Skip to content

Tag: literature

Reply to Arundhati: Yes, We Will Rise

Dearest Arundhati,

It was a letter I read and reread long before it appeared before my eyes. It was through layers of metal bars that I strained to listen to Rahnuma’s words. At over 130 decibels, the noise made by us screaming prisoners, straining to hear and be heard, was akin to a crowded stadium or a fire siren. As she repeated her words over and over again, I faintly heard, Arundhati. Letter. It was just over a hundred days that I had been incarcerated. A hundred days since I’d slept on my own bed, fed my fish, cycled down the streets of Dhaka. A hundred days since I’d pressed my shutter as I searched for that elusive light.

Arundhati Roy with Maati Ke Laal in her flat in Delhi. Photo: Shahidul Alam/Drik/Majority World

Those words, screamed out but barely heard was the nourishment I needed. Did you write it by hand? What was the paper like? In this digital age, you probably used a keyboard. What font had you used? What point size? And the words. Words that you so gracefully string together. I relished the imagined words. Your words. I missed words as I missed my bed, my fish and Rahnuma’s touch. When they asked me what I needed in jail, books were on top of my list. The first lot of books came in. Mujib’s prison diaries, Schendel’s History of Bangladesh, and the book you’d given me when we last met, The Ministry of Utmost Happiness. I’d been meaning to read it ever since we said goodbye in Delhi, but our lives had been taken over by the immediacy of our struggles. Now I had the time.

Had cadmium ever glowed so red?

I’d pretty much perfected the art. I’d go down to the newest library I could find. Become a member as quickly as I could, and armed with my new membership card head straight to section 770, the magical number for photography at UK public libraries. I would take out the full complement of 8 books that I was allowed at any one time. When the lending period was over, they would be replaced by another eight.
I devoured the books, which were mostly monographs, or ones on technique, composition or even special effects. I knew too little about photography, to know how limited my knowledge was. It was many years later, when my partner Rahnuma, gave me a copy of “The Seventh Man” by John Berger, that a new way of looking at photographs opened up. Unknowingly, it was the book “Ways of Seeing” that later opened another window. One that helped me see the world of storytelling. That was when I realised that image making was only a part of the process. Once youtube arrived on the scene, and the television series with the same name entered our consciousness in such a powerful way, his TV series “Ways of Seeing” became my new staple diet. Here was a leftie who could still speak in a language the average person could understand, and that too on a topic such as art. His fascination was neither about the artist nor the artwork itself, but how we responded to it and how it gained new meaning through our interaction. While it was art he was dissecting, it was popular culture he was framing it within.
That there was so much to read in a photograph, beyond the technicalities of shutter speed, aperture and resolution, is something my years of reading section 770 had never revealed. The photographs of Jean Mohr (The Seventh Man), were unlikely to win awards in contests, or fetch high prices in auctions, but Berger’s insights into the situations and the relationships that the photographs embodied, gave them a value way beyond the mechanics of image formation. Berger never undermined the technical or aesthetic merits of a photograph. He simply found far more interesting things to unearth.

John Berger signing book for Pathshala with Shahidul Alam, at South Bank in London. Photo by Paul Bryers

Didi. The Street Fighter

MAHASWETA DEVI (JANUARY 14, 1926 -?JULY 28, 2016), WRITER AND SOCIAL ACTIVIST

Mahasweta Devi looking at photo exhibition catalogue "Nature's Fury" by Shahidul Alam/Drik/Majority World
Mahasweta Devi looking at photo exhibition catalogue “Nature’s Fury” by Shahidul Alam/Drik/Majority World

Protocol wasn?t Didi?s thing.?Shoitan! (Satan) she would say lovingly. And then grab you and plonk you on her lap. The fact that both Rahnuma and I were far too old, and I was certainly much too heavy, to be sitting on anyone?s lap wasn?t something she worried much about. She didn?t care much for people?s age, and what other people thought, was something that had never bothered her. If you love someone, they sit on your lap. ?You have a problem with that??
Mahasweta Devi (Didi ? elder sister ? to all of us) had been a giant of a figure in South Asian literature for as far back as I can remember.?Jhansir Rani?(The Queen of Jhansi, 1956), Hajar Churashir Maa (Mother of 1084, 1975) and?Aranyer Adhikar?(The Occupation of the Forest, 1977) her powerful novel about the Santal uprising were what we knew this celebrated writer and activist by. That she was a tease and loved to sing, and didn?t mind the odd practical joke, was a side to her that had remained private. What should have been apparent was the rebel in her; her uncompromising stand for the oppressed, and her clear position as to which side of the fence she belonged.

Runs in the Family

New findings about schizophrenia rekindle old questions about genes and identity.

In the winter of 2012, I travelled from New Delhi, where I grew up, to Calcutta to visit my cousin Moni. My father accompanied me as a guide and companion, but he was a sullen and brooding presence, lost in a private anguish. He is the youngest of five brothers, and Moni is his firstborn nephew?the eldest brother?s son. Since 2004, Moni, now fifty-two, has been confined to an institution for the mentally ill (a ?lunatic home,? as my father calls it), with a diagnosis of schizophrenia. He is kept awash in antipsychotics and sedatives, and an attendant watches, bathes, and feeds him through the day.

My father has never accepted Moni?s diagnosis. Over the years, he has waged a lonely campaign against the psychiatrists charged with his nephew?s care, hoping to convince them that their diagnosis was a colossal error, or that Moni?s broken psyche would somehow mend itself. He has visited the institution in Calcutta twice?once without warning, hoping to see a transformed Moni, living a secretly normal life behind the barred gates. But there was more than just avuncular love at stake for him in these visits. Moni is not the only member of the family with mental illness. Two of my father?s four brothers suffered from various unravellings of the mind. Madness has been among the Mukherjees for generations, and at least part of my father?s reluctance to accept Moni?s diagnosis lies in a grim suspicion that something of the illness may be buried, like toxic waste, in himself.

Raise Shit

downtown eastside poem of resistance
by Bud Osbornosborn

??the myth of the frontier is an invention that rationalizes the violence of gentrification and displacement?
neil smith 1996

?these pioneers in the gradual gentrification of the downtown eastside say their hopes for a middle-class lifestyle are undermined by the tenderloin scene down the street?
doug ward 1997

?prominent amid the aspects of this story which have caught the imagination are the massacres of innocent peoples, the atrocities committed against them and, among other horrific excesses, the ways in which towns, provinces, and whole kingdoms have been entirely cleared of their native inhabitants?
bartolome de la casas 1542

there is a planetary resistance
against consequences of globalization
against poor people being driven from land they have occupied
in common
and in community
for many years