Any city in Pakistan. Even Lahore.
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See: “Mohsin Hamid: torn between New York and Lahore“

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Comment: nikobakos@gmail.com
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Any city in Pakistan. Even Lahore.
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See: “Mohsin Hamid: torn between New York and Lahore“

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Comment: nikobakos@gmail.com
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Two images from ” Pictures of Comfort and Design: Carpets in Indian Miniature Painting“:
“Recline in a comfortable place, an atmosphere of general well-being: nowhere do carpets play such a large role as in the Islamic world. In a region where furniture was little known for centuries, carpets allowed for relaxed sitting and sleeping. At the same time, they served as an important representational element and created an impressive ambience at courtly events.”
The Mughal Emperor Jahangir (r. 1605–27) with his wife on an imperial carpet with a lattice and flower pattern, probably from Kashmir, India or Lahore, present-day Pakistan, early 17th century, opaque watercolour and gold on paper © Staatliche Museen zu Berlin, Museum für Islamische Kunst / Ingrid Geske
The Mughal Emperor Muhammad Shah (r. 1720–48) on a grey carpet with green scrolling vines and pink blossoms, India, first half of the 18th century, opaque watercolour and gold on paper © Staatliche Museen zu Berlin, Museum für Islamische Kunst / Ingrid Geske
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Comment: nikobakos@gmail.com
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ILLUSTRATION BY ANNA PARINI; ANIMATION BY JOSE LORENZO
“In Lahore, I was neither a student nor someone with a regular job. And so, as I went about writing my books and seeing my friends and helping raise our children, I was newly free to travel. We spent months abroad. When a friend in New York left his apartment for the summer, we took it. And slowly my ache diminished. It seemed I had been thinking about my problem in the wrong way. Whether to live in Lahore or New York was an impossible question. How to live so I could spend meaningful time in both was not. Journeying between them was my answer. [my emphasis] It remains my answer, even as the dread of a possible travel ban floats somewhere out there, waiting like a spider on the edge of my delicate web.”
Sure M, if you can afford to do that.
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Comment: nikobakos@gmail.com
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This group — “The Dishonourable Brigade” — of smart and very cute…and very brave…Pakistani kids out of Lahore put out this cool song last year that became an instant hit. It’s called “Aalu Anday” or potatoes and eggs, and the Punjabi refrain says “my mom made me potatoes and eggs [again]” i.e. “I’m sick of this shit,” and the song then proceeds to bash and mock the whole landscape of corruption, religious fanaticism and social stagnation of contemporary Pakistan. A viewer will need a bigger expert than me to explain all the references, but enough can be gleaned from just the subtitles, and the YouTube comments contain a lot of information too, if you can pick it out of the mutual Indo-Pak bashing and obscenity that’s usual to YouTube comments.
Takes a lot of guts to put out a song like that but it obviously hit a nerve because it became wildly popular and was embraced in both Pakistan and India. Does anybody know what happened to them?
Don’t miss this television interview with them, conducted in that effortless switching back and forth between Hindustani* and beautiful English that it is so damn enchanting to listen to (or is it Punjabi?):
And another one where the lead singer Ali Aftab Saeed gives us a nice acoustic version towards the end:
I’d love to get some further news on them.
Are things shifting on the sub-continent? A new thaw apparently; Zardari visits India: http://articles.cnn.com/2012-04-08/asia/world_asia_pakistan-india-visit_1_pakistan-and-india-pakistani-leader-islamabad?_s=PM:ASIA
A start, eh? Now let’s get to work on reversing Partition. Well, we can dream, can’t we?
*I use “Hindustani” as often as possible because I try — as often as possible — not to acknowledge the supposed difference between Hindi and Urdu, despite the intense efforts on respective sides of the border to Sanskritize and Islamicize what is essentially one language. Nationalism’s manipulating of what people spontaneously speak is one of its most insidious forms of mind control. Serbs and Croats have been trying to prove their language is not the same one for almost a century now — unsuccessfully, given the capacity of Serbian and Croatian paramilitary thugs to hurl the most fertile insults at each other across battle lines in the nineties with no comprehension problems whatsoever — and now there’s a third contender, the ‘Bosnian’ spoken by ‘Bosniaks.’ To some extent Turks and us went through the same process, though they’re obviously not the same languages: nineteenth-century Greece tried to make Greek Greeker, which meant archaicizing it, and though I don’t necessarily think katharevousa was the artificial monster a lot of people do — in its simpler, less pretentious forms it was capable of great beauty in the hands of certain writers like Papadiamantes — the ideology behind it was a deeply problematic one. Ditto the Turkish Republic, which in the late twenties and early thirties tried to eliminate remnant Persian syntactical features from Turkish and replace all Persian and Arabic words in the language with new Turkish ones (even forcing muezzins to sing the call to prayer in Turkish), an attempt which, if it had succeeded to the full orthodox extent of its intentions, would have left the entire Turkish people mute for everything except the most basic human communication — like in the Hundred Years of Solitude where they have to write “cow” on the cow. Apparently, in 1934, the Great Leader himself made a series of speeches in the New Turkish which were completely unintelligible to everyone except him and his inner clique. They backed off a little afterwards apparently but, between the high learnedness of much Ottoman literature and the Republic’s tinker-tampering, much of nineteenth-century Turkish literature is now unreadable to most modern Turks. As Benedict Anderson said, the nation-state pretends to be the guardian of your culture and traditions but “is actually hostile to the real ways of the past.”
Comment: nikobakos@gmail.com
Another people’s exodus from Egypt…
I always feel like smirking a bit when I come across the title of Mark Mazower’s 2005 book: Salonica: City of Ghosts. It’s not just that “our parts” with their ‘ancient, tribal hatreds’ always seem to be ‘haunted’ in the Western imagination; it’s just that, truly, which of our cities isn’t a city of ghosts? Salonica, Sarajevo, Istanbul, Izmir? Beirut, Alexandria, Lahore, Delhi? Which?
Well, Al Jazeera has produced a beautiful little documentary by Giorgos Augeropoulos about the story of Alexandrian Greeks. Augeropoulos is apparently the director of a highly praised Greek documentary series and has been pretty vocal in Greece’s recent political and fiscal crisis/rezili, but I had never heard of him before.
Al Jazerera, by the way, has now become my primary source of news. It’s the only place one can get any serious international news, run from the idiocy of American politics, escape from MSNBC’s twenty-four hour liberal catechism class, and catch genuinely original and — I don’t know how else to put it — sincere documentaries like this. Watch it when you have the chance.
Below are the complete texts of the two Cavafy poems used at the beginning and end of the documentary, “Candles” and “The City” in both Greek and English. Single-accent Greek (the appropriately named “monotonic”) literally causes me visual pain — like, I can’t look at it, actually have more trouble reading it — and when used for Cavafy the pain reaches excruciating levels, but I couldn’t find the poems in polytonic versions anywhere on line; those who know what I mean, please forgive me. And this from “The Official Website of the Cavafy Archive,” malaka: http://www.kavafis.gr/index.asp …criminal, ntrope. And I’m beyond certain Cavafy himself, so much of whose work was dedicated to memory, the past, and the continuity of Greek civilization, would have agreed
The English translations are by Edmund Keeley and Phillip Sherrard, still the best around, despite the attempts of many others. Under the Greek version of “Candles” is the Greek actress Eirene Pappa’s performance of the poem set to music by Mimes Plessas. Below the Greek version of the “The City” is a gorgeous reading of the poem by the truly great actress Elle Lambete, whose stunning Greek face I think readers should have a photo of as a visual reference:
Patricia Storace, in her Dinner with Persephone: http://www.amazon.com/Dinner-Persephone-Travels-Patricia-Storace/dp/0679744789/ref=sr_1_1?s=books&ie=UTF8&qid=1333821533&sr=1-1, the first book I recommend to anyone who wants to get Greece and Greeks (along with Patrick Leigh Fermor’s classic Roumeli: http://www.amazon.com/Roumeli-Travels-Northern-Greece-Classics/dp/159017187X/ref=sr_1_1?s=books&ie=UTF8&qid=1333821635&sr=1-1), writes:
“Greek is not a voluptuous language, or a lilting one, but stony and earthy, a language full of mud, volcanic rock, and glittering precious stones…”
Listen to Lambete and you’ll know what she means.
Κεριά
Του μέλλοντος η μέρες στέκοντ’ εμπροστά μας
σα μια σειρά κεράκια αναμένα —
χρυσά, ζεστά, και ζωηρά κεράκια.
Η περασμένες μέρες πίσω μένουν,
μια θλιβερή γραμμή κεριών σβυσμένων·
τα πιο κοντά βγάζουν καπνόν ακόμη,
κρύα κεριά, λυωμένα, και κυρτά.
Δεν θέλω να τα βλέπω· με λυπεί η μορφή των,
και με λυπεί το πρώτο φως των να θυμούμαι.
Εμπρός κυττάζω τ’ αναμένα μου κεριά.
Δεν θέλω να γυρίσω να μη διω και φρίξω
τι γρήγορα που η σκοτεινή γραμμή μακραίνει,
τι γρήγορα που τα σβυστά κεριά πληθαίνουν.
Pappa and Plessas: http://www.youtube.com/watch?v=_0DiYKzHHdY&feature=related
Candles
Days to come stand in front of us
like a row of lighted candles—
golden, warm, and vivid candles.
Days gone by fall behind us,
a gloomy line of snuffed-out candles;
the nearest are smoking still,
cold, melted, and bent.
I don’t want to look at them: their shape saddens me,
and it saddens me to remember their original light.
I look ahead at my lighted candles.
I don’t want to turn for fear of seeing, terrified,
how quickly that dark line gets longer,
how quickly the snuffed-out candles proliferate.
Η Πόλις
Είπες· «Θα πάγω σ’ άλλη γη, θα πάγω σ’ άλλη θάλασσα.
Μια πόλις άλλη θα βρεθεί καλλίτερη από αυτή.
Κάθε προσπάθεια μου μια καταδίκη είναι γραφτή·
κ’ είν’ η καρδιά μου — σαν νεκρός — θαμένη.
Ο νους μου ως πότε μες στον μαρασμόν αυτόν θα μένει.
Όπου το μάτι μου γυρίσω, όπου κι αν δω
ερείπια μαύρα της ζωής μου βλέπω εδώ,
που τόσα χρόνια πέρασα και ρήμαξα και χάλασα.»
Καινούριους τόπους δεν θα βρεις, δεν θάβρεις άλλες θάλασσες.
Η πόλις θα σε ακολουθεί. Στους δρόμους θα γυρνάς
τους ίδιους. Και στες γειτονιές τες ίδιες θα γερνάς·
και μες στα ίδια σπίτια αυτά θ’ ασπρίζεις.
Πάντα στην πόλι αυτή θα φθάνεις. Για τα αλλού — μη ελπίζεις—
δεν έχει πλοίο για σε, δεν έχει οδό.
Έτσι που τη ζωή σου ρήμαξες εδώ
στην κώχη τούτη την μικρή, σ’ όλην την γη την χάλασες.
Lambete: http://www.youtube.com/watch?v=y32nzLanljY
The City
You said: “I’ll go to another country, go to another shore,
find another city better than this one.
Whatever I try to do is fated to turn out wrong
and my heart lies buried as though it were something dead.
How long can I let my mind moulder in this place?
Wherever I turn, wherever I happen to look,
I see the black ruins of my life, here,
where I’ve spent so many years, wasted them, destroyed them totally.”
You won’t find a new country, won’t find another shore.
This city will always pursue you. You will walk
the same streets, grow old in the same neighborhoods,
will turn gray in these same houses.
You will always end up in this city. Don’t hope for things elsewhere:
there is no ship for you, there is no road.
As you’ve wasted your life here, in this small corner,
you’ve destroyed it everywhere else in the world.
Comment: nikobakos@gmail.com