Published on Pax Populi on 1 March 2016
In the
first week of January this year, Kirthi Jayakumar and I received a
lengthy email from Robert McNulty about Nahid Walizadda, an Afghan
refugee living in Peshawar, Pakistan. Nahid
had shared a lot of her drawings and paintings with Bill Woolley who
had volunteered for a brief time with Pax Populi.
Bill
had written:
“Nahid
Walizadda is an aspiring artist whose portfolio includes compelling
pencil sketches depicting the plight of women in her native
Afghanistan. They help fill the pages of a journal that laments the
inequality faced by every girl born in that troubled country.”
Robert
asked us if we could do a story on Nahid and feature some of her
drawings on our website. We loved the idea. He then introduced us to
Nahid and her sketches, which Kirthi and I think are phenomenal. We
not only wanted to do a story on her but also showcase her talent.
She wrote a post for us, which we published on the Pax Populi blog
and shared on Facebook. Nahid thanked us. Then she mentioned that she
written a book containing her story, poems and artwork. She had been
trying to get it published, but found little support for her
endeavour. We asked her to share her book with us. What we had
unwittingly started was a three-way conversation between Nahid in
Peshawar, Kirthi in Chennai and me in Vadodara.
Kirthi
edited the book first and I browsed through it to add my comments.
When Nahid made some changes and sent it to us, we sent it back to
her with more corrections. When we told her she shouldn't source
pictures randomly from the internet, she chose to make some more
sketches. There were several rounds of editing by Kirthi and me and
then even Bill Woolley pitched in.
One
afternoon, I received a message on Facebook chat from Nahid. She
wanted to change the name of the book. “One Voice Can Change the
World,” she said was just a temporary title. We juggled various
combinations of phrases and words till we settled for Tears in the
Veil.
The
next thing she wanted was a cover. I had promised to design the cover
of her book. She suggested she wanted something like Sophie Masson's
Emilio or Robert Hillman's Through My Eyes: Malini. Since she draws
so well, I asked her to make some sketches. “Something positive, if
possible,” I told her. She sent me a low resolution photograph of a
sketch of two little schoolgirls walking with a woman with birds in
the background. I loved it and asked her to send me a high-resolution
scan. After a couple of days, Nahid told me that she could not find
a scanner that could scan her whole painting. She was upset. I told
her I'll work with the picture.
Next,
I asked her for a photograph of herself. I didn't hear from her for a
week. When she sent me her pictures, which were of poor quality, she
told me she had been very sick and 'yellow'. I asked her to get
tested for hepatitis. Fortunately, she tested negative. I browsed
through some of her other sketches that could go with the title and
chanced upon a beautiful drawing of a woman shedding a tear and her
mouth clamped by a hand.
Both
Nahid and Kirthi loved the cover I had designed and we finally
published her ebook through Amazon. These two months have been a
journey through words, art and design into the private lives of the
women of Afghanistan and Pakistan. For me, it was the first time I
had collaborated on an editorial project with someone from Pakistan.
Working with Nahid has been a tremendous learning experience for me,
for it exposed me to the day-to-day challenges refugees face - no
bank accounts, no fixed addresses, families torn across countries,
makeshift shanties for schools, security challenges, rampant drug
abuse to cope with depression, etc.
A
very grateful Nahid told me, “I will never forget what Kirthi jan
and you did for me. What can I send for you?” I asked her to send
me a selfie of her smiling. She did. I told her, “You're quite a
star, Nahid, as your name suggests.”
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