In short, “for the political theorist Ali Kadri, imperialist powers and comprador classes use war to gain strategic advantage over their rivals – destroying political challenges to their rule and reaping profits via the defence industry. The reduction of people’s lifespans through a combination of war and austerity also reduces the state’s social responsibilities, as well as popular expectations for the division of the social surplus, allowing elites to appropriate more resources. It is precisely this combination of violence and profiteering, mediated by Washington’s geostrategic interests, that defines the relationship between Pakistan’s rulers and its general population. In the mid-twentieth century, Pakistani elites, led by the military, discarded industrialization and other development strategies for cheap dollars linked to imperial wars. This, along with Western aid packages, enabled import-driven consumption that placed a serious strain on the country’s balance of payments. IMF loans kept its defunct economy afloat as part of what can only be described as a scandalous ponzi scheme, while perpetual conflict, resource plunder by the military and rolling austerity turned the public into sacrificial lambs, with 25 million children now out of school and 40% of the country malnourished.”
I think hard times are coming, when we will be wanting the voices of writers who can see alternatives to how we live now, and can see through our fear-stricken society and its obsessive technologies, to other ways of being. And even imagine some real grounds for hope. We will need writers who can remember freedom: poets, visionaries— the realists of a larger reality . Right now, I think we need writers who know the difference between production of a market commodity and the practice of an art. The profit motive is often in conflict with the aims of art. We live in capitalism. Its power seems inescapable; so did the divine right of kings. … Power can be resisted and changed by human beings; resistance and change often begin in art, and very often in our art—the art of words. I’ve had a long career and a good one, in good company, and here, at the end of it, I really don’t want to watch American literature get sold down the river. ... The name of our beautiful reward is ...
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