These reflections do not aim to present a neat list of 2024’s "best" books or "essential reads." Instead, they are fragments of what stayed with us: works that lingered and called us back. BOOKS & ARTS SAAG’s 2024 In Reading These reflections do not aim to present a neat list of 2024’s "best" books or "essential reads." Instead, they are fragments of what stayed with us: works that lingered and called us back. The Editors Reading in 2024 often felt like fumbling for grounding amidst relentless upheaval. At times, it offered escape and solace. At others, it demanded grappling, interrogation, and a necessary confrontation. Whether through poetry, history, fiction, or essays, our reading this year insisted on engagement: on seeing, feeling, and remembering to live, even when it felt unbearable. These reflections do not aim to present a neat list of 2024’s "best" books or "essential reads." Instead, they are fragments of what stayed with us: works that lingered and called us back. Our favorites include a novel set in Baltimore tracing the lives of the Palestinian diaspora, texts that provide much needed clarity on revolutionary politics, a quiet yet searing study of sound and space, some comfort reads, and much more. These books held mirrors to the year and world we lived through, compelling us to look even closer when we could not look away. Here, in the voices of those who read and felt with these works, we share not only our most loved reads of the year but the struggles they opened up for us, allowing us to see anew. #1 I have an enduring love for novels that are political yet rise above preachiness or self-absorption to deliver an actual narrative. This year, I needed something visceral to help process the anger I carried: at the personally testing situations I faced over the past year, at myself, at politics everywhere, and at the state of the world we inhabit. My mind feels oversaturated by the relentless stream of online clickbaity content, which so often tells you how to feel rather than inviting you to actually think. My two favourite novels from my year in reading are Chain-Gang All Stars by Nana Kwame Adjei-Brenyah and Headshot by Rita Bullwinkel . Fiction, though it might seem an escape from reality on the surface, teaches imagination and heart like nothing else. Reading about people in combat—be it dystopian televised death matches among the incarcerated or teenage girl boxers—transported me this year to worlds where I could quietly take stock of do-or-die battles: from the expansive and deadly to the taut and fleeting. — Zoya Rehman, Associate Editor #2 Although I had a thinner reading year in general, I waited quite excitedly for the release of Poor Artists , a hybrid work of fiction and non-fiction by art writing duo The White Pube (Zarina Muhammad and Gabrielle de la Puente). It follows a young brown artist in the UK named Quest Talukdar and includes anonymous material from real art world figures. The book is so refreshing, lucid, and plainly radical. As a young person working in the arts in the UK right now, it simultaneously felt crazy and comforting to imagine other ways of being creative under capitalism, with mutual care at the forefront. In short: I am so glad this book exists in published form. — Vamika Sinha, Senior Editor #3 How many ways are there to write histories of a language, or more specifically, histories of a script? In Scripts of Power: Writing, Language Practices, and Cultural History in Western India , Prachi Deshpande outlines at least two methods, weaving a fascinating history of Modi writing, a cursive Marathi script that has, since the early 20th century, fallen into disuse. There’s a cherished dogma among some South Asians who see the subcontinental patchwork of regional linguistic blocs as somehow more organic an entity than the bloc of nation-states that we have today. The book makes one wonder how true that is. My second pick, Thomas S. Mullaney’s book on the Chinese computer , is a direct descendent of his earlier work on the Chinese typewriter (which carries one my favorite acknowledgments of any academic monographs; it begins: “What is your problem?”). This one asks how different generations of engineers, enthusiasts, eccentrics, and entrepreneurs tried to solve the fundamental problem of computing in Chinese: how does one input a language with no alphabet into a digital computer? Lastly, I chose Write like a Man: Jewish Masculinity and the New York Intellectuals by Ronnie Grinberg , partly because it is about a bunch of people who read, wrote for, and edited longform, literary-political magazines based out of New York (much like SAAG), and were interested in engaging with the world through argument. And partly because I have a weakness for anything having to do with the midcentury, Partisan Review-Commentary-Encounter crowd. Grinberg’s book, thankfully, is a refreshing departure from the exhausted genre that is the lament for the decline of (often New York-based) public intellectuals. — Shubhanga Pandey, Senior Editor #4 This year, every book I read felt like a knock-out including: Animal by Dorothea Lasky , Yellowface by R.F. Kuang , Letters to a Writer of Color edited by Deepa Anappara and Taymour Soomro , Fling Diction by Frances Canon , Riambel by Priya Hein , Dumb Luck and Other Poems by Christine Kitano , Letter to the Father by Franz Kafka , Another Word for Love by Carvell Wallace , Cloud Missives by Kenzie Allen , A Fish Growing Lungs by Alysia Li Ying Sawchyn , and The Psychology of Supremacy by Dwight Turner , among many others. Each book I read challenged and changed my approach to creative writing craft, human psychology, how we process social trauma, and what we can learn from community, as well as demanding systemic change. One poetry collection that showed me how form could explode on the page, and how polyvocality and the acknowledgement of our ancestors could be conveyed, was JJJJJerome Ellis’s Aster of Ceremonies . The collection plays with the idea of “Master of Ceremonies” as someone who both entertains and has authority over the stage. With his stutter, Ellis has difficulty pronouncing “master” (which then becomes “aster” in his work). Throughout the collection, Ellis interrogates the notion of master, both as the figurehead who controls the lives of others, often under authoritarian or tyrannical rule, and as a symbol of accomplishment and the mastery of craft. — Rita Banerjee, Fiction Editor #5 2024 has been a difficult reading year for me because of the state of the world. I often relied on comfort reads, including contemporary romances and "romantasies," but even within these genres, I encountered books that were surprising, thoughtful, and heartbreaking. A series I became hooked on was Wolfsong by TJ Klune (Green Creek, #1 ), which was both difficult and troubling to read (many trigger warnings), yet its writing wore its heart on its sleeve—it was raw, unabashed, and unrestrained. That's why I appreciate love stories—they give the reader permission to feel all the uncomfortable, awkward, dramatic, and unrestrained emotions. Ali Hazelwood was my favorite go-to read in contemporary romances. Another kind of comfort came from revisiting decades-old books. I read older Kazuo Ishiguro books and re-read Elena Ferrante's Neapolitan Quartet , drawn by their effortless, soothing prose, even when the novels explored difficult situations. Two books stood out to me this year. First, Minor Detail by Adania Shibli . The novel begins in 1949, through the perspective of an Israeli soldier. As the story unfolds, small, seemingly "minor" details catch his eye, details that take on deeper meaning as the novel shifts to the perspective of a Palestinian woman in the present day. The sense of dread builds slowly but relentlessly. It is a difficult read; many trigger warnings for rape, violence, and sexual assault. I also loved The Ministry of Time by Kaliane Bradley . This year, while leaning into lighthearted romances for a mental health break, this novel struck the perfect balance—lighthearted in moments, but deeply moving and beautifully written. The story follows a bureaucrat hired to work in a study and keep an eye on an "expat" that the government has brought from history: Graham Gore, who originally died on a doomed Arctic expedition in the 1800s. The novel broke my heart, transformed me, made me laugh, and gasp. I could not put it down. — Nur Nasreen Ibrahim, Senior Editor #6 2024 wasn’t a year for pleasure reading; it was a year for intentional reading. Scrambling to decide what to read, compounded by the weight of world events, brought into focus all the things I knew I didn’t know. This year, I actively sought out new sources of information, embracing a practical and necessary discomfort. That commitment began with the search for knowledge about a region my research focuses on: Central Asia. I happened upon one of the best reads of the year, The King’s Road: Diplomacy and the Remaking of the Silk Road by Xin Wen . This 300-page deep dive into the history and culture of the Silk Road examines ancient trade and cultural exchanges during a distinctive age of exploration. Wen argues that diplomacy–unlike how we see or use it today–was central to fostering dialogue, trade, and mutual respect, all while navigating conflict without resorting to war. If you love history, travel, economics, or international relations, this one's for you. The idea of traversing conflict without resorting to war was also the focus of a graduate course I completed just two days ago. Another favorite read of the year, spurred by our course discussions, was Human Capital: A History of Putting Refugees to Work by Laura Robson . I kept returning to this book all throughout term; every time I opened it, there was a new thread to follow. In this 250-page work, Robson examines how capital is often prioritised over human dignity, showing how economic forces undermine individual security and lead to physical, emotional, and psychological dislocation. And what kind of reading year would it be without a novel? In The Melancholy of Resistance by László Krasznahorkai , I was confronted with despair, power, and the fragility of society. This atmospheric novel taught me how to confront the eerie wonders of the world while living under the looming shadow of societal collapse. — Nazish Chunara, Associate Editor #7 I loved Border and Rule by Harsha Walia . With microscopic clarity, and a postcolonial lens, Walia’s book is an indictment of the smoke-and-mirrors narratives used by states to obfuscate the horrible realities of displacement, forced migration, and statelessness. These realities, Walia argues, are hardwired into today’s capitalist and insidiously racist border control systems of Western capitals. The book further demonstrates how these practices, benefiting a few while exploiting those on the move, are being deployed by Middle Powers in the so-called Global South—such as the UAE, India, and Brazil—against the backdrop of rising populism and the widening gulf between rich and poor. — Mushfiq Mohamed, Senior Editor #8 As South Asians, we are all acutely familiar with the India-Pakistan hegemony on the intellectual discourse in the region (language, caste, class, ethnicity, and gender, of course, further complicate who from within these regions gets to speak, if at all). Particularly, as a Pakistani woman, rarely have I had an opportunity to concertedly engage with literature by Bengali, Nepalese, Tamil, or Malayali (to name a few) writers from beyond the Hindu/Urdu speaking world. In 2024, I sought to change this and read translated writing from across the South Asian diaspora. In particular, I would like to recommend Hospital by Sanya Rushdi –a short yet powerful novel exploring the psychosis experienced by a young Bangladeshi woman in a psychiatric facility in Melbourne. I also loved Ten Days of The Strike by Sandipan Chattopadhyay , with the titular essay serving as a powerful reminder of the politics of shitting. In general, a Bengali translation by Arunava Sinha , I realised, will never disappoint a reader. Honorary mentions among my SA reading list include: Password and Other Stories by Appadurai Muttulingam , and the award-winning Brotherless Night by V.V. Ganeshanathan . — Iman Iftikhar, Associate Editor #9 More than any other year, 2024 left me feeling like I don't know anything about my world. More often than not, I didn't have the vocabulary and, more disturbingly, the emotional-spiritual bandwidth to articulate or sit with what was/is happening in the world and how it can/could/should impact how I move through life. I learnt a lot from reading Strangers to Ourselves by Rachel Aviv, Human Acts by Han Kang , Minor Detail by Adania Shibli, and the poetry and writing Shripad Sinnakaar shared on social media. These writers gave me words, feelings and narrative clarity to sustain my engagement with the world and not shut it out in the face of incomprehension. — Esthappen S., Drama Editor #10 I’ve been reflecting a lot on sound and space this year. Live Audio Essays by Lawrence Abu Hamdan is a collection of transcribed and edited texts from the performances and films he has written and compiled. Moving through excerpt-like recounts, it situates sound through text, blending anecdote with punctuated investigations. It’s a fascinating push to think more deeply about how sound is interpreted and engaged with in different contexts, from the power of sumud to police tip offs, to studying the biological effects of noise pollution. Over the summer, I visited Autograph in London to see Ernest Cole: A Lens in Exile , curated by Mark Sealy . This remarkable exhibition presented images from Cole’s time in New York and his travels around the USA during his exile from South Africa in the 1960s. I also appreciated the catalogue-style book accompanying the exhibition, The True America: Photographs by Ernest Cole , as well as Raoul Peck’s documentary, Ernest Cole: Lost and Found . While working in Paris, I attended Offprint . I had sternly instructed myself to just look and not buy more books(!), but then a small, palm-sized monotone blue book caught my eye. Hold the Sound: Notes on Auditories , edited by Justine Stella Knuchel and Jan Steinbach, is a compilation of texts by artists and researchers attempting to encapsulate descriptions of sound. The book gathers words by Apichatpong Weerasethakul, John Cage, Mosab Abu Toha, Sun Ra, and many others. On my way out I squealed embarrassingly—like an auntie remarking on how much I’ve grown—when I saw Luvuyo Nyawose’s eBhish’ . — Clare Patrick, Art Editor #11 This year, I read in the hour or so I had while our one-year-old slept and I could still keep my eyes open. Reading was both urgent, pressurized by the devastating plight of Palestinians, and a moment to breathe: a space for contemplation, and to feel. I read history, horror, and grief, grief, grief. Rarely is political analysis as exhilarating as in my first favourite read of 2024: The Selected Writings of Eqbal Ahmad , edited by Carollee Bengelsoorf, Margaret Cerullo, and Yogesh Chandrani . From revolutionary movements to “pathologies of power,” to Palestine, the cold war, and Pakistan-India, Ahmad’s insights are crystal clear, provocative, moral, and startlingly prescient. I want to emphasize the clarity of his writing, perhaps owed to his pedagogy as a teacher. I meant to read selections but ended up reading it straight through. My second pick is The Singularity by Balsam Karam (translated by Saskia Vogel) . In an unnamed coastal city, a refugee woman searches for her daughter until, in despair, she leaps to her death, an act witnessed by another woman who narrates this aching, fragmentary testimony of grief–for children, for home. Lastly, [...] by Fady Joudah : what we read this year, we read through a genocide. Fady’s scathing poems left no brutality or complicity unnamed, while speaking with tender sorrow to the dead and wounded. If nothing else, listen to Fady read Dedication here . — Ahsan Butt, Fiction Editor #12 I would like to offer Behind You Is the Sea , a novel by Susan Muaddi Darraj. Released in January 2024, just months after the events of October 7, Darraj’s novel follows three Palestinian American families in Baltimore. Its tender, nuanced characterizations of women and men, young and old, navigating their place in a city burdened by legacies of racial, economic, and legal apartheid, offer an honest exploration of immigrant life in America. Although written before the current conflict in Gaza and Occupied Palestine, it reminds us of the generational trauma and resilience that all Palestinians in the diaspora carry with them. — Aditya Desai, Advisory Editor #13 This year, I loved Sahar Romani’s poetry chapbook, The Opening , a beautiful, tender collage of poems on family, love, and coming into yourself, and into the world. For fiction, I recommend two very different books. When the Tiger Came Down the Mountain is a speculative fiction novella by Hugo Award winning author Nghi Vo. It’s wildly inventive, lyrically written, menacing, beautiful, and queer. Also on the novella tip, Berlin-based Palestinian author Adania Shibli’s novel, Minor Detail , stunned me. Written in clear, marching prose, its focus on minor details, set against the backdrop of occupation, sexual violence, death, and exile, is a portrait and a protest. In nonfiction, I loved: 1) Inciting Joy , a book of essays by Ross Gay, each one luminous with generosity, perceptiveness, and yes, joy. 2) Come Together by sex researcher Emily Nagoski, about sex in long-term relationships, though my biggest takeaway came from two chapters on the gender mirage (women as givers, men as winners) and how this construct within our patriarchal society undermines and destroys heterosexual relationships. 3) Poverty by America is sociologist Matthew Desmond’s heartbreaking follow-up to his even sadder book, Eviction . I grew up middle class, and it was infuriating and eye-opening–I’d recommend it to anyone, especially if you didn’t grow up poor. 4) Sex with a Brain Injury by Annie Liontas was another revelation, giving me enormous empathy for those with acute brain injuries (more common than you know!) and all their attendant furies. 5) Last but certainly not least, I listened to All About Love by African American legend bell hooks, twice, back to back, as the American election season came to a terrifying close. In 2025, I want to internalize hooks’ commitment to love as an ethic—in the family, in friendships, in the workplace, and in politics. — Abeer Hoque, Senior Editor With love, gratitude, and in solidarity, The Editors at SAAG. Reading in 2024 often felt like fumbling for grounding amidst relentless upheaval. At times, it offered escape and solace. At others, it demanded grappling, interrogation, and a necessary confrontation. Whether through poetry, history, fiction, or essays, our reading this year insisted on engagement: on seeing, feeling, and remembering to live, even when it felt unbearable. These reflections do not aim to present a neat list of 2024’s "best" books or "essential reads." Instead, they are fragments of what stayed with us: works that lingered and called us back. Our favorites include a novel set in Baltimore tracing the lives of the Palestinian diaspora, texts that provide much needed clarity on revolutionary politics, a quiet yet searing study of sound and space, some comfort reads, and much more. These books held mirrors to the year and world we lived through, compelling us to look even closer when we could not look away. Here, in the voices of those who read and felt with these works, we share not only our most loved reads of the year but the struggles they opened up for us, allowing us to see anew. #1 I have an enduring love for novels that are political yet rise above preachiness or self-absorption to deliver an actual narrative. This year, I needed something visceral to help process the anger I carried: at the personally testing situations I faced over the past year, at myself, at politics everywhere, and at the state of the world we inhabit. My mind feels oversaturated by the relentless stream of online clickbaity content, which so often tells you how to feel rather than inviting you to actually think. My two favourite novels from my year in reading are Chain-Gang All Stars by Nana Kwame Adjei-Brenyah and Headshot by Rita Bullwinkel . Fiction, though it might seem an escape from reality on the surface, teaches imagination and heart like nothing else. Reading about people in combat—be it dystopian televised death matches among the incarcerated or teenage girl boxers—transported me this year to worlds where I could quietly take stock of do-or-die battles: from the expansive and deadly to the taut and fleeting. — Zoya Rehman, Associate Editor #2 Although I had a thinner reading year in general, I waited quite excitedly for the release of Poor Artists , a hybrid work of fiction and non-fiction by art writing duo The White Pube (Zarina Muhammad and Gabrielle de la Puente). It follows a young brown artist in the UK named Quest Talukdar and includes anonymous material from real art world figures. The book is so refreshing, lucid, and plainly radical. As a young person working in the arts in the UK right now, it simultaneously felt crazy and comforting to imagine other ways of being creative under capitalism, with mutual care at the forefront. In short: I am so glad this book exists in published form. — Vamika Sinha, Senior Editor #3 How many ways are there to write histories of a language, or more specifically, histories of a script? In Scripts of Power: Writing, Language Practices, and Cultural History in Western India , Prachi Deshpande outlines at least two methods, weaving a fascinating history of Modi writing, a cursive Marathi script that has, since the early 20th century, fallen into disuse. There’s a cherished dogma among some South Asians who see the subcontinental patchwork of regional linguistic blocs as somehow more organic an entity than the bloc of nation-states that we have today. The book makes one wonder how true that is. My second pick, Thomas S. Mullaney’s book on the Chinese computer , is a direct descendent of his earlier work on the Chinese typewriter (which carries one my favorite acknowledgments of any academic monographs; it begins: “What is your problem?”). This one asks how different generations of engineers, enthusiasts, eccentrics, and entrepreneurs tried to solve the fundamental problem of computing in Chinese: how does one input a language with no alphabet into a digital computer? Lastly, I chose Write like a Man: Jewish Masculinity and the New York Intellectuals by Ronnie Grinberg , partly because it is about a bunch of people who read, wrote for, and edited longform, literary-political magazines based out of New York (much like SAAG), and were interested in engaging with the world through argument. And partly because I have a weakness for anything having to do with the midcentury, Partisan Review-Commentary-Encounter crowd. Grinberg’s book, thankfully, is a refreshing departure from the exhausted genre that is the lament for the decline of (often New York-based) public intellectuals. — Shubhanga Pandey, Senior Editor #4 This year, every book I read felt like a knock-out including: Animal by Dorothea Lasky , Yellowface by R.F. Kuang , Letters to a Writer of Color edited by Deepa Anappara and Taymour Soomro , Fling Diction by Frances Canon , Riambel by Priya Hein , Dumb Luck and Other Poems by Christine Kitano , Letter to the Father by Franz Kafka , Another Word for Love by Carvell Wallace , Cloud Missives by Kenzie Allen , A Fish Growing Lungs by Alysia Li Ying Sawchyn , and The Psychology of Supremacy by Dwight Turner , among many others. Each book I read challenged and changed my approach to creative writing craft, human psychology, how we process social trauma, and what we can learn from community, as well as demanding systemic change. One poetry collection that showed me how form could explode on the page, and how polyvocality and the acknowledgement of our ancestors could be conveyed, was JJJJJerome Ellis’s Aster of Ceremonies . The collection plays with the idea of “Master of Ceremonies” as someone who both entertains and has authority over the stage. With his stutter, Ellis has difficulty pronouncing “master” (which then becomes “aster” in his work). Throughout the collection, Ellis interrogates the notion of master, both as the figurehead who controls the lives of others, often under authoritarian or tyrannical rule, and as a symbol of accomplishment and the mastery of craft. — Rita Banerjee, Fiction Editor #5 2024 has been a difficult reading year for me because of the state of the world. I often relied on comfort reads, including contemporary romances and "romantasies," but even within these genres, I encountered books that were surprising, thoughtful, and heartbreaking. A series I became hooked on was Wolfsong by TJ Klune (Green Creek, #1), which was both difficult and troubling to read (many trigger warnings), yet its writing wore its heart on its sleeve—it was raw, unabashed, and unrestrained. That's why I appreciate love stories—they give the reader permission to feel all the uncomfortable, awkward, dramatic, and unrestrained emotions. Ali Hazelwood was my favorite go-to read in contemporary romances. Another kind of comfort came from revisiting decades-old books. I read older Kazuo Ishiguro books and re-read Elena Ferrante's Neapolitan Quartet , drawn by their effortless, soothing prose, even when the novels explored difficult situations. Two books stood out to me this year. First, Minor Detail by Adania Shibli . The novel begins in 1949, through the perspective of an Israeli soldier. As the story unfolds, small, seemingly "minor" details catch his eye, details that take on deeper meaning as the novel shifts to the perspective of a Palestinian woman in the present day. The sense of dread builds slowly but relentlessly. It is a difficult read; many trigger warnings for rape, violence, and sexual assault. I also loved The Ministry of Time by Kaliane Bradley . This year, while leaning into lighthearted romances for a mental health break, this novel struck the perfect balance—lighthearted in moments, but deeply moving and beautifully written. The story follows a bureaucrat hired to work in a study and keep an eye on an "expat" that the government has brought from history: Graham Gore, who originally died on a doomed Arctic expedition in the 1800s. The novel broke my heart, transformed me, made me laugh, and gasp. I could not put it down. — Nur Nasreen Ibrahim, Senior Editor #6 2024 wasn’t a year for pleasure reading; it was a year for intentional reading. Scrambling to decide what to read, compounded by the weight of world events, brought into focus all the things I knew I didn’t know. This year, I actively sought out new sources of information, embracing a practical and necessary discomfort. That commitment began with the search for knowledge about a region my research focuses on: Central Asia. I happened upon one of the best reads of the year, The King’s Road: Diplomacy and the Remaking of the Silk Road by Xin Wen . This 300-page deep dive into the history and culture of the Silk Road examines ancient trade and cultural exchanges during a distinctive age of exploration. Wen argues that diplomacy–unlike how we see or use it today–was central to fostering dialogue, trade, and mutual respect, all while navigating conflict without resorting to war. If you love history, travel, economics, or international relations, this one's for you. The idea of traversing conflict without resorting to war was also the focus of a graduate course I completed just two days ago. Another favorite read of the year, spurred by our course discussions, was Human Capital: A History of Putting Refugees to Work by Laura Robson . I kept returning to this book all throughout term; every time I opened it, there was a new thread to follow. In this 250-page work, Robson examines how capital is often prioritised over human dignity, showing how economic forces undermine individual security and lead to physical, emotional, and psychological dislocation. And what kind of reading year would it be without a novel? In The Melancholy of Resistance by László Krasznahorkai , I was confronted with despair, power, and the fragility of society. This atmospheric novel taught me how to confront the eerie wonders of the world while living under the looming shadow of societal collapse. — Nazish Chunara, Associate Editor #7 I loved Border and Rule by Harsha Walia . With microscopic clarity, and a postcolonial lens, Walia’s book is an indictment of the smoke-and-mirrors narratives used by states to obfuscate the horrible realities of displacement, forced migration, and statelessness. These realities, Walia argues, are hardwired into today’s capitalist and insidiously racist border control systems of Western capitals. The book further demonstrates how these practices, benefiting a few while exploiting those on the move, are being deployed by Middle Powers in the so-called Global South—such as the UAE, India, and Brazil—against the backdrop of rising populism and the widening gulf between rich and poor. — Mushfiq Mohamed, Senior Editor #8 As South Asians, we are all acutely familiar with the India-Pakistan hegemony on the intellectual discourse in the region (language, caste, class, ethnicity, and gender, of course, further complicate who from within these regions gets to speak, if at all). Particularly, as a Pakistani woman, rarely have I had an opportunity to concertedly engage with literature by Bengali, Nepalese, Tamil, or Malayali (to name a few) writers from beyond the Hindu/Urdu speaking world. In 2024, I sought to change this and read translated writing from across the South Asian diaspora. In particular, I would like to recommend Hospital by Sanya Rushdi –a short yet powerful novel exploring the psychosis experienced by a young Bangladeshi woman in a psychiatric facility in Melbourne. I also loved Ten Days of The Strike by Sandipan Chattopadhyay , with the titular essay serving as a powerful reminder of the politics of shitting. In general, a Bengali translation by Arunava Sinha , I realised, will never disappoint a reader. Honorary mentions among my SA reading list include: Password and Other Stories by Appadurai Muttulingam , and the award-winning Brotherless Night by V.V. Ganeshanathan . — Iman Iftikhar, Associate Editor #9 More than any other year, 2024 left me feeling like I don't know anything about my world. More often than not, I didn't have the vocabulary and, more disturbingly, the emotional-spiritual bandwidth to articulate or sit with what was/is happening in the world and how it can/could/should impact how I move through life. I learnt a lot from reading Strangers to Ourselves by Rachel Aviv, Human Acts by Han Kang , Minor Detail by Adania Shibli, and the poetry and writing Shripad Sinnakaar shared on social media. These writers gave me words, feelings and narrative clarity to sustain my engagement with the world and not shut it out in the face of incomprehension. — Esthappen S., Drama Editor #10 I’ve been reflecting a lot on sound and space this year. Live Audio Essays by Lawrence Abu Hamdan is a collection of transcribed and edited texts from the performances and films he has written and compiled. Moving through excerpt-like recounts, it situates sound through text, blending anecdote with punctuated investigations. It’s a fascinating push to think more deeply about how sound is interpreted and engaged with in different contexts, from the power of sumud to police tip offs, to studying the biological effects of noise pollution. Over the summer, I visited Autograph in London to see Ernest Cole: A Lens in Exile , curated by Mark Sealy . This remarkable exhibition presented images from Cole’s time in New York and his travels around the USA during his exile from South Africa in the 1960s. I also appreciated the catalogue-style book accompanying the exhibition, The True America: Photographs by Ernest Cole , as well as Raoul Peck’s documentary, Ernest Cole: Lost and Found . While working in Paris, I attended Offprint . I had sternly instructed myself to just look and not buy more books(!), but then a small, palm-sized monotone blue book caught my eye. Hold the Sound: Notes on Auditories , edited by Justine Stella Knuchel and Jan Steinbach, is a compilation of texts by artists and researchers attempting to encapsulate descriptions of sound. The book gathers words by Apichatpong Weerasethakul, John Cage, Mosab Abu Toha, Sun Ra, and many others. On my way out I squealed embarrassingly—like an auntie remarking on how much I’ve grown—when I saw Luvuyo Nyawose’s eBhish’ . — Clare Patrick, Art Editor #11 This year, I read in the hour or so I had while our one-year-old slept and I could still keep my eyes open. Reading was both urgent, pressurized by the devastating plight of Palestinians, and a moment to breathe: a space for contemplation, and to feel. I read history, horror, and grief, grief, grief. Rarely is political analysis as exhilarating as in my first favourite read of 2024: The Selected Writings of Eqbal Ahmad , edited by Carollee Bengelsoorf, Margaret Cerullo, and Yogesh Chandrani . From revolutionary movements to “pathologies of power,” to Palestine, the cold war, and Pakistan-India, Ahmad’s insights are crystal clear, provocative, moral, and startlingly prescient. I want to emphasize the clarity of his writing, perhaps owed to his pedagogy as a teacher. I meant to read selections but ended up reading it straight through. My second pick is The Singularity by Balsam Karam (translated by Saskia Vogel) . In an unnamed coastal city, a refugee woman searches for her daughter until, in despair, she leaps to her death, an act witnessed by another woman who narrates this aching, fragmentary testimony of grief–for children, for home. Lastly, [...] by Fady Joudah : what we read this year, we read through a genocide. Fady’s scathing poems left no brutality or complicity unnamed, while speaking with tender sorrow to the dead and wounded. If nothing else, listen to Fady read Dedication here . — Ahsan Butt, Fiction Editor #12 I would like to offer Behind You Is the Sea , a novel by Susan Muaddi Darraj. Released in January 2024, just months after the events of October 7, Darraj’s novel follows three Palestinian American families in Baltimore. Its tender, nuanced characterizations of women and men, young and old, navigating their place in a city burdened by legacies of racial, economic, and legal apartheid, offer an honest exploration of immigrant life in America. Although written before the current conflict in Gaza and Occupied Palestine, it reminds us of the generational trauma and resilience that all Palestinians in the diaspora carry with them. — Aditya Desai, Advisory Editor #13 This year, I loved Sahar Romani’s poetry chapbook, The Opening , a beautiful, tender collage of poems on family, love, and coming into yourself, and into the world. For fiction, I recommend two very different books. When the Tiger Came Down the Mountain is a speculative fiction novella by Hugo Award winning author Nghi Vo. It’s wildly inventive, lyrically written, menacing, beautiful, and queer. Also on the novella tip, Berlin-based Palestinian author Adania Shibli’s novel, Minor Detail , stunned me. Written in clear, marching prose, its focus on minor details, set against the backdrop of occupation, sexual violence, death, and exile, is a portrait and a protest. In nonfiction, I loved: 1) Inciting Joy , a book of essays by Ross Gay, each one luminous with generosity, perceptiveness, and yes, joy. 2) Come Together by sex researcher Emily Nagoski, about sex in long-term relationships, though my biggest takeaway came from two chapters on the gender mirage (women as givers, men as winners) and how this construct within our patriarchal society undermines and destroys heterosexual relationships. 3) Poverty by America is sociologist Matthew Desmond’s heartbreaking follow-up to his even sadder book, Eviction . I grew up middle class, and it was infuriating and eye-opening–I’d recommend it to anyone, especially if you didn’t grow up poor. 4) Sex with a Brain Injury by Annie Liontas was another revelation, giving me enormous empathy for those with acute brain injuries (more common than you know!) and all their attendant furies. 5) Last but certainly not least, I listened to All About Love by African American legend bell hooks, twice, back to back, as the American election season came to a terrifying close. In 2025, I want to internalize hooks’ commitment to love as an ethic—in the family, in friendships, in the workplace, and in politics. — Abeer Hoque, Senior Editor With love, gratitude, and in solidarity, The Editors at SAAG. SUB-HEAD ALSO IN THIS ISSUE: Kareen Adam · Nazish Chunara A Dhivehi Artists Showcase Shebani Rao A Freelancer's Guide to Decision-Making Digital Illustration by Iman Iftikhar. SHARE Facebook Twitter LinkedIn From the Editors 2024 in Reading Fiction Chain-Gang All Stars Poor Artists Write Like a Man Yellowface Scripts of Power Aster of Ceremonies Wolfsong The Melancholy of Resistance Border & Rule Nana Kwame Adjei-Brenyah Ten Days of The Strike Rita Bullwinkel Ernest Cole Lawrence Abu Hamdan The Singularity Fady Joudah Behind You Is the Sea When the Tiger Came Down the Mountain Sex with a Brain Injury Arts Presently Poetry Literature & Liberation The White Pube Hybrid Multimodal Prachi Deshpande Ronnie Grinberg Dorothea Lasky R.F. Kuang Taymour Soomro Deepa Anappara Frances Canon Priya Hein Christine Kitano Franz Kafka Carvell Wallace Kenzie Allen Alysia Li Ying Sawchyn Dwight Turner JJJJJerome Ellis Craft Ali Hazelwood Adania Shibli Kaliane Bradley Xin Wen Laura Robson László Krasznahorkai Harsha Walia Sanya Rushdi Bengali Literature Tamil Literature Nepalese Literature Malayali Literature Sandipan Chattopadhyay Appadurai Muttulingam V.V. Ganeshanathan Shripad Sinnakaar Han Kang Mark Sealy Luvuyo Nyawose Susan Muaddi Darraj Sahar Romani Chapbook Ross Gay Matthew Desmond Emily Nagoski Annie Liontas bell hooks 25 Dec 2024 From the Editors 2024 in Reading 25th Dec 2024 IMAN IFTIKHAR is a political theorist, historian, and amateur oil painter and illustrator. She is an editor for Folio Books and a returning fellow at Kitab Ghar Lahore. She is based in Oxford and Lahore. 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:

ARTIST Dia al-Azzawi DIA AL-AZZAWI is an Iraqi painter and sculptor, who lives and works in London. He is one of the pioneers of modern Arab art and is noted for incorporating Arabic script into his paintings. ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

In 2020, New Delhi’s National Museum Institute was relocated to NOIDA’s industrial outskirts and renamed the Indian Institute of Heritage. Once ideal for the study of history amidst the city’s rich heritage, this institutional shift reflects a larger trend since the rise of the Modi government in 2014, where historical studies have been politicised, censored, and shaped by majoritarian ideologies. As textbooks are altered and dissent silenced, the institute’s move from heritage-rich Delhi to a modern, industrial zone exemplifies how urban development and academia are increasingly intertwined with political agendas, raising questions about the future of historical study. In 2020, New Delhi’s National Museum Institute was relocated to NOIDA’s industrial outskirts and renamed the Indian Institute of Heritage. Once ideal for the study of history amidst the city’s rich heritage, this institutional shift reflects a larger trend since the rise of the Modi government in 2014, where historical studies have been politicised, censored, and shaped by majoritarian ideologies. As textbooks are altered and dissent silenced, the institute’s move from heritage-rich Delhi to a modern, industrial zone exemplifies how urban development and academia are increasingly intertwined with political agendas, raising questions about the future of historical study. Prithi Khalique, Corroded Chromas (2025). 3d rendering and collage, 720 x 1080px. Artist · FEATURES REPORTAGE · LOCATION The Changing Landscape of Heritage LOCATION Saranya Subramanian . 13 Feb 2025 th . Letter from our columnist . I’m on the outskirts of NOIDA, a planned city in New Delhi’s National Capital Region, and I’m lost. The uncharacteristically bright April sun is beating down on me, Google maps keeps rerouting, and it looks like I chose the wrong day to wear heels. Around me are wide, solitary roads, farmland, roaming cattle, and jarring glass office buildings that appear out of place in this landscape. After half an hour's worth of directions from the Noida Electronic City metro station , I finally reach the Indian Institute of Heritage. A majestic stone structure, this arts building is a welcome sight in the midst of engineering colleges, multinational corporations’ headquarters, and bank offices. The institute’s relocation is proof that New Delhi’s culture has trickled outwards to NOIDA. Proof that even as new urban spaces are produced, they will eventually house at least one arts campus. The journey all the way from New Delhi, however, has been a slog. Till a few years ago, the campus was more centrally located in Janpath, a neighbourhood in Lutyens’ Delhi, making it much more accessible for city folk. Named after British architect Edwin Lutyens (1869–1944), this geographical area boasts a concentration of India’s political elite: it comprises the 1927 Rashtrapati Bhawan, government offices, dignitaries’ residences, and even India’s National Museum. Outside the museum’s gates lie the National Archives, Indira Gandhi National Centre for the Arts, and the old & new Parliament Houses—to name a few. Altogether, these institutions are arguably the most venerated cultural institutions in the country and have greatly influenced the study and practice of Indian history. Until 2021, the Indian Institute of Heritage (IIH) was housed right inside the National Museum . Originally called the National Museum Institute, it was an ideal place for the study of history because of its location in the heart of the historically significant capital; it cultivated rich, lifelong careers in history since its inception in 1989 . An entire ecosystem of archival studies was nurtured because of its accessible address. Theorists could connect with real life historians and conservation students learnt from the museum’s technical staff. Students were by default the first visitors to museum exhibitions: they had to walk through its galleries every day to get to class. This daily interaction with objects of historical import made their educational experience unique and holistic, enhancing the quality of the technical courses taught there. All of this changed in 2021, when the institute was separated from the National Museum and moved to Sector 62, NOIDA. Earlier, the students at the IIH lived in Delhi, an ancient, storied city whose earliest recorded histories date back to the 8th century AD. In comparison, NOIDA is practically infantile. Short for New Okhla Industrial Development Authority , the city came into administrative existence on 17 April 1976 in the National Capital Region (NCR) . This took place during Indira Gandhi’s Emergency term—a state of governance that authorised the prime minister to rule by decree. During this twenty-one-month period, all civil liberties were halted, elections were paused, Gandhi’s opponents were imprisoned, and the press was censored. In the midst of this political turmoil and inter-communal tension, NOIDA was established in the mythologically-rich region of Braj in Uttar Pradesh. Built primarily for industrial growth, infrastructural development in NOIDA began in 1976, while citizens in the rest of the country were victim to mass-sterilisation, censorship, judicial control, and deteriorating constitutional rights. Over the next fifty years, the city kept growing. Today, it houses frontrunners in tech, pharma, finance, and, most recently, full-fledged universities. Studying history is often an afterthought to the people developing modern Indian urban landscapes. NOIDA is no exception. Cities are first built on capital and industry, followed by hospitals and residences, schools and banks, and then gradually, they house libraries, archives, and museums. While NOIDA is a new city and home to many polluting industries, it also has a budding arts education ecosystem with colleges like Shiv Nadar University , Galgotias University , and Gautam Buddha University . The brand-new Indian Institute of Heritage is an addition to NOIDA’s growing miscellany of urban institutions, many of which are an afterthought in this primarily industrial land. As I walk through the expansive lands of NOIDA, I am forced to question why the National Museum Institute was moved out here? Does “place” matter for the study of history? National Museum in Janpath (2024). Image courtesy of the author. Relocation & Rebranding Today, the National Museum Institute has officially become the Indian Institute of Heritage. Sudeshna Guha , Faculty at Shiv Nadar University’s School of Humanities and Social Sciences, spoke to me about the relocation of the campus, and the role of the politics of space and place in India’s long relationship with its National Museum. She posited that while the initial move, with its merging of the Archaeological Survey of India and the National Museum of India, was about space, the two institutions’ combined clout has now allowed the government to peddle a very specific version of Indian history. “Politics comes in when the ASI and NMI join hands, and decide to teach the kind of Indian history they do. Earlier, the Institute of Archaeology would regularly get professors from Deccan College, Pune, and MSU , Baroda, to teach specialised courses in archaeology which the latter has developed. But now the focus is on heritage studies, and they are establishing through the courses Hindutva histories—the innately Hindu heritage of pre-colonial India.” For decades, the National Museum Institute was connected to New Delhi’s progressive academic ecosystem, its student resistance movements, and the city’s active participation in national social issues. Moving NMI to Delhi’s outskirts happened at the same time as the renaming, as well as the altering of the types of history taught there. Creating a new university outside of New Delhi’s congestion may have been an inevitable symptom of urban development. It's hard to ignore, however, the ways the IIH’s relocation has created hindrances in students' access to educational resources. While students still venture beyond the campus on field trips and guest lecturers are invited to the new campus, the question remains: what happens to the study of the old when it’s forced into a place so sterile, so clinically new? Relocation is not the only change that has taken place since 2021. Rebranding is an extensive process, and the National Museum Institute has been rechristened as the nebulous “Indian Institute of Heritage.” As Dr Guha pointed out: “What they teach are technical courses. But what the heck will a heritage school do? Heritage doesn’t exist out there; it’s something that is created.” Wouldn’t it be better, she asked, if the institution could reflect on the practice of heritage-making? “The National Museum has shut its doors to researchers and the [IIH] students are not taught the importance of both historiography and materiality, which inform the many histories of a particular phenomenon, and of the many histories of a collection and an object. So how can they advance knowledge about the collections of the Museum or enhance collections management protocols? Besides, the curatorial lapses in the Museum are glaring to the visitors. Look at the displays. The object labels show the lack of research catalogues and databases.” Guha’s questions are fundamental; after all, if a technical school does not question historicity, then it will have detrimental effects on maintaining collections, databases, research catalogues, and deciding displays. Contentment and Complacency in the National Museum’s Institutions Seeking answers to the changes that the school has undergone, I met with administrative and faculty members of the National Museum & Indian Institute of Heritage. BR Mani, the Museum’s director general and vice chancellor of the Indian Institute of Heritage, welcomed me to an online and in-person interview. He spoke with me at length about the campus relocation, saying, “Anyone would admire the new campus as it provides better infrastructure and study facilities.” IIH is now giving out diplomas through the Institute of Archaeology and Bhopal’s Indira Gandhi Rashtriya Manav Sangrahalaya museum. Apart from this, the university has also co-opted programs with the IGNCA and National Archives, among others, and is planning to connect the academic wings of various institutions to the IIH. Development is what the museum’s admin wants to focus on, and not the imminent possibility of demolition. When asked about the National Museum’s rumoured demolition , BR Mani spoke about the upcoming Yug Yugeen Bharat Museum . “The Yug Yugeen Bharat museum is bound to be the biggest one in Asia yet, ” he said. “With 950 rooms, all of the best artefacts from this building will be shifted there. There is work undertaken to build a North Block and South Block for the National Museum, and this present building might continue to remain if not demolished.” With all of these positive changes, I asked him why the institution needed rebranding. “IIH is one overarching umbrella. Courses should be regulated by one authority. It is possible that in the future, with some act of parliament, it could be a full-fledged university. Professionally, I feel happy in finding better space and infrastructure at NOIDA, which was not there in the National Museum.” Manvi Seth echoed a similar sentiment during my interview with her. Dr Seth has been affiliated with the institute, as both a student and a faculty member, since 1997. She is currently the head of the Department of Museology at the Indian Institute of Heritage. When I asked her why the word “heritage” was chosen to represent the institution, she said “...it is all encompassing. For instance, when you say culture, you mean only natural heritage. Heritage is the only all-encompassing word.” Being “all-encompassing” also gives the IIH power over an “all-encompassing” national history. When I visited the Noida campus, I met with some numismatics & conservation students. One art history student candidly told me, “Noida is disgusting, and there are only some other institutes and office buildings around. It’s completely deserted. There’s no reason to leave the campus because, well, there’s nothing here. Also, the National Museum library is better than the one here, but we have to travel one and a half hours just to borrow a book.” Other students focus on the positives: larger conservation labs, exciting heritage field trips, and the school’s reputed name. Some even go as far as likening the IIH to the IITs and IIMs of India. One student told me, “We talk about how the Indian Institute of Heritage will keep growing, and hopefully become like the IITs and IIMs of India.” The Indian Institutes of Technology and Indian Institutes of Management are galaxies of their own, orbiting modern India’s dreams of national progress and development. Highly coveted by most of India’s population, these competitive technical schools have campuses all over the country, offering students an incomparable asset: respect. Attempting to create a similar ethos for the IIH, however, is jarring. It seems as though students and administration alike are prioritising optics first and education second. Perhaps that is why questioning historicity becomes secondary to being part of a consolidated, proud, national endeavour. The latter is a pressing priority and very often controls the kind of history we study and the narratives we wish to follow. This student’s ambitious hope mirrored Dr BR Mani’s response to my question regarding the institute’s relocation, “There were positives and negatives to the situation as the Institute was not getting expanded and remained in a confined location” they said. “Now, it has its own infrastructure and entity to expand and coordinate with other departments of the Ministry of Culture.” It’s ironic that connection and expansion is reliant on a place surrounded by barren land, bank headquarters, and only one metro station in sight. All other departments of the Ministry of Culture are still in Lutyens Delhi. Controversies around History, Culture, Heritage, and Urban Development Lutyens Delhi, where the National Museum resides, is where the heart of India’s cultural pulse thrives. Studying there is ideal for students of art, history, heritage, and culture—unlike the corporate glass and concrete buildings that are peppered around NOIDA. One alum of the erstwhile NMI, art historian and scholar Gaurav Kumar told me, “The location of the National Museum Institute within the National Museum itself and amidst the vibrant art scene of Janpath was highly impactful during my time as a student. As an art student, it provided easy access to numerous important institutions such as the Triveni Kala Sangam cultural centre , AIFACS Gallery ( All India Fine Arts and Crafts Society ), National Gallery of Modern Art , and more, enriching my learning experience through exposure to diverse artistic expressions.” He went on, “Additionally, being near cultural landmarks, like the 100-year old India Gate, 16th century Purana Qila, and Lodhi Gardens, further enhanced the immersive environment for exploration and study.” Analysing the Indian Institute of Heritage’s displacement and development is an indication of how selective a national history can be. It’s important to recognise that this has occurred against the larger, terrifying backdrop of Hindutva nationalism —a political ideology that prides in Hindu histories while erasing other religious narratives. Union Culture Minister G Kishan Reddy wrote in parliament that “the [IIH] will be a “world-class university” that will focus on the conservation and research in India's rich tangible heritage, while offering research, development and dissemination of knowledge, excellence in the education of its students and activities associated with heritage that contribute to the cultural, scientific, and economic life of India.” But what about our shameful past and present, and all that is not tangible and glorious? According to historian Dipesh Chakrabarty, “heritage means acknowledging both our ‘successes’ and our ‘failures.’” This acknowledgement is lacking in Minister Reddy’s statement. Any acknowledgement of “failures” in our history is being shunned, as the Indian government increases their monopoly over historical records. In 2015, the Murty Classical Library, which features English translations of some of the greatest works of Indian literature, was the victim of Hindutva censorship . American scholar Sheldon Pollock was forcefully ousted from the MCL after he signed two statements condemning government action against Delhi University’s Jawaharlal Nehru University, and senior editorial members were dismissed as well. Elsewhere in the country, Amritsar’s Jallianwalla Bagh was entirely remodelled . In 1919, British General Dwyer mercilessly massacred 1,000 Indians there, and since then, it has stood as a symbol of India’s independence struggle. Recently, however, the government covered up century-old bullet holes and injected the site with cosmetic changes, turning it into a tasteless exhibition of honour. Its walls have been replaced with scriptures and the “martyr’s well” has been enclosed with a glass shield. What was once a chilling experience of walking through those narrow, bullet-ridden corridors, has now been replaced with an amusement park-like journey that tells you a history instead of allowing you to experience it for yourself. Back in New Delhi, it seems like the BJP-run government is rushing to rewrite India’s story with the Central Vista redevelopment project . Launched in 2019, the project is well underway. The government is revamping the Central Vista, India's central administrative area located near Raisina Hill, New Delhi. Their reason is “ to house all facilities needed for efficient functioning of the Government ”. This project involves hollowing out or demolishing the current National Museum and moving its collections to the Rashtrapati Bhavan’s North and South Blocks. The upcoming Yug Yugeen Bharat will be the “largest museum in Asia,” as Prime Minister Modi declared during the G20 event in New Delhi. Astha Rajvanshi wrote for TIME Magazine about the new parliament, “the whole project—which began in the middle of a brutal second wave of the COVID-19 pandemic in 2021—has been met with widespread criticism for its cost, environmental damage, and disregard for heritage buildings.” Prem Chandavarkar addressed the effects of these changes for The Wire , “The redevelopment removes public institutions that sustain culture and heritage from the Central Vista, replacing them with government offices and facilities… Many citizens have expressed anguish over how the spatial heart of our democracy is being transformed from a public landscape energised by cultural institutions to become a space dominated by the visual spectacle of governmental bureaucracy.” Even the National Archives was to be demolished until a furore erupted against breaking down Grade-I heritage structures. Now the plan has been modified to break down only the annexe, with no clear reason as to why. Chandavarkar explained concerns regarding having the old parliament’s North and South Blocks co-opt the current National Museum. First, official records state that these plots of land are still termed as “Government Use”, while they need to be deemed as “Public/Semi-Public”—the basic requirement for a citizen’s museum. Second, no feasibility study was conducted to figure out whether the two blocks are workable sites for a national museum. Third, this location’s proximity to the Prime Minister’s Office and the Vice-President’s Residence implies that security audits are needed, especially if it will be open to the public. No such study has surfaced to date. Rashtrapati Bhavan’s North & South Blocks. Source: A Pravin, Wikimedia Commons. The IIH has been displaced to the city's outskirts, away from the country's social and political milieu, amidst a time of unprecedented censorship and a wilful subversion of history and heritage. While the Indian Institute of Heritage’s faculty members assured me that they have never faced pressure from the Ministry of Culture or any member of parliament to teach a particular history, throughout the country, history is being weaponised to bring another term of Hindutva regime to power. How can a historical institution not address this development? Given the current cultural milieu, any museum that does not explicitly reject the ongoing oppression of minorities, is implicitly adding to it. The Trickle Down Effect Inside the National Museum, displays of ancient sculptures are poorly exhibited, insufficiently labelled, and even found in the building’s basement and parking lot areas—unlikely spaces of conservation. While the National Museum suffers, Modi’s Hindutva-led government has promised to create an “ international museum ” at the newly consecrated Ram Mandir in Ayodhya. This will include “new-age technology like kinetic art, holograms, animatronics, and augmented artificial reality to provide a live experience of the Ramayana and the Ram Temple movement,” Sreeparna Chakrabarty told The Hindu . The Ram Mandir Museum project reinforces the right-wing, Hindutva narrative that we all come from one singular religion and history. Built on the desecrated Babri Masjid, the Ram Mandir site has been long contested between Hindus and Muslims . Faded labelling in the National Museum (2024). Image courtesy of the author. Other historical suppressions have been witnessed around the country as well. When an ancient civilisation (dating back to the 6th century BCE) called Keezhadi was discovered in Tamil Nadu, it was covered widely in the press. Ten years on, news of that archaeological site is missing from mainstream media. Sowmiya Ashok believes this to be a consequence of the fact that the Keezhadi discovery disproves the right-wing, nationalist notion that Vedic culture is fundamental to the origins of Indian civilisation. Keezhadi’s excavations point to early signs of language and the possibility of a Dravidian origin story for Indians. Ashok notes that “in popular media, the findings are likely to be reduced to the question of whether the Keeladi people were more like Aryans, the protagonists of Vedic civilisation, or Dravidians, the forebears of Tamil culture.” Last year, news broke that the National Council of Educational Research and Training (NCERT) textbooks have now erased all traces of Mughal history in India. Even though Mughal histories are now obliterated, subaltern and Dalit histories have never even been part of the discourse. Vidhi Doshi explains how Indian Dalits are sidelined from academia, and have resorted to archiving their own community’s history, “[Vijay Surwade’s] collection includes everything from documents and photos to Ambedkar's broken spectacles and dentures, all housed in shoe boxes and concertina files in Surwade's apartment in the western city of Kalyan, about 45 km northeast of Mumbai. It is among a number of informal archives collected by ordinary Dalit people who say their stories otherwise risk being lost, undermining their cultures and the fight against caste-based discrimination.” Grand buildings and palaces are being turned into proud markers of our heritage; light and sound shows will create carnivals out of them. There are other ways, however, in which we honour our living history. A derivative of heritage is inheritance—passed down generation after generation. Preserving History, Defining Heritage I think about the histories I have inherited on my walk back to the metro station from the IIH Noida campus at 2 pm. I cannot wait to curl up in an air-conditioned train back to New Delhi and stroll around Janpath. My patience is rewarded. In Lutyens Delhi, I am surrounded by overwhelming history—stone structures, Mughal architecture, multiple languages, with gardens everywhere. Inside the National Museum, an open verandah and cafe become a picnic spot for families, couples, and even stray dogs. Today is Eid, and people have come in their best attire, sharing meals and spending the day together. We bask in this glorious heritage until the time we will all return to our decidedly less glorious lives once these gates close. If heritage comprises parts of the past that continue to live on to this day, then my heritage is everything that I experience once I am outside these institutions. The miserable heat, the stares from men, the station-side chole bhature , the broken, Brahmin Tamil I speak with my family, and the accented Hindi I employ in North India. All that seems intangible yet integrated into everyday life: food, language, patriarchy, and casteism. It is a messy, flawed heritage, one that stands proof of violence and oppression. It is also the heritage that we do not see inside these institutions. It is not covered at the Indian Institute of Heritage. As I step into the older, less affluent neighbourhoods of Chandni Chowk and Nizamuddin Dargah, I see people in ancient, crumbling buildings, eating and working and praying in structures that are on the verge of collapse. My immediate thought is an urban, privileged one: why can’t these buildings be cosmetically preserved? Of course, the fear of turning into what Jallianwalla Bagh’s remodelling became—a tasteless performance of honour more concerned with vanity than the Indian freedom struggle—is always lurking at the horizon of heritage conservation projects. But these buildings do not carry the traumatic weight that Jalliwanwalla Bagh does; they could be architectural representations of our everyday heritage. Dr Mrinalini Saha reminds me, however, that “one person’s heritage is another person’s livelihood. Delhi is littered with ancient monuments. Preserving them, sprucing them up is one thing, but it also means dislocating the people who live there.” Tangible history is complicated, maybe just existing amidst ruins is a sufficient act of conservation. I meander between New Delhi’s Outer Ring Road and Inner Ring Road in a crackling autorickshaw, passing through parts of the Red Fort that was built by Shah Jahan in 1639. Living heritage. When I met Dr Manvi Seth, she gave me a handful of books and pamphlets published by the Indian Institute of Heritage. A teacher’s handbook to History, Museum Goes to Hospital , Gandhi Hai Sabke Liye ( Gandhi is for Everyone ), Museum Safari for Lucknow’s State Museum etc. The institution’s efforts to spread historical awareness are impressive, yet, I cannot help but see this for the sanitised narrative that it is. Where are the Dalit histories, the tribal histories, the feminist histories? And what about the academic strain that argues that Gandhi is in fact not for everybody? Books and pamphlets published by the Indian Institute of Heritage (2024). Image courtesy of the author. In Old Delhi, I travel past dug-up roads and sewage, a reminder of how caste is ubiquitous even in big cities. Most manual scavengers and construction workers come from disenfranchised castes and communities and make up a major part of India’s migrant workers. Later in the evening, I go through Vasant Vihar in South Delhi which houses the infamous “Coolie Camp” slum, which was hidden behind giant green curtains while India hosted the G20 . Is this failure of our nation-state not part of our heritage? Dr Chakrabarty said it perfectly, “It is when you feel insecure about your past that you produce a one-sided version of it. To present the past as a site of disputation takes a greater sense of security about one’s own collective sense of self. But if you think this representation will threaten the sovereignty of the nation, then representing the past becomes a matter of either/or choices. It’s either Shivaji or Aurangzeb, Ram Mandir or Babri Masjid.”∎ 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 SARANYA SUBRAMANIAN is a poet, writer, and theatre practitioner based in Bombay. An MFA graduate from the University of San Francisco, she has been featured in the New York Times. Her writing has been published in Frontline , Lithub , The Caravan , Madras Courier , Aainanagar , Outlook , the Museum of Art and Photography, Scroll , The Bombay Literary Magazine, among others. Her essay, The Cockroach and I was published as an ebook by Penguin Random House after winning runner-up to the Financial Times/Bodley Head Essay Prize in 2020. She runs the Bombay Poetry Crawl , an archival and research space dedicated to 20th-century Bombay Poets. PRITHI KHALIQUE is a visual designer and animator based in Dhaka and Providence. Essay Delhi India Heritage Culture History Disappearance Nationalism Hindu Extremism Displacement Education Erasure Infrastructure Isolation Edwin Lutyens State Government Narrative National Archives Museum India National Museum Institutional Forgetfulness Indian Institute of Heritage National Museum Institute Archive Archival Studies NOIDA Ancient History Mughal Dalit Tamil Dravidian Indira Gandhi Uttar Pradesh Interethnic Conflict Internally Displaced Persons Intercommunal tension Industrial Deterioration Censorship Constitution Urban Development Urbanization Development Shiv Nadar University Galgotias University Gautam Buddha University Relocation Rebranding Branding Sudeshna Guha Archaeological Survey of India Archaeology Hindutva Pre-colonial Resistance Movement Visitor Researcher Idolatry 11th century BR Mani Demolition temple demolition Asia South Asia Manvi Seth Department of Museology Numismatics Conservation Preservation Gaurav Kumar Art Historian Art History Janpath AIFACS Gallery India Gate 16th Century Lodhi Gardens Union Culture G Kishan Reddy Parliament Murty Classical Library Sheldon Pollock Jawaharlal Nehru University Amritsar Jallianwalla Bagh General Dwyer 20th Century Massacre Independence Martyr Martyrdom Central Vista Raisina Hall Rashtrapati Bhavan North and South Yug Yugeen Bharat G20 Astha Rajvanshi TIME Magazine COVID-19 Pandemic environmental hazard Prem Chandavarkar The Wire Democracy Bureaucracy Government Use Public Space Outskirts Ram Temple Ram Mandir Museum Sreeparna Chakrabarty The Hindu Babri Masjid 6th Century BCE Keezhadi Tamil Nadu Sowmiya Ashok Right Wing Vedic Aryans Vidhi Doshi Vijay Surwade Kalyan Mumbai Anti-Caste Caste-based inheritance Chandni Chowk Nizamuddin Dargah Mrinalini Saha Outer Ring Road Inner Ring Road Red Fort Shah Jahan 17th Century Disenfranchisement Migrant Laborers Vasant Vihar Coolie Camp Sovereignty 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:

AUTHOR Makepeace Sitlhou MAKEPEACE SITLHOU is an independent journalist based out of India and a recipient of several awards, most recently the Rocky Mountain Emmy for a documentary short, A Wall Runs Through It . Her work has been carried by several international and national publications, and she has reported from India, Taiwan, Australia and the United States. AUTHOR WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

WRITER Sanjena Sathian SANJENA SATHIAN is the author of the critically acclaimed novel Gold Diggers , currently being adapted for TV with Mindy Kaling. Her writing has appeared in The New Yorker , The New York Times , The Atlantic , The Southern Humanities Review , The Best American Short Stories 2022, and more. She’s a graduate of the Iowa Writers' Workshop and a former Paul and Daisy Soros Fellow. She lives in Atlanta and is currently a Fiction Fellow at Emory University. WRITER WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

Solidarity failed when it came to a dire Afghan refugee crisis, decades in the making. THE VERTICAL Everyone Failed Us Arash Azizzada · Irene Benedicto Solidarity failed when it came to a dire Afghan refugee crisis, decades in the making. “A group of women leaders are badly in danger and one of them is my mom. I really searching for a person who can help us. They attack our home at first…. I hope you can help us. Every one of us really get depressed, please help us to get out of here.” THE BARRAGE of messages I receive, like the one above from western Afghanistan on almost a daily basis has not stopped, even a year later. Desperate daily emails from Afghans seeking refuge and safety flood our inboxes. Some are social activists, human rights defenders, former interpreters, and women leaders at risk of retribution from the Taliban. Other marginalized groups such as Hazaras and Shias have already been victims of ethnic cleansing by the Taliban and remain targets of ISIS attacks. Women activists have been disappeared by the Taliban authorities. Afghans seeking evacuation hold onto hope in what seems to be a hopeless situation. No longer expecting the international community to come to their rescue, for governments and institutions to do what they’re supposed to do, they rely on community organizers like myself and others. For two decades, America bragged about what it was building in Afghanistan. Last summer, the “Afghanistan project” was exposed for the facade that it was: a hollow rentier-state that only held ever legitimacy with Western donors and not with the Afghan people. Despite obvious bubbles of progress where hope flourished amidst the violence, the impending threat of a drone strike or Taliban suicide blast was always around the corner. Some rural areas were battered and mired in misery due to violence and poverty; others flourished, led by Afghan women and marginalized communities. The only constant was never-ending conflict. It seems as if the U.S. built a house of cards in Afghanistan, created in its own image, a house that started falling when the chains of dependency were challenged. The alliance with human rights abusers, the elevation of notorious pedophiles, and funding of endemic corruption brought back to power an oppressive, authoritarian regime that is erasing women, marginalized ethnic groups, and the disabled from public and daily life. The U.S. ran prisons where innocent Afghans were tortured. Entire villages were wiped off the map, and this was excused away as collateral damage. The U.S. spent years telling Afghans to pursue their dreams, break barriers, and challenge cultural norms. Then, it turned its back on them and betrayed them. Perhaps those of us who dreamt of a better Afghanistan were at fault for having expectations of a country whose very existence was kickstarted by genocide, a country where American presidents attempt brazen coups and its own citizens storm its political headquarters. The grim reality that we bore witness to these past few months is one that anyone who has paid attention to Afghanistan could have seen coming. There is even a U.S. agency–the Special Inspector General for Afghanistan Reconstruction (SIGAR)--which is dedicated to overseeing how reconstruction money was used in Afghanistan. In report after report, year after year, quarter after quarter, SIGAR wrote about the ghosts that the U.S. created–schools and hospitals that didn’t exist and a 300,000-man army that only functioned on paper. The Washington Post even devoted a series titled “The Afghanistan Papers, ” to showcase how policymakers and Pentagon officials had lied and deceived the American people about its success and accomplishments for 20 successive years. Nobody cared. The failure to value Afghan lives, however, lies not just with policymakers and elected officials. Certainly, the list of those responsible for the current situation in Afghanistan is long, ranging from Afghan elites to American elected officials from both parties going back four decades. Administration after administration has deprioritized Afghan lives and centered the needs of American hegemony. Congress held hearings on Afghanistan and yet rarely featured any Afghans. Policy discussions on Afghanistan in Washington D.C. at influential think tanks left out Afghans entirely. Afghans were left invisible in an occupation that lasted so long that it became not the “forever war” but rather the “forgotten war.” Afghanistan had disappeared from the psyche of the American people. Even when SIGAR released a report on rampant corruption that was wasting billions or when the Washington Post talked about lie after lie coming from the Pentagon, America just didn’t seem to care. The right-wing was too busy destroying democracy, the Democratic party was too busy fundraising from defense contractors, and the anti-war Left was too white to put Afghans and other impacted communities at the forefront. In our own Afghan American community, too many in our diaspora were profiting off the occupation. Their kids will go to prestigious American colleges, while Afghan girls will not be able to go to school at all and are robbed of a future. An international audience did finally pay attention to us last summer. American media, though, centered on the feelings of almost a million veterans who served in Afghanistan rather than asking Afghans how a withdrawal would impact them. The images of Afghans clinging onto the bottom of a military cargo plane had the world hooked. What does it say about our humanity that it took those tragic images for everyone to ask what we can do to help? For just a few days, people across the globe valued Afghan life. But moments like that are fleeting–Afghan history is littered with broken promises. Some of us have read enough history to know that the international community will not learn the lessons of its failure in Afghanistan and begin centering on the needs of the Afghan people. The Taliban spends every day perfecting its repression while the world has moved on, despite empty tweets and statements of solidarity. Today, as a year has passed since the chaotic withdrawal, wide-ranging sanctions on Afghanistan and theft of Afghan assets by the U.S. continue to inflict immense pain on innocent Afghan people, causing a humanitarian crisis that will likely lead to mass-scale death through malnutrition and starvation, a policy that disproportionately impacts Afghan girls and women. The United States’ attitude remains the same: focusing only on self-interest, even if it harms Afghans, except now it is done through economic warfare rather than through bombs built by defense contractor companies like Lockheed Martin and Raytheon. Afghans deserve justice and reparations for the harm America has caused in my home country. Despite that vision for the future, what America leaves behind are closed immigration pathways and a desire to pretend Afghans don’t exist in the first place. Perhaps if a few more Afghans clung onto a plane leaving the Kabul airport, someone would care. ∎ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Photograph courtesy of Arash Azizzada (November 2019). SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Op-Ed Afghanistan Refugee Crisis US Imperialism The Failure of the Diaspora ARASH AZIZZADA is a writer, photographer, and community organizer based in Los Angeles, CA. The children of Afghan refugees, Arash is deeply committed to social justice and building communities. He co-founded Afghan Diaspora for Equality and Progress (ADEP) in 2016, aimed at elevating and empowering changemakers within the Afghan community. He recently co-launched Afghans For A Better Tomorrow (AFBT), and has focused on evacuation and rapid response coordination efforts in the wake of America’s military withdrawal from Afghanistan. He has written for the New York Times , Newsweek , and been featured on NPR and Vice News . IRENE BENEDICTO is an investigative and data reporter with ten years of experience working as a journalist. She has covered breaking news and written in-depth long-form stories, local and international news from eight different countries on three continents, including the political hubs of Washington DC and Brussels, and three investigative data projects on migration, public health, and social inequities. Op-Ed Afghanistan 24th Feb 2023 On That Note: The Captive Mind 26th JUN Whiplash and Contradiction in Sri Lanka’s aragalaya 27th FEB Climate Crimes of US Imperalism in Afghanistan 16th OCT

Pakistan continues to terrorize activists, young and old, for protesting the enforced disappearances of their brothers, sisters, and forefathers—losses the Baloch people are never truly allowed to mourn. In a letter addressed to Mir Mohammad Ali Talpur, a public intellectual who has devoted the past 54 years of his life to the Baloch liberation struggle, a young Baloch journalist seeks reprieve from a fate that seems increasingly inevitable, hoping to transform her grief into revolutionary fervor. THE VERTICAL Letter to History (I) Pakistan continues to terrorize activists, young and old, for protesting the enforced disappearances of their brothers, sisters, and forefathers—losses the Baloch people are never truly allowed to mourn. In a letter addressed to Mir Mohammad Ali Talpur, a public intellectual who has devoted the past 54 years of his life to the Baloch liberation struggle, a young Baloch journalist seeks reprieve from a fate that seems increasingly inevitable, hoping to transform her grief into revolutionary fervor. Hazaran Rahim Dad Editor’s Note: Sammi Deen Baloch was released by Pakistani authorities on April 1, a few days after this letter was first written. Dear Ustad Talpur, Baba Jan, you have watched generations disappear into dust. You know that time is a deceiver, that history is nothing but a long repetition of grief. Baba Jan, you have poured hope into a land that devours it. And still, you stand unshaken. I am writing to you without clarity about the purpose of my words. Perhaps, in times like these—when the sky is thick with grief, when silence is louder than gunfire, when even breathing feels like an act of defiance—writing is the only rebellion left. Or maybe it’s futile, a whisper against a storm, a candle in the abyss. How do I put into words a war, as they like to call it, which is just an unbroken cycle of operations to erase our very existence? I’ve been thinking about how adulthood is merely the accumulation of grief we carry and bury. And childhood, a baptism in violence. So, I write––tracing the outlines of our pain with ink, carving our memory into words. When bullets meet our bodies, do they make the same sound as the shackles that screeched against our land when they dragged Mahrang and Sammi? The leaders who carried the weight of history on their shoulders, who held up the sky when it threatened to collapse, who turned the grief of generations into fire. Mahrang and Sammi, who taught the Baloch they must stop being forever mourners, forever betrayed. On March 21, 13-year-old Naimat was shot . Then a disabled man, Bebarg, was dragged from his home and disappeared. Tell me, Baba Jan, how do we live through this time, where a child’s heart is not enough to satiate the state's insatiable hunger for spilling Baloch blood? What kind of state fears a crippled man’s voice? And what is more tragic than little Kambar? A child who once held a poster of his missing father, Chairman Zahid, and now, eleven years later, in the same cursed month of March, clutches another picture. This time it is his uncle Shah Jan who has been stolen by the same hands—a state that ensures no Baloch child feels fatherly love, that makes Baloch men disposable. Tell me, Baba Jan, does history ever grow weary of itself? Or will this violence continue to carve itself into our bones? Baba Jan, Balochistan stands at a precipice again. In the past two decades, they have buried entire generations, making mourning a permanent state of our existence. And today, the storm rages once more. The crackdown on the Baloch Yakjehti Committee. The arrests. The stifling of resistance. Dr. Mahrang Baloch taken under fabricated charges. The roads are flooding with protesters, repeating the same chant once more: Tum Marogy, Hum Niklengy . Our streets heard the same words when Nawab Akbar Khan Bugti was martyred. When the state unleashed its bloodied military crackdown in 2009. When Karima’s voice—one of the fiercest of our time—was silenced under the most sinister of circumstances. We chanted our pain into resistance. And today, we find ourselves trapped in the same cycle, bracing for what the state has yet to unleash. This is why I write to you, Baba Jan—not just as a thinker, but as a witness to history itself. Who else but you can grasp the chaos that takes root in the minds of the Baloch when faced with such devastation? When conscious, educated youth find themselves at a crossroads, they can only turn to history for answers. But in our case, history does not reside in books—it resides with you. You who saw the flames of 2006 and 2009. You who watched as mass graves were unearthed in 2014. You who lived through the fear and silence that followed Karima’s assassination in 2020. And now, new voices have risen—heirs to those who were brutally taken from us—only to face the same violence, the same retribution. Mahrang and Sammi, whose voices once echoed through the streets, are now being held in cells. A process of erasure perfected over decades. The Baloch lose another voice. And the bloodshed continues. Mothers become wombless. Wives become widows. Fathers become ghosts. Sons search for fathers. Fathers search for sons. And now, mothers search for daughters. Tell me, Baba Jan, what is the state preparing to do next? Will it follow the same script, crushing these voices as it did with the Baloch political leadership before? What consequences will this new wave of repression bring, especially at a time when the armed struggle has only grown stronger? Is it possible that the other oppressed nations of this land will stand with us in defiance of a shared oppressor? Can we still hope that the so-called civilized world will intervene before more of our people are swallowed by this unrelenting state brutality? Or will the detention of women be normalized too? I am worried that the state is now seeking to terrify young Baloch girls who stand firm despite the leadership’s arrest. It seems as if the state is entering a new phase of oppression, sending a message to Baloch women who dare to defy: Beware. Stand down. Who will stand with us? I am writing to you for hope. I am writing to you for answers. Tell me, Baba Jan, are we destined to be forever caught in this storm, forever erased, forever replaced? Signed, A young Baloch writer and journalist∎ Editor’s Note: Sammi Deen Baloch was released by Pakistani authorities on April 1, a few days after this letter was first written. Dear Ustad Talpur, Baba Jan, you have watched generations disappear into dust. You know that time is a deceiver, that history is nothing but a long repetition of grief. Baba Jan, you have poured hope into a land that devours it. And still, you stand unshaken. I am writing to you without clarity about the purpose of my words. Perhaps, in times like these—when the sky is thick with grief, when silence is louder than gunfire, when even breathing feels like an act of defiance—writing is the only rebellion left. Or maybe it’s futile, a whisper against a storm, a candle in the abyss. How do I put into words a war, as they like to call it, which is just an unbroken cycle of operations to erase our very existence? I’ve been thinking about how adulthood is merely the accumulation of grief we carry and bury. And childhood, a baptism in violence. So, I write––tracing the outlines of our pain with ink, carving our memory into words. When bullets meet our bodies, do they make the same sound as the shackles that screeched against our land when they dragged Mahrang and Sammi? The leaders who carried the weight of history on their shoulders, who held up the sky when it threatened to collapse, who turned the grief of generations into fire. Mahrang and Sammi, who taught the Baloch they must stop being forever mourners, forever betrayed. On March 21, 13-year-old Naimat was shot . Then a disabled man, Bebarg, was dragged from his home and disappeared. Tell me, Baba Jan, how do we live through this time, where a child’s heart is not enough to satiate the state's insatiable hunger for spilling Baloch blood? What kind of state fears a crippled man’s voice? And what is more tragic than little Kambar? A child who once held a poster of his missing father, Chairman Zahid, and now, eleven years later, in the same cursed month of March, clutches another picture. This time it is his uncle Shah Jan who has been stolen by the same hands—a state that ensures no Baloch child feels fatherly love, that makes Baloch men disposable. Tell me, Baba Jan, does history ever grow weary of itself? Or will this violence continue to carve itself into our bones? Baba Jan, Balochistan stands at a precipice again. In the past two decades, they have buried entire generations, making mourning a permanent state of our existence. And today, the storm rages once more. The crackdown on the Baloch Yakjehti Committee. The arrests. The stifling of resistance. Dr. Mahrang Baloch taken under fabricated charges. The roads are flooding with protesters, repeating the same chant once more: Tum Marogy, Hum Niklengy . Our streets heard the same words when Nawab Akbar Khan Bugti was martyred. When the state unleashed its bloodied military crackdown in 2009. When Karima’s voice—one of the fiercest of our time—was silenced under the most sinister of circumstances. We chanted our pain into resistance. And today, we find ourselves trapped in the same cycle, bracing for what the state has yet to unleash. This is why I write to you, Baba Jan—not just as a thinker, but as a witness to history itself. Who else but you can grasp the chaos that takes root in the minds of the Baloch when faced with such devastation? When conscious, educated youth find themselves at a crossroads, they can only turn to history for answers. But in our case, history does not reside in books—it resides with you. You who saw the flames of 2006 and 2009. You who watched as mass graves were unearthed in 2014. You who lived through the fear and silence that followed Karima’s assassination in 2020. And now, new voices have risen—heirs to those who were brutally taken from us—only to face the same violence, the same retribution. Mahrang and Sammi, whose voices once echoed through the streets, are now being held in cells. A process of erasure perfected over decades. The Baloch lose another voice. And the bloodshed continues. Mothers become wombless. Wives become widows. Fathers become ghosts. Sons search for fathers. Fathers search for sons. And now, mothers search for daughters. Tell me, Baba Jan, what is the state preparing to do next? Will it follow the same script, crushing these voices as it did with the Baloch political leadership before? What consequences will this new wave of repression bring, especially at a time when the armed struggle has only grown stronger? Is it possible that the other oppressed nations of this land will stand with us in defiance of a shared oppressor? Can we still hope that the so-called civilized world will intervene before more of our people are swallowed by this unrelenting state brutality? Or will the detention of women be normalized too? I am worried that the state is now seeking to terrify young Baloch girls who stand firm despite the leadership’s arrest. It seems as if the state is entering a new phase of oppression, sending a message to Baloch women who dare to defy: Beware. Stand down. Who will stand with us? I am writing to you for hope. I am writing to you for answers. Tell me, Baba Jan, are we destined to be forever caught in this storm, forever erased, forever replaced? Signed, A young Baloch writer and journalist∎ SUB-HEAD ALSO IN THIS ISSUE: Kareen Adam · Nazish Chunara A Dhivehi Artists Showcase Shebani Rao A Freelancer's Guide to Decision-Making Iman Iftikhar Mahrang (2025) Digital Illustration SHARE Facebook Twitter LinkedIn Letter Balochistan Pakistan Activism Enforced Disappearances State Violence Protests Liberation Journalism Revolution Grief Sammi Deen Baloch Resistance History Violence Writing After Loss Dissidence Disappearance Baloch Yakjehti Committee Dr Mahrang Baloch Arrests Tum Marogy Hum Niklengy Militarism Leadership Mass Graves Assassination New Voices Imprisonment Armed Struggle Repression Oppression Defiance Mir Mohammad Ali Talpur HAZARAN RAHIM DAD is an MPhil scholar in English Literature and a feature-story writer. Her work primarily explores the experiences of Baloch people in war, violence, and socio-political struggles in Pakistan. 3 Apr 2025 Letter Balochistan 3rd Apr 2025 IMAN IFTIKHAR is a political theorist, historian, and amateur oil painter and illustrator. She is an editor for Folio Books and a returning fellow at Kitab Ghar Lahore. She is based in Oxford and Lahore. To Posterity Paweł Wargan 30th Apr Letter to History (II) Mir Mohammad Ali Talpur 9th Apr Dissipated Self-Determination Zahra Yarali 26th Mar Who is Next? Noor Bakhsh · Qasum Faraz · Sajid Hussain 5th Mar Lima's Forsaken Jack Dodson 18th Nov On That Note:

ARTIST Haris Hidayat Ullah HARIS HIDAYAT ULLAH is an illustrator and a visual artist with works rooted in critical thinking, cultural phenomena and the absurd. He’s been involved with projects like Red Bull Radio, The Fearless Collective and has headed illustration workshops at the British Council Library, conducted art history workshops and exhibit at Rabtt. His collaborative initiative RTF Studio is shaping a diverse musical landscape. Additionally he has also been a speaker at TEDxGCU, where he gave his talk Navigating Through Self . Currently, he runs his artistic project called Lewanay delving into his surroundings, experiences and identity. Haris is also an Art Director in the fashion industry leading various editorial campaigns and visual storytelling. ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

· FEATURES Reportage · Maldives Battles and Banishments: Gender & Heroin Addiction in Maldives Behind the façade of idyllic island paradise, Maldivians navigate a drug epidemic of huge proportions. Artwork "Where do we go from here?" by Firushana Naseem for SAAG. Mixed media on canvas. Maldives has a long history of substance abuse. Its 1,192 coral islands lie at the intersection of major historical global sea routes in the Indian Ocean. Historically, traders from all over the world brought all kinds of illicit substances to its shores. Yet the archipelago has never been a producer or manufacturing point for illicit drugs. According to state official reports, it wasn’t until the early 1970s that Maldives opened for tourism, and a steady market for drugs began to develop in the Maldives. As the tourism industry began to boom in Malé, and people traveled from all over the world to enjoy its breathtakingly beautiful beaches, the demand for illicit drugs soared. Malé’s geographic location made it the ideal drop-off point for all kinds of drugs—among them cheap, low-grade heroin called “brown sugar.” Walking down the street, it is common to come across at least one woman high on brown sugar. What gives her away are her vacant expression and comatose demeanor. Even as nearly a third of the country’s population or at least one member of a family struggles with substance abuse, women tend to face greater ostracization and social exclusion. This is not to say that women in the Maldives do not struggle with drug abuse. During a crackdown on Malé’s (in)famous drug cafés last year, police arrested 65 women and 14 children. In fact, many Maldivians would have, at some point, viewed a moralistic YouTube video of such a woman on social media. The women in these videos are meant to serve as a cautionary tale against the wayward social behaviors and tendencies that lead to a life of substance abuse, destitution, and misery. If the social stigma around seeking harm reduction for substance use wasn’t enough, such representations of women addicts end up stigmatizing them even more. The stories of women who end up abusing heroin—or brown sugar, as it is more commonly called—are diverse, yet they share a common thread of desperation, growing addiction, and a feeling of helplessness. One such story is Zulaikha’s (names have been changed to protect anonymity). A 38-year-old Maldivian woman who, in another life, successfully pursued a career in modeling. She now lives on a scantily-populated island of a Northern atoll, but back in the day, she was known for her exceptional beauty and talents in the creative arts. A few months ago, she knew she had hit rock bottom when she walked up to someone on the street and said (in Dhivehi): “Excuse me, can I please have a tenner for food?” The person she had asked for money turned to look at her and they both recognized each other. Zulaikha had gone to high school with them. As her old classmate’s eyes followed a line of cigarette burn marks on her arms, Zulaikha’s face turned ashen. The stories of women who end up abusing heroin—or brown sugar, as it is more commonly called—are diverse, yet they share a common thread of desperation, growing addiction, and a feeling of helplessness. Back in high school, Zulaikha was someone younger students could count on to stand up to their bullies. Her classmates fondly recall her compassionate and empathetic conduct with those younger than her. She stood up for justice and the values that mattered to her the most, and was widely admired for it. But Zulaikha’s adolescent years were marked with notoriety after she began using heroin at such a young age. Soon after high school ended, she gave birth to a child and then checked into rehab. She relapsed several times, after which she moved away from her family’s house and began living with her partner on a Northern island. The man she lived with was physically and mentally abusive. At one point, in a fit of rage, he beat her senseless with a hammer. Despite the constant threat of physical violence, Zulaikha refused to leave her partner, who is also a heroin abuser. Deprived of the care she needed from her family, she insists that she preferred living with the person she also terms her abuser. Zulaikha’s story is like that of several women who, after becoming heavily dependent on substances, are abandoned by their families. People in the Maldives frequently associate women’s addiction with sex work. It is after the drug dependency kicks in that the actual cycle of abuse begins. After women addicts are abandoned by their families, many end up moving in with partners who also abuse drugs and them too. The plentiful supply of drugs in the region, combined with limited support to recover, means that the chances of an ex-user relapsing are high. Stories of women who managed to end their dependency on heroin and rebuild their lives are, in fact, painfully rare. They end up falling deeper and deeper into addiction, while their circumstances inhibit them from breaking patterns of drug abuse. In situations like these, family support is pivotal in enabling women to get back on their feet. Cycles of Addiction As a young undergraduate student in Malé in the early 2000s, Maryam had jumped at the chance to study abroad. The twenty-something was academically gifted and creative, and she believed the experience would open up several opportunities for her. It was during her time abroad with a cohort of heroin users from back home that she began using. She recalls that her time abroad was an incredibly vulnerable period for her. Away from her family and the security of home, she began using drugs experimentally, but soon became addicted to heroin. After returning to Malé, she remained hopelessly addicted. Her dreams and ambitions were no longer possibilities for her, and she became estranged from family and friends. A few months after she was turned away from home, Maryam was using heroin at a café frequented by criminal gangs involved with the drug trade, when the police raided the place and arrested her. Before the enactment of the 2011 Drugs Act, people arrested for drug use were often sentenced to spend as many as 25 years in prison, regardless of the quantity or potency of drugs in possession. It would not be a stretch to estimate that over 90 percent of all criminal cases in the Maldives are drug-related. Shortly after Maryam started serving her sentence in Maafushi prison in 2004, the devastating Indian Ocean tsunami hit. The recently constructed women’s wing where Maryam was being kept suffered severe damage. She incurred several injuries while trying to flee from the tidal swell and was subsequently sent home. After recovering from her injuries, she started using heroin again, but this time around, she was able to rely on her family. Her mother, Maryam recalls, was relentless in her efforts to get her off drugs. Maryam began to alternate between periods of staying clean and abusing heroin. Despite her protestations, her family sent her to the Himmafushi Rehabilitation Center several times to recover. During one of her drug abuse stints, she was arrested for drug possession, but managed to avoid a prison sentence because of her confession. Before the enactment of the 2011 Drugs Act, people arrested for drug use were often sentenced to spend as many as 25 years in prison, regardless of the quantity or potency of drugs in possession. It would not be a stretch to estimate that over 90 percent of all criminal cases in the Maldives are drug-related. Maryam’s recovery at the Himmafushi Rehabilitation Center was slow and interrupted by relapses, but the place was somewhere she could return to safely. This feeling of security and care began to help her thrive at the center. Maryam recalls her spells there as restful. Eventually, she developed a passion for helping other drug addicts overcome their patterns of abuse. She thrived in the company of other women who were also recovering addicts, and collaborated with them on several projects. When she returned to the rehab center for a third time, she decided to put her plans into motion. In collaboration with an NGO for vulnerable women and drug addicts, Maryam worked on building a safe space for vulnerable social groups within the rehab center. She also ran several vocational programs and capacity-building workshops. Things had begun to look up for Maryam. She was doing something that she believed in and regained her youthful confidence. After settling down and getting married in 2010, Maryam gave birth to a daughter. Her life seemed perfect—till it wasn’t. Three years after her daughter’s birth, Maryam’s marriage soured. Depressed and despondent, she returned to using heroin. It wasn’t long till she was arrested during a drug bust for a third time. This time, she was sentenced to imprisonment. “My relationship with my child suffered because of this,” she said sorrowfully. “It’s like I’m a stranger to my own child and there’s no way to gain back the time I’ve lost.” After three years of serving time in prison, she was released on parole. This time around, Maryam’s family decided to send her to India for treatment. She got better there and returned to her family a healthier and happier person. Since her return from treatment, she admits that she still struggles to stay sober and hold on to relationships. Her time in prison had greatly impacted her mental health and made her reticent and reluctant to talk to strangers or new acquaintances. As Maryam continues to attempt to get to know and care for her daughter, she treads a delicate balance of resentment and relapse. Facing a wicked system Zulaikha remembers her stay at Himmafushi Rehabilitation Center differently. A regular returnee at the center, she did not have the network of family and financial support that Maryam relied on, and faced several obstacles along the way. In fact, Zulaikha insists that she did not benefit from rehab in the slightest. She would prefer to stay with a partner she admits is abusive towards her. The reason for that, she elaborates, is that there are no alternatives for women who lack an emotional and material support base in the form of family or wealth. There are no state-run or community-run shelters for vulnerable women looking for a safe space, and neither are there any detoxification or rehabilitation facilities available to them. Most women jailed for drug-related offenses often end up there for refusing to complete their treatment at the rehabilitation facility. Zulaikha remembers the facility itself as lacking the necessary infrastructure and support for recovering addicts. The Himmafushi Rehab Center houses recovering men and women who are supposed to always be segregated. Women are told to stay within the confines of a small compound within the larger Himmafushi Rehab Center and are not allowed any outdoors time. Over at the men’s enclosure, the rehab center organizes outdoor activities and classes, but women are barred from participating in them. Zulaikha’s misgivings about the rehab center have been repeated by several other recovering addicts as well, which suggests that the rehab center is severely lacking in essential facilities for the recovering addicts. Even though the Drugs Act of 2011 mandates separate recovery centers for men, women, and juveniles, so far there has been no work on building separate centers. Hence, everyone gets sent to the Himmafushi Rehab Center. The clinicians and staff at the center follow a Therapeutic Community Program which aims to focus on recovery through lifestyle changes, and not simply abstinence from drugs. Yet the center’s facilities are stretched painfully thin. Prisons too are choked with people arrested for drug possession—almost 99 per cent of all criminal cases are drug-related, after all—and these are the conditions which have forced lawmakers to reform laws pertaining to drug abuse. Yet reform work is painfully slow, hence the problems accompanying drug abuse fester and worsen over time. One of the most frequently cited problems is one of alienation—from care and support networks, as well as fellow recovering addicts. In the 1990s, there were no custodial buildings for women arrested on drug-related charges. So, when Fatima was arrested in Malé and sent to jail, she was put in a small isolation cell with another woman who became the first Maldivian woman sentenced to imprisonment for drug possession. Both women were suffering from withdrawals and ill health, but since Fatima was the younger one, the prison authorities tasked her with caring for her fellow inmate. Fatima’s own condition deteriorated while she tried her best to help the woman in jail with her. The woman was undergoing severe withdrawals and needed medical attention, but none was available. Instead, she died an agonizing death within 48 hours of her sentencing, while a dehydrated and listless Fatima watched her suffer helplessly. The sight is etched in her memory forever, she says. The prison authorities hushed up the matter, while Fatima says she was left alone in the cell to tend to her psychological and physical scars. When Fatima was arrested in Malé and sent to jail, she was put in a small isolation cell with another woman who became the first Maldivian woman sentenced to imprisonment for drug possession. Both women were suffering from withdrawals and ill health, but since Fatima was the younger one, the prison authorities tasked her with caring for her fellow inmate. Life hadn’t always been unkind to Fatima. Her family was wealthy, and she had led a comfortable life. It was the early 1990s and she was barely out of her teens, gullible and eager to explore the world. She jumped at the chance to try heroin with her older friends, thoroughly convinced that she would never get addicted. By the time she became aware of her drug dependency, it was too late. When her family found out about her condition, they arranged to send her abroad for two years to recover. They also made her sever ties with the friends she used heroin with. In 1994, Fatima returned to Malé and, within no time, began using heroin again. That's when everything went downhill, she recalls. Shooting heroin was the only priority in life, she says. Her memories of youth all involve using heroin with friends at restaurants and other places. This was a time when heroin was not that common—this was not brown sugar—and most people were unaware of its effects on people. This is how they got away with using the drug in public and remained socially functional. But it wasn’t long before she was picked up by the police in a drug bust and sent to jail. That is where she met the inmate who passed away from withdrawals. In the aftermath of the whole episode, Fatima was “banished” to an island instead of a prison. Historically, the term “banishment” has referred to the commonly prescribed punishment of internal exile to one of the many Maldives islands. Banishment as punishment was finally repealed in 2015 after the enactment of a new Penal Code. However, for Fatima, the punishment of banishment entailed being sent to live among a close-knit community of locals on an island in the south of the Maldives. There, she suffered from loneliness and isolation. The local people shunned anyone sent there in exile, especially if it was for drug-related offenses. Fatima was neither welcomed nor acknowledged in the community and she lived as an outcast in the eyes of the island residents. “I was scorned and ridiculed,” she recalls. “Women struggling with addiction are not acceptable in this society.” “Back in the 1990s,” she says, “the inhabited islands were destitute places.” The islanders had limited access to drinking water and electricity, and had to struggle to make ends meet. This felt like a rude jolt to Fatima, who had been accustomed to a life of luxury and gratification her entire life. She recalls those days as a never-ending spiral into tedium, with no one to keep her company, save for occasional telephone calls from her family, which she received at the singular telephone booth on the island. Thoroughly bored and miserable, she attempted to find ways to numb her pain, but could not, and that made her desire drugs even more. After her sentence ended, she returned to her family in Malé. There, her mental health deteriorated significantly and she started using heroin again. She began feeling resentful towards her family, friends, and even her daughter. Anger and rage festered beneath her attempts to regain control of her life, and she found herself unable to share her feelings with anyone, even those closest to her. Refusing to give up or give in, Fatima reached out to rehab centers locally and abroad for help in recovering. The experience of treatment abroad was markedly different from back home. She terms the Maldivian rehabilitation program “the Garfield program, since their clients are programmed to eat, sleep and repeat.” At the rehab centers in the Maldives, she adds, recovering addicts are called to a meeting every morning, but the goals or takeaways from that meeting aren’t clear to anyone. While the men were allowed to engage in (albeit a limited number of) activities, the women addicts were left alone in their quarters. The counselors were not properly trained or certified, and most of their clients chose not to open up and be honest about their drug use with them. The way Fatima describes her experience makes it appear as if rehab is a place where one goes to escape a jail conviction, get away from annoying family members, or is just somewhere you can mentally check out and go through the motions day after day. Either way, there is no measurable positive outcome. Her time in rehab centers abroad was quite different. The day was filled with a long list of activities and tasks to complete. The recovering addicts would work hard at these tasks from sunrise to late evening, which included yoga and cooking classes. Fatima says her self-esteem improved greatly during her time there. The clients at rehab (abroad) were encouraged to journal their feelings and experiences daily, she says, and this would help them arrive at new insights into the nexus between their mental health and addiction. Fatima says these activities helped her recognize the obsessive-compulsive tendencies that she has had since her childhood (even though she had never been formally diagnosed). The Scale of the Drug Epidemic There are several detox and rehabilitation centers operated by the government across the Maldivian archipelago, but only two of them are currently being used to help drug addicts recover. Close to half of the country‘s population is below 25 years of age, and at least half of that population is addicted to brown sugar. Such is the notoriety of the Maldivian youth, that the term for youth, which is “ zuvaanun,” has a negative connotation. It is commonly deployed to accuse someone of miscreancy or addiction. Suppose you hear of a road accident caused by a speeding motorbike, or see someone getting mugged on a street: as the average Maldivian, chances are that you will shake your head and cuss at those rapscallion zuvaanun. Throughout the late 1980s and 1990s, society in Malé was undergoing a radical shift. The islands were opening up to the outside world and people were bringing in all kinds of new (mostly western) ideas and ways of life to the country. The population of the capital city boomed as residents of other islands flocked to Malé in search of higher education and basic services that were boosted by the then-burgeoning tourism industry. They dreamed of a life where they would get greater access to amenities and opportunities to better their lives. Despite the influx of so many people, or perhaps because of it, some communities and generations clung to their traditions and roots. Their children were expected to diligently study, find stable jobs, marry, and spend their lives working and raising a family. Yet the generations growing up in the 1980s and 1990s faced a more tumultuous time. Some call them a generation that was lost in between an unprecedented cultural shift. Combined with the skyrocketing demand and supply of drugs on the tiny islands, it was easy to fall prey to drug addiction. Given the massive scale of the drug problem, it is shocking that there are so few resources to help tackle it. In the centers that are operational, recovering addicts share that medical treatment is lacking, counseling is substandard and ineffective, and that the whole program is woefully incompetent. In February 2021, a client seeking treatment at the Hanimaadhoo Detoxification Center passed away from severe withdrawals after not receiving medical attention. The center was subsequently shut down. Recently, on 14 November 2021, local media reported that a client who had just returned to Malé from a detoxification center was found dead in an abandoned home after succumbing to a drug overdose. The government body tasked with the management of detoxification and drug treatment centers is the National Drug Agency (NDA) of the Maldives. Among journalists and related staff, there is much talk of inaction, incompetence, and even accusations of corruption plaguing this institution. The Sri Lankan counterpart to the Maldivian NDA, the National Dangerous Drugs Control Board, runs programs for addicts in 11 prisons, while managing four treatment centers in heavily populated areas. The Sri Lankan drug control body also engages with thirteen private treatment and rehabilitation centers where clients can seek services for payment. Some Maldivian addicts who can afford treatment abroad frequently enroll in treatment centers in Sri Lanka, India, and Malaysia. But most drug addicts are poor and cannot afford to go abroad for treatment. In February 2021, a client seeking treatment at the Hanimaadhoo Detoxification Center passed away from severe withdrawals after not receiving medical attention. The center was subsequently shut down. Recently, the health minister of the Maldives was called to the parliament regarding an enquiry on the obstacles faced in finding solutions to the Maldives’ drug problem. The health minister stated that there was no quick solution to the large issue, and that the relevant authorities do not know the way forward. He mentioned the lack of research on drug abuse as one of the problems. However, he acknowledged that drugs and drug addiction are the most severe twin crises the country is facing today. Change NDA and Hands Together are two movements launched by recovering addicts and members of their families and communities. Both movements have been calling for reforms in the NDA. Though the movements lack numbers in their demonstrations and protests, their members are vocal and persistent. Last year, they submitted a “Change NDA 2020” petition to the People’s Majlis with over 1,000 signatures, prompting a mass inspection of all rehabilitation and detoxification centers being run by the NDA. This petition also resulted in heavy scrutiny of the organization, and the operations of the NDA were shifted from the Gender Ministry to the Health Ministry, with a new chairman appointed. Citizen engagement efforts and advocacy initiatives, along with transnational solidarity campaigns among recovering drug addicts, can help provide the impetus necessary to push the government towards action. It is not enough to rely on the goodwill of authorities who themselves admit to state collusion with drug cartels operating in the region. At present, most detoxification centers in the country are closed and there is no headway in improving the rehab infrastructure and facilities for recovering addicts. While there is talk of the government bringing on board a foreign private company to design a new, more effective rehabilitation and detoxification program, people on the ground know not to put too much faith in these talks of plans. At the end of the day, those who suffer through drug abuse and its related problems rely on the solidarity of family members, friends, and organizations to help them navigate an otherwise incredibly dehumanizing system.∎ SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Reportage Maldives Malé Addiction Drug Epidemic Rehabilitation Drug Trade Tourism Maafushi Prison Gender Violence Trauma Intimate Partner Violence Poverty Longform Change NDA People’s Majlis Hands Together State Repression Hanimaadhoo Detoxification Center Malé’s drug cafés Dhivehi Brown Sugar Heroin Substance Abuse Relapse 2011 Drugs Act 2004 Tsunami Himmafushi Rehabilitation Center NGOs Prison Structural Frameworks Detention Drug-Related Arrests Zuvaanun National Drug Agency National Dangerous Drugs Control Board Sri Lanka Banishment Police Action Internationalism Class Public Space Low-Income Workers Urban/Rural Humanitarian Crisis Local Politics Health Workers Gender Investigative Journalism 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. 28th Feb 2023 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:

DANCE COLLECTIVE DIONYSIAC DIONYSIAC was founded by the late Nael Nasheed and Neha Noogully as a performance art and dance collective. Many of its performances center on the public and private struggle of Maldivian women. DANCE COLLECTIVE WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

· THE VERTICAL Profile · Kenya Beatrice Wangui's Fight for Seed Sovereignty in Kenya Beatrice Wangui's quest to challenge Kenya’s punitive seed laws tells a larger story about the nature of indigenous knowledge and preservation, as well as that of agrarian labour, situated in a longer history of the public and private approaches to agriculture that are promulgated under the guise of modernization. Rise by Ian Njuguna. Farming has always been a bonding point between my father and me. When I ventured into agriculture, I only understood food systems from the point of small-scale farming. As a way of learning, my father would often bring some seeds and cuttings when he went somewhere new. This was one of the ways we introduced new foods to our small farm and onto our plates. In 2012, the Kenyan government enacted a law that made seed saving and exchange illegal, thereby posing a threat to an indigenous system of seed exchange that has persisted for eons. When I arrived at Beatrice Wangui’s house she was showing farmers how to build a vertical garden. Her home is an oasis in the dry Gilgil area and a large group of farmers, local and from other countries, stood around her as she showed them how to make a blend of manure, charcoal dust, and soil to grow vegetables in. This is a regular activity on her small but well-sectioned agricultural island. One side of her farm is a thriving bunch of vertical gardens teeming with leafy greens. Corners on the ground spot herbs like mint and rosemary. There is a short spread of beds hosting at least six varieties of managu (black nightshade ) , terere (Amaranth ) , mitoo (slenderleaf) and saget (spider plant). Now 59 years old, Beatrice has been an organic farmer for many years as well as champion of seed sovereignty. Indigenous communities in Kenya have had to work around the systemic effects and hurdles in the way of corporate capture of seeds, promulgated in the form of millions of US dollars by international seed companies to monopolize the seed sectors in Africa. I wanted to dive into the world of seed saving to see how people responded to or worked around the law that criminalized these traditions. Beatrice training a group of visitors on creating vertical gardens. Photo courtesy of the author. Seed sovereignty upholds the farmer’s right to save, use, exchange, and sell his or her own seeds. Seed regulation in Kenya began in 1972, ten years after the country gained independence. The Seed and Plant Varieties Act of 1972 entered into force in 1975, was promulgated in 1991, and later amended in 1994. While Kenya joined the World Trade Organization (WTO) in 1995, the country had already enacted its own unique (sui generis) law on Plant Breeders' Rights (PBRs). However, this PBR law did not take effect until 1999 after Kenya ratified the 1978 Act of the International Union for the Protection of New Varieties of Plants (UPOV). In 2012, Kenya updated its PBR law through the Seeds and Plant Varieties (Amendment) Act . Then, in 2015, the country furthered its commitment to UPOV by ratifying the 1991 UPOV Convention, which outlines stronger protections for new plant varieties. Today, seed saving is an essential part of Kenyan livelihoods, especially in rural parts of the country. In Kenya, 70 percent of the rural population is dependent on agriculture. As a child, I remember when my parents would return from visiting new places with some form of seed propagation. They could be suckers for a new vegetable, vines, or a handful of seeds – all a means to grow the crops that caught my parents’ interest. This was how I came to know and love a vegetable called rhubarb. In many rural homes across Kenya, kitchens are not only a space to prepare food. Hanging on walls, under the traditional fire racks near the fireplace are seeds tied up in leaves along with calabashes. The warmth from the fire dries them out and the smoke makes them nearly pest-proof. Smoking is one of the most traditional modes of seed saving. In many communities, other methods such as diatomite, cow dung, soot, and ash are used. This is a tradition for most, if not all the communities in Kenya. Slenderleaf pods at Beatrice’s farm. Photo courtesy of the author. Punitive Seed Laws The Seed and Plant Varieties Act of 2012 criminalizes farmers from “selling, sharing and exchanging” unregistered or uncertified seeds. Farmers who break the law risk a prison sentence of up to two years or a fine of up to a million Kenyan shillings. Beatrice says she refused to keep silent in the face of laws that promote corporate greed over the lives and livelihoods of communities across the country. She joined other farmers and civil society organizations as a petitioner in a case against the law prohibiting seed saving. The alliance of farmers and activists has courageously spoken up against the laws, arguing for the rights of small-scale farmers to save, exchange, and use their seeds freely. Their persistence and hard work has inspired farmers across Kenya to join their cause. They hold seed exchange fairs to fight for the right to cultivate indigenously obtained and retained seeds. Apart from them, fifteen other small land-holding farmers have filed a petition to the court to amend the law. Speaking to Beatrice feels like a plunge in a well of seed preservation knowledge. On a tour of her seed-saving facility, she pointed out the strategic use of all the materials she had on hand. She explained how each element played a role in ensuring the survival of seeds for up to years in glass bottles. Even though her village has no piped water, the facility carries stacks of jerry cans filled with water. The water helps keep the temperature low which reduces heat damage. The room is also low and near the ground. Beatrice at her community seed bank. Courtesy of Gregory Onyango As custodian of the community seed bank, Beatrice is tasked with ensuring that the seeds are in tip-top shape by the time farmers come to collect them. “Farmers bring in their seeds after drying them,” she says. “And they must wait at least a season before they come to get seeds. A farmer cannot take all the seeds at the same time. There was a year we had two failed rainy seasons and only the last batch of the seeds made it.” It begins with inspecting the seeds for moisture content. If the seeds do not pass this test, the farmer is required to take them back and reduce the moisture content to the required level. The next step is to check out the seed's germination percentage. "This is done by picking about 10 seeds, placing them in a bowl, and covering them with a wet tissue. In about 5 days, we observe how many out of the ten have germinated," Beatrice explains. If three or fewer seeds germinate, it means the germination percentage is low and the seeds are not of good quality and cannot be stored. Depending on the quantity of seeds, some are stored in airtight glass bottles while others are stored in buckets. A film of ash from special trees and bushes is spread over the seeds to keep both moisture and pests off. With help from organizations such as The Seed Savers Network , Beatrice has been able to increase her knowledge and capacity for seed saving. The Seed Savers Network was registered in 2009 and to date, has helped establish more than 52 community seed banks, including one that Beatrice looks after. The Seed Savers Network, she says, taught them seed characterization which is a process they follow from when they plant a seed to when they harvest it. Beatrice Wangui in her garden. Courtesy of Gregory Onyango Beatrice is keen on passing on this knowledge to her children and grandchildren. Her granddaughter who is named after her and attends a local secondary school, is very hands-on with the project. She has grown up around her grandmother and has learned how to tell different varieties apart and how to preserve each of them. “When she is around and I have visitors, she teaches them just as well as I can. She understands how to handle seeds and crops alike,” she shares. For Beatrice and others like her, awareness of such methods and passing on their teaching is an integral part of the process without which indigenous knowledge would disappear. With help from organizations such as The Seed Savers Network, Beatrice can meet other seed savers from across Kenya and the world. As she shows me around, explaining varieties of maize, beans, tomatoes, and vegetables she hopes the indigenous knowledge, varieties, and preservation are not stifled by punitive seed laws. As she fights for indigenous seeds through the law and by practicing traditional methods, she hopes her cross-generational efforts pay off and the indigenous crop varieties stand the test. Beatrice is one of many people and organizations working to maintain the s tate of seed sovereignty . Despite the immense challenges posed by the corporate consolidation of the seed industry, the movement for seed sovereignty continues to gain momentum around the world. From seed libraries and seed swaps to on-the-ground breeding projects, countless individuals and communities are taking steps to reclaim their ancestral seed heritage and maintain biodiversity. By resisting the privatization of this vital common resource, seed savers stand as stewards of food security and biodiversity for present and future generations. Though the battle is an uphill one, the remarkable resilience and creative cross-pollination within the seed sovereignty movement offer a path toward a more regenerative, equitable, and sustainable food system. ∎ SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Profile Kenya Climate Seed Sovereignty Agriculture Farming Beatrice Wangui Seed Saving Indigeneity Indigenous Seed Exchange Seed and Plant Varieties Act Agrarian Economy Rural Farmers Seed Savers Network Seed Banks Community Building Gilgil Nakuru County Sustainability Food Systems Organic Farming Environment Climate Change Agricultural Labor 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. 22nd Apr 2024 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:

Ondine de Gaulle ONDINE DE GAULLE holds degrees from Sciences Po Grenoble and SOAS, University of London, in Middle Eastern Studies and Comparative Literature with a focus on South Asia. Her work explores topics related to minority identities in the Middle East and the Indian subcontinent and Urdu literature. WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE