by Ghulam Mohammad Khan
Art production is contingent upon the artist’s freedom.
A historical event in 2019 altered the collective perception of the purpose, means, and future of creative literature in Kashmir. Unfolding unexpectedly and abruptly, it severed the region’s connection to its past, ransacking its collective memory. The region entered an era of oppressive silence that was almost spitefully disciplinary.
As I reflect on the changes under this new and peculiar system, I am reminded of a recent conversation I had with one of my professors.
The professor had recently read an article I wrote, which, in his opinion, was overly simplistic. “Such writing is no longer sufficient for our survival. It should adopt a Barthesian style, where meanings are ambiguous and paradoxical, yet not overtly direct. Otherwise, we might as well abandon the craft of writing,” he said. “Our readers are neither naive nor uninformed. For example, Orwell’s Animal Farm, a beast fable, did not diminish his status as a democratic socialist, however, fiction does not provide immunity to the act of writing anything and expecting it to go unnoticed.”
The professor opined that surveillance does not differentiate between genres; it merely targets specific messages, and it is not merely a casual representation of human imagination or a whimsical indulgence, but an important tool in exploring social truths.
This conversation reflects a growing sense of insecurity surrounding the act of writing directly about politics in Kashmir, contributing to a noticeable decline in the production of serious literary works, as writers increasingly feel constrained in addressing the complex political realities of the region.
In the short section discussing the growing literary culture in the English language in his book Kashmir: Rage and Reason, Kashmiri journalist Gowher Geelani admits that despite having a thriving community of writers, Kashmir still lacks a robust literary portrayal of the situation. He calls it a ‘narrative vacuum’. Literature naturally evolves using the articulation of human experiences, emotions, and adversities. Institutional repression, regardless of its subtlety, cannot entirely suppress this urge.
Historically, literature has endured through oral traditions, encoded language, and clandestine activities. Despite the restriction, the enduring existence of literary forms demonstrates the unyielding human desire for expression. In totalitarian regimes such as Soviet Russia or Mussolini’s Italy, literature persisted through samizdat, exile, and allegory. The act of writing constitutes a form of resistance against the state’s repressive forces.
Literature is inextricably linked to the political framework that influences human existence. Each historical period, governmental system, or social movement influences literature, either through direct involvement or indirect representation. By engaging with the political, literature does not only supplement the prevailing narrative but offers an essential critique.
Despite technical progress or governmental efforts to curtail free expression, the written word persists. Literature is among the rare creative forms that can be transmitted over generations, even in the most oppressive regimes. It safeguards the collective memory, unexpressed dissatisfaction, and aspirations of individuals, which endure long after the regimes that attempted to suppress them collapse. Writers who persevere contribute to this lasting legacy, guaranteeing that future generations know both the anguish of oppression and the strength of defiance.
Writing about politics, however, is particularly difficult since, unlike music or movies. Writing is a private activity. It can be difficult to adequately express the language or position of a group when working alone with only a computer and one’s own hands and fingers. Fiction employs a distinct language that captures the subjective awareness of individuals, perceiving and understanding the world with moral uncertainty. Within this framework, different problems and desires constantly fluctuate and clash, ranging from unpleasant to pleasant, merging these two categories in enigmatic and unconventional manners that mirror the profound aspects of human nature through obscure and surreal reminders.
All forms of art, including fiction, are inherently political. That remains valid even if the author refutes it or attempts to evade it. We have been advised to exercise caution in placing trust in the writer, but rather to place trust in the quality of their work. While this may appear to be a form of academic sophistry, it is particularly relevant when considering a writer who denies the principles of politics. It would be prudent to have this in mind. Art production is contingent upon the artist’s freedom. The artist’s commitment to freedom of speech is essential, as it is crucial for the preservation of a democratic society. Politics is an inescapable reality for writers and everyone else. We are all inevitably subject to the structures of authority and patterns of human conduct that encompass our lives. Choosing not to acknowledge or reject this exposes one’s inherent advantage.
In light of the above, therefore, whatever the circumstances, the writer community in Kashmir, particularly the emerging group of English-language authors, must remain committed to their craft and the literary tradition established by influential figures such as Agha Shahid Ali, Siddharth Gigoo, Mirza Waheed, Rahul Pandita, Basharat Peer, and many others. This fledgling tradition demands both integrity and resilience to flourish. Despite the divergence in narratives—whether between the Pandit and Muslim perspectives or among other sociopolitical and cultural divides—the literary tradition of Kashmir must thrive on its own terms, rooted in authenticity and originality.
Writers must continue to explore and express the region’s complexities, without abandoning their creative integrity. Only through such dedication can this literary tradition grow, evolve, and offer a genuine reflection of the Kashmiri experience.
(The author is a writer from Sonawari (Bandipora). His work explores local narratives and untold histories. His debut collection, The Cankered Rose, is forthcoming. Views are personal.)
