Colonial Sense and Religious Sensibility : Understanding Injury and the Body of Nation in Censored Literature in South Asia

This essay critically examines Angarey, a collection of nine short stories and one play by Sajjad Zaheer, Rashid Jahan, Ahmed Ali, and Mahmuduzzafar, first published in December 1932. Considered a foundational work in Urdu literature which supported the Progressive Writer’s Association in South Asia during the pre-partition era and hailed as an act of literary resistance – especially in the context of the nationalist movements for freedom in India – the stories offer a succinct critique of social and religious practices. Because they exposed the oppression against Muslim women and promoted resistance against the colonial state, the text was banned in March 1933 by the British government. The historical account of its censorship characterizes the British colonial state as the rational and neutral arbiter of its presumed emotionally excitable colonial subjects. In observance of the relationship between affective politics of colonial empire and religion in late colonial India, I critically examine not just the text but also the contextual background of its censorship to explore the link between the colonial ideas about Muslim sensibilities and colonial regulations. In this respect, relying on Asad Ali Ahmed’s critique of the colonial genesis of censorship [“Specters of Macaulay: Blasphemy, The Indian Penal Code, and Pakistan’s Postcolonial Predicament.” In Censorship in South Asia: Cultural Regulation from Sedition to Seduction, edited by Raminder Kaur, and William Mazzarella, 172–205. Bloomington, 2009], Talal Asad’s insights on the complicated relation between injury and the discourse of blasphemy [Asad, Talal. “Free Speech, Blasphemy, and Secular Criticism.” In Is Critique Secular? Blasphemy, Injury and Free Speech. New York: Fordham University Press, 2013, and Ann Laura Stoler’s argument about the Enlightenment’s relationship to empire “Reason Aside: Reflections on Enlightenment and Empire.” In The Oxford Handbook of Postcolonial Studies. Oxford University Press, 2013], this study attempts to understand how the embodied representation of the Muslim self figures in Angarey as an affective attachment, following the context of literary censorship in late colonial South Asia.

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