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How do you scream in Arabic?

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By Hamid Dabashi

“We have the tape,” US President Donald Trump finally admitted that there is a tape-recording of the murder of Jamal Khashoggi – but then he immediately added: “I don’t want to hear the tape, no reason for me to hear the tape.” When he was asked why, he said: “Because it’s a suffering tape, it’s a terrible tape. I’ve been fully briefed on it. There’s no reason for me to hear it.”

He elaborated further: “I know everything that went on in the tape without having to hear it … It was very violent, very vicious and terrible.”

 

It was good to see the man who had no qualms about dropping “the mother of all bombs” (MOAB) on Afghanistan or arming Saudi Arabia to the teeth to slaughter Yemenis had suddenly developed a gentle soul and felt he could not handle hearing the suffering of a single person being strangled.

Soon after Trump revealed he had refused to listen to Khashoggi’s murder tape, we learned something else from John Bolton, Trump’s national security adviser, about this tape. “No, I haven’t listened to it,” he echoed his boss. “Why do you think I should? What do you think I’ll learn from it? Unless you speak Arabic, what are you going to get from it … I don’t speak Arabic.”

That was much clearer now. We now learned the late Jamal Khashoggi was screaming in Arabic when he was being strangled by Crown Prince Mohammad bin Salman’s henchmen.

We can therefore also surmise from Mr Trump and Mr Bolton’s remarks, that the butchers attending to him were also sawing him in Arabic – and in fact, to paraphrase Senator Lindsey Graham’s words, even the saw was smoking in Arabic. That makes a lot of sense now.

Soon after Bolton, US Defense Secretary James Mattis also said he had declined to listen to the tape because he too “cannot understand that language”. He curiously would say the name of the language in which the scream was screamed and the victim was murdered.

Let us be honest though: Can we really imagine Donald Trump or John Bolton speaking and understanding Arabic (or any other language for that matter) – they who commit their atrocities only in their pidgin English?

Still, their dodging of the Khashoggi tape got me thinking: How do you scream in Arabic?

Not knowing how Arabs scream in Arabic I decided to Skype a few friends in Morocco, Tunisia, all the way to Egypt, Palestine, even in Oman and Kuwait and Jordan and ask them to scream in Arabic for me a little bit. They all started laughing hysterically, which was not useful.

One Lebanese friend who is a professor of philosophy started giggling in Armenian, another Tunisian friend, a literary critic, went into a stupor in French. My Moroccan friend was still chuckling in Amazigh when I hung up. A Palestinian friend from inside Israel sneered in Hebrew. All of that came to nought.

So how in the world do Arabs scream?

When that bit of what anthropologists call ethnography did not get me anywhere, I decided to do a little research to see if there was any insight into how Arabs scream in Arabic.

It turns out scientists too have been wondering how and why we humans (Arab or otherwise) scream. I came across this study in which we learn: “Scream science is a new area of study, so David Poeppel, a professor of psychology and neural science at New York University, and his co-authors collected an array of screams from YouTube, films and 19 volunteer screamers who screamed in a lab sound booth.”

This was a good start to learn more about how Arabs scream, but in this piece, I read there was no indication that Professor Poeppel and his colleagues had included in their study any Arab screaming, particularly when that said Arab is being strangled. Perhaps the Turkish media could send them the tape to include in their study.

I did, however, find an interesting passage in Poeppel’s paper published in the journal Current Biology: “Screams result from the bifurcation of regular phonation to a chaotic regime, thereby making screams particularly difficult to predict and ignore … While previous research in humans suggested that acoustic parameters such as “jitter” and “shimmer” … are modulated in screams, whether such dynamics and parameters correspond to a specific acoustic regime and how such sounds impact receivers’ brains remain unclear.”

I thought that was it: “the bifurcation of regular phonation to a chaotic regime” was the key to it. Even Kellyanne Conway and her habit of chewing on English words could see her favourite alternative facts in this.

The man enters a consulate and says hello, ahlanwasahlan, I am here to obtain this form to be able to marry all in “regular phonation”, but suddenly a gang of 15 butchers dispatched by a lovely Saudi prince friend of Jared Kushner and Thomas Friedman jump on him and start strangling him until the poor thing bursts into “a chaotic regime” of inconsolable jitter and shimmer. And such particular “acoustic regimes”, especially when dispatched in Arabic, would make no sense to Bolton, Mattis, or even Trump for that matter.

At this point, I remembered that the one person in Washington who did listen to that tape was CIA chief Gina Haspel, herself a world authority on how Arabs scream under torture. “Current CIA director Gina Haspel,” we have learned, “talked in detail about torturing a terror suspect by means of waterboarding and other controversial methods while she was running a secret black site in Thailand, according to previously classified cables.”

Ms Haspel could write a whole book on the linguistics of Arab screaming, as it were. “Heavily redacted documents, many of which are believed to have been written by Ms Haspel, reveal a previously undisclosed level of detail about the methods being employed by the CIA following the 9/11 attacks and after George Bush launched his so-called war on terror.”

Alas, she still has not published such a book.

Science and psychology, as well as banned and official media, were helpful but not definitive in my question to understand how Arabs scream. In desperation, I looked around and found myself standing in front of “The Scream” (1893) by the Norwegian expressionist Edvard Munch, where I thought perhaps his rendition of the primordial scream of humanity in reaction to the criminal stupidity of our species needed an Arab update.

I happened to be talking with the eminent Iraqi artist DiaAzzawi at Mathaf: Arab Museum of Modern Art in Doha and asked him point blank if he ever did an Arab scream. He looked at me with his pair of piercing bright eyes and said: “Are you blind, my entire work is about Arabs screaming?”

I bade DiaAzzawi goodbye, thanked him for his magnificent work, went home and sat myself down with a warm cup of karak, thinking.

Khashoggi’s screams – I began telling an imaginary jury – as he was being strangled by a gang of Saudi assassins, were not in Arabic or in any other language.

Those were the primordial cries of a people from one end of the Arab and Muslim world to the next, maligned and brutalised by a sustained history of tyrannical abuse.

In that Saudi consulate, Crown Prince Mohammed bin Salman (also known as MBS) had ordered the butchering of not just one dissident, but the assassination of a whole human chorus for freedom.

Meanwhile, the moral affliction of the ruling class in the US, now institutionalised in Trump’s White House and mitigated through MBS’s buddy Jared Kushner is symptomatic of something far more elemental.

They rule the world with blind eyes, deaf ears, and dumb tongues, having been lobotomised out of any sense of human decency. The Arabic that Donald Trump, John Bolton, and Jared Kushner cannot understand does not come from a secret tape from the Saudi consulate in Istanbul. That Arabic is screamed day and night, loudly and clearly, from Palestine to Yemen.It strikes at the very heart and soul of a resurgent India.


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Opinion

INDESCRIBABLE JOHN ELI

The Kashmir Monitor

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By Shabbir Aariz

This indeed is proverbially a herculean task to describe or define John Elia in any particular frame. Whosoever while mentioning him, is either trapped in contradictions of one’s own opinion or is able to confine to a few verses of John Elia to judge him. But the more one tries to understand John, the more confused one is and I believe that you need another John Elia to explain him. He is a phenomenon, a thing like a live fish to hold in your hand or an elephant amongst blinds to be described. Wusatullah Khan, a noted broadcaster, holds that knowing John is as good as dating with a liberated lady. And it is quite obvious that a man who in him is a philosopher, a scholar, a biographer, a linguist with command over Urdu, Arabic, English, Persian, Sanskrit and Hebrew and needless to say that the Ismaili sect of the subcontinent could not find anyone other than John to translate Ismaili treatises from Hebrew, it becomes a tedious affair to be conclusive about John. Common perception though with an element of truth is that John is a progressive Marxist, an unconventional poet and always in denial of everything including himself while himself saying in three line verse,

“KISKO FUSAT K MUJSAY BAHAS KARAY…..

 

OOR SABIT KARAY K MERA WAJOOD….

ZINDZGI K LIYAY ZARORI HAY

(Anyone prepared to argue and prove that my existence is imperative for life). His poetry is admittedly very close to life and his verses in the words of a legendry poet, Majrooh Sultanpuri, are like a dialogue which no other poet has the distinction to be capable of. John has an extra-ordinary craft of connecting with his audience that has created an unprecedented fan following which no other contemporary poet can claim to have. So magical is his poetry and its rendition that it has created a cult of his admirers with such an obsession and longing for the life of melancholy lead by John Elia himself. It is no secret that he was never a happy man with defiance and protest against everything and anything around. Loudly a nonconformist when he says
“unjaman main mayri khamooshi…..

burdabari nahin hay wehshat hay”.

His style made him famous and popular. He appears to be disgusted even with creation when he says … “HASILE KUN HAY YEH JAHANE KHARAAB….

YAHI MUMKIN THA AYSI UJLAT MAIN”.

His admirers strangely wish to pass through the same pain and despair that is hallmark of John’s poetry besides satire and the disdain for the system which contributed to his sadness in life. He has so glorified and romanticized the pain and sadness that it leaves his audience in frenzied ecstasy.

John Elia was born in the year 1931 and died in 2002. He originally belonged to Amroha in the state of Uttar Pradesh, younger brother of Rayees Amrohi, a known journalist and writer. John migrated to Pakistan in the year 1957 and settled in Karachi where he is buried now. But Amroha never left his heart and mind. He never felt comfortable after leaving Amroha partly because his stay in Karachi brought him in conflict with the system too. Many other things have also contributed to his sadness in life. He was married to a well-known writer of Pakistan, Zahida Hina but in mid-80’s , the relation between the two became bumpy and ended up in divorce which left John devastated and for ten long years thereafter went in depression without writing a word.

As is true about many in the history of literature, John earned his name and fame more after his death than in his life time while he was not received well and felt a strange type of suffocation when he says,

“AAP APNAY SAY HUMSUKHAN REHNA…..

HUMNISHEEN SAANS PHOOL JATI HAY”.

Thanks to the electronic boom and You Tube that brought him to the lime light and enabled audience to reach him and his works. As if this was not enough that his first poetic collection only came to be published when he reached the age of 60. It is worthwhile mention that he has as many as seven poetic collections to his credit namely SHAYAD, YANI, LEKIN, GUMAAN, GOYA, FARMOD and RAMOOZ. Except one, all other are published posthumously. This is besides his scholarly works in prose which may require greater insight to go into.

John all his life remained honest, direct and straightforward in expressing his views on matters of public interest. He also never demonstrated any pretentions or reservations while expressing the truth of his personal life. He never made any secret of his fantasies, love affairs or drinking habits. Yet he was never at peace either with the times or with himself. John Elia, in my humble opinion lived ahead of times and even the desire of dying young without being bed ridden was not granted to him except that he strangely enough wanted to die of tuberculosis and which he did.

(The author, a senior lawyers, is a well known poet and writer. Feedback at: [email protected])

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Manto: Why I wanted to read a ‘lewd’ writer

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By Naveed Hussain

I first read Saadat Hasan Manto as a teenager and the spirit of what I’m writing now was etched on my memory in those years.

I was too young to understand the intricacies of his stories but I enjoyed what I read and craved for more. Back then, Manto wasn’t available in the small town of Haripur where I lived. A friend introduced me to a schoolteacher, a bibliophile who had a modest collection of Manto in his personal library.

 

“Why do you want to read Manto, he’s a ribald, lewd writer,” he quipped. “This is exactly why I want to read him,” I replied, almost impulsively. He smiled and agreed to lend me Manto’s books. Thus began my journey to explore Manto. The more I read, the deeper my love for him became.

Manto was a nonconformist, an unorthodox and ruthlessly bold writer. He didn’t believe in the so-called literary norms of ‘decency’ and ‘civility’ set by didactic writers of his time. For him, truth is truth. No matter how bitter and despicable the reality, Manto never dilutes the truth. Like a muckraker, he pokes his nose into the muck, rakes it, and then holds it up to the reader – in all its profound ugliness and twisted beauty. “If you don’t know your society, read my stories. If you find a defect, it’s the defect of your society, not my stories,” he says.

Manto wrote on socially taboo topics like sex, incest and prostitution, which earned him the wrath of contemporary traditionalists, conservatives and even progressives. For some of his ‘lewd’ and ‘obscene’ stories he had to face lawsuits – among them were great stories such as Thanda Gosht, Bu, Khol Do, Dhuan and Kali Shalwar.

But it is to miss the point to simply say that Manto wrote about sex. He wrote about the sexual debauchery of men and the sexual exploitation of women; about our patriarchal society where women are often treated as a ‘sex toy’, not a human being. Unlike many, I don’t compare Manto with DH Lawrence, because Manto is not lustful, even though he explicitly writes about the female anatomy. He’s more like Guy de Maupassant, who sees the throbbing heart, not the sensuous body, of the prostitute.

Manto blames the ‘diseased mind’ for reading ‘ribaldry’ into his stories. If a sex maniac derives morbid gratification from Venus De Milo, should we blame Alexandros of Antioch for chiselling such a ‘graphic’ sculpture? No, certainly not.

For contemporary literary pundits, Manto was also unacceptable because he wrote ‘indecent’ language. “They [the critics] criticise me when my characters verbally abuse one another – but why don’t they criticise their society instead where hundreds of thousands of profanities are hurled on the streets, every day,” he wonders.

I also love Manto because he was honest. He was an unflinchingly true writer who believed in calling a spade a spade. Sketch-writing was introduced as a genre in Urdu literature much earlier, but Manto created his own peculiar tell-all style. He didn’t write only the good qualities of his characters. “In my bathroom, everyone is naked. I don’t clothe them because it’s the tailor’s job,” he writes.

Manto’s sketches, which he initially wrote for the Lahore-based Daily Afaq newspaper, were later collected and published as Ganjay Farishtay. Manto wasn’t a hypocrite. He minced no words while writing about his dead friends. “I curse a thousand times a so-called civilised society where a man’s character is cleansed of all its ills and tagged as ‘May-God-Bless Him’,” Manto wrote in Ganjay Farishtay. Manto wrote sketches of filmstars Ashok Kumar, Shyam, Noor Jahan, literary figures such as Meera Ji, Agha Hashar and Ismat Chughtai and some politicians. “I have no camera that could have washed smallpox marks off the face of Agha Hashar or change obscenities uttered by him in his flowery style.”

Before embarking on his literary career, Manto had read Russian, French and English masters like Chekhov, Gorky, Victor Hugo, de Maupassant and Oscar Wilde and translated some of their works into Urdu. Surprisingly enough, despite his love for revolutionaries, Manto was not a Marxist ideologue. He was a humanist who was pained to see social injustices, economic disparities and exploitation of the underprivileged. He hated the obscurantist clergy and parasitic elites alike.

Although Manto had migrated to Pakistan after 1947, he couldn’t understand the rationale of partitioning a land along religious lines. His stories of bloodshed and cross-border migration, such as Teetwaal Ka Kutta and Toba Tek Singh, made him unpopular with ‘patriotic’ Pakistanis. To this day he remains a shadowy figure on the official literary lists of Pakistan: our school curricula, our national awards, our drawing room conversations.

Manto was acknowledged as a creative genius even by his detractors. And he knew this, which is perhaps why he wanted these words to mark his grave: “Here lies Saadat Hasan Manto and with him lie all the secrets and mysteries of the art of short story writing. Under tons of earth he lies, still wondering who among the two is the greater short story writer: he or God.”

Manto’s family feared his self-written epitaph would attract the unwanted attention of the ignorantly religious, so on his grave one finds a Ghalib couplet. He faced censorship all his life and even now has chunks of his stories taken out by the authorities. But as we mark his centenary year, I can say this with the instant certainty I felt as a young man in Haripur: the words and stories of Saadat Hasan Manto will outlive us all.

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Gauhar Raza: Giving Poetry the Power to Protest

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By Asheesh Mamgain

If things were different his poems would have been different, or maybe he would not have been a poet at all. But things are what they are. And that is why Gauhar Raza, the poet is writing, and it is why he writes his poetry of protest.

“Maybe I would have written about love, the beauty of nature and science. But as things stand my poetry is predominantly about resistance and protest,” said Raza, who is faithful to the tradition of resistance poetry to the extent that he has throttled, without much difficulty, the romantic and the scientist in him. “The need to write poetry always arose when something happened around me which affected me, to the core. I have never written and will never write poetry just for the sake of it.”

 

“The murder of Safdar Hashmi, the breaking up of the Soviet Union, the demolition of the Babri Masjid, the killing of an activist in Afghanistan, the death of Rohith Vemula are some of those things,” he said.

Raza’s second published collection of ghazals and nazms (71 in all) came out in November 2017 and is titled Khamoshi, or Silence.

Is there a lot of anger in his poems? Yes, there is definitely a lot of anger. But then there is also hope. That is where Raza becomes special.

“For me, a poem that merely complains or rants about the injustice, violence and persecution happening all around is not enough. A poet has to go beyond this; he has to give a vision. The vision of an alternative world, of a better world. Only then will his poetry be successful and meaningful. A poet has to show the consciousness he wants to bring into society.”

So how does he define good poetry? “Well, a good poem should be able to raise the level of the reader at least one notch higher, and also give him a fresh perspective about the aspect being dealt in the poem. Something new to dwell upon,” said Raza.

The influences that shaped his poetic thought came pretty early, at home and at the Aligarh Muslim University where he studied. Raza’s father, Wizarat Hussain, worked in the education department there and was a second-generation Leftist.

“The question about the existence of God came up very early in my life and soon I became an atheist for life,” said Raza. Literature was read with passion at home and by the time he was 15 he had read all the Urdu literature available at the AMU library as well as a solid portion of Russian literature.

“During my growing years, Leftist thought had a major presence in the university. On the other hand, the fundamental forces were also steadily getting stronger. I was smitten by the leftist idea. I was part of a literary study circle, we served tea at the secret meetings of leftist groups and listened to discussions at home between my father and other intellectuals such as Irfan Habib and Iqtidar Alam Khan.”

There was a lot of churning in his mind and soon he started pouring the remnants of all that into his poems. When it comes to poetry some of Raza’s major influences have been Ghalib, Faiz Ahmad Faiz and Sahir Ludhianvi. He is often seen reciting their work at length during his various lectures, with Sahir Ludhianvi’s long poem ‘Parchhaiyan’ or Shadows one of his favourites.

“Writing the kind of poetry I do is not easy. Each time a write a poem I must relive all the pain and emotion I went through when the particular incident happened that forced me to write. All those disturbing images come rushing back to me. It is a difficult thing to undergo.”

Nor is poetry Raza’s only means of reaching the people. He recently retired as chief scientist from the Council of Scientific and Industrial Research. He is also into documentary filmmaking, his documentaries on Bhagat Singh and the 2002 Gujarat genocide being very well known.

Where does poetry stand today, as a means of communication with the reader? According to Raza, “for one, social media has helped. It has helped poets reach a wider audience. Also, the tradition of musharias and kavi sammelans (poetry meets) is still very strong in India. So even if a poet is competing with the multimedia world, it is easy to reach one’s audience with one’s poetry, provided you have something pertinent to say.”

More broadly speaking, however, “I have to say that things have progressed in a disturbing direction. A poem I wrote 20 years ago, I could rededicate it to Rohith Vemula and then to Gauri Lankesh. This disturbing trend is seen all over the world. I believe that the fall of the USSR has been a major turning point in the way our World has evolved.”

A few lines from one of his poems brings out his concern and struggle.

Mein phool khilata hoon jab bhi,
Woh baad e khizan le aate hain,
Mein geet sunata hoon jab bhi,
Yeh aag se ji bahlate hain.

Whenever I make a flower blossom
They bring the autumn wind
Whenever I sing a song
They give the soul succour with flame.

But Raza is still hopeful. “There has been a resurgence of resistance poetry in Urdu in the recent past. The trend of religious poetry in Urdu has also reduced in recent times. The youth today has become more involved in this attempt to bring a positive change. I have seen young people reading protest poetry and reacting to it. Once again universities have become a place of resistance and struggle for change.”

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