A water color image of Mahreen and Masuka

 ‘Now we begin to see how Derrida’s notion of ‘sous rature’ differs from that of Heidegger’s. Heidegger’s Being might point at an inarticulable presence. Derrida’s trace is the mark of the absence of a presence, an always already absent present, of the lack at the origin that is the condition of thought and experience.’   [Translator’s Preface in ‘Of Grammatology’ by Jacques Derrida, page: xvii (Translated from French to English by Gayatri Chakravorty Spivak, The Johns Hopkins University Press; First Published; Maryland, 1976 and First Indian Edition by Motilal Banarsidass Publishers Private Limited, Delhi).]   Although renowned French philosopher Jacques Derrida had explained the term ‘sous rature (under erasure)’ from a linguistic, philosophical and metaphysical viewpoint, today the epithet ‘sours rature (under erasure)’ is being used from a more comprehensible prism. ‘Under Erasure’ seems equivalent to ‘self-censorship.’ Now what is ‘self-censorship?’ ‘Self-censorship, also known as self-censure, is a phenomenon that occurs when individuals purposefully choose to limit or restrain their own

expression, thoughts, or actions. It often arises out of fear or apprehension of potential consequences, such as social backlash, legal repercussions, or professional harm. While self-censorship can be seen as a means of self-preservation or complying with societal norms, it is a complex and intricate concept that warrants deeper examination (https://psychologyfanatic.com/self-censure/).  To put in more lucid terms: do the authors, journalists or even common people feel ‘self-censured’ before writing anything which may challenge authority, hierarchy or hegemony? Be it state, government, religion, patriarchy, culture or anything with a cumulative force against an ordinary individual or a group of individuals with less power to bargain? How much free are we in the real sense? Can we speak up, write or claim for our just demands within a coercive state machinery?   If Derrida seems too difficult to be understood, novelist Milan Kundera may sound somehow easier who underscored ‘the struggle of man against power as the struggle of memory against forgetting.’ Kundera,…

Actually, how much civilized is a nation can be well measured by its intellectual properties as reflected through literature and culture, music and poetry, paintings and sculpture. Every nation which is a connoisseur of paintings and sculpture, protects its heritage with utmost efforts and their celebrated painters or sculptors are recollected through ‘larger than life’ novels and movies. The author narrates the curious case of Bangladesh after the color revolution of 2024.  

Bangabandhu's sculpture 'Mrityunjaya' at Bijoy Sarani

Destruction of Bangabandhu's sculpture 'Mrityunjaya' at Bijoy Sarani

‘সুতনুকা নাম দেবদাসিকী তং কাময়িথ বালানশেয়ে দেবদিন্নে নাম লুপদকখে!’  “Sutanuka by name, Devadasi. The excellent among young men loved her, Devadinna by name, skilled in sculpture" is the translation of the aforementioned line in the Magadhi Prakrita language of the ancient age India and inscribed upon the sculpture of a temple-based artist (in terms of singing and dancing) cum courtesan. Once celebrated Bengali novelist Narayan Sanyal, who is still evaluated within the critics, had authored a complete novel (সুতনুকা একটি দেবদাসীর নাম) on basis of this one single line inscription on the sculpture in the cave temple of Ramgarh mountain in Madhya Pradesh, India. A more loose and easily comprehensible Bengali translation of this line in Magadhi Prakrita goes on like: 'সুতনুকা নামে এক দেবদাসী, তাহারে ভালবাসিয়াছিল/ দেবদিন্নে নামে এক রূপদক্ষ। ’Generally the sculptors were termed as ‘রূপদক্ষ’ in Sanskrit which reads as ‘লুপদকখে’ in Magadhi Prakrita and ‘ভাস্কর’ in Bengali.   Michelangelo Buonarotti, one of the greatest sculptors of all

ages, thus depicted his perception about sculpting: ‘I saw the angel in the marble and carved until I set him free.’ The creator of ‘David,’ ‘Pieta,’ ‘Sistine Chapel’ and so many other monumental art-works further narrated sculpting as ‘In every block of marble I see a statue as plain as though it stood before me, shaped and perfect in attitude and action. I have only to hew away the rough walls that imprison the lovely apparition to reveal it to the other eyes as mine see it.’   Actually, how much civilized is a nation can be well measured by its intellectual properties as reflected through literature and culture, music and poetry, paintings and sculpture. Every nation which is a connoisseur of paintings and sculpture, protects its heritage with utmost efforts and their celebrated painters or sculptors are recollected through ‘larger than life’ novels and movies. Remember how Akira Kurosawa paid his tribute to Vincent Van Gogh in one of his…

The article discusses Yunus' recent trip to the UK and the corruption allegation of Bangladesh government against British MP Tulip Siddique.

Tulip in full bloom: AI Generated

‘Mandar dafa bajna /Abir gul lala kum kum/  Keshor charato karawato/Kutuhal has e/Mandar dafa bajna.’   (Mandolins are being played/colored powders getting sprinkled/  Tulip unfurling her petals/Women have curious smiles on their lips).  (Hindustani Dhamar on the spring festival)  …It was the year of 1989. Me and my immediate elder sister used to attend a Hindustani classical music class (as many other middle-class Bengali girls attend in their childhood or adolescence days and later most of them cannot continue for studies, work or etc. etc.) where our teacher used to train us in ‘Dhrupad’ and ‘Dhamar’- two unique forms of Hindustani classical music besides the too commonly practiced ‘Kheyal.’ Sometimes we used to ask the teacher meaning of all these Hindustani lyrics and he tried to explain at his best. The aforementioned lyrics of Dhamar was composed by any of the classical lyricists of the sub-continent (or to be more accurate, by the lyricists from Persia or Afghanistan up to

the Indian sub-continent) to welcome the advent of spring and the word ‘gul lala’ means Tulip in Urdu and this Tulip is opening her petals in the spring (Keshar charato karawato). We know how much our Hindustani classical music has been enriched by the composers from Persia like Ameer Khasru and others. In fact, the word ‘Dafa’ means ‘Mandolin’, a particular type of musical instrument which used to be played in any festival in Persia and the adjoining regions and still it is played across a long route from Persia or central Asia to the Pakistan-North Indian territories. Although reputed Bengali musicians like Kabeer Suman are now-a-days advocating for writing Bengali Kheyals for better comprehension of the Bengali learners (as language often seems to be a barrier in understanding the North Indian classical music  and learning Hindustani classical is a pre-requisite for achieving minimum skills in music of this region), but can we ever deny that how the ancient and…

The Indus Treaty has collapsed. The Shimla Agreement lies suspended. From Pakistan’s proxy warfare to Bangladesh’s creeping Islamism and great power maneuvering, South Asia is entering not just a geopolitical spiral—but a civilizational eclipse. What we’re witnessing is the slow disintegration of the pluralist soul that once defined this region.

I. Introduction: The Breaking of a Compact When India suspended the Indus Waters Treaty following the terror attack in Pahalgam—carried out by The Resistance Front (TRF), a group with clear operational and ideological ties to Pakistan's deep state—it did more than nullify a water-sharing agreement. It shattered one of the few remaining symbols of post-Partition cooperation between the two nuclear-armed rivals. For decades, the treaty withstood wars, diplomatic breakdowns, and public rage. That it should now collapse in response to yet another incident of state-proxied terror speaks volumes—not only about India’s strategic posture but about the region’s crumbling secular compact. Now, that compact has fractured even further. In a retaliatory gesture of its own, Pakistan has suspended the Shimla Agreement (1972)—a foundational accord that once governed diplomatic protocols, bilateralism, and conflict resolution between India and Pakistan. If the Indus Waters Treaty was the hydrological pillar of cooperation, the Shimla Agreement was its diplomatic spine. Together, these two treaties formed the

last architecture of mutual restraint between nuclear neighbors. Their dual collapse signals a freefall into a pre-1970s strategic environment—one where war, not negotiation, is again the default setting. However, to treat the Treaty’s dissolution as a bilateral escalation alone would be myopic. It is better understood as the tremor before a regional quake. From the Indus in the West to the Bay of Bengal in the East, a new geopolitical alignment is taking shape—an alignment that threatens to undo the fragile, secular, and postcolonial order that had once offered a vision of stability. Across South Asia, terror proxies are resurgent, Islamist politics is infiltrating interim governments, and foreign powers are circling zones of instability under the guise of humanitarian concern. India, at the heart of it all, finds itself in a two-front dilemma. In the West, Pakistan continues to serve as an incubator for transnational jihadist ambitions. In the East, Bangladesh’s descent into political instability and Islamist resurgence—combined with creeping…

A storm erupted when Bangladesh's Press Wing hastily responded to Tulsi Gabbard’s comments on minority issues. Ignoring protocol, the response fuelled ongoing "hate India" sentiments, deepening political and religious divides. Gabbard’s oversimplification of the 1971 Liberation War clashed with its complex realities, creating further misunderstanding. Islamists seized the moment, adding fuel to the fire. As crackdowns on the Awami League intensified, Dhaka’s diplomatic fragility was exposed— a bitter lesson in the dangers of reckless rhetoric. The Head of the Press Wing of the Interim Government received a new crown: "Enemy of the People", whose mantra became: "Blame your opposition for the crimes you commit."

PART 1   One.  A single spark can set a forest ablaze. A single word, misplaced, can unravel years of diplomacy. What unfolded was no ordinary misstep─ it was an act of unchecked enthusiasm, a leap before looking, A whisper that turned into crying in the middle of the night.   The storm began with a statement—seemingly harmless. It was meant to fall into the right hands, yet perhaps because it landed in the wrong ones, it became a matchstick struck against dry kindling. Neither the Press Secretary, who played a starring role in this drama, nor his employer, Dr. Muhammad Yunus, seemed to remember this childhood lesson: Too much of anything is perilous. With one impulsive stroke, Dhaka’s diplomacy was cast into turbulent waters. Some whispered it was reckless; others suspected it was deliberate.  Two. An encounter with a spy chief  March 12, 2025 - South Asia.  In the front page splash of Indian media heat a news─ Ms. Tulsi Gabbard,

the U.S. Director of National Intelligence, the first woman to hold the role, and a combat veteran─ was the first Trump administration official to set foot in India, since January, 2020.   India, a pivotal U.S. partner in the Indo-Pacific, was poised to play a central role in Tulsi Gabbard's diplomatic agenda. On February 12, she etched her name in history as the first U.S. official to meet with India's Prime Minister Narendra Modi at Blair House, just days before his high-stakes discussions with President Donald Trump.   On March 18, 2025, she delivered a significant address at the esteemed Raisina Dialogue in New Delhi, focusing on "Global Security and Minority Protection in South Asia." As India's premier conference on geopolitics and geo-economics, the Raisina Dialogue brings together global leaders to discuss pressing international issues. (Rezaul H. Lashkar, Mar 12, 2025, Hindustan Times).  ***  Her personal connection to Hinduism runs deep. Raised by a mother who embraced the faith and passed it…

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