MUSICIAN RYDEY RAYYAN MOHAMED , known locally as Rydey, is a Maldivian music producer and lyricist, especially active in the hip-hop music scene. He joined Symbolic Records in 2016 as a music composer and became the company's senior producer and the Head of Audio Production. His lyrics pertain to social issues, mental health, and abstract contexts. Symbolic Records is the first hip-hop music label in the Maldives. MUSICIAN WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

Periyarism, an anti-caste ideology that originated in Tamil Nadu, is under attack in Malaysia as witnessed during the Hindutva-led disruptions of the International Youth Rational Forum. Diasporic Tamils in West Malaysia are especially losing ground in the fight against the spread of Hindutva ideology. The legacies of corrupt Malaysian politicians and the demolition of Tamil Dravidian religious sites—calling for religious homogenization—has hindered the Periyarist agenda, but they have not culled the struggle to preserve Tamil tradition and dignity. Periyarism, an anti-caste ideology that originated in Tamil Nadu, is under attack in Malaysia as witnessed during the Hindutva-led disruptions of the International Youth Rational Forum. Diasporic Tamils in West Malaysia are especially losing ground in the fight against the spread of Hindutva ideology. The legacies of corrupt Malaysian politicians and the demolition of Tamil Dravidian religious sites—calling for religious homogenization—has hindered the Periyarist agenda, but they have not culled the struggle to preserve Tamil tradition and dignity. OCTO, BLUES OF MALAYA (2024). 23.5” x 35.5”. Artist West Malaysia AUTHOR · AUTHOR · AUTHOR 20 Dec 2024 th · FEATURES REPORTAGE · LOCATION Struggling for Self Respect To counter the growing influence of Hindu extremism within the West Malaysian Tamil Hindu diaspora, Karunchattai Ilaignar Padai ( Black Shirt Youth Movement ), a new Periyarist coalition in the country, organised the International Youth Rational Forum . It was meant to educate the public on the anti-fascist and rationalist principles of Periyar’s Dravidian ideology. The forum held on December 24, 2023 , welcomed several prominent Periyarist speakers including Tamil Nadu’s SM Mathivathani and Sri Lanka's Sathees Selvaraj. It was initially scheduled to be held at the MySkills Campus in Kalumpang, Selangor, but on December 18, 2023, the director, Pasupathi Sithamparam, received harassing phone calls from Hindu extremists. Fearing backlash from donors he revoked permission forcing the organisers to find a new venue within a week. The following day, 27 Hindu organizations urged the Malaysian Home Ministry to stop the forum alleging it went against Kepercayaan Kepada Tuhan (Belief in God), the first clause of the Rukun Negara (Malaysian National Principles). The clause states that citizens must submit to the power of God. While the Malaysian state claims that the Rukun Negara, constructed in 1970, was a way to reconcile with the aftermath of the 1969 race riots, prominent Malay-Chinese intellectual and former political prisoner Kua Kia Soong counters this narrative. He argues that the “race riots” were exploited by the emerging Malay capitalist class to gain political authority over the then-ruling aristocracy. According to Kua, the principles were designed to control the masses and prevent challenges to Ketuanan Melayu (Malay Supremacy), embedded in the national constitution. This is also evident in the second and third clauses, which reify citizens’ unquestioning allegiance to Malay royalty, the country, and the constitution. On December 21, 2023 , Karunchattai held a press conference refuting the allegations from the NGOs. He stated that the principles are not against the nation’s political foundations of race, religion, and royalty (the "3Rs") and Hindu extremists are targeting them for their Periyarist identity. Despite obstacles, the forum's programming was effectively executed. Photo courtesy of the author. Following the press meet—while organisers were picking up the international speakers from the airport—they were informed that the permission to host their forum at the Wisma Tun Sambanthan hall was revoked after the venue received complaints. Fortunately, that very same night, members of Karunchattai met with the management of the KL & Selangor Chinese Assembly Hall who granted them permission and declared solidarity. The next day, Nagenteran Sandrasigran, the founder of Karunchattai Ilaignar Padai, was called into the Dang Wangi police station following additional complaints. The police interrogated Nagenteran about the nature of his organisation, the forum, and Periyarism, but he was released the same day without further action. The Malaysian Immigration Department (MID) also intervened, informing the organisers that their international guest speakers had travelled under the wrong visa and needed a special one to participate in the forum. MID restricted the live streaming of the event and also implemented orders to stop and interrogate the participants as they travelled to the region. "There have been many Dravidian forums in Malaysia before, where overseas speakers were invited, but nothing this severe has ever happened before,” Nagenteran observed. Harassment and deliberate sabotage were inflicted on both organisers and speakers. On the day of the event, while the speakers were in their hotels, they received suspicious calls from people pretending to be the organisers, asking them to come down to the lobby. “I told them to stay in their rooms until I called them and not to pick up calls from unknown numbers,” Nagenteran said. The entire forum took place under the vigilant presence of the Malaysian police and immigration department. Seven police officers, including the Dang Wangi Special Branch, Bukit Aman Special Branch, and the Kuala Lumpur Contingent Headquarters, along with nine immigration officers, surveyed the forum. There were several other events organised after the main event with constant police presence throughout the day. In addition, about ten representatives from various Hindu NGOs attended the event. One representative, Rishikumar Vadivelu, vice president of the NGO Hindhudharma Maamandram , refused to stand up for the Malaysian Tamil Thai Vaazhtu (Tamil Anthem), penned by Malaysian Tamil writer Seeni Naina Mohamed . Secretary Ponvaasagam of Malaysia Dravida Kazhagam (MDK) and several other MDK members noted his behaviour and approached Rishi to firmly advise him to stand up, but he refused. Later, when a photo of Rishi’s antics went viral on social media, he declared that he didn't want to, nor should he have to, stand for a Tamil anthem written by a Muslim. He insinuated that the Tamil literary icon Seeni Naina Mohamed was a “Muslim missionary” trying to proselytise Tamil-Hindus for Islam. Hindhudharma Maamandram's President, Radhakrishnan Alagamalai, sent a letter to Deputy National Unity Minister SaraswathyKandasami reiterating that the forum was in direct opposition to the Malaysian national ideology. Saraswathy, an opportunistic caste-Hindu politician with strong ties to caste-Hindu associations, sent a letter to the home ministry emphasising the much speculated threat of atheism. She also mentioned that one of the speakers had a speech titled “Periyar from a Marxist Perspective,” fueling the anti-communist sentiment already present in the state. The ministry advised Deputy Minister of Youth and Sports Adam Adli , who previously contributed to the cause and accepted the invitation to inaugurate the forum, against following through on his plans. Just a day before the event, Adli’s assistant, Mr. Amar, informed Nagenteran that the Deputy Minister would not be attending. Nagenteran expressed his disappointment, stating that moral support from the governing party could have been significant in legitimising their cause. The influence of Periyar in West Malaysia dates back to the 1930s, driven by the Tamil diaspora. During this time, Periyarists established their own Dravidian organisations in erstwhile-Malaya that engaged with the political realities of Peninsula Malaysia, alongside the self-respect movement in Tamil Nadu. Malaya’s Tamil Reform Association (TRA), founded in 1932, published Tamil Murasu , a newspaper dedicated to cultivating Dravidian ideology. The paper covered various topics, including: Tamil social reforms, Indian nationalism, Dravidian nationalism, and the conditions of indentured workers from Burma to Ceylon. Courtesy of Singaporean governmental archives. Above is a special edition of the newspaper Tamil Murasu in celebration of ponggal, which the Dravidian movement celebrated as Tamilar Thirunaal (Day of the Tamils), celebrating the secular roots of tamil society. Many successful reforms were also introduced by the MTRA revolving around marriage, specifically widow remarriages, self-respect weddings, and the endorsement of the Sharada Child Marriage Restraint Act. However, this momentum drastically diminished in postcolonial Malaysia. Nagenteran detailed how, until the late 1980s, the Malaysian Dravida Kazhagam (MDK) had been a strong community ally of MIC. During the internal power struggle for party leadership between Samy Vellu and Dr. Subramaniam Sinniah , however, MDK’s then-president KR Ramasamy threatened to contest the elections if MIC didn’t change its opportunistic ways. Samy Vellu, aiming to extinguish political rivalry and appease the opposition, lured MDK members into joining MIC, rewarding those who did exceptional work for the party. “Then, the splinter between Pandithan and Samy Vellu happened,” said Nagenteran, citing how caste politics within the party caused MG Pandithan, who belonged to the Paraiyar caste, to split from Samy Vellu, a Thevar. The former formed a new political party called the All Malaysia Indian Progressive Front ( IPF ). Paraiyars and other caste-oppressed individuals from MIC and MDK left their respective organisations to join the IPF. Due to these deviations, the influence that MDK and Dravidian ideology once had on the Tamil population greatly disintegrated. “In the 90s, we could speak about Periyar to our families, but now it has become a taboo subject,” lamented Nagenteran, describing how the political situation shifted drastically within a single generation. Wider Malaysian politics also faced the decline of progressive elements with the rise of Malay Muslim ethno-religious supremacy, who demanded that the Malaysian people come together to form a united front. “We have to embrace multicultural politics,” asserted Gausalyah Arumugam, the secretary of Karunchattai, while also criticising the existing caste pride within the Malaysian Tamil-Hindu community. “When caste prevents them from viewing members of their own ethnic group as equals, how can they form genuine political solidarity with other ethnicities?” Tamils in Malaysia In the early 19th century, European imperialism forcefully displaced many dalit and lower shudra Tamil peasantry as indentured labourers to colonial West Malaysian plantations. While the migration of the Tamil workers was controlled by debt-bondage, free Tamil merchants were able to move with ease. The hellscape system of the plantation was shaped both by European imperialism and brahminical hierarchy. By the 1940s, Tamil workers led labour unions and contributed to the anti-imperialist armed struggle of the Malayan Communist Party (MCP). Britain's counterinsurgency across Southeast Asia, however, made progressive movements a weak entity in Malaysia, paving the way for the Malaysian Indian Congress (MIC) to be endorsed as a communal party that could de-radicalize Tamil workers. Nevertheless, Nagenteran notes that since 2008 MIC’s hold on the Tamil workers has drastically deteriorated. The weakening of MIC is attributed in part to the 2000s Hindu Rights Action Force (HINDRAF) movement, inspired by the Hindu Swayamsevak Sangh (HSS), an international branch of the Rashtriya Swayamsevak Sangh ( RSS). MIC's continued incompetence in fighting for Indian/Tamil minority rights led to a loss of support among Tamils and relegated it to the sidelines under then Prime Minister Najib Razak. Nagenteran explained that although Najib was a corrupt criminal, he successfully established strong bonds with working-class Tamils through opportunistic concessions. Instead of using MIC as a communication channel, Najib reached out directly to meet with Indian and Tamil communities, Hindu NGOs, and caste associations to protect his vote bank. He visited the Batu Caves Murugan Temple for Thaipusam , provided a grant of RM1 million for the development of the Sri Murugan Tuition Centre, and offered Indians and Tamils the opportunity to invest in the Amanah Saham unit trust funds. In post-Najib Malaysia—with the chaos of COVID-19 still fresh—leadership changes further degraded the hopes of working-class Tamils. The current government is no different in exhibiting a lack of interest in the Tamil population. “Anwar has missed two Thaipusam festivals. There are no Tamils in the cabinet. They even complained that no diaspora ministers were invited to the inauguration of the King!” exclaimed Nagenteran, who detailed the disregard faced by working-class Tamils from political parties, further contributing to their political demoralisation. Hindu Extremism and Casteist Violence in Malaysia Some Hindu temples, like the Batu Caves Murugan temple, are advertised as emblems of religious harmony in Peninsular Malaysia, while others are sites of contention. The Seafield Mariamman Temple is one such example. It was the site of a major dispute between its property owner and the public, revealing the sinister truth undergirding the dysfunctionality embedded within Malaysian society—resulting in a riot in 2018 that made national news. The recurring demolitions of Hindu temples find their roots in the destruction of the rubber plantations and subsequent displacement of Tamil workers, directly influenced by Razak’s New Economic Policy of the 70s, and then cemented by Mahathir's industrialisation throughout the 80s and 90s. In the 2000s, this complex crisis evolved into fertile ground for the emergence of a reactionary Hindu rights advocacy, which uprooted the crisis of the temple from the historical caste-labour politics of the plantation, indentureship, and caste-feudalism. Folk deity temples are among those most often demolished. They are part of Tamil Hindu heritage and are maintained by workers who are descendants of Dalit and Shudra villagers. The villagers used to worship folk deities rather than more Brahminized deities, however, Gausalyah states that, through the influence of Hindu extremism, Malaysian Tamil Hindus are abandoning their folk practices in favour of Vedic traditions. This shift in religious practices is endorsed by temple management in the nation, which is typically governed by members of a specific caste. “Casteists and Hindu extremists work in parallel to each other,” noted Gausalyah, discussing how these spaces are weaponized to assert brahminical hegemony. This, in turn, cultivates extremism under the guise of cultural preservation. Malaysia Dravidar Kalagam Ticket, Courtesy of Singaporean governmental archives. Just like the temples, Tamil government schools are disempowered, receiving very little financial or moral support, making them susceptible to political extremism. Despite schools being secular educational spaces for multi-religious Tamil children, extremism is gradually transforming them into Hindu education camps, with some schools receiving religious textbooks published by the Hindhudharma Maamandram. “It's so easy for Hindu NGOs to work with schools, but they won't let us (Periyarists) in,” stated Nagenteran. Hindu and caste dominance is propagated to children by school management, teachers, and staff of particular castes. Gausalyah notes that the hiring is predominantly caste-based to maintain control over the education system. This influence of Hindutva-led caste segregation is reaching far beyond grade school and into university clubs as well. Gausalyah speculates that extremism has been growing for the past six years, tracing the birth of the movement to a trip Rangaraj Pandey took to Malaysia. “Hindu extremism did not grow this strongly in Malaysia without receiving financial support,” she stated. Although they do not have concrete evidence of where this funding may have originated, Karunchattai is certain that a financial network has been established between groups in Malaysia and stronger Hindu extremist bodies like the RSS. Considering the rate at which Hindu extremism has developed—mirroring the RSS's fascistic language, educational and cultural programs, and political influence in Malaysian governance—the movement cannot sustain itself without substantial financial support. Karunchattai hosts reading groups and classes to support grassroots political work against Hindutva-backed caste extremism. They hope to introduce Periyar into Tamil schools and envision connecting with anti-caste organisations worldwide, fostering a strong internationalist anti-caste vanguard that can support one another in defeating the rise of Hindu fascism. As the politics of Malaysia differ greatly from those of Tamil Nadu, propagating Periyar to the Malaysian masses is a significant task set before Karunchattai, to which Nagenteran responds with determination: “Win or lose, we want to see how far we can go.”∎ SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Facebook Twitter LinkedIn Add paragraph text. Click “Edit Text” to customize this theme across your site. 1 Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Features West Malaysia Malaysia Malaya Fascism Hindu Fascism Hindutva Black Shirt Youth Movement Periyar Periyarism Tamil Tamil-Nadu Tamil Diaspora Dravidian Tamil Dravidian Activism Alienation Self-Respect Movement Tamil Reform Association TRA Tamil Labor Unions Malayan Communist Party MCP Malaysian Indian Congress MIC radicalization de-radicalization Hindu Rights Action Force HINDRAF Rashtriya Swayamsevak Sangh RSS HSS Corruption Anti-Caste COVID-19 Hindu Extremism temple demolition attacks on folk deities Tamil Murasu Singapore Colonialism Hindutva-based Caste extremism Caste extremism Civil Society Organizing Liberation ideology 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:

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. Darakshan Raja 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 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 SUB-HEAD ALSO IN THIS ISSUE: Clare Patrick (Our) Worlds and (Plant) Wisdoms Kareen Adam · Nazish Chunara A Dhivehi Artists Showcase Watch the event in full on IGTV. SHARE Facebook Twitter LinkedIn Event Global Virtual Live FLUX Bhangra Music DJ Urban Desi Music Muslims For Just Futures North American Diaspora Muslim Abolitionist Futures Anti-Racism Islamophobia Major Lazer Meesha Shafi The Halluci Nation Boogey the Beat Northern Voice Jay Hun Sultaan Kisaan Bands Experimental Electronica Experimental Music DARAKSHAN RAJA A.K.A. DJ KIRAN is an abolitionist activist, musician, and DJ who works to cultivate joy and community in movement work with Bhangra and Urban Desi Music. DJ Kiran was part of The Empowerment Album , a collaboration between desi women DJs from the US, UK, and Canada. Darakshan is the co-founder and co-director of Muslims for Just Futures , a grassroots organization that focuses on working-class communities, women, and communities nationally through the Muslim Abolitionist Futures (MAF) National Network. 5 Dec 2020 Event Global 5th Dec 2020 A Set by Discostan Arshia Fatima Haq · Prithi Khalique 5th Jun FLUX · Natasha Noorani Unplugged: "Choro" Natasha Noorani 5th Dec FLUX · A Panel on SAAG, So Far Shreyas R Krishnan · Kartika Budhwar · Nur Nasreen Ibrahim · Aishwarya Kumar 5th Dec FLUX · Tarfia Faizullah: Poetry Reading Tarfia Faizullah 5th Dec FLUX · Poetry Reading by Rajiv Mohabir with Marginalia Rajiv Mohabir 5th Dec On That Note:

"For most dissenters in Pakistan, whether it's a movement like the PTM, or journalists critical of the state, the first reaction of the state's representatives is to characterize them as traitors, or funded by foreign governments." COMMUNITY Progressivism in Pakistani Higher Education AUTHOR AUTHOR AUTHOR "For most dissenters in Pakistan, whether it's a movement like the PTM, or journalists critical of the state, the first reaction of the state's representatives is to characterize them as traitors, or funded by foreign governments." SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Interview Karachi Pashtun Tahafuz Movement Postcolonial Feminist Theory Feminist Organizing Progressivism Deniz Kandiyoti Lyari Sociology Mama Qadeer Refusal of Anthropology Anthropology Baloch Missing Persons Slums Dissent State Repression Statelessness Gulalai Ismail Matiullah Jan Lahore LUMS Urbanization Islamophobia 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 Karachi 27th Aug 2020 RECOMMENDED: Questioning the ‘Muslim Woman’: Identity and Insecurity in an Urban Indian Locality by Nida Kirmani (Routledge, 2013) 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:

As Sino-Indian tensions rise in the new Indian Union territory of Ladakh at the Line of Actual Control, Ladakhi craftswomen like Sonam Dolma are returning to Kashmir to sell their authentic pashmina shawls. THE VERTICAL The Artisan Labor Crisis of Ladakh AUTHOR AUTHOR AUTHOR As Sino-Indian tensions rise in the new Indian Union territory of Ladakh at the Line of Actual Control, Ladakhi craftswomen like Sonam Dolma are returning to Kashmir to sell their authentic pashmina shawls. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Reportage Ladakh Srinagar Kashmir Sino-Indian Relations China India Geopolitics Indian Union Article 370 Line of Actual Control People’s Liberation Army Changthang Labor Craftsmanship Artisans Indigeneity Settler-Colonialism Displacement Statehood Military Operations Police Action Sonam Dolma Militarization 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 Reportage Ladakh 3rd May 2024 In the upscale neighborhood of Rajbagh in Srinagar, Sonam Dolma awaits a high-stakes meeting at an eatery amidst Kashmiri portraits and vintage décor. Her Ladakhi tribe’s prized Pashmina shawls made of fine Kashmiri cashmere are sought after by Kashmir’s elite who eschew mass-produced replicas for craftsmanship. In the quiet corner of the café, away from the bustling streets, Dolma prepares to showcase her wares to discerning clients—wives of bureaucrats and businessmen—who value quality and authenticity above all else. Just miles away from this serene scene lies a neighborhood scarred by floods, where Dolma’s tribe finds refuge after their daily trade expeditions. Despite this contrast, these Ladakhi women navigate Kashmir’s high society with grace, armed with exquisite products and a commitment to purity in a world of imitations. The group’s trade trips to Kashmir have become recurrent ever since Chinese troops showed up at their homeland’s hinterland in May 2020. Oblivious to the standoff at the Line of Actual Control (LAC) where Beijing has grown its military presence, the women are making their rounds of the posh localities of Srinagar with shawls in hand. This internal drive for living has come just five years after New Delhi stripped the semi-autonomous status of Jammu and Kashmir. Their homeland is a new spark plug in South Asia; they live in a constant state of fear. In fact, the rise of the new front—LAC—has already proven deadly. In a military standoff, Sino-India troops have suffered casualties . But beyond these border games, Beijing has forced new orders and routines compelling the Ladakhi craftswomen to return to estranged Kashmir. These young women frequent the fraught region of the valley for sustenance. Prior to their recent visits as mobile merchants, they would mostly feel at home in Kashmir. But everything changed when New Delhi sliced Ladakh from Kashmir in a cartographic attempt to redefine the contested land in the summer of 2019. Carving a union territory out of the United Nations’ registered disputed region eventually proved costly for the government of India. It provoked China—now the ominous third party of what New Delhi calls a “bilateral issue” between India and Pakistan. However, beyond Beijing’s belligerence, the decision to make Ladakh a federal entity has far-reaching consequences for the cashmere brand and its craftspeople. With China’s People’s Liberation Army (PLA) occupying the winter mainstay of the Pashmina goats in Ladakh, cashmere is losing its source of thread. Ladakh’s Changthang area—the land of nomads located in the east of Leh on the Chinese border—has long been a breeding ground for the Pashmina goats. The severe temperature of the area, the experts say, makes the Pashmina thread of Changthang very thin, which in turn makes these goats the source of the finest cashmere in the world. The Chinese incursions have now made it a literal no-go zone for the nomads rearing these goats. Although China is showing no signs of retreat, the military occupation has created an existential crisis for the native animal and has raised serious concerns around the globe. The nomads are reporting increasing numbers of goat deaths. These deaths—due to the occupied winter habitat of Pashmina goats—have cast shadows on the global brand. In the main towns of Leh, the Pashmina dealers are linking the supply slump to the rise of China in Ladakh. Despite the dilemma, the cashmere craftspeople are banking on their old ties with the valley. In the larger din emanating from the LAC, their Kashmir move has become symbolic. While New Delhi has separated them from Kashmir in this territorial juggling, Beijing has reunited them . New anxieties are on the rise, however, as the processing of Pashmina may be shifted out of Kashmir to Uttar Pradesh by the Indian authorities, a move that may create an impact on the cashmere wool industry. Faced with diminishing income and mounting unpredictability, Dolma made the difficult decision to seek refuge in Kashmir. At noon when most of the citizenry works, she arrives to strike some profitable exchanges. Dolma on her way to a Srinagar neighbourhood where she sells her stuff to customers. Courtesy of Mir Seeneen. Dolma tells me how she was born into a family of weavers in a small village 260 miles from Ladakh’s capital, Leh. She learned the art of crafting Pashmina shawls from her grandmother, who in teaching her, passed down centuries-old techniques. Dolma reflects on the journey: “The foreign incursions into Ladakh forced me to confront the fragility of life, to adapt, and evolve.” But the looming specter and uncertainty brought by a massive troop build-up, cast a dark shadow over Dolma’s once-peaceful existence. “We spend months preparing the handicraft stuff before arriving in Srinagar for work," she says. For Dolma, these rendezvous in serene corners of the city held significance beyond mere transactions. She was not just selling shawls—she was preserving a legacy, a tradition that had been passed down through generations. In a market flooded with facsimiles, she was a purveyor of authenticity, valued for her discerning eye and commitment to quality. Away from Ladakh, Dolma considers Kashmir the second home for Ladakhi entrepreneurs like herself. This Himalayan region is their main economic link to the rest of the world, aside from being the preferable market for their indigenous products. During the post-Covid distressed times, they counted on Kashmir’s booming domestic tourism. “Kashmir has never disappointed us,” says Tenzin, another Pashmina seller from Ladakh. “But somewhere down the line, the region’s uncertainty reminds us of our home now. It was a peaceful land before they changed its status in the summer of 2019.” The demand for a separate entity—a union territory—was a longstanding political cry in Ladakh, mostly from the members of the ruling mainstream party. The campaign gained steam after the political party swept the regional polls. Experts feared that slicing Ladakh from Kashmir would alter the course of the disputed land. But in the run-up to August 2019, when campaigns against Article 370 became fierce, Ladakh witnessed a political wave culminating in its new territorial identity. Lately, the process in Kargil has intensified with shutdowns of demand for statehood ; even the famed climate activist Sonam Wangchuk went on a 21-day hunger strike . With the altered political reality, most of these women are now anxious about the war frenzy created by the armies in their homeland. They realize how the militarization was triggered by the summer shift—when New Delhi justified the abrogation of Article 370 as a move “to end discrimination” with Ladakh and its people. But the unilateral decision backfired when the Chinese army showed up at the LAC and clashed with Indian forces. Since then the skirmishes have stopped, but the boots remain on the ground . While the border brouhaha has given Ladakh global coverage in recent times, these girls have become weary of the hyper-media attention. Like their Kashmiri counterparts, they don’t make peace with the pugnacious news debates focusing on their homeland. The mainland television media’s so-called war bulletins have only heightened tensions. What’s further creating a false sense of alarm is New Delhi’s dithering response to the LAC situation. The region has now become a new strategic zone forcing the right-wing government to build a fair-weather highway connecting Leh with Srinagar that opened this past winter. The snowbound thoroughfare used to be cut-off for six months. But now, the Indian government’s urge to keep an unflinching eye on the PLA has put men at work during extreme conditions, including the construction of a tunnel connecting Ladakh with Kashmir. Still, these young Ladakhi women see hope in Kashmir where their products are quite popular among the urban elites. However, if the status quo isn’t restored at the LAC anytime soon, these Pashmina girls of Ladakh fear losing cashmere to Chinese aggression. In the wake of this militarized uncertainty, some of the girls believe their visits to Kashmir, this estranged part of India, might alleviate their financial situation. “Life is tough back home,” continues Tenzin, while waiting for her client inside the cafeteria, and uncertainty has only escalated after the recent border tensions between India and China. Away from Ladakh, these girls share rent, rage, and respite in Srinagar before heading back home with seasonal earnings. “Most of us belong to poor families,” Tenzin continues with a thoughtful stance. “For us, our families come first. But it’s very hard to stay focused amid the changed reality now. Be it troop build-up or frontier tensions, the sense of normalcy has taken a big hit. Regardless of everything, Kashmir is the same to us as it used to be when the people of Ladakh were part of it,” she says. “Sadly, for some of us, a sense of estrangement has come to define this relationship now. And the change is there to see.” Padma Tsering, a quintessential Ladakhi woman in her early thirties from Nyoma, has been selling Pashmina in Kashmir for the past couple of years. “We’ve cultivated our customer base in Kashmir and rely on them for our livelihood,” she says. Despite their limited political awareness, Ladakhi girls like Tsering find hope in Kashmir. “There’s a sense of security Kashmir offers despite the surrounding tensions,” says Phuntsok Wangmo, another Pashmina seller from Ladakh. “It’s our preferred market with loyal customers, even during post-Covid times.” Dolma showcases her shawls in Srinagar during a business meeting with her client. Courtesy of Mir Seeneen. Meanwhile, Dolma’s wait ends as Sadaf Khan, a young Kashmiri woman, arrives at the café. Khan expresses interest in buying shawls from the weaver. “My cousin recommended Dolma to me and vouched for the quality of the shawls,” says Khan. The café comes alive with the buzz of business, some chatter, and laughter. After bidding farewell to her client, Dolma steps out into the busy thoroughfares of the city; walking home reflectively after another successful trade. ∎ 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 Firushana Naseem FIRUSHANA NASEEM practices abstract styles with acrylic and recycled materials, using anything that moves her. Her artistic process is mutable. She often finds the balance between thoughtful, intentional composition and the intuitive placement of color, shapes, texture, and gestural marks, conveying vibrant and uplifting abstract paintings. ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

“Take Lorraine Hansberry's 'A Raisin in the Sun.' Well, it's a working-class family, and it's about upward mobility, but systematic racism is preventing them from having upward mobility. I remember seeing the film first and not even realizing that it was a play. Of course, it's a story about economic apartheid, but I only later saw the resonance in the tradition when I read August Wilson, Amiri Baraka, and later, Lynn Nottage.” COMMUNITY Theatre & Bengali Harlem Aladdin Ullah “Take Lorraine Hansberry's 'A Raisin in the Sun.' Well, it's a working-class family, and it's about upward mobility, but systematic racism is preventing them from having upward mobility. I remember seeing the film first and not even realizing that it was a play. Of course, it's a story about economic apartheid, but I only later saw the resonance in the tradition when I read August Wilson, Amiri Baraka, and later, Lynn Nottage.” How do you give dignity and humanity and a platform for people that are not being represented in the arts, in film, TV, and theatre? ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Watch the interview on YouTube or IGTV. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Interview Bangladeshi Diapora Bangladesh South Asian Theater Working-Class Stories Bertolt Brecht August Wilson Amiri Baraka Lorraine Hansberry Avijit Roy Mel Watkins Black Solidarities ALADDIN ULLAH is a playwright, comedian, and performer based in New York City. He is a pioneer of the past decade as one of the very first South Asians to perform stand-up comedy on national television on networks such as: HBO, Comedy Central, MTV, BET, and PBS. He was the co-founder and host of the multi-ethnic stand-up show Colorblind, a member of Joseph Papp's Public Theater's Inaugural Emerging Writers group where he wrote and developed Indio during the Spotlight Series and workshops at Joe's Pub. He was also a part of the New York Theater Workshop Residency at Dartmouth, and Halal Brothers directed by Liesel Tommy (The Labyrinth's Barn Series at Public Theater). Aladdin has had staged readings/workshops of his plays at New York Theater Workshop, Cape Cod Theater Project, Classical Theater of Harlem, Lark Play Development Center, Shakespeare in Paradise Festival (Bahamas) Labyrinth, and 1 Solo Festival. His acting career includes American Desi , and the award-winning animated film Sita Sings The Blues . Aladdin is a Recipient of the Paul Robeson development grant to produce a documentary called In search of Bengali Harlem, which inspired the recent book Bengali Harlem by Vivek Bald. His most recent play is Dishwasher Dreams , a one-man show drawn from the story of his father’s migration from Noakhali, East Bengal, to New York City. Interview Bangladeshi Diapora 11th Sep 2020 On That Note: Heading 5 23rd OCT Heading 5 23rd Oct Heading 5 23rd Oct

WRITER Shah Mahmoud Hanifi SHAH MAHMOUD HANIFI is Professor of History at James Madison University where he teaches courses on the Middle East and South Asia. Hanifi’s publications have addressed subjects including colonial political economy and intellectual history, the Pashto language, photography, cartography, animal and environmental studies, and Orientalism in Afghanistan. WRITER WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

In December 2020, four of our founding editors discussed the origins of the South Asian Avant-Garde, what drew so many of us from our varied backgrounds to the thematic core of the avant-garde from an internationalist, leftist perspective, and where we hoped to go in the future. INTERACTIVE FLUX · A Panel on SAAG, So Far In December 2020, four of our founding editors discussed the origins of the South Asian Avant-Garde, what drew so many of us from our varied backgrounds to the thematic core of the avant-garde from an internationalist, leftist perspective, and where we hoped to go in the future. VOL. 1 LIVE 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 ↗ Live Virtual 5th Dec 2020 Live Virtual The Editors FLUX Global The Local and Global Internationalist Perspective Pitching Craft Submitting Operations The Editor's Craft Editing Avant-Garde Origins Avant-Garde Traditions Avant-Garde Beginnings in India Experimental Methods Aamer Hussein Zines Comics Magazine Culture Anthology Traditions Reportage Activist Media Iowa St. Louis Hybrid Karachi Kadak Collective Pitches Ethos Interview Series 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 For our first virtual event, in December of 2020, the SAAG founding editors looked to what we had managed to establish thus far—as a project begun in the pandemic with a diverse collective—and what we hoped to accomplish in the future. Aishwarya Kumar moderated a panel with fellow editors Kartika Budhwar, Shreyas R Krishnan, and Nur Nasreen Ibrahim to discuss our early interview series as well as reporting, fiction, comics, zines, and the broader community-building efforts that motivated us and continue to. 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 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

LITERARY SCHOLAR Mani Samriti Chander MANU SAMRITI CHANDER is Associate Professor of English at Rutgers University-Newark and is a member of the Executive Committee of the Newark Chapter of the Rutgers AAUP-AFT. He is the author of Brown Romantics: Poetry and Nationalism in the Global Nineteenth Century (Bucknell UP, 2017). He is currently working on The Collected Works of Egbert Martin , with the support of a Fulbright U.S. Scholar Grant and his current project Browntology is under contract with SUNY Press. LITERARY SCHOLAR WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

MUSICIAN-COMPOSER Chris Sholar CHRIS SHOLAR is a world-renowned music producer and composer and one of the most in-demand guitarists in the world of R&B and Hip Hop music. He has worked with Stevie Wonder, Beyonce, A Tribe Called Quest, Frank Ocean, and Snoop Dogg, amongst many others, and as performed at numerous concerts, and arenas, including Carnegie Hall, the Glastonbury Festival, and the NFL Super Bowl Gala. He is a two-time GRAMMY Award winner from his collaborations with Jay-Z and Esperanza Spalding. MUSICIAN-COMPOSER WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

"So Modhu traveled beyond Kalai, Mokamtala, Bogra, Sirajganj, across the Jamuna Bridge, to the city of Dhaka, two hundred miles away. There he pulls a rickshaw, earns a hundred takas a day, counts that money each night, again and again, can’t settle on one place where he can hide this money." FICTION & POETRY The Cuckoo Keeps Calling "So Modhu traveled beyond Kalai, Mokamtala, Bogra, Sirajganj, across the Jamuna Bridge, to the city of Dhaka, two hundred miles away. There he pulls a rickshaw, earns a hundred takas a day, counts that money each night, again and again, can’t settle on one place where he can hide this money." VOL. 1 SHORT STORY AUTHOR AUTHOR AUTHOR "The Cuckoo Keeps Calling" by Hafsa Ashfaq. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 "The Cuckoo Keeps Calling" by Hafsa Ashfaq. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Short Story Translation 23rd Sep 2020 Short Story Translation Bengali Bangladesh 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. Translated from the Bengali by Shabnam Nadiya MODHU wakes up at dawn and says to his wife, “Say goodbye.” Modina clasps her husband’s hand and says, “Not today. Go tomorrow.” The cuckoo trills from the branches of the koroi tree. Modhu doesn’t know what it means when the cuckoo calls during a spring dawn. He lies back again. Now comfortable, he goes back to sleep. The next day at dawn, Modhu again asks his wife to bid him farewell. Again, his wife says, “Not today, tomorrow.” Modhu again lies down like a good boy. Sleeps comfortably. The cuckoo calls from the tree. Modhu doesn’t hear. He is sound asleep. The cuckoo grows increasingly desperate. Coo. Coo-oo. Coo-oo-oo. Modhu sleeps, he doesn’t hear. His wife Modina lies awake; she doesn’t hear either. But Mafiz hears the cuckoo trilling in this spring dawn. He is not unromantic. He breaks into song: Oh, why do you call to me so early in the morning, oh, little cuckoo of my life? Modina doesn’t hear Mafiz’s song. Mafiz exits his home and gazes at the three-way intersection, the road that people take to reach town. Mafiz doesn’t see anybody taking that road. He walks. He places his foot on the threshold of Modina’s yard and, in a muted voice, calls out, “Brother, Modhu, have you gone to Dhaka?” Modina shoos cows. “Hyat! Hyat, hyat!” “Hey, girl, why are you shooing me?” Modina picks up a wooden stool and throws it at Mafiz. Mafiz sniggers like a jackal and leaves. As he goes, he says to himself, “No matter how many times you cut me, or hit me…” Modhu wakes up hungry. Modina serves him rice and eats as well. Not freshly cooked, steaming rice. Old rice, with water added. As he eats, Modhu asks, “Isn’t there anymore panta-rice left?” Modina bites her tongue in shame. Which means that there is no more panta-rice left. No more, meaning that in Modina’s judgment, because she herself has eaten too much, the panta has been finished before her man’s hunger has abated. Hence, Modina’s shame, hence, her biting of the tongue. “Now I need to go to Dhaka.” Modhu needs to go to Dhaka for pertinent reasons. Modina asks, “Isn’t it hard to drive a rickshaw?” Modhu knows that this is Modina being tender. Modina knows that driving a rickshaw in Dhaka city is grueling. But working the fields was hellish torment, and the wages were poor—merely sixty takas a day. One day in the month of Joishthya, Modhu had almost died while weeding the jute fields belonging to the Mondals. There was no water in the fields, there were no clouds in the sky, Modhu’s back was burning to ashes from the sun, his throat was parched wood, he was desperately thirsty, he was running for water, the solitary plains had become the deserts of Karbala, in the distance, Bacchu Mondal’s new tin shed glinted in the sunlight, there was a new tube-well near the outer yard of the house, Modhu was running towards it, stumbling on the clods of earth in the hoed field, shouting “A drop of water for me, please!” But before he had reached the tube-well, Modhu had tumbled onto the ground, his eyes had rolled back into his head, he foamed at the mouth. Modhu almost died that day. No more, meaning that in Modina’s judgment, because she herself has eaten too much, the panta has been finished before her man’s hunger has abated. Hence, Modina’s shame, hence, her biting of the tongue. So Modhu traveled beyond Kalai, Mokamtala, Bogra, Sirajganj, across the Jamuna Bridge, to the city of Dhaka, two hundred miles away. There he pulls a rickshaw, earns a hundred takas a day, counts that money each night, again and again, can’t settle on one place where he can hide this money. This is how, day after day, for fifteen straight days, Modhu drives a rickshaw. In Kawran Bazar, twelve of these drivers live in a windowless room; with them live twelve thousand mosquitoes; the mosquitoes sing, suck the blood of all the Modhus, and the Modhus all sleep like the dead. At the crack of dawn, when the tired mosquitoes are each an immobile drop of blood, the Modhus wake up; nature calls them. They not only feel the thunderclouds rumbling in their bellies, they hear them as well. They go out in a group, pull the tabans covering their asses over their heads, and they show their naked dark asses in a row as they hunker down at the edge of the Kazi Nazrul Islam Avenue, or some of them in front of the Hotel Sonargaon gate. They wipe their asses with newspapers because there is no water; not only is there a lack of water to clean themselves, the Modhus don’t have water to bathe. For fifteen days straight, Modhu doesn’t wash himself; sometimes the odor of his own body makes him want to vomit, especially when the sun is strong and Dhaka’s skies and air cease to be. This is how it is, day after day, night after night. But what happiness, what success! When Modhu returns to Modina after fifteen straight days, there is at least fifteen hundred takas in his waist pouch. Which means that for at least a month, he neither thinks of Dhaka nor speaks of it. Modhu goes to Dhaka city. The watered rice is finished, there is no more rice left in the house, Modina sits emptyhanded by the derelict stove. A cuckoo trills in a tree; Modina doesn’t hear it, but Mafiz does. It has never happened that a cuckoo sings and Mafiz hasn’t heard it. When Modhu crosses the three-way intersection of the highway and goes towards the upazila town, Mafiz peeks from behind the house. He spots Modina sitting by the stove doing nothing and he begins to joke around. “Brother, Modhu, are you off to Dhaka?” Modina turns her head. Joyous, Mafiz says, “What’s up, Modina?” “What’s your deal?” Modina scolds Mafiz in a solemn manner. “You’re hankering for a beating?” “If you beat me with your own hands,” Mafiz says as he grins with all his teeth and comes forward fearlessly, “my life would be a treasure.” “Go home.” Modina is even more serious. “Do you want a job, Modina?” Mafiz coaxes her. Modina isn’t willing to listen to anything. She threatens Mafiz, “I’m telling you, go.” Mafiz tries to get angry and says, “I’m here to do you a favor without being asked, and you want to shoo me off like a cow?” Modina asks in a serious manner, “What favor?” Mafiz responds with mystery. “You’ll get money, wheat. Want a job?” “What job?” “Shooing goats,” Mafiz says and chuckles. Although he hadn’t intended to laugh. Modina is furious. “Go away, you bastard. You can’t find someone else to joke with?” Mafiz moves fast to try to control the damage and speaks in a very businesslike manner. “Not a joke, Modina, for real! No actual work involved, just shooing cows and goats.” “Explain clearly, what sort of job is this then?” Mafiz explains it clearly. “Haven’t you seen those trees planted on either side of the highway? Those trees need to be guarded so that cows and goats don’t chew them up. That’s the job. They’ll pay cash, they’ll also pay with wheat. You sell the wheat to buy rice. And with the money, you buy beef, tilapia…!” “Stop, stop.” Modina stops Mafiz and suspicion rolls across her eyes and face. She narrows her eyes, creases her forehead, and interrogates him. “Why would anyone give me this job when there are so many people around?” “Why, I’ll arrange it for you. I’ll grab the Chairman’s hands and feet and I’ll beg…” Mafiz pauses for no reason. He can’t find anything else to say. But his plan and his words are quite clear. Still, Modina wants to hear more about this job guarding trees and the means to getting it even more clearly. “Go on, why did you stop?” Mafiz laughs and says, “I will grab the Chairman’s hands and feet and beg: Uncle, give this job to Modina, you won’t find a girl as nice as Modina even if you look and look…” Modina howls with laughter. A cool breeze wafts across the ditch and disappears. From the branches of the koroi tree, a cuckoo calls. Mafiz glances towards the tree and looks at the cuckoo. Then he gazes at Modina’s face and says in a melancholy manner, “Do you know what the cuckoo is saying? Mafiz says, “The cuckoo is crying. It’s crying and asking, Where did my own little cuckoo bird go?” “What?” There is a smile on Modina’s face; she knows what Mafiz is about to say. Mafiz says, “The cuckoo is crying. It’s crying and asking, Where did my own little cuckoo bird go?” Modina laughs again. Her laughter enrages the cuckoo in the koroi tree. Mafiz speaks the cuckoo’s mind, “Why do you laugh like that Modina?” “What is it to you if I laugh?” Modina asks cocking her eyebrow like a flirt. “My ribs shatter to bits and my soul wants to fly away,” Mafiz says. Modina laughs, shimmying her whole body. Mafiz looks at the tree but the cuckoo is gone. It has been raining all day in Dhaka; as he pedals his rickshaw Modhu is pretty much taking a shower. After getting drenched all day, all the warmth had left his body. Modhu cannot fathom where his body is finding so much heat in the evening. He feels cold, his head hurts, and soon he begins to shiver. He rolls around on the floor in the dark room, and like a child, he moans, calling out to his mother. It isn’t raining in the village of Modhupur; the moon is visible in the sky and a cuckoo is singing in the branches of the koroi tree. Mafiz stands by Modina’s window, grasping the grill and whispering, “Modina! Oh, Modina!” Scared, Modina scrambles into a sitting position, and spits on her own chest to dissipate her fear, and Mafiz whistles in the air saying, “It’s me, Mafiz!” The power has gone out in Dhaka city. In the box-like room where Modhu rolls on the ground by himself, shivering and moaning, the darkness of hell has descended: Modhu thinks he is dying. In the village of Modhupur, through the gaps in the branches of the koroi tree, slivers of moonlight land on Modina’s window; outside stands Mafiz, like a ghost, and inside is Modina. Modina’s teeth can be seen white in the shadow of moonlight, her eyes are shining, and she is pretending to be angry with Mafiz, telling him she was going to complain to Modhu when he came back, and Modhu would grind Mafiz’s bones into powder and apply it to his body. Modina purses her lips in laughter as she talks, and Mafiz says that Modhu wasn’t coming back to Modhupur anymore, he was going to die in Dhaka. Mafiz tells Modina, “Our fortunes were written together. You have no choice but me, Modina.” Modina slides her arm through the window grill and shoves Mafiz in the chest. “Go home, you stray cow.” Mafiz grabs Modina’s hand in the blink of an eye and says, “You don’t know this, but I know it for sure, Modina. I have you written in my fate and you have me.” Modina feels that Mafiz has lost his head. As Mafiz goes back to his own house, he dreams that Modhu has died in Dhaka. “He’s dead, that bastard Modhu is dead,” says Mafiz, willing Modina’s husband to die as he walks home. Right then, in Kawran Bazar, Dhaka, Modhu is freezing and shivering, and he is calling out to Allah, saying, “Don’t take my life, Khoda. Let me live this time around. I’ll never come back to Dhaka in this lifetime.” The next morning Modhu recovers from his fever; he sees that there is no more rain, the sky is a shining blue, and the buildings are all smiling. Modhu forgets his promise to Allah, and that very afternoon he goes out again with his rickshaw. He recalls the bone-shaking fever from the night before and laughs to himself. That morning, Mafiz places his foot on the threshold of Modhu’s yard and calls out in a low voice, “Brother, Modhu, are you back from Dhaka?” But Mafiz knows very well that if Modhu is supposed to be back fifteen days later, there are still three more days to go. Two days before the day that Modhu is supposed to return to Modhupur, he drops off a passenger in the inner side of Gulshan-2 and goes to grab a cup of tea at a roadside stall. He takes two sips of his tea and turns around to find his rickshaw gone. At first, Modhu doesn’t believe it. He thinks maybe someone has hidden his rickshaw nearby as a prank. But no, it isn’t that simple. The rickshaw has disappeared, meaning seriously disappeared. Modhu goes to the rickshaw owner and describes the situation. The owner points towards Modhu and orders his people, “Tie up that fool.” Before the ones under order had begun the work, the owner himself landed a kick in Modhu’s belly. “You fucking nobody, where’s my rickshaw?” A grunt emerges from Modhu’s mouth, he doubles over and grabs his mouth with one hand. One of the owner’s followers runs over and, almost astride Modhu’s shoulders, he grabs Modhu’s hair, shaking his head and demands, “Say it, you son of a bitch, to which of your fathers did you sell off the boss’s rickshaw?” The boss screams, “First, do him over real good.” Modhu is made over almost into a corpse, and thirteen hundred and twenty five takas, meaning all his earnings, are taken away from him before he is handed over to the police. The police take Modhu to the station and hit him some more in the hope of getting some money, but they quickly realize that not only will no one show up with any money for his release, the owner and his men had already beat him so much that he might very well die in the police station. In which case, the newspapers will start writing about death in police custody, and all those poor-loving human rights organization folks will drum up a furor. The police think about all this hassle and push Modhu out of the station. Modhu can’t walk; he falls onto the street in front of the police station and moans. The police feel inconvenienced and annoyed at this; they load Modhu into the back of a pickup truck, and drive around the city, along this street and that, and they focus their flashlights here and there looking for a convenient spot in which to dump him. As they search, one of them has an idea. “Well, then,” he says to his colleagues, “whose fault is it that we’re going through all this trouble?” They drive the pickup truck with Modhu in the back to the Begunbari house-cum-garage of the rickshaw owner and roar at him, “You, pal, have murdered the suspect before handing him over to the police!” The rickshaw owner doesn’t seem perturbed by the roaring police; he goes inside and quickly returns with ten thousand takas. He tucks it into the hand of one of the policemen and says, “There’s no more cash in the house, saar. Just manage the thing, please.” One of the policemen grows angry. “Is this a joke!” The rickshaw owner doesn’t quite understand what his anger means; still, out of habit, he goes back inside and returns with another ten thousand takas. Then he gets a louder scolding, and a policeman even utters the words, “under arrest.” Therefore, the rickshaw owner goes back inside again, and when he is late in coming back out, the policemen look at each other with suspicion. But before they lose their patience, the rickshaw owner reemerges with a page from his check book. He says, “Saars, an accident just happened. It is my fault, but I don’t want the guy to die. Here, I’ve written out one hundred thousand.” The policeman stops him midway and says, “Pal, you want to survive, then show up at the station tomorrow morning with five hundred thousand in cash. We don’t do checks-fecks.” The rickshaw owner says, “What arrangements for the body?” A policeman answers, “That’s the big trouble right now. What to do with this dead body, we’ve been going around all night…pal, that five hundred thousand won’t cut it. We’ll have to take care of the journalists; we’ll have to take care of the human rights people. Make it six lakhs and be at the station by nine a.m.” But Modhu isn’t a dead body yet. On the floor in the back of the pickup truck, he lies flat on his back with his neck at an angle, peering at them like a weak, sick kitten. There is still a spark of life in his dying eyes. It was the end of night when Modhu was carefully laid down behind a bush in a corner of the Suhrawardy Gardens, from the police pickup truck. Silence descended once the mechanical noise of the pickup truck disappeared in the distance. The silence reigned for a few moments; then suddenly, someone blew on the mosque microphone, and in a voice deep like thunder, began the chant of Allahu Akbar. When the quivering notes of the azaan floated to Modhu’s nearly numb ears, his eyes opened slightly. In the distance, he saw a light tremble. He tried to move one of his hands but couldn’t. He tried to move his legs but couldn’t. Modhu tried to make a noise with his mouth; he forced himself to say, Allah! But Modhu’s voice didn’t echo in the wind. Modhu would die and Mafiz would have Modina forever—this is what is written in Modina and Mafiz’s destinies. Modina doesn’t believe it but Mafiz’s faith doesn’t have an ounce of doubt. But why Mafiz counts the days till Modhu’s return is something only he knows. Two days before Modhu is supposed to come back, which was fifteen days after his departure, Mafiz, once again, stands by Modina’s window and says that Modhu will not return. He is going to die in Dhaka; and because when poor people die that far away, their bodies never make it back, Modina will never see Modhu again. When Mafiz is telling Modina all this, Modhu is rolling back and forth between consciousness and unconsciousness on the floor of the pickup truck in the streets of Dhaka. Modina protests the ill-omened, cruel words from Mafiz by scratching his chest and neck until he bleeds. But when Mafiz groans in pain, she covers his mouth with her hand and says, “Oh, does it burn?” When Mafiz sulks and wants to leave, Modina grabs his shoulder again and says, “Come tomorrow! The day after, he’ll be back home!” The next night, before the cuckoo sings in the koroi tree, three ghosts come to Modina’s house. They had whispered to each other as they came down the road that Modhu was gone. “Let’s go and eat Modhu’s wife.” These ghosts only eat people of the female gender; from age eight to fifty-eight, wherever they find a woman at an opportune moment, they eat her. These famous ghosts live in the upazila town; they came to the village of Modhupur after verifying and ascertaining the information that Modhu is absent, and truly they find Modina by herself in Modhu’s house, and when they find her, they begin to eat her. They take turns in eating Modina. After the first ghost, the second ghost, then the third ghost, then the first ghost again. While they eat Modina in turns, at some point, Mafiz shows up. Modina sees Mafiz and whimpers in the hope of getting some help, but one of the ghosts grabs hold of her nose and mouth so hard that not only any noise, even her breath cannot emerge from her. In addition, another ghost grasps her throat with five and five, ten fingers; Modina thrashes around, groans, her tongue lolls out, her eyes want to bug out. Seeing which, Mafiz, a single person, attacks the three ghosts; two of whom pick him up and slam him down on the ground; a grunt emerges from Mafiz’s throat, his eyes go dark; one ghost picks up a half-brick and smashes it down on Mafiz’s head; his skull opens up with a crack, and this encourages the ghost, so he begins smashing the brick down into Mafiz’s skull again and again. Right then, the cuckoo trills in the koroi tree. Ghosts don’t know what it means when a cuckoo sings in a spring evening. ∎ 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