By Kabir Altaf… ‘Please excuse me,’ Riaz was saying to Brownlow. ‘But you are a little arrogant.’…. ‘Your liberal beliefs belong to a minority who live in northern Europe. Yet you think moral superiority over the rest of mankind is a fact. You want to dominate others with your particular morality, which has—as you also well know—gone hand-in-hand with fascist imperialism.’ Here Riaz leaned towards Brownlow. ‘This is why we have to guard against the hypocritical and smug intellectual atmosphere of Western civilization.’… ‘That atmosphere you deprecate. With reason. But this civilization has also brought us this –'‘Dr. Brownlow, tell us what it has brought us,’ Shahid said.
By C. M. Naim
On Tuesday, September 11, 2012, a horrific fire in a garment factory in the Baldia Township in Karachi killed at least 259 persons, male and female. As I read about it on subsequent days I was reminded of another fire that occurred a century earlier—to be exact, on Saturday, November 25, 1911—in New York City. It too was in a garment factory, and took 146 lives, mostly young females. Named after the shirtwaist factory where it occurred, it is known in American history as the Triangle Fire. To refresh my memory I took to the books, and soon realized that the Triangle Fire had a few lessons for the present day Pakistan.
By Anjum Altaf
The present in South Asia is messy, gruesome and unpleasant; no wonder we keep referring back to the past to make sense of it. Most of the time, however, we end up distorting the past to craft seamless narratives that accord with our current sensibilities. I will argue in this essay that there is no such continuity to be crafted and enter a plea for the past to be left alone.
By Kabir Altaf
Pankaj Mishra's new book From the Ruins of Empire: The Intellectuals Who Remade Asia (FSG 2012) describes the Asian response to the colonial encounter. The book covers the decades from the mid-nineteenth century to the beginning of World War II. Mishra argues that the West "has seen Asia through the narrow perspective of its own strategic and economic interests, leaving unexamined--and unimagined--the collective experiences and subjectivities of Asian peoples." His book does not attempt to replace this Eurocentric perspective with an Asia-centric one, but "seeks to open up multiple perspectives on the past and the present, convinced that the assumptions of Western power--increasingly untenable--are no longer a reliable vantage point and may even be dangerously misleading" (8).
By Anjum Altaf
I am happy to engage in a debate with the Center for Global Development on US aid to Pakistan. However, for me the issue is not aid to Pakistan or aid in general but the analytical validity of CGD’s recent reports. I argued that CGD’s 2011 report was advocacy, not analysis and based on a reading of a summary of the 2012 report I concluded it seemed no different.
CGD has responded to my criticism of the latter but has, in what I consider a handwaving style, ignored my central concern and resorted to diversionary arguments to mount a defense. Here, I aim to show why CGD’s case remains a weak one.
By Anjum Altaf
Aid has become the new religion. That is the only conclusion to be drawn from the authors’ summary of a new report on aid to Pakistan from the Center for Global Development (Making KLB Effective, Dawn, August 12, 2012). There are certain fundamental presumptions to be accepted on faith followed by exhortations to be more faithful and to work harder. Inshallah everything will work out fine since God (in this case the US) helps those who help themselves. Conspicuous by its absence is any semblance of doubt or uncertainty, there is no challenging the assumptions, there is no assessment of experience, there is no asking of questions. Just a few regrets before Muslim and Christian soldiers march happily onwards hand in hand.
The authors are quite candid about the central premise of their report: "one of its underlying assumptions is that US-Pakistan development cooperation should continue."
By Anjum AltafThe relationship between art and life may not have been a puzzle to most but it was to me. And it was not resolved by the debate over whether art ought to be for its own or for life's sake. This was a difference over the purpose or otherwise of art whereas my interest was in the nature of the relationship. At one level, art must reflect life since it cannot exist in a vacuum. But this only opens up a number of questions: To what extent does art reflect life and what might be a measure of the goodness of that reflection?I am concerned here with the novel as a particular form of art. The novel is a story and so in some sense is life. There is, therefore, a natural correspondence between the two. Life, however, is messy, all over the place, and any novel that attempted to reflect it faithfully would be likely to be unreadable. I presume that is the reason I have not been able to read Ulysses despite my best intentions.
By Hasan Altaf
The cards are laid on the table right away in Shehan Karunatilaka's stunning debut novel, The Legend of Pradeep Mathew (Graywolf Press). The narrator, W. G. Karunasena - an aging, alcoholic former sportswriter, who has just been handed what amounts to a death sentence (if he limits himself to two drinks a day he can hope for one or two more years) - takes a moment to respectfully rebut the criticism that sports, in this case cricket, have no use or value: "Left-arm spinners cannot unclog your drains, teach your children or cure you of disease. But once in a while, the very best of them will bowl a ball that will bring an entire nation to its feet. And while there may be no practical use in that, there is most certainly value."
Pradeep Mathew is in some ways like the great rock novels, the great books about Hollywood: From a specialized world, in this case that of cricket, it's adopted a jargon, a built-in store of legends and myths and stories.
By Kabir AltafFireflies in the Mist,Qurratulain Hyder’s own translation of her Urdu novel Aakhir-e-Shab ke Hamsafar, spans the history of East Bengal from the time of the nationalist movement against the British, to the creation of East Pakistan, and finally to Bangladeshi independence. The novel centers around Deepali Sarkar, "a young middle-class Hindu who becomes drawn into the extreme left wing of the nationalist movement, and Rehan Ahmed, a Muslim radical with Marxist inclinations who introduces her to the life of the rural deprived. Their common political engagement draws them into a quietly doomed love affair. Through their relationship, Hyder explores the growth of tensions between Bengal’s Hindus and Muslims, who had once shared a culture and a history."
In his introduction to the novel, Pakistani writer Aamer Hussain notes that Fireflies can be seen as another chapter in Hyder’s epic history of the Muslim presence in the subcontinent, and particularly in the era of the Raj.