In this cogent meditation on the histories and psychologies of conflict that have etched survival into the essence of Afghan identity—both at home and in exile—Mahfouz reflects on family, repression, and the unseen burden of history. Spanning generations and regimes, this is a story of inheritance and idealism, where the quiet conviction of its actors gradually challenges the silence imposed by empires built on endless war. · FEATURES Essay · Kandahar In this cogent meditation on the histories and psychologies of conflict that have etched survival into the essence of Afghan identity—both at home and in exile—Mahfouz reflects on family, repression, and the unseen burden of history. Spanning generations and regimes, this is a story of inheritance and idealism, where the quiet conviction of its actors gradually challenges the silence imposed by empires built on endless war. "Self-Portrait" (2016), digital print, courtesy of Latifa Zafar Attaii. The Captive Mind Our two-story house in Kandahar stood inside a compound with a garden of colors where roses of many kinds lived, competing in fragrance with the chambeli , the jasmine plant. On summer nights, the garden also brimmed with the laughter of us, the children, on bicycles, playing hide and seek beneath the stars. When winter came, the rhythm shifted. Evenings began after supper, the electricity generator shut off and the lantern lit for warmth and light. The flickering flame would stretch the shadow of the past across the wall of the present, as my siblings and I gathered by the adults. The stories shared around that lantern were not fairy tales, but inheritance. Adults spoke of many things. How someone escaped a raid. How another someone never came back. How the sound of a car slowing outside meant the worst—being killed. For them, perhaps, it was their way of reckoning, with a war they had carried into peace, and with a peace still trembling on the edge of war. I had been listening to these stories since turning six, or maybe even earlier. In 2002, however, when Afghanistan was promised a new beginning, only to end up in rubble, I began listening more closely. Something in me had opened—the way it does when your own life begins to echo the stories you've always heard. The American invasion in 2001 became my reference point for war’s meaning. Sometimes it began with something small, a radio playing an old song, or someone quietly saying how lucky we were to have this house. From there, the memories would awaken: my grandmother’s story passed to my father, his to my mother, and then to my siblings. How they had escaped from Kabul while the rockets were falling. How they had not known if we would survive the road. How a family we would have never met took us in and gave us warm food. We would watch our elders’s faces in the lantern light, tensing as the stories reached that sharp point of unknowing. Our own bodies would stiffen with theirs; vessels holding fear. But then, as their faces would soften towards the end—the ending where they didn’t die—we would relax too, sometimes getting on our knees as if leaning into relief. We clung to the parts where our families had made it through. It was because of these moments that we wanted to hear those stories again and again. Sometimes, one of us would interrupt. “Tell the funny part,” we’d say, already giggling. The one about Ana Bibi. My grandmother, asking, “ Is this rocket coming from the right side or the wrong side? ” This would make everyone laugh. Among the many stories one returned often, even more so after my grandfather died in 2007, when I was ten. In its telling and retelling, that story became more than true—it gave continuity to life, underscoring how the past is remembered, the present felt, and the future anticipated. My mother told it with quiet reverence. My grandfather had been a leftist writer, among the first to embrace modernity in the 1950s. He supported the communist project in its early promise, reforms, and a vision for a better future. But after the bloody coup and Hafizullah Amin ’s rise, that promise curdled. Friends disappeared. Dissent became dangerous. He had written against the regime, and one day, word came. His name was on Amin’s list. In the weeks that followed, each time a car edged too close to their gate, my grandfather retreated into his study, crouching beneath the desk, lantern in hand. Descriptions of the heavy velvet curtain and the earthy smell gave my mother’s story an almost magical aura. That image, though never photographed, imprinted itself on me. A dark room. A burning light. The slow terror of footsteps. I do not know if it happened exactly that way. But memory in Afghanistan is not evidence. It is transmission. In Afghanistan, each poet gives his pain to the land, or lets the land’s pain speak through him. My grandfather was one of them. He wrote during the early days of Afghanistan’s turbulent history, a time when fear came not just from war, but from the silence it demanded. Years later, when he was already living in exile in Denmark, his words still echoed in Kandahar. My mother remembered them. At one point in the story my mother liked slowing down, and from those lived experiences that she carried in memory alone, she would emerge laughing and crying with the verses from my grandfather’s most well-known poem: Caged in the dark night I was, A victim of the chains pulled tight, I was. Hands bound, lips sewn, in waves of torture, Stuck in a hellish oven of harassment and abuse. Cold sighs rose, defiant, to the skies; My patience is like a shooting star towards the galaxy. My grief went violent, beyond what my worn heart could endure. In my chest, rebellious dreams could no longer fit, Wild cries like groans set off. That poem, she’d say, was written in the days when Hafizullah Amin Taraki's communist party had taken control—a time of extreme fear. At the time people were being whisked away from classrooms, in the middle of a lecture. One of my mother’s teachers was thrown from a helicopter, a warning to anyone with a mind too sharp, a voice too loud. Those who remained were not in chains, but restrained by fear. The regime went after the intellectuals, the mullahs, anyone they thought could become a rallying point, a nucleus around which resistance might form. And then a glimmer of hope, or so they thought, and my grandfather continued his poem. I don’t know whether someone heard my secret plea, Or judged my groans as immodest cries of ungratefulness. Clamor rose on the podium of the universe. An adventure rose to heaven’s home; With red monsters, black too, that flowed. At every step they roared with anger. I knew not then who stepped near– To rescue me, or strike me with pretenses of giving Everyone that came crushed the bones of my helpless body, But at the same time, they broke the chains that snaked around me. And so, at the breaking of the chains, I laugh, But for each bone breaking, I cry. The Soviets invaded , and they began breaking old chains, but they also broke bones. My grandfather went on breathing, but in the mirror of history the jail cell he had marginally avoided never closed. It passed down, unlatched, via my aunts, my older siblings, and now it takes the shape of my silence, a silence that pulses like our family’s death drive. After my grandfather, no one believed in idealism. In Afghanistan, survival builds its house atop the buried bones of idealism. Literally. I used to think that was just a metaphor, until I read an old article from 1997. A boy named Faizdeen, only 14, had said: “I used to dig for scrap iron…but the Taliban banned us from exporting it to Pakistan when they captured Kabul. So now I dig for bones. There is no other work, and we need the money for food.” My father used to joke with my grandmother, nudging her to eat more yogurt and milk, “If you don’t keep your bones strong, they won’t sell well later.” I always thought he was being dark for the sake of humor. Only now do I realize his joke had roots. The absurdity was just a disguise. He wasn’t joking. He was remembering—the past bleeding into the present through the cracks in his humor. We inherit many things: land, names, trauma. But I also inherited my grandfather’s dreams. Whatever intellect I carry, it’s a small fire lit by the same lantern whose light he read under. In 2007, I saw my grandfather for the first time in a coffin. But I don’t remember mourning his death, I remember feeling pride. He was given a national burial. The governor came. Many of Afghanistan’s renowned poets gathered to recite verses. His funeral was not a mourning of his death but a celebration of his voice. They said he was a man a hundred years ahead of his time, a father who educated every one of his daughters. They told stories of his poverty, how he couldn’t afford even a single sheet of clean white paper. How he walked the streets and upon finding a blank piece in the trash he picked it up and wrote on it. These stories brought him back to life, each retelling pulling him from the past, giving him breath and flesh. But even then, no one spoke of him in his entirety. His idealism was buried with him for the family's safety. And after him, idealism no longer lived with my family. The war stripped it away, leaving only the habits of survival. In rebelling, I search for his image. I was forced to quit school at eleven, not that I ever loved it, but by fourteen I began to question everything. Life. War. The meaning of it all. Fear was everywhere, seeping through the walls, hovering over us every night. Airstrikes, suicide bombings, the air and land on fire. I did feel in my own way: Caged in the dark night I was . And my chains were not that of being just Afghan but of a woman too. And then I thought of my grandfather, how he was self-taught, how he created a path for himself. Suddenly, that became a path for me too. This paid off. I became a full-time self-taught student, and in search for the meaning of life, in 2016, I went on to study physics at Arizona State University, eventually becoming a quantum computing researcher at Tufts University. I had made a promise to myself that leaving Afghanistan would mark the end of that chapter. The war and its memories would dissolve with distance. War had never made sense to me; it was arbitrary, brutal, and incoherent. The clean logic of math and science felt appealing precisely because I could grasp it. I believed that science would help me build a new symbolic order , what Lacan might call the framework through which meaning is stabilized. A clean logic to overwrite the chaos. Even as I dove into quantum theory, however, Afghanistan kept rippling back, like an unresolved equation buried in the wavefunction. At the lunch table among friends and colleagues, my jokes were always about war—the trademark Afghan dark humor that circles back on itself, where the punchline is a silence that swallows the room. I would laugh alone. While others laughed at their own easy jokes, I didn’t. Easy laughter didn’t come very easily to me. While others read fantasy to escape reality, I, driven by a neurotic curiosity, reached for Dostoevsky, Kafka, and Freud—to probe it. Surprisingly, the time away from Afghanistan didn’t take Afghanistan away from me. Instead, it made me see my country in everything I read. Partly, because in the US, Afghanistan is spoken about through the vocabulary of world power, war, strategy, collapse, and rarely, if ever, through the intimate lens of the human. I didn’t notice it at first, but the more I talked to people, the more I began to feel something unsettling inside me. Literature shaped by exile, grief, and repression mirrored a part of me that was still hovering outside language, unclaimed by words. The Afghan experience, I realized, was not just history, it was psychic. Complex, fractured, buried. In Afghanistan, I never had to ask what it meant to be Afghan. The question itself didn’t arise. But in the US, I found myself caught in a mirror stage of sorts, not of my own making, but shaped by how Afghanistan was talked about all around me. I was reacting to a reflection I didn’t recognize. And in that reaction, I began to split. A part of me wanted to disappear. Another part wanted to speak, not about policy, but about how Afghanistan felt . How it smelled at dawn after the Azan was called, when my mother added cardamom to the morning tea and my brother brought fresh doodi bread from the bakery. How it danced in the upbeat songs my father played. How it mourned in my grandfather’s poetry. How it lived in a child’s fear. How it died in a suicide bomb. And how, even then, when a bomb exploded nearby, Afghans knew to open the glass windows quickly -- so the second blast, which often came, wouldn’t shatter them over us. I began to see Afghanistan not as a place left behind, but as something returning, over and over. It returns in dreams, in the pauses between sentences. My memories speak Pashto, but my thoughts answer in English. In this process, I feel that my spoken English is shaped in such a way that lived experience arrives uncannily, half-recognizable, crossing a border just to reach me. So, I went deeper in search for voices that echoed the Afghan experience, voices shaped by rupture that spoke in fear, in silences that felt familiar. I became obsessively drawn to narratives haunted by erasure, burial, and longing—that reflected the essential and the unsayable parts of Afghanistan, helping me understand the genre-defying tragedy of a people compelled to sell the remains of humans just to survive. There is a tragedy and a contradiction in being Afghan: despite having so much history, culture, pride and poetry, our immediate past opens the door to an incomprehensible reality, where some must sell the bones of the dead just to buy bread. It’s a truth hard to hold, an irreconcilable dialectical condition. And sometimes I wonder, what if those bones belonged to the very intellectuals who once dreamed of a better future? Perhaps they were the remains of those killed by the communists for their idealism, or later by the mujahideen for the same reason. In 2019, I read Miłosz’s The Captive Mind . He wrote it in postwar Paris, after defecting from Communist Poland. The book felt so connected to my life—its psychic resonances were so familiar—I wondered if it had been written by an Afghan. Suddenly, I realized something that had never found its signifier: in Afghanistan, our minds were also captive. From the communist regime to the post-2001 government, fear didn’t disappear, it adapted. The instructions were the same, only told by new faces: don’t speak of politics, don’t say what your family thinks, don’t mention the Taliban on the phone, or the Americans either. When our experiences are not mirrored back, when no one names them, when no one writes them down, they begin to dissolve and disappear. We start to question not just the experience, but in time, we begin to distrust our own interiority. As if the silence around us means the feeling itself is wrong. Reading that book, among many, I felt the Afghan experience was not just real but legible. Not just tragic but thinkable. Afghanistan could be shown as it lives in the ruined houses of Afghan hearts, with all its beauty and contradictions. Miłosz describes the Murti-Bing pill, a tranquilizer of the mind, swallowed for peace with contradiction. He wrote of people who surrendered to ideology to survive. I recognized that surrender. My own grandfather’s writings sit in a Moscow basement, unpublished. My family warns me not to bring attention to them. “Do you want the Taliban to destroy his grave?” they ask. Against the silence, I think of my grandfather who said, “An Afghan writer shouldn’t look for applause. He must write his books, buy his own books, read his own books.” My grandfather chose to write regardless of whether he would be read or not. Untitled , Latifa Zafar Attaii (2016). Thread on Digital Print. When I left for the United States in 2016, I thought I had made my choice to live for ideas. But history is not a linear march towards freedom. One's choices are never final, they are tested at every twist and turn. In 2025, at Tufts, where I worked as a researcher, a student was taken in for writing just an op-ed for Palestine. I have this habit when I become overwhelmed, when emotions press too hard against the inside of my chest: I write poems. That night, as I felt the space around my own mind begin to enclose, I wrote one—raw and reactive. I hovered over the “publish” button on Substack, to click or not click. I found myself navigating not survival, but a negotiation between idealism and silence, safety and speech. Not only did I not publish the poem, but instead I deleted my X/Twitter and Instagram accounts because I didn’t want any likes, shares, or posts to be used in any way. And in that moment, I turned away from the person I had worked hard to become. The old instincts returned. I started watching what I said again. At home, we were taught to stay quiet. Never talk about politics. Never say what your family thinks. Live like two people, one inside the home, another outside it. There’s a name for that kind of split. In The Captive Mind , Czesław Miłosz calls it ketman : a practiced split between thought and speech that fractures the self, creating a kind of psychological contradictory duality. Under ketman , one performs the lie of the state for so long that they lose touch with their own inner truth. What starts as concealment from others becomes concealment from the self. Over time, even the desire to resist dies. Whenever we went to the house we learnt the Quran in, or when friends visited, my mother would lean in close, her voice a hush, “Remember, even the walls have ears. Not everything needs to be said.” Back in Afghanistan, fear had a shape: the sound of a suicide bomber, the rumble of a tank passing, the sudden shadow of a plane above, the silence after a kidnapping. Here in the United States, it’s different but no less present. It's a quiet kind of fear you have to learn all over again, the kind that follows you into your inbox, your social feed, your decision to speak or not. “Does the past have an expiration date…?” Georgi Gospodinov asks through a character in Time Shelter. For Afghans, it doesn’t. The past doesn't reverberate through memory and inherited fear, but comes alive in the headlines. In Pakistan, Afghan families who have lived for decades are being deported overnight. In the US, too, there's talk that Afghans under temporary protected status may soon be deported. Anger stirs inside me. Afghans are constantly at the mercy of the world. No matter the country, no matter the context, we are always waiting, waiting to be allowed to stay, to speak, to live. I hate this. I hate seeing my people cast again and again as the world’s burden. I want to write about this, about how these two acts of deportation, one in Pakistan, the other in the US, are not separate, but part of the same story. Take my cousin, for example. She came to the US on a P1 visa after the fall of Kabul in 2021, but now she’s stuck in legal limbo, uncertain if she’ll be allowed to stay. Her own family, who fled to Pakistan during the Afghan civil war in the 1990s, have lived there ever since, still undocumented, still afraid. When she calls me, she tells me she can’t even talk about her situation. “How can I add to their worry,” she says, “when they’re barely holding on themselves?' To this eerie synchronicity in the news, with two borders and one destination, Afghanistan, I want to add a truth. The continuity is not just between the displaced, but in the war itself. One refugee was driven out by the conflict that began in the 1970s. The other fled the aftermath of the US withdrawal in 2021 . But these are not separate wars. They are different phases of the same long undoing. The world, including both the U.S. and Pakistan, helped train, fund, and arm the mujahideen. The fire they lit has never gone out. Its shape has changed, but it continues to burn through Afghan lives. One of the most heartbreaking reels I saw was of an Afghan man in Pakistan. His shop was being looted, crates overturned, and a box of oranges was thrown to the ground. He ran helplessly toward it, trying to salvage what he could. I watched it and cried. Watching his face once again broke something inside me—a psychic déjà vu. I saw my parents’ past. And suddenly, memories of family came back, memories I thought I had learned to forget. One of the stories my father often tells from the time of the Civil War is of a room full of large bags of rice. In Afghanistan, they say old rice tastes better. Leaving Kabul while rockets were falling, on an empty stomach, perhaps that’s one of the reasons that memory has stayed so vividly alive to this day. One thing this perpetual war in Afghanistan has done well is strip people of their humanity, reducing their unique stories to mere headlines of victimhood. I want to tell the stories that don’t make it into the headlines, the small ones, the family ones, the ones that carry the weight of a war without saying it outright. I open a draft. I start to write about the US betrayal of Afghanistan, the foreign policies that spiraled everything that came after the Cold War. But then I stop. I read it over, hesitate, and delete it. It’s unsettling how the same instinct that made my grandfather crouch under his desk with a lantern now lives in me—surfacing as I quietly prepare to pack my bags, without knowing why. I find myself looking over the books I’ve collected. Physics textbooks, poetry, novels, and essays. Some from home, some bought here. I always thought I would build a library. It felt like a small claim on a life shaped by ideas. Now I’m giving many of them away. Not because I want to, but because something in me is telling me to prepare. It’s a quiet instinct, like the ones my family lived by for decades. You don’t wait to be told. You leave before you’re asked to. You stay quiet even before the silence is forced on you. No one has threatened me. Nothing has happened. But still I hesitate. I start writing and then stop. I delete what I mean to say. I try to explain this to myself, maybe it’s fear, maybe caution, or maybe it’s secondhand, something I inherited in those moments when voices lowered during storytelling or before we left the house, receiving instructions on what to say and what not to say. A habit passed down that became part of everyday living. A silence practiced long before it was needed. But again, as I speak to my family, it feels absurd to them. “Your grandfather was much higher than just intellect,” they say. “He didn’t publish, so you can keep quiet too.” My grandfather didn’t publish because our family was still living in Kandahar. But now we’re out. He, however, still remains in Kandahar. I'm concerned about free speech. I hate how war has reduced our ambitions to mere survival. As long as no bombs are raining down, you’re supposed to be fine. Growing up and searching for Afghan intellectuals in the books I read, I always hated that I couldn’t find them in English, in dialogue with the world. Looking back, I realize it could never have been possible—for in a country constantly at war, neither poetry nor intellect could flourish, and hope could not survive. Survival has always been more important than idealism, and you can’t live for idealism without putting your skin in the game. But survival made sense to those who came before me. Their silence kept them alive. Can I live differently? Is it possible? Every time I see an Afghan face, it is waiting at a checkpoint, a consulate, or a deportation line. But for every sad Afghan story, there’s a punchline. In my family, even the darkest recollection ended with something absurd—a sort of internal smuggler’s trade—emotion disguised in irony so the censors of sanity would let it pass, and in return, a small, uncanny, crooked laugh meant to keep the world from collapsing. Among us Afghans there is an almost tacit agreement: to live against despair, one has to laugh louder than his wounds. Humor becomes a stubborn way to insist on life’s beauty. But this isn’t your usual “hahaha” humor. It’s the kind that goes deeper than the suffering. A kind of philosophy that doesn’t deny pain, but rather makes space for it. I do this in my own way. In my stand-up comedy class, which I take just for fun , I end with the punchline: In one dream, I’m running from a bomb, afraid of being sent to heaven. In another, I’m running from ICE, afraid of being sent to the Hindu Kush mountains. My trauma has grown legs. And it keeps running. Watch out, it might kick you. ∎ SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Essay Kandahar Afghanistan Storytelling Family invasion Kabul Communist Era Hafizullah Amin Taraki's Communist Party idealism poetry trauma exile diaspora Afghan diaspora education language ketman dark humor Discourses of War War War on Terror Colonialism US Imperialism Imperialism Decolonization Colonial Oppression Colonization Memory Dossiers of memory Islam United States Pakistan Pashto Absurdity Dehumanization Human Rights Violations US withdrawal 2021 Mujahideen Literary Literary Activism Literature & Liberation Afghan literature 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. 26th Jun 2025 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:

“We’re very mundane and silly. It’s okay for racialized people to have mundane, silly stories.” COMMUNITY Humor & Kindness in Radical Art AUTHOR AUTHOR AUTHOR “We’re very mundane and silly. It’s okay for racialized people to have mundane, silly stories.” SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Interview Art Practice Centering the Silly FrizzKid Affirmation Art Body Politics Politics of Art Vulnerability Kindness as Politics Affect Characterization Criticism Capitalism Absurdity Illustration Comics Queerness Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. DISPATCH Interview Art Practice 19th Sep 2020 RECOMMENDED: Small, Broke, and Kind of Dirty: Affirmations for the Real World (2020) by Hana Shafi. Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Next Up:

ARTIST Mary Halym MARY HALYM is a self-taught botanical artist. Most recently, she was one of the organizers and featured artists of the Fabulous Art Show 2024. She works with various techniques, often using fabric, watercolor, paper, and various flora and fauna. ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

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. Vol. 2 FIRST TAG AUTHOR AUTHOR AUTHOR Digital Illustration by Iman Iftikhar. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Digital Illustration by Iman Iftikhar. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Tags Tags 23rd Oct 2010 Tags Tags 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. 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. More Fiction & Poetry: Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5

· BOOKS & ARTS Profile · Quetta The Limits of Documentation While Pakistan doubles down on deporting Afghan Refugees, filmmaker Rani Wahidi covers the story of an Afghan musician, Javid Karezi, and his family, to bring to light the difficulties Afghan refugees face after migration. Untitled, digital embroidery on fabric. Mohammad Sabir (2024) It’s late 2022 and singer Javid Karezi is sitting on stage with his harmonium surrounded by his new band. They’re at a wedding ceremony in Quetta, Pakistan. Karezi is mid-song when a middle-aged man interrupts him. Up until now, Karezi’s singing has only caused guests to leave. The man—apparently the host—asks Karezi to sing a song in Pashto. Karezi is taken aback by this request—he is being asked to sing in a language he is not fluent in. He tries to put it off, but eventually decides to ask his fellow bandmate, Waseem, to sing the requested song instead, and sits off to the side. This is a scene from documentary filmmaker Rani Wahidi ’s film, The Failed Migration , where she follows the Karezi family’s journey of deportation from Pakistan to Afghanistan. As a celebrated singer, the son of renowned Afghan singer Faiz Ahmed Karezi, and a sixth generation musician, Karezi is used to being in the spotlight. But when the Taliban came to power in Afghanistan, life took more turns than he could have ever imagined. In August 2021, after their successful takeover of Kabul , the Taliban banned music —leaving Karezi and his fellow musicians devoid of their livelihoods. By April 2022, Karezi, his wife, and 5 children, packed up their lives and moved to Pakistan by way of the Chaman border crossing—and they weren’t the only ones. They joined the growing community of roughly 4 million Afghan refugees . A majority of them have lived in Pakistan since the late 1970s and about 1.7 million are undocumented. If not for films like Wahidi’s The Failed Migration , the struggles experienced by generations of Afghan families in Pakistan would be largely ignored, likely due to xenophobia, political disputes, and the government’s neglect of these very issues. “Musicians have a gift and the Taliban took that from them. Anyone can open a shop, but not everyone has such a skillset, so to take that from someone is very bad,” Wahidi says, adding that while foreign media often covers such issues, “ we live our stories, we can revisit them anytime. They are close to us, we can explain them better, keeping our own contexts and lived experiences in mind, and we have a lot of time to tell our story.” Karezi had little contact with other Afghan musicians during his time in Pakistan, as he tried to focus on making a living for himself. He's proud of what he does, and is teaching his son to play the tabla as well. Wahidi’s skillset is also her talent but it’s been unable to substantively help Karezi in the struggle of being an Afghan refugee in Pakistan. As a singer of Dari and Farsi—languages not commonly spoken or understood in Quetta—he was only ever hired for a few functions. He found informal work that provided little economic, health, and food security. Even when he did book wedding ceremonies or events, the money wasn’t enough, especially after being divided amongst the larger band that he performed with. Coming home from a gig one night, as Wahidi’s film shows, Karezi asks his daughter what the doctor said about his wife’s condition since she’s been sick for a while, only to find out that she needs to be put on an oxygen supply and requires more medicine—which he can already barely afford. Like most Afghan refugees, Karezi lives on the sidelines, taking part only in the informal employment sector—but not all experiences are the same. As a development worker, Elaine Alam has worked extensively with Afghan refugee communities and divides them roughly into two categories. “On one hand, [there] are the Afghan refugees you see at Peshawar University or Quaid-e-Azam University. They’re coming from a certain background in order to pursue education, which does not negate their challenges but does give them a certain privilege because they have an understanding of how to acquire things,” she told me. “Then you have people coming from a tribal background. These refugees come from a larger population, and have no leadership, no security, and no safety. Their only point of contact is the Commissionerate for Afghan refugees, which focuses on government plans and allowances through UNHCR.” The second category are the ones most at risk for deportation and detainment, and usually live in katchi abadi (slum areas). They have no access to healthcare or education, leaving them in a cycle of odd jobs with a fear of getting caught by authorities. Elaine puts Karezi somewhere in the middle of the two since he possesses a skillset he can use. However, his informal living situation along with a disruptive climate impedes his progress, placing him much closer to the second category. Karezi may be the spotlight of Wahidi’s film, but his story speaks to a much larger journey experienced by Afghan refugees in Pakistan. After a couple of months with his family cooped up inside a small and bare apartment, Karezi decides to take his children to a park in an effort to distract them from their struggles. With no schools willing to admit them, the five children grapple with settling in, and are distraught at having lost access to education. “His two older daughters were affected the most. One is in grade 10 and the other is in grade 7, and both were denied admission to school because they were considered over age,” Wahidi says, highlighting this as one of the top most struggles Karezi faced after migration. But experiences of young Afghans across the country—even second and third generation immigrants born in Pakistan—show that this is just an excuse hiding a much larger problem. Miles away in Karachi, 19 year-old Shabana Ghulam Sakhi worries about the future of her education after not being admitted into any university in the country. Because she doesn’t have any form of Pakistani identification, Ghulam, and other refugees like her, can only attend the Afghani school—–which has very few qualified teachers. This is where she completed her intermediate exams. “My English is very weak because we study English separately as one subject, and even for that we don’t have good teachers, so we really struggle after that,” she informed me in an interview. “I feel helpless. I did a 6 month digital marketing course that the UNHCR arranged for us at our school but still haven’t received the certificate, so I can’t do anything,” she says. Between limited access to education in Pakistan and the Taliban halting girls' education in Afghanistan , Karezi was stuck. He came to Pakistan hoping to prioritize his children’s education but ended up having to go back. His daughter Sabia, who Wahidi has also centered in the film, often talks about how she misses school. Left with no choice but to journey back to Afghanistan, Karezi returned in 2023. Fully aware of the restrictions on women’s education, Sabia worries about when she’ll get the opportunity to go to school again. Several circumstances forced Karezi to leave, but others have experienced something different—deportation—following newly established policies. The second phase of Pakistan’s new policy started after Eid , when police were instructed to identify locations where undocumented Afghan refugees were living. Officials have confirmed the intention to depor t Proof of Residence or POR card holders despite negotiations with various stakeholders still underway. Shabana Ghulam Sakhi has spent much of the last year trying to get her brother out of jail after he was detained by the police—despite having a valid POR card. “They hid his card, and claimed he was illegal and detained him. It was only when we found a copy at home that they suddenly reproduced it and let him go,” she says. Throughout the conversation, she voiced her worries about the future, unable to identify a way to support herself and her family. Those who remain in Pakistan live in constant fear; they find themselves terminated from jobs, detained by police, all while struggling to get their POR cards reissued. These cards form the basis of their identity, since Afghans are not issued Computerized National Identity Cards or CNICs . Not having a CNIC was also one of the reasons Karezi was unable to find formal employment and get his daughters admitted into a school in Pakistan. The policies around deportation treat Afghans as second class citizens and have shaped Pakistani citizens’ mindsets for a long time. Many Pakistanis continue to believe that the Afghan deportations are a good thing . This is partly why Wahidi found it so difficult to make her film. “For me, the biggest challenge was that in Pakistan, making a documentary on Afghans is difficult, because we don't want them accepted as a society,” she said in an interview. “There’s been no documentary on Afghans in mainstream Pakistani media since the Taliban came to power,” she added. Still, Wahidi made huge efforts to depict the reality of the Afghan refugee crisis, but there is a long way to go in resolving the issue. “It’s important that NGOs and civil society actors continue to do whatever they can in their own capacity and power, so that they can support young Afghan refugees and children. But, until the government doesn’t sort out what the rights of these refugees are, the rights of these people living on this soil for 4-5 decades, it's hard for the other 2 entities [NGOS and civil society] to agree on something concrete,’ says Alam. The film ends with more questions than answers about Karezi, which, perhaps, best reflects his reality. When I last spoke to Wahidi, she said she could no longer get in touch with Javid. The film ends with Karezi jobless in Afghanistan, hoping to find daily wage jobs as a laborer or similar. But he wants more for his children—as does every Afghan parent—regardless of whether they choose to stay. The problem is, for now, that both situations seem equally bleak. Still, Karezi finds comfort in knowing that he and his family are home, where their identity will not inhibit their plans. ∎ SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Profile Quetta Afghan Refugees State Repression Afghan Deportations The Failed Migration Documentary Film Musician Taliban Undocumented Afghan Refugees Faiz Ahmed Karezi Rani Wahidi Dari Farsi Proof of Registration Card Incarceration Civil Society NGOs CNIC Afghanistan Employment Unemployment 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. 14th May 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:

"Our priority is to meet the needs of people on this planet. Not just workers. Not workers at all." A multimedia short using video archival footage, this faux-advertisement is equal parts a history of advertising & the legacy of fossil fuel companies’ manipulation and a disturbing, singular dystopia from one aesthete's point of view. BOOKS & ARTS It's Only Human "Our priority is to meet the needs of people on this planet. Not just workers. Not workers at all." A multimedia short using video archival footage, this faux-advertisement is equal parts a history of advertising & the legacy of fossil fuel companies’ manipulation and a disturbing, singular dystopia from one aesthete's point of view. Vol. 1 FIRST TAG AUTHOR AUTHOR AUTHOR Video Still by Furqan Jawed ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Video Still by Furqan Jawed SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Tags Tags 23rd Oct 2010 Tags Tags 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. Like having the imagination to envision oblivion. And make it reality. Special Thanks to: Varshini Prakash Narration by: Jessica Flemming EDITOR'S NOTE: This multimedia piece, by graphic designer and artist Furqan Jawed, is the result of a collaborative effort, initially conceptualized as a story about the history of advertising & fossil fuel companies’ manipulation of the public across the world. It took place over a number of months, supplemented by reminiscences and stream-of-consciousness ideas by Varshini Prakash, co-founder and Executive Director of the Sunrise Movement, as well as exchange with editors Vishakha Darbha & Kamil Ahsan. Furqan plumbed the archives of advertising across a number of decades in India and the United States. The product was, at the time, an unanticipated, serendipitous, and surprising product of an inquisitive but seemingly-directionless collaboration. More Fiction & Poetry: Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5

Kashmiri homes and livelihoods are disintegrating, with major infrastructural developments and mining projects inducing landslides, disrupting water and electrical channels, and destroying agricultural trade in the region–all in the name of increasing Kashmir's connectivity. Impractical in scope, these infrastructural projects defy all recommendations geological researchers have urged developers to consider for decades: and the government is content leaving Kashmiris in unlivable conditions, so long as the homes are not yet one with the earth. · THE VERTICAL REPORTAGE · LOCATION Kashmiri homes and livelihoods are disintegrating, with major infrastructural developments and mining projects inducing landslides, disrupting water and electrical channels, and destroying agricultural trade in the region–all in the name of increasing Kashmir's connectivity. Impractical in scope, these infrastructural projects defy all recommendations geological researchers have urged developers to consider for decades: and the government is content leaving Kashmiris in unlivable conditions, so long as the homes are not yet one with the earth. Asif in front of the ruins of his home (2024). Photograph courtesy of the authors. Cracks in Pernote When Aasif Katoch returned home from work in the evening of April 25, he heard a loud voice from his cousin’s house, just over 100 metres away. “They were calling us urgently,” he recalled. “When we arrived, we saw cracks had developed in their house.” But before Katoch could begin to do anything about it, his children began frantically calling out to him from his house. He rushed back, only to see cracks starting to appear there too. “Within minutes,” he said, recounting the scenes of his house sinking, “we watched in horror as our homes which we built with hard work were damaged in front of our own eyes.” Katoch’s family isn‘t alone. Pernote village, seven kilometres from Ramban district in Jammu and Kashmir, became a disaster zone in April when 28 houses, including Katoch’s, were destroyed completely by land subsidence, affecting around 500 people . The road linking to Pernote village was severely damaged, cutting off connectivity. Cracks stretched several kilometres, disrupted electricity and water supply, adding more difficulties to the affected residents. Unmitigated Development is to Blame Since 2010, there has been an unprecedented rise in land sinking incidents near the national highway and railway tracks in Kashmir. Many attribute this increase to the rise in large-scale developmental projects , such as railway construction , widening of roads like the National highway , which links Ramban with Banihal, tunnel digging in the mountains , and hydro power projects, all constructed without proper precautions. For instance, around 12 hydropower projects are either constructed or are under construction in the Chenab region of Jammu. “One of the main causes of the increasing landslides in the region is unregulated developmental activity,” G.M Bhat, a Kashmir-based geologist, explained to us. “While landslides due to natural conditions existed before, human activities like mining have accelerated the frequency and severity of these incidents. The fragile nature of these mountains demands careful handling, yet we are doing the exact opposite.” For Bhat, the collapse of an 800-metre tunnel in Ramban on 19 May 2022, in which ten people died, should raise serious concerns. Recent land sinkings, like those in Pernote , he reasoned, are clearly the result of human activities, specifically poorly planned developmental projects. “We have been raising these issues for the last 30 years,” Bhat said, “with reports filed repeatedly. I can’t understand why the government continues to ignore our warnings.” The portion of a road in Pernote damaged after land subsidence. Courtesy of the authors. He blamed authorities for not involving experts and ignoring their warnings before starting work, saying the region has now become vulnerable to disasters due to excessive constructions. The residents also blame the construction agencies for land sinkage. “Since we live in a hilly area, rainwater used to flow naturally through canals and streams, eventually reaching the river at the bottom of the hill,” said Akther, a local resident of Ramban. Moreover, he added, during the extensive drilling for the national highway and tunnels, agency workers dumped tunnel waste near Chenab river banks, blocking these natural water channels. Despite raising concerns with the authorities, the residents were ignored. “As the waste blocked the streams,” Akther shared, “water began accumulating, saturating the land, making it unstable and unable to bear the weight of the mountain, which led to the sinking.” The situation worsened with the frequent blasts carried out during tunnel construction. The explosions were so loud that residents’ houses would shake, resembling powerful earthquakes. “We often rushed outside in fear that our homes might collapse,” Akther said. “The blasts were terrifying, and our children were left crying, traumatised by the repeated tremors.” In response to these concerns, the residents wrote to the District Magistrate (DM) in 2014, 2022, and 2023, highlighting that the Border Roads Organisation (BRO) was violating environmental norms by improperly dumping waste, blocking canals, and having a poor drainage system. Despite assurances of action from the DM, no visible steps have been taken. Now, the residents are taking the matter to court. “We feel neglected and unheard,” Akther expressed. “We want the authorities to fully compensate us for our losses and provide immediate rehabilitation, but they continue to ignore us.” Why is unprecedented development happening? Jammu and Kashmir has long been viewed as a region in need of better infrastructure. Poor road connectivity, especially in mountain areas like Pir Panjal and Chenab, has hindered trade and access to services for decades. Both these regions have undergone several development projects over the last decade, which includes tunnelling, road widening of NH 44 , construction of bridges, dams and railway lines to improve connectivity with the rest of India. For example, the new Katra-Banihal railway line and the widening of National highway 244 from two to four lanes is expected to be a game changer for the region's economy, as it will reduce travel time from Jammu to Srinagar and improve transportation for both locals and businesses. In 1999, Bhat explained that the local government invited a team of experts––including geologists, geographers, and landslide specialists from various countries––to Kashmir to study the Himalayas. “They warned that large-scale projects in the region would be extremely dangerous,” he said. A collapsed transmission tower damaged after land sinkage in Pernote. Courtesy of the authors. Since then, however, “massive developmental projects have been undertaken,” Bhat added, “with post-1999 projects being far larger in scale compared to those before that time.” According to Dr. D.P Kanungo, engineering geologist and landslide expert from Delhi, the “lithotectonic setup, rocks, and tectonics of the Pir Panjal range are extremely sensitive.” Any development in this region, therefore, must follow proper technical and scientific guidelines. “While I’m not opposed to development,” he clarified, “it’s clear that projects in the Pir Panjal region have not been carried out in a technically sound or scientific manner.” “Disrupting its fragile ecosystems can have fatal consequences,” Dr. Kanungo added, explaining why the excessive blasting for tunnelling is dangerous, particularly in these areas where the mountain range is young, still rising, and undergoing significant neo-tectonic activity. “When I visited the area, I saw that the work was being done in an unplanned way,” he noted. “Incidents like the land sinking in Pernote and cracks in nearby village homes could have been avoided.” The Detailed Project Report (DPR) outlines the scientific and technical methods to be followed, including when and how to support a cut slope. It also specifies where and how to cut particular rocks. However, our investigation revealed that the DPR is frequently violated and scientific techniques are often not followed on the ground, especially in the Himalayan regions. The Dangers of Improving Road Connectivity to Cut Travel Time The challenging terrains of the ecologically sensitive Chenab and Pir Panjal regions make travel difficult on the Jammu-Srinagar Highway, especially in the harsh winter months when snow and landslides frequently block the road. With the aim to decrease travel time on the Jammu-Srinagar Highway and increase connectivity to the Kashmir region, the government has spent almost 16000 crore INR to widen the two lane highway into four lanes. To date, 210 kilometres, including 10 tunnels, have been finished. The project, which will decrease travel time from 8 hours to 4-5 hours, is set for completion by 2025. Between 2010 and 2020, around 1750 people have died and more than 12,000 people have been injured in over 8,000 accidents on Jammu-Srinagar highway. “The construction of a four-lane highway on the Srinagar-Jammu route, in fragile areas, would be dangerous in coming years,” according to Bhat. “A two-lane road in sensitive zones, with four lanes only in the plains, would have been far more appropriate. Instead, we’ve made the mistake of widening roads and toe-cutting mountains, which has triggered land sinking.” As Raja Muzaffar Bhat, a social activist, noted, “construction in the Himalayas is incredibly challenging, hazardous, and complex.” For him, “building large four-lane highways and similar projects in such mountainous regions might be impractical and could have serious long-term consequences.” “The extensive tunnelling and mountain cutting required could lead to more frequent landslides and sinkholes, as well as negatively impact water systems,” Muzaffar Bhat warned. “These areas have unique geological and ecological characteristics, with intricate rock formations and small water channels that are easily disrupted.” Additionally, constructing very high pillars for bridges in earthquake-prone regions poses significant risks of natural disasters. In the last 10 years, the pace of construction of four lane highways, bridges, and tunnels has increased which has also increased landslides on the Jammu-Srinagar highway. According to the last data available, over 4,200 people lost their lives on Jammu-Srinagar national highway from 2018-2022 in the Kashmir valley. Locals are Losing Both Homes and Work Opportunities As construction continues, it is the locals living in these terrains who are paying the price for this development. Tunnelling through the mountainous areas of Pir Panjal and blasting for road expansions has led to the increase in landslides and land subsidence in these areas. The land subsidence of villages like Pernote is attributable to excavation of highways and other developmental projects. For residents of Pernote and several other adjoining villages, this development has come at a great personal cost. Families who lived in these areas for generations are now forced to abandon their homes and move to safer ground where they pay rent. “Where are we supposed to go?” asked Beer Singh, a Pernote resident. “We don't have any other lands and the government has not given us any answers.” Many families have been forced to live in nearby government buildings, rent out temporary shelters, or move in with relatives. “Our homes were everything we worked for,” Singh stated. “My whole earning was in that house.” As families grapple with the loss of their homes, the emotional toll is palpable. “I do not sleep properly at night,” Singh shared. “I keep thinking the wall will crack again and we won’t be able to escape.” Cracks visible in the house damaged after land subsidence in Pernote. Courtesy of the authors. Beer Singh is one of five brothers, whose parents are no longer alive. “We were doing well in life,” he said, recalling his land where he and his brothers cultivated pomegranates, tomatoes, and peanuts. “Farming was our livelihood throughout the year, and we sold our produce at good prices.” Living in a hilly area with a favourable climate, their crops were of high quality. "In our village, only a few people had government jobs,” he noted. “The rest relied on farming because it was profitable.” However, since the tragedy, only two or three families remain, and they live far from Singh and his family. “Now, no one comes to my shop because hardly anyone is left,” he said. “I sit here all day, unable to make sense of what happened.” The biggest issue, for Singh, is his loan repayments. He no longer receives any income and doesn’t have the money to repay his loan. After the land sinkage, many officials visited the area and promised compensation to residents of Pernote. Till date, however, these people have gotten nothing. "We were denied the initial compensation of 1,30,000 INR that others received, with the reasoning that our house had only developed cracks and hadn't collapsed entirely,” Singh shared. “However, the cracks are so severe that it's unsafe to live in, as no one can predict when it might fall.” The authorities initially issued a notice stating that the villagers would be given 10 marlas each and compensated for all damages caused by the disaster. However, the order was later changed, and they were told they’d receive only 5 lakhs INR and 1 kanal of land. As of September this year, it has been five additional months, and they still haven't received any compensation. Land sinking and landslides are not new The land sinking and landslide in these regions is not new; several incidents have been reported in the last decade. On February 1, 2023, for instance, a landslide hit Nai Basit hamlet in Doda district of Jammu and Kashmir, causing land subsidence that geologists attributed to the poor drainage system and continuous seepage from households and the movement of geological fault zones. The incident damaged 19 houses and caused a mosque with several structures to develop cracks. It forced many families to leave their homes and relocate to temporary shelters in a local government school. It also created panic in nearby villages of Ramban, where many houses had developed cracks. “It was all good until these projects started,” said Saqib, a local student. “We were living our life happily in these mountains. The government may increase the connectivity through these projects but it will make life miserable for thousands of villagers living in these mountains.” The unchecked development to increase connectivity within the Kashmir region has left residents like those in Pernote village devastated. With homes collapsing and lives uprooted, locals blame reckless infrastructure projects for these disasters. “I’m not opposed to developmental projects,” Bhat said, “but they must be carried out with proper environmental precautions and procedures.” For Muzaffar Bhat, too, it is necessary to follow sustainable development practices. “Unfortunately,” he noted, “recent political manifestos have largely ignored these environmental concerns.” Bhat suggested that if major development projects stop now, the Himalayas will likely stabilise in the next 50-60 years. “However, if these projects continue,” he warned, “the impending disaster will be unimaginable.” Specifically, the area falls in seismic zones 4 and 5, which are highly earthquake-prone. “If these projects continue and the mountains weaken further,” Bhat added, “even minor earthquakes could devastate the entire region, posing a severe threat to those living on the mountain slopes.” ∎ SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Tags Tags 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. 23rd Oct 2010 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:

Guyanese poet Rajiv Mohabir takes a bricolage approach to historicity, with disciplined attention to the material. Even as they slip into Creole and Guyanese Hindi, his poems remain anchored in the texture of “Ghee Persad” or on the decks of a ship carrying his Indo-Caribbean ancestors in “In Ships [Honoring Mahadai Das' 'They Came in Ships.'” INTERACTIVE FLUX · Poetry Reading by Rajiv Mohabir with Marginalia Guyanese poet Rajiv Mohabir takes a bricolage approach to historicity, with disciplined attention to the material. Even as they slip into Creole and Guyanese Hindi, his poems remain anchored in the texture of “Ghee Persad” or on the decks of a ship carrying his Indo-Caribbean ancestors in “In Ships [Honoring Mahadai Das' 'They Came in Ships.'” Vol. 1 FIRST TAG AUTHOR AUTHOR AUTHOR Watch the event in full on IGTV. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Watch the event in full on IGTV. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Tags Tags 23rd Oct 2010 Tags Tags 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. FLUX: An Evening in Dissent A selection of readings by Rajiv Mohabir—some published by SAAG earlier this year—to help pause, unwind, and slow time in the act of close reading and listening. Jaishri Abichandani's Art Studio Tour Kshama Sawant & Nikil Saval: A panel on US left electoralism, COVID-19, recent victories, & lasting problems. Natasha Noorani's Live Performance of "Choro" Bhavik Lathia & Jaya Sundaresh: A panel on the US Left & its relationship with media in the wake of Bernie Sanders' loss. Tarfia Faizullah: Poetry Reading SAAG, So Far: A Panel with the Editors DJ Kiran: A Celebratory Set More Fiction & Poetry: Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5

Ahead of the presidential election in Sri Lanka, trade unions and political parties have promised a wage increase to tea plantation workers they hope to win over. Many workers are unconvinced, partly because wage increases are often tied to higher productivity targets that far exceed workers’ bodily capacity. THE VERTICAL The Ambivalent Voter AUTHOR Ahead of the presidential election in Sri Lanka, trade unions and political parties have promised a wage increase to tea plantation workers they hope to win over. Many workers are unconvinced, partly because wage increases are often tied to higher productivity targets that far exceed workers’ bodily capacity. “Let’s say a small child of around five years old is sick,” says Subramaniam Maheswarie, a 47-year-old tea plucker from Bogawantalawa in the Nuwara Eliya district of Sri Lanka’s Central Province. “We have to look after it and give it medicine.” The sick child Maheswarie is referring to is Sri Lanka: a nation on the slow road to recovery from a devastating economic crisis that led to shortages of food and fuel, and saw costs of living soar. The doctor who nursed the child is Ranil Wickremesinghe, the president who took the reins from Gotabaya Rajapaksa, who was ousted from office after months of protests. Wickremesinghe is attempting to hold onto power after two years in office as the country gears up for a presidential election tomorrow, 21st September, the first since the crisis. Such conditions are ripe for the playing out of patronage politics. The Ceylon Workers Congress (CWC), the largest plantation workers’ trade union, is advocating fiercely on Wickremesinghe’s behalf. Last year, the leader of the CWC was elevated to the position of a cabinet minister by Wickremesinghe’s government, and CWC formed a seat-sharing pact with the UNP (United National Party) aiming to garner votes in the central plantation districts. Maheswarie serves as a local chairwoman for the CWC, although she also continues to work on the plantation. Here in the hill-country region, political parties double as trade unions and vice versa—simultaneously trying to win workers’ votes as well as represent their voices in negotiations with plantations. In May this year, Wickremesinghe promised plantation workers a new wage of LKR 1,700 (US$5.64), a 70% hike from their current wage of LKR 1000 (US$3.32). Plantation companies appealed the wage, and Wickremesinghe’s presidential gazette was found to be unlawful by the Sri Lankan Supreme Court. The Wages Board has now issued a gazette mandating wages of LKR 1,350 (US$4.48) for plantation workers, with an additional productivity incentive of LKR 350 (US$1.16) that requires them to pluck extra kilos. Tea workers, most of whom are part of the Malaiyaha Tamil community—descendants of indentured labourers brought from South India to work on plantations by the British in colonial Ceylon—face a number of challenges including food insecurity, lack of access to educational opportunities, precarious housing, and poor living and working conditions. Maheswarie says the wage increase is positive, but admits that the last wage increase in 2021 led to problems for workers. She says productivity targets increased by 3 kilos at her plantation. Additionally, benefits such as medical care and food provisions were withdrawn or reduced, because the implementation of the new wage led to the collapse of the traditional collective agreement between plantation companies and trade unions. “[As part of the collective agreement], there were a lot of rules and regulations regarding what you should and shouldn’t do with workers,” Maheswarie says. “Now those rules don’t exist. Once we got rid of those rules, it was the companies who [arbitrarily] set the rules. Now that we don’t have the collective agreement, we can’t really go and argue [for more benefits].” Many workers are suspicious of the timing of the wage increase, perceiving it as a political ploy to win their votes in the election. However, Maheswarie is adamant that is not the case and accuses plantation companies of “dragging out” the process to frame the CWC as eking out a wage increase for political gain. Roshan Rajadurai, chairman of the Planters’ Association, which oversees hundreds of plantations in Sri Lanka, said targets would not increase. However, he also said productivity must be improved and that the wage increase was unsustainable. “In Sri Lanka, rationale and reason don’t, unfortunately, apply,” Rajadurai said. He questioned the announcement, saying the plantation sector was being “singled out.” He pointed out that wages for other sectors were not being increased. “We have to agree on something we can [actually] pay,” Rajadurai added. “If they [politicians] did everything they promised, Sri Lanka would be better than Singapore.” He refuted Maheswarie’s claim that benefits were being reduced for workers, saying welfare had actually been increased and that it was in the plantations’ best interests to look after their workers. According to Sri Lanka’s Tea Board, the industry contributed USD 1.26 billion to the Sri Lankan economy in 2022. However, plantation workers were severely hit by the crisis, with many struggling to afford basic necessities. “The election is coming, right? So they likely thought we’d only vote for them if they increased our salaries,” says Santhiappillai Mary, who works at the Loolecondera estate, a state-owned plantation in Kandy District, famously colonial Ceylon’s first tea estate. Mary is unmoved by Loolecondera's storied history. She shares that the plantation makes multiple deductions from workers’ salaries, including small amounts for the work cards they register their picked tea leaf kilograms on and, until recently, for their payslips. She has taken out multiple loans by now and is berated by the companies involved when she cannot pay. She often goes to work even when she is sick or it is raining heavily—simply because she cannot afford to miss a day of pay. “We have to take two meals to work, but sometimes, if I take two meals, my children don’t have enough food to eat at home,” Mary says. “So, I just take one meal and go. And sometimes I don’t take anything at all, because the children need food in the evening. I’ve done that, too.” Santhiappillai Mary, courtesy of Udara Pathum Such dire straits also affect access to free public services. In 2022, Mary’s oldest son had to drop out of school. After her family could not afford the bus fare to school, he was not permitted to advance to the next grade alongside his peers. In Agarapatana, local trade union leaders who were part of the National Union of Workers (NUW) are also not totally convinced by the wage increase. NUW has thrown its support behind presidential hopeful Sajith Premadasa, who has promised to turn estate workers into smallholders and increase their pay. “We can’t be sure we’re going to get the new wage,” said Dayalan Ravichandran, adding that he was surprised to see that he received the same salary in June even after Wickremesinghe promised a higher wage. “They say they’ve agreed to it, but it’s not definite yet. We don’t know if they’re just doing it because of the election.” One estate trade union leader said people’s votes were often won with alcohol, even within her own party. “The people in the party give alcohol to the chairmen and tell them to give it to the men,” she said, adding that the women were struggling without basic facilities. “The chairmen give alcohol to the men and tell them to vote for the party.” But perhaps the larger question is: Would a wage increase even shift the needle for tea workers? If even universal education—which Sri Lanka cites as a major source of pride in comparison to its South Asian neighbours—can seemingly be revoked for tea workers’ children for want of bus fare, can tea workers reasonably aspire to the end of generational poverty in the hill country? Tea leaves at a plantation in Kandy District, Central Province. Courtesy of Udara Pathum. Workers might be divided in their political preferences but are united on one issue. None of them believe the wage increase—of which proof will only emerge after the election when next month’s pay is given—will be definitive proof of improved conditions. Mary feels that any wage increase is unlikely to be the better prospect it’s touted to be. “If they increase the salary,” she says, “they’ll demand more kilos of tea leaves, so it’s difficult for the workers.” She adds that an increase in salary will also mean an increase in the cost of essentials. “So there’s no point in increasing the salary. However much we get, it’s not enough.” This linkage of wage increases to required increases in productivity demands is the root of tea workers’ misgivings about their financial future: indeed, a wage increase may well be thought of as an excuse for the extraction of surplus labour that exceeds the limits of bodily labour. Mahendran, 49, also a worker at Loolecondera, says his family often goes hungry for five or six days every month. He, too, believes estates will increase productivity targets in response to the wage increase, adding that workers “can’t work any more than this.” Rajadurai, the Planters’ Association chair, disagrees. “People are not willing to increase their productivity. Our productivity is the lowest in the world,” he says, comparing expectations for tea pluckers in Sri Lanka favourably to Assam, where he claims tea pluckers have to pluck far more. He argues that pluckers should be able to pluck 1 kilo in 12 minutes.“If they want to earn, they earn.” Pluckers, he says, “should not get into the mindset that 18 is an impossible target.” When informed that tea pluckers said they had a daily target of 13 kilograms before the 2021 wage increase, Rajadurai told SAAG: “What are they doing plucking 13 kilos for the whole day? It’s absurd.” If estates and plantation companies increase productivity targets with wage increases, the much-touted increase can arguably be equated not just to an effective wage stagnation but also a more significant risk to the lives and bodies of tea workers and their families. The firm productivity targets tied to the 2021 wage increase demonstrably taxed workers with less flexibility than before. Many workers say the work was harder after the wage increase. Maheswarie says that estates no longer weed the tea bushes properly. Instead, they expect workers to do so and then pluck 18 kilograms on top of that. Ramalingam Priyadharshini, 42, a tea plucker from Agarapatana, is still undecided about who to vote for. She’s been let down in the past by promises to fix the roads in her area and to build housing. Currently, her family has no toilet. Priyadharshini has to use the toilet at her mother’s house, a ten-minute walk away. At night, or in an emergency, she has to ask her neighbours if she can use theirs. “I’m wondering whether I should just not vote at all because our main problem is the road. But it’s only during election time that they come and say they’ll do everything for us,” says Ramalingam. Her mother, Palanimurthy Jeyam, is a retired tea plucker who plans to spoil her ballot after years of involvement with CWC as a local chairwoman. “The current government is only doing everything for the rich,” she says angrily. “But they’re letting the hungry people go hungry and die.” Mary also says she doesn’t feel hopeful that anything will change. Meanwhile, Priyadharshini argues that the state only really thinks of plantation workers when election campaigns are underway, a sentiment that brings to the fore the historical trend, since independence, of Sri Lankan political parties jockeying for power during election campaigns by promising welfare services like food subsidies and wage increases. Indeed, tomorrow’s election may well show the risk of taking plantation workers’ votes for granted—or their successful co-optation by trade unions.∎ Some names and identifying details have been changed to protect the privacy of individuals. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 “Into tea forest I,” 2024. Pen and tea stain on brown board, 91.4cm x 121.9cm, part of a triptych. Courtesy of Arulraj Ulaganathan. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Tags Tags Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Tags Tags 23rd Oct 2010 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. On That Note: Heading 5 23rd OCT Heading 5 23rd Oct Heading 5 23rd Oct

Towards the end of FLUX, a key organizer with Muslims For Just Futures, Muslims for Abolitionist Futures, among others, performed a DJ set with Bhangra and urban music beats, featuring Major Lazer, Meesha Shafi & more, bringing a wide-ranging event about many intellectual and material shifts to an end. INTERACTIVE FLUX · A Celebratory Set by DJ Kiran Towards the end of FLUX, a key organizer with Muslims For Just Futures, Muslims for Abolitionist Futures, among others, performed a DJ set with Bhangra and urban music beats, featuring Major Lazer, Meesha Shafi & more, bringing a wide-ranging event about many intellectual and material shifts to an end. Vol. 1 FIRST TAG AUTHOR AUTHOR AUTHOR Watch the event in full on IGTV. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Watch the event in full on IGTV. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Tags Tags 23rd Oct 2010 Tags Tags 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. FLUX: An Evening in Dissent An uplifting set by DJ Kiran to dance to at the end of a weighty virtual event. Jaishri Abichandani's Art Studio Tour Kshama Sawant & Nikil Saval: A panel on US left electoralism, COVID-19, recent victories, & lasting problems. Natasha Noorani's Live Performance of "Choro" Bhavik Lathia & Jaya Sundaresh: A panel on the US Left & its relationship with media in the wake of Bernie Sanders' loss. Tarfia Faizullah: Poetry Reading Rajiv Mohabir: Poetry Reading SAAG, So Far: A Panel with the Editors More Fiction & Poetry: Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5

Despite the marketing of her debut novel "Gold Diggers," Sanjena Sathian did not set out to interrogate the model minority myth or the dynamics of class in the Indian-American diaspora. Instead, she began with the relationship of a mother and daughter. The world of an "uncritical and unthinking ambition" gradually began to assert itself in the narrative. INTERACTIVE Chats Ep. 10 · On Ambition, Immigration, Class in “Gold Diggers” Despite the marketing of her debut novel "Gold Diggers," Sanjena Sathian did not set out to interrogate the model minority myth or the dynamics of class in the Indian-American diaspora. Instead, she began with the relationship of a mother and daughter. The world of an "uncritical and unthinking ambition" gradually began to assert itself in the narrative. Vol. 1 FIRST TAG AUTHOR AUTHOR AUTHOR Subscribe to our newsletter for updates on SAAG Chats, an informal series of live events on Instagram. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Subscribe to our newsletter for updates on SAAG Chats, an informal series of live events on Instagram. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Tags Tags 23rd Oct 2010 Tags Tags 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. Writer and journalist Sanjena Sathian in conversation with Vishakha Darbha about rule-breaking, questions from her publishing team, whether explaining world-building came easily to the writing of her debut novel, Gold Diggers (Random House, 2021), what makes a "good" immigrant novel, and writing about the Indian-American diaspora in its own mythologies, complications, and exceptionalism. More Fiction & Poetry: Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5

What is the utility of global history? In recent years, new approaches of global history have emerged. Whether as a challenge or companion to area studies, and specific and local histories within academia, global history has often aimed to become more inclusive of histories of migration, diasporas, labor, legal regimes within colonial and postcolonial chronologies from Guyana to China to South Africa. INTERACTIVE Chats Ep. 8 · On Migrations in Global History What is the utility of global history? In recent years, new approaches of global history have emerged. Whether as a challenge or companion to area studies, and specific and local histories within academia, global history has often aimed to become more inclusive of histories of migration, diasporas, labor, legal regimes within colonial and postcolonial chronologies from Guyana to China to South Africa. Vol. 1 FIRST TAG AUTHOR AUTHOR AUTHOR Subscribe to our newsletter for updates on SAAG Chats, an informal series of live events on Instagram. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Subscribe to our newsletter for updates on SAAG Chats, an informal series of live events on Instagram. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Tags Tags 23rd Oct 2010 Tags Tags 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. Drama Editor Neilesh Bose, also the editor of the recent volume South Asian Migrations in Global History: Labour, Law, and Wayward Lives (Bloomsbury, 2020) discussed the genesis of the project & new ways of telling history with Kamil Ahsan on Instagram Live in May 2021. The edited volume began at a workshop at the University of Victoria. It explores how South Asian migrations in modern history have shaped key aspects of globalization since the 1830s, using global history to cast many contemporary dynamics and geographies into sharper relief. Including original research from colonial India, Fiji, Mexico, South Africa, North America and the Middle East, the essays explore indentured labour and its legacies, law as a site of regulation and historical biography. It includes recent scholarship on the legacy of issues such as consent, sovereignty and skilled/unskilled labour distinctions from the history of indentured labour migrations, and brings together a range of historical changes that can only be understood by studying South Asian migrants within a globalized world system. Here, Bose discussed the nature of global history, the approach taken at the workshop and beyond, and the many scholarly contributions to the volume. More Fiction & Poetry: Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5