Tariq Mehmood
Tariq Mehmood is an award winning novelist and documentary film-maker. His first novel, Hand On the Sun (London: Penguin Books, 1983), dealt with the experience of the resistance to racism by young migrant to the UK of the 1970s and…
One brother goes missing in action in Afghanistan, the other falls in love with an Afghan girl in England.
Bitter divisions engulf an English town where young Muslims oppose the British army’s presence in Afghanistan, whilst white youth condemn the Muslims as traitors.
To the disgust of his white friends, 17-year-old Jake Marlesden, whose brother is missing in action in Afghanistan, is in love with Leila Khan, an Afghan. When Jake tries to find out what happened to his brother, neighbour turns against neighbour and lover against lover.
Leila joins young Muslims protesting against the returning bodies of dead British soldiers, and Jake stands with the families of the soldiers. The lovers fall apart.
But far off events, and sinister forces at home, bring the lovers together again in a journey in which they will not only discover themselves, but also heal the wounds of their families and friends.
This is the sequel to You’re Not Proper.
Set in and around Manchester, You’re Not Here is informed by Mehmood’s experience of growing up a working class Pakistani in northern England, combatting racism on the streets and being arrested. The novel explores the British Asian experience in the context of the “war on terror” and Islamophobia. “I have lived and fought against various waves of racism in Britain, but the current Islamophobic one, the new racism, is far more insidious and divisive than those which preceded it,” says Mehmood in his blog.
This novel is a sequel to You’re Not Proper, which explored, in the author’s words, “what it is to be a Muslim teenager in the west today”. While it featured two teenage women’s search for identity and belonging — one with a Pakistani father and white Christian mother, the other her Hijab-wearing school friend — Mehmood’s sequel is, interestingly, told from the point of view of a white working class British youth.
Jake’s father was in the army. His elder brother is missing in action in Afghanistan. Jake is in love with a Muslim girl. We are introduced to diverse Asian characters and to white racist friends of his brother, and to the tensions both within and between the two communities, through Jake’s eyes.
While the novel reads like a pacey thriller, the teenage love story is treated with convincing tenderness. And there is sympathy for British soldiers. One scene features physically and mentally scarred ex-soldiers discarded by the state, and Military Friends and Families Against War make an appearance.
http://socialistreview.org.uk/438/youre-not-here
The narrative is packed with authentic voices, often humorous observations and insights, The novel reads like a thriller. It reaches an action-packed and moving climax, but, unlike a thriller, we are left uneasy about what may happen next.
Helen Goodway, Red Pepper, Summer 2019
Tariq Mehmood is an award winning novelist and documentary film-maker. His first novel, Hand On the Sun (London: Penguin Books, 1983), dealt with the experience of the resistance to racism by young migrant to the UK of the 1970s and…
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Categories: | Fasihi, Fiction, Imperialism, Political Freedom & Security, USA, Young Adults |
Book Format | Print Book, PDF |
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The book explores the challenges Palestinian filmmakers confront to develop a cinema that gives expression to the national narrative. It is based on collaborative research involving Film Lab Palestine, Sheffield Palestine Cultural Exchange and Sheffield Hallam University. We explore the political, economic and cultural contexts that impact on Palestinian film production and some of the barriers encountered in profiling and screening Palestinian films, to shed light on the complex terrain that is traversed to sustain and develop a film industry and film culture in historic Palestine and beyond.
Image credits
Introduction
The struggle to develop a national cinema
The experience of Filmlab Palestine
Visualising the Palestinian past
Roadblocks, borders and hostile environments
The screening and reception of Palestinian films
The Palestinian short film
Conclusion
Filmography
Appendix 1: Cinema of the Palestinian Revolution
Appendix 2: 70 Years of Nakba: Audience response
Appendix 3: Love and Desire in Palestine: Audience response
Appendix 4: Selection of leaflets from film screenings
About the authors
To so nimbly and elegantly traverse Palestinian time and space is itself a defiance of the occupation’s brutally enforced barriers. The authors’ unstintingly political examination of Palestinian cinema has much to offer both those in the know and readers new to this extraordinary body of work. — Kay Dickinson, Professor, Film Studies, Concordia University
Working extensively through primary sources, conducting research and interviews across generations of Palestinian filmmakers, the authors offer the reader an ambitious and wide-ranging essay which charts the development of a national Palestinian cinema, from an historical and critical perspective. By exploring the constellation of political, social and aesthetic concerns that shape this cinema, this authors challenge us to rethink the stakes behind the contemporary development of a Palestinian cinema industry, its audience reception, in historic Palestine and beyond.— Samia Labidi, cultural programmer & artistic curator
Illuminating and compelling, Struggling to be Seen lays bare the historical, enduring but also emerging (colonial and neocolonial) obstacles to the development of a film industry and film culture within the West Bank and Gaza. Though familiarly sobering (in its re-confirmation of the scale of injustice facing Palestinians), the book provides up-to-the-moment and an interdisciplinary account that provides rich, fresh terrain that reveals new and exciting progressions within Palestinian film culture. —Michele Aaron, Reader in Film and Television, University of Warwick, author of Death and the Moving Image: Ideology, Iconography and I (Edinburgh Univer- sity Press, 2014) Director, Screening Rights Film Festival.
Struggling to be Seen is a must read for those who are interested in under- standing the multilayered challenges that face Palestinian cinematography from its production phase to its screening phase. The book is a short read which takes the readers through the different stages which shaped the Palestinian film making enterprise. Struggling to be Seen shows the restrictions that Palestinian filmmakers face from the initial stages to funding and screening. The authors tell a story of a people whose sense of self-reflection is suppressed by the Israeli oppressive machine which con- stantly works at erasing the Palestinian peoplehood, detaching it from its past.— Nahed Habiballah, Assistant Professor and member of the Board of Directors of Policy and Conflict Resolution Studies Center, Arab American University, Ramallah, Palestine
Edited by Íde Corley, Helen Fallon, Laurence Cox
These letters and poems are invaluable fragments of a living conversation that portrays the indomitable power in humans to stay alive in the face of certain death – to stay alive even in death.
Reading through the treasure trove of the letters and poems compiled here as The Last Writings of Ken Saro-Wiwa evokes intense memories of his resolute struggles against an oil behemoth and a deaf autocratic government. His crusade frames one of the most tumultuous periods of Nigeria’s history; his tragic story evokes anger and demands action to resolve the crises that first led the Ogoni people to demand that Shell clean up Ogoni lands or clear out of the territory.
I
The value of this brilliant, thoroughly researched, and vigorously written book extends far beyond Makerere University and the case study of its academic union that is a central feature. The authors raise questions applicable to universities worldwide: the meaning of “democracy” for members of the academy, the relationship of the university to government, and the responsibility of academics and the media to the society that they ostensibly serve. Makerere’s failure to advance gender equity is the main focus of one chapter and a leitmotif in several others. A probing and sometimes personal analysis of the Law School, with which all the authors are associated, complements its contribution to the cause of democracy in Uganda. At once reflective and challenging, the authors invite further exploration by academics and policy-makers around the world.
— Carol Sicherman author of Becoming an African University: Makerere, 1922-2000 (2005), Professor Emerita, Lehman College, City University of New York
Penned by brilliant legal academics, this anthology about that African academic giant—Makerere University—takes the reader on a fascinat- ing and engaging journey about the history of the organizational expression of African intellectuals and their links to the democratic struggles in Uganda. Arguably the best text on academia I have read in a long time, the book provides a deeply examined and superbly chronicled account of the manner in which Makerere University has been a thorn in the side of successive dictatorial governments, while also unpacking the warts that threaten to blight the academy; simply magnificent!
— Dr. Willy Mutunga, Chief Justice & President of Supreme Court, Republic of Kenya, 2011-2016
This is a very valuable and a timely contribution to our understanding of sites of struggle in African countries. It focuses on Makerere University as a site of struggle for democratisation. The authors have done a marvellous job. If the sister universities of Dar es Salaam and Nairobi were to produce studies, we would have a veritable trilogy of struggles at our universities in East Africa.
— Issa G Shivji, Professor Emeritus of Public Law & First Julius Nyerere Professor of Pan-African Studies, University of Dar es Salaam, Tanzania
Alma mater to presidents, public intellectuals and pundits of all disciplines, Makerere University has attracted considerable scholarly and popular attention, both in respect of its prominence and achievements, as well as with regard to its failures and foibles. As the oldest (and arguably best-known) university in Uganda and the wider eastern and central Africa region, Makerere looms large in the history of higher education on the continent.
This book explores the relationship between a public university of unique historical importance and the contestations over democratization that have taken place both within campus and beyond. It is pivoted around the late-20th century struggles by university staff and students for improved living conditions against the backdrop of the early programs of structural adjustment and economic reform pursued by the National Resistance Army/Movement (NRA/M) government adopted soon after taking power in 1986.
Although seemingly introverted in focus, in many respects these efforts represented the earliest forms of political resistance against a regime of governance that promised a great deal, but disappointingly delivered considerably less. Collectively, the chapters demonstrate that there is neither a single narrative nor a textbook formula about the relationship between the academy and democratic struggles. Instead of forcing an unsupported and false consensus on the definitive role of Academia in politics, the book seeks to stimulate a robust debate on the subject.
CONTENTS
Preface by Hon. Justice Solomy Balungi Bossa
1. Introduction: The Academy and Political Struggle in Uganda J. Oloka-Onyango
2. The Role of Academia in the Democratization Process Benson Tusasirwe
3. For whom doth the Academic bell really toll? Unpacking the engagement of Makerere University Academic Staff Association (MUASA) in Uganda’s Democratization struggles Maria Nassali
4. Intellectuals and the Fourth Estate: Analyzing the Coverage of Makerere University Academic Staff Association (MUASA) in the Ugandan Media (1989-2020) Ivan Okuda
5. Between Activism and “Hooliganism”: Civic Engagement and Democratic Struggles in Makerere University Students Guild Dan Ngabirano
6. Juggling the Personal and the Political: The Case of Female Academics at Makerere University Sylvia Tamale
7. Contending with the past and building for the future? The Paradoxical contribution of Makerere University School of Law to dictatorship and democratization in Uganda Busingye Kabumba
8. Conclusion: The Political Economy of University Education: Revisiting democratic alternatives for Makerere and Uganda Frederick W. Jjuuko
Contributing Authors
Under-Education in Africa: From Colonialism to Neoliberalism is a collection of essays on diverse aspects of educational systems that were written over a period of four and a half decades, written from the point of view of an activist educator.
With the focus on Tanzania, they cover education in the German colonial era, the days of Ujamaa socialism and the present neo-liberal times. Themes include the social function of education, the impact of external dependency on education, practical versus academic education, democracy and violence in schools, the role of computers in education, the effect of privatization on higher education, misrepresentation of educational history, good and bad teaching styles, book reading, the teaching of statistics to doctors and student activism in education.
Two essays provide a comparative view of the situation in Tanzania and the USA. Linking the state of the educational system with society as a whole, they explore the possibility of progressive transformation on both fronts. They are based on the author’s experience as a long-term educator, his original research, relevant books, newspaper reports and discussions with colleagues and students.
The author is a retired professor of medical statistics who has taught at colleges and universities in Tanzania and at universities in the USA and Norway.
Table of Contents:
– Abbreviations
– Preface
– Introduction
– Education and Colonialism
– Education and Ujamaa
– Education and Democracy
– Education and Dependency
– Education and Violence
– Education and Privatization
– Education and Computers
– Education and America
– Education and Debate
– Education and History – I
– Education and History – II
– Education and Reading
– Education and Educators
– Education and Activism – I
– Education and Activism – II
– Education and Liberation
– References
– Author Profile
A collection of essays from an educator-activist that takes us back to one of the richest periods of African intellectual debate about knowledge and colonization, the early 1970s at the University of Dar es Salaam, with valuable lessons for today.
– Budd L Hall, PhD, Professor Emeritus, UNESCO Co-chair in Community‑Based Research and Social Responsibility in Higher Education, University of Victoria, Canada
This is a timely, broad ranging, provocative series of essays about under-education in Africa. The author’s lived experiences, particularly in Tanzania, form a rich base for much of the critical contextual analysis. New generations of scholar-activists in Africa and elsewhere are urged to learn from history, to debate, to question and strive, with passion and hope, to attain a just, more egalitarian world.
– Shirley Walters, Professor Emerita, University of Western Cape, South Africa
An inspiring collection of vivid stories and profound critiques of education from a committed scholar-activist who draws upon a lifetime of engaged learning, teaching, research and debate. Revealing how under-education has been spawned by global capitalism, it also inspires hope and offers strategies for educational and social change in Africa and beyond.
– Pat Saul, UDSM graduate, teacher and community activist for social change, Toronto
A dedicated and passionate educator and scholar activist, Karim Hirji explores the connection between education and a dependent economy, and the systematic de-education of the Tanzanian and African masses during the colonial and post-colonial periods up to the present day. Broad structural analysis of underlying factors such as social and economic injustice, political accountability and neoliberal policy is combined with concrete investigation of the challenges facing students and teachers at all levels of the education system and ends on a positive note, “dare to dream.”
– Marjorie Mbilinyi, Professor of Education, University of Dar es Salaam (1968-2003), independent researcher and writer
Karim Hirji’s erudite yet accessible collection of essays is bound to become an essential companion and a classic for all concerned with the underdevelopment of Africa and its educational doppelganger, under-education. His dialectical, fine-grained and multi-scalar analysis of educational issues traverses the period of colonialism, the first flush of independence through neo-colonialism to present day capitalist neoliberalism. It is a milestone in connecting past and present struggles through the tools of political economy. While the essays focus on Tanzania, they have continental resonance and remain globally relevant.
The essays draw inspiration and critical lessons from many countries. Hirji’s education commentary is grounded in a dedicated praxis of over forty years. The collection reflects this breadth of experience and the depth of multifaceted struggles. It embraces many pertinent issues valuable for contemporaneous endeavours against miseducation as these relate to democracy, dependency, violence in schools, the privatisation and corporatisation of education, the uses and abuses of technology, cultural imperialism, academic dissent, publishing, reading and the qualities of an effective teacher.
Written in a register that exudes deep honesty, wisdom, self-critical reflection and borne out of collective struggle, the essays are indispensable to confront the current obfuscations, falsifications and the dominant right wing and indeed neo-fascist assaults on meaningful education and reason. The ideas and practices of Hirji and his fellow activist scholars such as Shivji, and the much missed AM Babu and Walter Rodney remain germane today and will leave a solid legacy for future generations to build on.
Despite these bleak, dire and precarious times, this remarkable collection is an antidote to despair. Hirji’s injunction, not to lose hope is also a clarion call to action and a firm belief that, to quote Hirji, “…the struggle is a long term one; there are bound to be ups and downs. But ultimately, Africa and its people will triumph.”
– Salim Vally, Professor and Director, Centre for Education Rights and Transformation, University of Johannesburg, South Africa
“This book will be of interest to readers in search of critical perspectives on education in Tanzania and Africa more widely. It invites the policymakers, teachers and students of today to erase their ‘ideological blinders’. For fellow citizens and observers of Tanzania, it elucidates the ideology of ‘education for self-reliance’ in practice. And, as an authoritative text on under-education, it makes an important contribution to the debates on transformative education and knowledge production in Africa as a whole.” Ahmad Kipacha Senior Lecturer in the School of Business Studies and Humanities at the Nelson Mandela African Institution of Science and Technology in Arusha.
https://www.tzaffairs.org/2021/01/reviews-89/
A piercing historical explanation of poverty and inequality in African societies today and the social impact of resource-driven growth, Extracting Profit explains why Africa, in the first decade and a half of the twenty-first century, has undergone an economic boom. Rising global prices in oil and minerals have produced a scramble for Africa’s natural resources, led by investment from U.S., European and Chinese companies, and joined by emerging economies from around the globe. African economies have reached new heights, even outpacing rates of growth seen in much of the rest of the world. Examined through the lens of case studies of the oil fields of the Niger River Delta, the Chad-Cameroon Pipeline and the East African infrastructure boom, this period of “Africa rising” did not lead to the creation of jobs, but has instead fueled the extraction of natural resources, profits accruing to global capital, and an increasingly wealthy African ruling class.
Extracting Profit argues that the roots of today’s social and economic conditions lie in the historical legacies of colonialism and the imposition of so-called “reforms” by global financial institutions such as the World Bank and International Monetary Fund. The chokehold of debt and austerity of the late twentieth century paved the way for severe assaults on African working classes through neoliberal privatization and deregulation. And while the scramble for Africa’s resources has heightened the pace of ecological devastation, examples from Somalia and the West African Ebola outbreak reveal a frightening surge of militarization on the part of China and the U.S.
Yet this “new scramble” has not gone unchallenged. With accounts of platinum workers’ struggles in South Africa, Nigerian labor organizing and pro-democracy upheavals in Uganda and Burkina Faso, Extracting Profit offers several narratives of grassroots organizing and protest, pointing to the potential for resistance to global capital and fundamental change, in Africa and beyond.
And in an updated Preface, the author analyses the implications of the Covid-19 pandemic and escalating climate emergency, as both the crises and resistance to extraction accelerate across the continent.
“Lee Wengraf’s Extracting Profit – Imperialism, Neoliberalism and The New Scramble for Africa is at once historical and contemporary. It unpacks ongoing resource crimes by analytically exposing its historical roots and pointing to ways by which the oppressed can cut off the bonds that lock in their subjugation.” —Nnimmo Bassey, Director, Health of Mother Earth Foundation
“Lee Wengraf provides an important reminder that Africa’s position within the world economy is heavily determined by its unequal insertion into the global capitalist system and ongoing manifestations of imperialism.” –James Chamberlain, Sheffield Political Economy Research Institute
“Lee Wengraf’s Extracting Profit provides a breathtakingly detailed account and analysis of some of the major socioeconomic ills that have been plaguing Africa for centuries. Amongst the host of issues she tackles, arguably the most consequential are mass poverty in African societies, their indefensible economic inequalities and the steady plundering of the continent’s resources, starting from the slave-trade era up till the present-day.” –Remi Adekoya, Review of African Political Economy
“Extracting Profit offers several narratives of grassroots organizing and protest, pointing to the potential for resistance to global capital and fundamental change, in Africa and beyond.” –Developing Economics
“Evidently, this book is well-researched and it contributes to the expansion of the frontiers of Marxist scholarship on Africa’s development dilemma within the global capitalist order. This book lends credence to the pioneering works of such notable radical scholars as Andre Gunder Frank, Walter Rodney, and Samir Amin among several others. It should be read by students and teachers of political economy, development studies, Marxism and philosophy.” –Marx & Philosophy Review of Books
“Extracting Profit provides a great arch of scutiny from the earliest carve-up of the African continent, through colonialism, war, imperialism, to the recent neoliberal takeover. The book demonstrates the continued importance of Marxist analysis on the continent, asserting the centrality of class analysis and a project of revolutionary change. Wengraf provides us with a major contribution, that highlights contemporary developments and the role of China on the African continent that has perplexed and baffled scholars. An indispensable volume.” —Leo Zeilig, author of Frantz Fanon: The Militant Philosopher of Third World Revolution
“The history of resource frontiers everywhere is always one of lethal violence, militarism, empire amidst the forcing house of capital accumulation. Lee Wengraf in Extracting Profit powerfully reveals the contours of Africa’s 21st century version of this history. The scramble for resources, markets, and investments have congealed into a frightening militarization across the continent, creating and fueling the conditions for further political instability. Wengraf documents how expanded American, but also Chinese, presence coupled with the War on Terror, point to both the enduring rivalry among global superpowers across the continent and a perfect storm of resource exploitation. Wengraf offers up a magisterial synopsis of the challenges confronting contemporary Africa.” —Michael Watts, University of California, Berkeley
“One of the most well-known stylized facts of Africa’s recent growth experience is that it has been inequality-inducing in ways that previous growth spurts were not. Lee Wengraf, in her new book Extracting Profit , expertly utilises the machinery of Marxian class analysis in making sense of this stylized fact. Along the way we learn much about Africa’s historical relationship with imperialism and its contemporary manifestations. This book should be required reading for all those who care about Africa and its future.” —Grieve Chelwa, Contributing Editor, Africa Is A Country
“In recent years countries in the African continent have experienced an economic boom—but not all have benefited equally. Extracting Profit is a brilliant and timely analysis that explodes the myth of “Africa Rising,” showing how neoliberal reforms have made the rich richer, while leaving tens of millions of poor and working class people behind. Lee Wengraf tells this story within the context of an imperial rivalry between the United States and China, two global superpowers that have expanded their economic and military presence across the continent. Extracting Profit is incisive, powerful, and necessary: If you read one book about the modern scramble for Africa, and what it means for all of us, make it this one.” —Anand Gopal, author, No Good Men Among the Living: America, the Taliban, and the War Through Afghan Eyes
“Thorough and thoughtful, Wengraf’s book has a radical depth that underscores its significance. It’s definitely a must-read for anyone who cherishes an advanced knowledge on the exploitation of Africa as well as the politics that undermines Africa’s class freedom.” —Kunle Wizeman Ajayi, Convener, Youths Against Austerity and General Secretary of the United Action for Democracy, Nigeria
“Extracting Profit is a very important book for understanding why the immense majority of the African population remain pauperised, despite impressive growth rates of mineral-rich countries on the continent. It continues the project of Walter Rodney’s How Europe Underdeveloped Africa. And in several ways, it also goes beyond it, capturing the changing dynamics of global capitalism 45 years after Rodney’s magnus opus.
In this book, Lee Wengraf debunks the myth of “Africa Rising” and the supposed expansion of an entrepreneurial middle-class, revealing “reforms” imposed by international financial institutions as mechanisms for fostering imperialism in an era of sharpening contradictions of the global capitalist economy. The adverse social, economic, political and environmental impact of these are elaborated on as a systemic whole, through the book’s examination of the sinews of capital’s expansion in the region: the extractive industries.
But, Wengraf does not stop at interrogating the underdevelopment of Africa. Her book identifies a major reason for the failures of national liberation projects: while the working masses were mobilised to fight against colonial domination, the leadership of these movements lay in the hands of aspiring capitalists, and intellectuals. The urgency of the need for a strategy for workers’ power internationally, she stresses correctly, cannot be overemphasized.
Reading Extracting Profit would be exceedingly beneficial for any change-seeking activist in the labour movement within and beyond Africa.” —Baba Aye, editor, Socialist Worker (Nigeria)
There was nothing but darkness in the spring of 2020 as the Covid-19 pandemic raged and shut down the economy. But as right-wing protesters demanded an end to the lockdown, a much bigger social conflict was brewing under the surface. A rebellion exploded in Minneapolis in response to the brutal police murder of George Floyd in late May, during which a police station was overtaken and burned down. The uprising quickly spread across the United States as protesters looted downtown urban centers, set fire to cop cars, vandalized government buildings, and fought the police. The Black proletariat led the charge, but white, Latinx, Asian, and Indigenous proletarians also joined the fight, demonstrating new possibilities for building alliances. While anti-police rebellions continued throughout the summer and fall, the uprising receded with the start of the winter. But this conflict is far from over.
In an effort to think through the experience of the uprising and prepare for the great struggles that are coming, The Revolutionary Meaning of the George Floyd Uprising provides an in-depth analysis of what exactly happened during the 2020 uprising, its potentials, internal limits, and strategic implications.
어떻게 자본주의를 넘어설 것인가라는 질문에 대한 답을, 지금 우리가 “감히” 찾아보려고 한다. 이 소책자를 통해, 자본주의를 벗어나 생태사회주의로 향하는 길을 찾는 우리의 노력이 뚜렷해지길 바란다.
자본주의에 갇힌 우리는, 어떤 형태로든 행동 또는 비행동inaction에 관여하고 있다. 행동은, 자본주의를 직접 마주하기 보다는 자본주의가 초래하는 심각한 여러 문제를 개선하기 위한 투쟁에 참여하는 모습을 띈다. 즉, 우리의 행동은 원인이 아니라 결과에 초점을 맞추는 모순을 보인다.
반면, 비행동은 동의를 의미하게 된다. 우리는 자본주의 경제 체계를 영속시키는 경제 활동에 문제 제기를 하거나 변화를 요구하는 행동을 하지 않음으로써 자본주의에 [암묵적으로] 동의하고 있다. 결과적으로 평범한 우리가 자본주의에 봉사하는 자본가 역할을 계속하고 있는 것이다.
왜 자본주의 억압의 대상인 우리가 억압에 동의하는가? 그 이유가 단지 [외부의] 탄압 때문만은 아니라고, 이탈리아 파시즘 하의 감옥에서 그람시Antonio Gramci는 말했다. 즉, “헤게모니”를 장악하는 이념이 우리의 삶을 둘러싼 억압적인 환경을 설명하고 정당화하는 것이다.
“소소한 혁명”은, 개개인의 삶 속에서, 쉽고 안전하게, 엄청 근사하지는 않지만 일상적이고 실천가능한 행동과 비행동을 얘기한다. 지금까지의 혁명사는, 혁명을 가능하게 했던 전체 민중보다는 소수의 혁명가에 주목했었지만, 자본주의에 맞서는 “우리는” 마르크스나 엥겔스가 떠올렸던 주인공들보다 훨씬 다양하고 규모가 커졌다. 자본주의를 수호하기 위해 싸우는 “그들은” 전 세계 인구의 극소수일 뿐이다.
자본주의의 어떤 특징이 억압적이고 그래서 제거되어야 하는지, 또 반대로 어떤 사회경제구조의 특징이 억압적이지 않으며 그래서 남겨져야 하는지를 뚜렷이 설명하는 전략이 필요하다. 자본주의 이후 사회가 어떤 모습이어야 할지는 점점 명확해지고 있다. 소소한 혁명은, 자본주의의 영속과 발전에 필수적인 과정에 대한 우리의 동의를 거두는 데에서 시작하여, 수 백 만의 우리가, 여전히 적은 소수이긴 하지만, 건설적인 혹은 파괴적인 노력에 창의적으로 참여할 수 있는 방법 또한 포함한다.
세상은 자본주의 그 이후로 이미 진행 중이다. 세계 곳곳에서 창의적인 모습의 공동체communal organization들이 생겨나 스스로 통치하고 구성원들의 생존과 안녕을 보장하기 위해 활동하고 있다. 복지 국가를 포함한 자본주의 국가를 넘어서는 것은 국가 자체를 넘어서는 결과로 이어진다. 연대 경제solidarity economy는 먼저, 소규모의 협동조합 성격을 띄는, 저렴하고 유쾌하고 편안한 주거 공간을 구성하는 방법을 모색하여, 착취적인 임대료, 빚, 세금, 보험에 대한 공동의 해결책을 제시한다. 또한 이러한 공동체는, 영양이 풍부한 먹거리를 지역에서 생산하여 유통하는 방법으로, 자본주의식 농업으로부터 독립을 꾀할 수 있다.
창조적 파괴는, 허가를 받아 하는 대규모의 시위가 아니라 자본주의가 순조롭게 기능할 수 없게 멈추거나 둔화시키는 직접 행동으로 가능하게 된다. 우리가 투자나 세금으로 흘러가게 내버려 두는 돈의 흐름을 비자본주의적인 연대경제에 돌리는 것도 창조적 파괴의 한 방법이다.
소소한 혁명은, 간단하고 안전하며, 자신의 삶을 조금이라도 바꾸고 싶은 의지가 있는 사람이라면 실천가능하다. 자본주의가 우리의 안녕과 행복을 파괴하는 체계라는 것을 알면서도, 부지불식간에 자본주의를 지지하고 동의하는 행동을 멈추는 즐거움을 누릴 수 있다. 놀랍게도 혁명을 위해 다치거나 죽지 않아도 되고, 심지어 큰 불편을 감수하지 않아도 된다. 우리가 해야 할 일은 단 하나. 어차피 하기 싫었던 여러 일들을 이제 정말 그만두는 것이다.
ANNOUNCEMENT: Love After Babel wins Nicolás Cristóbal Guillén Batista Outstanding Book Award by the Caribbean Philosophical Association
Congratulations to Chandramohan S!
Love after Babel is a collection of poems that deal with themes such as caste, the resistance of Dalit people, Dalit literature, islamophobia and other political themes, with almost one hundred poems divided into three sections (Call Me Ishmail Tonight; Name Me a Word; Love after Babel). The introduction is by Suraj Yengde (award-winning scholar and activist from India, author of the bestseller Caste Matters, inaugural postdoctoral fellow at the Initiative for Institutional Anti-racism and Accountability, Shorenstein Center on Media, Politics and Public Policy at the Harvard Kennedy School).
Chandramohan’s poems are dialogues of the ‘ self’ with the ‘other’. He brings to life a world that subverts myths, literary canons, gender and caste stereotypes by pooling in sparklingly new metaphors with sensitivity and care. He draws his images from contemporary incidents as well as myths and legends of yore, and delves deep into the politicized realm, thus ‘rupturing the hymen of demarcations’ of identity, resistance, repression and love.
—Babitha Marina Justin, poet, artist and academician
Chandramohan’s poetry is an extraordinary combination of a strong individual voice, crying out against a deeply felt sense of personal abuse, and a sophisticated understanding of the long history and mythology of such abuse, in India but also in the world at large. Mythological figures like Shambuka and Urmila illluminate, and are illuminated by, modern atrocities. The poems are by turns shocking, moving, and exhilarating. —Wendy Doniger O’Flaherty is an American Indologist whose professional career has spanned five decades.
Chandramohan S has the stark ability as a poet to react to any social happening, and these turn out to be in the most responses to societal happenings, plunged into the dark interiors of human behavior. So these could be related to caste oppression. Economic exploitation, religious polemics etc. But the poetic ability or the agility is always there to handle a situation born out of politico- social situations. There lies his remarkable dexterity as a poet commentator. His lines are direct, and even angry. But that does not matter. This is poetry- at its best. No wonder then that, his poems have been published world wide. He is perhaps now one of the very few, if not the only Indian poet in English to have taken the burden of social and political repression, as a distinct and livid political idiom. To read his poems is also painful, but the poetry is in the pain!—Ananya S Guha lives in Shillong in North East India. He has been writing and publishing his poetry for the last 33 years.
Had an honor to introduce this extremely riveting collection of humanity-filled radical lines “Love After Babel” told by the incomparable art form—Dalit Poetry. Chandramohan is confidently flirtatious with his words. by
Daraja Press
http://socialistreview.org.uk/438/youre-not-here
Set in and around Manchester, You’re Not Here is informed by Mehmood’s experience of growing up a working class Pakistani in northern England, combatting racism on the streets and being arrested. The novel explores the British Asian experience in the context of the “war on terror” and Islamophobia. “I have lived and fought against various waves of racism in Britain, but the current Islamophobic one, the new racism, is far more insidious and divisive than those which preceded it,” says Mehmood in his blog.
This novel is a sequel to You’re Not Proper, which explored, in the author’s words, “what it is to be a Muslim teenager in the west today”. While it featured two teenage women’s search for identity and belonging — one with a Pakistani father and white Christian mother, the other her Hijab-wearing school friend — Mehmood’s sequel is, interestingly, told from the point of view of a white working class British youth.
Jake’s father was in the army. His elder brother is missing in action in Afghanistan. Jake is in love with a Muslim girl. We are introduced to diverse Asian characters and to white racist friends of his brother, and to the tensions both within and between the two communities, through Jake’s eyes.
While the novel reads like a pacey thriller, the teenage love story is treated with convincing tenderness. And there is sympathy for British soldiers. One scene features physically and mentally scarred ex-soldiers discarded by the state, and Military Friends and Families Against War make an appearance.
Daraja Press
Tariq Mehmood’s new novel is uncompromising but hopeful in its portrait of the impact of the war in Afghanistan on a northern city in Britain, finds Sarbjit Johal
https://www.counterfire.org/articles/book-reviews/20045-you-re-not-here-book-review
Sarbjit Johal December 20, 2018
mehmood_novel.jpg
Tariq Mehmood, You’re Not Here (Daraja Press 2018), 238pp.
‘I feel her words more than I hear them’.
Tariq Mehmood’s latest novel, You’re Not Here, is set in Boarhead, an imaginary town in the North of England where the main character, seventeen-year-old Jake, lives and works with his Dad, who is a traditional white working-class carpenter. However, Boarhead is a place where people defy all stereotypes and devise creative ways to survive, a place where people
who have for too long been left to their own devices, to defend, protect and look after themselves. So, when the British Army goes into Afghanistan and starts killing Muslims, and destroying their homes, while the bodies of dead soldiers start coming back home, the tensions in Boarhead erupt out into the open. Young Muslims become angry and upset, and the white youth start giving their support to this horrific war, and start calling the Muslim youth ‘traitors’ for not supporting the British Soldiers.
While Jake’s brother, Dexy, goes to fight in Afghanistan, Jake falls in love with Leila Khan, an Afghan girl living in Boarhead. It is through this contradictory thread that Tariq Mehmood explores what it means to have a national identity, to be a real man and to really belong in a country which is always waging wars. From the name of the town Boarhead (pig’s head) to the names of roads and buildings (St Enoch’s Road, the Queen Victoria statue, and the cafe where the menu lists Vindaloo Porky to Trotter Tikka (opened by Curly, who can neither read nor write, and spent most of his life on the dole), Boarhead is a place facing economic decline where race, racism and present-day war shapes everything.
The novel raises questions about what is culture? What is Asian, and what is English? What happens when people do not fit their stereotypes? And how to create a people’s culture of resistance? It shows how war strengthens racism, how it affects who dies, who lives, who gets a job and who doesn’t, who belongs, who doesn’t and what happens when people dare to defy orders, refuse to follow the duty forced on them and decide to determine their own lives.
Surviving destruction and loss
It reveals the struggle of people whose lives once destroyed by war are again wiped out in the West, like the maths professor from Iraq, who is a taxi driver in Boarhead. His university in Iraq was bombed to bits and in Boarhead he is seen as a Pakistani, when in actual fact he is a Christian Arab. You’re Not Here refers to all those loved ones who are gone or missing, and in Jake’s case it refers to his mother, brother and the longing he feels for Leila. You’re Not Here shows the things people hold on to when everything else is falling apart and nothing makes sense. For example, Jake’s father starts reading the Bible when he loses his job.
The people in Boarhead have cast and recast themselves in a constantly changing backdrop. This is a place where old Victorian mills have been knocked down to be replaced by shops like Asda and new private flats for sale, and the only place where you can have any privacy is a graveyard in an unused church.
Whether it’s food, clothes, language, looks, nothing here conforms to any static idea of culture. The chapter, ‘Doris’s Kebabs’, where Jake meets Leila’s father, is absolutely hilarious. Leila’s father, who has green eyes, introduces himself as Peter but Jake finds it difficult to see him as a ‘Peter’ and keeps calling him ‘Sir’. Reading this reminded me of a close uncle who used to be a wrestler in Punjab. After coming to Britain and working in farms and factories in West London, he would insist on being called Peter Singh when his actual name is Pritam Singh.
Jake is also surprised to see Peter drinking alcohol, drinking so much, and drinking it so fast. Whereas Jake, who is expected to drink, doesn’t drink alcohol at all. Peter’s comments on the kebabs he eats, ‘Even my wife can’t make them like Doris’, the way he speaks a mix of English and his own language, give space to a dynamic culture. Peter’s words even challenge the Hindutva fascists in India who portray Muslims as people who kill cows. Peter laments the large number of animals killed in war and expresses his sorrow at the murder of a cow in his village in Afghanistan. A cow which Peter himself had named, a cow whose mother his father had raised, a cow which had been the envy of the village.
Resistance and dissent, great and small
The book is littered with laugh-out-loud moments. The challenge to conventional right-wing culture comes from unconventional places. In one chapter, Abu Khalid, a religious leader criticises the owner of a shop called ‘Paradise Foods’ for displaying his tomatoes and cucumbers in a ‘rude’ way. He asks: ‘How can you do this when there are sisters around,’ and then goes on to accuse the shop keeper of ‘promoting sex and temptation’. Abu Khalid is then confronted by an old Pakistani woman who picks up a cucumber and asks him, ‘Shall I show you what I can do with this?’ Later in the story we learn that this religious leader is linked to some ‘powerful people in high places.’
The story of another character, Ali, is of an Asian shopkeeper who is determined to keep going despite the daily onslaught of racist abuse and armed raids, in an area where there are very few non-white people left. He has even opened a photo-booth inside his off-licence to keep the business alive. Ali is tall, has a six pack and owns a huge Alsatian dog called Twinkle with whom he speaks in Punjabi.
Jake goes to ‘Ali’s Offy’ to get a photo for a visa to Pakistan and to buy a bottle of whisky for his dad. Jake’s dad either drowns his emotions in alcohol, or in his work. When he’s working, Jake’s dad looks like a totally different person, much younger and full of energy and when times get tough, his solution is to work even harder.
For Jake’s father, this pride in the work ethic, this pride in a respectable ‘soldiering’ family is also tied up with how he sees himself as a man. For example, at home, when he cooks, Jake’s dad always manages to burn the food. His opinions of what he thinks of men who cook are made clear in his comments to Jake, who enjoys cooking: ‘You’ll make someone a good wife one day’.
Leila and Jake are both outsiders in their own way. Leila is very articulate and confident in public and constantly challenges Jake, but she comes across as being more deferential in the family. However, Leila does not aspire to be a ‘respectable’ Muslim woman, and Jake does not want to be a ‘respectable’ working-class man. He doesn’t drink, smoke, and is not ‘macho’.
Dexy is the older, protective brother who has Rambo posters in his bedroom, who’s ‘all emotion one minute and off his head the next’. He wears gold rings, hates Muslims and refers to hijabs as tents. But everything is never black and white, and that’s what makes this book interesting. Some soldiers come back from the war with very different perspectives than with which they departed. The novel has a hopeful aspect, even as it highlights destruction and suffering, as some of the characters find unexpected connections and solidarities in growing disillusion and opposition to imperialist war.
The ending is great, but just like real life, it is not a ‘happy ever after’ ending. It would have been interesting to hear more about Ali and his background as well as about Leila’s brothers and mother. Another criticism is that, at times, Jake, the central character, just seems ‘too perfect’. However, the story, the characters, the way the novel is structured, all makes this a really brilliant read.
There are so many powerfully realistic scenes. For example, the passage where Jake goes to find out why his friends have turned against him, really made me empathise with Jake’s pain. This is a singular feature of this novel, the ability to bring together people who are supposed never to meet. Then there is the section where Jake is cooking a stew and you follow the whole process from the chopping stage up to the eating stage, and the tension builds right up. Then there is the bus journey with its details of bus tickets and bus stops along with the ‘policing’ of young people by drivers, which all comes alive as you read it.
There are also some very interesting facts too, like the link between a Scotch Whiskey Brewery and Pakistan, or that there are the soldiers who go to fight wars, and when they die no one ever hears about them. An important and unforgettable feature of this novel is the way in which Tariq Mehmood uses language. There are the funny names like the Mucky Duck pub, Go-East Go West travel agency, and Kurly’s Kurry Kabin. Then there is the technique of joining old words to create new ones like the ‘ohgoddoIhaveto’ look or the ‘Pleasepleaseplease’ and the ‘dontyouworryson’ smile.
Although the novel is aimed at young readers, this book speaks to adults too. It dares to give space to that humanity which connects us all. And it screams out loud:
‘No to Racism,
No to Poverty,
No to War!’
Daraja Press
The narrative is packed with authentic voices, often humorous observations and insights, The novel reads like a thriller. It reaches an action-packed and moving climax, but, unlike a thriller, we are left uneasy about what may happen next.
Helen Goodway, Red Pepper, Summer 2019