchu Picchu in Peru had opened his eyes to yet another reality. He says: "I felt Chilean, Peruvian, American. I had found in those difficult heights, among those glorious and disperse ruins, a profession of faith to continue my song."

According to Saul Yurkievich, an Argentinean critic, two distinct poetic conceptions co-exist in Canto general, proceeding from two distinct world visions based on dissimilar perceptions and find two different expressions. On the one hand is the natural world expressed with a mythical, primitive, archaic vision through a metaphoric, oracular and obscure language, the other presents a historical, social, progressive world in an impersonal and objective vision through clear and unequivocal language. Song XI of the famous poem "The Heights of Macchu Picchu" is an interesting amalgamation of both these elements: the first part of the poem is an ascent from the abysmal depths of the dark ages while the latter part describes the social realities of the moment.

Through a confusion of splendour
through a night made stone let me plunge my hand
and move to beat in me a bird held for a thousand years,
the old and unremembered human heart!
...
I see the ancient being, the slave, the sleeping one,
blanket his fields - a body, a thousand bodies, a man, a thousand
women swept by the sable whirlwind, charred with rain and night,
stoned with a leaden weight of statuary:
Juan Splitstone, son of Wiracocha,
Juan Coldbelly, heir of the green star,
Juan Barefoot, grandson to the turquoise,
rising to birth with me, as my own brother.


In other poems, the past is invoked to put into perspective the social inequalities in a post-colonial world. "They come for the Islands" (1493) describes the colonisation of the island of Guanahani (Cuba). "Discoverers of Chile" and "The Magellan Heart" describe the destruction and violence unleashed by the colonisers. In the part entitled "Betrayed Sand", he writes against dictators, especially Gonzalez Videla, oligarchies, the advocates of the dollar, exploiters, United Fruit Company, Standard Oil Company, diplomats and heavenly poets, to name just a few. In the poem "Advocates of the Dollar", he says:

He is adopted. They put him
On leash. He dresses like a gringo,
Spits like a gringo,
Dances like a gringo, and he rises.
He has a car, whisky, newspaper,
He is elected judge and senator,
He is honoured, made a Minister,
And is heard by the government.
He knows who can be bribed.
He knows who is bribed.
He licks, massages, honours,
Pleases, smiles, threatens.
And thus he empties through the ports
The bleeding republics.

AFTER Canto general, Neruda became more conscious of language and was concerned with clarity of communication. The sense of the public also became more important as he had begun to read his poetry aloud at trade union meetings and political rallies. He consciously chose an aesthetics that would serve as a strategy of social action during the rise of dictatorships in Latin America. As a cultural activist and a political leader, Neruda ground himself firmly in the ideological debates of his time. He affirmed that the primary task of an artist was to explore the unknown and to create new means of seeing, thinking and acting. Thus, he sought to identify the common elements between art and the forces of historical change and to construct an aesthetics that would help these forces.

This was also the period when he was actively involved with the miners' struggles and was elected Senator in 1945 (he had joined the Communist Party of Chile in the same year and remained a militant member until his death in 1973). He campaigned passionately against Videla's dictatorship and had to remain underground and go into exile to escape death. Between 1952 and 1957, Neruda published several collections of poetry, namely The Grapes and the Wind, a private and anonymous edition of Captain's Verses, Elementary Odes, New Elementary Odes, The Third Book of Odes, Hundred Love Sonnets, Estravagario and Navigations and Returns. In all these collections, Neruda turns to a simple style and colloquial language not only to communicate with the masses but also to sing the praises of ordinary objects. He treats the traditional form of the ode with irreverence and humour, using simple, short verses, rich in poetic images. This new form of writing was in tune with Neruda's activism and his conception of social poetry. The odes were also meant for public readings, hence the simplicity of language and the expression of solidarity with the pain and suffering of the collective.

When Neruda was asked to make a weekly contribution of poetry for the Venezuelan newspaper El Nacional, he insisted that his poems appear in the main newspaper and not in the literary supplement. One of the first odes to be published was "Ode to the Bread":

In the bread
I look
Beyond the form:
I like bread, I bite it
And then
I see the wheat,
The new wheat fields,
The green form of spring,
The roots, water,
And so
Beyond the bread
I see the land,
Water,
Man,
And thus I taste everything
Looking for you
In everything.

By the time Captain's Verses was published in 1962, politics had become an indispensable dimension of his poetry. Captain's Verses contains love poems dedicated to his wife, Matilde Urrutia, but unlike his earlier love poems, the poet does not explore an unknown mysterious nature with an equally unknown woman. Instead, love for the woman manifests itself in a celebration of the natural elements of daily life like maize, wheat, stem, root and leaves and the beloved is his companion in arduous struggles. Fully Empowered, another collection published in the same year, engages with the task of a poet and writer. These poems reflect the tension between the poet and his creation and Neruda highlights, yet again, the importance of the written and the spoken word.

Neruda wrote till the last day of his life. He died on September 23, 1973. He is remembered today for the power of his poetry, for his struggles against fascism and oppression and for the voice that he gave to the people of Chile.

In his Memoirs, he writes:

"The human crowd has been the lesson of my life. I can come to it with the born timidity of the poet, with the fear of the timid, but once I am in its midst, I feel transfigured. I am part of the essential majority, I am one more leaf on the great human tree.

"Solitude and multitude will go on being the primary obligations of the poet in our time. In solitude, the battle of the surf on the Chilean coast made my life richer. I was intrigued by and have loved passionately the battling waters and the rocks they battled against, the teeming ocean life, the impeccable formation of the 'wandering birds,' the splendour of the sea's foam.

"But I learned much more from the huge tide of lives, from the tenderness I saw in thousands of eyes watching me together. This message may not come to all poets, but anyone who has felt it will keep it in his heart, will work it into his poems. To have embodied hope for many men, even for one minute, is something unforgettable and profoundly touching for the poet."



--------------------------------------------------------------------------------

Vibha Maurya and Vijaya Venkataraman teach Spanish in the Department of Germanic and Romance Studies, University of Delhi, and have worked extensively on Latin American literature. Vibha Maurya is one of the 100 people from around the world who have been awarded the Pablo Neruda Medal by the Government of Chile on the occasion of the poet's birth centenary.

Jocelyn Ortt-Saeed - kat

from Kat

Jocelyn Ortt-Saeed is an Australian poet, futurist and educationist. She has made a number of tapes, appeared on radio and TV and given presentations in many countries. Her latest book is The Burning Bush.

(she lives in either lahore or isloo-t)

I will go where no road goes
and the road will go with me:
I'll greet you in the sunrise
when the sunset sets me free.

I will dream in the fields of green
till their ears grow gold in me
till you appear to harvest grain
grown in the desert sea.

I will sit by the hut of mud
till walls break down in me
till new vines grow through memory
of flower and bird and bee.

WHERE NO ROAD GOES

I will climb the distant peaks
till the world turns pale in me
till the lone bird of the wasteland
sings of spring in my withered tree.

I will sing till my song is sung
wherever you meet me
on road or field or mountain
in I or thou or we.

I will go where no road goes
and the road will go with me
to bring to you at sunrise
the now in eternity.

-------------

Don't Expect

Don't expect me!
I've bartered my lovesongs
for a jacket and jeans;
though the shawl's on my head still.

Don't expect me!
I rehearse solo
to counterbalance
the erosion of vision.

Don't expect me!
I am at the still-point --
exploring the space where
the miracle happens.

Don't expect me!
My songs are crazy
trying out voices
that make me expectant.

Don't expect me!
Accept me
as I accept you.
Dream me forever and ever.

drawma - zia mohyeddin

Zia Mohyeddin column

'Drawma'

Part I

Our dramatic heritage is scanty because we do not have a strong tradition of drama. It is understandable. Drama only sprouts in a society where the theatre becomes a part of the cultural milieu. This has not been the case.

There have only been two notable periods in the history of our language when drama came to the fore; the brief reign of Wajid Ali Shah (in the mid 19th century) when the lavish opera, 'Inder Sabha' was staged; and the last two decades of the 19th century when, a few enterprising Parsi impresarios in Bombay felt that melodrama (highly popular in England at the time) would be ideally suited to the temperament of our people. It was their astute sense of commerce that told them that Urdu, with its rhetorical flourish, and its vast repertoire of Masnavis, (which told tales of unrequited love) was the ideally suitable language for their theatrical venture. A number of Munshis were commissioned to adopt not only the popular East Lynne type of plays, but a few classical texts as well.

The impresarios were far-sighted. They knew that what the audience wanted was a spectacle. They concentrated on creating eye-catching effects; the scenery was lavish and so were the costumes. In their productions gods could descend from the heavens and sink, through trap doors, into the abyss. If Herbert Beerbohm Tree could have ducks and drakes and floating barges on the stage, so could they. The billboards announcing a new production specially emphasized that the company was equipped with 'New Scenery'.

The venture caught on. It was not just the plebeians who flocked to it; the nobs, too, loved it. They had their reserved rows in the front, where they were served with fruit and confectionery during the intervals. The groundlings sat or stood behind them. The play could last four hours, sometimes longer. It became known as the Mandwa.

In the earlier days young men (some not so young) played all the female roles. Indeed there were actors who specialised in playing a cheeky handmaiden or a noble queen and they continued to appear on the stage even after women had entered the arena. Master Nisar, it is written in some annals, was the comeliest 'heroine' of his era. In the world of the Parsi theatre the word 'master' was akin to an 'ingenue'.

The women who stepped in, belonged to the families of 'entertainers'. They had already learnt to sing and dance, but acting was a different thing altogether. The managers were careful; they did not pick just anyone who showed an inclination to join the company; they chose only those women who, they felt, had the skill to learn to speak the theatrical prose.

The task of grooming and polishing their speech was assigned to Munshis, who were on their payroll as playwrights. But the impresarios were human after all, and there were instances when a Behramjee or a Ferozjee cast his own 'pet' in the leading role. The Pia Zadoras have existed in every period.

Some Jewish ladies also became regular members of theatrical companies. A 'Miss Zenobia', whose ancestors hailed from Poland, became the leading lady of the Sohrabjee company. The theatre historians, Muhammad Umar and Nur Ilahi, speak eloquently of her histrionic abilities.

And what was the fare? A mish-mash, of course, but quite a characteristic theatrical form. It would not be inappropriate to say that the Parsi (Urdu) theatre became a unique theatrical form, which borrowed, freely, bits and pieces from operetta, melodrama, commedia dell'arte, and the old Sanskrit dance-drama.

The play (no matter whether historical, pastoral, tragedy, tragi-comedy) always began with a chorus, a homage to the Court, if the piece so dictated, or to the muses. This was the substitute for the opening hymn (in honour of Ganesh) that was an inherent part of Hindi dance-drama. In India the elephant-headed God, Ganesh, is considered to be the remover of obstacles, and is therefore invoked at the beginning of worship or a new enterprise.

The 19th century Urdu theatre was grandiose in language and content. It unfolded a plot in which the hero had to go through many tribulations and obstacles created by the wicked villain before he got his just desserts. The mischievous manservant and his accomplice (often the saucy maid), the chaste heroine, the faithful retainer and the reprobate uncle/guardian/treasurer were an integral feature of the Mise-en-scene. In between the rantings of noble characters, there was down-to-earth, low comedy conducted by the menials: the madcap manservant, the saucy maid, her admirers and the hangers on.

It is uncanny that so much of commedia dell'arte crept into the makings of the Urdu theatre. The comic action, performed by stock characters, the witty exchange between the high-born, the young couple's love being thwarted by their parents or guardians, were all essential ingredients of commedia dell'arte. Even the most popular character of the Italian comedy of art, the braggart, who boasted of his bravery and his exploits on the battlefield but ran away from the sign of any danger, became a part of our theatrical literature. The only difference was that they didn't wear masks as in commedia dell'arte.

Few plays of the periods (1880-1890) have survived. Even the playwrights (Talib, Betab etc.,) are now forgotten. The dramas they wrote overflowed with high-falutin prose, interspersed with passages of mediocre poetry. In due course some of this poetry was sung.

Ours was a musical theatre, but the plays were not staged like a musical. The songs were meant to highlight the tragic implications or to provide drollery in between tense situations.

I have,with me, a handwritten, leather-bound book with about a hundred and twenty songs from the theatre that flourished over a hundred years ago. Each song has the title of the play, the raga in which it was set and the rhythmic cycle that accompanies it. Only about half a dozen songs have the names of the composer. The words are written in my father's mature handwriting; each number has the annotation mark to indicate the starting point of the rhythmic cycle. The theatre impresarios spared no expense in having the top-most musicians of their times to compose tunes for the songs.

(To be continued)

General Akhtar Malik -- SAT

Pakistan Army Committed Kargil Like Disaster in 1965 War As Well

Special SAT Report

WASHINGTON, Sept 6: A new book on Pakistan, scheduled to be released worldwide on Sept 11, gives out a detailed account of how the Pakistan Army planned a military operation to capture Akhnur in August 1965 which ultimately led to the India-Pakistan war and how mysterious decisions led to its failure, a la the Kargil fiasco of 1999.

The book Pakistan's Drift Into Extremism: Allah, The Army, And America's War On Terror, written by Hassan Abbas, a former police officer from Pakistan and currently a Research fellow at the Harvard Law School and a PhD. candidate at the Fletcher School of Law and Diplomacy, Tufts University, provides a befitting backdrop to the 1965 war, the 39th anniversary of which is being observed in Pakistan today.

The book, already among the top 100 bestsellers at Barnes and Nobles, also examines the rise of religious extremism in Pakistan and analyzes its connections to Pakistan Army's policies and the fluctuating US-Pakistan relations. It includes profiles of leading Pakistani Jihadi groups and gives details of the conspiracy behind General Zia-ul-Haq’s plane crash in 1988, a botched military coup by fundamentalists in army in 1993-94 and lastly about how General Musharraf handled the volatile situation after the 9/11 attacks.

Leading writers and intellectuals including Stephen P Cohen of the Brookings Institution, Harvard University Professor Jessica Stern, Peter Bergen, Terrorism Analyst, CNN and author of The Holy War Inc and Arnaud de Borchgrave, Editor-at-Large of The Washington Times and UPI, have praised the book in glowing terms.

It raises an oft repeated but a pertinent question about the conduct of the top Pakistan Army brass in 1965 when Pakistani troops were just three miles from Akhnur and its capture was imminent, the military commander was changed and so much time was deliberately wasted that a successful war was turned into a defeat.

Following excerpt of the book throws more light on how, on this day, the Pakistan Army wrote an inglorious epitaph to a glorious plan which it failed to execute:

“When the Pakistan Army inflicted a short, sharp reverse on the Indians in the Rann of Kutch in mid-1965, Ayub’s spirits got a boost. More important, the international arbitration that followed the Kutch dispute (resulting in favor of Pakistan) put Pakistan under the assumption that if the Kashmir problem was to be solved, the Rann of Kutch route would have to be replicated - a limited clash in Kashmir leading to a threat of all-out war, and then an intervention and arbitration by the great powers.

Hence at this point there was considerable confidence among the Pakistanis about the strength of their own arms, which was bolstered by their newfound friendship with China. Utter frustration over Indian intransigence on Kashmir coupled with sympathy for the gathering hopelessness of the Kashmiris and concern over the rapid rearmament of the Indian armed forces on account of Western military aid, were factors that played a crucial role in Pakistan’s drift toward considering a military solution of the Kashmir issue.

Bhutto, in his letter to Ayub of May 12, 1965, drew his attention to increasing Western military aid to India and how fast the balance of power in the region was shifting in India’s favor as a result. He expanded on this theme and recommended that “a bold and courageous stand” would “open up greater possibility for a negotiated settlement.”

Ayub Khan was won over by the force of this logic, and he tasked the Kashmir Cell under Foreign Secretary, Aziz Ahmed, to draw up plans to stir up some trouble in Indian-held Jammu and Kashmir, which could then be exploited in Pakistan’s favor by limited military involvement.

The Kashmir Cell was a nondescript body working without direction and producing no results. It laid the broad concept of Operation Gibraltar, but did not get very far beyond this in terms of coming up with anything concrete. When Ayub saw that the Kashmir Cell was making painfully little headway in translating his directions into a plan of action, he personally handed responsibility for the operation over to Major General Akhtar Hussain Malik, commander of the 12th Division of the Pakistan Army. This division was responsible for the defense of the entire length of the Cease-fire Line (CFL) in the Kashmir region.

General Akhtar Malik was a man of towering presence and was known for his acuteness of mind and boldness of spirit. He was loved and admired by his subordinates, but was far too outspoken to be of any comfort to most of his superiors. His professional excellence, however, was acknowledged both in military and civilian circles.

The plan of this operation (Gibraltar) as finalized by General Malik and approved by Ayub Khan was to infiltrate a sizable armed force across the CFL into Indian Kashmir to carry out acts of sabotage in order to destabilize the government of the state and encourage the local population to rise up against Indian occupation.

In order to be able to retrieve the situation in case this operation got into trouble, to give it a new lease on life, or to fully exploit the advantage gained in the event of its success, Operation Grand Slam was planned.

This was to be a quick strike by armored and infantry forces from the southern tip of the CFL to Akhnur, a town astride the Jammu-Srinagar Road. This would cut the main Indian artery into the Kashmir valley, bottle up the Indian forces there, and so open up a number of options that could then be exploited as the situation demanded. According to some Pakistani Army officers, it was foreseen then that the value of Operation Gibraltar would be fully enchased after Grand Slam succeeded in wresting control of Akhnur.

There was not enough time to fully prepare and train the men who were to infiltrate, and the three-month deadline given was considered to be not nearly enough for this, but the 12th Division was told that, because of certain considerations, no further time could be given.

Most of the men to be trained belonged to the Azad Kashmir Regular Forces, which meant that they would have to be withdrawn from the defensive positions along the CFL. The denuded front lines therefore had to be beefed up by other elements. Having no reserves for this purpose, General Malik decided that the only option for him was to simultaneously train a force of Azad Kashmiri irregulars (mujahids) for this purpose.

But when he called the C-in-C, General Musa, to ask for weapons to equip this force, the latter refused. General Malik then made a call to Ayub, apprised him of the difficulty he was having with the C-in-C, and concluded that if the Kashmiris were not to be trusted, they were not worth fighting for. Ayub then called Musa, told him why the new Mujahid Companies needed to be armed and equipped, and ended with the same note, that is, people who cannot be trusted were not worth fighting for. Soon General Malik got a call from Musa: “Malik, people who cannot be trusted are not worth fighting for - go ahead, arm them.”

Operation Gibraltar was launched in the first week of August 1965, and all the infiltrators made it across the CFL without a single case of detection by the Indians. This was possible only because of the high standards of Pakistan’s security measures, as acknowledged by a senior Indian Army general. The pro-Pakistan elements in Kashmir had not been taken into confidence prior to this operation, and there was no help forthcoming for the infiltrators in most areas.

Overall, despite lack of support from the local population, the operation managed to cause anxiety to the Indians, at times verging on panic. On August 8 the Kashmir government recommended that martial law be imposed in Kashmir. It seemed that the right time to launch operation Grand Slam was when such anxiety was at its height. But it was General Malik’s opinion that this be delayed till the Indians had committed their reserves to seal off the infiltration routes, which he felt was certain to happen eventually.

On August 24, India concentrated its forces to launch its operations in order to seal off Haji Pir Pass, through which lay the main infiltration routes. That same day General Malik asked General Headquarters (GHQ) permission to launch Operation Grand Slam. The director of military operations, Brigadier Gul Hassan, passed on the request to General Musa, and when he failed to respond, reminded him again the following day.

But Musa could not manage to gather the confidence to give the decision himself and sent ZA Bhutto to obtain the approval from Ayub Khan, who was relaxing in Swat, 200 miles away - strange way to fight a war with the C-in-C unwilling to give decisions and the supreme commander unable to do so.

The decision finally arrived on August 29, by which time the Indians had bolstered their defenses in the sector where the operation was to be launched with the induction of three infantry units and an artillery regiment. Still a few more precious hours were wasted by the GHQ, and the operation went to the early morning of September 1, more than a week after the commander in the field had first asked for the go-ahead.

By early afternoon of the first day all the objectives were taken, the Indian forces were on the run, and Akhnur lay tantalizingly close and inadequately defended. “At this point, someone’s prayers worked” says Indian journalist, MJ Akbar: “An inexplicable change of command took place.”

What happened was that, in a surprising turn of events, General Musa landed in the theater of operations and handed the command of the 12th Division over to General Yahya Khan, whom he had brought along. General Malik was asked to get into the helicopter and was flown away by Musa.

For nearly 39 years now the Pakistan Army has been trying to cover up this untimely and fateful change of command by suppression and falsification of history.

Loss of time is inherent in any such change, but for reasons that cannot be explained but by citing the intrusion of ego, Yahya insisted on changing Malik’s plan and therefore lost even more time. Whereas Malik had basically planned to invest and bypass the strongly defended localities, subordinating everything to reaching and capturing Akhnur with the least delay, Yahya took a different route - he crossed river Tawi and went straight into Troti, in which crucial time was lost. And this was enough for the Indians to bolster the defenses of Akhnur and launch their strike against Lahore across the international frontier between the two countries.

This came on September 6 while the Pakistani forces were still three miles short of Akhnur. This was the contrived end of an operation, which had been meticulously planned and had promised a lot.

On September 6, after the Indian attack across the international border, Ayub and Bhutto tried to invoke the 1959 US-Pakistan bilateral agreement, to ask for American help against Indian aggression, but to no avail.

Instead, President Johnson suspended military aid to both India and Pakistan. Pakistan immediately turned to China for help. These efforts brought about a strong Chinese condemnation of India’s aggression against Pakistan, and this was followed by a Chinese warning against Indian intrusions into Chinese territory.

And then on September 16 they sent a note to India to say that as long as Indian aggression against Pakistan continued, it would not stop supporting Pakistan in its just struggle. On September 19, Ayub and Bhutto flew to Beijing for a top secret meeting with the Chinese leadership. China promised Pakistan all the help, but told Ayub that he should be quite prepared to withdraw his army to the hills and fight a long guerrilla war against India.

For this neither the Sandhurst-trained Ayub nor the Berkeley-educated Bhutto was quite prepared. On the international scene there was already considerable concern that any direct Chinese involvement in the conflict may escalate and broaden the war involving other countries. Pakistan was pressed by the Western ambassadors to not encourage the Chinese to step up their engagement any further.

Pakistan knew it did not have the wherewithal to break through the stalemate on the battlefront. Thus it knew this was the end. Now Pakistan was prepared to accept a cease-fire. The guns fell silent on the afternoon of September 23. As to the final outcome of the war, Dennis Kux aptly says that India “won simply by not losing.”

Immediately after the war, on the Pakistan side the major controversy that occupied the minds of many was the change in command of Operation Grand Slam. The “view both in India and even amongst ‘sensible army officers’ in Pakistan was that Malik’s sudden replacement led to the failure of Grand Slam.”

But the “sensible” Pakistani Army officers were restrained from discussing this subject. It was taboo to do so in the army messes and officers’ gatherings, though in private this was most passionately debated. It was only after General Malik’s death in 1969 that GHQ gingerly started putting together a theory to justify this change and to propagate it.

It was now claimed that the change was preplanned and that this plan laid down that General Malik would command the first phase of the operation up to the river Tawi, and thereafter the command would be assumed by General Yahya Khan. However, there is not a shred of evidence to support this. The operation itself was a set-piece attack for which the operation orders are a part of the historical record, and there is no such mention in these.

And any doubts there might have been on the issue were laid to rest by General Gul Hassan, who was Director of Military Operations during the war and the one person who would have known of such a change. He has specifically denied having any knowledge of the same.

Indeed, not a single army officer except Musa and General Yahya seem to have known about this change, which shifted the initiative from Pakistan to the Indian Army. It now seems fair to speculate that the change in command was preplanned only in the sense that it was a conspiracy between Ayub, Musa, and Yahya; that if the operation got into trouble, Malik could keep the command and also the blame that would accrue as a result, but that if it held promise of success, Yahya would be moved in to harvest it.

Lieutenant General Harbaksh Singh, one of the very respected senior Indian military commanders, was one of the few to have appreciated the full military value of Operation Gibraltar as a part of Grand Slam rather than seeing the two in isolation. According to him, “The plan of infiltration was brilliant in conception,” and as for Grand Slam, he thought it was “aptly named Grand Slam for had it succeeded, a trail of dazzling results would have followed in its wake, and the infiltration campaign would have had a fresh lease of life,” and that “it was only the last minute frantic rush of reinforcements into the sector . . . that prevented this debacle from deteriorating into major catastrophe.”

It seems therefore that but for the change of command at a critical time during Operation Grand Slam, the aim of Gibraltar was well within realization, that is, to “de freeze the Kashmir problem, weaken Indian resolve, and bring India to the conference table without provoking general war.”

It would be highly educative to read General Akhtar Malik’s views on the subject. This unpublished letter from General Malik to his younger brother, Lieutenant General Abdul Ali Malik, is a new source of information on the subject, and for this purpose is quoted here in full:

Pakistan’s Permanent Military Deputy
Embassy of Pakistan
Ankara
23-11-67

My Dear brother,

I hope you and the family are very well. Thank you for your letter of 14 Oct. 67. The answers to your questions are as follows:

a. The de facto command changed the very first day of the ops [operations] after the fall of Chamb when Azmat Hayat broke off wireless communications with me. I personally tried to find his HQ [headquarters] by chopper and failed. In late afternoon I sent Gulzar and Vahid, my MP [military police] officers, to try and locate him, but they too failed. The next day I tore into him and he sheepishly and nervously informed me that he was ‘Yahya’s brigadier’. I had no doubt left that Yahya had reached him the previous day and instructed him not to take further orders from me, while the formal change in command had yet to take place. This was a betrayal of many dimensions.

b. I reasoned and then pleaded with Yahya that if it was credit he was looking for, he should take the overall command but let me go up to Akhnur as his subordinate, but he refused. He went a step further and even changed the plan. He kept banging his head against Troti, letting the Indian fall back to Akhnur. We lost the initiative on the very first day of the war and never recovered it. Eventually it was the desperate stand at Chawinda that prevented the Indians from cutting through.

c. At no time was I assigned any reason for being removed from command by Ayub, Musa or Yahya. They were all sheepish at best. I think the reasons will be given when I am no more.

d. Not informing pro-Pak Kashmiri elements before launching Gibraltar was a command decision and it was mine. The aim of the op was to de freeze the Kashmir issue, raise it from its moribund state, and bring it to the notice of the world. To achieve this aim the first phase of the op was vital, that is, to effect undetected infiltration of thousands across the CFL [cease-fire line]. I was not willing to compromise this in any event. And the whole op could be made stillborn by just one double agent.

e. Haji Pir [Pass] did not cause me much anxiety. Because [the] impending Grand Slam Indian concentration in Haji Pir could only help us after Akhnur, and they would have to pull out troops from there to counter the new threats and surrender their gains, and maybe more, in the process. Actually it was only after the fall of Akhnur that we would have encashed the full value of Gibraltar, but that was not to be!

f. Bhutto kept insisting that his sources had assured him that India would not attack if we did not violate the international border. I however was certain that Gibraltar would lead to war and told GHQ so. I needed no op intelligence to come to this conclusion. It was simple common sense. If I got you by the throat, it would be silly for me to expect that you will kiss me for it. Because I was certain that war would follow, my first choice as objective for Grand Slam was Jammu. From there we could have exploited our success either toward Samba or Kashmir proper as the situation demanded. In any case whether it was Jammu or Akhnur, if we had taken the objective, I do not see how the Indians could have attacked Sialkot before clearing out either of these towns.

g. I have given serious consideration to writing a book, but given up the idea. The book would be the truth. And truth and the popular reaction to it would be good for my ego. But in the long run it would be an unpatriotic act. It will destroy the morale of the army, lower its prestige among the people, be banned in Pakistan, and become a textbook for the Indians. I have little doubt that the Indians will never forgive us the slight of 65 and will avenge it at the first opportunity. I am certain they will hit us in E. Pak [East Pakistan] and we will need all we have to save the situation. The first day of Grand Slam will be fateful in many ways. The worst has still to come and we have to prepare for it. The book is therefore out.

I hope this gives you the gist of what you needed to know. And yes, Ayub was fully involved in the enterprise. As a matter of fact it was his idea. And it was he who ordered me to by-pass Musa while Gibraltar etc. was being planned. I was dealing more with him and Sher Bahadur than with the C-in-C. It is tragic that despite having a good military mind, the FM’s [Foreign Minister Z.A. Bhutto’s] heart was prone to give way. The biggest tragedy is that in this instance it gave way before the eruption of a crisis. Or were they already celebrating a final victory!!

In case you need a more exact description of events, I will need war diaries and maps, which you could send me through the diplomatic bag.

Please remember me to all the family.

Yours,
Akhtar Hussain Malik

It is quite obvious what had happened. In the words of Justice Muhammad Saraf: “Had Akhtar been continued in his duty... he would have been the only General in Pakistan with a spectacular victory to his credit and it would then have been very difficult for President Ayub to ignore his claim to the office of the Commander-in-Chief, after the retirement of Musa, which was quite near.”

Zulfikar Ali Bhutto, one of the main players of this game, also later argued that, “Had General Akhtar Malik not been stopped in the Chamb-Jaurian Sector, the Indian forces in Kashmir would have suffered serious reverses, but Ayub Khan wanted to make his favorite, General Yahya Khan, a hero.”

However, the very idea of Operation Gibraltar was controversial in itself. The military initiative robbed Pakistan of its moral high ground vis-à-vis the Kashmir conflict. In retrospect, it would have been better if Pakistan had focused more on continuing its efforts toward the resolution of the dispute through UN or third-party mediation. Ayub and his top generals also misread how far Kashmiris (in India) were willing to cooperate with Pakistan in this kind of adventure.

(After the war) the army also underwent major though subtle changes in personnel. Musa retired soon after the war, to be replaced by General Yahya Khan as C-in-C of the army. This was not a popular choice, but as Yahya settled in, he subtly started to gather power by promoting and placing his own loyalists in critical spots. A sick and disheartened Ayub was too careworn to notice this. And besides, he had implicit faith in Yahya’s loyalty.

He may also have been quite certain that his new choice of army chief came with the kind of baggage that would foreclose the possibility of his gaining the sort of following that could eventually threaten Ayub’s position. Ayub was wrong. He could not see that Yahya could collect any number of equally discredited officers around him. Among the first to be swept off the stage was General Akhtar Malik. He was posted out to CENTO in Ankara, Turkey.

Yahya told him that Pakistan needed a sensible and mature officer there, and Malik had replied: “Being a sensible and mature officer, I quite realize why I am needed there.” Concurrently with this, all officers considered to be Malik loyalists were sidelined. This was a major step along the road inaugurated by Ayub himself, of promoting the interests of personal loyalty over those of competence and professionalism. Professional pride progressively gave way to servile behavior.

Already the army had embarked on a crash program of making up shortages in the ranks of the officer class. To meet the target, standards were consciously and conspicuously lowered, thus making it a self-defeating exercise.

Also, in the aftermath of the war, one would have expected the army to analyze its performance. Not only was such an appraisal not carried out beyond the merest whitewash, the attempt deliberately falsified the record to save reputations, because after the war many of those were promoted whose reputations needed to be saved.

But the formality of a war analysis had to be fulfilled, and most ironically the task was entrusted to General Akhtar Malik. He did this in two parts; one dealt with the performance of junior leadership, and the other with that of the higher command.

Brigadier Mohammad Afzal Khan, who read the latter in manuscript form, and Major Qayyum, under whose supervision it was typed, both commented upon the scathing criticism to which this document subjected the prosecution of the war at higher levels. After the death of the general, no one has seen the record of this document in the army GHQ."

saadat hasan manto -- zia mohyuddin

On Saadat Hasan Manto

Zia Mohyeddin column

The Maverick

It didn't surprise me a bit to learn that a detailed study of Saadat Hasan Manto's life has appeared in India. (We, in our part of the world, do not have time to pursue such needless tasks). The definitive study of Ghalib has also been conducted in India. I am not merely referring to Kalidasa Gupta Raza's work, but that absorbing, exceedingly well-written life of Ghalib by Pawan Kumar Verma. The growing list of Indian publications on Urdu literature (albeit in English) is impressive.

You are probably familiar with the book but I have just finished reading Manto Nama written by Jagdish Chander Wadhawan and translated in English by Jai Ratan. The translation is literate and, at times, clumsy: "There is more name than money in a literary story whereas it is the other way round in a case of film story". Or, "In short where direct criticism of the powers that be has no place and is intolerable". These sentences might carry some meaning for us in the sub-continent, but to those not familiar with our language, they convey an impression of sloppiness.

Having said that, I must confess I found the book well-researched and appealing. Wadhawan had obviously "lived and breathed with Manto" before he set out to unveil the mystery of Manto's personality.
Saadat Hasan Manto was the youngest son of his father's second wife. There were eleven brothers and sisters. His father was a stern man and Manto spent his earlier years in constant dread of his father. Jagdish Chander Wadhawan, carefully, builds up the picture of a wayward adolescent who hobnobs with the rakes and layabouts of Amritsar in their slovenly environment, but is finicky about his own surroundings. In his house in Kucha Vakilan, the young Saadat Hasan, keeps his make-shift room meticulously tidy. He arranges pen, pencil, inkpot and paper neatly before sitting down to read or write. It is ironical that though his room is lined with books he fails in his matriculation examination twice and it is only with great difficulty that he gets a pass on the third attempt, in the third division.

This humiliation rankled Manto throughout his life. My acquaintance with Manto was brief. I only met him once at his apartment in Laxmi Mansions, in the company of two budding painters, Anwar Jalal Shamza and Moeen Najmi. Manto was in his cups (was he ever out of them?) and his talk was full of juicy, Punjabi expletives. He was ranting about Krishen Chander, "that M.A., that son of a ...thinks he is a story writer. You don't become a story writer by passing an M.A. exam. He is a ...fraud. He doesn't know, nobody knows; only one man knows how to write a story -- and his name is Manto".

Ill health dogged Manto throughout his life. He contacted tuberculosis when he was barely 21. Apart from a congenital defect in his abdomen he suffered from pulmonary and respiratory diseases; he had chest pains that made him feel dizzy; he had to have his teeth extracted before he turned 30. In a letter to Ahmed Nadeem Qasmi, he says, "I want to write a lot, but my listlessness, my constant tiredness keeps me under its grip and will not let me work. If only I could get a little peace of mind I would collect my thoughts which keep flying like moths in the wind ...I will die one day uttering if only, if only...."

A lesser mortal would have wilted and spent the rest of his life doused in balms and unguents, but not Manto, who seemed to have been endowed with a demonic will to ignore his ailments. His sardonic sense of humour led him to observe that "a perfectly healthy man who runs a temperature of 98.4, has nothing to his credit but the cold slate of his life." Manto's body temperature was always one degree above normal.

Wadhawan describes the tribulations of Manto's trials -- five in all -- with candour. He doesn't become judgmental about the bigots who conducted the trials and condemned and penalized Manto; nor does he shower praise on the judges and magistrates who acquitted him. He concentrates on the physical hardship that Manto went through while embroiled in the wrangles of the courtroom.

One case in particular, concerning the story tilted Thanda Gosht, was tried three times. It went from the lower courts all the way to the High Court. The Lower Court held Manto responsible for obscene writing and awarded him three months rigorous imprisonment as well as a fine of Rs 300, declaring that if the fine was not paid he would undergo 21 days additional rigorous imprisonment.

Manto appealed. The case was moved to the Sessions court where, ironically, the judge, Inyat Ullah, generally thought of as a narrow-minded prig, made a priceless comment, "If I punish Saadat Hasan Manto, he will say that he has been punished by an orthodox bearded man". He acquitted Manto with a smile and remitted the earlier fine imposed on him, in full.

The authorities were not pleased and they filed an appeal in the High Court against the Sessions Court's judgement. The case came up before Justice Muneer, who had the reputation of being an unbiased and a fearless judge.

Manto and his lawyers must have heaved a sigh of relief. The relief was short-lived. The honourable judge pronounced that the 'leanings of the writer' had to be taken into account and not his 'intentions'. A story could not escape from being obscene if the details of the story were obscene. A story was not like a book, which could be good in some parts and bad in some parts. He declared Thanda Gosht to be obscene, upheld the governments' appeal and reimposed the fine.

Justice Muneer sounds like a myopic literary critic of a vernacular weekly. Ignoring his remarks that a book can be good and bad at the same time -- a bland statement if ever there was one -- I am curious as to what he means by 'the details of a story'? Does he mean the 'incidents' that occur in the story, or the 'language' that some characters use, or the bits of narrative between dialogue? If a story is to be judged by its 'details' then nearly every story by Salinger and Updike is obscene. And how did the learned jurisprudent perceive the difference between Manto's leanings and his intentions? Justice Muneer's judgement was hailed as a landmark on the subject of obscenity. It makes me shudder.

(to be continued)


Zia Mohyeddin column

The maverick
Part II

Manto is not the only genius in the creative world to have drunk himself to death. Dylan Thomas, in England, and Meeraji, in India, come to mind immediately. Interestingly enough, both Meeraji and Manto died in their forties. Researchers may yet discover that self-destruction reaches its culmination when you cross the age of forty.

It is easy to say that Manto drank to drown his sorrows. The world has been full of painters and sculptors, musicians and actors, poets and playwrights who, like Manto, suffered from extreme deprivation -- and humiliations -- but did not take to drink. Drink, to Manto, was like a shield he wore to protect himself from his inner broodings. In the last few years of his life he was aware that he had lost his self-esteem. He began to borrow money unashamedly; he would accept a pittance for a story without a murmur and the pittance went out to buy cheap liquor. The degradation to which he had sunk made him loathe himself. There was only one way-out: end his wretched life. He had been warned, repeatedly, that cirrhosis was eating him up and that if he didn't stop drinking he wouldn't live long.

During the few sober moments he had, he wrote, "I am feeling so depressed. I wish I could do something. But what is that something? I keep pondering over it. I feel like writing so many things but there is no time for it. I don't know what to do about it."

But he did know. He made frequent promises to give up drinking and, on one or two occasions, he did. Manto's sister told Wadhawan that he got his small room tidied up and sat down to write, "after arranging all the paraphernalia on his table. Many days passed happily in this manner. We would sit down unobtrusively in his room taking turns one by one. One day he said that the method was leading him nowhere. He thought it would do him good to enter the mental hospital where nobody would come to meet him. After deliberating over it for a few days he entered the hospital. This was his own decision."

The mental hospital in Lahore, the pagal-khana, was anything but a hospital. It was a prison occupied by derelicts and hardened criminals whose influential relations had had them certified as insane, a few schizophrenics and some decrepit outcasts. Manto spent sometime in the pagal khana. Urdu literature will, forever, be indebted to him, for it was here that the seeds of his superb work, 'Toba Tek Singh' germinated.

'Toba Tek Singh' is a story that is perfect in its balance and its structure. Manto's narration is artless; he doesn't waste a single word in the building-up of his story. The end is so moving that it makes you reel. It is a most scathing indictment of the senselessness that prevailed on both sides of the border in the wake of partition.

Manto's other stories on partition, that he wrote in Lahore, have a frenzied flavour. The fact is that apart from some trenchant sketches of celebrities and one or two penetrating short stories, Manto's literary output in Lahore didn't have the 'soul' of his earlier, memorable short stories. Perhaps it was because he felt restless in Lahore.

He felt at home only in Bombay. He had a fairly large circle of friends and admirers; he knew the byways of Bombay intimately and he had written some of his best short stories in Bombay. Indeed, he had achieved his fame as a towering writer of fiction while he was living in Bombay. It was only after the studio he worked for rejected his stories, repeatedly, that he decided to leave Bombay.

He arrived in Lahore in 1948 and soon after began to miss Bombay. He wanted to go back and wrote to Ismat Chughtai about it, but nothing came of it. He ran out of money he had brought with him; the lucrative job he had been promised with Gidwani Pictures never materialised. He was down and out.

In Bombay his film earnings were two to three thousand rupees a month (a substantial amount in those days) and he picked up a tidy sum by selling his stories and his radio scripts. He once worked for All India Radio and had written nearly a hundred Radio plays. Barring one or two, all of them had been broadcast.

Manto should have been able to make some kind of a living out of the newly established broadcasting service in Lahore, but the doors of Radio Pakistan were barred to him on account of a fracas he had had with Zulfikar Bohhari in Bombay. Some producers in Lahore Radio were Manto's well-wishers, but they dared not offend Bohhari Sahib. Manto remained a persona-non-grata for Radio Pakistan in his lifetime.
He wrote some film scripts but the movies turned out to be flops. In any case, the movie producers in Lahore were a different breed who felt more comfortable with hacks, who danced attendance on them, and didn't mind cringing for their money. Manto was too big a name for them.

It was not just financial worries that drove Manto to despair. Until partition took place, he had always been hailed as one of the stalwarts of the 'Progressive Writers Association.' Manto hated to be branded, and in some of his writings lampooned them. The 'progressives', en masse denounced him as a renegade and a reactionary. The reactionaries dubbed him as a licentious leftist. And the guardians of the newly found state's morals condemned him as a purveyor of filth.

Manto lashed out. He took swipes at all his destructors. The short pieces that he wrote, more for the sake of selling them for thirty rupees (which he desperately needed every day to slake his mounting thirst for alcohol) than for any lasting purpose, are insipid and slipshod; his wit is often blunt. Manto was well past caring. In his desperation he became reckless, and his writing suffered.

Manto did not keep a diary, but sometimes he recorded his inner most feelings in a letter:
"Since long I have felt in the words of Turgenev that I am the redundant fifth wheel of a carriage. I wish I could be of some use to someone".

He was a loving father and, from all accounts, a caring and loving husband. The realisation that he was utterly incapable of looking after the needs of his wife and three daughters must have galled him no end.

Sadat Hasan Manto was a maverick who, cussedly, refused to go along with any party or group. He remained a maverick throughout his short life. We should be grateful to Jagdish Chander Wadhawan for pointing it out to us so unambiguously.
(Concluded)

Maniza Naqvi

EXCERPTS: Oh for peace and faith!


By Maniza Naqvi

Maniza Naqvi captures the dilemma of the protagonist of her story, a mediawoman, who finds herself in a land where war has destroyed the spirit of the people and robbed them of love.

But she knows that she is unwanted here. She has had word of that. And she knows how guests are honoured here, and these are just platitudes for honouring guests. She manages to smile back. She is tired, she has been walking since daybreak, it has taken them twelve hours through mountain passes to reach this valley. Their valley. His valley. Here she will get the story she has come for. Always in search of a good story. Always willing to go where no one else would.

They had said they would just drop her and come to pick her up a week later. No problem she had said. She was only worried about one thing. Who was going to do the translation? They had made all the arrangements. There's someone there who speaks perfect English. At first, the office had said she wouldn't be able to pull it off, the fighters would never allow her to enter, then this was confirmed when the fighters had said that she was unacceptable when the office had communicated the gender of the journalist coming to write.

And then the fighters had relented, because she was a good writer. They had heard about her. And the story mattered more than the hand that wrote it. They needed to be heard. They needed to be born. She looks around her, humming under her breath. As far as they were concerned a midwife has come. It's a fair deal, they want to be heard, she wants to write. So what if they don't like her. She's not crazy about them either! She loves it! This feeling unwanted is her best schtick.

That's when she really hums. She looks around her, happily. Humming under her breath. All men, all in battle gear, all fighters. They fit the bill with their long hair and beards. They are dressed in military fatigues. Rebels. Their heads are covered with fidayeen scarves or berets with symbols on them, there is the Kalma embroidered on to their lapels, and they carry Kalashnikovs, they are strapped with spare magazines and grenades. And she is among them. Wait till she tells Jack!

A sheep turns slowly on a spitfire. She hates meat, but loves the smell of it roasting. But for now she is under an autumn night sky and the stars seem a stepladder's distance away. And there is music. The men start to stand, she watches them transform, they become creatures of rhythm, swaying to the seduction of the poetry. They dance. Arms outstretched, heads held high and proud, chins up, shoulders thrown back and hips swaying, pelvis thrust forward.

Slowly moving, bringing their arms inward over their heads to clap their hands, their feet stamp, keeping time to the rhythm of the music of the drums and tambourines. Stamp, stamp, clap, clap. Lunging forward towards each other, knees bending, torsos twirling and whirling. A man sings. He is singing, 'Rahe man rahe tu.'

The translator leans towards her. 'Our paths are the same, whatever is my path is your path.' The soldier turns to her, points to himself then points to her. 'Rahe tu, rahe man. This is Hafiz. Do you know him? He is the greatest of poets,' the translator translates.

* * * * *

And the shouting begins.

So you are worried about our society.

'Of course I am.'

Why?

'Because we have lost peace and civility.'

And what would you say was peace and civility?

'A face, un-defaced.'

What?

'Aman and Iman, would be indicators. Indicators of it would be when people are able to walk about outside on the streets late into the evening. Lovers walk hand in hand at night on main avenues and linger on in parks and children kick footballs in alleyways way past dark. Or when, a man lies down on the floor next to a woman and makes love to her. Aman and Iman.'

Listen, we brought you in because you agreed to do the job. We said we needed a pretty face to cover ours. Do you hear me? Pay attention! Wake up! We chose your face. You didn't really think you could do anything did you? The constitution is not for you to change. It is ours to abrogate.

'The people will protest!'

Madam, the streets of this blessed country are quiet! No need for us to even impose a curfew, no need for army patrols. There are no protests. The nation sleeps. The nation rests in peace because a soldier stands guard. Do you understand? Now tell me will you cooperate? Will you be a good little girl and go on television to announce that you will behave?

There is so much pain. Only darkness now, pain overwhelms sound.

'Lie down next to me now. Here on this stone floor. Transport me, whole to that place of peace to that space, to that being of completeness of wholeness.'

'It is evening,' he says, 'wait for me tomorrow.' She understands but she pretends not to, the look on his face is too urgent, his voice too full, her knees too weak, it is too much, and where would there be to go from there if she says she has understood? But he looks at her, indignantly, and says, 'What do you mean you don't understand? You understand everything.' And she had understood everything. And it was true, everything in his tone, in that moment, every gesture of his, had conveyed the meaning of the words that she didn't catch. The words would have been superfluous anyway. The image faded.

She sobbed, 'Wait, please wait come back! Take me with you! I will never see you again! I don't even know if you are alive, or if you are dead and if you are, if you have a grave?'

'I have a house in the mountains,' he had said.

'Yes.'

'Where I want to take you.'

'Why?'

'You should rest. Should you need to ever rest, and get away, to just rest from the world and be by yourself, then you will come there.'

'You think I will need to?' she had asked.

'There will always be a room for you.'

'I don't take up much space,' she had joked.

'Then for you I will have a small room!'

They had laughed.

'And I will lock you in,' he had smiled resolutely.

'Why?'

'I will keep the key.'

'Why?'

'So that you'll stay with me.'

'I am with you,' she had said.

'Stay.'

And she didn't know why prompted from some other place she had said, 'I don't take up too much space.' She had said this to him, who needed no persuasion.

'Then for you, I will have a very small room, and I will lock you in and keep the key, you will stay there and I will never let you go.'

'Never let me go.'

Throw her back in there, let's see how long she lasts. Throw her back in there and throw away the key!

'You will get tired of me.'

'Never.'

'You will.'

'You don't understand me.'

'You will forget, that you ever said this.'

He had looked at her with confusion. He could not understand why she was saying this. 'You will have a window from where you will see the mountains, and the snow on them, and meadows covered with flowers.'

'Flowers like the ones you bring me every day?'

'More beautiful!'

'Yes.'

'Who gives you flowers there?'

'Friends, and I buy them for myself,' she says.

'You will never need to buy flowers, you will never have to rip them from the ground, the whole world will be your vase full of flowers when you look out of your window. Will you come with me?' he asks again.

'I cannot, we are so far apart,' she replies.

'What do you mean?'

'Our circumstances,' she says.

'What do you mean?'

'Don't you know who I am?'

'I do.'

'Then?'

'Then what? We are the same.'

'How?'

'We have nowhere to go.'

'I have a place to go to!' she protests.

'Is that where you want to be?'

'I want to be everywhere.'

'Exactly. Going everywhere, always struggling, always alone, always controlled by someone else's commands. We are the same,' he says.

Who was she? What did she mean, do you know who I am? Who was she? When did she say this to him?

'We should be married,' he says.

'No!'

'We should have children,' he repeats.

'No.'

'Don't you want children?' he asks.

'I did want children. But for that, perhaps, it is too late now.'

'No, no, never say that,' he protests.

'Why? It's true.'

'Only God knows,' he says.

'Yes.'

'Only God will decide.'

God decided. God decided.

'Why stay when men leave anyway?' she asks.

'For the children,' he replies, simply.

Had you been the child you wanted me to have, I could have swooped you up into my arms.

'Men leave, look around you, just look here, most of the women are without their husbands, raising children on their own! These no good men. No thank you, I am fine the way I am. These no good men!'

He seemed as though she had hit him. And he had looked at her, his face had become solemn and he was silent. Then in a soft voice he had said, 'No one wants to leave their family, don't be so hard on our men. Many of our men were killed in the war. Far too many. Beautiful, brave young men.' His voice was gentle, as though he was explaining to a child. 'My brother was shot during the war and has left behind his widow and five children. That's when I returned from Moscow. I bought a gun there and I came back to fight. So don't say men leave, they don't always want to. Really, they don't always want to.'

In the darkness, she asked, 'I did apologize, didn't I? I was ashamed of myself I want to tell you that. I would not hurt you, ever. But where would I be if I had said I understood?'

Maniza Naqvi was born and brought up in Lahore and now lives in the US where she works for the World Bank. This is her third novel.

This is a disturbing and intriguing story of torture and survival. The main character is a journalist who is initially invited by the establishment and then later tortured when she doesn't conform to her hosts' expectations. She finds the strength to face the ugliness and brutality of torture by recalling her past experiences. As she moves in and out of consciousness, her past life is reconstructed. The reader learns of her existence as a woman; her ideas, thoughts and feelings are captured as is the fleeting and complex nature of existence.




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Excerpted with permission from: Stay With Me

By Maniza Naqvi

Sama Editorial & Publishing Services, 4th Floor, Imperial Court, Dr Ziauddin Ahmed Road, P.O. Box 12447, Karachi-75530.

Website: www.samabooks.com

Available with Liberty Books (Pvt) Ltd, 3 Rafiq Plaza, M.R. Kayani Road, Saddar, Karachi.

Tel: 021-5683026

Email: libooks@cyber.net.pk

Website: www.libertybooks.com

ISBN 969-8784-00-4

176pp. Rs375

Harris Khalique - by imam shamil

AUTHOR: Harris Khalique - Interpreting love and self


By Imam Shamil

Those who know Harris Khalique are of the opinion that Harris' upbringing and his parents' influence in his life have made him what he is today. He is a recognized writer and a poet, and a well-known activist and development worker, who is heading a community development organization called Strengthening Participatory Organization (SPO).

Harris says that he owes a great deal to the literary and intellectual milieu of his home, which was conducive to reading. He memorized Iqbal's works when a teenager. "I started writing in my adolescence," Harris says. "I would write poems and short stories in Urdu and also translate poems and stories from English. For essays I preferred the medium of English," he adds.

Harris was encouraged to read avidly but his early writings were not eulogized by his family. Initially, it was his mother, aunts and his mother's friends who whetted his appetite for good literature. When he was older his father, Ibrahim Khalique, a great writer, began to take interest in what his son was reading.

"My father's friends were a bunch of highly motivated and committed people, and I must say that I learnt a lot from them," says Harris. "As far as my father is concerned, he is a very self-effacing and quiet person. Though he has always had a very strong political and ideological bent, he never enjoyed large gatherings and processions despite being part of an ideological movement. I was part of all literary and political activities happening inside and outside the household to which every family member contributed," recalls Harris. And yet, he had the worst kind of political disagreements with his family.

"What inspired me a great deal in my university days was not only English poetry but also poetry of different languages translated into English," Harris says. But he was a student of engineering. Why did he not opt for a degree in social sciences if he had a penchant for literature? "Studying literature does not make you a writer. I am a student of literature though I do not have a degree in it. It enriches one's writings if one studies other subjects too," he retorts.

Talking about his political and social activism, Harris says that it started in his college days, when Pakistan was going through Zia's martial law. Those were not the best of times and political activities were banned in the country at that time. "I was not a member of any political group, but I used to support the left-wing nationalists by writing political literature, poems and pamphlets for them," Harris says.

Harris describes himself as a Marxist. "One may disagree with Marxism in detail, but as a tool of understanding society, it has helped me in analyzing and evaluating the social conditions of my country," says Harris.

Not inclined towards rhetorics, he admits that literature does bring social change. He, however, doesn't believe that one has to be a Marxist to be progressive.

The word 'progressive', according to Harris, is not restricted to those who want to bring about a socialist revolution, which he believes is quintessentially an economic revolution. He says that there are many other aspects of life that are beyond economics and the economic well-being of people. "There has to be a balance between the rights of the individual and the collective rights of people. Many humanist writers face this dilemma. They want collective freedom as well as the individual's freedom from collective control," observes Harris.

But he firmly believes that the writings of those he doesn't agree with ideologically should not be judged against their political views. "I may not want to dine with them, but if they are producing fine literature, we must appreciate their work," he says.

Discussing the subject of the relationship between fictional writing and social development, Harris comments that fiction and poetry are a chronicle of history as well. "You would understand England better through Charles Dickens than any other historian of that time. The same is true about our literature as well. The way the struggle of a common man has been depicted by Premchand and other Progressive writers will not be described in history books. Therefore, it is not just social development but also a lot more that fiction has to offer. Literature cannot be detached from social life," claims Harris. But he also emphasizes that writers with dogmatic political views cannot be the sole representatives of people.

Harris likes some of Ashfaq Ahmed's and Bano Qudsia's stories a lot, though they are opposed to modernity and have different aesthetic values. "I would respect them if I see that they contribute something to existing literature," insists Harris.

Harris strongly reacts when someone terms some of his Urdu poems as prose poems. He says they are free verse and follow a certain meter. "I have not written a single Urdu prose poem. All my poems are metrical. As far as the difference in style is concerned, some of my poems have a narrative, and that is influenced by my contemporary living and modern world literature," says Harris.

"You see, society evolves from itself different kinds of expressions to suit the time, and language must correspond to the society and the time we live in. Language has to be contemporary. Today's thought has to be rendered in today's language and expression. How can one use the expression 'chilman' today when chilman does not exist anymore? Modern words and changes that have been introduced in our languages should be appreciated and recognized by literary writers. I use some English words in my Urdu poems such as 'rearview mirror' and 'rush' because we use these words in our daily conversation and they have now become Urdu words. They should be reflected in our poetry too. I don't edit these words; they come to me naturally," remarks Harris.

Harris is a nazm poet. He thinks the ghazal does not suit his style. However, he likes to read ghazal. To Harris, ghazal is limiting, therefore, in his opinion, the biggest poet of the 20th century, Iqbal, preferred the medium of nazm over ghazal. Still Harris thinks that his metrical poems are heavily influenced by the expression of ghazals.

Has his work with non-government organizations affected his literary productivity? "It has. Any senior management work is tedious and time-consuming. But the work I do is quite gratifying. My work with NGOs is a unique experience as it enables me to interact with all kinds and classes of people. You don't find such experience in every field. On the one hand, one interacts and learns from the poorest rural communities, from their pain and their wisdom, and on the other hand, one also deals with people who are in the corridors of power. It does enrich one's experience and expression."

Does development work, or rather interacting with the underprivileged and downtrodden, make him sad or pessimistic? "It does make me sad; but it does not make me disillusioned."

Harris is of the view that his writings contribute towards the humanitarian cause and social changes but he is not sure how potent they are in order to challenge the system. He also considers his writings political. "All writing is political and all poetry is love poetry," he says. So all love poetry is also political, I ask. "Love is political; there is nothing which is not political. When you start engaging with someone who is outside you, it becomes political," replies Harris.

How does he feel in a sector where all issues are considered and dealt in an apolitical manner? "It is happening in all sectors and arenas of life. People do not read and do not think. So whether people in the development sector subscribe to a particular idea or oppose it, it is not necessarily based on thinking and reading," says Harris.

Does he feel alienated in the development sector? Harris believes that there are all types of people in every sector. Though most people in the development sector don't have the political understanding of issues, the work they undertake is very much political. "The development sector reflects what is happening in society. The NGO sector is not a monolith. There are so many organizations, including women's rights and children's rights organizations, which are making political statements through their work," observes Harris. He believes that any political work devoid of social work remains lopsided, and any social work that depoliticizes people also has no real meaning.

Finally, talking about his recent collection of English poems, Between You and Your Love, a title taken from a line in William Shakespeare's play Hamlet, Harris tells me that it comprises selections from his two previous books If Wishes Were Horses (1996) and Divan (1998) and his new poems. Harris Khalique keeps swaying between his love and the beloved, as he thinks the choice between the two is not given to him. But as a person who does not believe in the puppeteer, he bears the responsibility of his actions wholeheartedly and without any complaint. One might not agree with his principles, his standings, and his approach; one is bound to respect him for his humanistic beliefs. There is a very thin line between progressive humanism and regressive humanism; Harris knows the distinction too well. These humanistic beliefs also reflect in his literary work as well as in his activism.

Fearless, tamed, lustful, platonic, saddened, glad I didn't let the passion die Though it hurts when love strikes. Anna, hold me tight again tonight!

[Lines from 'For Anna Akhmatova (1889-1996); Between You and Your Love by Harris Khalique]




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Harris Khalique: Profile

Born in 1967

Studied at the NED Engineering University and the London School of Economics

Heads a community development organization, Strengthening Participatory Organization (SPO)

His books are Aaj Jab Huee Baarish (Urdu, 1991); If Wishes Were Horses (English, 1996); Saray Kaam Zaroori Thay (Urdu, 1997); Divan (English, 1998); Purani Numaish (Urdu, 2001); Unfinished Histories (2002), a book of essays on issues of identity, separation and belonging, co-written with an Indian author; a monograph titled Pakistan: The Question of Identity (2003) and Between You and Your Love (English, 2004)

faqir of ipi

The Faqir of Ipi

"Cherchez la femme," say the French to indicate that behind every great man is always a woman. No one would have thought that this would be true even about the Faqir of Ipi, but apparently it is. Though not in the sense that the French mean.

The name of Mirza Ali Khan, the Faqir of Ipi, conjures up memories of the Frontier's long and eventful fight against the British. It inspires both awe and respect - the mysterious man in the mountains whom few had seen, but who kept the might of the British Empire at bay.

Despite their propaganda to paint him as a charlatan and a religious bigot, the British feared him. He kept them on their toes for many years, and they were ever-vigilant to catch the elusive man who had acquired a reputation to match that of the fictional Scarlet Pimpernel. Against his sword and antiquated rifle, they brought in their cannons and even military aircraft, but he was neither subdued nor did they manage to get anywhere near his hideout in the caves of Gurwekht in North Waziristan.

Not that a woman was solely responsible for launching the Faqir of Ipi on his anti-British adventure. That would be too romantic, and, under the circumstances, too naive and simplistic to believe. He was, of course, imbued with a tremendous feeling of independence, and he found the presence of the infidel rulers galling to his free spirit as a Pukhtoon. But a woman did play a part in provoking him into a life of rebellion against the European rulers.

She was a Hindu girl who came to be known as Islam Bibi. She was born Ram Kori, the daughter of Mewa Ram and Mansa Devi, a couple living in a village in Bannu district. When she was 16, she fell in love with Noor Ali Shah, a youthful Syed of Bannu. Noor Ali was equally infatuated, and the two married after she converted to Islam and took on the name of Islam Bibi.

It seems that Mewa Ram was reconciled to this religious revolt in his family, but his wife and his father-in-law, Milap Chand, made a complaint before the Deputy Commissioner that Ram Kori's conversion had been forcibly brought about and that she should be recovered and restored to the family. The DC started proceedings and Noor Ali was charged with kidnapping a Hindu girl. Islam Bibi stated in court that she had embraced Islam of her own free will and that the marriage had taken place with her consent.

Despite these averments, she was sent back to her parents because she was found to be a minor and thus not entitled to take the vital decisions about conversion and matrimony. Her parents promptly whisked her away to a town in Punjab, where, after a ceremony to convert her back to Hinduism, she was made to marry a young Hindu man.

This episode, as it were, aroused the whole of North Waziristan and the adjoining areas into anger and indignation. This feeling was taken up by the already rebellious Pukhtoons as blatant interference by the British in a matter that pertained to an essentially religious affair of the Muslims. Since this could not be tolerated, a call for Jihad was given by the mullahs. Mirza Ali Khan had been brought up on a religious education and had taken instruction in a variety of Islamic madressahs. He had been deeply influenced by the earlier calls for Jihad made by famous mullahs, and his father had been a die-hard foe of the British. He thus inherited the noble virtues of love of liberty and self-rule. The Islam Bibi affair was like putting a lighted match in a cask of gunpowder.

After this episode, which aroused so much of the Frontier to militant action against the British, the Faqir of Ipi never relaxed. He waged a relentless war against them, killing hundreds of their men and losing hundreds of his own companions in innumerable skirmishes and even pitched battles. It was not just guerrilla fighting in the mountains. The Faqir ran a printing press in his caves in Gurwekht, and copies of his news-sheet managed to reach people in the settled areas and Peshawar. Efforts were also made by him to upgrade his weaponry, and gunsmiths from the Punjab, long settled in the Frontier, cast new cannon for him.

Even after the British left in August 1947, the Faqir could not reconcile himself to the free Muslim government, and till his death in 1962, continued to disregard it with active patronage from the then Afghan government, which was inimical to Pakistan. His role after independence is controversial. It is defended by some and deprecated by others. My purpose is not to analyze that role or whitewash or condemn the Faqir. It is only to show how the public feeling generated in the Frontier by a Hindu girl's marriage to a Muslim contributed to turn Mirza Ali Khan into the Faqir of Ipi, the most hated and feared enemy of the British in the subcontinent.

As for Islam Bibi herself, nothing is known of her new life as a reclaimed Hindu in Hoshiarpur. But something can be told about her lover and ex-husband, Noor Ali Shah. He had been convicted of "abducting" a minor girl and sentenced to three years of rigorous imprisonment. Apparently he obtained his release after 18 months, and, immediately on coming out of jail, was married off by his family.

He is reported to have spent about a year or two with his new bride, but then the yearning for his tempestuous love affair with Islam Bibi overcame his new domestic existence. One day, he quietly left home never to return. Maybe he is still looking for his lost love in Hoshiarpur in Indian Punjab. Who knows? But he was never heard from again.

lakshmi mansion lahore - saadat hasan manto - dr afzal mirza


a careless proof read by News...i am positive the heading should be Lakshmi Mansion


Lakshmi mention

Manto had her worst days in Lahore but it was here that he created some of his everlasting masterpieces

By Dr Afzal Mirza

Saadat Hasan Manto arrived in Lahore sometime in early 1948. In Bombay his friends had tried to stop him from migrating to Pakistan because he was quite popular as a film writer and was making reasonably good money. Among his friends there were top actors and directors of that age -- many of them being Hindus -- who were trying to prevail upon him to forget about migrating. They thought that he would be unhappy in Pakistan because the film industry of Lahore stood badly disrupted with the departure of Hindu film-makers and studio owners. But the law and order situation in post-partition India was such that almost every Muslim felt insecure there. That was the reason that Manto had already sent his family to Lahore and was keen to join them.

Incidentally his friends were right. Lahore turned out to be totally different from Bombay. Lahore was in a state of turmoil due to the influx of hundreds and thousands of refugees in a state of destitution. Those who had survived after wading through the rivers of fire and blood were clamouring for food and shelter.

Manto had at least one consolation. His nephew Hamid Jalal had already settled his family in a flat next to his own in Lakshmi Mansions near The Mall. The complex was centrally located. From there every place of importance was at a stone's throw. These flats were occupied by families of some of the people who were destined to become important in the intellectual and academic fields. Manto's next door neighbour was his nephew Hamid Jalal who later became an important mediaman. In another flat, lived Professor G M Asar who taught Urdu at Government College, Lahore. Hailing from Madras, he wrote and spoke excellent English as well. Then there was Malik Meraj Khalid who was to play an important role in the politics of Pakistan. Writer Mustansar Hussain Tarar's family also lived in one of the flats there after shifting from Gowalmandi. Thus when Manto arrived in Lahore from Bombay he found an intellectual atmosphere around him. His only problem was how to cater for his family. Sadly for him, Lahore of that period did not have many opportunities to offer.

After the writers who had migrated from various Indian cities settled in Lahore, they started their literary activities. Soon Lahore saw a number of newspapers and periodicals appearing. Manto initially wrote for some literary magazines. These were the days when his controversial stories like Khol Do and Thanda Gosht created a furor among the conservatives. People like Choudhry Muhammad Hussain played a role in banning and prosecuting the writer as well as the publishers and editors of the magazines that printed his stories. Among the editors were such amiable literary figures as Ahmad Nadeem Qasmi, Hajira Masroor and Arif Abdul Matin. Soon the publishers who were more interested in commercial aspects of their ventures, slammed their doors shut to Manto's writings. He, therefore, started contributing stories to the literary supplements of some newspapers. Even this practice could not go on for long. Masood Ashar who was then editing the literary page of daily Ehsan published some of his stories but the conservative owner of the paper soon asked him to refrain from the practice

During those days, Manto also tried his hand at newspaper column writing. he started off with writing under the title Chashm-e-Rozan for daily Maghribi Pakistan on the insistence of his friends of Bombay days Ehsan BA and Murtaza Jillani who were editing that paper. But after a few columns one day the space appeared blank under the column saying that due to his indisposition Manto couldn't write the column. Actually Manto was not indisposed, the owner was not favourably disposed to some of the sentences in the column.

The only paper that published Manto's articles regularly for quite some time was daily Afaq for which he wrote some of his well known sketches. These sketches were later collected in his book Ganjay Farishtay. The sketches include those of famous actors and actresses like Ashok Kumar, Shayam, Nargis, Noor Jehan and Naseem (mother of Saira Bano). He also wrote about some literary figures like Meera Ji, Hashar Kashmiri and Ismat Chughtai. Manto's sketch of Quaid-e-Azam Muhammad Ali Jinnah was also first published in Afaq under the title Mera Sahib. It was based on an interview with Haneef Azad, Qauid-e-Azam's driver of Bombay days who after leaving his job as driver became a well known actor. The article included some of the remarks related to the incident when Dina Jinnah to Jiannah's chagrin married Wadia. Later when the sketch was included in the book these lines were omitted.

Manto created a new tell all style of writing sketches. He would mince no words. He wrote whatever he saw. "I have no camera which could wash out the small pox marks from Hashar Kashmiri's face or change the obscene invectives uttered by him in his flowery style," he wrote.

Manto once tried to present the sketch of Mulana Chiragh Hasan Hasrat in a literary gathering organized in YMCA Hall Lahore to celebrate the Maulana's recovery from heart attack. The sketch entitled Bail Aur Kutta was written in his characteristic style exposing some aspects of Maulana's life. The presiding dignitary stopped him from reading the article and ordered him to leave the rostrum. Manto, however, was in 'high spirits'. He refused to oblige and squatted at the floor and was with difficulty prevailed upon by his wife, Safia, to leave the stage.

Those days Manto was writing indiscriminately in order to provide for his family and be able to drink every evening. For everything he wrote, he would demand cash in advance. In later days, he started writing for magazines like Director. He would go to its office, ask for pen and paper, write his article, collect the remuneration and go away. This Manto was different from the one who arrived in Lahore in 1948.

The Manto we saw in Government College, Lahore, in 1950 had a glowing Kashmiri complexion and a thick crop of long brown hair on his head. He was wearing a light brown gabardine shirwanee with a silken trousers and saleem shahi shoes. He came there to read his article How Do I Write a Story. He was extremely impressive and witty.

But the necessity to earn his livelihood consumed him very fast. In a few years, his complexion became pale and his hair turned grey. We saw him reading his story Toba Tek Singh at YMCA Hall at the annual meeting of Halqa-e-Arbab-e-Zauq. He looked older than his years wearing an overcoat with collars turned up. The big eyes that darted out of the thick-rimmed glasses looked pale and yellow. But he read his story in his usual dramatic style and when he finished reading it there was pin drop silence in the hall and there were tears in everyone's eyes.

In later days, though Manto appeared in the Tea House and other literary functions regularly but he seemed to be in great stress. Earlier, he was known for his witty remarks in literary gatherings. However, in later days he would present his writings in literary meetings but would not tolerate any criticism. He had become extremely touchy and would shout back at his critics. There were days when he was welcome everywhere and literary organisations clamoured for his participation in their meetings. But then came the days when people started avoiding him because he would not hesitate from borrowing from them.

Manto lived in Lahore for seven years. For him those years were full of a continuous struggle for his survival. In return, he gave some of his best writings to the literary world. It was in Lahore that he wrote his masterpieces like Thanda Gosht, Khol Do, Toba Tek Singh, Iss Manjdhar Mein, Mozalle, Babu Gopi Nath etc. Some of his characters became legendary.

But simultaneously he had embarked on a journey of self-destruction. The substandard liquor that he consumed destroyed his liver and in the winter of 1955 he fell a victim to the deadly disease of liver cirrhosis. During all these years in Lahore he waited for the good old days to return, never to find them again.



Saadat Hasan Manto was born on May 11, 1912