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.
The Punjab Documentation and Advocacy Project (PDAP) in collaboration with Human Rights Law Network and other bodies a two-day Independent People’s Tribunal (IPT) on the issues of enforced disappearances, fake encounters and two decades of the denial of justice and accountability in Punjab.
Before the January 25 revolution in Egypt that led to the Arab Spring, it was the Kashmiris who used social media to mobilise and organise protests in 2008 and extensively in 2010. With 60 per cent of the population under the age of 30, the discourse is led by opinion leaders on various social media platforms and not by the newspapers.
Kashmiris have used the technology as a tool to define their movement for independence. Rather than waiting for journalists to make a story, they are taking a phone and making a story on their own. A phenomenon that has not only created awareness on Kashmir globally, but given local voices an international platform.
So we turn to Bachman’s photograph of Evans. It, too, is true. The moment happened, and the image is an accurate representation of it. Its truth supplies necessary context for our reading of Davidson’s photograph. Supporters of Black Lives Matter have applauded the photograph’s depiction of Evans’s strength, dignity, and almost superhuman calm. (It is important to remember that the photograph records only a split-second in time. Responding to a gif showing the moments immediately before and after Bachman’s photograph, the historian Mark Speltz tweeted, “Iconic photographs represent but a millisecond of an event, a campaign, & especially a movement.” An image made when the approaching policemen were in a less awkward position or as they arrested Evans and hustled her away would read very differently.)