WRITER, CURATOR Pramodha Weerasekera PRAMODHA WEERASEKERA is an art writer and curator based in Sri Lanka. She writes regularly about feminist artistic practices and occasionally about art books from South Asia. Her writing has appeared in e-flux , Art Review, Hyperallergic , BOMB , and several exhibition publications. Her curatorial projects have been presented at the Khoj International Artists Association in New Delhi, the Museum of Modern and Contemporary Art, Sri Lanka, and the Ceylon Literary and Arts Festival in Colombo. She is the Assistant Curator of Edition 9 of Colomboscope. WRITER, CURATOR WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

JOURNALIST Andrew Fidel Fernando ANDREW FIDEL FERNANDO is a journalist, senior writer at ESPNcricinfo , and the award-winning author of Upon a Sleepless Isle . JOURNALIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

FACT-CHECKER Uzair Rizvi UZAIR RIZVI is a journalist, formerly with the Agence France Presse (AFP), who covers misinformation, elections, and technology. He is based in Delhi FACT-CHECKER 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 Iraq Ryan Biller 26 Oct 2024 th · THE VERTICAL REPORTAGE · LOCATION Occupation and Osmosis 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 RYAN BILLER is a journalist who covers politics, conflict and climate. 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:

There's really no shortage of Tamil works to translate, according to N Kalyan Raman, the acclaimed Tamil translator of Perumal Murugan's novel “Poonachi.” On the docket: plays, poems, and works by radical Modernist Tamil literary figures spanning much of the 20th century. INTERACTIVE Chats Ep. 5 · Tamil translation & Perumal Murugan's “Poonachi” There's really no shortage of Tamil works to translate, according to N Kalyan Raman, the acclaimed Tamil translator of Perumal Murugan's novel “Poonachi.” On the docket: plays, poems, and works by radical Modernist Tamil literary figures spanning much of the 20th century. N Kalyan Raman In Episode 5, Aishwarya Kumar had a discussion on Instagram Live on Tamil translation with acclaimed writer and translator N Kalyan Raman, most famously the translator of Perumal Murugan's Poonachi: The Story of a Black Goat , which won the Sahitya Akademi's Translation Award in 2022. Raman discusses the nature of translation, his experience with Murugan's work and the time when he encountered it, as well as seminal Modernist Tamil literary figures, such as Pudhumaipithan, known for his revolutionary and satirical fiction in a radical vein, as well as contemporary poets such as Perundevi. There's no shortage of works to translate, Raman argues convincingly. The Tamil short story, he argues further, is the true peak of Tamil modernist achievement in literature. In Episode 5, Aishwarya Kumar had a discussion on Instagram Live on Tamil translation with acclaimed writer and translator N Kalyan Raman, most famously the translator of Perumal Murugan's Poonachi: The Story of a Black Goat , which won the Sahitya Akademi's Translation Award in 2022. Raman discusses the nature of translation, his experience with Murugan's work and the time when he encountered it, as well as seminal Modernist Tamil literary figures, such as Pudhumaipithan, known for his revolutionary and satirical fiction in a radical vein, as well as contemporary poets such as Perundevi. There's no shortage of works to translate, Raman argues convincingly. The Tamil short story, he argues further, is the true peak of Tamil modernist achievement in literature. SUB-HEAD ALSO IN THIS ISSUE: Kareen Adam · Nazish Chunara A Dhivehi Artists Showcase Shebani Rao A Freelancer's Guide to Decision-Making Subscribe to our newsletter for updates on SAAG Chats, an informal series of live events on Instagram. SHARE Facebook Twitter LinkedIn Live Chennai Tamil Translation Perumal Murugan SAAG Chats Poonachi Modernism Tamil Modernist Literature Playwriting Sahitya Akademi Progressive Writers Radical Writers The Story of a Goat Pudhumaipithan Satire Perundevi Tamil Diasporas Language Language Politics Trail by Silence Resolve Pyre Inequality Modernist Literature Avant-Garde Traditions The Tamil Radical Tradition Ashokamitran Devibharathi Current Show Politics of Translation Ambivalence Poomani Heat Vaasanthi The Goat Thief Talking Animals Scroll Seasons In The Palm Pastoral Primitivism Avant-Garde Form Eru Veyyil Tamil Nadu One Part Woman The Colours of Evil Si Su Chellappa Short Stories Poetry N KALYAN RAMAN has been translating Tamil fiction and poetry into English for the last two decades, for which he received the Pudumaipithan Award in 2017. Some of the fiction writers he has made accessible to an Anglophone audience include the late Ashokamitran, Devibharathi, Vaasanthi, Perumal Murugan, and Poomani. He has translated numerous Tamil poets, including forty poems by forty Tamil women poets for an anthology curated by Kutti Revathi. He received the Sahitya Akademi Award for Translation in 2022 for his translation of Perumal Murugan's Poonachi . 7 Dec 2020 Live Chennai 7th Dec 2020 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:

Wielding terror and fear in the absence of credibility, extrajudicial detention is a defining strategy of political terror. In this comprehensive survey of the tactics of illegal detention employed by the American, Israeli, and Assad regimes, enforced disappearance emerges as the swan song of decaying empires on the brink of collapse. Wielding terror and fear in the absence of credibility, extrajudicial detention is a defining strategy of political terror. In this comprehensive survey of the tactics of illegal detention employed by the American, Israeli, and Assad regimes, enforced disappearance emerges as the swan song of decaying empires on the brink of collapse. Jacobo Alonso, Periplo - Safe Migration (2024). 18 laser-cut modules of polyester felt, 300cm each. Artist Syria Ayah Kutmah 22 Jan 2025 nd · FEATURES REPORTAGE · LOCATION Damnatio Memoriae In his Prison Notebooks , Gramsci describes the interregnum of a dying civilization as it gives birth to a new state order. “Now,” he writes, “is the time of monsters.” In our time of monsters, enforced disappearance reemerges as an extrajudicial tool for “extraordinary” times. Such Orwellian simplicity belies the systematic practice of one of the worst crimes of the twenty-first century. Millions of people across the globe have disappeared in political terror schemes as part of a practice that has only increased over the last few decades, tied to the wars of the current era. Enforced disappearance is a crime distinct even from arbitrary detention or mass incarceration–rather than leveraging the known carceral architectures of the state, enforced disappearance relies on parallel hidden networks created to remove someone entirely from visibility. The International Convention for the Protection of All Persons from Enforced Disappearance formally defines the practice as: the “arrest, detention, abduction, or any other form of deprivation of liberty” by state or para-state agents followed by the state’s “refusal to acknowledge the deprivation of liberty or by concealment of the fate or whereabouts of the disappeared person, which place such a person outside the protection of the law.” There are no exceptions to this protection under international law. The practice of enforced disappearance, when widespread or systematic, constitutes its own independent crime against humanity. While kidnapping by the state is deemed extrajudicial—exceeding boundaries of the law and the ordinary—the state, in emergency, engages in the conspiracy to kidnap with impunity. Total wars waged by imperial powers abroad, dictatorial regimes within, and occupying powers against indigenous populations deploy enforced disappearance as a defining strategy of political terror. Three contemporary cases exemplify, even define, each horrific model: the U.S.’s global war on terror, the Assad regime in Syria, and the Israeli genocide in Gaza. In each case, the carceral architectures of the state or occupying power expanded grossly in wartime settings to conduct systematic disappearance campaigns against tens and hundreds of thousands of people. Such campaigns were inevitably, and by design, tied to a litany of other crimes including torture, sexual violence, arbitrary detention, collective punishment, and extrajudicial killing. Collectively, they represent among the worst cases of enforced disappearance in this century. An Archipelago of Disappearance: the U.S. Global War on Terror In 2001, the United States launched its ‘global war on terror,’ initiating a new mode of warfare for the many imperial wars and military campaigns fought thereafter, including the U.S. invasions of Iraq and Afghanistan, and the expansive military campaigns undertaken in the Middle East, North and East Africa, and Southeast Asia. As part of this global war, the U.S. developed a conglomerate of overseas carceral architectures to facilitate the capture and detention of individuals across territorial borders or even arenas of war. The physical infrastructure of these architectures were created in tandem with new legal arguments inventing new categories of persons—i.e., the “unlawful combatant”—to systematically deprive those taken of their fundamental rights and protections. In Iraq and Afghanistan, these structures took on more traditional forms of carceral architectures under foreign military occupation: military detention camps, internment facilities, and converted prisons run by U.S. and coalition forces. Hundreds of thousands of Iraqis and Afghans, overwhelmingly civilians, were captured and held indefinitely without charge. One report puts the total number of Iraqis arrested in the first five years of the invasion alone at 200,000, of whom 96,000 spent time in U.S.-run prisons and camps. Their capture under the new “unlawful combatants” regime stripped them of age-old prisoner of war protections under the Geneva Conventions. Arbitrary detention, torture, abuse, and sexual violence were widespread and systematic in these prisons, cemented in infamy by Abu Ghraib in Iraq and Bagram in Afghanistan. ‘ De facto’ disappearance, first termed in a 2004 ICRC report , was endemic to the mass detention campaigns undertaken by U.S. forces, who rarely informed the detained individual or their family where or how long they would be taken. Beyond the localized carceral architectures in Iraq and Afghanistan, the United States, as part of a broader war aim superseding delineated boundaries and war zones, created new extraterritorial carceral architectures to facilitate the forcible disappearance of hundreds of Muslim men and boys. Perhaps no site symbolizes this more than the notorious penal colony in Guantánamo Bay. Yet it was not the only one. Between 2001 and 2009, the CIA Rendition, Detention, and Interrogation Program ran a transnational network of covert prisons, known as black sites, for the secret detention and brutal torture of men captured in the “war on terror.” Euphemisms served as a doublespeak to conceal a secret disappearance scheme of an unprecedented transnational scope. “Rendition” was the act of enforced disappearance, “detention,” secret and incommunicado, and “interrogation,” simply torture. The locations of the secret prisons remain classified. Information that has been declassified is enough to paint a macabre network of torture sites across the world. Some sites were run entirely by local “host” nations, some collaborated with local security forces, and others remained under exclusive American control on foreign territory. Men captured and transferred to CIA custody were “rendered” across black sites, in what a Guantánamo defense lawyer once described as an “international criminal enterprise” of human trafficking between foreign “torture pits.” According to the U.S. Senate report on torture, at least 119 men were known to have been held in the CIA torture program. Torture in the black sites, authorized by secret legal memos written by the U.S. Department of Justice, took on perverse and methodical forms including waterboarding, sleep deprivation, walling, sodomy, mock executions, and pure human experimentation. At least one detainee died in CIA custody; no exact number is known. An untold number of individuals died in U.S. custody elsewhere in Iraq and Afghanistan. Then there is Guantánamo, the most infamous and enduring piece of the extraterritorial carceral architecture created in the U.S.’s global war on terror. A prison island—or, more accurately, an American penal colony on Cuban territory—the military detention camp encompassed the most diverse population of Muslim men and boys captured by U.S. or allied forces and disappeared across seas. Nearly eight hundred men from 48 countries were held in Guantánamo. When the prison first opened in 2002, only the nationalities of prisoners were disclosed. In 2004, the U.S. began revealing the names of the men and boys held, propelling efforts by international organizations, monitoring groups, and civil society to represent the men and contact their families. Testimony by survivors reveal the physical and psychological torture endemic to the first several years of the camp. Two decades of domestic and global backlash, litigation, and advocacy campaigns forced the release of most of the men. Twenty-seven prisoners still remain , including sixteen approved for transfer and three “forever prisoners.” Each carceral site or network in Iraq, Afghanistan, Cuba, or undisclosed locations across the world did not operate in isolation. Rather, they formed parallel and at times intersecting networks under the U.S.’s global war on terror. Many Muslim men captured and held in the U.S. military detention center in Bagram, Afghanistan, or tortured in CIA black sites, for example, were sent to Guantánamo. For many, the revolving door between carceral institutions across nations continued even after release. In this era, the U.S. pioneered powerful models of war and propaganda to conceal and acquit a disappearance and torture campaign amounting to war crimes and crimes against humanity under international law. Their proclaimed success foretold models others sought to follow. "Apátrida / Stateless" (2024), performance, isothermal emergency flag, 210x180cm. Courtesy of Jacobo Alonso. Annihilation and Enforced Disappearance in Syria Post-2011 Enforced disappearance has deep roots in Syria, practiced for decades under the Assad regime of both father and son—Hafez and Bashar al-Assad. Political dissidents, activists, and their relatives were routinely disappeared in secret intelligence and military prisons across Syria. These numbers first climaxed in the late 1970s and early 1980s under the reign of Hafez al-Assad, when tens of thousands of Syrians were disappeared in a systematic campaign culminating in the Tadmur prison massacre of 1980 and the Hama massacre of 1982. By then, Syrian prisons had gained a reputation for depravity, torture, and extrajudicial killings in an Arab world dominated by carceral states. The regime, entrenched in permanent ‘emergency’ doctrines and past successes quelling rebellion, was primed to respond existentially to any threat to its rule. In March 2011, a popular revolution arose in Syria, as Syrians joined the wave of Arab revolutions unfolding in the region. The response of the son mimicked the father: a total campaign of arrests, indiscriminate killings, siege, and collective punishment. In post-2001 fashion, Bashar borrowed the discourse du jour of an existential ‘war on terror’ necessitating extreme violence to ensure internal state survival. The results of the ensuing war were catastrophic: at least 350,000 Syrians were killed , 14 million displaced , and 155,000 forcibly disappeared . In this war, enforced disappearance became a primary tactic of state political terror and collective punishment. An integrated military-intelligence regime targeted civilians for mass arrest and torture. Hundreds of thousands of men, women, and children were kidnapped during protests, at military checkpoints, schools, hospitals, and from their homes, held incommunicado, and subject to horrific physical and psychological torture, including rape and sexual violence. The carceral architecture of the state expanded vastly to absorb the sheer volume of detainees. Military field courts issued interminable prison sentences and thousands of extrajudicial death sentences in secret trials lasting minutes. Sites like Tadmur military prison, closed in 2001, were reopened in 2011 to hold new populations of prisoners. The disappeared did not vanish in the fog of war. Smuggled documents, photos, and testimonies by survivors, defectors, and witnesses alike prove a meticulous record of the regime’s own systematic disappearance scheme. As early as 2014, the ‘Caesar’ photographs revealed over 28,000 pictures smuggled out by a military forensic photographer tasked with documenting the deaths of those killed in regime detention centers. The pictures evidence a perverse organizational scheme run by the state with bodies clearly marked by torture. State documentation and witness testimony elsewhere further uncovered the secret network of military hospitals, military-intelligence branches, ad-hoc detention sites, and prisons responsible for directing the arrest, torture, and killings of hundreds of thousands of civilians. In 2016, Amnesty International collaborated with Forensic Architecture to create the first 3D model of one such site: the infamous death chambers of Saydnaya Military Prison, where a then-estimated 13,000 prisoners were executed. Silence imposed on prisoners held in Saydnaya became a crude weapon of torture by the regime. Digital reconstruction of Saydnaya relied on architectural and acoustic modeling based on interviews with four survivors in a counter mapping effort that sought to break down both the physical and psychological architecture of silence imposed by disappearance. It was a powerful disruption to a structure that, until mere weeks ago, was impervious to time or human cost. The regime, backed by an impunity ‘won’ territorially in a war of annihilation, began issuing hundreds of death certificates for prisoners disappeared years earlier. Families who received the certificates were denied access to their bodies or any other means of verification. Enforced disappearance became its own phenomenon in Syria, spurring countless UN reports and proposed mechanisms that were all but paralyzed in achieving any resolution or accountability. In November 2023, the International Court of Justice issued a ruling against Syria, recognizing enforced disappearance as a violation of the Convention Against Torture, but fell short of ordering specific measures such as providing information of detainees’ whereabouts or allowing access to independent monitors. Elsewhere in Europe, former Syrian detainees and families of the disappeared pursued new avenues of accountability to bring individual perpetrators to account. In 2020, the first trial dealing with state torture in Syria took place in Germany against two former state officials who were convicted of crimes against humanity for their role in overseeing torture, sexual violence, forced imprisonment, and extrajudicial killings. As the fight for Syria’s disappeared stagnated, a Syrian rebel offensive launched in late November radically shifted the territorial status quo, culminating in the overthrow of the Assad regime ten days later. The liberation of each city was marked by the liberation of each prison within it, a metaphor physically upended by the breaking of each cell door. Once at Saydnaya, excavation teams worked for days to secure the release of the remaining detainees, some in levels below ground, captivating a nation scrambling to find their loved ones. Even now, the fate of over 100,000 detainees remains unknown . Enforced Disappearance As Genocide: Gaza After October 7 In Palestine, carcerality fundamentally underpins Israel’s settler-colonial project. Military occupation and an expansive apartheid regime form the larger prison within which the physical carceral architecture organizes the mass incarceration of hundreds of thousands of Palestinians. Since 1967, over 850,000 Palestinians have been arrested and imprisoned under the auspices of the Israeli military judicial system, the central mechanism of the occupation ruling over the West Bank and Gaza. Under this system, civilians are routinely arrested and tried according to an expanding set of Israeli military orders in military courts at a conviction rate of over 99%. Hundreds more are held indefinitely without charge or trial under administrative detention. It is a system bound up in innumerable individual human rights violations—arbitrary detention, fair trial violations, torture, forced deportation, the systematic prosecution of children—amid larger war crimes and crimes against humanity. One of them is the crime against humanity of apartheid. International human rights organizations and UN reports all describe dual legal regimes—military courts for Palestinians and civilian courts for Israeli settlers—that systematically privilege one racial group over another in a broader policy of domination and control under an apartheid regime. Other war crimes include the widespread prosecution of Palestinian civilians in military courts, the intentional deprivation of their right to a fair trial, the deportation of the occupied population to prisons and detention centers in the occupying power, and torture . Enforced disappearance comprises yet another feature of the Israeli carceral regime. Disappearance predates the creation of the military judicial system in 1967 and continued as an intermittent practice over the next several decades, often disguised by a patchwork of legal frameworks. In 2002, the Israeli Knesset passed the Unlawful Combatants Law , modeled after its U.S. post-9/11 predecessor , to retroactively legitimate the indefinite detention of Lebanese hostages. Three years later, the same law was applied to Palestinians from Gaza, enabling periods of secret and indefinite detention constituting de facto disappearance. More sinisterly, it laid the legal and structural groundwork for the total war on prisoners waged today. In retaliation to the breach of Gaza’s open-air prison on October 7, the Israeli regime issued a series of orders dramatically expanding its carceral architecture as it launched its genocidal war on Gaza. Palestinian prisoners held in Israeli prisons were cut off from almost all outside contact as conditions drastically deteriorated, prisoner abuse escalated, and Israeli occupation forces ramped up arrests across the occupied territory. Emergency amendments to the 2002 Unlawful Combatants Law broadened the scope of secret detention, which Israeli authorities immediately leveraged against the Gazan population. New secret military detention camps were erected exclusively to detain Gazans: Sde Teiman in the south and Anatot near Jerusalem. Elsewhere at Ofer Military Prison, Gazan detainees were cordoned off to open-air tent camps and the secret wing of Section 23 , held incommunicado, and hidden even from the larger Palestinian prisoner population. Beyond the known existence of these three sites, Israeli occupation forces disappeared thousands of Gazan men, women, and children across makeshift military barracks, settlements, prisons, hospitals, and open fields. The new clandestine regime served as an appendage to Israel’s larger carceral architecture. Whistleblower reports and testimonies by former detainees point to an integrated network of horrific torture camps across Palestine’s occupied geography. Among them, Sde Teiman stands as an emblem of the torture and abuse of Palestinian detainees, acquiring the same diseased colonial reputation of Abu Ghraib. Palestinians held in Sde Teiman are kept blindfolded in barbed wire ‘pens,’ starved, severely beaten, and subject to interrogations and torture that include electrocution, sexual violence, rape, waterboarding, and medical experimentation. In an adjoining ‘field hospital,’ injured Palestinian detainees were tied to hospital beds and practiced on by medical staff. Elsewhere across Israeli prisons and detention camps, Palestinian prisoners were subject to the same practices of torture, starvation, and deliberate medical negligence. The crime of enforced disappearance is central to the larger crime of genocide, a conclusion outlined months ago by Palestinian human rights groups and echoed in Amnesty’s latest report . Disappearance, like genocide, is practiced methodically: the population of Gaza is physically tagged, catalogued, and, if not forcibly displaced or killed , disappeared to unknown sites. Numbers accounting for the full magnitude of these crimes are still unknown, ranging between the tens and hundreds of thousands. They are, at the time of this writing, enduring crimes of no known boundaries. In October 2024, shortly after Israel launched its full war on Lebanon, a new amendment to the Unlawful Combatants Law designated two new military camps for detention in the north, prompting concerns they may be used to hold Lebanese detainees. This is the circular expansion of a law that first sought to legitimate the enforced disappearance of Lebanese detainees twenty-two years ago and which commandeers the legal architecture of disappearance today. The fate of the disappeared and detained remains central to ceasefire negotiations and emerging forums of accountability. "UN-Safe Migration" (2024), Polyester felt and laser cut fabric installation. Courtesy of Jacobo Alonso. The disappeared, in their absence, loom large over the present. Impunity granted to one political terror scheme emboldens another, cementing permanent states of emergency and creating varied national, transnational, and extranational architectures of disappearance. They are examples of a twenty-first century reality with the potential to produce even more destructive results, leveraging evolving surveillance technologies and age-old carceral traditions. It is an inevitability readily taken for granted; an inevitability, too, that serves the fear intended by these schemes. And yet, the enormity of resources required to sustain the secret disappearance of tens of thousands of people ultimately fail under their own grandiosity. The secrecy and structures of such crimes are untenable, even as they undeniably produce incalculable human loss. Our current moment only proves their frailty. Across the globe, the edifices of once horrific sites are being quietly shuttered by the state or actively dismantled by popular forces in the face of enduring local and global resistance. As Guantánamo turns twenty-three this month, another eleven Yemeni detainees held without charge were transferred to Oman, leaving only fifteen men remaining. In Palestine, the fight for tabyeed el-sujoun —to ‘cleanse the prison walls’—is carried on across all fronts by resistance groups, civil society, and transnational coalitions, including prisoners’ coalitions in the U.S. The breaking of prison doors in Syria, inspiring renewed efforts in places like Egypt , now beckons the daunting task of what comes after. New modes of documentation, accountability, and rehabilitation seek to tackle the crime of disappearance, with a particular focus on the survivors and families of the disappeared. The future of these structures, whether carcerality may emerge in new forms, will always remain a threat to the hard-won achievements of the present. Nevertheless, a rupture of a sort has begun, and the seam must be unraveled to its end. ∎ 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 AYAH KUTMAH is a Syrian writer and researcher. She has worked on prisoners' defense and advocacy in military tribunals in Guantánamo Bay and occupied Palestine. Ayah is U.S. Fulbright recipient and former visiting researcher at Birzeit University in the occupied West Bank. Her writing has been published in The Nation, Middle Eastern and North Africa Prison Forum, Institute for Palestine Studies, Inkstick, and Mondoweiss. Currently, Ayah is a J.D. candidate and Global Law Scholar at Georgetown Law, where she continues to work on a defense team representing a detainee held without charge in Guantánamo Bay, Cuba. JACOBO ALONSO holds bachelor's degrees in Computer Systems and Fine Arts. From 2014 to 2015, he studied at the University of Rennes 2 France. Alonso's work has been shown in 22 countries. He explores the opacity and versatility of the concept of the "Body" and the displacements it may have in different contexts and disciplines. Essay Syria Enforced Disappearances Disappearance Dissent Discourses of War Forced Disappearance Guantanamo Bay Gitmo Alienation Archive of Absence Archive Assad Regime Israeli Regime Sedneya Sednaya Prison Sde Teiman detention carcerality 9/11 post-9/11 world order prisoner's coalitions Hama War on Terror War Crimes CIA Abu Ghraib unlawful combatant Muslim Invisibilizing Muslims West Bank Gaza Palestine fair trial unfair trial Unlawful Combatants Law Anatot Nageb Ofer Military Prison 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 in conversation with Editor Kamil Ahsan. COMMUNITY How Immigration & Mental Health Intersect Journalist Fiza Pirani in conversation with Editor Kamil Ahsan. Fiza Pirani I’ve been very frustrated by the way that the media portrays suicide. Suicide contagion has been on the rise for teenagers in wealthy, suburban American neighborhoods. Financial prosperity does not protect them from mental illness. But suicide deaths still aren’t really reported on. RECOMMENDED: Foreign Bodies , a Carter Center-sponsored newsletter by Fiza Pirani, centering immigrants with a mission to de-stigmatize mental illness and encourage storytelling. One year after teen's suicide, Georgia father continues the fight , The Atlanta Journal-Constitution (Oct 27th, 2018), by Fiza Pirani I’ve been very frustrated by the way that the media portrays suicide. Suicide contagion has been on the rise for teenagers in wealthy, suburban American neighborhoods. Financial prosperity does not protect them from mental illness. But suicide deaths still aren’t really reported on. RECOMMENDED: Foreign Bodies , a Carter Center-sponsored newsletter by Fiza Pirani, centering immigrants with a mission to de-stigmatize mental illness and encourage storytelling. One year after teen's suicide, Georgia father continues the fight , The Atlanta Journal-Constitution (Oct 27th, 2018), by Fiza Pirani SUB-HEAD ALSO IN THIS ISSUE: Kareen Adam · Nazish Chunara A Dhivehi Artists Showcase Shebani Rao A Freelancer's Guide to Decision-Making Watch the interview on YouTube or IGTV. SHARE Facebook Twitter LinkedIn Interview Investigative Journalism Mental Health Climate Change Erasure The Intersections of Mental Health Suicide Contagion Immigration Foreign Bodies Teenagers Personal History 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. 16 Sept 2020 Interview Investigative Journalism 16th Sep 2020 On the Relationship between Form & Resistance Iman Iftikhar · Sharmin Hossain · Kalpana Raina · Maira Khwaja · Suneil Sanzgiri 17th Apr Nation-State Constraints on Identity & Intimacy Chaitali Sen 17th Dec Returning to the Sundarbans Amitav Ghosh 28th Oct The Ghettoization of Dalit Journalists Sudipto Mondal 14th Sep Experimentalism in the Face of Fascism Meena Kandasamy 7th Sep On That Note:

ARTIST Mohammad Sabir MOHAMMAD SABIR is an Afghan artist who graduated from Kabul University and recently completed his MFA at Goldsmiths, University of London. Through his practice, Sabir investigates the ongoing discrimination towards the ethnic Hazara minority in Afghanistan. Sabir highlights this in his Genocide series (2016-present), using intricate Hazaragi embroidery motifs on human bones as well as on cut trees, clay pots, and personal objects. His works have been exhibited in Kabul, Los Angeles, Tehran and Figueres. ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

Activist Ammar Ali Jan in conversation with Kamil Ahsan. COMMUNITY The Pakistani Left, Separatism & Student Movements AUTHOR AUTHOR AUTHOR Activist Ammar Ali Jan in conversation with Kamil Ahsan. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Interview Pakistan Student Movements Baloch Students Organization-Azad Haqooq-e-Khalq Movement Student Solidarity March Baloch Student Long March Pashtun Tahafuz Movement Shehri Tahafuz Movement Zaigham Abbas Universities State Repression Repression in Universities Partha Chatterjee Subaltern Studies Karl Polanyi People's Solidarity Forum Neofeudalism Neoliberalism Constitutionalism Pashtun Long March Trade Unions Electoral Politics Elections 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 Interview Pakistan 14th Dec 2020 We worry too much about divisions within the left. It can be very productive if people engage in a decent, intellectual conversation. Actual disagreements shouldn't be repressed for the sake of some mythical unity. Editor's Note: Throughout the Baloch student long march & the #PashtunLongMarch2Karachi , the Pakistani state cracked down on activists—including Ammar Ali Jan—and continues to. This conversation took place in September 2020. A detention order for Ammar Ali Jan was issued in late November 2020. It was far from the first time he had faced detention, intimidation, or threats from the state. Granted pre-arrest bail, the detention order was lifted in December by the Lahore High Court, with LHC Chief Justice Muhammad Qasim Khan saying: “In Pakistan, influential people will not let their rivals to move freely by misusing ‘detention orders’." 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:

ARTIST Isma Gul Hasan ISMA GUL HASAN is an illustrator from Lahore, Pakistan. She completed a Master’s in Illustration from University of the Arts London in 2020, and has worked on various storytelling and social awareness projects, including the critically acclaimed animated short, Shehr-e-Tabassum. Their personal work, which has been exhibited locally and internationally, explores otherworldly landscapes and organic forms, feminist dreams and longing, and visual manifestations of trauma and despair. hasan is currently living, teaching and creating in Karachi, Pakistan. ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

Activist Ammar Ali Jan in conversation with Kamil Ahsan. COMMUNITY The Pakistani Left, Separatism & Student Movements Ammar Ali Jan Activist Ammar Ali Jan in conversation with Kamil Ahsan. We worry too much about divisions within the left. It can be very productive if people engage in a decent, intellectual conversation. Actual disagreements shouldn't be repressed for the sake of some mythical unity. Editor's Note: Throughout the Baloch student long march & the #PashtunLongMarch2Karachi , the Pakistani state cracked down on activists—including Ammar Ali Jan—and continues to. This conversation took place in September 2020. A detention order for Ammar Ali Jan was issued in late November 2020. It was far from the first time he had faced detention, intimidation, or threats from the state. Granted pre-arrest bail, the detention order was lifted in December by the Lahore High Court, with LHC Chief Justice Muhammad Qasim Khan saying: “In Pakistan, influential people will not let their rivals to move freely by misusing ‘detention orders’." 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 Pakistan Student Movements Baloch Students Organization-Azad Haqooq-e-Khalq Movement Student Solidarity March Baloch Student Long March Pashtun Tahafuz Movement Shehri Tahafuz Movement Zaigham Abbas Universities State Repression Repression in Universities Partha Chatterjee Subaltern Studies Karl Polanyi People's Solidarity Forum Neofeudalism Neoliberalism Constitutionalism Pashtun Long March Trade Unions Electoral Politics Elections AMMAR ALI JAN is an activist, historian, and educator. He holds a Ph.D. in History from Cambridge, where he worked on communist thought in India. His work explores the intersection of communism and nationalism in Colonial India by examining how European ideas are extended and reshaped as they circulate in the non-European world. He is also a member of the Haqooq-e-Khalq Movement (HKM), a civil rights campaign dedicated to safeguarding the constitutional rights of Pakistani citizens. He is a regular contributor to The News International , and has taught at Government College, Punjab University, and Forman Christian College in Lahore, Pakistan. Interview Pakistan 14th Dec 2020 On That Note: Heading 5 23rd OCT Heading 5 23rd Oct Heading 5 23rd Oct

“Welcome! Models politicians auto drivers butchers bankers accountants actors liars cheat saints masters slaves herpes gonorrhea HIV syphilis tops bottoms bottoms who top tops who bottom preferably top miserably bottom white black pink yellow brown blue high caste low caste no caste...” FICTION & POETRY Disappearing Act AUTHOR AUTHOR AUTHOR “Welcome! Models politicians auto drivers butchers bankers accountants actors liars cheat saints masters slaves herpes gonorrhea HIV syphilis tops bottoms bottoms who top tops who bottom preferably top miserably bottom white black pink yellow brown blue high caste low caste no caste...” SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 One-Act Play Manipur Indian Army Panggong Tree Effigy Queerness Love Story People's Revolutionary Party of Kangleipak PREPAK Painting Addiction Sex Playwriting Drama AFSPA Assam Rifles Northeast India Meitei Peoples Sanamahism UG Groups Insurgency Resistance Meira Paibi Sister States Meitei Mizoram Assam 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 One-Act Play Manipur 2nd Apr 2021 Editor’s note: The author of this play as well as the accompanying artist elected to publish this work anonymously. In the words of the author: “It is a matter of great shame for a democracy that its writers have to submit their work anonymously.” This piece was workshopped and honed over a period of six months with SAAG editors Hananah Zaheer, Neilesh Bose, Nazish Chunara, Kamil Ahsan, Aditya Desai, along with the playwright, a dramaturge, and the artist. The world has folded. A tree in Manipur now hangs upside down above the bed in KUNJA’s room in a city in India. The tree is a Panggong Tree (Butea monosperma) used in Manipur to make effigies of the dead when the body is not found. A bed is the focus of the room. Scene 1 Projection on a wall: June 5th, 2015. Rebels ambush an army convoy in Manipur killing 20 soldiers in the deadliest attack on Indian army since the Kargil war. GAURAV is tackling KUNJA who is hysterical. GAURAV Kunja, there is no one. You are high. KUNJA Hide me! Hide. GAURAV We are not in Manipur. KUNJA They’ll catch every young person they can find. This was a big attack. They will spare no one. GAURAV It’s the drugs. KUNJA I was here with you right? You’ll tell them I was here with you. Don’t let me disappear. GAURAV manages to pin KUNJA to the ground. GAURAV You are safe. KUNJA They eat our flesh. GAURAV You’re hallucinating. KUNJA Why aren’t you doing anything? GAURAV Remember— Remember what we said? GAURAV hugs KUNJA tightly. GAURAV There is no one outside. We are here, you and I. Here, where we go out holding hands and no one harms us. KUNJA stops struggling. GAURAV In this big big city, no one can find us. No one breaks house doors down. Guns don’t exist. Bombs are fire crackers. This city is a rainbow. They speak together. KUNJA Manipur is far far away. 3190 kms. 5 hours by plane. 70 hours on a train. GAURAV Manipur is far far away. 3190 kms. 5 hours by plane. 70 hours on a train. GAURAV They can’t just come here, right? KUNJA No. GAURAV In this city, there is only police. GAURAV releases KUNJA. Both sit up. GAURAV Only police. KUNJA Only police. GAURAV Cold water bath. Glucon-D. Fries. It will pass. GAURAV gets up. KUNJA (dazed) Are you with them? . . . Scene 2 GAURAV is asleep. KUNJA is sitting next to him on the bed staring at the tree above. KUNJA One day you’ll wake up and find me gone. No body, no trace. Will you look for me, Gaurav? What do y’all do when you find out that someone has disappeared? We make an effigy of the person from the branches of the Panggong tree. Will you make an effigy of me? Keep it with you? On this bed? Beat. KUNJA This bed has been my country for a long time. GAURAV doesn’t wake up. . . . Scene 3 KUNJA is painting GAURAV ’s back. There are paint bottles strewn around. GAURAV twitches every time KUNJA touches the paintbrush to his back. GAURAV It feels icky. KUNJA You want me to paint or not? GAURAV On paper. GAURAV It helps you, right? KUNJA It helps you . You like watching me paint. Mountains. Flowers. Dicks. You think I am recovering if I’m drawing mountains. GAURAV You relapse whenever you start painting flowers. KUNJA I relapse when I think you’re going to join the army. GAURAV takes a rag and starts wiping his back. KUNJA What if they find out you’re gay? GAURAV Do I look gay? KUNJA Won’t you get expelled? GAURAV I’m only gay for you! KUNJA I had a friend Faariz in Manipur. He wanted to join PREPAK. It’s a UG. GAURAV (sighs) Another terrorist story— KUNJA We call them freedom fighters. GAURAV Wrong history books. We’re already free. KUNJA He was also involved in some tax collection things for them in college. Very motivated. Then he realised he was queer. With that he knew he could never join PREPAK or any other movement in Manipur. Forget the army, if PREPAK found out they would kill him first. I remember telling him that we don’t have to join any movements that don’t have a place for us. And I am saying that to you now. GAURAV I was born to be in the army. KUNJA You think the army has a place for you? What are you going to do when other officers bring their wives and girlfriends to army parties? Take me along? GAURAV holds KUNJA ’s face. GAURAV The results will be out in a week and I’m getting in. KUNJA Don’t join the army. The army is sick. GAURAV You are sick. KUNJA What if I told you I wanted to join PREPAK? Fight the occupation. Kill soldiers. Would you still love me? GAURAV looks away. KUNJA (shouting as if he’s sloganeering at a protest) Then how do I love you if you join the army? Army rapes us. Takes our flesh! Beat. GAURAV They’re people, you know? With wives, mothers, sons, sisters. Lovers. Like you are mine. I wanted to cry. I couldn’t. I spent the night holding you down waiting for you to come back to your senses, you fucking druggie. . . . Scene 4 FAARIZ is hanging from the Panggong tree. KUNJA is making his bed. KUNJA If love keeps people together then what does ideology do? FAARIZ Can you separate the two? KUNJA What if my freedom lies in the struggle between the two? In the middle. Gaurav struggles to keep loving me. FAARIZ Occupation takes work. KUNJA That’s not how it is between us. FAARIZ Can love erase identity? KUNJA Sometimes after an orgy, we all sit around and discuss how we started slamming. I want to tell them that I was tired of identity. The first time I slammed was the first time I had sex without identity. It was the best thing in the world. FAARIZ And then you became a slammer. KUNJA But it’s an identity without history. It’s light. Has no weight. No matter who you are, where you are from, once you get inside that’s it! FAARIZ Do you become Indian after slamming? KUNJA Yes. Till I’m high I remain Indian. FAARIZ Feels good? KUNJA Feels like community. When I first came here, a boy I met on Grindr took me for a party. I was blown away the second I entered. It felt like another nation, one where I fit in. And then I started meeting people and realised this community I so terribly want to be a part of, that I feel I’m part of, doesn’t know anything about me. Where I come from, what I have lived, what I want. And they don’t want to know either. FAARIZ Ay chinki! KUNJA It’s not just about words, it's about the gaze. You know when you first look at someone how you imagine their history? You see them at their home. You see them growing up. Celebrating a festival. Eating at a restaurant. You imagine them having sex, shaving, crying. The way people look at us here, their gaze is empty. They’re not able to imagine our histories. That’s why they act the way they act. I tried to make this country my friend. I told them about my past and showed them how I eat. But I just couldn’t fill their gaze. And then I slammed, and for the first time I didn’t look into their eyes. All I could see was dick and ass and balls. And I knew that’s all they saw. Our vision was united. Years of abandonment vanished the second I injected. I found community. Something I never had. KUNJA gets up on the bed. He looks at the audience and mimes taking a slam. His eyes start to glow. A visual is projected on the wall: A very close shot of a hairy asshole opening into a universe. FAARIZ The freedom struggle ends at a slam? KUNJA Slamming is the celebration of freedom. And it's so intense, this party, that we forget we’re not actually free. FAARIZ We also take drugs to forget about the occupation for a while. KUNJA No matter what you do, the occupation finds a way to occupy you. I’d forgotten about Manipur. My bed had become my country. And then I met Gaurav. He told me the first time we met that he wanted to join the army. Later that night, when I was slammed, a soldier appeared outside the door. And then more and more. Gaurav stuck with me through all of it. Can you imagine staying up night after night trying to convince someone there is no one outside the door? FAARIZ What are you going to do if he gets posted to Manipur? KUNJA I will go visit him. FAARIZ He tortures us? Or disappears someone? KUNJA (stoically) The Supreme Court has declared that the army will be held accountable. FAARIZ Maybe as collateral damage then. In an attack. What are you going to do when he comes home after that? Beat. KUNJA Cook him a meal! Pork and bamboo shoots. Smoked. Exactly like Imaa makes it. A spicy beef salad on the side. FAARIZ He doesn’t eat those things. KUNJA I’ll make him. KUNJA starts searching for something under his bed. He messes up the bed he just made. He opens drawers and tries to empty out pockets of his clothes and trashing the room. KUNJA Why are you still here? Go home to AFSPA! FAARIZ Won’t you visit? KUNJA I don’t give a damn about that shithole. I hope they disappear the entire place. FAARIZ So many effigies you’ll have to make. Do you still do it? Make effigies? Paint on them? Give them names? KUNJA I never made an effigy of you. FAARIZ When you do, paint me with the memory of a fierce battle. Where I kill 100 Indian soldiers. Beat. KUNJA Got stuff? Just one more time. Or my veins are going to burst. . . . Scene 5 Several anxious guys enter and stand around KUNJA who takes his clothes off slowly as he speaks. In the end, he gets naked and positions himself on the edge of the bed on all fours. The men take off their clothes and slam each other. KUNJA (manic) Welcome! Everyone is welcome. Fat skinny sissy sluts down market on the market fake commercial prostitute destitute dudes studs uncles aunties boys guys hunks punks from this place that place small place no place come find a space sane sorted insane distorted models politicians auto drivers butchers bankers accountants actors liars cheat saints masters slaves herpes gonorrhea hiv syphilis tops bottoms bottoms who top tops who bottom preferably top miserably bottom white black pink yellow brown blue high caste low caste no caste hindu muslim, sikhs christians tribes even the denotified atheists monks fanatics junks english speaking and those who stopped speaking altogether 8 inch 10 inch 3 inch tight loose open close. GAURAV enters without KUNJA noticing. KUNJA From here, there, everywhere, everyone, everyone is welcome to the ocean. Come take a dip, it doesn’t matter if you can’t swim. Just get your own stuff and that will keep you afloat. Or find someone to pay for your ticket. Three thousand rupees to take so far you will forget where you are from. Bareback at your own risk. Break the needle after one use, sharing will give you things you don’t need. If you feel like you’re losing it just smoke some weed. That’s all. Now come on! The universe is begging to get fucked. KUNJA spots GAURAV. GAURAV walks to KUNJA and helps him stand on his feet. KUNJA You were supposed to be my de-addiction program. You give me time. But no energy. GAURAV picks up KUNJA ’s clothes. He makes KUNJA put them back on. GAURAV Let’s go home? Beat. KUNJA I like the sound of that. KUNJA and GAURAV walk away together. . . . Scene 6 Bottles of alcohol and half filled glasses on the floor. GAURAV and KUNJA are in bed. GAURAV is trying to penetrate KUNJA. He can’t get hard. KUNJA It’s not hard. GAURAV Blow me. KUNJA I did. GAURAV Do it again. KUNJA We don’t have to. GAURAV I need to. KUNJA Let me clean up. GAURAV Do you clean up in a slam orgy? KUNJA Can I top? GAURAV No. KUNJA You’re not getting hard. GAURAV Why can’t you blow me? KUNJA My back hurts. GAURAV My head hurts. I need to fuck. I’m begging you. KUNJA I’ll shower and I’ll make some food. We can eat. And then fuck. GAURAV You’re punishing me for getting in? KUNJA I have made peace with it. GAURAV I don’t care about your peace tonight. This is the greatest thing to happen to me and I’m not going to let you fuck this up. Even if you are unhappy, you will smile. Even if you feel like dying, you will act like you have never been more horny. You will give me the best orgasm of my life. KUNJA What should I do? GAURAV Tell me you’re afraid that I might fuck other boys in the academy. KUNJA It’s not porn. GAURAV A tall muscular guy blowing me in the night in the bathroom and drinking my cum. KUNJA I will be happy for you. GAURAV Will you also fuck while I am gone? KUNJA I don’t know. GAURAV How will I know? KUNJA What do you want me to do? GAURAV What if you fall in love with someone else? KUNJA tries to get up. GAURAV holds him down. GAURAV Will you cheat on me? KUNJA No! GAURAV What if you feel horny? KUNJA I will think about you. GAURAV What if I cheat on you? KUNJA Don’t tell me. GAURAV Don’t ask don’t tell. KUNJA Yes. GAURAV So is that your strategy? You won’t tell me? KUNJA (exhausted) Gaurav, I need to take a shit. GAURAV Shit here. Beat. KUNJA Fuck off. GAURAV I don’t care. GAURAV goes to finger KUNJA. KUNJA resists. GAURAV pulls his finger out. It has shit on it. He brings it close to KUNJA ’s face. GAURAV Smell it. KUNJA (voice cracks) I’ll hit you Gaurav. GAURAV I will make you eat your shit if you cheat on me. KUNJA I will cheat on you, you shithead. GAURAV I know. You can’t control it. It’s in your fucking DNA. Animals. . . . Scene 7 GAURAV is holding a big paintbrush in his hand. KUNJA is standing next to him. He is naked and has some paint on his arm. They are surrounded by tubs of paints. GAURAV I’m not a painter. KUNJA You are, my love. It’s amazing what you do when you paint. When my friend Faariz disappeared, I started making effigies of him with branches of the Panggong tree. I would paint those effigies in different colours imagining I was giving the effigy things to remember. Bring it to life. When other boys were playing sports outside, I would be in my room making effigies and painting. I painted a thousand effigies. I could only paint memories onto them, give them new thoughts, but I was never able to take away their pain. When you paint, you erase. It’s a gift you have. And there is so much I need to forget. Paint. GAURAV paints a stroke on KUNJA ’s other hand. GAURAV I don’t want to do this. KUNJA I give the memory of the khwairamband bazaar, running through its lanes as a kid, cruising through its alleys as a teenager eying men. GAURAV Tell me about cruising in that bazaar? KUNJA I don’t remember. Shoulder. KUNJA I give the memory of our school trip to the Kangla fort, and the one of walking through its corridors hand in hand when no one is watching with a boy I first barebacked. Back. KUNJA I give the memory of the first time I heard someone say I love you, and the memory of wanting to say the words but not being able to. Ass. KUNJA I give the memory of being beaten up by an Assam Rifles officer for breaking curfew. I give the memory of being beaten up by an AR officer for being drunk. The memory of my uncle being slapped by an officer for answering back. I give. GAURAV backs off. GAURAV I can’t do this. KUNJA Please let me. Feet. KUNJA I give the smell of Morok Mepta. GAURAV You can remember that at least. KUNJA No. KUNJA I give the sound of the Pung. I give my body memory that remembers thang-ta moves. Ankles. KUNJA I give up all that I have seen to have a new vision. Chest. KUNJA I give the trees. I will not remember their names anymore. Stomach. KUNJA The folklores, poubi lai, saroi ngaroi, the songs, I forget the lyrics to the lai haraoba ishei. Can I keep the tune? KUNJA tenses up. Beat. GAURAV Just let it go. Crotch. KUNJA I give the names of the deities. The rituals of sanamahism. GAURAV We have plenty. I’ll teach you. Thighs. KUNJA I give my father’s dreams. My mother’s voice that calls me home. GAURAV Don’t do this for me. KUNJA I am doing this for myself. GAURAV starts to paint faster. KUNJA The games we play. I give the names we call the army. GAURAV That’s good. KUNJA I give the views of the valley. The taste of our water. GAURAV Your water? KUNJA I give up. Waist. KUNJA I give up memories of driving on the highway that is still under repair after 5 years. I give up motorbike rides with friends, lovers, friends who became lovers, lovers who never became friends. GAURAV Slut. KUNJA I give up words from our language. I give up the cuss words we call Indians. GAURAV pauses, then starts to paint KUNJA faster, violently. KUNJA The dreams of freedom. I give up. KUNJA Wait—But can I keep the memory of Irom’s fast? I was a kid when she started fasting. I grew up with the fast. GAURAV Let it go. GAURAV goes to paint KUNJA ’s neck but KUNJA dodges GAURAV. KUNJA (quietly, desperately) No, please. Just that. It was a movement I felt I was a part of. I helped paint the banner for meira paibi. I was the only boy who knew about the protest. They chose me. GAURAV You can’t. KUNJA Stop. GAURAV grabs KUNJA by the neck and he paints it. KUNJA struggles to set himself free. GAURAV You have to forget. KUNJA Wait... No. GAURAV paints over KUNJA ’s neck. GAURAV Do you remember now? KUNJA Remember? GAURAV starts painting all over KUNJA. GAURAV Now forget about everything you saw while growing up. KUNJA Please— GAURAV Forget the skies. KUNJA Why? GAURAV The relationships you have to give up. KUNJA No— GAURAV The smells. KUNJA Stop. Stop . GAURAV Your history. You can’t have a history. Give up the festivals. Forget about the movies you saw. The songs you danced to. KUNJA breaks down in tears. KUNJA Why are you doing this? GAURAV You were never there. Give up the sounds. The touch you cannot remember. That disgusting food you have to give up. KUNJA I can't. GAURAV You have to now! Do you remember the birds you see there? KUNJA Nongin. Thembi marikpi. Langmeidong. GAURAV You can’t. GAURAV paints on KUNJA ’s face. GAURAV Give up the language, give up the bodies, give up the dreams. I fucking need you to give up the dreams. You cannot dream like a Manipuri anymore. You will not dream. I am taking away those mornings. From now on you must only remember the nights from here. The seasons here. You will only remember this rain. GAURAV finishes painting all of KUNJA. GAURAV stands up and takes a few steps back admiring his creation. GAURAV You are one of us now. Beat. KUNJA stands up. He looks at his hands and body. He opens his right palm which was clenched in a fist. KUNJA Wait— You forgot— KUNJA This part. GAURAV picks up the paintbrush. He dips it in black paint. He gently paints a stroke onto KUNJA ’s palm. KUNJA Thank you. GAURAV steps away. Lights dim slowly on GAURAV. Slowly, he disappears. Lights dim slowly on the bed. KUNJA turns and looks around the room. His eyes fall on the paintbrush that is lying on the floor. He picks it up. He looks up at the Panggong tree. Beat. KUNJA leaves the room. Blackout. ∎ 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: