1971

There is a new movie about the 1971 conflict, one reads, but that is not why I am thinking about the events of that year in South Asia. Last night, we were reminiscing about a little girl I used to know.

We were both little girls. Standard I or younger, St. Joseph's, RC Church, Bombay. She lived a few buildings away from me in the Port Trust compound in Colaba. Her name was Nafisa and we used to play together. The reminiscences began with my mother reminding me of how we would walk each other home. Nafisa would walk me home because I was not allowed to walk by myself. But neither was she, so I would walk her home. Then she would walk me back. The loop was endless till an adult accompanied us. Our laughter reminded me of something else.

Three girls, on the primary school platform, discussing the world around us with the gravity of seven year olds. Nafisa announced that they were going to Pakistan because they were Muslims. I did not understand the connection at all, but was impressed by her serious face. And so it was that one day we were walking each other home back and forth, the next she was making this announcement and then she was gone. To Karachi, I think. A few months later, there was war.

But 1971 in my life was not just about Nafisa and war. That hot May, we moved to a new home in Cuffe Parade, where tall apartment buildings had just come up. A few months later, we travelled abroad and my parents who never treated their children like retards took me along to see the places they always wanted to see. The United Nations Headquarters in New York, for instance. My introduction at the age of seven to the manifestation of one battle-weary generation's dream of lasting peace. A dream that captured and still holds my imagination captive.

Then Nafisa and her migration. Adult discussions about East Pakistan and the refugee crisis were in the air. I cannot claim to have understood much, but I can remember that there were surcharges on many things to pay for the refugees who were flooding West Bengal. We had to put extra stamps on envelopes, I seem to remember. And then Sukhdev's photographs of what he witnessed from his hiding place somewhere in East Pakistan, published in the Illustrated Weekly of India. No one else my age seems to remember them when I ask, but they were striking. My memory of them is not of detail but of the impression they made on me; they remain my first images of the horror of conflict after all these years.

And then war. Our buildings were five minutes from the cantonment and harbour in South Bombay and stood out like sore thumbs. We had sirens and air raid practice, black paper on doors and windows and stories by candlelight. But even the delights of daily story-telling did not obscure the fact that something horrible was going on. Everyday, fathers of schoolmates who were army or navy men were killed or went missing and we would observe a moment's silence. INS Khukri went down, and its brave captain was known to people in school and I seem to remember his daughter also went to our school.

Impossible to forget.

I carry the year with me everyday into every piece of work I do. For another generation, Partition was the defining influence but for me, it is 1971. And I am not alone, I think. I have met at least one person, growing up in Karachi, who could remember the mirror image of my experiences--school shutdown because of war, bombs on places we knew. Both our experiences are nothing at all compared to what thousands go through everyday all over the world, in the name of larger causes and principles, but this little teaser and its memory reinforce my commitment, even when I feel that my work really is irrelevant.

Postscript:

I included details here about Nafisa and school in the hope that somewhere she is surfing the net and finding this, so that on the brink of middle age, we can catch up on where we've walked since those endless excursions of childhood.

More ruminations in the same vein are to be found here. I am looking for links to Sukhdev's work and will add them when I find some that are functional.