WRITER Nidhil Vohra NIDHIL VOHRA is a writer, filmmaker, and a Cinema Studies and Peace & Conflict Studies student at the University of Toronto. His work has been published in NDTV , The Tribune , and The Varsity . WRITER WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

“When I say that language has failed us, I mean that there is no amount of information you can give a society that necessarily means it will be compelled to act.” COMMUNITY On the Relationship between Form & Resistance AUTHOR AUTHOR AUTHOR “When I say that language has failed us, I mean that there is no amount of information you can give a society that necessarily means it will be compelled to act.” SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Panel Language Solidarity Films Film-Making Capital Investigative Journalism Criminal Justice Abolitionism Solidarity: Across the Disaster-Verse Prisons Police Personal History The Petty Self Kashmiri Struggle Translation India Anti-Colonialism Two Refusals Goa Hybrid Multimedia Sham-e-Ali Nayeem Portuguese Nationalism Afro-Asianism Bandung Conference Angola Mozambique Sita Valles Portuguese Communist Party Movimento Popular de Libertação de Angola Angolan Liberation Youth/Police Project Act of Listening Stop and Frisk 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 Panel Language 17th Apr 2024 The second panel from our event on 30th March 2024, "Solidarity: Beyond the Disaster-Verse," at ShapeShifter Lab in Brooklyn, New York, which marked the close of Volume 2 Issue 1 of SAAG. Here, Iman Iftikhar, Sharmin Hossain, Maira Khwaja, Kalpana Raina, and Suneil Sanzigir discuss how the varied forms of storytelling they use inform and are informed by their politics, resistance, and solidarity and how they feel it is most useful. This panel picks up from where Panel 1, "What do we mean when we talk about Solidarity?" ends. What follows is a discussion of form & storytelling with: Iman Iftikhar, a researcher, educator, co-founder and manager of Kitab Ghar, an Associate Editor at SAAG, and an editor at Folio Books. Maira Khwaja, a journalist, multimedia producer, and researcher at the Invisible Institute . She is also an Associate Producer of We Grown Now dir. Minhal Baig, April 2024, Stage 6 Films & Sony Pictures Classics. Kalpana Raina, a co-translator of For Now, It is Night: Stories by Hari Krishna Kaul (Archipelago Books, February 2024) Sharmin Hossain, an abolitionist organizer, artist, and the Organizing Director at 18 Million Rising that organizes Asian Americans. Suneil Sanzgiri, a filmmaker, researcher, artist, whose first solo exhibition, Here the Earth Grows Gold , opened at the Brooklyn Museum in October 2023. Photographs courtesy of Josh Steinbauer. SOLIDARITY: BEYOND THE DISASTER-VERSE Panel 1: What do we mean when we talk about Solidarity? SOLIDARITY: BEYOND THE DISASTER-VERSE Quintet Performance 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:

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

Time traveling from 1960s India to early modern Egypt with the acclaimed Urdu writer Qurratulain Hyder and her story “Roshni ki Raftaar.” INTERACTIVE Chats Ep. 4 · On Qurratulain Hyder's sci-fi story “Roshni ki Raftaar” Time traveling from 1960s India to early modern Egypt with the acclaimed Urdu writer Qurratulain Hyder and her story “Roshni ki Raftaar.” Zuneera Shah · Nur Nasreen Ibrahim A reading and discussion of the late Urdu writer Qurratulain Hyder and her short story “Roshni ki Raftaar” by editors Nur Nasreen Ibrahim and Zuneera Shah. Feat.: time travel, women in science, sci-fi traditions in Urdu compared to those in English, and much more. Must-watch: Nur and Zuneera's thoughts on the ending, speculations on whether Hyder intended for a sequel, what she might think of criticisms, how the tonal shift affects the story, and how humor functions in the story. More importantly: why do we expect or want character growth? Is there a fundamental difference with regard to character growth between the Anglophone literary tradition and the non-Anglophone one? Qurratulain Hyder is amongst the most acclaimed and influential Urdu writers of the 20th century, perhaps even the most popular alongside contemporaries like Ismat Chughtai (with whom she had a testy relationship). Best known for her magnum opus “Aag ka Durya” or “River of Fire,” Hyder was also a deeply expansive writer. Here, Nur and Zuneera discuss her use of fantasy and sci-fi framings, the manner of her world-building, and comparisons to contemporary films and TV shows in the most fun and audience-engaging SAAG Chats episode to date. A reading and discussion of the late Urdu writer Qurratulain Hyder and her short story “Roshni ki Raftaar” by editors Nur Nasreen Ibrahim and Zuneera Shah. Feat.: time travel, women in science, sci-fi traditions in Urdu compared to those in English, and much more. Must-watch: Nur and Zuneera's thoughts on the ending, speculations on whether Hyder intended for a sequel, what she might think of criticisms, how the tonal shift affects the story, and how humor functions in the story. More importantly: why do we expect or want character growth? Is there a fundamental difference with regard to character growth between the Anglophone literary tradition and the non-Anglophone one? Qurratulain Hyder is amongst the most acclaimed and influential Urdu writers of the 20th century, perhaps even the most popular alongside contemporaries like Ismat Chughtai (with whom she had a testy relationship). Best known for her magnum opus “Aag ka Durya” or “River of Fire,” Hyder was also a deeply expansive writer. Here, Nur and Zuneera discuss her use of fantasy and sci-fi framings, the manner of her world-building, and comparisons to contemporary films and TV shows in the most fun and audience-engaging SAAG Chats episode to date. SUB-HEAD ALSO IN THIS ISSUE: Kareen Adam · Nazish Chunara A Dhivehi Artists Showcase Shebani Rao A Freelancer's Guide to Decision-Making Subscribe to our newsletter for updates on SAAG Chats, an informal series of live events on Instagram. SHARE Facebook Twitter LinkedIn Live Urdu Fiction Posthumous Qurratulain Hyder Science Fiction Time Travel Urdu Criticism Language SAAG Chats Genre Genre Tropes Speculative Fiction Fantasy Philosophical Fiction Syncretism River of Fire Roshni ki Raftaar Sahitya Akademi Genre Fluidity Difficult Reading Esoterica Time & Space Suez Canal Crisis Narrators Petty Bureaucracy Everyday Life Indian Bureaucracy Aligarh Science Characterization Ethical Standards for Fictional Characters Sci-Fi Rockets Romance Bitterness Scientist Characters Surprise Endings Gender Tonal Shifts Humor Short Story Naiyer Masud Zuneera Shah is a gender & development professional and writer based in Lahore. Nur Nasreen Ibrahim is a journalist and writer currently a Margins Fellow at the Asian American Writers Workshop, and a television producer formerly at Al-Jazeera and Patriot Act . She is based in Brooklyn. 30 Nov 2020 Live Urdu Fiction 30th Nov 2020 Fictions of Unknowability Torsa Ghosal 28th Feb Chats Ep. 10 · On Ambition, Immigration, Class in “Gold Diggers” Sanjena Sathian 21st Jun Chats Ep. 5 · Tamil translation & Perumal Murugan's “Poonachi” N Kalyan Raman 7th Dec Chats Ep. 1 · On A Premonition; Recollected Jamil Jan Kochai 13th Nov Two Stories Nabarun Bhattacharya 6th Oct On That Note:

ART EDITOR Soumya Dhulekar SOUMYA DHULEKAR is an award-winning illustrator, designer, and author of the experimental art newsletter House Party . She is based in Brooklyn. ART EDITOR WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

Four South Asian authors talk about children's publishing & narratives that come from pain but create joy. COMMUNITY Dissident Kid Lit Four South Asian authors talk about children's publishing & narratives that come from pain but create joy. Saira Mir · Shelly Anand · Vashti Harrison · Simran Jeet Singh Political dissidence isn't often thought to be part of parenting discourse or children's reading practice—but it must be. In our third panel, four South Asian authors talk about navigating children's publishing and the balance of narratives that come from pain but create joy. Saira Mir, Simran Jeet Singh, Vashti Harrison, & Shelly Anand discussed why their books tackle issues including race, religion, age, and body image, and how children's literature can aim to decenter the white gaze, break out of victimized narratives, and spark conversations in young readers. Watch Deputy Editor Aditya Desai on how this panel came about. The panel opened with Shelly reading from her book, Laxmi's Mooch , that has since been published to great acclaim. It then moved into a conversation with Saira, Simran, and Vashti and their books, Muslim Girls Rise , Fauja Singh Keeps Going , and Festival of Colors , respectively, while tackling such questions as: How do you balance the desire to claim ownership of narratives or to offer representation? How do we navigate being asked to write about communal trauma, pain versus writing what we want? What are the strategies of breaking out of a victimizing framework? We conclude with an illustration demo from Vashti on how she collaborates with the writer's storylines and finds ways to place her own political stamp on the book! EDITOR'S NOTE: Since this panel on 20th December 2020, our panelists have published more notable books (some recent, others upcoming in 2023). Check for updates by navigating to their pages below. Political dissidence isn't often thought to be part of parenting discourse or children's reading practice—but it must be. In our third panel, four South Asian authors talk about navigating children's publishing and the balance of narratives that come from pain but create joy. Saira Mir, Simran Jeet Singh, Vashti Harrison, & Shelly Anand discussed why their books tackle issues including race, religion, age, and body image, and how children's literature can aim to decenter the white gaze, break out of victimized narratives, and spark conversations in young readers. Watch Deputy Editor Aditya Desai on how this panel came about. The panel opened with Shelly reading from her book, Laxmi's Mooch , that has since been published to great acclaim. It then moved into a conversation with Saira, Simran, and Vashti and their books, Muslim Girls Rise , Fauja Singh Keeps Going , and Festival of Colors , respectively, while tackling such questions as: How do you balance the desire to claim ownership of narratives or to offer representation? How do we navigate being asked to write about communal trauma, pain versus writing what we want? What are the strategies of breaking out of a victimizing framework? We conclude with an illustration demo from Vashti on how she collaborates with the writer's storylines and finds ways to place her own political stamp on the book! EDITOR'S NOTE: Since this panel on 20th December 2020, our panelists have published more notable books (some recent, others upcoming in 2023). Check for updates by navigating to their pages below. SUB-HEAD ALSO IN THIS ISSUE: Kareen Adam · Nazish Chunara A Dhivehi Artists Showcase Shebani Rao A Freelancer's Guide to Decision-Making Watch the panel on YouTube or IGTV. SHARE Facebook Twitter LinkedIn Panel Kid Lit Children's Literature Age Ageism Black Solidarities Islamophobia Anti-Racism Publishing Industry Public History Colorism Leadership Future Dream Spaces Dreaming Spiritual Practice Art Practice Illustration Demonstration Reading Muslim-American Narrative Identity Procreate Sikh Spiritualism Biracial Diaspora Diasporic Distance Dreamers Legends Muslim Girls Brownness In-Progress Affirmation Art Knowledge Comics Debut Authors Public Arts Authenticity Genre Tropes Religion Generational Stories Kindness as Politics Personal History Experimental Methods Language Comic Humor Pedagogy Absurdity Literature & Liberation Art Activism Fiction Craft Race Metaphor Vernacular Literature Politics of Art Victimization Narratives SAIRA MIR is a physican and author of the award-winning picture book Muslim Girls Rise (2019). This biographic anthology was born out of the need to counter Islamophobia and fill her daughter’s heart with amazing Muslim women like her. Her new book, Always Sisters: A Story of Loss and Love will be published by Simon & Schuster in August 2023, available for preorder at her website. SHELLY ANAND was born and raised in Georgia by immigrant parents from India. She is a human rights attorney fighting for immigrant and workers' rights in the South, and Co-Founder and Executive Director of Sur Legal Collaborative. She lives in Decatur, Georgia with her husband and two children. She is the author of the picture book Laxmi's Mooch, (Kokila, 2019), and co-author with Nomi Ellenson of I Love My Body Because (Simon & Schuster Kids, 2022). VASHTI HARRISON is an NYT-bestselling author, illustrator, and filmmaker, originally from Onley, Virginia. She has a background in cinematography and screenwriting and a love for storytelling. She is the author and illustrator of the best-selling middle grade series Little Leaders , Little Dreamers , Little Legend s, the illustrator of the best-selling picture books Hair Love by Matthew Cherry, Sulwe by Lupita Nyong’o, which received a Coretta Scott King Illustrator Honor. Her latest children's book Big will be published by Little, Brown in May 2023. Vashti is a two-time recipient of the NAACP Image Award for Outstanding Literary Work for Children. Her experimental films have shown around the world at film festivals and venues including the New York Film Festival , Rotterdam International Film Festival and Edinburgh International Film Festival . SIMRAN JEET SINGH is Executive Director for the Aspen Institute’s Religion & Society Program and author of The Light We Give: How Sikh Wisdom Can Transform Your Life (Riverhead Books, 2022) and the award-winning children’s book Fauja Singh Keeps Going: The True Story of the Oldest Person to Ever Run a Marathon . He is a visiting professor of history and religion at Union Theological Seminary and a Soros Equality Fellow with the Open Society Foundations. In 2020 TIME Magazine recognized him among sixteen people fighting for a more equal America. His work has appeared in the New York Times, Washington Post , and CNN , and he is a columnist for Religion News Service . 20 Dec 2020 Panel Kid Lit 20th Dec 2020 Fictions of Unknowability Torsa Ghosal 28th Feb Chats Ep. 10 · On Ambition, Immigration, Class in “Gold Diggers” Sanjena Sathian 21st Jun Chats Ep. 9 · On the Essay Collection “Southbound” Anjali Enjeti 19th May Nation-State Constraints on Identity & Intimacy Chaitali Sen 17th Dec Public Art Projects as Feminist Reclamation Tehani Ariyaratne 29th Nov On That Note:

In the wake of the devastating effects of the monsoon season in 2022, villagers in Sindh contend with the loss of their livelihoods and the ecological disaster that’s become increasingly familiar. Sabu Khan Buriro was initially submerged, but the nearby Hamal Lake continued to overflow. Villagers, distrustful of the indifferent and lethargic Pakistani state, took it upon themselves to maintain and strengthen flood protection bunds. THE VERTICAL Dispatch from a Village Near Hamal Lake, Sindh, in August AUTHOR AUTHOR AUTHOR In the wake of the devastating effects of the monsoon season in 2022, villagers in Sindh contend with the loss of their livelihoods and the ecological disaster that’s become increasingly familiar. Sabu Khan Buriro was initially submerged, but the nearby Hamal Lake continued to overflow. Villagers, distrustful of the indifferent and lethargic Pakistani state, took it upon themselves to maintain and strengthen flood protection bunds. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Dispatch Sindh Climate Change Floods in Pakistan Capitalism Women Democratic Front Awami Workers Party Sabu Khan Buriro Hamal Lake Livestock Crops Trauma Displacement Anthropocene Environment Sehwan Warah Dadu Environmental Disaster Disaster Capitalism Flood Protection Corruption Pakistan 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 Dispatch Sindh 12th Mar 2023 The weather in northwest Sindh remained hot and humid a month after the torrential monsoon spell that wreaked havoc in the region. Among the ceaseless deluge, the struggle to save major cities in northwest Sindh, such as Dadu, Sehwan, Johi, Mehar, and Warah, continued. In the aftermath, people themselves have taken charge of strengthening and monitoring flood protection bunds, reflecting mistrust of the state and its elected officials. As per the official statistics, which are still believed to be under-reported, rainwater and floods have impacted 33 million people, displaced nearly 10 million, and killed more than 1500. 1.5 million houses and a million livestock have also been lost, and hundreds of thousands of acres of crop fields—15% of the country’s rice crop and 40% of its cotton—have been ruined. The full picture of the destruction will only emerge once the water level recedes and surveying becomes possible. On the morning of 24th August, our village, Sabu Khan Buriro, was flooded due to intense water pressure from the overflowing Hamal Lake. The rising water soon breached the flood protection bund, and as water gushed into our village, our priority was to bring our valuables and belongings to dry patches of land. Wading through waist-deep water and in some areas chest deep water, people couldn’t take anything other than bed sheets, charpoys and some rice and wheat grains. They were forced to retreat to elevated surfaces like the flood protection bunds, which were soon packed with people and their belongings. Official rescue efforts are rare in these areas, but surprisingly, the district administration sent 5 mini trucks to evacuate the village. In a state of panic and shock as the water submerged the village, the people were evacuated and most of us ended up on the road. But this is not a story about my village alone. It’s the story of an entire region dispossessed by the floods and unprecedented rains, and the specter of poor governance, unchecked capitalism, and climate disregard that has enabled ecological collapse. Mass migration has begun. Families on the roads are forced to stay on charpoys without shelter, food is scarce, and people are struggling with basic necessities. Many people left for cities unwillingly to save their lives, but still there are hundreds who stayed back in dry areas near villages to look after their livestock or moved to safer places with the help of local boats as flood water levels increased. Thanks to the timely help of comrades from the Women Democratic Front, a Pakistan-based socialist-feminist organization, in our village, my family and I succeeded in rescuing essential goods before the village was delinked from mainland Sindh. This is the story of an entire region dispossessed by the floods and unprecedented rains, and the specter of poor governance, unchecked capitalism, and climate disregard that has enabled ecological collapse. One of the biggest challenges we are facing after rescuing our families is making contact with people who decided to stay behind. When the flooding began, the elected MPA’s family, a major feudal family in the area, instructed people to leave, but many refused in order to look after their livestock and save what little grain they could. It's impossible for 'elected' MPAs and feudal families to understand the logic of village residents. Our livestock and the rice and wheat saved from last year’s harvest are all we own. It is difficult for villagers to leave the only assets they rely upon at the mercy of the government, because we’ve learned over our lifetimes that the government isn't serious about helping people in the long term, indulging instead in corruption around flood relief goods without any long-term planning. Many of the villagers migrating have brought cattle and other livestock with them, fearing the animals would suffer from deadly ailments. Caring for the livestock and arranging for their fodder has become an additional responsibility on top of people’s own survival, but to neglect them would further threaten people’s livelihoods. The livestock and the products they offer—wool, eggs, milk, and more—are not only a source of essential nutrients, but social wealth as well. With their crops destroyed and livestock impacted, people are left with no source of earning or income for the year ahead. As villages and crop fields have turned into lakes and wetlands, cities, water sieged from all sides and acting as makeshift refugee shelters for flood-impacted people, have become a breeding ground for different diseases. Diarrhea, malaria, fever, skin diseases, and respiratory illnesses are spreading, and one of the major priorities for flood-displaced people has been the provision of medical care along with food. But in addition to physical ailments, for displaced persons, the traumatic experience of losing their homes and becoming refugees has led to psychological issues that largely go untreated and ignored. In the medical camp that we organized through the Awami Workers Party and Women Democratic Front's help, many patients, unable to sleep at night or during the day, asked about sleeping pills. This trauma has been repeating, and worsening, for those living in the floodplains of the Indus. My grandfather's brother, Hakim Ali, who is visually impaired, has spent 60 years in the fields and villages of our region. He learned to herd with his brothers in childhood and then passed that knowledge onto his sons, and now grandsons and granddaughters. He has brilliantly memorized how to navigate around the village and the grasslands around Hamal Lake, and in the mountains and fields of Kachu. He says he has never before witnessed such a long monsoon. This is the first time in his life that he has had to take refuge in a city. Signs of despair and restlessness are visible in his body language, as limited space in the city has snatched his freedom to move about in familiar open spaces. The unique experiences of each impacted person tell a tale about people's relationships with their surroundings, land, and ecology. In addition to physical ailments, for displaced persons, the traumatic experience of losing their homes and becoming refugees has led to psychological issues that largely go untreated and ignored. I first experienced displacement when I was in the 8th grade due to the floods in 2007. We lost our wooden and mud huts and were forced to take refuge in Kamber city, 30 kilometers to the east towards the Indus River. Again in 2010 floods destroyed our houses, crops, livestock, and everything on which we had established our livelihoods. My parents spent the next couple of years selling assets like crops and livestock, saving up bit by bit to slowly build a solid house for us. One summer it was a mud-made room, the next, it would be a wooden part of the house. Enduring in this way, our parents made a house out of their labor, patience, care, and most of all, love. Now, a decade later, we’ve once again lost our homes and entire livelihoods. Located along the edge of Hamal Lake in Kamber Shahdadkot District, Sindh, we and hundreds of our fellow villagers have been facing an ongoing water crisis for several years now. Due to water scarcity in the Indus River and little rainfall, Hamal Lake has been completely parched for the past couple of years. Last summer many pastoral families from our village and nearby villages who completely rely on the lake migrated nearer to the Indus for grasslands and herding. When this monsoon started, the long awaited rainfall bore happiness and hope—the hope of rebuilding the lake, of rebuilding the livelihoods entirely dependent on wetlands, of food for our livestock in the arid zones of Kachu where rain creates the possibility for grasslands to emerge. In the last couple of decades, however, rain has either become scarce or bursts forth and the dry soil is unable to soak it in, leading to floods and bringing misery and destruction in another form. The rain continued for a month. At one point it rained for 72 hours without a break. As monsoon spells came to an end in the second half of August, my family, village, and nearby villagers lost everything they had invested in the land: rice crop seeds, rice paddies, fertilizers, and their labor. People here depend on crops, livestock, and Hamal Lake’s wood and fish. In these desperate times, it’s a harsh reminder of how working people and farmers suffer doubly in an extremely unequal and unjust state and society. The government has not learned anything from the floods that have marked the second half of the twentieth century. During the floods of the 1990s, 2007, and 2010, cities had remained safe, but this time, what many are comparing to a doomsday, continuous rain has hardly left any home undamaged. Other than its capital city Karachi, every sphere of public life in Sindh has been disrupted. As village life is uprooted and completely devastated, semi-urban or urban areas aren't safe as well. Food crises have worsened, and inflation is skyrocketing as wheat flour mill owners and small shopkeepers to big dealers hike up prices to cash in on the miseries of the flood-displaced population. The rain continued for a month. At one point it rained for 72 hours without a break. As monsoon spells came to an end in the second half of August, my family, village, and nearby villagers lost everything they had invested in the land: rice crop seeds, rice paddies, fertilizers, and their labor. Climate change is intensifying the monsoon spells. When Hamal Lake dried up last year, it destroyed livestock and wildlife, the livelihoods of millions of people who depend entirely on the lake to make their ends meet. The story of Pakistan's largest lake, Lake Manchar, is no different. In recent years, it has been either completely parched or filled with contaminated water. When rain is scarce, the Indus River water is diverted to upper stream areas or dammed. But this year it’s threatening to inundate two districts in Sindh. These dual problems of drying and overfilling are directly connected to monsoon cycles becoming increasingly unpredictable in nature. According to environmental scientists, Pakistan is the sixth most vulnerable country to climate-related changes. From dried lakes to heavy monsoons, scorching heat waves and extreme winters, this is already our reality. Local, provincial, and federal governments lack preparation for climate emergencies, and their inefficiency in addressing these crises has furthered people's suffering. We can't let governments hide behind words like ‘unprecedented,’ 'natural disaster,’ or ‘punishment due to our sins.’ These are man-made disasters and a crisis of governance at the regional and international level. Economic priorities of profiteering at the cost of ecological disruption have resulted in mass miseries for the working classes. In the epoch of the Anthropocene, worsening air quality, water scarcity, extreme heatwaves and unprecedented rains are becoming a regular feature, not just devastating entire livelihoods but disrupting entire populations. Rain and floods in Sindh are not natural disasters but manifestations of inadequate infrastructure planning as well as consequences of inappropriate efforts to mold and control nature. Rivers, lakes, and natural water streams pave their own ways through the land, and disturbing their natural routes is only causing disasters. If we are to save ourselves from these devastating monster monsoons—as they are being called this year—or deadly heat waves, we need to radically rethink our relationship with nature. We collectively need to reassess our misplaced and delusional drive to alter nature according to our unbridled desires. We need to call out the elephant in the room: Capitalism. And we need to put reins on the unprecedented commodification of everything. If we do not do this and organize against this life-threatening crisis, we will be left with nothing to take protection or refuge in. Each season of the year in South Asia will bring with it a hitherto unknown face of devastation. ∎ 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:

Over nearly two decades, the opulence of the Jaipur Literature Festival has only grown and the prestige of attendance has attained unparalleled heights. Yet Torsa Ghosal, of Kaya Press’s imprint Kulhar Books, returned in 2025 with critical realizations about JLF’s core agenda. Reflecting not only on the nationalistic undertones celebrated but also on what was conspicuously absent, Ghosal points to the festival’s failure to meaningfully represent Muslim and Arab voices, and to a troubling insincerity in engaging with the moral crises of our time. BOOKS & ARTS Spiritually Chic AUTHOR AUTHOR AUTHOR Over nearly two decades, the opulence of the Jaipur Literature Festival has only grown and the prestige of attendance has attained unparalleled heights. Yet Torsa Ghosal, of Kaya Press’s imprint Kulhar Books, returned in 2025 with critical realizations about JLF’s core agenda. Reflecting not only on the nationalistic undertones celebrated but also on what was conspicuously absent, Ghosal points to the festival’s failure to meaningfully represent Muslim and Arab voices, and to a troubling insincerity in engaging with the moral crises of our time. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Review Jaipur Jaipur Literature Festival JLF Kumbh Mela Hindu Nationalism religious nationalism Religion Contemporary Literature Literature & Liberation Pop Spirituality Elitist elitism tokenism Representational Space representation suppression 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 Review Jaipur 1st Aug 2025 Since launching in 2006, Jaipur Literature Festival (JLF) has been repeatedly called the “Kumbh Mela” of literature festivals. Kumbh Mela is a Hindu religious event held every six to twelve years at the confluence of the three rivers: Ganga, Yamuna, and the mythical Saraswati, where devotees convene in numbers unmatched by any other religious gathering in the world. The Kumbh analogy signals JLF’s massive scale and popularity. Indeed, the book festival is a mela, a social spectacle, that brings anywhere between three to five hundred speakers to Jaipur, shuttles them between the venue and the various four- and five-star hotels lodging them, and swishes them off to party in the city’s gorgeous palaces and forts. 400,000 visitors and around 4000 vendors thronged the festival grounds in 2024 according to estimates. Until recently, the staunch religious underpinnings of Kumbh had no direct equivalent in a festival that branded itself as an international “literary show,” and that has hosted a diverse assortment of luminaries such as Margaret Atwood, Orhan Pamuk, Kamila Shamsie, Oprah Winfrey, and the Dalai Lama. But over the last few decades, Hindu religious identity has increasingly defined national belonging and nationalist policies in India. This year’s Maha Kumbh Mela was attended by 4 times as many people as the previous iteration of the event, blazing proof of the upthrust in religious fervour among Indians and diasporic Hindus. JLF’s programming was not immune to the pulls of religious nationalism. The festival kept the crowds sated on pageantry and celebrations which often obscured the ways in which panels and talks questioned the nationalist agenda. Supported by a SALT travel grant , I was at JLF to scout authors in my role as an acquiring editor for Kaya Press’s brand new South Asian imprint, Kulhar Books . Working with Kaya’s managing editor Neelanjana Banerjee and the rest of the Kaya team, Kulhar editors—Rajiv Mohabir, Jhani Randhawa, and I—aspire to publish stylistically and politically imaginative literature; works that unsettle formulaic expectations caging and sanitizing South Asian literary expressions in America. Courtesy of the author. My first afternoon at JLF I heard the British author Sheena Patel speak about her desire for “the now to be captured” in her writing rather than telling a “timeless story,” and in a similar vein, my intention was to get a sense of “the now” of the literary-cultural scene in South Asia, intuiting that the festival would offer some—even if narrow—opening into the ideas and themes dominating the space. Flipping through the festival program, I tried to locate sessions on literary writings from and about South Asia with a focus on contemporary translated literature and newer voices, a task that proved to be somewhat at odds with JLF’s broad-ranging, political establishment- and celebrity-friendly slate of events, a host of which staged flaccid conversations on Hindu mythology, Hindu national and political identities, excitement about the potentials of AI and digital technology, corporate and startup success, even wellness practices. The festival has a “flashy, dazzling quality,” notes Mrinalina Chakravarty in her 2014 book, In Stereotype , which examines the hackneyed tropes found in literary representations of South Asia. At this year’s edition, social media influencers, Bollywood celebrities, and politicians predictably clinched the largest platform—the front lawn. Educator-philanthropist-billionaire Sudha Murthy’s talk in the lawn was attended by her son-in-law, U.K.’s former Prime Minister Rishi Sunak. Sunak went viral for greeting the lawn’s audience with folded hands in a “namaste,” obeying the nudges of an elderly woman whom Indian media variously identified as his mother and aunt-in-law. A forty-five-minute session on the same stage was allocated to politician and author Shashi Tharoor unpacking the experience of living as Shashi Tharoor. Influencer Prajakta Koli blurted unprompted that her rom com novel contains “discrepancies” that she hoped readers would not pick up. JLF is often “a theatre of the absurd,” as Chakravarty observes, and the “incongruous juxtapositions of the bizarre and serious” raise questions about whether the festival coheres. JLF does not cohere— purposefully so. Vendors selling gorgeous brass jhumkas, wooden handicrafts, linen quilts and clothes form the backdrop of high-spirited debates and book launches. It is a carnival, almost in the Bakhtinian sense, a heteroglossia boasting of eclectic interests and priorities, but without the revolutionary zing Bakhtin associates with carnivalesque entertainment. JLF makes no pretence of renouncing hierarchies among speakers, vendors, volunteers, media persons, and spectators. There is a distinctly feudal quality to the “royal” warmth the green vest-wearing volunteers and interns shower on the invitees, riffing on the grand, luxurious image of Rajasthan in both the global and desi imagination. Rajasthan is after all the province where celebrities like Liz Hurley and Priyanka Chopra have hosted their weddings. Like crazy rich desi weddings, the happy hodge podge at JLF trades in stereotypes about South Asia’s mystique and splendour. JLF has a controversial history with respect to free speech, which Amitav Ghosh points out , shows how literature has become “embedded within a wider culture of public spectacles and performances…overtaking, and indeed overwhelming writing itself as the primary end of a life in letters.” As far as frenzied public spectacles in India go, none in recent times can compete with the individual and collective performances of the Hindu religious identity at the Mahakumbh, and the book festival arena is a porous zone. The five-day programming at JLF, what speakers thought permissible to say or not say, the audience questions, the popularity of sessions were all rooted within a broader cultural sphere that in 2025 was flooded with giant billboards starring the tight-lipped smiles of India’s Prime Minister alongside his brother in arms, the ascetic-politician Chief Minister of Uttar Pradesh. Both their portraits were pasted onto scenes showing millions on the banks of a river, coloured a shade of blue so rich that I could tell it could only have been achieved after going through layers of digital filters, if the raw photograph was ever of the muddied brown Ganges I have known and swum in. The hoardings carried taglines like “Message from Kumbh, The Nation Must Unify” and “Sanatan Pride, Maha Kumbh Edition.” Courtesy of the author. Desi internet was trending Kumbh news and memes, minting new viral heartthrobs—hot Sadhus and Sadhvis—through WhatsApp forwards and Instagram reels, plus supplying shock and cringe content, that I and surely other festival attendees dutifully consumed. Young people are showing interest in scriptures, Malashri Lal remarked at a session launching mythologist Sunita Pant Bansal’s A Comprehensive Guide to Indian Scriptures . The slim book introduces Hindu sacred texts like the Puranas, Vedas, and the epics “as it is,” the author insisted, “without my opinion.” The aim is to demystify and correct beliefs about Hindu religious texts. Why, then, does the jacket say “Indian scriptures” rather than Hindu scriptures? A young audience member asked after admitting he was “nervous and worried” to raise the question. And if the book is on Hinduism, have texts from Nepal been included? The publisher Dipankar Mukherjee, who was also on stage, chivalrously swooped in to field the question, rationalizing that they were “trying to be somewhat politically correct to ensure the book reaches the right audience…Where they [the scriptures] started to become codified, recorded that’s part of current India.” He subsequently plugged the festival co-director William Dalrymple’s latest book, crediting Dalrymple for completing “half our work” tracing the influence of Indian traditions and philosophy on other cultures. Mukherjee’s blithe verbal acrobatics for swapping Hindu with India not only aligns with the religion-nation nexus the country’s government has openly adopted in the last decade but also follows the money as it were. Writing for New York Times, Anupreeta Das claims that book festivals are all the rage among India’s youth. On the surface, the hipness of literary festivals bodes well. Das notes young people “are increasingly reading literature in their native tongues alongside books written in English. For these readers, books open worlds that India’s higher education system, with its focus on time-consuming preparation for make-or-break examinations, often does not.” But what are the young people reading in these various languages? What kinds of worlds are books unlocking? The answers are not straightforward. Trapped in a long, slow-moving queue formed in front of a toilet in Amer Clarks, women were commiserating about the shortage of bathrooms at the venue. Interrupting this communal bonding, a woman in her early twenties started to hype up her novel that retells the Hindu epic Ramayana. Ramayana has become something of a foundational text in the Hindu nationalist imagination. The woman pitching her retelling to a captive, pee-holding audience explained that her book followed the love story of the Hindu demigod Lakhsman whom “feminism” has unfairly sidelined. Her pithy spiel echoed a pervasive cultural sentiment wherein Hindu culture and Hindu Gods need constant protection from the evil eyes of liberals and heretics. Another young woman asked for the book’s title to order on Amazon. Some days later, while looking up the book, I stumbled upon the author’s public Instagram grid that featured side-by-side photos of her in JLF and at Mahakumbh. Completing the spiritual chic circuit of JLF-Mahakumbh, she follows in the illustrious footsteps of others like Sudha Murty who took a holy dip at Kumbh days ahead of her JLF session. Browsing the aisles of bookstores and catalogues of Indian publishers gives an impression that pop spirituality is booming in India. OMTV, an “Indic storytelling” app, surveyed its users and found that around 80% of those consuming spiritual content are aged between 18 and 30. At the same time, The Crossword Bookstore on JLF festival grounds had eager customers crowding pretty much every corner, picking up new and old titles, not just the spirituality laced ones. And in an offline and online public sphere dominated by Maha Kumbh , JLF still managed to hold some conversations offering critical and nuanced perspectives on political Hinduism. Courtesy of the author. But among the nearly three-hundred delegates, the festival included just a handful of Indian Muslim speakers. Bollywood celebrities like the director Imtiaz Ali, Huma Qureshi, and Javed Akhtar were part of this roster. Mujibur Rehman, who used a comparative framework drawn from histories of Black resistance to talk about the political marginalization and de-Islamization of Indian Muslims in Shikwa-e-Hind (2024), was challenged by a middle-aged, ostensibly Hindu, ponytailed thought leader among the audience. “I have lots of confusion about the premise of your book…Should we continue to call Muslims minorities with twenty percent population?” the man asked. Rehman told the man his book answers the question and supplemented his response with analogies underscoring how minority identity and minority rights are not simply pegged on numbers or even the success and visibility of a select few. India’s constitution despite its secular promises is inherently majoritarian, he argued, which informs the cultural landscape where Indians clapping at America’s flag do not invite suspicion, but an Indian Muslim boy clapping at Pakistan’s flag is interpreted as sedition. Kashmiri Muslim, Pakistani, and Bangladeshi literary authors were largely absent from this edition. Some absences can be blamed on logistics—Pakistan passport holders have immense difficulty procuring Indian visas at present, unless of course they are Maha Kumbh enthusiast Hindus. Then they are handed Indian visas swiftly . State rules force compliance but even state policies cannot explain all erasures. Theatre actor and director MK Raina who comes from a Kashmiri Pandit family, spoke about owing his career to the state of Kashmir’s policy of allowing free education right from the 1940s, commented on inequities in contemporary India, and criticized the unrealistic portrayals of Kashmir in Bollywood. He left the stage when his co-panelist, the Rajasthani singer and thespian Ila Arun, started enacting a lengthy sequence from an Ibsen play she adapted and partly set in Kashmir, where a character “hurts the mother” and “hurts the motherland.” Raina’s abrupt departure was first extrapolated as resulting from his frustration about the supposed misrepresentation of Kashmir and later as following from his irritation with Ila Arun for hogging stage time. Multiple sessions addressed Israel’s war on Gaza, but the sessions recycled a small group of speakers that included the Indian American author Pankaj Mishra, Palestinian author Selma Dabbagh, Pulitzer-winning American journalist Nathan Thrall, and Israeli British historian Avi Shlaim. The number of Arab authors featured was in the low single digits. A JLF official reportedly interrupted an interview between the Press Trust of India and the Palestinian envoy to India Abed Elrazeg Abu Jazer on the grounds that the festival’s PR team hadn’t sanctioned it. JLF’s speaker lineup suffers from issues common in invite-only prestige events. The curators turn to the same authors and cultural delegates year after year, and even each year, the same names reappear across sessions. The festival seems to be battling two opposing drives: an impulse to represent a diversity of relevant ideas and a desire to wring the most out of a trusted clique of speakers, resulting in conversations that sometimes feel repetitive, sometimes tokenistic. Although the festival is held in the state of Rajasthan and makes decorative use of Rajasthan’s crafts and colours to create Instagrammable corners, Rajasthani authors and Rajasthani literature are not at the forefront. The festival is a shimmery tamasha that, like high-budget high-gloss Bollywood films, is fun to dip in, so long as one is willing to forgo critical questions. The scale of the festival remains something to marvel at. But other literature festivals that have cropped up in India after Jaipur, such as the Kerala Literature Festival and Mizoram Literature Festival , have made more emphatic attempts at grounding their events in their local cultures. JLF, on the other hand, is happy to remain the Chicken Tikka Masala of festivals, palatable to a wide-ranging, somewhat international audience, seemingly representative of South Asia, with a desi man and a Scottish one claiming credits for its origins. Courtesy of the author. 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:

“Loneliest star, shining so brightly / For no one to see. / Loneliest star, tell me your secret / You shouldn't keep it.” COMMUNITY Quintet AUTHOR AUTHOR AUTHOR “Loneliest star, shining so brightly / For no one to see. / Loneliest star, tell me your secret / You shouldn't keep it.” SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Live Brooklyn Solidarity: Beyond the Disaster-Verse Jazz Music Classical Music Experimental Music Vocals Hammered Dulcimer Drums Guitar Electronics Composition Contemporary Music Shamisen Alternative Jazz Love in Exile On Becoming House of Waters GRAMMY Periphery Emily Dickinson Atahualpa Yupanqui Protest Song Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. DISPATCH Live Brooklyn 25th Apr 2024 The closing set from our event on 30th March 2024, "Solidarity: Beyond the Disaster-Verse," at ShapeShifter Lab in Brooklyn, New York, capped off two stimulating panels and marked the close of Volume 2 Issue 1 of SAAG. The performance by the quintet of Priya Darshini (vocals), Shahzad Ismaily (piano, drums/percussion, synth, guitar), Moto Fukushima (bass, shamisen) & Max ZT (hammered dulcimer), and Chris Sholar (electronics, ableton) ushered in new emotional registers, and another period of interpretive possibilities for SAAG, as reflected upon by Darshini. Their set showcases many of the songs from Darshini's debut album, as well as songs about hope and solidarity, and a showstopping rendition of a composition of Emily Dickinson's "Hope is the thing with feathers." Event Photography courtesy of Josh Steinbauer. SOLIDARITY: BEYOND THE DISASTER-VERSE Panel 1: What Does "Solidarity" Mean? SOLIDARITY: BEYOND THE DISASTER-VERSE Panel 2: On the Relationship between Form & Resistance 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:

WRITER Shelly Anand SHELLY ANAND was born and raised in Georgia by immigrant parents from India. She is a human rights attorney fighting for immigrant and workers' rights in the South, and Co-Founder and Executive Director of Sur Legal Collaborative. She lives in Decatur, Georgia with her husband and two children. She is the author of the picture book Laxmi's Mooch, (Kokila, 2019), and co-author with Nomi Ellenson of I Love My Body Because (Simon & Schuster Kids, 2022). WRITER WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

REPORTER Mir Seeneen MIR SEENEEN is a freelance journalist based in Srinagar. She has worked with many international news organizations which includes The Guardian, Al Jazeera, The Diplomat Magazine, TRT World, among others. REPORTER WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

JOURNALIST Aruna Chandrasekhar ARUNA CHANDRASEKHAR is an independent journalist and a writer from India, currently at the University of Oxford. Her interests in work dwell on themes of corporate accountability, climate change, indigenous rights and resistance, environmental law, energy, conflict, gender and public health. Her stories have appeared in The New York Times , The Guardian, New Internationalist, BuzzFeed, and many other outlets. JOURNALIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE