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'No Exit' for us: How Karachiites are Sartre's characters in real -- Rafia Zakaria

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Here is a beautiful article by a columnist for Dawn, news paper from Karachi, Pakistan. But the subject of the blog is ugly, Karachi. No it was not that way when Kufrs were in charge or when their presence was tolerated.

It became an existential Hades  depicted in Jean Paul Satre's book 'No Exit' relatively recently. In the days of yore when Raja Dahir was ruling Sind,  the place was a great pilgrimage center with a magnificent temple that attracted travelers from all over, the temple town was called Devala, literally abode of Gods.  Even though descent to netherworld began with arrival of 'first Pakistani' Mohd Bin Qasim , still for a long time with significant Hindu presence, with their temples, Maths intact civilization was still present. Head of Ramakrishna Mission  was generous to Mohajirs. Mohajirs were  the Moslem fighters demanding partition in India and then migrated to the state they brought forth. They were in forefront of violent agitation for Pakistan, and they are also first to get disillusioned when their dream materialized only as a night mare. Some of these displaced  lived in the Ramakrishna Mission in Karachi , whose doors were opened by the head of mission, Swami Ranganadananda showing generous  hospitality even in those tense days . In return, soon the very stay for the monk became too dangerous, so he migrated to India side of Radcliff line and became head of R K Mission of India.He was a great scholar and speaker and like Dalai Lama to day never uttered a harsh word against Pakistan.

And then in same Karachi,in  many towns of Sind where still there was Hindu presence, ladies in early morning hours used to around in  streets, singing bhajans to Krishna and Rama. During Deepavali mosques used to decorate their places with lamps like any Hindu household.

As they say all those things were during Jahilia . Sure enough with spreading fires of  Islamic fanaticism stoked by  Khilafat agitation, followed subsequently by partition, with the place becoming Darul Islam, music,meditation came to be replaced with machine gun fire heard all hours of the day not just early morning hours. And in a matter of short time Karachi became a place of no exit as in Hades of Satre's work, recalled here in the blog by Dawn columnist.
                                                                                                                                                                                       G V Chelvapilla
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The people of Karachi can see doors outisde their personal prisons, but none lead anywhere, or to any hope.  —Photo by Reuters
The people of Karachi can see doors outisde their personal prisons, but none lead anywhere, or to any hope. —Photo by Reuters
Suffering does not always entail visible pain.
In Jean Paul Sartre’s play “No Exit”, the characters are condemned not to the fire and brimstone of an expected hell, but rather to the company of each other.
Two women and one man are condemned to spend eternity in a living room, a hot and stifling one, where there are no mirrors and no means of ever escaping. To see themselves they have only their reflection in the eyes of the others.
Their terror is not physical but existential, and it's crushing; it grits the reader’s teeth and presents to them, the unseen barriers of a prison with no bars. Isolation and the dependence it necessitates toward those closest can be its own frightening curse.


It is just such a thrall that has descended upon Karachi.
Unlike the condemned of Sartre’s No Exit; the city’s new terror is also existential. The lanes and alleys of the city are bursting over with its literal carnage, its falling corpses and ubiquitous guns, its showering bullets and rising smoke — all a dismal parade of peril.
Much like the only escape in 'No Exit' opens into a hallway of more doors and dead ends, the metropolis is stuck in a damning political isolation, its variety of woes not able to move the hearts and minds of those doling out resources in Islamabad.
For the people of Karachi, it is an unwanted sentencing of seclusion; they can see terror burning in the eyes of those around them but can never escape it.
Of course, all of this can be ignored by the terror-hardened, by the experts of averting eyes, shifting glances, distracting themselves by a retreat into an ever narrower realm. In the play and in our very own city, the architecture of existential terror comes from an interplay of the seen and unseen. What cannot be seen, what exists behind doors and inside hearts is a far more threatening chokehold.
With an attack on an airport the analogy is complete. The visible doors are all lined up in the corridors that the people of Karachi can see outside their personal prisons; but none of them lead anywhere, or provide any hope.
With two attacks in just as many days on the city’s gateway to the world; the metaphorical has become literal. With such dangling threats as six-hour sieges by massively armed gunmen now actualities; the number of airlines willing to fly their planes into an avowedly deadly city is likely to dwindle to a trickle.


The possibility of leaving makes staying a choice, and choices are always better loved than impositions.
Already, the citizens of Pakistan are condemned by the world to having one of the worst passports, one that permits them entry into less than 35 countries without “special processing”. The borders have become constrictions, whose exactions will go beyond the present and strangle what is left of an already dimly lit life.
Coming and going, earning and sending, have formed the economic backbone of the city. But the vertebrae have now cracked under the pressures of global taint, local inaction and existential hell.
The last attack, the burnt men found in a cold storage plant, the date-eating attackers driven to kill thousands showed the feebleness of its fortifications.
Inside sit the condemned, needled by the constant power outages, tortured by the uncertainty, in a darkness that in the moment bears little promise of dissipating.
   
Rafia Zakaria is a columnist for DAWN. She is a writer and PhD candidate in Political Philosophy whose work and views have been featured in the New York Times, Dissent the Progressive, Guernica, and on Al Jazeera English, the BBC, and National Public Radio.
She is the author of Silence in Karachi, forthcoming from Beacon Press. 

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