AUTHOR Suchitra Vijayan SUCHITRA VIJAYAN is the author of Midnight's Borders: A People's History of Modern India, and co-author of How Long Can the Moon Be Caged? Voices of Indian Political Prisoners . Her work has appeared in the Washington Post, GQ, Boston Review, The Nation, and Foreign Policy . She is an award-winning photographer and founding member and Executive Director of The Polis Project . AUTHOR WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

Israeli aggression in Gaza has led to a ripple effect on Iraqi politics. The past year’s growth in proxy aggression between Iran and the US has unearthed sentiments in Iraq critical of both powers. Amidst the increasing influence of Iran-backed political and military forces in the region, citizens express heightened aversion to American policies. Israeli aggression in Gaza has led to a ripple effect on Iraqi politics. The past year’s growth in proxy aggression between Iran and the US has unearthed sentiments in Iraq critical of both powers. Amidst the increasing influence of Iran-backed political and military forces in the region, citizens express heightened aversion to American policies. Dia al-Azzawi Jenin (2002) Acrylic on paper Artist · THE VERTICAL REPORTAGE · LOCATION Occupation and Osmosis LOCATION AUTHOR . AUTHOR . AUTHOR . 26 Oct 2024 th . Letter from our columnist . In May 2024, a homemade bomb was lobbed into a Kentucky Fried Chicken (KFC) restaurant in Baghdad. The next day, masked men stormed another KFC, trashing the American fast-food chain due to its perceived support for Israel. For months before this, mortars targeted the U.S. Embassy in Iraq, and American troops in the region faced over 160 attacks following October 7, 2023. And since that same date, over hundreds of miles of Iraqi roadways, enormous billboards have been erected featuring U.S. President Joe Biden and Israeli Prime Minister Benjamin Netanyahu splattered with blood. They are captioned: “Desecrators of Allah’s People.” In Iraq, disdain for anything associated with the U.S. is not new. But from recent attacks on Baghdad’s KFCs to the U.S. embassy, a new motivating factor seems to have emerged: the situation in the Gaza Strip , which has exacerbated tensions and changed regional dynamics. Gaza is hundreds of miles from Baghdad, but thanks to the war’s atrocities made visible by the internet, many Iraqis are outraged ; at the Israeli government for committing them, but also at the U.S. government for arming and funding them. “The Gaza war is having a significant impact on Iraqi politics,” says Lahib Higel, the Crisis Group’s Senior Analyst for Iraq. Higel notes that before Israel's war on Gaza, there had been a year-long truce during which Iran-backed militias, known as the Popular Mobilization Forces (PMF), agreed to stop attacking U.S. bases in Iraq to support the stabilization of the newly established Iraqi government. However, the truce was broken because of America's unconditional support for Israel, which led to a series of militia attacks against the U.S. military across Iraq. “The Gaza war was the ignition [of the attacks]. But these Iran-backed groups also used the escalation to revive the pressure on the Iraqi government to expedite a withdrawal of U.S. troops from the country.” Experts like Higel argue that the tiny Gaza Strip has become geopolitical tannerite. After a rocket attack against the American embassy earlier this year, a PMF leader issued a statement claiming that his militias wouldn’t stop as long as “Zionist crimes continue in Gaza and the American occupation continues in Iraq.” “My grandfather hated Iran. My father hates America. I hate them both,” says Ali, our 21-year-old Iraqi taxi driver, as he races down Route Irish at breakneck speed. Route Irish is the notorious road connecting Baghdad International Airport with the city, a route once laced with crude explosives and infested with heavily-armed insurgents waiting to ambush coalition forces. But today it’s mostly quiet—except for Ali’s rickety cab, which blares Iraqi rap while he scrolls through TikTok. “There’s a lot of talk these days about Iran or America and which country Iraq will align itself with,” he explains. “I really don’t want either. America wants our oil and resources, and Iran just wants us as a puppet. I say fuck them both. We Iraqis want to build this country for us . Not for the Iranians or the Americans. But then again, if I had to choose, I would choose Iran. The Americans destroyed my country, and now they’re helping Netanyahu destroy Palestine.” It is dusk, and the sun slips away beneath the murky brown haze hanging over downtown Baghdad. “See those? Get used to them. They’re everywhere,” Ali points out the dozens of murals and billboards along Route Irish depicting solemn portraits of Iranian military officer Qasem Soleimani, assassinated right there on Route Irish by a 2020 Donald Trump-issued drone strike, captioned, “The Blood of Our Martyrs Will Not Be Forgotten.” “Iran and America both want control over my country,” Ali glances at another Soleimani mural outside the cab, “but Iran already has it.” The most obvious example of Iranian influence are the many armed Shia militias, backed by Tehran, which roam Iraq under the umbrella of PMF. Furious over U.S. support for Israel’s assault on Gaza, the PMF has responded with a litany of attacks against the Americans. However, when Iran ordered the PMF to disengage, the militias obeyed. According to Slovenian International Relations expert Dr. Primož Šterbenc, this is largely because Iran isn’t interested in a wider war with Israel and the U.S., thus explaining why it ordered the PMF to stand down—for now. Nonetheless, despite hesitation on the part of the Biden administration amidst hawkish cries for retaliation against Iran, the U.S. Navy is deploying warships to deter Iran in case of war. Šterbenc argues that, when it comes to the scenario of wider conflict between Iran and the U.S. and Israel, “the Iraqi Shia militias themselves are aware…they would end up being militarily greatly weakened. However, the situation will still remain unstable as long as Israel's ultra-brutal military operation against Gaza continues, because the Iraqi militias will want to show their solidarity with Gaza through military actions.” Earlier this month Iran fired 200 ballistic missiles toward Israel. And since then, Iran-linked militias in Iraq have been ramping up action against Israel as well, springing roughly 40 attacks — consisting of an assortment of missiles, drones and rockets — in the past two weeks. Iran's influence, Šterbenc explains, has been very visible in recent months through Tehran’s ability to curb attacks by Shia militias on American targets in Iraq. On January 28 this year, when a Kata’ib Hezbollah drone—a militia part of the PMF— killed three American soldiers at the Tower 22 base in Jordan, Ismail Al Kani, the commander of Iran's Al Quds Force of the Islamic Revolutionary Guard Corps, quickly arrived in Baghdad and pressured Kataib Hezbollah to announce a suspension of its attacks on American targets. The PMF didn’t officially exist before 2014, back when it was nothing more than a ragtag umbrella group of various Shia militias. It was not particularly organized, nor very influential. Then came the Islamic State of Iraq and Syria (ISIS), which began seizing huge chunks of land it was declaring as part of its new Islamic caliphate. The Obama administration was reluctant to get tangled up in Iraq so soon after it had withdrawn all American troops in 2011. As officials deliberated in Washington, and after ISIS seized the city of Mosul, the Grand Ayatollah Ali al-Sistani issued a fatwa , calling for Iraqis to join together, take up arms and fight ISIS to save their country. Shia militias united to wage war against the Sunni jihadists, and thus, the PMF was formed. “I thought ISIS would take Baghdad,” says Sawada al-Nassif, a Baghdad resident and mother of four. “I was telling my husband we should leave the country, go to Jordan. But then the PMF started fighting ISIS and won back our country.” From The Land of [Sad] Oranges, 1973, by Dia al-Azzawi, inspired by the works of Ghassan Kanafani Today, the PMF is an auxiliary to the official Iraqi military; its fighters are paid equal salaries and benefits to military personnel and it is widely considered Iraq’s second army. Now, the PMF is also a leading political force after winning 101 out of 285 provincial seats in Iraq’s December 2023 elections. Because Sunnis are minorities in Iraq, and as the predominantly Shia PMF gain a stronger foothold in Iraqi politics, some Sunnis aren’t too happy. “Under Saddam (Hussein), we Sunnis at least held more political power than (Shias),” said Omar al-Dulaimi, a Sunni resident of Fallujah. “Now we are losing influence in government while still being the minority. I don’t like it.” With ISIS now driven into dormancy, the PMF is focused on its political aspirations. Among those is to see the expulsion of U.S. troops from Iraq. The American military has lingered in Iraq since ISIS roared back to life in 2014—and it remains at the invitation of the government in Baghdad. Higel states that the Gaza war has not developed in Washington's favor in Iraq, however, putting tremendous pressure on the government from the PMF to end the American presence in Baghdad. Experts, including Higel, agree that the PMF operates as an extension of the Iraqi state. In 2016, the government designated the PMF as an ‘independent military formation' within the Iraqi armed forces. For Iraqi Prime Minister Mohammed Shia al-Sudani, it's a political tightrope act: balancing his government's relations with the United States, and the PMF, some of whose militias have been designated as terrorist groups by the U.S.A. “You’re American,” says Ahmed, an Iraqi friend of mine, as we sipped tea on Baghdad’s crowded Mutanabbi Street. “I know you’re American. You know you’re American. Nobody else should know you’re American.” Ahmed quietly advised me to keep my nationality under wraps. But why? Because of the U.S.-led invasion of Iraq in 2003? Ahmed said no. “Your country has kept Israel’s genocide alive,” he said. “Normal people here won’t hold that against you specifically. But the militias outside Baghdad, well, it’s possible they might.” Ahmed also reminded me that ISIS had launched several small attacks in the last week, and outside Baghdad, I may be at a higher risk. But when myself and my European colleague, at a PMF-run checkpoint outside Baghdad, encounter one of these militias ourselves, things go differently than how Ahmed had prophesied. “You are American?” asks a bearded PMF militant with an assault rifle, as he studies the passport I hand him through a cab window. I nod and admit that I am. He looks me up and down, before asking if I work for the government. No, I answer. “Good,” he nods. “I don’t like your government.” In the Iraqi city of Najaf, a local scholar, Rajab al-Hasen, stands on the side of the road and explains the recently-erected signage. One image features an expressionless face of President Biden, flecked with fake blood, peering down at rubble-strewn Gaza. About twenty meters down the road from that sign is another one, featuring not Biden, but Netanyahu. “This sort of imagery and messaging is all over Iraq, from north to south,” al-Hasen explains. “None of it was here before Israel began its genocide in Gaza. That war has really changed things around here.” Even at the height of Iraq’s civil war and its bloody sectarian violence between Shias and Sunnis over a decade ago, a shared disdain for Israeli politics remained a uniting belief. “We are familiar with war and occupation,” says activist Naseera el-Sham. “Iraqis can empathize with Syrians, Yemenis, Afghans, but most of all Palestinians.” Iraqi society’s aversion to Israel is not a belief inherited from Iran. In 1948, 1967 and again in 1973, Iraq partook in wars against Israel. Even after the 2003 regime change which ousted Saddam Hussein from power, Iraq’s official position on the state of Israel didn’t change. Natalia Reinharz, an Israeli lecturer on foreign policy based in Jerusalem, says that Gaza hasn’t shifted what has been Iraq’s mainstream position on Israel. What it has done, she argues, has given Iran an in. “The United States has stubbornly stood by Netanyahu’s side for a year of barbaric war,” Reinharz says. “Not only will the war hurt Israel in the long term, but it's a critical foreign policy mistake from the Biden administration.” “If Washington wanted to retain influence not just in Iraq, but within the Arab and Muslim states, it would have reined Netanyahu in by now. But they haven’t, and that has made Arab states more open to exploring alliances to nations other than the U.S.” Meanwhile, the U.S. presidential election casts a long shadow. Iranian historian Kazem Ershadi echoes Reinharz’ sentiment, and adds that “a lot will depend on whether the U.S. and Iran will continue to negotiate behind the scenes with the help of Oman. Iran would need to agree to limiting its uranium enrichment, and the U.S. would need to relax economic sanctions against Iran. In other words, it may be possible for the U.S. and Iran to find a balance in Iraq, but not very likely against the backdrop of Gaza.” From The Land of [Sad] Oranges, 1973, by Dia al-Azzawi, inspired by the works of Ghassan Kanafani But common ground between the U.S. and Iran seems like a pipe dream, especially now. Gaza has been a rubble-strewn warzone for over a year, Israel has invaded Lebanon, and tension with Iran has, again, crescendoed so much that whispers of an all-out regional war permeate every conversation regarding the Middle East. Israel keeps on erasing previous red lines, barreling closer to a reality that consists of bombs raining down in Tehran, Jerusalem and Tel Aviv. Meanwhile, the Biden administration continues to pour billions of dollars’ worth of weaponry into Israel. Netanyahu – Israel’s longest-serving prime minister – is well-aware that U.S. support won’t wane, and so he keeps his foot on the gas. He also understands that the U.S., while busy with an election, will not resort to any measure drastic enough to force his hand. (Israel attacked Lebanon, and it did so without first getting approval from the country that underwrites most of its national security, the United States). “The timing of Israel invading Lebanon is, at the very least, curious,” Reinharz says. “Biden is clearly an ultra-Zionist who will not, no matter what, rein Israel in. But I still think that, despite this, Netanyahu and his far-right government would prefer Donald Trump in the Oval Office. I think he timed this escalation with the U.S. election for a reason.” Reinharz argues that a Trump administration would greenlight virtually any course of action Netanyahu wants to take, however radical, including the official annexation of the West Bank. “Trump’s campaign is partially bankrolled by (Miriam) Adelson, a Zionist billionaire who has donated millions to Trump. She’s helping Trump fund his campaign because she wants Israel to have the West Bank, without a Palestinian Authority or any peace accords. And she knows Trump would let that happen.” Reinharz and I first met in Jordan. We were sipping tea on a rooftop in Amman, listening to the day’s final call to prayer echo through the city. She took a long, slow drag of her cigarette, then predicted, with unnerving accuracy, what is happening now. “You watch,” she told me, her voice dripping with cynicism. “Netanyahu would rather have Trump than Biden. I bet he will escalate the war in the fall, when the polls are tight. Netanyahu will make it messy, and he will make sure the average American voter knows it's messy over here. That way blame is cast on Biden, and Trump can position himself as the anti-war, solution-bearing candidate. It’s what Netanyahu wants—Trump. Watch. You’ll see.” Dr. Šterbenc added that a Trump victory in the upcoming U.S. presidential elections could “change everything.” That’s because Trump would likely govern in the interests of Israel, like Biden does now and like Trump did as president, while pressuring Iran even more. After May 2018, Trump withdrew from the JCPOA—also known as the Iran nuclear deal—and began his “maximum pressure” policy towards Iran. Trump crippled the Iranian economy after slapping over 1,500 sanctions on banking, oil exports and shipping, and assassinated Soleimani in 2020, who was in Baghdad fighting ISIS at the time. “Trump could greatly increase tensions and consequently convince the Iranian authorities that they must develop nuclear weapons,” Šterbenc said. “Trump ripped up Obama’s Iran Nuclear Deal, so this is more possible than ever. This would then be exploited by Israel with accusations against Iran, escalating the possibility of full-blown regional war.” Mustafa al-Tamimi sits on a blanket with his wife, Fatima, and their three children on the banks of the Tigris. It is a warm, breezy Friday evening in May, and the young family is one of many who have gathered along the river for a communal celebration. I ask Mustafa what they are celebrating. “We are celebrating life,” he says as though it were obvious. “In Iraq, we know death, and so we appreciate life while it's still here.” Mustafa and his family aren’t particularly religious, but still identify with Islam’s core tenants. “Islam teaches us to love people, whoever they are. So, for me, I love the Palestinians. I also love the Israelis, the Americans, and, of course,” he smiles at his wife, “I love Iraqis.” Mustafa’s opinion is in the minority, he thinks. “The world doesn’t think the way I do. Look at Palestine. Look at Gaza. Let me ask this: if Gaza were in France, the U.S. or Israel, and instead of Palestinians in Gaza, it were French, Americans or Israelis, then do you think the bombs would still be falling? Would children be starving to death? No. The war would be over.” He tears up, though only momentarily, while we discuss Gaza. “They are saying Iran is gaining strong influence over Iraq, much more influence than the Americans,” he said. “I think this is true. It seems like the reality I am seeing every day. And so what if it is? At least Iran isn’t in on the genocide.”∎ SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Facebook Twitter LinkedIn Add paragraph text. Click “Edit Text” to customize this theme across your site. 1 Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Reportage Iraq Baghdad Iran Palestine Gaza Warfare Human Rights Violations Shia Popular Mobilization Forces Zionist Zionism Israel USA Martyr Imperialism Militias Sunni Shia/Sunni Conflict Occupation Military Occupation Neo-colonialism War on Terror Axis of Resistance Najaf Religious Conflict Necropolitics Colonization New Middle East Middle East Middle East Geopolitics Globalization Colonialism Conflict Complicity Islamism Modernization Postcolonialism War On Iraq Militarism Collaborationism Discourses of War War Crimes Islamophobia Geopolitics US Imperialism United States Iran Nuclear Deal Soleimani PMF ISIS Obama Administration Ayatollah Ali al-Sistani Jordan JCPOA Genocide Foreign Policy Settler Colonialism Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 On That Note:

Time traveling from 1960s India to early modern Egypt with the acclaimed Urdu writer Qurratulain Hyder and her story “Roshni ki Raftaar.” | · INTERACTIVE Live · Urdu Fiction Chats Ep. 4 · On Qurratulain Hyder's sci-fi story “Roshni ki Raftaar” Time traveling from 1960s India to early modern Egypt with the acclaimed Urdu writer Qurratulain Hyder and her story “Roshni ki Raftaar.” Subscribe to our newsletter for updates on SAAG Chats, an informal series of live events on Instagram. A reading and discussion of the late Urdu writer Qurratulain Hyder and her short story “Roshni ki Raftaar” by editors Nur Nasreen Ibrahim and Zuneera Shah. Feat.: time travel, women in science, sci-fi traditions in Urdu compared to those in English, and much more. Must-watch: Nur and Zuneera's thoughts on the ending, speculations on whether Hyder intended for a sequel, what she might think of criticisms, how the tonal shift affects the story, and how humor functions in the story. More importantly: why do we expect or want character growth? Is there a fundamental difference with regard to character growth between the Anglophone literary tradition and the non-Anglophone one? Qurratulain Hyder is amongst the most acclaimed and influential Urdu writers of the 20th century, perhaps even the most popular alongside contemporaries like Ismat Chughtai (with whom she had a testy relationship). Best known for her magnum opus “Aag ka Durya” or “River of Fire,” Hyder was also a deeply expansive writer. Here, Nur and Zuneera discuss her use of fantasy and sci-fi framings, the manner of her world-building, and comparisons to contemporary films and TV shows in the most fun and audience-engaging SAAG Chats episode to date. SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Live Urdu Fiction Posthumous Qurratulain Hyder Science Fiction Time Travel Urdu Criticism Language SAAG Chats Genre Genre Tropes Speculative Fiction Fantasy Philosophical Fiction Syncretism River of Fire Roshni ki Raftaar Sahitya Akademi Genre Fluidity Difficult Reading Esoterica Time & Space Suez Canal Crisis Narrators Petty Bureaucracy Everyday Life Indian Bureaucracy Aligarh Science Characterization Ethical Standards for Fictional Characters Sci-Fi Rockets Romance Bitterness Scientist Characters Surprise Endings Gender Tonal Shifts Humor Short Story Naiyer Masud Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. 30th Nov 2020 AUTHOR · AUTHOR Facebook Twitter LinkedIn Add paragraph text. Click “Edit Text” to customize this theme across your site. 1 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 On That Note:

For the editorial team, FLUX was an event about the immense shifts frequent whiplash of ideas, norms and political realities we were experiencing; wearily towing vessels we knew were obsolete day in and day out. | · INTERACTIVE Event · The Editors FLUX · A Preface For the editorial team, FLUX was an event about the immense shifts frequent whiplash of ideas, norms and political realities we were experiencing; wearily towing vessels we knew were obsolete day in and day out. Generative artwork by Neha Mathew. On Intent FLUX was held on 5th December 2020 during Volume 1 of SAAG. The event's discussions were largely in the context of US politics, with some exceptions, and thus focused more on American diasporic views than our content in general. For the editorial team, FLUX: An Evening in Dissent was about the immense shifts frequent whiplash of ideas, norms and political realities we were experiencing; wearily towing vessels we knew were obsolete day in and day out. Things that seemed, finally, ripe as they could ever be had suddenly turned utopian. A global pandemic that had stranded us all emotionally and psychically. A sense—despite the defeat of Donald Trump—of a heightened sociopolitical danger amongst the US Left in the wake of the historic progressive defeat of the Bernie Sanders and Elizabeth Warren campaigns in the Democratic primaries. A dissipated progressive movement. Disillusionment with local and national politicians who reneged on promises to defund the police following a summer of protests after the killing of George Floyd. A media landscape monopolized by corporate elites. A lack of inaction on meaningful abolitionist goals, from prisons to detention centers, that had gotten mainstream attention in unprecedent fashion just weeks or months earlier. As the panels with Nikil Saval, Kshama Sawant, Bhavik Lathia, Jaya Rajamani discussed, this retrenchment of the centrist wing of the Democratic Party—the old guard, that had seemed tenuous for some time—was at the time asserting itself powerfully in the form of cabinet appointment announcements and a sense of unease that, truly, not much would change. What could we do whilst in eternal quarantine? Most crucially: where could we find optimism? We found it in media spaces, in the poetics of internationalism, in the attempts to think about capitalism & neoliberalism during a global pandemic in internationalist terms, whilst also being specific about what we wished to highlight about the American context. Whether it was housing rights protests in Philadelphia, protests to tax Amazon in Seattle, or harsh truths about the Left's failure to engage with key demographics based on statistics from the general election, even the demoralizing moment gave us a great deal to be honest about. Meanwhile, those in other countries offered great succor and support in community building. All of this was reflected in the design system by Divya Nayar & videography by Vishakha Darbha that allowed the event to move smoothly. The background generative artwork shown above was created by Designer Neha Mathew was literally evokes fluid topography: the sense of the grounds shifting beneath our feet heightening our sense of change and even danger. Scroll below to subscribe to our newsletter today & get exclusive news about our upcoming in-person and virtual events. Navigate through FLUX: An Evening in Dissent through the links below, or watch the full event on YouTube or IGTV ( Part 1 , Part 2 , Part 3 ) Natasha Noorani's Live Performance of "Choro" Jaishri Abichandani's Art Studio Tour Kshama Sawant & Nikil Saval: A panel on US left electoralism, COVID-19, recent victories, & lasting problems. Tarfia Faizullah: Poetry Reading Bhavik Lathia & Jaya Sundaresh: A panel on the US Left & its relationship with media in the wake of Bernie Sanders' loss. Rajiv Mohabir: Poetry Reading SAAG, So Far: A Panel with the Editors DJ Kiran: A Celebratory Set SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Event The Editors 2020 US Election US North American Diaspora Internationalism Crisis The Disillusionment of the Left Post-George Floyd Moment Defund the Police Racial Justice Pandemic COVID-19 FLUX Internationalist Solidarity Literary Solidarity Nikil Saval Kshama Sawant Natasha Noorani Darakshan Raja Jaya Rajamani Bhavik Lathia Tarfia Faizullah Rajiv Mohabir Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. 5th Dec 2020 AUTHOR · AUTHOR Facebook Twitter LinkedIn Add paragraph text. Click “Edit Text” to customize this theme across your site. 1 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 On That Note:

JOURNALIST Fiza Pirani FIZA PIRANI is an independent journalist, writer and editor based in Atlanta, Georgia. She is currently a student in the University of Georgia’s Master of Fine Arts in Narrative Nonfiction program and the founder of the award-winning immigrant mental health newsletter Foreign Bodies . Her work has appeared in The Guardian, Teen Vogue, Colorlines, Electric Literature. Previously, she was managing editor of The AJC’s Pulse Magazine. JOURNALIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

A live performance for the launch of SAAG's Volume 2, also celebrating the release of Rajna Swaminathan's new record “Apertures” at the Soapbox Gallery in Brooklyn. Swaminathan (mrudangam/vocals) performed as part of the Vagabonds trio with Ganavya (vocals) and Utsav Lal (piano). COMMUNITY “Apertures” with the Vagabonds Trio AUTHOR AUTHOR AUTHOR A live performance for the launch of SAAG's Volume 2, also celebrating the release of Rajna Swaminathan's new record “Apertures” at the Soapbox Gallery in Brooklyn. Swaminathan (mrudangam/vocals) performed as part of the Vagabonds trio with Ganavya (vocals) and Utsav Lal (piano). SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Live Brooklyn Experimental Music Jazz mrudangam Rajna Swaminathan Apertures Ganavya Utsav Lal Launch Event Contemporary Music Ropeadope Miles Okazaki Event Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. DISPATCH Live Brooklyn 19th May 2023 On May 12th, 2023, SAAG hosted a launch event for Vol. 2 at the Soapbox Gallery in Brooklyn, for which we were delighted to present the experimental and deeply moving musical compositions of the Vagabonds Trio: Rajna Swaminathan (mrudangam/voice), Ganavya (voice), and Utsav Lal (piano) who we had the pleasure of collaborating with a second time after his opening performance for In Grief, In Solidarity . They were joined partway by Miles Okazaki (guitar). To showcase musicians with such incredible musical range, a commitment to radicalism and social justice as expressed in the lyricism and melodies, and a deep rigor and discipline with their craft, was a true honor. We hope you enjoy the recording of the live event and the improvisational way it shifted from the respective discographies of each member of the trio, shifting seamlessly from several languages, including Tamil, English, Urdu, and more. Most of all, the performance celebrates the release of Rajna Swaminathan's new album Apertures (Ropeadope, Apr 28th), available to buy or stream now . Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Next Up:

“How do you laugh at untrammeled power? Either you are completely terrorized by it, or you completely delegitimize its authority by laughing in its face and doing the most absurd things.” COMMUNITY Experimentalism in the Face of Fascism Meena Kandasamy “How do you laugh at untrammeled power? Either you are completely terrorized by it, or you completely delegitimize its authority by laughing in its face and doing the most absurd things.” RECOMMENDED: The Orders Were to Rape You: Tigresses in the Tamil Eelam Struggle , the newest book by Meena Kandasamy (Navayana, 2021). ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Watch the interview on YouTube or IGTV. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Interview Chennai Sociolinguistics Avant-Garde Form Experimental Methods Dalit Literature Dalit Histories Indian Fascism Liberation Tigers of Tamil Eelam Tamil Tigers Auto-Fiction Bhima Koregaon Marxist Theory André Breton Absurdity Explanation Affect Translation Tamil Eelam Personal History Failure Narrative Structure Meena Kandasamy is an anti-caste activist, poet, novelist, and translator. Her poetry collections, novels, and essay collections include Touch , Ms. Militancy , The Gypsy Goddess , When I Hit You , Exquisite Cadavers , The Orders Were to Rape You: Tamil Tigresses in the Eelam Struggle, and most recently, Tomorrow Someone Will Arrest You . In 2022, she was elected as a Fellow of the Royal Society of Literature (FRSL), UK, and awarded the PEN Hermann Kesten Prize. She holds a PhD in sociolinguistics. Interview Chennai 7th Sep 2020 On That Note: Heading 5 23rd OCT Heading 5 23rd Oct Heading 5 23rd Oct

For decades, rural Peru has relied on journalists, human rights advocates, and indigenous organizers for protection from crossfire between state and vigilante militants that has weakened the region and enabled the growth of illicit trade activity. As indigenous Peruvians defend their land from exploitation and chemical damage in the service of the coca leaf industry, the government’s neglect of these native leaders’ efforts has led to their systemic and routine killing. For decades, rural Peru has relied on journalists, human rights advocates, and indigenous organizers for protection from crossfire between state and vigilante militants that has weakened the region and enabled the growth of illicit trade activity. As indigenous Peruvians defend their land from exploitation and chemical damage in the service of the coca leaf industry, the government’s neglect of these native leaders’ efforts has led to their systemic and routine killing. Photograph courtesy of Tania Wamani. Police repression against Andean Indigenous Quechua-speaking women from Puno occurred in the capital city, Lima, during the demonstration for justice for the civilian victims killed by the police during the protests in Puno in January 2023. Artist Peru AUTHOR · AUTHOR · AUTHOR 18 Nov 2024 th · THE VERTICAL REPORTAGE · LOCATION Lima's Forsaken For 24 days , Mariano Isacama was missing. Calls to the indigenous leader’s phone suddenly stopped going through on June 21, following threats he had been receiving through WhatsApp messages. The 35-year-old was a spokesperson for the Puerto Azul community, which is part of the broader Kakataibo indigenous group in Peru’s Ucayali province. He worked with the Kakataibo federation, FENACOKA, one of many indigenous-led organizations across Peru that aims to provide self-governance for communities. Coworkers quickly filed complaints with the police and human rights prosecutors against people they suspected of involvement and launched search parties. Isacama, like many leaders in Peru’s native communities, was not facing abstract threats. In the past nine years, 35 indigenous leaders have been killed in the country amid threats from various organized criminal groups. Leaders face near constant harassment for their public positions defending the environment. Illicit trades have grown around these native communities, so leaders are routinely threatened to either turn a blind eye or participate. Almost none of the murder cases have led to arrests or support for impacted families and communities. What happened to Mariano Isacama “They had time to find him alive,” said Herlin Odicio, a Kakataibo leader who helped search for Isacama, incessantly filing complaints with the state for weeks. “Unfortunately the justice officials did nothing in that respect.” Odicio had been working with Isacama for a while. The two would attend conferences and workshops together, or if one couldn’t go, the other would represent the Kakataibo community. Isacama’s deep involvement with the work made him a target. On July 10, more than two weeks after his disappearance, 40 members of La Guardia Indígena’s Kakataibo division arrived to search. As an autonomous, fluid structure that has gained support among Latin America’s indigenous communities in the past two decades, La Guardia Indígena attempts to train communities to protect themselves in ways the governments won’t. They carry out patrols and build strategies to confront armed violence through collective and grassroots action. The volunteer program is neither a political body nor an armed resistance organization, but rather a loose mechanism that’s been adapted and replicated within communities across Latin America. Courtesy of Tania Wamani. In Ucayali, they put together teams to head into the woods to look for Isacama. While they were searching, threats to the search party themselves were reported from nearby non-native settlers. Isacama’s body was found on July 14, hidden away in the wilderness. “We’ve already identified suspects,” Odicio said, “We hope the justice system will do its duty, which we’ve pushed for. If they don’t, and they do the opposite, the justice system we have as indigenous people is going to be something very different.” Odicio himself has been facing threats for years, and lives on the run as a result. In 2020, he was approached by cocaine producers and asked to ignore planeloads of the drugs flown off makeshift runways on his community’s land. He rejected the money, making him a target. His continued advocacy work and public profile as an environmental defender further puts him at risk. He reports having to change his location constantly, moving his family between cities and homes, and routinely receiving threatening messages—even from other members of the community. “Emotionally, I’m not doing well,” he said, after four years of living under threat and reflecting on Isacama’s murder, “It’s complicated, you know? But what else can I do? Keep working, that’s it.” How militarism gave way to cartels In recent years, lethal threats facing Peru’s indigenous leaders have grown into a crisis as various illicit trades in the Amazon and Andean regions flourish under state negligence. Indigenous leaders, local journalists, and human rights researchers have all documented growing cases of cultivation and transportation of cocaine, illegal logging and mining , construction of unplanned roads that facilitate these extractive programs, and the violence and corruption necessary to keep these operations functional. These problems started several decades ago in the wake of a shifting political and economic reality within the country. Peru’s government spent decades centralizing its population and economic policies around the capital of Lima. Rural areas struggle under neglect across the country, but in the particularly remote indigenous communities in the country, this has evolved into a crisis. Ángel Pedro Valerio, president of the indigenous organization Central Ashaninka of Río Ene (CARE), noted that the problem has grown over the past 40 years. Valerio’s Ashaninka community is located in VRAEM, a region that’s become defined by cocaine production, poverty, and the presence of the Shining Path militant group. “Inside our communities, since the ‘80s and ‘90s and 2000s, the Ashaninka people and the entire central region of the rainforest have suffered from terrorism,” Valerio said. “Many of us have had family members disappeared or killed. This political and social problem hasn’t gone away.” During an era of violence between the Shining Path and the central government, areas like Valle de los Rios Apurimac, Ene y Mantaro (VRAEM) were particularly hard hit. They were caught in the crossfire between a communist group accused of brutal attacks on civilians (including children) and a military run by dictator Alberto Fujimori, who was later sentenced to 25 years in prison for human rights violations. Fujimori died on September 11, 2024, several months after being released from prison for medical reasons. In the 1980s and 1990s, Lima’s population exploded as the armed conflict drove people away from Peru’s provincial areas. According to official state inquiries , Fujimori’s government was responsible for hundreds of forced disappearances and executions, including the killing of journalists and children , all under the guise of fighting terrorism. Civilians in rural areas were the most at risk, so many fled to the capital . In 1993, Lima had six million residents. In 2024, the city’s population is about 11 million –nearly one-third of all Peruvians live there. In the aftermath, rural areas were broadly left without infrastructure or police presence, as all modernization efforts focused on the capital. While skyscrapers fill the wealthier neighborhoods of Lima, infrastructural basics characterize much of the rest of the country. A 2023 United Nations report highlighted how hundreds of thousands in Peru live without basic nutrition, education, and healthcare. Earlier this year, a report in Infobae showed that 92% of the country’s high schools lack basic resources. Courtesy of Tania Wamani. VRAEM, though, has become defined by poverty and neglect. It’s known to be the home of what’s left of the Shining Path. “In recent years, the presence of illegal coca leaf growers has grown exponentially,” Valerio said of VRAEM. “They’re coming to invade the territory of native communities and those of us who live there can’t do anything about it. They’re opening large farms and deforesting the area, contaminating the water and the environment, degrading the soil. These coca leaves take a lot of chemicals to grow.” He pointed out that each time his organization files a complaint about threats from narcotraffickers, the state refuses to take action. He adds that state inaction puts them at greater risk. “Many of our brothers mention that they can’t file complaints because if they do, the first thing that happens is more threats,” Valerio said. “They brand us snitches and send us a warning.” A prosecutor’s vision In Lima, the central prosecutor’s office attempted to address this problem after years of neglect. In late 2023, they announced funding secured through the European Union to launch three task forces or workshops which would oversee environmental crime, human trafficking, and assassinations of indigenous leaders. “These problems have certainly grown because of a lack of attention from the central government,” said Jorge Chavez Cotrina, who oversees the attorney general’s division on organized crime. “Because the problem isn’t just to fight organized crime through police and prosecutors and the courts, but also has to be addressed by the executive branch. That is to say, before taking corrective actions we also have to take administrative actions—as in, prevention is key.” Cotrina said the three teams are mainly focused on partnering with indigenous leaders and working on building trust in the state by sending more officers into the field, participating in training programs, and sponsoring events. He said they’ve dismantled organized crime networks and opened investigations into murder cases of indigenous people. He argued, however, that this work is complicated by the lack of funds the central government provides them, pointing out that of the $3 billion budget his office was officially granted, they’ve only been disbursed $80 million. As a result, he said, they lack staff, forensic equipment, judges, and the ability to reach native communities that are the most remote. On top of that, Cintora points out that the problems can’t simply be addressed through arrests, and that prevention must consider economic development and increased governmental presence in the area. The centralized perspective of the government can exacerbate the problem by creating easier conditions for organized crime to flourish. Late last year, Peru passed a so-called “anti-forest law” swiftly denounced by activists, indigenous organizations, and leading environmental groups. The SPDA, a Peruvian legal watchdog and environmental NGO, declared that the law would openly promote and legalize deforestation in the Amazon, while putting local agriculture and communities at risk. Their legal opinion showed that the country would be violating its own laws by allowing this through and ensuring Peru's failure to meet international commitments regarding climate protection. Courtesy of Tania Wamani. “The legislature definitely has put in place a series of regulations without knowing the reality,” Cintora said. “When someone writes a regulation from their desk without knowing the reality, these are normally well-intentioned. But when you explain to them the reality, it’s counterproductive. And that’s what’s happening with issues like deforestation, illegal mining and the environment…The idea instead should be to call upon the rural communities that can give their opinion on regulations that would affect their territories.” A balance in trust Leaders like Odicio and Valerio remain skeptical of the state. Cintora’s vision is to work alongside communities, so they begin to trust police and prosecutors with time. “Our job is to gain their trust,” Cintora said, “and through these task forces, we’re having many meetings with different communities in the Peruvian Amazon, and we are on the right track.” One case took prosecutors and police a decade to resolve . In 2014, in the small town of Saweto, four indigenous leaders were killed. The case didn’t go to trial until 2022, when the state eventually won convictions against four men they accused of being involved. In 2023, those cases were declared null by a regional judge. For many in Peru’s activist communities, this signaled an important lesson: even in the rare case that the state seeks a conviction in these murders, the courts can’t be trusted. Only in April 2024, did the case finally go to the Superior Court of Ucayali and the sentences were restored. Cintora saw the case as a win, as it affirms faith in the prosecutor’s office for native communities. Despite funding problems, he hopes that this kind of work can make a difference in restoring collaboration with these communities. “With the small amount of resources we have, we do what we can,” Cintora said, “because we can’t sit around crying that there’s no money.” ∎ SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Facebook Twitter LinkedIn Add paragraph text. Click “Edit Text” to customize this theme across your site. 1 Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Features Peru Lima Indigenous self-governance Ucayali Rural strategic underdevelopment VRAEM Valle de los Rios Apurimac Ene y Mantaro Shining Path Central Ashaninka of Río Ene Kakataibo Militarism Cartel Drugs Cocoa Plant Amazon Rainforest Andres Mountains Trade Route Illicit Trading Forced Disappearance Free Speech Militant Anti-Forest Law Journalism Execution Underdevelopment Development Filmmaking Photography Human Rights Activism NGO Agriculture Climate Change Deforestation Community Security Climate Security European Union Human Trafficking Assassination Whatsapp Puerto Azul Conflict Justice La Guardia Indigena Volunteer Program Latin America South America Protest Search Party Aviation Transportation Logging Mining Construction Violence Corruption Politics Economy Poverty Terrorism Disappearance State Sanctioned Violence Policing Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 On That Note:

The Revolution won’t materialise / out of your mere thoughts. FICTION & POETRY Skulls The Revolution won’t materialise / out of your mere thoughts. K Za Win This is the final poem, dated 23.02.2021, by K Za Win (1982–2021), who was shot dead by Myanmar security forces at a protest in Monywa on 3 March 2021. Revolution will be in bloom only when air, water and earth— all the nutrients are in agreement. Before the Revolution opened out, a bullet blew someone’s brains out, out on the street. Did that skull have a message for you? Faced with the devil is this or that statement relevant? In the dharma of dha you can’t just wave the sword. Step forward and cut them down! The Revolution won’t materialise out of your mere thoughts. Like blood, one must rise. Don’t ever waver again! The fuse of the Revolution is either you or myself! First published in Adi Magazine , Summer 2021, t his poem appeared in Picking Off New Shoots Will Not Stop the Spring: Witness Poems and Essays from Burma/Myanmar 1988-2021 , edited by Ko Ko Thett and Brian Haman, and published by Gaudy Boy in North America, Balestier Press in the UK, and Ethos Books in Singapore. This is the final poem, dated 23.02.2021, by K Za Win (1982–2021), who was shot dead by Myanmar security forces at a protest in Monywa on 3 March 2021. Revolution will be in bloom only when air, water and earth— all the nutrients are in agreement. Before the Revolution opened out, a bullet blew someone’s brains out, out on the street. Did that skull have a message for you? Faced with the devil is this or that statement relevant? In the dharma of dha you can’t just wave the sword. Step forward and cut them down! The Revolution won’t materialise out of your mere thoughts. Like blood, one must rise. Don’t ever waver again! The fuse of the Revolution is either you or myself! First published in Adi Magazine , Summer 2021, t his poem appeared in Picking Off New Shoots Will Not Stop the Spring: Witness Poems and Essays from Burma/Myanmar 1988-2021 , edited by Ko Ko Thett and Brian Haman, and published by Gaudy Boy in North America, Balestier Press in the UK, and Ethos Books in Singapore. SUB-HEAD ALSO IN THIS ISSUE: Clare Patrick (Our) Worlds and (Plant) Wisdoms Kareen Adam · Nazish Chunara A Dhivehi Artists Showcase "Skulls" by Hafsa Ashfaq. Mixed-media, digital illustration & acrylic on paper (2023). SHARE Facebook Twitter LinkedIn Poetry Myanmar Military Coup Dissident Writers Revolution Spring Revolution Pogroms Picking Prison Incarceration Military Crackdown Politics of Art Adi Magazine Monywa Posthumous Burma Histories of Revolutionary Politics K ZA WIN (1982-2021) was a land rights activist and a Burmese language teacher in addition to a poet. In 2015, he marched with students along the 350 mile route from Mandalay to Yangon for education reforms until the rally was shut down near Yangon and he along with most of the student leaders were arrested and jailed. He spent a year and one month in prison, after which he published his best-known work, a collection of long-form poems, My Reply to Ramon . In the 2020 election, he said he didn’t vote for the National League for Democracy, whose policies he was very critical of, but when the NLD won by a landslide and an election fraud was alleged as an excuse for the 2021 military coup, he was on the frontlines of the anti-coup protests. He was shot dead by Myanmar security forces at a protest in Monywa on 3 March 2021. 4 Apr 2023 Poetry Myanmar 4th Apr 2023 To Posterity Paweł Wargan 30th Apr In the Yoma Foothills Tun Lin Soe 26th Feb Whose Footfall is Loudest? Thawda Aye Lei 24th Feb Mahrang Baloch's Struggle Against Enforced Disappearances Shah Meer Baloch 18th Feb Discourses on Kashmir Huma Dar · Hilal Mir · Ather Zia 24th Oct On That Note:

ARTIST Mohamed Ikram MOHAMED IKRAM is a music producer, engineer, and fine artist. He intuitively sketches and draws to reflect on his personal nature in Maldivian society and in a larger political context. ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

Since Manto's time, screenwriters have been battling studios that prioritise commercial interests, political imperatives, and profits over original, meaningful storytelling. SWA, the trade union for screenwriters, is at the frontlines of screenwriters chafing against the inequalities and wage theft that stifle artistic expression in Bombay's film industry. THE VERTICAL The Cost of Risk in Bombay’s Film Industry AUTHOR AUTHOR AUTHOR Since Manto's time, screenwriters have been battling studios that prioritise commercial interests, political imperatives, and profits over original, meaningful storytelling. SWA, the trade union for screenwriters, is at the frontlines of screenwriters chafing against the inequalities and wage theft that stifle artistic expression in Bombay's film industry. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Essay Bombay Screenwriters Association SWA Films Film-Making Labor Rights Trade Unions Directors Film Studios Radical Writers Saadat Hassan Manto Hindutva Minimum Wage Minimum Basic Contract The Legend of Shaheed Bhagat Singh Working Conditions Baburao Patel Nanubhai Desai FilmIndia Creative Labor Pukar Leila Majnu Genre Dabangg Singham Simmba Mary Kom Dangal Fair Compensation Copyright Protection Raajneeti Anjum Rajabali Film Enquiry Committee Bollywood Wage Depression Wage Theft Hitesh Kewalya Shubh Mangal Savdhaan Rom-Coms Police Films Action Films Sports Biographies Amazon Prime Netflix Lionsgate OTT Disney+ Saiwyn Quadras AMPTP Writers Strike WGA Monkey Man BJP Annapoorni Saffron 1975 Emergency Censorship Kangana Ranaut Tejas Ram Setu Namrata Joshi Labor Labor Movement Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. DISPATCH Essay Bombay 5th Aug 2024 Saadat Hassan Manto, a luminary of Urdu literature, once embarked on a hunger strike. It was the early 1940s, and the writer was working for one hundred rupees a month under the Bombay-based film director and producer Nanubhai Desai . Manto asked Desai for pending wages and additional money to rent out a flat for his new bride and himself. Desai refused, and Manto resigned. In an essay on the film critic Baburao Patel, Manto wrote about the beginning of his hunger strike on the steps of Desai’s production studio. Later, with Patel’s help, he recovered a little more than half of his pending dues. The pay seemed too meagre for too little in return, with many of Manto’s scripts never even making it to production because of their radical nature. This isn’t just a story from a time when critics had enough muscle in the industry to wrestle producers into paying writers. It is also a story of precarity. It depicts the tenuous relationship between screenwriters and the screens they write for, neither of which are unique to Manto’s career nor an artefact of the past. This disempowerment is the reason why contemporary films feel ill-equipped to respond to urgent questions. Current industry conditions resemble that of the 1940s: financial backing for subversive cinematic concepts is hard to come by, especially without a major star. In a decidedly censorial political climate and hostile communal environment, writers increasingly face complicated legal and social backlash. Creativity is not incentivised. It’s a liability. The lack of creativity present in Bombay talkies during Manto’s tenure did not go unnoticed. Around the time of his hunger strike, the leading film magazine FilmIndia published a hit piece on the standardised format of Bombay cinema. It denounced “Indian screenwriters” as carrying “little originality” and producers as lacking “imagination completely.” An article edited by Baburao Patel declared that producers “imitate others too often.” For example, the “sensational success” of Pukar (1939) gave way to period dramas and historical fiction, and the popularity of Leila Majnu (1945) enabled the “rise of an epidemic of new love themes.” If a particular genre worked, the industry would churn out movies of the same cut until the fad petered out and a new concept supplanted it. Creative risks were scarce and, at best, sporadic. One could say the same of Bollywood today. With Dabangg (2010), a blockbuster peddling nationalist police propaganda, came a flurry of others like Singham (2011) and Simmba (2018). Hit sports biographical films like Bhaag Milkha Bhaag (2013) encouraged movies like Mary Kom (2014) and Dangal (2016). But what FilmIndia failed to highlight, like many other critics at the time, was the seeming inability of screenwriters to write meaningful scripts. Critics failed to connect Manto’s hunger strike to writers’ limitations in exploring their creativity. Production pressures, the absence of collective bargaining, and precarious working conditions kept writing stagnant. One organisation is gradually rebuilding collective strength despite entrenched resistance from the film industry’s top brass. The Screenwriters Association (SWA) , a formally registered trade union since 1960, represents more than 57,000 Indian screenwriters who work throughout the film industry. The union handles copyright protection, legal disputes about fair compensation, and more. Though it may not have been a vehicle for collective bargaining in the past, SWA may finally become a force to be reckoned with. Apart from its ongoing struggle for labour protections, the union has strived to become a space for mentorship. Public script labs, for instance, nurture new relationships that address inadequate diversity—especially caste—when it comes to who is allowed to write the films that make it to the floor. Anjum Rajabali, SWA’s Executive Committee Member and the renowned screenwriter of The Legend of Shaheed Bhagat Singh (2002) and Raajneeti (2010), is a major driving force for the union’s efforts. According to screenwriter Darab Farooqui, screenwriters “are all following his lead.” Rajabali is generous with his time, accepting interview requests from airports amidst ongoing health issues. His commitment to building the union is clear. The intensifying struggle for screenwriters’ protections resulted in the Minimum Basic Contract, which raised questions about whether screenwriters can be recognized as workers and the rights that should be afforded to them. Though film industries are subject to intense content regulation, they lag far behind in enforcing labour mandates. SWA’s proposed contract highlights the asymmetric dynamic between writers and production studios and pushes for major changes. In 1951, India’s first Film Enquiry Committee published a searing investigation into the conditions of cinema industries across the country. The report largely agreed with FilmIndia that “the creative activity of production” is too dependent on commercial requirements and lamented that writers end up “unknown even if they are competent.” An unnamed producer admitted to the committee that “we are trying to sell to the public something in a package.” The committee proposed separating financial investments from innovation but it was never implemented. Bombay studios continued to prioritise profit and loss, a calculation in which screenwriters had little to gain. The industry remains dominated by those who want to sell movies and those who can mobilise significant funds for its package deals. Bollywood’s highest-grossing productions released last year shored up combined investments of nearly 2,000 crore Indian rupees. Yet, a new survey has brought to light the intensity of wage depression felt by screenwriters. The 2,000 crore cake cuts only the thinnest sliver for the storytellers who bring in its base ingredients. Saiwyn Quadras, an SWA member and the writer who helmed films like the Priyanka Chopra-starring Mary Kom , shares that “non-payment of dues is a big thing. It happens to me even now.” Seasoned screenwriter and director Hitesh Kewalya says: “When you come to a city like Bombay as a young writer, you have to earn a livelihood. So, you take up two to three projects at the same time. Out of those, only one might actually happen. Even then, you might not get paid fully. It becomes a vicious cycle, and you end up exhausted.” Kewalya, with more than 25 years of industry experience and two hits to his name, including Shubh Mangal Savdhaan— one of the first explicitly queer Bollywood rom-coms—says the industry doesn’t encourage creativity. “It's like running on a treadmill, and if you're lucky enough, you might manage to pay your bills.” One key tactic deployed by studios is the percentage model. Scripts are evaluated on a per-draft basis, with pending dues for works in progress. This means huge portions of a writer’s income are dependent on producers’ approval of unfinished screenplays. As with film industries elsewhere but arguably at a larger scale, producers gauge scripts based on their perception of the content’s potential popularity and arbitrary predictions on the return on investment it would generate. It does not, however, provide any guarantee for writers’ wages. “You won’t know if a story works until you write it, and many times you don’t get to write the whole story,” Rajabali shares. How can a writer take risks with a script if their dues are tied up in its incomplete versions? If a script is rejected before completion, the writer may receive up to a third of their owed wages regardless of their efforts—which are not always translated onto the page. The work of writers is treated as disposable. Far more scripts get shelved than made. As a result, the union has demanded a minimum compensation of 12 lakh rupees for the delivery of the story, screenplay, and dialogue, along with mandatory credits for any screenwriter who has written at least a third of a script. These problems exist even in contracts with multinational corporations like Amazon Prime Video and Netflix, which together constitute a 35% audience share amongst OTT platforms active in the subcontinent. Quadras says that international entities, much like their domestic counterparts, view Indian writers as a “source for cheap labour.” Thus, the SWA’s call for work stoppage on American projects during the WGA strike was more than a show of solidarity. It signalled a pressing need to transform screenwriters’ relations with Indian subsidiaries of global streaming services and production studios like Lionsgate India and Disney+ Hotstar. According to Rajabali, contracts with foreign and domestic studios often come with a clause prohibiting screenwriters from consulting with or approaching the union. These clear attempts at union-busting mirror those of Hollywood’s Alliance of Motion Picture and Television Producers (AMPTP). The material connections between working conditions and labour resistance internationally, and the possibilities both engender for domestic cinema workers, are rife. There is little information on how WGA’s win could impact foreign subsidiaries held by AMPTP-associated companies. But the SWA believes at least a precedent has been set, and its proposed Minimum Basic Contract is geared towards leveraging this historic moment. Even the wrong colour can mean the death of a film in the current Indian context. Where some film workers believed streaming studios to be a window of freedom, recent Central regulations have pulled the blinds on that. Netflix’s cancellation of Dev Patel’s Monkey Man (2024) and the film’s removal of saffron, a colour popularly associated with the ruling Bharatiya Janata Party (BJP) led by Narendra Modi, has not improved the film’s chances of being released in the country. The Tamil film Annapoorni (2023) elicited legal cases from two right-wing outfits based in Bombay for “hurting religious sentiments of Hindus” and led to its removal from Netflix’s India catalogue. The list of films officially and unofficially banned from being shown in cinema halls in different Indian states at the behest of right-wing political and vigilante outfits is even longer. There is justified fear, then, that government regulation could come to be a double-edged sword. It could work towards alleviating unfair labour practices, but it could also expand the broader pattern of state-sponsored Hindutva agendas. SWA is drawing contingency plans through the Minimum Basic Contract for these overtly political acts. Their proposal demands the removal of contract clauses that shift the responsibility away from producers and onto writers. Currently, producers are guarded against legal, political, and religious backlash, while writers are provided little to no protection from their employers. “Let’s say there’s a scene that shows a fight outside a temple. The studio’s lawyers will tell you to change it. Contractually, the writer is either obliged to change it or risk bearing the consequences on their own head. This is a clause we have to fight,” says Quadras. “And for that, we need collective negotiating power.” But most mainstream Hindi films today happily toe the government line, much as they did in another era of censorship: the Emergency. In June 1975, as a response to increasing worker agitations, internal problems in the Congress party, and legal challenges against her election, India’s two-time Prime Minister Indira Gandhi enacted a state of Emergency. State and national elections were suspended, dissidents were arrested, and trade union actions were brutally repressed. People trapped in poverty were forcibly sterilised. Hundreds of thousands were displaced. Bombay cinema, amongst other industries, was unabashedly censored. Scholar Ashish Rajadhyaksha notes that conditional investments made by the Film Finance Corporation (now known as National Film Development Corporation ) during the early ‘70s petered out immediately after the Emergency. The state deepened its interests in media apparatuses and pursued a policy of highly restrictive censorship, impeding new-wave efforts like Mrinal Sen’s Bhuvan Shome . In Bombay, creative risk fell to the wayside and narratives critical of the public and private nexus vanished. The angry, young man, especially as personified by Indian actor Amitabh Bachhan, represented a specific kind of radical, working-class man, was retired from films. Instead, characters like the fantasy shape-shifting woman-cobra in Naagin (1976) and mythological warriors like those in Dharam Veer (1977) appeared in its place. Gandhi’s government bureaucratically chopped political satires or outrightly banned certain movies . Half a century later, the pattern repeats, albeit this time with a distinctly communal spin. The bulk of Hindi films released today consist primarily of majoritarian propaganda , safe’ biographical , mythological, or period movies . Creative and political risk has been rendered almost non-existent, but making choices that could be seen as either adhering to or being silent on the Hindutva narratives have not protected Bollywood from conservative calls for boycotts. Adipurush (2023), a film on the epic Ramayana , created by the self-proclaimed Hindu nationalist screenwriter Manoj Muntashir, elicited right-wing criticism and flopped upon release. Similarly, actress turned BJP politician Kangana Ranaut’s Hindi language film, Tejas, and Tamil language film, Chandramukhi 2 , did not muster enough to balance their budgets. Hindutva’s poster boy Akshay Kumar was also unable to bring supremacists to purchase tickets for Ram Setu (2022), an archaeological action film seeking to prove the existence of Ramayana , which prolific film critic Namrata Joshi has labelled as “a show of Hindu victimhood.” The race to appease Hindutva groups seems to be an unwinnable one. Still, some in the industry refuse to abandon the race. Despite the overwhelming web of financial and political struggles, screenwriters like Rajabali, Kewalya, and Quadras march on, and younger aspirants continue to join their ranks. “I am a storyteller. I don’t know how to do anything else,” says Kewalya. What can a screenwriter do? Where can their stories go? If such forces continue to helm decision-making, what becomes of creative integrity and freedom? Is the Hindi film industry doomed to creating “products” or “packages”? Can it transcend its confines? Can it deliver necessary stories—ones with substance, original voices, and honesty? The SWA might be slow-paced, but it is determined. It does not shy away from challenging the power dynamics that currently exist—on and off-screen—and it might just be the most hopeful response to the industry’s continued prioritisation of profit over people. Manto’s creative descendants have come a long way from striking at the steps of a studio. But they have an even longer way ahead of them. ∎ Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Next Up:

Four South Asian authors talk about children's publishing & narratives that come from pain but create joy. COMMUNITY Dissident Kid Lit Saira Mir · Shelly Anand · Vashti Harrison · Simran Jeet Singh Four South Asian authors talk about children's publishing & narratives that come from pain but create joy. Political dissidence isn't often thought to be part of parenting discourse or children's reading practice—but it must be. In our third panel, four South Asian authors talk about navigating children's publishing and the balance of narratives that come from pain but create joy. Saira Mir, Simran Jeet Singh, Vashti Harrison, & Shelly Anand discussed why their books tackle issues including race, religion, age, and body image, and how children's literature can aim to decenter the white gaze, break out of victimized narratives, and spark conversations in young readers. Watch Deputy Editor Aditya Desai on how this panel came about. The panel opened with Shelly reading from her book, Laxmi's Mooch , that has since been published to great acclaim. It then moved into a conversation with Saira, Simran, and Vashti and their books, Muslim Girls Rise , Fauja Singh Keeps Going , and Festival of Colors , respectively, while tackling such questions as: How do you balance the desire to claim ownership of narratives or to offer representation? How do we navigate being asked to write about communal trauma, pain versus writing what we want? What are the strategies of breaking out of a victimizing framework? We conclude with an illustration demo from Vashti on how she collaborates with the writer's storylines and finds ways to place her own political stamp on the book! EDITOR'S NOTE: Since this panel on 20th December 2020, our panelists have published more notable books (some recent, others upcoming in 2023). Check for updates by navigating to their pages below. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Watch the panel on YouTube or IGTV. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Panel Kid Lit Children's Literature Age Ageism Black Solidarities Islamophobia Anti-Racism Publishing Industry Public History Colorism Leadership Future Dream Spaces Dreaming Spiritual Practice Art Practice Illustration Demonstration Reading Muslim-American Narrative Identity Procreate Sikh Spiritualism Biracial Diaspora Diasporic Distance Dreamers Legends Muslim Girls Brownness In-Progress Affirmation Art Knowledge Comics Debut Authors Public Arts Authenticity Genre Tropes Religion Generational Stories Kindness as Politics Personal History Experimental Methods Language Comic Humor Pedagogy Absurdity Literature & Liberation Art Activism Fiction Craft Race Metaphor Vernacular Literature Politics of Art Victimization Narratives SAIRA MIR is a physican and author of the award-winning picture book Muslim Girls Rise (2019). This biographic anthology was born out of the need to counter Islamophobia and fill her daughter’s heart with amazing Muslim women like her. Her new book, Always Sisters: A Story of Loss and Love will be published by Simon & Schuster in August 2023, available for preorder at her website. SHELLY ANAND was born and raised in Georgia by immigrant parents from India. She is a human rights attorney fighting for immigrant and workers' rights in the South, and Co-Founder and Executive Director of Sur Legal Collaborative. She lives in Decatur, Georgia with her husband and two children. She is the author of the picture book Laxmi's Mooch, (Kokila, 2019), and co-author with Nomi Ellenson of I Love My Body Because (Simon & Schuster Kids, 2022). VASHTI HARRISON is an NYT-bestselling author, illustrator, and filmmaker, originally from Onley, Virginia. She has a background in cinematography and screenwriting and a love for storytelling. She is the author and illustrator of the best-selling middle grade series Little Leaders , Little Dreamers , Little Legend s, the illustrator of the best-selling picture books Hair Love by Matthew Cherry, Sulwe by Lupita Nyong’o, which received a Coretta Scott King Illustrator Honor. Her latest children's book Big will be published by Little, Brown in May 2023. Vashti is a two-time recipient of the NAACP Image Award for Outstanding Literary Work for Children. Her experimental films have shown around the world at film festivals and venues including the New York Film Festival , Rotterdam International Film Festival and Edinburgh International Film Festival . SIMRAN JEET SINGH is Executive Director for the Aspen Institute’s Religion & Society Program and author of The Light We Give: How Sikh Wisdom Can Transform Your Life (Riverhead Books, 2022) and the award-winning children’s book Fauja Singh Keeps Going: The True Story of the Oldest Person to Ever Run a Marathon . He is a visiting professor of history and religion at Union Theological Seminary and a Soros Equality Fellow with the Open Society Foundations. In 2020 TIME Magazine recognized him among sixteen people fighting for a more equal America. His work has appeared in the New York Times, Washington Post , and CNN , and he is a columnist for Religion News Service . Panel Kid Lit 20th Dec 2020 On That Note: Heading 5 23rd OCT Heading 5 23rd Oct Heading 5 23rd Oct