The frame is divided into three sections, with the top heading – ‘United States of America In’. All three section has a United States Airforce aircraft, visually moving from one section to another. In the first frame, on the left, the US Airforce aircraft is coming in dropping weapons like assault rifles and stringer missile launchers, each attached to a parachute. They are being dropped to the ground where a sign board pointing ahead appears on which Afghanistan is written. On the top of this first frame, 1979 is written, to indicate the US support to the Mujaheddin in Afghanistan, who later formed the Taliban.
In the second section, in the middle, the US aircraft is dropping bombs on Afghanistan (a sign board is visible on ground) and on the top 2001 is written marking the US invasion of Afghanistan. The third and last section, with the text 2021 written at the top shows the US aircraft flying away with two people falling off the plane to the ground with a sign board ‘Afghanistan’ pointing back, representing the actual incident of Afghans, trying to leave the country after US withdrawal and Taliban takeover, falling off a US air force aircraft during take off from Kabul International Airport.
The following was originally published as the afterword to the collection Love after Babel and Other Poems by Chandramohan S, published in January 2020 by Daraja Press. The collection won the Nicolás Cristóbal Guillén Batista Outstanding Book Award in January of this year. You can order a copy direct from Daraja Press here.
They ask me why do you write poems? I write poems – the people have the right to…bear arms.
These lines, taken from his one-stanza masterpiece ‘Why Do I Write Poetry?’, encapsulate the very essence of Chandramohan S’ approach to his craft in his third collection, Love after Babel and Other Poems. These poems are unapologetically weapons, fighting against the pre-modern notion of caste in all its insidious 21st century glory.
Norwich, like many cities and towns across Britain, has seen a number of Palestinian solidarity protests in recent weeks. These protests came in the wake of the latest series of aerial bombardments between Israel and Hamas-controlled Gaza, which resulted in the deaths of 256 Palestinians and 12 Israelis, according to UN figures. The spark for this recent escalation of violence occurred when an Israeli court greenlit eviction proceedings of Palestinian families in the Sheikh Jarrah neighbourhood of East Jerusalem, and subsequent peaceful protests were brutally repressed, culminating in attacks by Israeli police on the holy site of Al-Aqsa Mosque during Ramadan, which elicited international condemnation.
In the foreground, an Israeli military bulldozer is broken in half due to impact of a map of Palestine. Pieces of the Israeli bulldozer lay scattered around. The Palestinian map is overlaid with Palestinian flag. The military bulldozer represents Israeli annexation of Palestinian land and the Palestinian map represents Palestinian resistance. In the background text reads: ‘Resist Israel’s Annexation Plan’ and ‘Freedom For Palestine’.
Content warning: references to police violence, racist violence.
The revival of the Black Lives Matter movement has inspired an array of haunting artistic responses. Black Lives Matter: Poems for a New World, edited by Ambrose Musiyiwa, is no exception. With over 100 contributions from writers of diverse ages and backgrounds, the collection is a poignant exploration of an era of renewed protest and newfound solidarities, against the backdrop of the coronavirus pandemic.
Since 5th August 2019, the Indian government has shut down Kashmir in the most repressive and terrifying fashion possible. 48,000 Indian troops have been moved into the state, making it, with 70,000 Indian troops already posted there, the most densely militarized zone on Earth. These troops are now operating under a “shoot-to-kill” policy and hundreds of Kashmiri human rights activists, academics and business leaders have been arrested. Meanwhile, the Indian government has simultaneously imposed a media and communications blackout, cutting off the internet and thus preventing Kashmiris from being able to communicate their suffering in real time to the rest of the world. Pakistan too revoked state subject rule from Gilgit-Baltistan (part of Pakistan occupied Kashmir) in 1974, in a move similar to India’s current strategy. However, in doing so, there was no media black-out nor curfews imposed. India, on the other , has jailed all Kashmiri leadership, transferring them to jails in New Delhi, as well as, according to a magistrate speaking on condition of anonymity, arresting and detaining over 4,000 Kashmiri citizens since 5th August.
The unassuming small parish village of Southrepps, twenty-two miles north of Norwich, is the surprising location for a memorial to the former pariah state of Southern Rhodesia/Rhodesia – now Zimbabwe. This is not necessarily a well-known site – it was stumbled across during a summer cycle – yet it represents an important space to demonstrate the wider political environment in rural Norfolk, and the area’s connections to right-wing pressure groups further afield. The memorial itself is opposite Southrepps Hall and is made up of an avenue of Tilia Cordata – small-leaf lime trees – and three flag poles hosting the Union Jack, the Rhodesian flag and the original Southern Rhodesian flag. The Sladden family are the ‘Lords’ and ‘Ladies’ of Southrepps Hall and have a close history with Rhodesia, historically being settlers themselves. It would appear that the Sladden family built the memorial to commemorate their connections to the former country and to celebrate its memory.
Content warning: this article mentions racism, discrimination, oppression, and racial / cultural slurs.
“If the Welsh are striking over hunger, we must fill their bellies with lead” are the famous words Winston Churchill never spoke, about sending in the Lancashire Fusiliers to put a swift end to the 1910 Tonypandy miners’ strike.
Though he never advocated firing on the miners, he did send the soldiers to the picket line, and was definitely still an imperialist, eugenically-minded war criminal. The only reason the quote is mistakenly attributed to him so commonly is because it is so utterly believable. It typifies the contemptuous colonial attitudes held by the man himself, and the English parliament, for the Welsh and the working class.
Wales was England’s first colony – the template for later British imperialism. Many of its basic strategies were forged here in England’s closest and very first colonial asset, before being exported all over the world.Continue Reading
There’s an old home-grown metaphor that runs in the Italian side of my family – which may have been acquired by my great-grandfather through his context and peers, I just have never heard it anywhere else – which goes as follows:
Italy is a watermelon. The thick, green skin on the outside is democracy, the Republic. The thin white layer that keeps everything inside together is the Democrazia Cristiana (Christian Democracy, the centre party that governed Italy after WWII, and the ancestor of pretty much all centrist politicians since). The red pulp is the Socialist, Communist heart of the country. But the seed, the black seed from which it all grows – that’s Fascism.