By Noor Muhammad Marri, Advocate | Islamabad

Reading Deterring Democracy opens a different doorway into Cold War history. Instead of presenting the era as a simple clash of superpowers, Chomsky reveals how much of the conflict rested on constructed narratives and an ideological frame that shaped global interpretation. This makes the Cold War appear less like an organic historical development and more like a deliberately crafted outlook through which powerful states justified particular interventions. The ideological lens often overshadowed deeper motives.

The Cold War as an ideological construct becomes clear in Chomsky’s treatment. Democracy and freedom were projected as guiding principles, but they frequently served as political instruments. Terms such as “containment,” “free world,” and “Soviet threat” became universal explanations, even when local realities did not align with them. This ideological vocabulary functioned almost like a global architecture: once accepted, it shaped how events were read, regardless of the complexities beneath.

Yet, when approached as a historical process, the Cold War reveals a far more intricate shape. Actual events—alliances, conflicts, national movements, strategic calculations—rarely followed the ideological map. Instead, they reflected long-standing concerns of statecraft: securing regions, controlling resources, ensuring political loyalty, and protecting economic interests. The ideological dimension existed, but the historical processes behind policy were driven by older and more durable motivations.

The Western portrayal of the Bolsheviks illustrates this tension. Even before Soviet policies stabilized, the revolutionary government was cast as a fixed adversary. Moderates who sought more gradual paths were almost completely overshadowed. The ideological narrative needed a clear opponent, and the Bolsheviks supplied that role. Once the image was crystallized, it became central to subsequent Cold War thinking.

The shift in Soviet–Western relations before and after the Second World War also reflects this pattern. Before the war, the Soviet Union was treated with distance and suspicion. After the war, with the United States emerging as a global hegemon, the Soviet Union was repositioned as the indispensable counterpart around which American global strategy could organize itself. This was not just a strategic shift; it also served the psychological need of a rising power to frame its actions in moral terms.

Postwar American policy, as presented by Chomsky, rested on two simultaneous claims: promoting democracy and containing communism. In practice, strategic concerns frequently outweighed democratic principles. In regions such as Latin America, Southeast Asia, and the Middle East, elected governments were often undermined if their policies conflicted with American security or economic aims. The contradiction between proclaimed ideals and actual practices is one of the strongest threads running through Deterring Democracy.

As the Cold War expanded across the newly decolonized world, ideological categories became more elastic. Anti-colonial struggles and national liberation movements—many of them shaped by local histories rather than Marxist ideology—were routinely interpreted as communist extensions. The ideological frame allowed Western powers to justify intervention, even when local realities contradicted the narrative. Thus ideology broadened while retaining its original function: providing a global justification for strategic decisions.

Economic considerations are a crucial part of this picture. Chomsky repeatedly shows how global capitalism required stable environments, compliant governments, and predictable markets. Many Cold War interventions were rooted not in ideological confrontation but in the protection of economic interests. Resource-rich regions or states with independent economic policies often faced pressure or destabilization. The rhetoric of democracy softened the harder edges of these actions, but did not alter their underlying purpose.

Internal dynamics of societies also shaped the Cold War. The United States responded to pressures from security institutions, corporate interests, electoral moods, and media narratives; the Soviet Union operated under bureaucratic rigidity, political paranoia, and the fear of internal dissent. Both superpowers were influenced as much by their domestic constraints as by each other’s actions. This dimension often disappears in simplified Cold War explanations but remains essential for understanding the deeper forces at work.

At this point, however, I find myself differing slightly from Chomsky’s assertion that the Cold War was almost entirely shrouded in ideology. Ideology mattered, but it did not operate in isolation. National interests, geographic compulsions, economic strategies, internal social dynamics, and relations with neighboring states also shaped the nature of global relationships. In many crucial moments, these non-ideological factors carried equal or greater weight than the ideological framework used to explain them. The Cold War, therefore, cannot be reduced solely to ideological theatre; it was shaped by permanent realities of power and geography as much as by political myths.

Connecting all these threads, one sees a recurring gap between Cold War rhetoric and Cold War practice. The era promised a world divided between democracy and authoritarianism, but the actual conduct of states reflected a mix of self-interest, strategic calculation, and regional pressures. Many smaller nations, caught in between, discovered that their political choices were tolerated only when they aligned with the priorities of one bloc or the other. Ideology gave the conflict its vocabulary, but geography, economics, and domestic politics supplied its direction.

After reconsidering Chomsky’s arguments and the historical record, one observation becomes clear: ideology plays a role, but national interests, geographic position, the attitude of neighbors, internal dynamics of society, and economic considerations ultimately shape political models and foreign policy roadmaps. The Cold War, once stripped of its rhetorical layers, illustrates this enduring truth.

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Noor Muhammad Marri is an Advocate & Mediator, based in Islamabad.

Read: Soldier, State, and the Empire

The post Overview: ‘Deterring Democracy’ by Noam Chomsky first appeared on Sindh Courier.

By Nasir Aijaz 

Very recently, two books, authored by Bharumal Amrani Sotahar, on the folk songs of Thar Desert, translated by him from his own Sindhi language books into Urdu, were launched at the Arts Council of Pakistan in Karachi. The books have been published by Muhammad Ibrahim Joyo Translation Bureau of Sindh Culture Department. The author had invited me to the launching ceremony, which I couldn’t attend due to health reasons, but he was kind enough to send me the books from Tharparkar through courier at my home address in Karachi. The titles of books are ‘Geetoan Bhara Registan (Sahra Ke Geet) that would be ‘Melodious Desert’ (The Songs of Desert) if translated into English, and the other one is ‘Sahra Ke Dohay’ or the Couplets of the Desert.

I had acquaintance with Bharumal Amrani since long. I met him in a small village named Chelhar during my visits to Tharparkar district, however his introduction to me at that time was not as a writer but a social activist being affiliated to a non-government organization. About a decade back, he emerged as a folklorist and authored the books on folk literature of Thar Desert. I saw some of his books on folk literature of Thar Desert at Sindh Culture Department’s bookshop in Karachi. In a telephonic talk, he had told, “It took many years to conduct research and write books, as you know Thar Desert is spread over two hundred thousand square kilometers, and the Tharparkar district alone covers some 20, 000 square kilometers,” Bharumal had told adding that he focused on his home district as the culture and folk literature of entire Thar Desert is similar in nature.

Prose is the language of mind while the poems and songs are the language of heart, pouring out experience, longing, and rage, love, seeking to enlighten, to entertain, and to delight

The Thar Desert is a vast expanse of arid land located in the northwestern part of India and Sindh, the southeastern part of Pakistan. It is home to a rich and diverse culture that has been shaped by the harsh desert environment and the various communities that have inhabited the region for centuries. The culture of the Thar Desert is deeply rooted in the traditions and customs of the people dwelling here. These communities have developed a strong sense of identity and pride in their cultural heritage. Besides their traditional clothing, the people of the Thar Desert are also known for their rich musical and artistic traditions. Music and dance play a central role in the cultural life of the desert communities, with traditional folk songs and dances being passed down from generation to generation. These art forms are often used to celebrate important events, and milestones in the lives of the people, and are an integral part of their social and religious ceremonies.

Language also plays a crucial role in the culture of the Thar Desert. The region is home to a number of different dialects of Sindhi language, each one reflecting the diverse cultural makeup of the region. These dialects are an important part of the identity of the people who speak them, and are often used as a means of preserving and passing down their cultural heritage to future generations.

Despite the challenges posed by the harsh desert environment, the people of the Thar Desert have developed a rich and resilient culture that is deeply connected to the land and the natural world around them. Their traditions, customs, and languages are a testament to their strength and perseverance, and continue to be an important part of the cultural fabric of the region. As the Thar Desert continues to change and evolve, it is essential to recognize and celebrate the unique cultural heritage of the people.

Also read: Thar Desert’s Dhatki language among the endangered languages of India

The author in his books has elaborated these dialects, which according to him, are Sindhi Thari Dialect, Parkari Dialect and the Dhatki Dialect.

“Tharparkar is the confluence of Darawari and Rajputana civilizations. The history of language or dialects of this region is as old as the history of Tharparkar,” Bharumal writes describing this language as the ‘Language of Mohen Jo Daro’, which has developed by adopting the words from other languages with passage of time. “In present day dialects, spoken in Thar Desert, one can find the Sindhi and Darawari language words of ancient Mohen Jo Daro era to modern day languages, and now even the scientific terms are being absorbed,” he writes.

Thar Desert has a treasure of folk literature and the folk songs, being its integral part

Mr. Madad Ali Sindhi, Federal Education Minister in current caretaker setup of the country, who was then Project Director at Ibrahim Joyo Translation Bureau, writes in the introduction of the book, “The folk poetry or the songs are an important genre of the folk literature, as they are the direct and natural expression of the feelings and emotions of the indigenous people. The Thar Desert has a treasure of folk literature and the folk songs, being its integral part. For that reason, the Thar Desert is known as the Land of Folk Songs. The people of Thar Desert sing and dance to the tunes of folk songs to exhibit their inner feelings – the feelings and emotions of love and separation, the pains of miserable life during the prolonged droughts, a long wait of rainy season and bursting of clouds and the beginning of monsoon season when the rains turn the entire desert and sand hills in to lush and green region like Kashmir.”

The two books – Songs of Desert and the Couplets of Desert, are intense work of Bharumal, who has vividly researched and penned down the songs and couplets in detail, each one explaining its background. He has produced each song and couplet in Urdu script using the present day words of Sindhi and desert language so that the readers, who are not well-versed with Sindhi language or the dialects of desert, can understand it easily.

Also read: A Mosaic of Nature ……The Topography of Thar

While concluding, I must admit that despite being the son of soil, I was not conversant to Dhatki and other dialects of Thar Desert. However, after going through these two books, I realized the depth of the words that pour out of the hearts of desert people to express their joys and pains. It’s true to say that ‘Prose is the language of mind while the poems and songs are the language of heart, pouring out experience, longing, rage, love, seeking to enlighten, to entertain, and to delight.”

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Nasir Aijaz, a senior journalist based in Karachi, is author of nine books on literature, language, history, and travelogue.                     

The post The Songs of Desert first appeared on Sindh Courier.

About the Author

Poet Mujë Buçpapaj, born in Tropoja, Albania (1962), graduated from the branch of Albanian Language and Literature, University of Tirana (1986). In the years 1991-1992, he studied for two years for feature film script at Kinostudio “Alshqiperia e Re”, Tirana, today “Albafilmi” (considered as post-master’s studies), as well as completed many other qualifications of the cultural spectrum in country and abroad. Mujë Buçpapaj is a doctor of literary sciences with a thesis on the survival of Albanian poetry during the communist censorship, defended at the Institute of Linguistics and Literature of the Academy of Sciences of the Republic of Albania. He is one of the founders of political pluralism and the free press in Albania (1990) and a journalist for many years in the most popular newspapers in Tirana. He is the head of the literary and cultural newspaper “Nacional”, the “Nacional” Publishing House and the Studies and National Projects.

Buçpapaj is one of the most prominent exponents of contemporary Albanian poetry

In the years 1991-2005 he was co-founder and journalist of the first opposition newspaper in the country after 50 years of communist dictatorship “Rilindja Demokratike” and founder of the newspaper “Tribuna Demokratike.”

In the years 2005-2009 he was the director of the International Cultural Center in Tirana, while in the years 2010-2014 he was the Director of the Albanian Copyright Office in Tirana. After the year 2014 and onwards, he took charge of the “Nacional” Publications and the “Nacional” newspaper. Currently, he is also a lecturer at “Luarasi” University in Tirana, where he teaches the subject of Academic Writing.

He is the author of many books on literature and poetics, hundreds of journalistic writings, criticisms, essays, studies including those on regional problems

Buçpapaj is one of the most prominent exponents of contemporary Albanian poetry with the greatest national and international success, respectively published in several foreign languages and honored with several prestigious international awards from Greece to the USA and one of the most prominent managers of culture in the country. Drafter of cultural policies.

He is the lead organizer of many international conferences held in Tirana on the problems of art, literature and copyright.

He is the author of many study books on literature and poetics, but also of hundreds of journalistic writings, criticisms, essays, studies including those on regional problems, national security as well as on the management of art in market conditions, cultural policies and national strategy of culture. He is known as one of the strongest public debaters on the problems of the Albanian transition, regional political developments, and democracy as a whole. He is the founder of the newspaper/magazine “Nacional” and its director. He lives, works and creates in Tirana, together with his wife and two daughters.

He can be contacted at Email: bucpapaj@yahoo.com

His poems were translated in English by Claude C. FREEMAN III and Ukë Zenel BUÇPAPAJ

THE INVISIBLE VICTORY  

            …The river’s memory  

            Hiding in the smell of leaves…

If you know what it feels like to be home, Mujë Buçpapaj’s ‘The Invisible Victory’ will break your heart. It is a beautiful, intimate portrait of a people and a landscape torn by war—and of the scars that remain. Buçpapaj becomes the haunting voice of multitudes, both living and dead, who experienced the war in Kosovo. He focuses on the connection between the men, women and children and their homeland. The poems that constitute The Invisible Victory are the jagged, glittering fragments of the poet’s heart lying raw and scattered between nations. The human spirit is what unifies the poems—the longing for home as it once was and for people who are now lost and the utter sadness in knowing it is only a memory.  The brokenness reflects the hearts of the poet’s brothers and sisters of friends, families, enemies, and what is human in each of us.  All suffered together; they were and are unified in their pain, and pain and brokenness are part of what unifies The Invisible Victory.

Inherent in the poems is a longing for a lost past that has not begun to fade from the reaches of memory

The book begins with suffering and ends with its prospect, a final poem consisting of prophesy and history interwoven. The most prominent emotion in the book is the poet’s sadness, and his is the sadness of nations. The most intimate emotion, however, is the poet’s sheer determination to preserve the freedom of expression for the good of all nations. In writing the book, he lives that passion, and the “invisible victory” becomes the defeat of any fear which might impede proclamation of the truth.  Showing his love for his homeland and his gift for brilliant, vivid imagery and metaphor, Buçpapaj interweaves concepts of home and those who remember home and, in doing so, touches what is human in us all.

Inherent in the poems is a longing for a lost past that has not begun to fade from the reaches of memory, but rather, that is separated only by a thin, yet immovable curtain of time.  Buçpapaj examines the substance of time through the poetic medium as though hopeful that he will find some loophole through which he might rescue all that was lost to him.  Ironically, the collection begins with the image of the sunset in “The Invisible Victory”- the beginning of the end – and it ends with a poem titled “This Is Just the Beginning,” which opens with an image of the devil’s son reigning on a throne of fire and closes with a sad and frightening prospect: the harvest has come and death waits.  The final stanza reads: “Farewell / You people remaining / At the beginning.”  It seems to be saying that all the hellish experience documented in the book is only a precursor to what is to come.  Interestingly, both “The Invisible Victory” and “This Is Just the Beginning” are written in the past tense.  The collection is interspersed with brief, imagistic poems much like stills from the action of mind and memory.  They force the reader to stop, take a step back, and to gaze in awe at what simply is, while realizing that any single moment is timeless.

Buçpapaj occasionally speaks in the first person, gradually bringing his own loss and grief to the surface of the work.  In the title poem, which also opens the collection, the poet makes himself known as an integral part of his world and its circumstances:

I was also

Under the cracked skin

Of the sun’s

Rusty clothes

Measuring the colour

Of corn fields (from ‘The Invisible Victory’)

The sun is setting, and there is an ominous implication in the fact that the poem is written in the past tense: “Life / Wasn’t enough for Man / To do good.”  The poet speaks from beyond this time, and his tone is brimming with a nearly breathless melancholy; in it, we hear the mournful echo as the sun disappears: too late, it’s too late, too late.

Initially, the first person persona seems somewhat distant from events, albeit saddened by what he has witnessed.  It is not long, however, before the narrator’s references to himself become intimate and raw, thus making the personal more universal:

O God

It seems to me

Instead of my Homeland

I have left a field

Of men

Devoid of sight

Behind the plane’s door (from ‘Dirty Fantasy’)

It is when Buçpapaj makes himself most visible in his poems that I can also hear the voices of an entire nation of people. “A Letter to my Mother” is the longest and one of the strongest poems in the collection. Buçpapaj lives right on the surface of this poem, and it contains some of the most touching passages in the book. Buçpapaj’s very tears have pooled in the midst of its lines:

Dear Mother

I spent a black winter

In the womb of curse

Where death finds

Man in solitude

With roads wrapped round his head [. . .]

And because of the heavy field

I left one of my legs

And my youngest daughter’s tears

In dust

Buçpapaj’s words are filled with a fiery sadness.  He is bold and unapologetic in his grief.  In “The Night Over Kosova,” he tells of the hate-sparked fires which destroyed homes, hearts, and such beauty.  Buçpapaj mourns in tears and flame, and through him, his nation finds a voice.

“A Letter to my Mother” is the longest and one of the strongest poems in the collection.

Buçpapaj’s poems are generally short, usually less than a page, and they tend to end suddenly, with strong, yet understated aphorisms, the effect of which is startling—much like the effect of the war’s losses on the people.  This is no accident.  It also pulls the reader’s attention to the poignant conclusion of each poem.  Characteristically short lines work well with this technique; the devices reflect each other in form and in effect.  Short lines, at times, have the effect of making the speaker sound as though he is gasping for breath, as though wounded or exhausted (as he is in “A Letter to My Mother”).  The short, enjambed lines combined with virtually nonexistent punctuation can also accelerate the reading of the poem, and this effect, combined with the often sudden conclusions, leaves us somewhat dizzy—like running off the edge of the earth into space—at which point we realize what Buçpapaj had in mind all along: to yank the solid foundation from beneath us in order to make us feel what he and so many others felt at the great losses they suffered.  With the poems’ conclusions, and often within the poems as well, one finds oneself soaring off the edge of the earth in defiance of gravity, and this changes one’s conception of “necessary” footing, just as the great losses due to war must have affected those who suffered it.

What charms me most about this book is the way Buçpapaj employs such fresh, stunning images within his metaphor.  I have selected only three of the numerous examples from the book. They speak for themselves:

Dusk

Had fallen from the trees

Down on school children’s bags

The sound of the hearth’s ashes

Rolling round the world (from ‘Kosovë 1999’)

The Big Marsh

Still eating land from under

The ribs of the dead (from ‘The Field of Tplani’)

Having the colour of North Winds

The river was the wind’s portrait

Standing over trees (From ‘The Wind’s Portrait’)

Buçpapaj employs everything he loves and everything he hates in order to paint a precise portrait of his broken heart.  The pages overflow with sunsets, mountains, birds, books, and corn fields.  But we also see abandoned ruins, exodus engulfed in darkness, the muddy, frozen hands of children, and the dead beneath a tangle of burnt, labyrinthine roads of a ravaged land.  The dead remind us that, despite the season of renewal, some of the most valuable losses will never be regained. As the poet writes in “Total Disillusion,” “Homeland has abandoned / His own home.”

The poems are haunted, as the poet’s heart is haunted – riddled with ghosts of the lost and an atmosphere of appalled, exhausted silence.  In the shivers of the poet’s heart, we see the dead:

Those already weeping

In graves

Are at the bottom of the meadow

Beaten by winds

And afraid of cows (from ‘Ghastly Silence’)

O abandoned trains

Take me to the dead

Weeping under the rain

We have to reconcile them (from ‘The Southern Trains’)

Despite the fact that the book ends with the prospect of destruction, I do not sense a fear of that destruction.  Rather, there is victory in the written word and its freeing power:

Here rests our dream

That forbidden freedom had collapsed [. . .]

We’ll go to the ruins to unbury FREEDOM

And feed on IT our papers written

Amidst mud

On the day we defeated fear (from ‘The Square’)

“Fear had conquered the world,” the poet says in “Black Fear.”  Perhaps, then, the invisible victory is in overcoming fear and thus freeing the spirit of mankind to profess the truth—which is precisely what Buçpapaj does in writing The Invisible Victory.

Hope hasn’t abandoned me

In this ward of horror

Light a wooden fire

Over this desolate world

Say prayers for me in Albanian

For I am alive and

I don’t want to lose (from ‘A Letter to my Mother’) 

In poems such as “The Wind’s Statue,” we find another irony: the violence was aimed at the poet, as he stands for all who require freedom of expression.  Yet the voices of the people survived in him, while the people themselves were murdered.  The victory is evident in the fact that, despite their deaths, they were not silenced, and that is because one survivor with a voice and a gift was not afraid.  Many more after me will sing praises of Mujë Buçpapaj’s great work.  The Invisible Victory is a gorgeous, timeless victory.

THE INVISIBLE VICTORY

Field of solitude remaining

Ripe corn

Sprouting from children’s hands

Sun falling in marsh

Writing in vapour

Blowing wind

The girl giving in

In tall grass

Shrouded only by shadow

Love coming

From begging

Unspoken victories

Do not exist

But Harvesting

Is in forgetting waters

Life

Not enough

For Men

For Men

To do good

THE WIND’S PORTRAIT

Colour of Northern storm

River winds portrait

Into standing trees

Man built

The other side of life and river

Between rain and field

But wind will have its say

Village’s messages

Distant mountains

Receiving flying bird

From marshes

Dreams fleeing

Village’s sad face

Losing forever the way

Leading

To the trembling of the Populars

Season of my home

Winds winding reminding

We are found ageing

THE SQUARE

Our dream

That freedom lost

In war won once

Resting here

Broken spirit of victory

Smoking wood of living tree

Fire in the city

Uprising

Rushing through

Wind’s blazing window

Here rests our freedom

Forbidden

To enter our world

Dream now only

No hands reaching

Sunset shuttering

Upon our invisible jail

We return to our ruins

Where Freedom was buried

We eat it

From our poems

We will have it

The day we defeated fear

_______________

Contributed by Albania-born poetess and writer Angela Kosta, currently based in Italy.

Also read: The Book – He’s Alive by Dibran Fylli 

The post THE INVISIBLE VICTORY first appeared on Sindh Courier.

Shuhban Ali Siyal

‘I Was Never Broken’ is an inspirational book written by Moonsoulchild. It is a soulfully authentic book in which the author’s journey is brilliantly narrated in a mixed format – Prose and poetry that tells a powerful story of overcoming obstacles and finding strength in adversity. These collections of stories describe the author’s personal journey to determination, courage, and ultimate victory. The book opens with the introduction of Moonsoulchild, a determined individual who faces many hardships throughout her life. Moonsoulchild’s writing style is simple and accessible. She shares her experiences of various challenges, showing that despite difficult situations, they never let their circumstances define them. Through vivid storytelling, the author expresses her feelings, fears and hopes, allowing readers to deeply connect with her journey.

“I Was Never Broken” ultimately conveys a powerful message of hope and resilience

Moonsoulchild reveals their early lives marked by hardships and misfortunes. Growing up in a difficult environment, they faced poverty, lack of opportunities and feelings of hopelessness. However, the author’s perseverance and determination begins to shine through as she finds solace in her dreams and aspirations:

They watched me fall,

With no intentions of catching me.

So, they left me.

They watched me break…

Never would they claim they did this to me.

We made mistakes,

A least own up to the ones you make.

They watched me crash.

With intentions of fixing me,

Only with words overplayed.

They watched me love them,

While they were selfish with their love.

I watched them leave,

As they promised, they never would.

I watched them change,

It all makes me think,

I miss the person I believed them to be.

The turning point of the book comes when the Moonsoulchild meets a mentor who becomes a guiding light in their lives. This mentor offers support, encouragement and valuable lessons to help the Moon Child develop a strong sense of self-confidence. With new self-confidence, they begin to challenge the limitations imposed by circumstances. As author mentioned the verses:

If you push me away,

I promise you,

You won’t find me where you left me.

My heart’s big,

But not big enough to deal with people,

Who decide to love me,

When it’s convenient for them.

Throughout the story, Moonsoulchild emphasizes the importance of self-love, acceptance, and forgiveness

As the moon child grows, they face various obstacles that threaten to break their spirit. However, the author’s unwavering determination and resilience shine through as they face every setback with courage and determination. The book emphasizes the importance of perseverance and the belief that failures are temporary obstacles on the road to success. Throughout the story, Moonsoulchild emphasizes the importance of self-love, acceptance, and forgiveness. They show how developing a positive mindset and surrounding yourself with a supportive community can go a long way in overcoming life’s challenges.  “I Was Never Broken” ultimately conveys a powerful message of hope and resilience. Moonsoulchild’s story is a reminder that anyone can rise above their circumstances and find the strength within themselves to make their dreams come true. The book inspires readers to embrace their journeys, no matter how difficult, and believe in their potential. “I Was Never Broken” offers a sign of hope. Moonsoulchild’s story resonates with readers of all ages, reminding them that their challenges do not define them and that they have the power to shape their own destiny. This empowering book is a testament to the strength and remarkable resilience of the human spirit within each of us.

_________________

Shuhban Ali Siyal, studies in language and literature at Shaheed Benazir Bhutto University, Shaheed, Benazirabad (Nawabshah) Sindh

The post I WAS NEVER BROKEN first appeared on Sindh Courier.