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issues

Winter 2022

Her Traces

Fall 2021

Unpeopled Terrain

Spring 2021

Flash the Coup / Stories from Myanmar

Winter 2021

White Deeds

Fall 2020

Policy Recommendations: Poets Intervene

Summer 2020

Kashmir: Silence Is Not An Option

Spring 2020

Terror in South Asia

Winter 2019

Freedom of Movement

Fall 2019

Domestic Dissonance

Adi is a Tamil word with three meanings: protest, intervention, and violence.

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The moon comes out every time my cow is thirsty. The moon comes out every time my cow is thirsty.

Today we share a short scene from Dariush Mehrjui’s 1969 film, The Cow, based on the screenplay and novel by Iranian writer Gholam Hossein Sa’edi. The Cow depicts a gentle relationship between a villager, Masht Hassan, and his cow. When Hassan’s beloved cow suddenly dies he descends into a slow madness, eventually adapting the mannerisms and qualities of his cow. The film reveals the livelihoods bound to livestock and fragility of social security. 

The Cow is widely considered Sa’edi’s most prolific work, ushering in an era of new wave Iranian cinema that relied on an humanistic approach to film with political and poetic undertones. In 1979, following the Iranian revolution and a decade since the release of The Cow, Sa’edi was forced into exile.

In her essay, “A Kind of War,” Habibe Jafarian traces the echoes of the Iranian revolution in the life of Mohsen, a translator for Tehran-based film journal, 24. Mohsen shelters his obsession with Scorsese from his rigid, college-educated parents but reminsces that his father once cherished the work of Sa’edi. Jafarian replies: “Mohsen, you are the sum of all the contradictions of a country called Iran.”

Jafarian offers a glimpse into the generations demarcated by the Iranian revolution and its resounding impact. You can read her essay "A Kind of War" as part of Adi Issue 2: Freedom of Movement, via the link in bio.
What were the streets thinking during the siege?⁣
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This 1955 watercolor, “A Street on the Bund” by famed Kashmiri artist Dina Nath Walli, captures families, artisans, shopkeepers, and stray cattle walking along the elevated riverfront in Srinagar, Kashmir. Colloquially referred to as “the Bund,” this two-kilometre stretch is still a beloved walking route; however, parts of it are heavily militarized and drained of life. ⁣
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In her essay, “Listening Through the Silence,” @aziakashmir asks: “What was the Bund thinking during the siege?” Following India’s annulment of Article 370 in August 2019, Kashmir was placed under strict curfew, and internet, cellphones, and landlines were suspended for months on end. The reverberations of this measure emptied local marketplaces and promenades such as the Bund.⁣
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According to Zia, the Bund too is a life curtailed by India’s occupation. You can read her full essay as part of Adi Issue 3: Terror in South Asia, via the link in bio.⁣
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Dina Nath Walli, A Street on the Bund, 1955. Copyright Kashmiri Pandit Network. ⁣
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#Kashmiri #Kashmir #TheBund #Art #DinaNath #AdiArchives #AdiIssue3 #SouthAsia #SouthAsiaArt
From the Bollywood songs that entrance Mahum in Be From the Bollywood songs that entrance Mahum in Beenish Ahmed’s Rozi, to The Cranberries’ sophomore album accompanying a woman traveling alone in Zeynep Lokmanoglu’s Near Boiling, and the search for a daughter’s posthumous voice in a choir in Karolina Zapal’s Giving Birth, Giving Death —  the fictional characters of Adi’s latest issue, HER TRACES, are attuned to careful listening.

Today, we share our soundtrack to Issue 9, where we asked contributors to select a song that resonates with their piece. It begins with the croon of Dolly Parton’s Early Morning Breeze, and swiftly ends with Polish band Mikromusic’s ballad Pokochaj to Dziecko, which translates to “Love this baby.” Listen as you make your way through Issue 9: HER TRACES.

Link in bio!

#Playlist #Song #DollyParton #NjokiKaru #ChicoCesar #ZohrehJooya #Mikromusic
“When the sun disappears, I shiver. Things howl “When the sun disappears, I shiver. Things howl and whisper. I remember that I’m alone. It was what I wanted and what I’ve enjoyed. But right now I want a friend.” 

.@zeplok's story “Near Boiling” dictates the fear and freedom of a woman traveling alone. Read via the link in bio! #AdiIssue9

https://adimagazine.com/articles/near-boiling/
“The prayers were unfinished, like she was, and “The prayers were unfinished, like she was, and what is sent unfinished to heaven—a life—becomes sacred in its mystery.”

@karoissunshine’s “Giving Birth, Giving Death”  tells a story of a woman’s grief and the biology of demise.

Read via the link in bio in #AdiIssue9!
In “Visitors Day,” Lutivini Majanja presents In “Visitors Day,” Lutivini Majanja  presents a tragicomic glimpse into life at an orphanage in Kenya, where children endure the spectacle of philanthropy. #FlashFiction #Fiction #AdiIssue9

“Clarissa around visitors was demure, stumbling through sentences whenever she was spoken to. She preferred wearing her baggiest clothes, to hide what she had stolen from the donations.”

Read the full story via the link in bio!
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