In One Hand the Gun: Militancy in South Asia [Jamhoor Magazine]
In One Hand the Gun: Militancy in South Asia [Jamhoor Magazine]
This issue explores armed resistance from the vantage point of South Asia. It delves into debates surrounding revolutionary violence and seeks answers in the subcontinent. Thanks to the glorification of Gandhi and his non-violent tactics, South Asia occupies a prominent place in the alleged success story of pacifism. Yet it is also a region where numerous national liberation and anti-imperialist struggles show that revolutionary violence has often been a key instigator and driver of history’s so-called locomotive. The issue presents the political and historical contexts that necessitated such revolutionary violence in lesser-known liberation movements across South Asia, from Balochistan to Bangladesh.
Launched in 2018, Jamhoor is a Left media platform for South Asia and its diasporas. Our name — “the people” in Urdu — distills our commitments: we are for the people. To be for the people means understanding and combating the structures that weigh us down: imperialism, capitalism, patriarchy, casteism, racism, and queerphobia. To be for the people is to refuse the borders that divide us: it is internationalism. To be for the people is to imagine and build radical alternatives that let us thrive: it is to remake the world.



Forthcoming, ships September 2026
Jiyar Jahan Fard
Translated by Chiya Parvizpur
Fiction & Literary Nonfiction
Over a single day, a family faces grief and exile and history in a surreal tale set at contested borders.
On one side of the border, Azad’s mother stands in her grief, waiting to bury her son. On the other side, his uncle and cousins wait with his body, barred by unrelenting guards from bringing him home without a passport. Borders are a thousand kinds of violence, a vicious declaration of who belongs and who does not. For generations, the Kurdish people have lived divided by these cruelties, carved out amid the ruins of war and empire. This is The Shadeless Border.
Over the next twenty-four hours at the crossing, an uncanny tale unfolds through a chorus of surprising voices: Death and the Border speak to us like old friends; a coffin and a stringed instrument, both carved from the same tree, remember Azad’s family history. Set at the contested frontier between Iran and Iraq, Jiyar Jahan Fard’s masterpiece is a work of haunting intensity, written along the delicate line between Kafka and Kundera, and tracing the man-made boundaries that define the reality of modern-day Kurdistan.