“Justice needs considered understanding of a crime, for which time and wisdom are required.”          

Dr. Jernail S. Anand

We are aware of the justice systems of the world, which deal with crime. When we say justice delayed is justice denied, we accept that the judicial systems of the world can be taken for a ride, and smart men may succeed in delaying justice forever. There are men smart more than courts can contend with. In fact, the preponderance of crime in a society indicates that, in the race between criminals and the law, it is the crime who takes the lead. Law only tracks them down, with uncertain consequences of punishment or acquittal.

Even the most egalitarian and educated societies cannot certify that justice is carried in every case, because, over the time, our faith in institutions which ensure liberty, equality and justice to all is being eroded by men who undermine these institutions in order to stay in power.   Apart from this, there is the instant style of justice. In the past, we had ‘eye for an eye’ system delivered justice in full public view. Men convicted of various crimes were executed while the public watched in awe.  Punishments by crushing under the feet of elephants have not yet faded from human memory. Whenever justice has faltered, crime has flourished, and we are living with the truth which is highly alloyed, tarnished and pock-marked.

Another explicit way of doing justice is: Revenge.  Revenge is the most powerful theme in drama and even our movies which hit the bull’s eye.   This is also a form of instant justice, which multiplies the injury, and does not settle the question of crime and punishment in any convincing way. Justice needs considered understanding of a crime, for which time and wisdom are required. In such cases, neither comes into play, and the justice remains under-done.

The Divine Justice

When we turn to divinity, divine justice is not only delayed, but it is not to be seen in one’s life time. It is often said that justice should not only be done, it should appear to have been done. In case of gods, we see worst of people enjoying luxuries of all types. If at all gods punish them for their excesses, it is only in the next world, which nobody has seen. The manifestation of justice being done to wrong doers is absolutely missing from society, sending wrong signals.

In Mahakaal Trilogy, in Lustus: The Prince of Darkness,* gods are surprised why people are going to the devils; while the presence of people in holy places is on the increase, there is a dip in their faith in the power of the gods. In reply to this, it is reported that people have started having doubts that gods are interested in their wellbeing, because whenever they call upon gods, no one comes to their rescue. The evil mongers enjoy the best of the world. It is rarely that a Krishna arrives to punish Kamsa, or Lord Rama is sent to finish Ravana. In ordinary life, for centuries together,  it is the evil that flourishes and gods do not respond to the cries of the people.  Earl of Gloucester, in King Lear says:

As flies to wanton boys are we to gods,

They kill us for their sport.

As a result of this realization, gods decided to make amends, and appear whenever they are called upon by people in distress. This was a sort of instant justice. People were scared when for their fouls, they were thrashed by invisible hands. They again approached the Divine Kingdom pleading that they may not be judged instantly. It is better, if they are judged at the end of the innings, i.e. after death. So, status quo was restored.

It has to be remembered that the crimes people are indulging in have social ramifications. They are corrupt, and indulge in murders or playing with the integrity of their country. These are societal crimes, but the punishment that is given to them is entirely private, [post death], and no one else knows how they have been treated by gods.   Even if they are made to suffer fires of hell, how does it matter to the people whom they have harmed in their lifetime?

Life is the mystery of all mysteries. So is death. Everything is wrapped in mist. How people are charged with various crimes, and how they are punished in hell, it is only a guess work. What is apparent is that the divine system of justice is very tardy. In fact, people often take even the divine law into their hands, and inflict injuries on people who have done harm to them, without waiting for gods to intervene.

In one of my epics, Redemption,** when Nemesis is asked why it is so slow to at the delivery of  justice, Nemesis says that when gods take a decision about a man, they have to consider their fouls in the entirety.  Justice takes time and this time gap between the act and its reaction is considered the recovery time. If a man does an evil act today, instead of punishing him there and then, the gods prefer to delay the punishment, so that, he may have realization of his crime, regret his action and atone for his crimes. People who commit crimes in the heat of the moment, are seen repenting for them later on. It appears the earthly law is a very small segment of the judicial system of gods, whose network is too large, and kindly too towards men, which slows down the divine reaction. Lord Krishna too says that man has control only on his action, but no control over its fall out which lies with the gods who have to study his actions in their entirety, and decide upon their impact.

What men take with them?

When a man dies, people often ask: what men can take with them? To signify the truth of this statement, people do not attach any pocket to the coffin of a dead man. Certainly he cannot carry any worldly prize to the next world. But this is partially true. A man is not a body. He is a mind, a soul, and an actor, whose actions affect so many around him.

So, when a man dies, it is his body which disappears from public view, but his presence, good or bad, stays behind. This good and bad is what man carries along with him to the next world. The soul that returns to the divine abode is carrying the silt of sin, heavy with crime, and cannot merge with the divine, so long as its dirt is not removed. And, man is sent back to the earth, with a clear brief to do good. But this brief does not last even a few days. Because the first thing that a man forgets when he gains memory in the world, is that he comes from the divine. He starts afresh, a clean slate from which all the wisdom of the previous births has been erased.

*Lustus is a corporate of evil, who takes over from ageing Satan. He challenges gods and wages war against angels in the three books of the Mahakaal Trilogy.

**Redemption is an epic from the Neo-Cosmic Trilogy in which the ideas of Evil are discussed in detail, and Nemesis is called upon to explain why godly systems are so slow in giving justice to evil doers.

Read: Prayer: A Post-Modern View

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 Dr. Jernail S. Anand, with 210 books to his credit [20 epics] is a Chandigarh-based top ranking author, whose seminal work ‘Lustus: The Prince of Darkness’ challenges the moral complacency of our era. He is founding President of the International Academy of Ethics, and Laureate of Charter of Morava [Serbia], Seneca [Italy], Franz Kafka [Germany, Ukraine, Czeck Rep] and Maxim Gorky [Russia] Soka Ikeda and Mahakavi Bharati (India) Awards, his name is inscribed on the Poets’ Rock in Serbia. Email: anandjs55@yahoo.com.

The post Philosophy: Justice of Gods and Men first appeared on Sindh Courier.

Ramesh Raja

Gen Z is taking to the streets across Europe; from the school gates of Paris to the squares of Madrid and the parliament steps of Tirana. In different languages and with different demands, the message is converging: young Europeans are tired of paying the price for political decisions that put their futures at risk.

This is not one coordinated movement. But a wave of public unrest driven by young people has swept across France, Spain, Portugal, Italy, Belgium and Albania, as anger grows over poor educational conditions, soaring housing costs and the rising cost of living.

France: Where it started

The current cycle began in mid-to-late September in France, when students in the Paris region blockaded school entrances.

The flashpoint was Lycée Saint-Exupéry in Créteil, an underprivileged suburb of Paris, where students protested a shortage of substitute teachers, overcrowded classrooms and inadequate facilities.

Their complaints quickly became familiar across the country: missing teachers, overcrowded classrooms and deteriorating facilities, including mold, broken toilets and classrooms reaching 40°C during heat waves. Hundreds of schools were closed or disrupted as the protests spread.

What started as a high-school action became a national mobilization. A massive day of mobilization brought together not just students but also former yellow vest protesters, teachers, trade unions, farmers and firefighters.

The scale grew fast. The French Interior Ministry reported around 161,500 people joining rallies on one Tuesday alone, while organizers put turnout for a Saturday in mid-October at 550,000 to 800,000. Another national count cited 266,000 marchers, with more than 6,500 arrests since September 28, mostly minors.

Students raised concerns about vacant teaching positions, overcrowded classrooms, lengthy timetables and school buildings no longer suitable for learning but the protests also tapped into a wider cost-of-living crisis and political discontent.

Albania: Corruption, education and calls for resignation

In Albania, student-led demonstrations in Tirana entered their sixth consecutive day on October 18. Protesters demanded Prime Minister Edi Rama’s resignation while raising concerns about education costs, corruption and limited employment opportunities.

The daily protests had been peaceful since they began on October 13 outside the education ministry, shouting “Rama resign!” over tuition fees. In recent days they escalated.

Reports from Tirana described a police station set on fire and 28 people, including 19 police officers, injured, with other outlets reporting over 500 detained and over 120 police injured in clashes. Thousands marched through Tirana on the fourth day, breaking windows and traffic lights on an increasingly violent student-led campaign.

Rama has said he will not resign. “My responsibility is to listen, address legitimate concerns and keep Albania moving forward,” he said in a written statement to Reuters, adding “governments are changed through democratic elections. We had elections last year, not a revolution.”

For young demonstrators, the issue is staying in the country. As one report noted, the protests reflect a desire to build their futures in Albania rather than seek opportunities abroad.

Spain: Tents in Puerta del Sol and a housing storm

In Spain, protesters had already been camping for several days at Puerta del Sol, one of the capital’s most important public squares.

What began as anger over an eviction — the forceful eviction of an 87-year-old woman in Madrid; triggered nationwide protests across Spain with protesters demanding lower rents, an end to evictions, and a ban on investment funds or “vulture funds” buying property.

On October 3-4, around 50 demonstrations were held in cities including Madrid, Barcelona and Valencia. Organizers estimated more than 150,000 demonstrators joined in central Madrid alone, rattling keychains — now a symbol of housing discontent and chanting “Stop the housing racket.”

The backdrop is stark: average rent in Spain has almost doubled in the past 10 years, from 8.20 euros per sqm in 2016 to 15.1 euros this year, with 26% of renters spending an average of 40% of their income on rent.

Portugal, Italy and Beyond: Wages, pensions and the cost of being a student

In Portugal, demonstrators took to the streets over wages, pensions and public services, amid growing anger over the cost of housing; part of the same housing affordability wave hitting Lisbon, Madrid, Amsterdam and Milan.

In Italy, university students are back in their tents, even outside parliament, protesting the rising cost of student life. The movement, which also drew 100,000 protesters in Rome peacefully, centers on the struggle to access grants, tuition fees and everyday expenses.

Belgium has seen student-led protests in Brussels and Liège turn violent, with police deploying tear gas and water cannons, linked to rising household expenses and education fees.

One Generation, Different Flags

Protests have also touched other causes — motor oil refinery workers in Greece over workplace demands — but the core drivers are shared: housing that costs nearly double what it did a decade ago, schools that leak and overheat, jobs that don’t pay enough to stay, and a sense that decisions are made without those who will live with them.

At least five European countries are witnessing protests over various issues, including France over living costs and poor school conditions, Albania over university conditions and job prospects, and Portugal over housing affordability.

As one young Albanian banner put it in Tirana: “EUROPE CAN YOU HEAR US”; a line that summed up the weekend from Paris to Lisbon.

It is not one single movement. The demands vary from country to country. But the message is strikingly similar: young people no longer want to stand on the sidelines while decisions about their future are made without them.

Read: Debt-Laden Pakistan Leads Borrowing Nations

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Hailing from Gambat town of Sindh, Engr. Ramesh Raja, is a Civil Engineer, visionary planner, PMP certified and literary enthusiast with a passion for art and recreation. He can be reached at engineer.raja@gmail.com  

The post World View: Gen Z Takes the Streets first appeared on Sindh Courier.

By Noor Muhammad Marri Advocate | Islamabad

In The Great Transformation, Karl Polanyi uses the term “mediation” or “mediating institutions” to describe the social, legal, and political buffers that protect human society from being destroyed by unchecked market forces.

Polanyi’s core insight is that Labor, Land, and Money are fictitious commodities that were never produced to be bought and sold on an open market. Left entirely unmediated, a self-regulating market treats human beings, nature, and currency as disposable inputs, creating severe social ruin.

Mediation is society’s protective shield. It includes labor laws, factory acts, agricultural tariffs, central banking oversight, and social safety nets. These institutions cushion the impact of volatile market dynamics on human life.

Chapter 17 examines the fundamental paradox of the modern industrial state, which Polanyi calls the Double Movement. As market liberals pushed to expand unregulated trade, society instinctively erected protective legal and regulatory barriers to preserve itself. These protective regulations successfully cushioned citizens, but they impaired the market’s internal mechanics. A self-regulating market requires wages, land prices, and money values to fluctuate without restraint. When legislation prevents wages from dropping to starvation levels, the market system stalls. The crisis of industrial society was not caused by state interference alone, nor by the market alone, but by the clash between the two.

Chapter 18 details the systemic breakdown and disruptive strains that emerged when this institutional paralysis reached its peak during the early twentieth century. Polanyi categorizes these strains across four main domains.

In the domestic labor domain, treating human effort purely as a market cost led to factory acts, minimum wage laws, and trade union protections, which generated economic stagnation and severe industrial conflict between labor and capital.

In the land and agricultural domain, treating nature as real estate and extractable profit prompted agrarian tariffs, land preservation regulations, and public subsidies, which resulted in escalating food prices, trade barriers, and international commercial friction.

In the money and currency domain, the rigid enforcement of the international Gold Standard forced central bank controls, debt moratoria, and monetary intervention, producing severe wage deflation, deep economic depressions, and widespread domestic distress.

In the imperial and geopolitical domain, the expansion of foreign capital into uncolonized markets led to protectionist trade blocks and aggressive state expansionism, culminating in rivalry between imperial powers, the breakdown of global trade, and trade wars.

Polanyi wrote these chapters to explain the catastrophic breakdown of liberal civilization between 1914 and 1939. Following World War I, European nations attempted to restore the Gold Standard. To maintain currency values, states were forced to cut public spending and force down wages. Citizens used democratic elections and labor movements to resist these austerity measures. When democratic governance could no longer reconcile the demands of international financiers with the survival needs of the population, liberal democracy fractured. Fascism, Nazism, and authoritarian state control emerged to forcibly resolve the impasse by dismantling democratic institutions altogether.

Polanyi’s analysis points toward three essential steps for contemporary economic and legal governance. First, economic systems must be re-subordinated to human dignity, democratic oversight, and community stability rather than operating as autonomous forces. Second, vital public necessities, such as health, basic education, environmental health, and justice, must be safeguarded from pure short-term profit motives. Third, national and international policy frameworks must maintain clear, protective legal mechanisms that cushion workers and ecosystems from economic shocks, preventing the build-up of systemic friction.

Chapters 17 and 18 demonstrate that when a political economy demands that society adapt entirely to the market, rather than adapting the market to human needs, the resulting institutional strain inevitably triggers economic paralysis, social collapse, and political upheaval.

Read: Liberal Society vs. Military Professionalism

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Noor Muhammad, Advocate and Mediator, Islamabad

The post Karl Polanyi’s Concept of Mediation first appeared on Sindh Courier.

Souad Khalil | Libya

Since its emergence at the end of the nineteenth century, cinema has never been merely a form of entertainment or a story projected onto a screen. It has evolved into one of the most influential artistic forms, possessing an exceptional ability to shape human emotions and influence both individual and collective consciousness. By combining image, movement, sound, and drama, cinema creates an alternative world with which audiences interact not simply as spectators but as participants in a lived experience.

With this growing influence, cinema has become a powerful medium for communicating ideas, values, and worldviews. At times, it even shapes attitudes and perceptions of both the self and the other. This raises important questions about the purposes embedded within the cinematic image and the limits of art when it becomes a vehicle for cultural or ideological influence. These questions form the focus of the present article through an examination of the relationship between cinema, its audience, and the intentions of its creators.

The Moroccan critic Suleiman Al-Haqioui writes on this subject:

The greatness of art lies in its limitless ability to enrich our own life experiences through other human experiences that we might never have encountered. Art carries us into, and within, a shared imaginary world. Cinema could never have attained such a distinguished position or achieved such persuasive enjoyment without relying on the magic of the image and its powerful suggestiveness. Yet the passport to this existential journey comes at a price, for it is accompanied by numerous risks that may leave us vulnerable to ideological manipulation hidden within many cinematic themes.

For decades, we have found ourselves subjected to a relentless cultural assault carried out through a variety of media, including print, radio, television, and, increasingly, digital communication. Together, these media form an interconnected network capable of shaping public opinion and transmitting information on a massive scale.

Among these media, cinema occupies a unique position because it combines within a single artistic form dialogue, visual imagery, storytelling, scientific knowledge, and aesthetic creativity. This comprehensive expressive power enables it to surpass most other forms of communication.

Visual expression has undergone extraordinary development over the past century. The cinematic image has evolved dramatically, creating both formal and thematic innovations that have elevated cinema to the summit of the arts. In many cases, it has even challenged the historical primacy traditionally attributed to theatre, attracting audiences on a scale unmatched by any other performing art.

A simple comparison between the number of book readers, theatre-goers, and cinema audiences clearly reveals this disparity. For many young people, cinema constitutes their principal cultural reference throughout significant periods of their lives, long after formal education has ended.

Unlike theatre, which often requires a culturally prepared audience, cinema imposes few barriers to entry. Its accessibility enables it to reach diverse social groups regardless of educational background. Yet this accessibility also allows cinema, under certain circumstances, to become an instrument of cultural and moral influence. This observation does not imply a condemnation of cinema or of the media in general, but rather calls attention to the exceptional communicative power that cinema possesses.

Spanish filmmaker Carlos Saura once described cinema as a world in which the director assumes almost god-like authority: creating characters, determining destinies, generating happiness or tragedy, and constructing conflicts together with their triumphs and defeats.

What concerns us most in this description is the immense creative authority exercised by the director within the cinematic universe. Once the film reaches its audience, this authority extends beyond production itself, transforming into a powerful force capable of influencing viewers and shaping their responses to the film’s meanings.

Brian Bates, in The Way of the Actor (1986), recounts stories that liken cinema to a form of magic, suggesting that the filmmaker’s creative process resembles an act of enchantment. The influence of this cinematic “magic” may be constructive or harmful, depending largely on the viewer’s ability to decode both the explicit and the implicit symbols embedded within the film. This assumes, of course, that the audience approaches cinema critically—an assumption that reality often fails to confirm.

As is well known, filmmakers pursue different ambitions through their productions. Some seek commercial success by attracting large audiences and maximizing box-office revenue; others aspire to fame, critical recognition, and prestigious awards. There are also directors who use the cinematic image as a vehicle to promote specific intellectual, political, or ideological agendas. Still others strive to reconcile several of these objectives, while a distinct group remains devoted primarily to cinema as a humanistic and artistic endeavor.

These divergent motivations inevitably shape the subjects filmmakers choose, the methods they employ, and the artistic directions they pursue. Directors aiming for international awards often adapt their works to the aesthetic preferences of festival juries, whereas those driven primarily by commercial profit tend to produce films designed to satisfy audience expectations and market demands.

This commercial orientation has contributed to the emergence of countless cinematic genres. Action films, for example, dominated international cinema throughout the 1990s and continue to attract large audiences today. More recently, horror films have occupied a prominent place at the box office, influencing not only Western productions but also many films within the Arab world.

Other filmmakers revisit familiar themes, yet present them through innovative visual techniques and advanced technologies that immerse audiences in highly convincing cinematic worlds. Among the most remarkable examples is James Cameron, whose work consistently demonstrates an extraordinary commitment to technological innovation.

Cameron has long regarded technological advancement as a fundamental path toward artistic excellence. This philosophy reached its fullest expression in Avatar, just as it had characterized many of his previous productions. Throughout his career, he has repeatedly explored creative territories that few directors have dared to enter, establishing himself as one of contemporary cinema’s most innovative filmmakers.

His films illustrate an exceptional ability to balance artistic ambition with commercial appeal. He succeeds in satisfying public expectations while simultaneously achieving extraordinary box-office success. Avatar, widely regarded as a milestone in the history of cinematic visualization, surpassed two billion dollars in worldwide revenue, exceeding the remarkable achievements of his earlier masterpiece Titanic.

Remaining within our discussion of filmmakers’ intentions, we encounter another category of directors who share Cameron’s desire for commercial success but pursue it through entirely different means. Their productions frequently rely on sensationalism and the exploitation of instinctive human impulses, reducing artistic value in favor of immediate commercial gain.

This tendency can also be observed in certain Arab cinematic productions, particularly during the period around 2009, when a number of films appeared whose primary concern seemed to be commercial profitability rather than artistic or cultural significance. In many instances, these productions lacked the essential qualities traditionally associated with genuine cinematic art.

While discussing the influence of both Western and Arab cinema, one may also consider Roland Emmerich’s film 2012, starring John Cusack and Amanda Peet. The film narrates a global catastrophe and humanity’s struggle for survival. As in many Hollywood productions, the United States is portrayed as the principal savior of civilization through the construction of enormous rescue vessels capable of preserving a select number of survivors.

Scientists, political leaders, and influential figures from around the world are chosen to board these vessels in the hope of rebuilding civilization after the disaster. Yet the film also presents a subtle ideological narrative concerning Arab identity. Arab characters are granted access to the rescue ships primarily because of their financial wealth, implying that their value lies chiefly in their economic resources. At the same time, the wealthy Arab prince is portrayed as profoundly selfish, abandoning his own family in order to save himself, whereas another character is willing to sacrifice everything—even for the sake of rescuing a pet dog.

Such representations demonstrate how cinematic narratives may reinforce cultural stereotypes through seemingly incidental dramatic choices. They remind us that the influence of cinema extends far beyond entertainment, contributing to the formation of collective perceptions and cultural imagination.

This perspective is echoed by Eric Watson, President of the Association of Motion Picture Producers, who once declared:

Our enduring hope is that our films will present America to the eyes of the world as an inspiring and ideal society.

Such statements leave little doubt about cinema’s profound social influence. Its images penetrate beneath the surface of consciousness, becoming part of our memories, perceptions, and everyday understanding of the world. In many respects, we live with cinema, and cinema lives within us.

Our discussion of this subject should not conclude with a mere judgment of filmmakers and producers, regardless of whether their intentions are explicit or concealed. Equal attention must be given to the second and equally essential participant in the process of cinematic communication: the audience.

Today, many viewers no longer approach cinema as a refined artistic experience capable of elevating human consciousness. Instead, a significant portion of the Arab audience suffers from what may be described as cinematic illiteracy—a lack of visual and critical awareness that limits the ability to understand and evaluate the artistic, cultural, and ideological dimensions of film.

As a result, many viewers have become passive recipients, unable to distinguish between the explicit and implicit intentions of filmmakers or to relate a film to its historical, cultural, and production contexts. This situation leaves a broad segment of society—particularly young people, who are often captivated by the glamour of images and the illusion of appearances—highly vulnerable to the persuasive power of cinema.

Most viewers encounter only the finished film projected onto the screen. They rarely perceive the complex economic, political, social, and artistic forces that have shaped its production or influenced its narrative choices. Consequently, the cinematic image is often accepted as reality rather than recognized as a carefully constructed representation.

The campaigns occasionally launched on social media against certain Arab films, although valuable in expressing public opinion, are not sufficient to foster genuine cinematic awareness. What is truly needed is a deeper engagement with films worthy of serious viewing, followed by thoughtful dialogue and critical analysis.

Critical engagement transforms the viewer from a passive consumer into an active participant. It encourages audiences to seek works of genuine artistic merit and contributes to the development of aesthetic sensitivity and visual literacy. Through such critical practice, cinema becomes more than entertainment; it becomes an intellectual and artistic experience that deepens our understanding of humanity and broadens our perception of the world.

Ultimately, cinema remains one of humanity’s greatest artistic achievements and among the most powerful forms of cultural expression ever created. Its extraordinary ability to move emotions and shape perceptions should not reduce audiences to passive recipients of its visible and invisible messages. Rather, it should inspire viewers to cultivate a critical consciousness that enables them to distinguish between cinema that elevates the human spirit and cinema that merely exploits the persuasive power of the image for ideological or commercial purposes.

Responsibility therefore does not rest solely with filmmakers. It also belongs to audiences, who must develop the cultural and aesthetic awareness necessary to interpret cinematic works within their broader artistic, historical, and social contexts.

When authentic artistic creativity meets an informed and discerning audience, cinema transcends entertainment to become a space for dialogue, knowledge, and beauty—a civilizational force that enriches human experience, expands intellectual horizons, and deepens our understanding of ourselves and of the world we inhabit.

Read: Concept of the Very Short Story

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Souad Khalil, hailing from Benghazi Libya, is a writer, poet, and translator. She has been writing on culture, literature and other general topics.

The post Cinema’s Talismans: The Image and Purposes first appeared on Sindh Courier.

Zaheer Udin Babar Junejo

On my elder son’s birthday, while leaving my second son with a high fever, with a half-filled tank, my MacBook, and some cash to fill up and buy a few days of food in my pocket, I set out for Thar, leaving early in the morning. After the current artificial tensions, fuel in the country has reached unprecedented prices; I have never seen so much in 52 years. Fewer trips by buses, higher fares, no one puts a brake, but false tears and excuses. It goes even higher the farther you go into the desert, and it makes a difference as everything becomes dearer or doesn’t come at all. Crossing Bakhtawar Bibi Farms in District Tando Allahyar, I could see land covered in green and canals full of water, and about dozens of boards pointing in front toward Bakhtawar Bibi house. As I moved toward Jhudho Naukot, one could see the victim land which, since the 2022 flood, could never recover. By noon, after crossing several herds of cows chasing back to the barrage, I reached Mithi. I had a scheduled dialogue with the people in Bon Germany about how our triggers and thresholds work for drought anticipatory action next year.

Then, I gathered some time with social activists regarding whether drought declaration is the real need or just the choice of a few? Because I still remember the words from the chairman of the leading party in power: “If critics claimed the national system has failed or collapsed, should we hand over Islamabad to the Tharparkar people for the betterment of the system?” Our dialogue closed on one note accepted by all of us: that it doesn’t matter how much the system delays, no matter blame it to climate or to authorities for poor governance, but with increasing suicides, destruction of health and no food and water storage, the people of God need hand-holding.

When you are in Thar, remember it won’t start nor end in Mithi and Islamkot. To observe, you need to dive deep; the second day is dedicated to going further into villages where no one reaches.

On the second morning I was leaving Mithi; when the first light of the sun hit the Kandi, a tree I am no stranger to, having seen many of them in Thar. There, staring at the Kandi, I thought of the tragic fact that so many young men and young women committed suicide (many of whom were buried without any intimation), as there was never a way out from that daily grind of theirs.

On the road from Mithi towards Tar Ahmed village, I saw the uneven bits of hope in the remaining fields. A few fractions of the earth were still green; everywhere else, farmers had used their tiny savings on tractor ploughing and purchased seed that did not yield a worthwhile crop. A common Thar farmer, even in a good monsoon, does not possess even the daily requirement of grain for the family, not to mention a surplus to sell and cover costs until the arrival of the next monsoon. But when he does harvest, the Seth (moneylender) has the right to charge him on his next account book page with the value of the remaining crop minus his debt.

The words of those I met were soft, but their meaning was loud with despair. They believed they had been forsaken; that there was no elected official-district, provincial, national-representing them and voicing their miseries. This year they had already watched the hope for their families’ livelihoods wither away-but now their stock-their last means of livelihood, security and dignity-was wasting away. To add further to injuries, they told me, deep wells, which provide water to their communities, were starting to dry up and were no longer able to quench their thirst.

In the villages of Tar Ahmed, Lalu Tar, Jaitrar and rural vicinities of Dahili, Chachro and Diplo Thesils of Tharparkar, failure of crops is no longer an isolated issue. It has grown into a crisis of livelihood, animals, water, piling debt, and, most importantly, hope. When the land doesn’t give, animals die, and water diminishes, people ask how in a daily basis price hike, no social protection measures, they will make it till the next monsoon?

On the drive back, the sun set over the dunes in a blaze of gold, as beautiful as it must have been for generations of Tharis who have watched the sky for rain. The people there are not asking for pity. They are asking to be counted. The increasing sense of despair that I encountered serves as a reminder that drought is not just an environmental issue. It’s a human crisis that calls for immediate action, consistent assistance, and a shared resolve to walk hand-in-hand with the people of Thar before their last breaths are lost with the sun.

(All pictures used are taken by the writer himself)

Read: Stop the Tears Before They Fall

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Zaheer Udin Babar Junejo is a Community-Driven Development Specialist based in Hyderabad.

The post The miseries of Thar are overlooked! first appeared on Sindh Courier.

By Abdul Qayoom Shar

Sindh made history on May 25, 2023, by becoming the first province in Pakistan to approve a comprehensive Teaching License Policy. As per the official notification issued by the School Education and Literacy Department, Government of Sindh, the policy was formulated by the Sindh Teacher Education Development Authority (STEDA) with technical support from the Aga Khan University Institute for Educational Development.

Last month, at a small tea stall near Thari Mirwah bus stop, I met a young man who had just finished his BS in 2024. He had his B Ed admission slip in one hand and a list of bridging course fees in the other. He did not ask me about the syllabus or the test pattern. He just asked, “Sir, will I even be allowed to apply?” That one question captures the entire policy paradox.

However, recent indications from the Education Department suggest that making the license mandatory for upcoming PST, JEST and JST recruitments has inadvertently generated a critical policy paradox.

This paradox manifests across two primary dimensions, eligibility and availability.

First, consider the question of eligibility for fresh graduates. While media reports indicate that Sindh Education Minister Syed Sardar Ali Shah recently hinted at opportunities in an upcoming batch of about 30,000 vacancies, current structural frameworks present a significant hurdle. Under the licensing framework notified by STEDA, a fresh BA, BSc or BS graduate from the 2024-25 cohort faces immediate ineligibility. The framework comprises three distinct categories, Primary for ADE holders, Elementary for B Ed holders and Secondary. STEDA guidelines stipulate that securing a license necessitates a prior professional degree. Furthermore, official criteria issued by STEDA show that holders of traditional 1-year B Ed degrees must complete a 6-month bridging course from an accredited institute incurring a cost between 40,000 and 60,000 rupees just to become eligible for the license test.

Second, and more critically, is the issue of market availability. Data from Pakistan’s inaugural Teaching License Test held in January 2024 reveals that approximately 4,000 candidates appeared, yet only 646 qualified for the Elementary License, resulting in a pass rate of merely 16 percent. Stakeholder estimates and private data compiled from test results suggest that to date the active pool of licensed teachers across Sindh stands at a modest 1,500 to 2,000.

In our taluka, people do not discuss pass percentages. They discuss whether the girls’ primary school in the next village will open next month. When I hear that the province has only about 1,500 licensed teachers for a projected 30,000 posts, I do not see a number. I see those schools with locked doors and waiting children.

Conversely, departmental projections indicate that between 30,000 and 50,000 teaching positions may fall vacant in coming years due to large scale retirements, though the exact official figure is yet to be notified. If licensing becomes an absolute prerequisite for the anticipated 2027-28 recruitment drive, the province could face an unprecedented mismatch, around 30,000 projected posts against a pool of only about 2,000 eligible candidates.

The ramifications of this imbalance will hit rural Sindh hardest. In talukas like Thari Mirwah in District Khairpur, alongside regions such as Tharparkar, Sujawal, Badin and Kashmore where educational hurdles are already profound, schools may struggle to find even a single licensed educator.

Many stakeholders frequently question why this policy was not enforced during the JST recruitment cycle concluded in early 2025. Official records clarify that those appointments did not represent a fresh advertisement, rather they constituted pending positions originating from the 2021 IBA Sukkur testing process. Citing a report published in Dawn on May 26, 2023, the licensing requirement was initially intended for future recruitments, and established legal frameworks dictate that conditions introduced in 2023 cannot be retroactively applied to a 2021 advertisement.

Moving forward constructively, abandoning the licensing policy is neither necessary nor advisable. Drawing on global best practices documented in education research, in countries like Finland and Singapore teaching licenses were progressively phased in over a 5- to 7-year window.

A practical 3-year transitional framework offers an optimal path forward. For the upcoming 2027-28 recruitment drive, holding a license should serve as a valuable merit advantage rather than an absolute disqualifier. A balanced merit formula could be structured as IBA Test Score 80 marks, Professional Qualification B Ed and ADE 10 marks and Teaching License 10 marks.

Reform is the need of the hour. But good reform fills schools with qualified teachers, it does not lock qualified youth out and leave schools empty.

____________

The writer is a biochemistry graduate based in Thari Mirwah, District Khairpur. He writes on education and science.

The post Teaching License: Policy Paradox in Sindh first appeared on Sindh Courier.

By Nurul Hoque

​On a late February morning in 1987, when the winter air of Bengal yields to the soft whispers of Falgun, Soumya Salek entered the world in the quiet village of Kadla within the Kochua UpoZela of Chandpur district, at the home of his maternal kin. Chandpur is a land defined by the majestic confluence of rivers, where the Padma and the Meghna meet in a vast and restless embrace, and though his ancestral roots belong to the nearby village of Tetaiya, it was this soil drenched in alluvial memories and riverine mists that quietly nurtured his early imagination. Born to Md. Nurul Islam and Roushan Ara Begum, who gifted him a lineage rooted in grace, faith, and quiet dignity, he learned from his domestic surroundings the cadence of Bengali speech—the soft rustle of paddy leaves, the rhythmic beating of rain against corrugated roofs, and the melancholic songs of boatmen drifting across silt-laden waters—sensory impressions that would later become the foundational palette of his literary universe.

​As he grew, his intellectual journey led him to Comilla Victoria College, an institution renowned for its academic legacy, where he pursued a Master’s degree in Accounting. At first glance, the rigorous world of accounting, built upon ledgers, balance sheets, and precise numerical reconciliation, might seem far removed from the uncharted realms of poetry; yet for Soumya Salek, this dual discipline forged a distinct harmony. The balance sheet taught him symmetry, restraint, and structure, while the poetic muse offered him a canvas to explore the unquantifiable dimensions of human emotion, mortality, and existential angst, creating a synthesis of analytical precision and lyrical vulnerability that would eventually define his artistic voice.

​Soumya Salek’s formal entrance into the literary sphere occurred in 2008 at the Amar Ekushey Book Fair in Dhaka when his poetry was featured in the curated anthology Selected Poems of 2007, marking the beginning of a relentless artistic journey during which his verses, short stories, essays, and dramatic works appeared across more than a hundred literary journals, little magazines, and regional anthologies across Bangladesh and India. Rather than offering mere decorative verse, Salek approached literature as a philosophical quest and a search for truth amid the fractured realities of modern existence, an inquiry vividly embodied in his published poetic volumes. His debut collection Atmakhuner Sketch (Sketch of Self-Extermination), published in 2016 by Prakriti Prakashan, examines self-reckoning and internal conflict through the metaphor of a sketch as an ongoing draft of identity and a vulnerable exploration of grief and psychological fragmentation. This was followed in 2018 by Usha O Gamini (Usha and Gamini), published by Deshoj Prakashan, a pivotal collection that juxtaposes celestial light with earthly journeying, whose manuscript received the prestigious Deshoj National Manuscript Award in 2017 for its seamless blending of classical motifs with modern poetic sensibilities. In 2020, Somoy Prakashan released Pata Jhorar Orchestra (Symphony of Falling Leaves), where autumn becomes an allegory for decay, memory, and spiritual transition as falling leaves perform a symphony reminding the reader that every ending carries its own music. Expanding his gaze toward urban solitude, Park Bencher Kobita (Poems from a Park Bench), published by Kobi Prakashan in 2022, turns the park bench into an observation post to reflect on forgotten lives, brief encounters, and the quiet dignity of city dwellers. His 2023 volume Shirohpeera O Onyanyo Songbed (Migraine and Other Sensations), also from Kobi Prakashan, transforms physical pain and psychological tension into art, using migraine as a symbol for the modern intellectual’s internal throbbing caused by social unrest, alienation, and hyper-awareness, while his 2026 collection Otijaponer Khoykhoti  (The Erosion of Existence), published by Jolodhi, offers a mature meditation on longevity, endurance, weariness, and the emotional cost of surviving through changing eras.

​Beyond verse, Soumya Salek has built an equally formidable reputation as an insightful essayist and cultural critic. His 2019 essay collection Shobdo Chitra Mot O Motobad (Word, Image, Ideology and Isms), published by Somoy Prakashan, investigates how language shapes thought, how literary images carry cultural memory, and how artistic creation interacts with ideology, while his 2025 work Biangsho Ekbingsho (The Twentieth and Twenty-First), published by Bunan Prakashan, offers a critical study of literary shifts between centuries, analyzing how digital culture, rapid urbanization, and shifting values have transformed contemporary Bengali literature. His dramatic collection Swopnobondhi O Onyanyo Natok (Dream-Bound and Other Plays), published by Chhinnapatra in 2025, explores theatrical storytelling by using dialogue and staging to address human ambition and moral compromise, whereas his travelogue Momer Putul Momir Deshe (Wax Dolls in the Land of Mummies), published by Prosidho Publishers in 2022, chronicles his journey through Egypt, weaving together historical reflection, architectural awe, and meditations on human mortality along the Nile.

As an editor, Salek has dedicated himself to preserving regional history and literary heritage through works like Japone Udjapone Ilish (Living and Celebrating the Hilsa, 2018), Protnonatok Mahasthan (Mahasthan: An Archaeological Drama, published by Bangladesh Shilpakala Academy in 2020), and Golposonggroho: Adwaita Mallabarman (2021), alongside his editing of influential little magazines such as Chasharu, Shalbon, and Jolpushpo, which served as vibrant platforms for emerging voices and non-conformist literary thought.

​Soumya Salek’s substantial contributions to Bengali literature have earned him significant honors, including the Deshoj National Manuscript Award in 2017 for Usha O Gamini, the Chandpur Deputy Commissioner’s Manuscript Award in 2018, and the Hilsa Festival Honor in 2014 in recognition of his engagement with regional folk tradition. Professionally, he serves at the Bangladesh Shilpakala Academy in Dhaka, directly contributing to institutional efforts aimed at preserving, documenting, and promoting the nation’s fine arts and cultural heritage. From the quiet, river-bound village of Kadla to the prominent cultural institutions of Dhaka, Soumya Salek’s journey reflects a lifelong dedication to the written word, standing at the intersection of traditional Bengali lyricism and modern urban consciousness as a vital voice who audits both the soul and the world with quiet grace, lyric sensitivity, and intellectual depth.

An Analytical Study of Soumya Salek’s Poetic Landscape

​In contemporary Bengali poetry, Soumya Salek occupies a distinctive space where existential anxiety, spatial displacement, and emotional introspection converge. His poetic consciousness continuously navigates between the concrete geography of urban spaces and the intangible topographies of human desire, solitude, and mortality. By examining key excerpts from his translated poems, “The Erosion of Existence “The Dancing Girls,” “Losing Myself,” “Birthmark,” and “I Know Nothing”—one can chart the delicate architectural framework of his verse, characterized by quiet lyricism, vivid imagery, and philosophical depth.

Salek presents a striking juxtaposition between physical environment and internal despair. Written in the reflective setting of Gulshan Lodge, Kolkata, the poet contemplates the weariness that accompanies prolonged survival and geographic separation. He opens with an atmospheric observation:

​”In late autumn, sudden rain leaves Kolkata trembling; its streets, damp with dust and ink-black grime, / are washed clean by this rare downpour.”

​Here, the rain acts as both a literal cleanser of urban grime and a symbolic mechanism of emotional catharsis. The phrase “ink-black grime” subtly invokes the physical material of writing itself, suggesting that the poet’s urban surroundings are saturated with recorded memories and history. However, this external cleansing stands in stark contrast to the poet’s internal unrest, which remains unwashed:

​”And the erosion of existence/ Be carried away in the songs of wandering minstrels, / Where shall I gather that peace?”

​The core concept of over-living or existence (Otijapon) implies an existential fatigue—a state wherein living exceeds its natural, joyful capacity and becomes a heavy endurance. By longing for his inner burden to be carried away by “wandering minstrels” (bauls or folk singers), Poet Salek anchors his modern alienation in traditional Bengal motif, seeking redemption through art and song.

​The poem “The Dancing Girls” shifts the perspective toward the seductive power of sensory presence and aesthetic performance. Through structured, rhythmic observations, Salek maps the movement of artistic performance onto human emotion:

​”When they gave their attention to their waists, the breath of Arabian horses spread in every direction!”

​This line employs a striking, dynamic metaphor. The comparison to the “breath of Arabian horses” evokes raw vitality, momentum, and untamed energy, capturing how body language in art can command space and alter the atmospheric pulse of the audience. The progression of the poem culminates in a philosophical turn away from bodily aesthetic toward emotional truth:

​”And when they gave their attention to their hearts itself / the young men, torn loose by the wild rush of the tempestuous wind, / took flight and vanished!”

​Salek illustrates that while physical beauty generates admiration, the revelation of the heart—the core of genuine emotional vulnerability—is overwhelming. The imagery of young men being swept away like leaves in a tempest suggests that deep emotional honesty possesses a force far more destabilizing than surface allure.

​In “Losing Myself,” the poet turns inward to critique the hyper-functional, mechanical demands of contemporary existence. He begins with a paradoxical declaration:

​”It is good to leave some things behind; / to bring everything along makes one seem selfish.”

​Salek directly challenges the modern impulse to accumulate and possess. He personifies this critique through an imagined observer who comments on human compulsion:

​”He who thinks everything in this world is necessary, / this mechanical man, ah, poor soul, / crushed beneath the burden of life, / he deserves our pity!”

​The term “mechanical man” encapsulates the cold efficiency demanded by modernity. Salek posits that the refusal to let go transforms human beings into burdened machines. True awakening, he argues, requires vulnerability and spiritual subtraction:

​”Sometimes a wound deep within can become a tender awakening… So sometimes I lose myself, / sometimes I leave everything behind.”

​By viewing a deep wound as a “tender awakening,” Salek highlights the transformative potential of suffering. He surrenders his writing tools, desires, and unfulfilled ambitions—leaving “songs upon the wind”—to regain a pure, unencumbered connection with existence.

​Maternal Insight and Sacred Memory

​”Birthmark” shifts from urban solitude to the intimate realm of familial memory and maternal empathy. The poem opens with a meditation on the physical and psychological toll of aging:

​”So much fades away, buried within the folds of age— / wrinkles drawn / in the script of time…”

​Here, time is depicted as an author scribbling wrinkles upon the human frame, while life’s struggles leave unread marks of suffering within the soul. Salek notes that in the ordinary friction of domestic existence, standard human relationships often fail to perceive these hidden wounds. It is only the maternal gaze that possesses true perceptual clarity:

​”Only Mother knows / Where the sorrows lie concealed, / Where pain has made its dwelling; / and Mother knows / Where the wound is hidden in the heart, / which one of them / is its birthmark.”

​The distinction between a casual wound and a “birthmark” is central to the poem’s emotional resonance. While a wound is inflicted by external life battles, the birthmark symbolizes an intrinsic, primal mark of identity. Salek suggests that maternal love is unique in its ability to differentiate between transient pain and essential human suffering, offering a sacred space of understanding that requires no spoken explanation.

​In “I Know Nothing,” Poet Salek addresses the limits of self-knowledge and the agonizing nature of unexplained longing. The speaker responds to an accuser who demands total transparency and logical explanations for emotional turmoil:

​”You want to uncover everything. / You want to know everything. / And, failing to understand it all, / you accuse me again and again… / and swear in anger: / ‘Deceiver, you know it all!'”

​This stanza reflects the tension between rational demands for clarity and the fundamentally irrational nature of human passion. The world demands rationalizing every tear, desire, and gesture of supplication. In response, the poet rejects the title of a conscious master of his emotions, concluding with a line of profound confession:

​”The burning ache of endless desire /

In truth, I know nothing of it at all!”

​By declaring total ignorance regarding the origins of his own desire, Salek embraces mystery over intellectual certainty. The poetic voice realizes that human longing is an ancient, uncontainable force—one that cannot be fully cataloged, audited, or explained through words alone.

​A Voice of Quiet Resistance and Depth

​Across these selected works, Soumya Salek demonstrates a mastery of tone that balances intellectual precision with lyrical softness. Whether contemplating urban exile in Kolkata, analyzing the sensory power of performance, critiquing the mechanical nature of modern life, honoring maternal intuition, or confessing the limits of self-knowledge, his poetry remains steadfastly devoted to exploring the human condition.

​Through carefully constructed metaphors and memorable poetic phrasing, Salek reminds us that true poetry does not offer simple answers to life’s mysteries; rather, it provides a quiet space where the quiet burdens of existence can be acknowledged, pondered, and held with grace.

Poems of Poet Soumya Salek

The Erosion of Existence

In late autumn, sudden rain leaves Kolkata trembling; its streets, damp with dust and ink-black grime,

Are washed clean by this rare downpour.

For the peace I wander in search of,

For the dream that leaves me shattered in its delusion,

For the cheerful delirium in which these timeworn letters

Might fold away their weary feet,

And the erosion of existence

Be carried away in the songs of wandering minstrels,

Where shall I gather that peace?

Where shall I sit and settle the account of life?

So I return, outwardly and within.

I wake through the night; day by day, the debt grows.

The intoxication fades away!

Yet, in the returning wind,

I see an immense erosion,

An endless falling of clouds; Kolkata lies submerged, waiting by the roadside.

How much longer must this life be spent away?

I can no longer hold my patience.

In exile, my soul opened itself completely, yet this heart remained scattered, unresolved.

(Gulshan Lodge, Kolkata – 7 December 2023)

THE DANCING GIRLS

When the dancing girls gave their attention to their eyes,

the letters of love slipped from their yearning chest!

When they gave their attention to their fingers,

a storm of applause resounded through every vein!

When they gave their attention to their waists,

the breath of Arabian horses spread in every direction!

When they gave their attention to their feet,

the revellers forgot the past and future and danced in a drunken trance!

And when they gave their attention to their hearts.

the young men, torn loose by the wild rush of the tempestuous wind, took flight and vanished!

LOSING MYSELF

It is good to leave some things behind;

to bring everything along makes one seem selfish.

It feels as though someone is following behind, saying:

“He who thinks everything in this world is necessary,

this mechanical man, ah, poor soul,

crushed beneath the burden of life,

he deserves our pity!”

It is good to lose some things;

unless we lose them, we can never know

which ones we truly need

and which are merely burdens upon the mind.

Sometimes a wound deep within can become a tender awakening;

the head trembles, tears fall, and blood flows in the chest.

So sometimes I lose myself,

sometimes I leave everything behind.

And so I leave songs upon the wind,

words and poems, the restlessness of desire.

I leave behind my notebook and pen,

I leave behind the losses and ruins of all that I have lived through;

the voice of a failed bumblebee,

the heart’s own narration.

BIRTHMARK

​So much fades away, buried within the folds of age—

wrinkles drawn

in the script of time,

Through the clashes and blows of life;

So much remains unretrieved within us,

Sin and suffering, damage and distress;

Coming close, no one bends to read them through the heart’s deep feeling—

In this squandered battle of domestic life,

Only Mother knows

Where the sorrows lie concealed,

Where  pain has made its dwelling;

and Mother knows

Where the wound is hidden in the heart,

which one of them

is its birthmark.

I KNOW NOTHING

Look, find out,

towards whom I have stretched my hands,

towards whose tender face,

whose parted breast,

whose tresses falling in clustered curls.

Look, find out,

to whom I have raised my hands in supplication,

in search of what, in hope of which happiness,

in pursuit of what,

with eyes reddened by streams of tears.

Come, rescue me.

From what fierce intoxication

does this dishevelled self arise?

From what ailing desire

have I smeared my forehead with dust?

You want to uncover everything.

You want to know everything.

And, failing to understand it all,

you accuse me again and again,

speak again and again of the mystery I have withheld,

and swear in anger:

“Deceiver, you know it all!”

“Who knows what the heart longs for?”

the soul laments at every moment, alas!

The burning ache of endless desire—

In truth, I know nothing of it at all!

____________

Nurul Hoque is a poet, time-conscious rhymer, novelist, and editor. He is skilled at composing poetry, rhymes, stories, and songs. He has been working as a writer for almost three decades. 

The post The Poetics of Solitude and Existence first appeared on Sindh Courier.

In an era where leadership is constantly being redefined by purpose, cross-disciplinary mastery, and cultural depth, Prachi Gupta stands out as a singular force of transformation. An influential educator, bestselling author, TED Speaker, and visionary entrepreneur, Prachi Gupta’s journey seamlessly weaves together rigorous intellectual brilliance, timeless Indian wisdom, and an unwavering commitment to societal upliftment. Her work not only inspires thousands across India but also resonates powerfully across international borders, establishing her as an emblem of modern female leadership.

Adding another historic milestone to her illustrious career, Prachi Gupta has been awarded the prestigious Karmaveer Chakra Award once again in 2026. Following her high-profile recognition in November 2025 at the Rex Karmaveer Global Fellowship Summit, this second honor solidifies her standing as a global icon of selfless service and transformative leadership. On 26th November, she will take the global stage once more to be presented with a coveted Silver Medal, celebrating her enduring contributions toward humanity and social innovation. This double honor follows closely on the heels of the APJ Abdul Kalam International Award, which she received earlier in 2026, marking a landmark year of distinction for her work in educational reform, literature, and cultural preservation.

Prachi Gupta represents a rare and compelling fusion of beauty, brains, and unmatched professional versatility. Her academic background effortlessly bridges analytical science, modern business, and ancient Indic heritage. Holding a degree in Engineering, an MBA from the University of London, and a Ph.D. in Vastu Science, she navigates complex strategic landscapes with effortless grace. Beyond the academic realm, her artistic voice shines just as brightly; as a multi-award-winning film writer, her short film earned an extraordinary 11 national and 2 international awards for merging rich narrative storytelling with impactful social messaging. Furthermore, as the founder of Galleon Publishing, she runs a book publishing house dedicated to giving new authors worldwide the platform to publish and share their stories with the world. As the Editor-in-Chief of La Stelle Celebrity Magazine in Italy and Brand Ambassador for the Research Foundation of India, she bridges international cultures and brings inspiring stories of global innovators to light.

Beyond her remarkable résumé, Prachi Gupta’s magnetic personality and collaborative work style set her apart in every endeavor she undertakes. Those who work alongside her routinely speak of her warmth, clarity, and exceptional emotional intelligence. Her leadership style inspires such trust and admiration that creative teams, institutional heads, and international colleagues repeatedly express a desire to collaborate with her on future projects. Gracing the covers of numerous national and international magazines, she has become a celebrated symbol of India’s modern intellect, elegance, and global influence.

At the heart of Prachi Gupta’s mission is her groundbreaking work in modifying and modernizing the Indian education system. As the dynamic CEO of ENN360—an innovative education company that was also awarded last year for its exceptional work—she has built a forward-thinking enterprise dedicated to holistic learning. Her educational models blend essential contemporary skills, such as mental wellness, financial literacy, and entrepreneurship, with values drawn from ancient epics like the Bhagavad Gita and Ramayana. Her work has attracted significant global attention, leading to formal invitations from various embassies to collaborate on international educational and cultural initiatives. As she prepares to receive her Silver Medal on 26th November, Prachi Gupta continues to redefine what it means to lead with mind, heart, and vision, leaving an indelible mark on the world.

_________

Contributed by: Angela Kosta, born in Elbasan (Albania) is based in Italy since 1995. She is Executive Director of the magazine MIRIADE, translator, essayist, journalist, literary critic, publisher and promoter.

The post Prachi Gupta’s Journey of Global Recognition first appeared on Sindh Courier.

Ambassador M. Alam Brohi

The other day, after signing a deal with President Vladimir Putin to buy diesel from Russia, President Donald Trump suggested to the Ukrainians to “get a new leader who can make a deal”. The Iranian leaders have been dealing with his ambiguous and fast-changing statements for the past seven months. Before he was sworn in as the 47th President of the USA, I had put in a piece that ‘unpredictability’ would continue to remain the calculated policy of President Donald Trump in leading the USA. This was my conviction, anchored in our experience with his ambiguous, unpredictable and fickle conduct as the USA leader in his first term. He has been more unpredictable in his second term, as demonstrated by his conduct of the war with Iran.

In the second half of the twentieth century, wars were the main feature of the USA’s foreign and security policy. The USA, as the leader of the so-called free world, vowed to fight godless communism in every corner of the globe, from Central America to greater Asia, the Middle East and Africa. The Americans never learnt a lesson from their humiliation in Vietnam. Besides Central American countries, Asian nations have witnessed more wars in their region, mainly involving the USA in one way or another. American military interventions in various regions have persisted unabated since the Second World War.

Following the humiliating defeat in Vietnam, the USA sent military forces to Lebanon to end the civil war there. President Ronald Reagan also wanted to intervene militarily in Central America to halt the advance of the Soviets in February 1984, despite resistance to his plan from half of his Cabinet, including Defence Secretary Caspar Weinberger. Their opposition was justified. A devastating suicide attack on the USA military headquarters in Lebanon, killing 241 personnel in October 1983, was still fresh in their minds. This had forced the USA leadership to resort to a hasty withdrawal of American forces from there.

While opposing President Reagan’s plan to send military forces to Central America, Weinberger produced a document on why and how to use American forces, which came to be known as his doctrine. His paper suggested certain conditions for the use of USA military forces: vital national interests must be at stake. Washington must be willing to commit the resources it would take to achieve victory; policymakers must gain the support of the American people and Congress through candour and consultation. Finally, Weinberger added, “the commitment of US forces to combat should be a last resort”. Young Powell, his military aide, helped him write the paper. President Reagan, in his memoirs, recalled that the document served as the guideline for his administration.

General Powell had risen to become Chairman of the Joint Chiefs of Staff when George Herbert Bush was putting in place a coalition to drive Saddam Hussein out of Kuwait. He added two more conditions to this doctrine: “the military plan has clear war objectives and a clear exit strategy, and international support”. This turned the document into the Powell Doctrine. The USA’s leaders used it as a principal guideline on why and how to go to war. President Donald Trump never felt bound by such a guideline.

Not a single condition stipulated in the Weinberger or Powell Doctrine was observed by him while joining Israel’s war on Iran. He did not seek authorization for war from Congress. He never took the American people into his confidence. His war objectives were not clear. He had no exit strategy. He sought resources much later from Congress, calculated at between 37 and 47 billion dollars. He never consulted his NATO or Gulf allies. Rather, he showed the audacity to ridicule them. He just blindly believed what he was told by Netanyahu: massive decapitation, collapse of radical dictators, takeover by a regime friendly to Israel and the USA, leading to peace, democracy and human rights; all honey and milk flowing, with Israel trudging as the redeeming power in the Middle East.

His recorded statement was relayed at 3.00 am on 28 February, stating, “The United States military is undertaking a massive operation to prevent this very wicked, radical dictatorship from threatening America and our core national security interests.” He further added, “We are going to destroy their missiles, and raze their missile industry to the ground……we are going to annihilate their navy. We are going to ensure that [Iran’s] terrorist proxies can no longer destabilize the region or the world and attack our forces……and we shall ensure that Iran does not obtain a nuclear weapon.” Addressing the Iranian people at the end of his harangue, he added, “When we are finished, take over your government. It will be yours to take”.

In his 1995 memoirs, My American Journey, General Powell wrote, “Many of my generation, the career captains, majors, and lieutenant colonels seasoned in [the Vietnam War] vowed that when our turn came to call the shots, we would not quietly acquiesce in half-hearted warfare for half-baked reasons that the American people could not understand”.

An American columnist writes in Foreign Policy, “This is precisely the kind of warfare that Trump has undertaken. And so far, Congress has quietly acquiesced. It can, however, still change course. A true victory in Iran is unlikely. But a cataclysmic defeat is not just inevitable”. The American public has been angered by growing inflation and the rising cost of living. The global economy is on the verge of collapse. Netanyahu does not want to end the war. He has chipped away at strategic pieces of land from Lebanon and Syria. He is planning to annex the West Bank and Gaza, leaving Palestine with a narrow strip of land and burying forever the two-nation resolution.

What is the way out for President Donald Trump? As has been his wont, he could employ the mother of all ambiguities, declare victory and engage the Iranians in talks to end the war. He could trust President Masood Pezeshkian and Majlis Speaker Bagher Ghalibaf to reach a deal. The Iranian leadership, hopefully, would come down from its earlier maximalist position to three demands: an end to the war forever and in all places; the lifting of the blockade of their seaports; and sanctions relief and the release of some frozen assets. In this way, the world may be spared a devastating economic and financial recession.

_____________

The writer is a former member of the Foreign Service of Pakistan and has served as Ambassador for two terms. He is the author of five books.

Read: Pakistan: The Betrayal Of A Nation

The post World Politics: The Trumpian Ambiguities first appeared on Sindh Courier.

Let the pressure cooker release its steam safely. Let citizens speak responsibly and let the state listen patiently. The goal should not be to eliminate disagreement, but to ensure that disagreement does not turn into violence, hatred, or injustice.

By Abdullah Usman Morai | Sweden

We live in an age when information travels faster than ever. A message written in one corner of the world can reach millions of people within seconds. A photograph, video, voice recording, or social media post can spread like wildfire, crossing borders and reaching people before anyone can verify its authenticity. This extraordinary power of communication has connected humanity in unprecedented ways, but it has also brought new responsibilities for individuals, institutions and governments.

In this fast-paced digital era, sharing or forwarding information without checking its source is not merely an innocent mistake. It can be an act of irresponsibility that damages reputations, creates fear, spreads hatred, and sometimes puts people’s lives at risk. A little caution before pressing the share button can prevent considerable harm.

Unfortunately, many social media users behave as though being the first to share something is more important than knowing whether it is true. An unverified allegation, an edited video, a misleading headline or a fabricated announcement may circulate widely before the truth catches up. By the time a correction appears, the damage may already have been done.

We must therefore develop a culture in which verification is considered a sign of intelligence and responsibility. Before sharing information, we should ask three simple questions: Is the source reliable? Has the information been independently confirmed? Could sharing it cause unnecessary panic, hatred or unrest?

Even verified information requires judgement. There may be circumstances in which publishing sensitive details, private information, or inflammatory material could put individuals or communities in danger. Freedom of expression is an important right, but exercising that freedom responsibly is equally important. The objective should not be to silence people; it should be to prevent avoidable harm while protecting open discussion.

The State Must Also Learn to Tolerate

Responsibility, however, cannot be demanded from citizens alone. Governments and state institutions have an equally important obligation to demonstrate patience, restraint and accountability.

Imagine social media as a pressure cooker. In everyday life, people experience frustration because of unemployment, inflation, corruption, injustice, poor public services and political disagreements. They need legitimate ways to express their feelings, criticize decisions and demand improvements. Social media has become one of the most accessible platforms for releasing this accumulated frustration.

A pressure cooker is designed to release excess pressure through its safety mechanism. If that mechanism is blocked while pressure continues to build, the consequences can be dangerous. Society is not literally a pressure cooker, of course, but the comparison offers an important lesson: suppressing every expression of public anger does not necessarily eliminate dissatisfaction. It may simply drive it underground, where grievances can grow without constructive discussion.

A government that responds to every criticism with intimidation, surveillance, or legal threats risks losing public trust. Criticism is not automatically disloyalty, and disagreement does not necessarily amount to hostility towards the state. Sometimes, a harsh post reflects genuine frustration with a public problem. At other times, it may be unfair, exaggerated or offensive. These situations should be assessed according to evidence, context and the law, rather than the personal sensitivities of those in power.

Of course, freedom of expression is not an unlimited license to threaten people, incite violence, defraud citizens or deliberately spread harmful falsehoods. A democratic society needs clear laws and fair enforcement. The essential distinction is between legitimate criticism and conduct that genuinely violates the law.

NCCIA: Accountability or another Instrument of Pressure?

In Pakistan, the establishment of the National Cyber Crime Investigation Agency (NCCIA) has brought renewed attention to the question of how cybercrime should be investigated and controlled. A specialized institution can play a valuable role in addressing online fraud, identity theft, harassment, impersonation, blackmail and other forms of digital abuse.

Thousands of ordinary people can suffer from fake social media accounts, fraudulent foreign university admission offers, deceptive employment advertisements, financial scams and the misuse of their personal information. Students hoping to study abroad may lose their savings to fraudulent agents. Families may be deceived by impersonators, while individuals can find their names and photographs misused without their consent.

These are real problems that deserve serious attention. People need an institution that listens to their complaints, investigates evidence professionally and helps protect them from digital criminals.

Yet an important concern remains: can such institutions operate independently, fairly and transparently? Pakistan’s history of political confrontation and selective accountability provides reasons to insist on strong safeguards. Whenever investigative powers are used selectively against political opponents, journalists, activists or ordinary citizens who criticize those in authority, public confidence suffers.

The purpose of a cybercrime agency should be to investigate actual offences, not to protect powerful people from embarrassment or punish citizens for expressing unwelcome opinions. Every complaint should be assessed on its merits. Investigations should follow the law, respect due process and provide accused individuals with a fair opportunity to defend themselves. Independent oversight, transparent procedures and remedies against abuse are essential.

The real test of any institution is not how many people it summons or how many critical posts it removes. Its success should be measured by how effectively it protects citizens, pursues genuine offenders and applies the law without discrimination.

A Win-Win Approach

The way forward requires responsibility from both sides.

Citizens should verify information before sharing it, avoid spreading rumours and refuse to participate in online harassment or campaigns of hatred. If a claim cannot be confirmed, it is better to wait than to become an unwitting source of misinformation.

At the same time, the state should distinguish between criticism and criminal conduct. It should tolerate peaceful disagreement, allow citizens to question public decisions and protect their right to express frustration within the framework of the law. When information is false, official institutions should respond with evidence, timely clarification and transparent communication rather than reflexive punishment.

Newly established agencies should priorities the people who exploit digital platforms for fraud, blackmail, identity theft and organized deception. Their resources should address genuine public needs instead of becoming instruments for settling political scores.

Ultimately, a healthy digital society cannot be built through fear alone. It requires trust, education, accountability and mutual restraint. Citizens must understand that every forward carries responsibility, while governments must understand that every attempt to silence legitimate criticism carries a cost.

Let the pressure cooker release its steam safely. Let citizens speak responsibly and let the state listen patiently. The goal should not be to eliminate disagreement, but to ensure that disagreement does not turn into violence, hatred, or injustice.

When citizens verify before sharing, and institutions investigate without discrimination, both sides benefit. That is the foundation of a healthier online environment, a more confident society, and a state that earns respect not by silencing its people, but by serving them fairly.

Read: Thari Youth Beyond The Borders

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Abdullah Soomro, penname Abdullah Usman Morai, hailing from Moro town of Sindh, province of Pakistan, is based in Stockholm Sweden. Currently he is working as Groundwater Engineer in Stockholm Sweden. He did BE (Agriculture) from Sindh Agriculture University Tando Jam and MSc water systems technology from KTH Stockholm Sweden as well as MSc Management from Stockholm University. Beside this he also did masters in journalism and economics from Shah Abdul Latif University Khairpur Mirs, Sindh. He is author of a travelogue book named ‘Musafatoon’. His second book is in process. He writes articles from time to time. A frequent traveler, he also does podcast on YouTube with channel name: VASJE Podcast.

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