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SOMETHING SWEET FOR YOU



A young man stood accused of having stolen a motorbike. Whether he had indeed committed the deed was never rightly proven. Yet, owing solely to the fact that he belonged to a certain community—deemed suspect not by evidence but by prejudice—he was seized, bound to a tree, and beaten with such merciless fury that life itself was scourged from his body.

 

The incident stirred a cry of righteous indignation among one portion of the populace, whose hearts recoiled at such barbarity. Yet on the other side—among those who had laid violent hands upon him—there was a grim satisfaction, for they had forced from his bruised lips the recitation of sacred words, not in reverence, but as a cruel theatre of submission. They took perverse pride in this, believing that his death, thus orchestrated, would stand as a dread proclamation: that any who dared to walk a different path, or speak with an unapproved tongue, would find themselves likewise silenced—by blood, by terror, and by the mockery of the holy.

 

To be outraged upon hearing of such an incident is no more than the proper instinct of any soul not wholly estranged from its humanity. We shudder at the sight of animals slain—even when such deaths serve the ancient and necessary order of the food chain—and we devise intricate justifications to soothe our consciences, urging that such grim necessities be restrained or refined. And yet, when the life of a fellow human being is snuffed out in broad daylight, butchered before the eyes of the world, the response—uttered with chilling ease—is simply this: He deserved it.

 

When one dares to express even the gentlest aversion to harming a breathing creature—or hesitates, with quiet reverence, to shatter even that which is lifeless—one is swiftly admonished: These are not the times for free speech. Very well then, let us, for a moment, concede to this assertion. But let us also peer, however briefly, into the archives of history. Pray tell, when have the times ever belonged to free speech? Has the candid utterance of one’s mind ever been without peril? From age to age, the voice of reason has walked on embers, its tread unwelcome in the halls of power or amidst the tempests of public sentiment. No era has embraced sensibility with open arms; no generation has lavished support upon balance and thoughtful restraint. Time and again, the voice of measured conscience has been stifled—not because it lacked merit, but precisely because it bore too much of it, and thus posed a threat to the fragile scaffolding of society’s illusions.

 

And so we arrive at the inevitable question: What has become of the world? Do those who stoke the fires of hatred and devastation truly fail to see that the inferno consumes them as well? That hatred is not a weapon one hurls without injury to oneself—but a slow, poisonous draught that corrodes the soul from within long before it ever touches its intended target? One wonders whether many would even venture a reply to such reflections. For we live in a time when philosophy is whispered about as though it were a ghost, and intellectual enquiry is pronounced obsolete, if not outright dangerous.

 

And it is precisely here that the field of moral psychology offers a glimmer of illumination. For its questions are as ancient as they are urgent: How do children come to understand rules, especially those concerning fairness? By what means do they distinguish right from wrong? Are they born as blank slates, as John Locke posited—waiting for the world to inscribe its lessons upon them? Or do they enter this world already endowed, as Charles Darwin contended, with the seeds of wisdom, the stirrings of empathy, and the flickering’s of a moral imagination already in motion? In pondering these questions, we begin not merely to search the minds of children, but to examine the soul of our age.

 

Professor Jonathan Haidt poses a question both incisive and unsettling: If morality shifts across cultures and through the passages of time, how then can it be said to be innate? Surely, whatever moral compass we possess must have been acquired in childhood—shaped by experience, moulded by custom, and impressed upon us by the voices of our elders, instructing us in what is right and what is wrong.

 

It is a query that strikes at the very root of the matter. For if moral truths are not written upon the soul at birth, but rather scribbled there by the hand of circumstance, what then becomes of the claim that conscience is universal? Are we merely echo chambers of the age and soil in which we are reared? Or might it be that the moral sense, though coloured by culture, springs from deeper waters—present in all, though not always sung in the same key?

 

Jean Piaget, one of the foremost minds in developmental psychology, began his intellectual pilgrimage with a deep fascination for the natural transformations of the animal world—marvelling at the mysterious progressions that carry a humble caterpillar toward the splendour of a butterfly. In time, he turned this fascination toward children, bringing with him a keen interest in the stages by which human understanding unfolds. His aim was no less ambitious than to trace the emergence of adult reason—so nuanced, so deft—from the seemingly primitive and fumbling thoughts of the child. He sought to understand how the cognitive butterfly takes wing from the larval beginnings of early thought.

 

Piaget was convinced that children possess a remarkable instinct for discovering moral truths. Yet, he also laid bare the peculiar missteps they make along the way—errors not of wickedness, but of innocence, shaped by a mind still awakening to the world’s complexity.

 

To illustrate this, Piaget devised a simple but telling experiment. He would pour equal amounts of water into two identical glasses and ask the child whether the two held the same quantity. Naturally, the child would affirm that they did. But then, with the gentlest sleight of hand, he would pour the contents of one glass into a taller, narrower vessel and ask again. Children below the age of six or seven would often insist that the taller glass now held more water, convinced by the mere rise in water level, unable to grasp the constancy of volume beneath the changing shape. The water, of course, remained the same, but the child’s mind had not yet ripened to perceive it.

 

What Piaget revealed through this and other observations was profound: the understanding of such fundamental concepts is neither innate nor simply handed down from adult to child. It cannot be summoned by instruction alone. No matter how clearly an adult might explain the principle of conservation, the child cannot yet take hold of it—because the soil of the mind has not yet been tilled for such seed. Comprehension, in Piaget’s view, requires more than information; it demands the convergence of age, experience, and a readiness of mind—a stage in which the intellect itself has been shaped by life into a vessel fit to contain understanding.

 

Piaget, ever the tireless observer of the growing mind, extended his cognitive-developmental approach into the land of children’s morality. With remarkable humility and devotion, he would lower himself—quite literally—to the child’s world, getting down on hands and knees to join them in a game of marbles. While engaged in their play, he would intentionally break the rules or feign ignorance, inviting correction not through lecture, but through participation. The children, in their earnest responses to his intentional blunders, revealed much more than annoyance—they unveiled the dawning of moral understanding: their capacity to uphold rules, to modify them in the spirit of fairness, to take turns, and—most critically—to resolve disputes among themselves.

 

This moral awakening, like all growth in Piaget’s theory, unfolded in discernible stages, each rooted in the maturing of the child’s cognitive powers. He discerned that a child’s sense of right and wrong does not descend fully formed from the mouths of adults, nor does it spring ready-made from within. Rather, it is self-wrought—constructed painstakingly through lived experience with peers, through conflict and cooperation, through the very messiness of life shared.

 

In Piaget’s metaphorical world, the learning that takes place through games is not unlike pouring water between glasses—repeated, observable, yet misunderstood by minds not yet prepared. No matter how many times he demonstrated the notion of fairness to three-year-olds, they, like with the concept of volume, simply could not yet comprehend it. Their moral reasoning, like their spatial reasoning, lay dormant, awaiting maturation.

 

But something remarkable occurred as the children reached the age of five or six. It was not sermons, nor adult decrees, but the wrangling over rules, the quarrels and reconciliations among themselves, that forged in them a far more authentic understanding of fairness. From such simple negotiations, they came to know what no formal instruction could effectively impart.

 

And herein lies the heart of what Piaget—and psychological rationalism more broadly—proclaims: that rationality is not a divine gift granted in full at birth, but a seed that unfolds through time, through trial, through interaction. Just as the caterpillar inches slowly toward its winged glory, so too do we grow into moral creatures, equipped—through the refinement of reason and the crucible of experience—to grapple with life’s complexities and dwell in harmony with others. Rationality, Piaget believed, is our nature—but its full flowering, the summit of sound moral judgment, is the destination of our development, not its starting point.

 

Piaget’s framework, though forged in the quiet domain of childhood psychology, lends itself with striking clarity to the broader stage of our troubled world. One might well surmise that it shall take not one, but four or five generations to recalibrate the prevailing mindset—for the spirit of our age is perilously steeped in dichotomy: ever for or against, seldom seeking the golden mean. This rigidity is no accident; it is the fruit of dogmas incessantly drilled into pliable minds, not through reflection but repetition.

 

Children, ambiguous by nature and impressionable by design, absorb the dispositions of their parents as surely as soil draws in rain. And raised amidst the fog of weariness and confusion—where the air is thick with grievance and fear—they will likely inherit not only the prejudices of their forebears, but amplify them. They will not merely echo their parents’ antipathies, but resound them with fresh intensity.

 

Yet history, like nature, abides by a certain rhythm. And as is the way of human development—mirroring Piaget’s own vision—those who grow up burdened by the excesses of their parents often yearn to become their opposites. Thus, out of the ashes of prolonged discord, there may arise a generation whose hunger is not for vengeance, but for virtue; not for division, but for harmony. In them, balance may be reborn, and with it, the long-lost moral clarity of a wiser age. Such a generation might raise their children not on the stale bread of hatred, but on the fresh manna of fairness, compassion, and goodwill.

 

True, none of us walking the earth today may live to see that blessed dawn. We are, perhaps, too near the fire to behold the spring that shall follow this winter of discontent. But even so, let us not despair. For though we may not witness the fruit, we may yet plant the seed. And with hearts turned heavenward, we may hope—nay, pray—that the day hastens when mankind shall be graced with the long-desired luxury of peace: a world not ruled by fear, but shaped by understanding; not hardened by violence, but softened by love.

 

One takes up arms, not in the spirit of conquest, but when the very roots of one’s being appear imperilled; one strikes at the throat only when life itself seems poised upon the edge of annihilation—when the law of the jungle, survival of the fittest, becomes not theory but imminent threat. And yet, by every measure of reason and fairness, the minority communities presently subjected to hostility pose neither such threat nor challenge to the dominant majority in any corner of the world. They seek neither dominion nor duel; they do not arise in defiance, but endure in quiet perseverance.

 

Why then does the majority, wielding the greater power and influence, so often behave as though besieged? Why do they, like the children in Piaget’s experiment, fail to perceive the immutable truth—that the contents are the same even when the vessel shifts in form? Is it so difficult to grasp that despite differences in appearance, belief, or custom, the essential humanity within is no less sacred, no less real?

 

And if, as so often declared, the minority is deemed inconsequential by the majority, what then explains the depth of this irrational fear and the frequent descent into cruelty? Chastisement, where due, may be comprehended—even justice, when applied with compassion, has its place. But what of the impulse to brutalise? Ought not the stronger to safeguard the weaker, as a parent protects the child—not out of pity, but out of the superiority conferred by strength?

 

Why then has the taking of innocent lives become a grotesque pastime, indulged without remorse? What is such savagery, if not the most pitiable display of cowardice? For to massacre the unarmed, the defenceless, is not an assertion of might but a confession of terror—terror that gnaws at the soul even in the seat of power. And what, pray, has one to fear, when one is already master of the land?

 

It is not the minority that threatens the majority, but rather the reflection in the glass—distorted by pride and prejudice—that renders the heart blind to reason. And if such blindness persists, it is not the minority that shall perish, but the very moral fabric of the majority’s soul.

 

Concerning the minority, one is compelled to wonder: what is it that renders them so unyielding? They are acutely aware of their own powerlessness, and one might suppose that such perilous circumstances would incline them to seek conciliation rather than confrontation. And yet, they persist in resisting the tide, as though daring fate itself. Why?

 

Surely they must perceive that, in truth, there is little to be gained by defiance, and everything to be lost—chiefly their very lives. Let us take a breath and view the matter from another angle: when we greet a man in his native tongue, not because we must, but because it brings him comfort, do we not regard this as a gesture of goodwill? Then what great harm lies in uttering the phrases demanded of you, even under compulsion? One may rightly protest that such utterance is not born of affection but of coercion, not of liberty but of domination. This is true. Yet in a moment where no victory is attainable, does not prudence advise that one bow, not in spirit, but in posture?

 

After all, what is being asked may not belong to your creed, but it is not entirely foreign to your heritage. Do not mistake this concession for a betrayal of soul; it is not a matter of ego, but of brute force. And when force—not reason—governs the moment, self-preservation and the protection of one’s family must take precedence over the satisfaction of making a stand. Better to endure in silence than to perish in protest.

 

Some, no doubt, will call such restraint cowardice; others, defeatism or evasion. Let them. Let the world cast its judgments as it will. Your task is not to win their applause, but to steer your life with discernment. For in the end, I am is of far greater consequence than I was. In times of duress, wisdom lies not in reckless defiance, but in measured endurance.

 

One must choose life above all—above religion, above politics, above the proud impulse to make a point at any cost. For while you may believe you are honouring your principles by standing firm, it is your family who must carry the burden of your absence, should you fall as the young man did—beaten to death for no crime, save for being who he was. Let not your final act be one that leaves your loved ones bereft. Let it instead be an act of quiet strength: to live, to safeguard, to endure.

 

In conclusion, I present to you the Hindi short story Lynching, penned by the respected Hindi scholar, novelist, playwright, and fiction writer Asghar Wajahat. This poignant work has been rendered into English by my dear friend Rakshanda Jalil—a distinguished writer, critic, and literary historian—whose careful translation preserves the original’s profound spirit.


When the old woman was told that her grandson, Salim, had been lynched, she couldn’t quite understand it. There was no expression on her dark, wizened face or in her old, misty eyes. She covered her head with a tattered cloth. The word ‘Lynching’ was new for her. But she could guess that it was an English word. She had heard some English words earlier, too, and she knew what they meant. The first English word she had heard was ‘Pass’ when Salim had passed the first class. She knew what the word ‘Pass’ meant. The second word she had heard was ‘Job’. She understood that the word ‘Job’ meant getting employed. The third word she heard was ‘Salary’. She knew what that meant, too. The moment she would hear the word ‘Salary’, the scent of a roti being freshly cooked on a griddle wafted into her nostrils. She could guess that English words were good and the news about her grandson must be a good one. The old woman spoke in a contended tone, ‘May Allah Bless them!’

 

The boys looked at her in disbelief. They were wondering whether they should tell her the meaning of ‘Lynching’, or not. 

 

They did not have the strength to tell the old woman exactly what ‘Lynching’ was.

 

The old woman thought that she ought to bless the boys who had brought such good news to her.

 

She said, ‘My children, May Allah grant Lynching for all of you...Wait, I will get something sweet for you.’

 

 

THE LUMINESCENCE OF HOPE AMIDST DIVISION



THE LUMINESCENCE OF HOPE AMIDST DIVISION

 

 

 

William Shakespeare

Act 3, Scene 1, Page 3

THE MERCHANT OF VENICE

 

I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions? Fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer as a Christian is? If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge? If we are like you in the rest, we will resemble you in that. If a Jew wrong a Christian, what is his humility? Revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example? Why, revenge. The villainy you teach me I will execute—and it shall go hard but I will better the instruction.

 

Whenever public discourse is inflamed by the fevered passions of religious strife or divisive contention, my mind invariably returns to those immortal words of Shakespeare. They are, in truth, so luminously self-evident that they require no exposition. And thus, with due reverence to their wisdom, I turn now to the matter that weighs most heavily upon the minds and tongues of men—the spectre of terrorism and those who perpetrate it. 

 

The world, it seems, will quarrel and kill; it will provoke with malice, mock with impunity, and drown the still, small voice of reason beneath the clamour of its own unrest. For reason is a faculty alien to the fevered mind—and the modern age, by any honest account, is in a state of profound and perilous agitation. One need not be a scholar, nor a political sage, nor even a contemplative philosopher to discern the plain and disquieting truth: this is, at its core, a war not of ideals, but of wealth—a relentless contest for dominion and gold. And those who wield such power have no intention, under any condition whatsoever, of relinquishing it.

 

What we are witnessing in these troubling times is that the war—ostensibly one for dominion and material gain—has insidiously metamorphosed into a war waged between human hearts. And it is precisely here that my comprehension falters: how is it that the learned, those presumed to be guided by the light of education and reason, are so readily beguiled by the very forces that, under the veil of patriotism, are dismantling the foundations of the nation they purport to defend?

 

How, I ask, does one pass off devastation as development, when its people are being expertly estranged by instruments of division, cunningly engineered to fracture rather than to unite? It is a fallacy—deeply dangerous and manifestly unwise—to presume that the mere accident of birth into a so-called ‘superior’ caste or class is, by itself, sufficient to pilot a nation toward progress. History, and indeed common sense, teaches us that it is only in the communion of diverse hearts, working in concert and harmony, that a nation finds its true strength and eventual flourishing.

 

Only this morning, I happened upon a post on that great amphitheatre of modern sentiment—Facebook. It read: “To forgive the terrorists is up to God, but to send them to see God is my duty.” Beneath it, the author had appended the chilling coda: “Let us send every Muslim to God!” And I sat still, momentarily bereft of words, struck not only by the monstrousness of the sentiment, but by the calm confidence with which it had been uttered.

 

How base must a man become before he begins to mistake vengeance for virtue? Do such persons not realise that in nursing such hatred, they inflict not only wounds upon others but grievous harm upon their own souls? Hatred, like fire, consumes first the vessel that contains it. It burns indiscriminately—not only the object of its fury, but all that surrounds it, including its bearer.

 

And what arrogance lies in the heart of one who imagines himself to hold in his hands the prerogative of God—to mete out death as if it were his sacred commission! But then again, who is to teach the misled that an ungoverned mob is not a discerning force? It sees neither right nor wrong, neither friend nor foe. It does not examine; it annihilates. It sweeps away all in its path, like a blind tempest loosed upon the earth, bringing only sorrow in its wake.

 

“I am proud to be a citizen of one the most philanthropist countries – Pakistan, where people changed their profile pictures and put up statuses for what happened in Paris.

 

Surprisingly, many of us never changed our DPs for any other Muslim/Brown-skinned nation, not even for their own country, when we had casualties, many times more than Paris… Wow!!! This is called immense empathy. I appreciate you for being so global and being so sensitive… (But does this sensitivity only validate for developed/Western countries).

 

We condemn the attack from the core of our hearts, rather who can empathise the pain better than us, but at the same time, I feel terrible when no one from any part of the globe changes their DP to green and white when we lose 1000s of innocents in a day in bomb blasts and target killing. I feel terrible when I don’t see, “Pakistan” in the list of countries where they deliver online goods. Web pages where they have online subscriptions, universities where they offer scholarships, where they make online sign-in to many mail/web accounts, where they even offer verification to social media and apps – even they don’t offer medical support to Pakistan online...(there are endless examples, these are just to name a few).

 

We have been offering thousands of lives in the name of war against terrorism over decades, and still we are labelled as a terrorist nation/the most dangerous place on earth. The West rather hates us, or doesn’t even know who we are, and where we exist on the globe.

 

My heart bleeds for every innocent killed anywhere, but does their heart feel the same when our people are killed each day on the streets?

 

I don’t mind profile pictures being dipped in the French flag, but I wish the West also treats us equally, and feels our pain as well when our bodies bleed, because WE BLEED THE SAME COLOUR.”

 

These words were penned by Imran Abbas—an architect by training, a poet by sensibility, and an actor by vocation. Yet, if one listens attentively, one realises that his utterance transcends the narrow boundaries of nationality. He is not speaking merely of Pakistan; he is pleading for humanity itself. For a race that, despite its long inheritance of wisdom, has grown startlingly numb—calloused, not by necessity, but by choice; drenched in a quiet and corrosive disgust.

 

In Imran’s lament, one hears not a cry for pity, but a clarion call for dignity. For inclusion, yes—but not the patronising sort that stoops to condescend. Rather, he speaks of a society in which no man need fear alienation for being different, and where respect is extended not as a favour, but as a fellow’s due. His voice resounds with a yearning for a world in which equality is not a slogan painted upon banners, but a condition etched into the daily conduct of men.

 

We delude ourselves if we suppose that radicalism was born out of a vacuum. It is, in truth, the grim harvest of a long and bitter season: centuries of ridicule, repression, and quiet humiliation. It is the result of being consistently spoken down to, subtly excluded, made to stumble over obstacles needlessly placed in the paths of ordinary existence—at home, with neighbours, in places of employment, even among supposed friends. And when the soul has borne such weight for too long, what, pray, do we expect it to do?

 

It may, for a time, endure in silence. But there comes a moment—always a dangerous moment—when the heart, cornered and exhausted, begins to tilt towards any glimmer of hope, however flickering or false. It is precisely in that vulnerable instant that sinister voices take root, offering not peace, but vengeance disguised as light; not fellowship, but fury cloaked in the garb of redemption.

 

This, I fear, is what compels some Muslims to turn to violence—not out of some innate proclivity, as the prejudiced would claim, but because we as a global community have, knowingly or not, contributed to the conditions that imprison them. And whether through silence or action, indifference or incitement, each one of you—each one of us—has, in some way, helped press their backs against the wall.

 

And who, then, are these so-called purveyors of terror—the infamous ‘outfits’ that haunt our headlines and hijack our peace? The answer, I daresay, is not so deeply veiled as some would have us believe. Most who have cared to observe the course of recent history know the answer well enough. And for those who remain unaware, let it be said that the vast repository of the Internet holds ample testimony—grim, detailed, and instructive—to illuminate the matter for any willing seeker.

 

As for myself, I shall confine my remarks to what is both evident and sobering: that a number of these factions—now cast as the enemies of civilisation—were, in fact, conceived, sponsored, and meticulously cultivated by some of the world’s most powerful empires. Empires that, in their pursuit of strategic dominance, sowed seeds they imagined they could forever command, but which have since grown into thorns too wild to tame.

 

Permit me to recount a message that found its way to me through that most modern of heralds—WhatsApp—on the very day the tragic attacks in Paris unfolded.

  

“If the terrorists are behind the Paris attacks, then who are behind the terrorists? Simply put, they are entirely created, funded and directed by the United States, Britain, France and other NATO countries. The Anglo-American Intelligence apparatus has coordinated its actions for geopolitical purposes all across the world both at home and abroad. The attacks on Paris are the trademark of their handiwork. So now, the media reporting of the Islamic fanatics against the Christian West really doesn’t hold much water. Because if you step back and look at it logically, if the government was responsible for creating these people and these people shot the citizens, then it is the government who is responsible for targeting its own people. It is no longer an ‘us against them’ scenario, it is more of a ‘them against them’ or an ‘us against us’ situation, depending on who is looking at it.”

 

Let me make plain that I do not seek to diminish the horror of terrorism, nor do I treat lightly the anguish of its victims. And yet, one cannot help but observe a growing fatigue among the general populace—a weariness born not from indifference, but from the relentless onslaught of grim narratives: death, division, and devastation hurled like missiles, day-after-day, across our screens and into our homes. People, I believe, are becoming disillusioned—not merely by the violence itself, but by the manner in which it is incessantly magnified, exploited, and paraded for political gain.

 

The citizen is no longer asking who struck the first blow. He is crying out instead for something more elemental—peace. A quiet life. A society in which neighbour may dwell beside neighbour without suspicion, and children may grow up in a world where coexistence is not a dream but a daily practice.

 

It was Gwynne Dyer—a man of considerable intellectual stature, holding a doctorate in military and Middle Eastern history—who articulated this disjunction most incisively. He remarked, with a historian’s composure and a realist’s clarity: “We lost two people last year to terrorism, and about two hundred and fifty each month on the roads. The Americans lost 3,000 lives on 9/11, but also 3,000 to road accidents and another 3,000 to gunshot wounds—many inflicted by those closest to them.”

 

What, then, are we to make of this? “The scale of terrorism,” Dyer continues, “is infinitesimal compared to the enormity of its presence in the media.” And the prudent response? Not frantic overreach. Not the dispatching of battalions to distant deserts, nor the unleashing of aircraft to perform vague, indeterminate operations under the lofty banner of justice. “It’s just dumb,” he concludes—bluntly, perhaps, but not unjustly.

 

In fact, Dyer issues a sobering warning. He suggests that any further escalation by Western powers—particularly through expanded bombing campaigns in Syria—will serve not to weaken the Islamic State, but to lend it strength. It will validate the very narrative ISIS seeks to perpetuate: that Muslims are under siege from Western infidels. And in doing so, it becomes a most effective instrument of recruitment—drawing the disaffected, the wounded, and the desperate into its fold.

 

“You poke the bear,” Dyer explains with an apt metaphor, “and the bear descends in fury—not only upon you, but upon those nearby, and upon innocents far removed from the original quarrel. And in that collateral chaos, some find themselves driven straight into the arms of the revolutionaries.”

 

Such is the tragic alchemy of our times: that in fighting monsters, we risk becoming their makers.

 

Tempers, as one might expect, are inflamed. And it seems, with a mournful irony, that we are no longer merely at war with the terrorists—we are at war with ourselves. To hope, in such a climate, for the steady voice of reason may be to hope beyond measure. Yet, despite this, we must face a truth both simple and severe: the hatred we now lament is the offspring of hatred we ourselves have sown. The high-handedness that whole peoples have endured—silently, bitterly, and over centuries—is now rebounding upon us with force and fury.

 

One cannot help but think that a part of the solution—if such a word is not too bold—is to offer people something better than despair. A life imbued with purpose, dignity, and the prospect of flourishing. For when all one sees is darkness, even a false light can become a lure. But if we could but lift their gaze to higher things—if we could present them with hopeful alternatives to hopelessness—we might disarm the appeal of destruction at its root.

 

Let us never forget that one does not win hearts, nor influence minds, by cruelty. One cannot hope to civilise the wounded by bombing their dwellings, or persuade them by obliterating their livelihood. If we are to build peace, it must be done not with missiles, but with mercy. Not by ruin, but by restoration.

 

Let us then set our hands to the work of mending what has been marred: by building schools where ignorance once reigned, hospitals where only suffering stood, and places of learning where the soul may once again rise to its full stature. Let us engage the minds of the disillusioned, not with slogans, but with meaningful labour—by drawing out their talents, not dismissing them.

 

As the old adage goes, the idle mind is the devil’s workshop. And these, alas, are times in which both rich and poor find themselves cast adrift in the same fragile vessel—alike in their desperation, and alike in their yearning for something solid, something good.

 

If we can but help them perceive a flicker of brightness within the prevailing gloom, they may yet turn their faces away from the sirens of destruction and towards the steady lamp of hope. For even a single light, honestly kindled, can keep the night at bay.

 

Whatever the fate of this weary world a century hence, I often find my mind returning to a remark once made by my business partner, Rahul—a man of clear thought and sober judgement. “It has nothing to do with religion,” he said with characteristic composure, “people will abandon religious distinctions the moment they see that you serve a purpose in their lives. In the end, it is simply about economics.

 

I have no wish to re-enter the oft-trodden debate about why man takes up arms against his brother. That wearisome circle has been walked a thousand times, and with scant gain. But what I will say is this: it would be an honourable beginning if those who are inciting others to violence would, at last, abandon their theatrics and cease their deceits. For the world, though bruised, is not blind. The common man—long patronised by ideologues and demagogues alike—now knows that those who exhibition themselves as saviours are often the very architects of the devastation they claim to heal.

 

How does one stand, with unflinching face, and watch one’s own kin be slaughtered, only to then don the garb of the redeemer? Murder is not merely a transgression of law; it is an affront to the sacred order of life itself. Assassins, let it be said without apology, have no place on this earth, and no place—if such there be—beyond it. But let us not spare the puppet-masters behind the scenes, those manipulators who draw blood with clean hands. Their guilt is no less grave; indeed, it is perhaps more chilling for being so calculated.

 

As Imran rightly observed, the moral outrage of the world must not be reserved for select victims, as though the value of a life were tied to the shade of one’s skin or the soil beneath one’s feet. Every life, every single one, is sacred. Every pulse, every breath, matters. Let that be understood. Or at the very least, let us begin the long, slow process of learning it.

 

Allow me, if you will, to draw your attention to a particular work of art—Urainge Uss Aasmaan Mein—a song of uncommon poignancy, conceived, composed, written, arranged, and rendered by the gifted Ali Zafar, with acoustic accompaniment by Danyal Zafar. This offering was not born of commercial ambition, nor fashioned for acclaim, but rather emerged as a solemn tribute to the one hundred and forty-one souls whose lives were so brutally extinguished—among them, one hundred and thirty-two innocent schoolchildren.

 

Let me offer a word of context: Ali Zafar is not a man known for broadcasting his benevolence. Indeed, he adheres to a politer creed—one that urges silence in the act of giving, and teaches that when one has received abundantly from society, one ought to give in quiet return, without trumpet or applause. And yet, in this singular case, he stepped into the light—for reasons that become abundantly clear when one hears the song and allows its words, drawn from the deepest recesses of his heart, to inscribe themselves upon one’s own.

 

This is no ordinary composition. It is, rather, a lament and a vow—grief transfigured into beauty, sorrow turned into resolve. I urge you to listen, not with ears only, but with the whole of your soul. For in these verses, you may find not only the echo of tragedy, but the stirring of hope, and the moral courage to rise, as the title itself proclaims, into that sky once more.

 

The Lyrics

 

Haan thode se bikhre huey hain haare nahi hum

Ye bereham zulmat ki tere maare nahi hum

 

Yes, we are a little broken, we haven’t lost.

We aren’t bound by this merciless injustice.

 

Haan zinda hain hum chaahe aankhein hai num

Sahenge nahin hum koi sitam

Jahaan ko dikha denge kaun hai hum

Humein maaon ke aansuon ki kasam..

 

Yes, we are alive, even if our eyes are numb.

We will not stand any such pain.

We will show the world who we are.

To us the tears of mothers are sworn upon.

 

Urainge uss aasmaan mein

Rahenge aise jahaan mein

Jahaan dard ka koi maara na ho

Akela na ho be-sahara na ho

Koi maa se bichhda dulaara na ho

Siva ishq ke koi chara na ho…

 

We will fly in such a sky

Live in such a world

Where no one quivers in pain

Where no one is lonely or left alone

No mother is stranded from her child

Where there is no option but to love.

 

Urainge uss aasmaan mein

Rahenge aise jahaan mein..

 

We will fly in such a sky,

Live in such a world.

 

Khili si wahaan nikli ho dhoop

Nikhra hua har su ho roop

Gum ho jaayein taariqiyaan

Aao chale milkar wahaan

 

There the sun will rise with more light,

Every being and soul will shine,

Darkness (wickedness and evil) will be vanished away...

Come. Let us all go there together.

 

Urainge uss aasmaan mein

Rahenge aise jahaan mein..

 

We will fly in such a sky,

Live in such a world.

 

Jahaan dard ka koi maara na ho

Akela na ho be-sahara na ho

Koi maa se bichhda dulaara na ho

Siva ishq ke koi chara na ho…

 

Where no one quivers in pain,

Where no one is lonely or left alone,

No mother is stranded from her child,

Where there is no option but to love.

 

Urainge uss aasmaan mein..

Rahenge aise jahaan mein.. (x2)

 

We will fly in such a sky,

Live in such a world. (x2)

 

What the soul finds itself yearning for, in these turbulent and wearisome times, is the gentle solace of A. R. Rahman’s voice—that rare fusion of serenity and spirit which, like balm upon a wounded century, brings fleeting relief to the ache of existence. His music, when it reaches us, is not merely heard; it is felt—as a kind of holy hush that stills the world, if only for a moment. It offers no solutions, perhaps, but provides a brief and blessed catharsis, a sanctuary in sound.

 

And yet, of late, even this wellspring seems to have receded. Rahman himself has, it appears, retreated from the public expression of his inner world—perhaps not from want of feeling, but because he, too, has been made to endure the unmerited lash of controversy. One senses he has withdrawn not out of indifference, but in quiet protest; not because he has nothing to say, but because he chooses to say it no longer in a climate that distorts truth and punishes beauty.

 

It is a loss not only to art, but to the weary human spirit—so often lifted, if only an inch, by the hush of a note or the tremble of a chord.

 

My earnest entreaty to you is this: lay aside, for a moment at least, the thorny entanglements of politics. This discourse is not a treatise on the politics of religion, nor a survey of the demarcations drawn upon maps. Such divisions, as we well know, serve chiefly those whose appetite it is to keep the public restless, ever poised upon the precipice of discord. Yet, beneath these manufactured walls, the hearts of men and women—whether in one country or another, across every clime and continent—beat with the same simple truth: a profound aversion to division, and a yearning only for the embrace of mutual love.

 

What I offer here is but a humble attempt to cast light upon the quiet luminescence being shed by those I know—souls who, with steadfast hands and hopeful hearts, strive to cleanse the earth of enmity, and to kindle in its stead some fragile semblance of concord.

 

If we find ourselves unable to lend our support to such a noble endeavour, then let us, at the very least, refrain from undermining the sincerity of those who dare to believe in the possibility of peace’s triumph.

 

May you remain blessed.

 



Shameful


I am shocked at the recent news about Times Square. Don’t these chaps realise that by planning or committing such heinous acts they are not only destroying the trust that people have in people but also wiping out any semblance of normality for their family for generations to come? Why can’t the Muslim youth of today put their intelligence to constructive development of the mind, the body, of science and the soul than indulging in such shameful deeds?

THE VISITOR – 2007



In the quiet, wintry stillness of Connecticut, we are introduced to Professor Walter Vale, a man whose life bears the unmistakable imprint of long solitude. Portrayed by Richard Jenkins, Walter is a widower who has for nearly two decades confined himself to the sleepy routine of teaching a single class at a modest local college. His grief, if it still lingers, no longer cries out but lies buried beneath a mask of courteous reserve and emotional detachment. He is not visibly miserable—misery, after all, presumes feeling—but rather drifts through the days with the air of one who has forgotten the language of joy.

 

A man of refined, if somewhat archaic, tastes, he listens to classical music and subjects himself—without aptitude or progress—to piano lessons, not out of ambition but as a dim echo of his late wife, a gifted concert pianist. It is a lifeless ritual, yet it is his only tether to a world that once meant something.

 

At the urging of a well-meaning colleague, Walter consents—albeit with great reluctance—to leave his cloistered world and travel to New York to present a paper at an academic conference. Thus begins a journey not merely of miles but of the soul.

 

Upon arriving at his long-neglected apartment in Manhattan, he is surprised to find signs of habitation: lights glowing with a domestic warmth he did not kindle, flowers arranged in a vase with care. Confounded, he searches the rooms and stumbles, to his astonishment, upon a young woman bathing—Zainab, a Senegalese artisan who sells her handmade jewellery in the city’s flea markets.

 

Her cry of alarm summons her companion, Tarek Khalil, a drummer from Syria, who, misunderstanding the scene, forcefully confronts Walter. The truth, as it turns out, is simple but troubling: the apartment had been illicitly sublet to them by an acquaintance named Ivan.

 

Upon learning the facts, Tarek and Zainab quickly gather their belongings and withdraw, standing awkwardly on the street as Tarek tries to find a place for them to stay. It is here, at this crossroads of misunderstanding and displacement, that something stirs within Walter—not pity, nor mere charity, but that rarest of impulses: compassion. A still, small voice, long unheard, bids him act.

 

And so he does. With a quiet grace that surprises even himself, he invites them back in—just until they can find a proper place to stay. It is a simple gesture, almost inconsequential in the moment, yet like the turning of a key in a long-locked door, it opens a path toward something richer, stranger, and altogether more human.

 

From this unlooked-for encounter begins a delicate interweaving of lives—a slow unfolding of trust, friendship, and meaning—that lingers in the heart long after the screen has faded to black.

 

One idle afternoon, the Professor happens upon a pair of men in the park, their hands dancing across taut drumheads, coaxing rhythms that seem to speak a language older than words. There is in their playing no self-conscious artistry—only joy, and something else: an invitation. That night, returning to his apartment, Walter hears Tarek playing the djembe—an African drum whose voice is both earthy and exalted—and finds himself strangely stirred. The sound does not merely fill the air; it enters him.

 

Tarek, with the effortless generosity of the truly passionate, offers to teach him. And here begins the quiet miracle: the slow thawing of a man long frozen within himself. Where lectures and polite conversation had failed, rhythm succeeds. The Professor, once a figure of stiffness and silence, begins to uncoil—not in speeches or epiphanies, but through the simple, primal act of striking the drum in time. In the djembe, he finds at last not just sound, but speech—not language, but a voice.

 

There is something quietly beautiful, even redemptive, in watching these two men—one young, one old; one the child of Syria, the other of New England—bridging the gulfs of age, culture, and sorrow through their shared delight in music. It is a kind of grace that transcends words and philosophies, for it belongs not to theory but to being.

 

Yet just as this harmony begins to deepen, the fragile peace is abruptly shattered. In a cruel stroke of fate, Tarek is arrested in the subway—no violence, no warning—and swept into the machinery of detention like a leaf caught in a sudden wind. It is here that the film begins to reveal its truest voice, not in sentiment, but in the aching dignity of love in action.

 

For now we see in Walter not the aloof academic, but the awakened man. What had once been a life of polite disengagement becomes one of quiet, committed care. He navigates the faceless bureaucracy of the immigration system, not from obligation, but from affection—and we recognise in him, and perhaps in ourselves, that the human heart, when kindled by genuine connection, will go to astonishing lengths. It will break custom, traverse fear, and defy the comfortable habits of self-preservation—for once love takes root, no barrier seems too great to cross.

 

When Professor Walter returns to the apartment and solemnly recounts the grim events at the subway, Zainab is struck as though by a blow not to the body, but to the very soul. She does not wail, nor collapse in theatrical sorrow—hers is a quiet, dignified anguish, the kind that speaks not through words but through restraint. With her beloved Tarek taken, the sanctuary they had briefly shared with Walter no longer feels safe. And so, with measured composure, she informs him of her decision to stay with her cousin for the time being, until the storm, if it ever does, begins to subside.

 

Walter, moved by genuine concern and perhaps the first stirrings of a deeper companionship, implores her to stay. But Zainab, with gratitude clear in her eyes, declines. She thanks him—sincerely, without sentimentality—for all his kindness, and departs.

 

There is in this moment a grace so subtle one might miss it entirely were it not for the director’s remarkable restraint. It is a gesture that speaks volumes of Zainab’s character, and more deeply still, of her faith and cultural rootedness. What might to the casual viewer seem a passing scene is, to the discerning eye, a masterstroke of thoughtful storytelling—an illustration of the profound moral decorum that flows from her identity as a devout Muslim woman.

 

Unlike so many cinematic portrayals that reduce religious conviction to caricature or use it as a tool for spectacle or scorn, here we are offered something far rarer: a portrayal imbued with reverence and authenticity. There is no loud proclamation, no forced explanation—only quiet truth, lived and enacted. How lamentable it is that many otherwise gifted filmmakers, especially in parts of the East, fail so grievously in this regard, misrepresenting entire communities under the guise of realism, and in doing so, not merely failing to enlighten, but obscuring the truth altogether.

 

In contrast, this film neither preaches nor panders. It simply shows—and in the showing, honours.

 

It is with the quiet urgency of a mother’s love that Mouna Khalil—poised, dignified, and possessed of a beauty not merely external but deeply humane—arrives unannounced at Professor Walter’s door. She has travelled from Michigan, compelled not by panic but by the silent weight of maternal instinct. For three days she has not heard from her son, and that silence, unnatural and unbroken, speaks more loudly than any word. Between them, mother and son, there had long been a daily ritual of voice and presence across distance, a bond woven not of sentimentality but of common life. And now, bereft of that thread, she follows its absence to New York, seeking without fanfare, without complaint.

 

But I must restrain myself. It is all too tempting to go further, to peel back the layers and disclose more than I ought. Yet I shall refrain—for to speak too freely would rob you, the viewer, of the quiet revelations the film holds in trust. It is, you see, not a tale bound by the crude machinery of stereotypes or the weary conventions of cinematic shorthand. This is not a film that lectures us about Muslims or Christians, immigrants or natives; rather, it speaks in the most sacred language of all—the language of persons, as we know them and as we, if honest, most long to be known.

 

Much like the steady, haunting rhythm of the djembe that pulses through the film like a hidden heartbeat, the story captivates not by force but by fidelity—to truth, to character, to the sacred complexity of ordinary life. Its strength is not in grandeur but in restraint, not in spectacle but in sincerity. It moves through comedy and sorrow, silence and music, not as a teacher with a chalkboard, but as a companion walking quietly beside you.

 

It offers no pat moral, no manufactured catharsis, no manipulation of the heart. Instead, it gives you questions—real ones. And in so doing, it invites you not to receive a lesson, but to undertake a journey. One walks away from this film not instructed, but enlarged—reminded that we are not spectators to human dignity, but participants in it.

 

There are, in the course of this quiet and luminous film, certain moments so tender and so deeply human that one feels almost an intruder for witnessing them. Among these, one lingers in the mind with particular poignancy: the Professor’s visit to the detention centre to see Tarek. Their conversation is brief—truncated by the sterile bureaucracy of that cold, impersonal system which insists, without irony, that they must interrupt their exchange for a “bed count.” In such a place, even time seems to lose its soul.

 

As Tarek is ushered away, he turns back with a soft, sorrowful gaze and speaks a line that in any other setting might have passed without note—“Goodbye, my friend.” But under the bleak fluorescent light of that place, amid the heavy silence of confinement and uncertainty, the words ring with uncommon weight. They are not merely a parting pleasantry. They are, in that instant, a benediction, an elegy to freedom, to fellowship, and to the fragile dignity of being known. One realises, with sudden clarity, how sacred the word “friend” becomes when it is spoken from the heart while the world around it dehumanises.

 

The second moment, equally subtle yet profound, takes place over a modest dinner between Professor Walter and Mouna in the quiet anonymity of a hotel restaurant. The Professor, no longer the emotionally stifled man we first met, tells her he is taking a leave of absence for the remainder of the semester—choosing, instead, to remain in New York. Mouna, practical and perceptive, protests gently. She reminds him that this is not his burden to bear. He has his duties, his classes, and the book he is said to be writing. But it is here that the veil is lifted.

 

Walter looks at her—not with defiance, but with the weary honesty of a man who has stopped pretending. “I’m not busy,” he says quietly, almost as if the admission were shameful. “I only pretend to be. I haven’t done anything real in a long time.”

 

And there it is: the turning of the soul, the quiet confession that reveals not failure, but longing. Not all prisons have walls; some are built of calendars, routines, and the illusion of purpose. In that moment, we see not a man sacrificing his work, but awakening from its charade. We see, in him, what all of us fear to admit—that a life can be full of motion and still utterly unmoved.

 

Such moments are not crafted with loud acts or melodrama, but with a reverence for the truth of the human spirit. And in them, the film does not preach, but invites—invites us to remember what friendship means, what presence costs, and what it truly is to live and not merely pass time.

 

The film, in its quiet brilliance, is adorned with performances of such delicacy and integrity that one is compelled not merely to admire them, but to feel them—deeply and lastingly. While every member of the cast contributes nobly to the development, it is the triad of Professor Walter, Tarek, and Mouna that stands forth like figures in a stained-glass window, each catching the light of the narrative in their own way and refracting it with subtle splendour.

 

Haaz Sleiman, whose portrayal of Tarek is nothing short of radiant, deserves special commendation. There is in his performance that rare gift—more eloquent than speech itself—the ability to speak through silence. His eyes, bright with unspoken joys and sorrows, carry the weight of experience with a disarming lightness. One scarcely notices the craft, so seamlessly does he inhabit the role. He makes the heart leap when he laughs, and without asking for pity, he draws forth tears when he grieves. Such grace in a performance is not common; it is earned, and it is real.

 

Richard Jenkins, as the Professor, offers a portrayal that is as restrained as it is profound. He resists the temptation to dramatize and instead reveals a man whose soul wakes gently, as from a long and weary sleep. There is a tremor of humour beneath the gravity, a kind of quiet ache that never quite overwhelms but is always present—like the lingering scent of autumn in the air. His performance is one not of theatrics, but of inward transformation.

 

Zainab, soft-spoken and withdrawn, inhabits her role with authenticity and grace. She does not seek to impress, and by that very measure, she impresses more deeply. And as for Hiam Abbass, her portrayal of Mouna is a triumph of understatement. With every glance, every pause, she conjures a world of care, dignity, and loss. She wears the character like a well-fitted garment, one stitched with grief, gentleness, and an iron resilience. There is no dissonance in her presence—only harmony.

 

But perhaps the truest accolade must be given to Thomas McCarthy, the writer and director, who does not shout at his audience but speaks softly, as one might speak to a dear friend late in the evening. His is not the voice of show, but of sincerity. One cannot help but marvel at the richness of detail he has sewn into the narrative. Like a craftsman of old, he has carved a story not of grand gestures, but of the small and sacred movements of the heart.

 

I dare say that The Visitor is a film every soul ought to behold at least once. Not merely as a work of art, but as a quiet reminder of what it means to be human. For in the end—as we grow weary of possessions, titles, and busyness—we come again to the ancient truth: that it is not wealth or comfort that sustains us, but connection. That we live not by bread alone, but by the tender miracle of being known.