Tag: fiction

life as a bus (microfiction)

14.08.2025

‘You don’t have a reason to complain. You have a good life.’

Alfonso wasn’t wrong. I did have a good life. A disposable income. Savings. Food and shelter. Nice things. An interesting job. Interesting friends. The best education that money could buy. My health was pretty good and I had high energy levels. But was I happy? There was something very important that was missing from my life. Not something but someone.

The loss of one person. When there are several billion people in the world. It was a marginal loss. I was stupid to feel it. I should be like them. Forget everyone. Have no one as special. Forget about caring about someone. They did it and they were happy doing it. Why couldn’t I be like them? Nobody really cared about losing me from their lives. I sincerely doubted whether I could get more than ten people to come to my funeral if something happened to me.

‘When you search for a metaphor for life,’ I told Alfonso, ‘you would think of a maze or a dark forest. That is the stereotype. However, something happened today which I think is the perfect metaphor for life.’

‘And?’ Alfonso sniffed peculiarly. His guard was up and he eyed me warily. He knew that I was going to say something cynical and suspicious.

‘As I was crossing the road, a bus came that would make my walk back home redundant and conserve my energy after I had been on my newly healed leg all day. I sprinted to catch it. I got there at the door. The bus driver was letting some passengers off. I waited patiently at that bus door for it to open. The bus driver didn’t even give me a look while I was standing at the bus door. He drove off. That situation explains my life. Not a portion of my life. But my whole life.’

‘How so?’ Alfonso looked scrupulously at his fingernails. It was good of him to always ask for elaboration, when no one else ever did and I often wondered if they ever listened to anything that I said.

‘I beat that driver who had an unfair advantage to me in a race and then he still would not pay up. He would not give my reward. I was faster than him, more courageous than him, more talented than him. Yet he had something and he would never give it to me. He did not care about fairness. He did not care if he upset me. He would not do the right thing.’

‘That is your life?’

‘Yes.’

‘You have a chip on your shoulder.’

‘You would have too if you were a genius and had to live with these people.’

Alfonso harumped. He knew that I was right. This was how they treated me. This was the treatment of our people. We were a threat to them so they tried to keep us down.

‘You have done well if that’s how you think you have been treated.’

‘I don’t think. I know.’

‘Life as a bus,’ continued Alfonso, pretending that he had not heard me, ‘is not very appealing. But it is moving.’ He smiled at me naughtily. I did love Alfonso. I smiled back at him. You do not have to agree on everything, not at all. It was about friendship. You could always listen even if you did not agree. It was sad that people had not learnt that lesson yet.

the saddest thing in the world (microfiction)

13.08.2025

‘What is the saddest thing in the world?’ Alfonso asked me. He looked sublime. The hot pink blazer, the perfect blue jeans. His handsome, handsome face and those piercing eyes. It was sad that I was only interested in the opposite sex. Because otherwise, he would have done very nicely.

‘Love.’

Alfonso stared at me with surprise. ‘You cannot be serious.’

‘It is a deadly serious answer. Love is what makes you sad. Do you not agree?’

Alfonso just looked at me. Then he changed tack. ‘Let us forget about your personal situations. Let me ask you instead when was the last time that you really wanted to cry? Don’t tell me that you can’t cry. We all know that now. But when did you last want to cry?’

‘I was on the tube. I was coming home. Then I read a passage in a novel that I was reading about how some youngsters stumble about when they have to tell a brother that her sister is dead. It reminded me of a situation that happened in my life. I had come home from wherever I was and I sat down to dinner. My grandmother had gone to a doctor’s appointment with my parents earlier in the day. I asked what had happened. My parents told me that nothing had happened. I then told them off for having such long faces if nothing had happened. I told them to be happy that there was nothing wrong with grandma. After dinner, when I had quite finished, my mother told me the truth. My grandmother was going to die from lung cancer.’

‘They hid it from you? Why?’

‘So that I did not spoil my dinner.’

‘They lied!’

‘My mother did it out of love for me. So that I could eat my dinner.’

‘And so you wanted to cry because what happened in the novel happened to you? Why didn’t you cry?’

‘I could have. I wanted to. Badly. But then I sneezed. And then I lost the will to cry.’

‘Saved by a sneeze.’ Alfonso sneered at me. He was prone to do it. ‘Would you have really blubbed in front of the other passengers on the tube?’

‘What would they care? Do you think it would even register on their radar? This brown man crying? Have you watched that movie? No one would even care if you died on the tube. Your corpse would probably ride on it for three days before anyone noticed and even then the only thing that would give it away would be the emerging stench.’

‘Do people tell you that you are cynical?’

‘Yes. They have asked me to change. But if my life cannot change, why would the way that I cope with it change? Don’t expect any happiness in life. Don’t expect any recognition or reward for fighting for the truth and knowledge, for dignity for your people and Mother India. Don’t expect love. Don’t expect anything that you deserve for being the best. Expect instead indignity, marginalisation, unfairness, stupidity, ignorance.’

‘One day, make yourself cry,’ said Alfonso. ‘But aside from that, be happy. You have a heart still. That is better than most.’ He looked at me. I sensed pity. What good does pity ever do anyone?

russian roulette

09.08.2025

At the most, I had twitched my lips as a prelude to a word. Essentially just the moment before the action. Alfonso raised his finger aloft and intoned, ‘Enough of your vileness about love. Perhaps one day…’

‘There is no now, there was no before and there will be no before me.’

‘That’s the positive kind of attitude!’ Alfonso smirked at me. ‘Stop wallowing in pity.’

‘It makes for a good bed.’

‘The bed is precisely what you have to free yourself from. Your late mornings have started again in earnest.’

‘Do you know what the dream is now, Alfonso? While I am awake, I see myself with a black pistol. It is very elegant and very beautiful. Irresistible. And I am sitting at the table with this little fiend. She is inviting me. I stroke her. I love her. It is a seduction that is hard to resist. And there is one pretty little bullet in this sexy little fiend. I open the gun and roll the barrel. Now, no one knows where the pretty little bullet is. Does it have my name on it like I have its name upon my heart? Who knows. I aim the sexy little fiend at my temple. There is an audience. They watch. They have thirsted for my blood from before I was born. I am what they have to kill to survive. Then…’

‘And then?’ asked Alfonso coolly.

‘That is the thing. At first, this waking dream was that it is all over. But then, do you know what my luck is? I have never been lucky in anything. This society is against my luck. Then, perhaps I get the bad luck. Perhaps I survive. Perhaps there is no big BANG.’

‘It is only a dream. You detest guns. You have told me that they are for cowards. It is against your culture to use a gun against yourself. The dream signifies nothing.’

‘Still, it is a pretty dream.’

‘Get a prettier dream. Put some flowers in it.’

‘The flowers are a tired metaphor and a false one. There is no romance. There is no beauty. There is no life principle against the death principle. There is nothing and no one in this world and there are no flowers.’

‘Pull yourself together,’ Alfonso admonished me. ‘You would let them win over you? You would accept defeat on their terms? In the world, there are flowers. You just have to find them.’

‘I have looked my whole life. Even the flowers are impure.’

‘Purity is a fiction. Hence so is impurity. It is the impure that are capable of holding power.’

‘An impure power or a pure powerlessness? What would you prefer?’

‘You want to bandy words around when you should be living life? Tomorrow you could be the happiest man in the world. Tomorrow, it might be impossible to prise the smile off your face.’

‘Who lives in tomorrow? We live in today. Today has always been foul.’

‘What is foul is your mood.’ suggested Alfonso. ‘Did not even the chocolate ice cream I gave you add a moment of joy to your day? Why did you eat it then? Remember,’ said Alfonso, ‘even the cat that gets the cream is not satisfied with its lot. Remember the Hindu philosophy: life is suffering, life is pain, life is a punishment.’

‘Some are punished more than others,’ I responded.

‘Even when you are sad, that troublesome tongue of yours looks to argue and to defy the world. One man cannot defy everyone else. One man cannot argue against the huddled voices of the world.’

‘Let me die in the attempt.’

‘There.’ Alfonso clapped his hands and a brilliant smile lit up his face. ‘Spoken at last like a man. Keep that wild mind in your head and that wild tongue in your mouth. Keep fighting. Die a noble death. Die fighting. You are the warrrior.’

I watched the smile on Alfonso’s face. What a curious thing a smile is. How do these people smile? And almost all the time? What do they have to be so happy about when there is no happiness in the world? Together, they had all decided to apportion happiness across the world. And when it had come to my share, they had decided to scrimp and save, so that I had almost nothing. I was teasing happiness and joy out of consuming scraps of chocolate, inhaling scented bars of soap and an insane clinging to the cultural evenings around London so that I almost was not sleeping any more.

And yet, there it sat. The smile. Alfonso’s belief in me that I would keep on fighting without any victory. Against all. The Indian man’s belief in The Tiger.

Falsity (microfiction)

07.08.2025

‘Most people lie,’ was all the comment that Alfonso made.

I had just finished venting about a particularly preposterous lie that I heard. I had been looking into the eyes of this liar and they had not even flinched. Was it possible that they even believed their own lies? Or were they completely shameless?

‘I don’t lie.’

‘That is why you do not have much,’ said Alfonso. ‘People don’t welcome the truth with open arms. In fact, they loathe it and will do anything in their power to destroy it.’

‘It is not the truth,’ I said tiredly. ‘It is a truth. One of many.’

‘You believe that hogwash?’ asked Alfonso incredulously. ‘You have told me yourself that you are the truth.’

‘Although not everything that passes as truth is the truth,’ I elaborated, ‘still there has to be some room for manouevre. You don’t want a rigid and totalitarian framework. Which is what knowledge passes as in this society of twits. Their fascism is supposedly knowledge.’

I thought again of this liar and the lie. I had heard some good ones in my time. Some of them had even fooled me. It was obvious why these people lied. Because the truth was too dangerous, because they wanted to cover up their own guilt, because perhaps their intellects were so unsound that they could actually believe the paper thin story they were trying to wrap events in. They were so skilled at lying to your face. And then they would call it ‘civilisation’, their false narrative.

‘Don’t let it bother you,’ said Alfonso, sensing what I was thinking about. ‘You live in a society of liars. I am surprised that you still haven’t gotten used to it.’

‘Only a coward accepts injustice,’ I said firmly.

‘Yet what do you do about people lying to you? Nothing.’

‘What can you do? As you said, they will not accept the truth. It is not worth wasting time on them.’

‘And if the lie is an injustice?’

‘If I had my way,’ I told Alfonso, ‘There would be no lying and there would be justice. This world has never been ready for that in its entire history. Why would it be ready for that now or in the future?’

‘So why do you exist then?’ asked Alfonso. He sneered at me, one of his trademark sneers. ‘I thought you told me that you fought for truth and justice.’

‘Yes, by telling the truth myself. Just like you can’t make someone love difference when they are prejudiced, just like you can’t make someone choose fairness when they are biased, just like you can’t reason with a bigot, so you cannot stop a liar from lying. They have a psychological problem and they need therapy. They are just compulsive liars.’

‘I keep telling you, don’t be upset. Forget everything.’

‘I will, I told Alfonso. I will go to sleep now.’

Alfonso clasped my hand. ‘If you are the truth,’ he said, ‘show us the freedom and the wildness of The Tiger.’ He knew what was in my dreams.

where can i go? (microfiction)

07.08.2025

Finally, after several years of not taking a holiday abroad, he had decided to go to foreign shores. However, nothing in life is easy, least of all a journey of ease. He did not know where to go.

His parents had not taken him on holidays abroad when he was a child. He had never booked a holiday abroad by himself or had the decision about where to go.

He lacked any kind of experience and he was stumped.

The first choice had been Japan. Beautiful Japan, the land of inspiration. But what was it that he was actually going to do there? He had a vague impression of nature and local traditions. But how was he going to organise everything?

The second idea was to take a coach trip around Europe and to cram in as much as possible. But then, how much did Europe interest him? Surely it would be pretty much the same as England?

The third idea was Athens. He had always wanted to go there. But then there was that association…

Athens could be had for about seven hundred pounds. A nice hotel with a swimming pool and breakfast. Plenty of archaeological curiosities out there.

Choices. The whole world to be had. And yet, every time he had tried to go abroad, all the plans had come crashing down around him.

There was nowhere to go. There was no place for him.

And at the same time, he could not rest where he was.

In the universe, we are a space. Our body is a space. A tiny little space in what is almost an infinity of space. And that space of the body relates to the spaces of the bodies around it. His space, his body, it had no relationship to the bodies around it. So it did not matter what country he went to or what he did, he would never have a human space around him. So why try? Why imagine being in a different human space? It was all very well saying that no man is an island. But an island he was. He would be an island in Japan, Europe, Athens or Africa. It was not what he wanted, but what he was.

This holiday was already stressing him out.

Jiggling the Jelly (microfiction)

06.08.2025

After a promise to write in the night, I sat there at my desk in my boxer shorts scratching away idly at my inner thigh as I endured a severe writer’s blank. I tried the usual methods to break the blank. A feverish search in my vocabulary of words. Reflection on an experiences that would inspire something. Themes.

Nothing worked.

There were certain things it was now best to avoid. That was not helping. Because it was those things that were on my mind the most. The unfinished business…

Suddenly I felt tired so I grabbed the laptop and lay on my bed. And, immediately when I done so, all the words and ideas came flooding in.

Curious. Had it been the change of scene? But why? I am comfortable at my desk and habituated to writing there. Then I realised. I had laid down. Which had changed the orientation of my brain.

I had jiggled the jelly.

That was what had sparked off the creativity. All I needed to do was to change the orientation of the mass inside my head. Maybe if I leant to the left, that would mean that I would produce poetry or soemthing like it. Then, the right might produce prose and non-fiction. Maybe if I leant my head back while it was straight, I could produce some good erotica.

So simple. All I had to do was to introduce different movements into my routine.

I tested it out. I lay down and tilted my head to the left. Failure. I started thinking of they, all the moments. They were on my mind frequently.

I tried the other side. It was worse. I started thinking of the big C word. My career. And out of work time too. I shuddered.

Why was the writing impulse so elusive today?

But if it was the jiggling of the jelly…

‘Eureka!’ I cried. The solution was so simple. I slapped myself on both cheeks and on my forehead. That would move it.

I pummelled away at my face with my open palm. Unfortunately, however, you can not get much writing done when you don’t have any free hands. The jelly was jiggered and not jiggled. And in all the experimentation, I had forgotten the idea I had when I laid on the bed. There was not going to be any story tonight.

My discerning, demanding readers would be most displeased.

Review of Hugh Fox Photography Gallery: A Day in the Life: People and Places of the Old Royal Naval College

11.06.2024

Dr. Suneel Mehmi

Please note: The views in my personal review do not reflect the views of any organisation in which I work and do not reflect any kind of consensus within any organisation in which I work. This is an independent review for my non-commercial personal blog written in my free time in which I am at liberty to think and say what I want. And nobody is compelled to read what I write – I can only offer an invitation.

In the atmospheric bowels of the King William building, Hugh Fox’s photographs document the interactions of visitors with the space at the Old Royal Naval College, as well as portraits of staff and brief interviews. Visitors are thus able to learn more about what happens behinds the scenes at such a grand historic site, the tales of protection and conservation.

The first photograph is of one of the entrance gates to the attraction, the first glimpse of the beauty inside. Fox has chosen an angle which hides the building behind the trees. So there is a mystery created, a veil between the viewer and the site. There is an idea of an inner, hidden core within the building that is to be investigated. Is this an invitation to penetrate the veil? The allurement of concealment? The lamp in the middle of the archway of the entrance floats over the veil of the trees suggesting the enlightenment of obscurity. Perhaps it is also a reflection on the nature of photography which is writing with light, which promises to go deep within the exhibition.

The fact that there is a tussle between the trees in the archway and the man-made building suggests a fight between humans and nature, culture and authenticity, perhaps even the life of the trees and the stasis of stone. Does nature – and the representation of nature – win? One of the trees appears as though it is bigger than the Baroque dome of the building.

Actually, this entrance (The West Gate) was photographed by the inventor of the photograph in Great Britain, William Henry Fox Talbot in about 1839. So this photograph could possibly be a modern update of that historic photograph – particularly as Hugh Fox also has the name ‘Fox’ in his name.

The theme of enlightenment is continued in the photograph of a mother with a pram who is walking beside her daughter in the shadows. They are walking towards the lamp to the right of the image in one of the colonnades in the site. Because there are two children, perhaps we can assume that they represent the curiosity which the photographer is to kindle in the audience that are following the light of photography and its writing. Illumination is manifest in the image – the three bodies are to move from the sphere of darkness into the light just in front of them. And there is a subtlety too – the mother has one foot behind her in the pool of light. She is leading her daughter into the path of light. She is a being of light herself. The lamp itself is situated over the skyscape of the London Docklands – it represents modernity and the future rather than the Baroque of the Old Royal Naval College.

What is peculiar about the mother is that she wears a yellow coat. This was the coat that the Naval Pensioners wore as punishment in the days of the Royal Hospital for Seamen. This incidental detail may seem to complicate the image in one sense. And then, there is a further complication. Because the staff at the Old Royal Naval College also wear yellow T-shirts. Therefore, the yellow is split between goodness and badness and is ambiguous in its suggestion of the role for the mother.

Particularly interesting to someone with some familiarity of these figures is the portrait of Natalie Conboy, Collections Manager. Obviously the scholarly aspects of her work persona are emphasised and she holds a pencil in her hand. Her personality shines through in her smile: we know that she is a warm person. At the same time, she blazes spectacularly in blue, like a blue fire. Because her hair is blue and she is wearing a blue outfit. In the photograph of the mother leading her daughter into the light, the mother was wearing a blue rucksack. Is this a thematic resonance within the series of photographs here, the breaking down of the barrier between visitor and staff, like this exhibition which presents them both side to side?

But there is also a theme of blackness here. Because the blue has black tiger’s stripes pulsating through it and Natalie also wears black gloves. And there is a mirroring of the black gloves in her necklace that she wears, in which a black hand dangles as a pendant, pointing downwards so that the black hand is gesturing to the black hands below. The photograph is there a symphony of colours and hands. That portray and point to the act of writing, research. And that point to something else: a transformation of the white body into blackness with the black hands of the writer: maybe an allusion to the act of writing where the white body transmutes into the black ink which then relays personality and identity.

But again, there is the pointing towards what is concealed: the concealed hand behind the hand that writes. The hand behind the scenes. We have a meta reference to what is being portrayed in the photograph: the work that is going on behind the vision of the visitor. It is what is concealed that is the object of attraction.

And then, there is an insinuation of precarity here. Because the focus is on writing and the most visible writing in the photograph is the word ‘FRAGILE’ in capital letters on the box above Natalie’s head to the right. The gloves, of course, are to protect the collection, our precious history. They need delicate handling. So Natalie’s role as protectress is emphasised. But at the same time, she is positioned in the shot as fragile herself: she is amongst the shelves which form the background, as one of the objects in the collection…

One photograph of a man looking upwards in front of the West Wall in the Painted Hall and who is directing his smartphone as a camera has a game of arms. The figures behind him are touching his outstretched arms: the nude woman and the King. The relationships between photography, femininity and power are perhaps being explored here as the photographer reflects upon his craft. Photography here appears to be a joining with woman’s body and the photographer gives ‘the elbow’ to male power. It is indicative that all of the staff that he has photographed are women….

The torch and the image of the light makes its way again into the image of one of the friendly Volunteer Tour Guides, Chenda. She is directing the gaze of the visitors upwards with her torch. Once again, the educative mission of the charity and the site is highlighted, its leading of the viewers and the visitors to Enlightenment. It is the gaze upwards towards the heavens…

Does the posture of Chenda imitate the photograph of the mother leading her daughter to the lamp? The mother who was also wearing yellow? Because Chenda is holding her stomach as she points the torch, the place where the babies come from… The action of holding her hand there also obscures her name tag and therefore her identity as she becomes the anonymous purveyor of truth, knowledge, art and culture.

An interesting exhibit with some interesting photographs. A perspective on the site and the people that make it what it is that is well worth exploring. And, furthermore, with the use of framing devices around the site, some of the photographs were quite visually striking.

About the Author

Dr. Suneel Mehmi holds a PhD in the history of photography which was published as a monograph by Routledge – Law, Literature and the Power of Reading: Literalism and Photography in the Nineteenth Century. He is currently in the third year of an Open University Degree in Art History and Visual Culture.

Titles in the Mehmi Press – Free Download

The Mehmi Press is an online Open Access publishing company which I founded in 2023. It is completely free to download, read and share my creative work. I hope you enjoy reading these titles which include microfiction and an artbook. Self-publishing gives you a freedom you cannot enjoy anywhere else and a sense of achievement which is hard to find in this world.

Stay on the lookout for more titles in the future!

By Dr Suneel Mehmi

SELECTED NOTES ON RACISM

PUBLISHED 2024

With a focus on the British Asian or Anglo-Indian experience, these are writings about the subtle strategies of racism in western culture which shape everyday life and also the cultural imagination through fiction and films. The aim of the book is to expose what is concealed but which orders life in Western culture for the ethnic minority and the majority culture.

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SEVEN DAYDREAMS

PUBLISHED 2023

Seven daydreams which I have been immersed in constantly. From dreams of freedom, to dreams of imprisonment, from dreams of knowledge to dreams of the body beautiful.

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STORIES FOR MY CHILDREN

Published 2024

These stories are lessons, adventures, a means to share life and my experience with the little ones. An attempt to replicate the wonder of stories which my grandfather introduced me to, the ultimate storyteller. Written in 2015. The first collection of many to come!

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MICROFICTION 2022

Published 2023

Microfiction self-published on social media amidst the Covid pandemic, job search status after a PhD and the onset of the Russian invasion of Ukraine.

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JUVENALIA: Stories for the University Newspaper

Published 2023

Microfiction published in various student newspapers with a twist in the tail – sometimes quite nastily.

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PAISLEY ART BOOK

Published 2023

An exploration of what the Paisley symbol means to me as a digital artist and how it signifies the tears of India for me as they are appropriated by the West.

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POETRY TO THE IMPOSSIBLE WOMAN

Published 2023

Poetry sent in an Impossible Way to the Impossible Woman.

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MEHMI’S Introduction to Hindi Film (10 Favourites)

Published 2023

An introduction to some of the most iconic, historically significant and popular Hindi films through an exploration of ten of my most favourite films.

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Shakespeare and the Justice of the Oppressed

23.04.2018 –

Abstract: Violence and justice are linked. Our culture teaches oppressed groups in our society that violence is the only viable means available to them to resist injustice. These lessons are evident in Shakespeare’s plays in which oppressed characters always demand justice in bodily terms and in horrific acts against the bodies of oppressors. Hamlet is just one example.

Keywords: Violence, Justice, Law, Shakespeare, Hamlet, Nasim Aghdam, Cultural Brainwashing

A recent news item that caught my eye was the case of the YouTube Killer, Nasim Aghdam. The woman in question, now known as a killer, was someone that cared passionately about justice. As the Guardian stated, she “used social media to fight for justice on a planet ‘full of diseases’” (https://www.theguardian.com/us-news/2018/apr/04/youtube-shooting-suspect-nasim-aghdam-profile). Nasim had been a gentle person from her childhood. In an interview, her father reflected on how out of character her crime was. He told the Bay Area News Group that “his daughter was a vegan activist and animal lover who as a youngster would not even kill ants in the family home, instead using paper to move them to the back yard” (https://www.theguardian.com/us-news/2018/apr/04/youtube-shooting-suspect-nasim-aghdam-profile). What led a gentle woman that was committed to justice to such a violent conclusion?

Violence and justice. Violence and justice. Are these two things intimately connected? Or was Nasim’s final act just a random event? For the armchair theorist, a theorist who moreover has no time to pursue his many and diverse interests, everything has to remain at the level of speculation. My speculation is that Nasim was one of the oppressed. She was an Iranian immigrant in a country that is thoroughly and systematically afflicted with racism. She had seen how the human race treated our animal brothers and sisters who she felt an honest kinship with. What the immigrant suffers, what the lover of nature must suffer in this world of iniquity and injustice. Have you ever stayed up all night wondering where your justice is? Have you ever cried in your heart of hearts for justice, knowing that it will never come? As Nasim wrote, “I live on a planet that is full of injustice”. The justice that she was led to, in the form of violence, was the justice of the oppressed. Already, the reader is enraged. How can one call a random killing an act of justice, like the killer framed it? How can one speak of the justice of the oppressed as a form of justice, hence giving it some sort of validity and legitimacy? What evidence do I base this seemingly bizarre and arbitrary claim upon, that Nasim’s act was an act of the justice of the oppressed? The evidence is in Shakespeare’s plays.

There is a stock type character in the Shakespeare play, a Nasim, one of the oppressed that demands justice in the form of terrible violence. In the Merchant of Venice, the stock type is a Jew called Shylock. Because of the indignities and hate he has to face in a Christian country, Shylock demands his pound of flesh from one of his oppressors. Shylock is not alone. Tamora, the Queen of the Goths, who is captured in war as a trophy, also demands justice and exacts a systematic plan of revenge against her oppressors. Her wrath is terrible indeed and involves murder, rape and mutilation. This stock type, the immigrant, the oppressed that is out for a violent justice exists in the Western imagination even today. I have written at length about one such character in the recent Black Panther movie, who is called “Killmonger’ to emphasise his link with violence. The Killmonger, an immigrant, wishes to arm the oppressed against the oppressors and is therefore treated like a supervillain.

Why does the oppressed victim pursue a campaign of horrific violence against their oppressors? It may seem natural to link violence and revenge in ideas about “instincts” and “natural aggression” but this would be to obscure the cultural link of meaning between them. Moreover, such ideas obscure the fact that the oppressed have had to endure horrific suffering themselves to become what they have become. The reader of this piece has never seen the illusion of justice torn to pieces before their eyes and realized their awful impotency in this world of injustice. That illusion of justice, which gives meaning to the life of those that live in a thoroughly unjust world is what makes life bearable. When it is gone and replaced by harsh and punishing truth, how does one bear life? What illusion can give meaning and value to life again?

What gives meaning and value to the life of the oppressed is to be revenged. The brutal mental wounds that they have to bear are to be resolved in an act against the body of the oppressor. The oppressed know that they cannot attack the mind of the oppressor. The mind of the oppressor is blind to the justice of the oppressed and to their fury. This mind, the mind of the oppressor, is moreover, a mind shared by the entirety of culture and society. It sits there like an all-powerful Christian god at the heart of everything. It is in the so-called laws and justice of the time, the art of the time, in the literature of the time, in the music of the time, in the commercial transactions and economy of the time, in the international relations of the time and in every act and thought in this culture and society. For the oppressed, there is only one method to attack the oppressor. It is the body. And this is why the justice of the oppressed is inextricably tied to the body.

The greatest play of Shakespeare is about this same idea. Hamlet is one of the oppressed. He has to live as subject to someone who has killed his father. Hamlet knows that the only way that he can achieve justice is to kill his oppressor in a violent act. There is no other alternative. Hamlet doesn’t use poison or any subtle method against his oppressor, although he thinks of it. He doesn’t raise a revolution against Claudius, his uncle and usurper. The justice of the oppressed can only be expressed in violent form against the body of the oppressed. This is the ultimate lesson and finale of the play. Shakespeare has taught us that the justice of the oppressed can only take a certain form which allows no exceptions.

When the people judge someone like Nasim then, a woman who loved justice, and write their biased accounts about what led her to her act, when the culture that claims that Shakespeare is some sort of human god, I will always say the same thing. The oppressed have only acted according to the rules which this culture and society has put in place. They have aimed for the only justice which we have accorded them, which is the justice of the oppressed. These people are acting in a framework of thought and action which this culture and society have given them, a framework which is specially intended for them and which has been taught to them even before they were born. As immigrants and oppressed people, they have been taught that they can only express their rage in terms of the body and against bodies. They have not been allowed into the rules that govern thought, only the rules that govern the body and violence. It is this culture and this society that is ultimately at fault. It is Shakespeare that it is at fault. It is the oppressor that is at fault, not the oppressed. A woman that could not hurt an ant can become a cold blooded murderer because of a lifetime of suggestion and brainwashing in Western culture. And then, this victim, this same woman, can be shown as an example of what immigrants are like in this same culture, as just another example of the same thing. Such is the hypocrisy, malice and deviousness of the culture that we live in, and its ultimate injustice.