Face up to the fight
Tariq Mehmood, ‘While there is light’, Manchester, 2003, Comma Press, pp220, �7.95
The travails of those who fight imperialism are long and brutal. Families torn asunder, friendships stretched and broken, lives crushed against the bars of prisons and the kicks of cops.
Tariq Mehmood’s novel mixes clarity of reflection with bittersweet agonies and a pained lament for loss. The loss is not only consequent upon the cruel conditions of an updated and as yet unfinished Raj – though the ways the legacy of colonialism plays out on the workings of northern England and north Punjab are not simply contemporary – and the lament is not just for the family, but for the stalled and failing political movements that would be a possible resistance.
Against the several significant historical backgrounds that shape the (so-called) post-colonial condition, Where there is light recounts the tale of Saleem Choudry returning to his parental village in north Punjab. The novel utilises three texts to tell its multi-sited tale – the first: a letter the disgruntled labour-migrated worker son writes to his mother, but which she cannot read; the second: the cassette tape recording the heart-torn and weary mother prepares for her son as she faces death, to which he cannot listen; and the third: the police-violence-extracted ‘confession’ which identifies Saleem as the ringleader of the Youth League fighting racist skinheads in Bradford in the early 1980s.
In these contexts, characters recount – more or less lyrically – various predicaments. The legacy of the partition violence with which England left a parting gift of train-filled bodies, hacked to death in sectarian frenzy, is one memory. An unrelated consequence is the position of disaffected youth, whose heritage could be the anti-colonial and workers’ movement but who, through seduction and distraction, are disconnected from their romantic and revolutionary roots. In place of the movements they try to build are the old religious hypocrisies that are but the first cry of an oppressed mass, misled by a self-interested leadership with thought only for comfort.
Saleem is arrested as a ‘terrorist’. This is a fictionalised account of what came to be known as the case of the Bradford 12, when Asian youths were charged with conspiracy after the discovery of petrol bombs. Saleem, out on bail, is flying back to Punjab to see his mother. A letter he had posted in a drunken rage the day before follows him through the post. He arrives too late to meet his mother (hospitals full of shit while the government builds atomic bombs). Scenes of lament and a difficult homecoming to a place that is no longer home are punctuated by a harrowing account of the arrest scene in Bradford and the interrogation, with full English police-style beatings, in the lockup before the trial.
The story works in these multiple places and concurrent times, along the way providing a meditation – angry, not passive – on a range of difficulties that are the lot of the ‘returnee’ to the site of colonial extraction. Saleem was sent to England as a boy to earn money for the family, from that country where the streets were paved with gold (but they were not). Returning to Pakistan, the sex scene in the movie The saint is censored, the passport and customs officers impose their delays and extract their percentage cut, the dilemma that values the life of a fly but not of kin relations is matched by the alacrity with which friends, and devout community leaders, pursue the duty-free booty with which Saleem returns. A well read tourist might recognise this lot, but not likely.
Self-mocking mockery of mock pieties, perhaps the portrayal of the whisky running business scam is the most blatant example of a hostility to religious hypocrisy that must be replaced by a more organised resistance. There are positive portrayals: the old mates from school who have not forgotten the one who left – even as they make merry with the desire to go themselves. In one sequence the contract that requires one both to give and take is considered fair trade for the prize of entry to Valaiti (Britain), despite full knowledge of what the prospective migrant will be forced to endure. Foreign, Vailaiti poison (cigarettes) is even better than local lung-rasping pleasures.
The one who inducts Saleem into the subtleties of communist solidarities – poignantly a white father who rescues him from a beating at the hands of his fascist son – is clear and insightful in his analysis of the mill workers and who profits most from those who labour under capital. Payara Singh tells of the heroes of the Punjab: of Uddam Singh and Baghat Singh, who fought the colonials with no thought for their own gain – a history that Saleem has to struggle to preserve – if you do not understand your past, how can you have hope for your future? The Manifesto is quoted, thought the words are mislaid.
Solidarities become a major theme. In the end those interrogated in the youth movement betray each other under duress, but we know the wider campaign mobilised a larger alliance and won the case for the Bradford 12, establishing self-defence as a legal defence in law. This is particularly important to remember today, as alleged ‘terrorists’ are routinely detained in the UK, profiled again as the enemy by the jihadis, Bush and Blair. By the end of the novel Valaiti has become England, Saleem is not a Trot but he reads, the cops know they are not going to win the case (but they make the charges in any case) and the movement continues.
Saleem does not know all that yet, but his personal resolution – he plays his mother’s tape, reads the letter, signs the forms – mean a realisation: that his history is one that requires him to face up to the fight (while there is light). He will return to struggle again.