Who am I – Uncertain Identity
Kashmir is often seen by many as a territorial dispute between South Asian nuclear rivals: India and Pakistan. But in the last 28 years, the humanitarian cost of the conflict has been extreme. Tens of thousands of people have died, thousands have been orphaned and around 8,000 people are missing. Sharafat shot these photographs in different areas of Kashmir over recent years. During this time, Kashmir witnessed some of the deadliest anti-India protests in the history of 28 years of the conflict. More than 100 children and teenagers died during 2016 alone. Sharafat’s work deals with conflict, politics, faith and daily life in the region.
Source: Sharafat Ali – 2017 Award for Achievement | Ian Parry
Board a train, thrust your way through the crowd to some messy corner of a general compartment and you start losing your identity.
Source: Don’t Breathe: Travelling Unreserved on the Indian Railways – The Wire
African literature cannot move forward if our most celebrated authors are writing about America and Europe, writes Siyanda Mohutsiwa.
I’m over it: Immigrant Literature
I don’t know when it happened. It might have been somewhere in the middle of Teju Cole’s Open City, as I followed his protagonist around the streets of New York. Or maybe it was at the end of NoViolet Bulawayo’s We Need New Names, when I boarded the flight to America with its precocious star. Or perhaps it was a few weeks after finishing Chimamanda Ngozi Adichie’s Americanah, and I had finally begun to forget the stress carried by illegal African immigrants in Europe.
Whichever way it happened, it happened. And I found myself flinging my copy of The Granta Book of the African Story across the room, vowing to never read a piece of African Fiction again, or at least its “Afropolitan” variety.
Let me explain.
Source: I’m Done With African Immigrant Literature
The photograph of Robert’s that was a significant turning point for me is “Canal Street—New Orleans.” This image had always puzzled me, as if it were saying, “See this undifferentiated mass of pedestrians? It’s worthy of an image.” But why? I asked myself dozens of times as I paged through “The Americans.” Why did Robert make this photograph? What was he thinking? Why did he use it in the book when it seems so generalized? Over time, I came to realize that the reasons for making a photograph and what it may mean to you later are two different things, and what it means to somebody else is yet another. This image came to life for me years after I first puzzled about it, when I was undertaking a transformation in my own work and realized that Robert had planted a seed that was then sprouting.—Joel Meyerowitz
Source: Eight Photographers on Their Favorite Image from Robert Frank’s “The Americans”