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Kashmir is the issue that, more often than not, sparks political angst and the corresponding civilian unrest. India and Pakistan continue to rattle sabres at one another, exchanging hostile rhetoric at every opportunity. Yet it is precisely this refusal to shy away from the reality of what occurred that makes the novel a landmark in world literature. The idea that humans could – and did – do this to one another calls into question everything we believe about ourselves as moral, intelligent, supposedly enlightened creatures. Some of the atrocities Singh describes are difficult to stomach. This is not a novel for the faint-hearted. Both shot and stabbed and speared and clubbed. According to the Hindus, the Muslims were to blame. “Muslims said the Hindus had planned and started the killing. He also makes it clear that the blame for the violence cannot be placed on any one group – all were responsible. His method brings to life villages such as Mano Majra, caught in the eye of the storm during that terrible time. He eschews elegy, preferring to offer a clean, precise narrative akin to reportage. Singh’s writing style is similarly punchy. The book is relatively short, but all the more powerful because of it, condensing a series of literary gut-punches into less than 200 pages. This perspective gives the story a harrowing, visceral believability – we are never in any doubt that the horrific events that he depicts are a representation of actual incidents. Instead, we see an understanding of human motivations, the murkiness of decisions made when fear, rumour and peer pressure combine, and a moral commentary that deftly infuses the work. There is little in the way of political grandstanding. What sets Kushwant Singh’s novel above earlier attempts to depict the horror of Partition is his focus on the individual. But then Sikh agitators arrive, demanding that the remaining villagers pick up their swords and come with them to seek vengeance… They are housed in a refugee camp overnight awaiting a train to Pakistan. This becomes the catalyst for the local police to force Muslims to leave for Pakistan – ostensibly for their own safety. In due course, a train arrives from Pakistan, loaded with corpses. The villagers of Mano Majra, a close-knit community, are largely uninformed of what is happening around them in the country at large but when rumours begin to trickle in of atrocities being committed in neighbouring villages the seeds of trouble are sown. Singh introduces us to a small cast of characters, most prominently Juggut Singh, a violent scoundrel Iqbal Singh, a weak-willed social activist newly arrived in the village to proselytise on behalf of his political masters and Hukkum Chand, a local magistrate. The village is populated by Muslims and Sikhs, who have lived together peacefully for generations. The novel is set in the fictional village of Mano Majra, on the border between Pakistan and India. The message of love and harmony goes from a village to the whole country and the illiterate Meet Singh and the Lambardar of the village give wisdom to the learned of the country.Train to Pakistan shines a spotlight on one of the most harrowing periods in the subcontinent’s history, when the cataclysmic effects of Partition reverberated throughout communities around the country, setting Muslim against Hindu and Sikh, pitting neighbour against neighbour in an orgy of violence that left over a million dead. The Sikhs and the Muslims in Mano Majra lived in harmony, so much so that the Sikh didn’t know how to ask the Muslims to go to the refugee camp for their own safety, and there was lot of embracing and crying when the Muslims decided to leave the village. To this purpose in view he has chosen a Sikh village on the border as the locale for action in the novel. But the novelist wants to give message of communal harmony and love even in the midst of hatred and genocide. The writer does speak of the trains of dead bodies of the Sikhs and Hindus that came from Pakistan, of the exodus of the Muslims from India, of Sikhs and Hindus from Pakistan, of the singed psyche of the refugees, etc. But a novel is a work of art, not of history. His intimate knowledge of the happenings that took place inspired him to write this famous novel. As a journalist, he had watched the whole gamut very closely. He had witnessed the genocide of Hindus, Sikhs and Muslims during partition days. Khushwant Singh is a man of wide reading and experience. 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Shania Twain celebrates 25 years of 'The Woman In Me' with diamond. Shania Twain performs her hit song 'Life's About to Get Good' | GMA. Shania Twain - Whose Bed Have Your Boots Been Under? (Live From The CMT Awards / 2020) Shania Twain - Any Man Of Mine (Official Music Video) Shania Twain performs 'That Don't Impress Me Much' | GMA. D D G A D G A Looks like we made it, Look how far we've come my baby D G A We mighta took the long way, We knew we'd get there someday D G A They said, I bet they'll never make it D G A But just look at us holding on D G A We're still together still going strong D You're still the one G You're still the. You're Still The One (When I first saw you, I saw love And the first time you touched me, I felt love And after all this time, you're still the one I love 3. Ain't nothing better We beat the odds together I'm glad we didn't listen Look at what we would be missin The song was written by Twain and Mutt Lange and produced by Lange (You're still the one) You're still the one I run to The one that I belong to You're still the one I want for life (You're still the one) You're still the one that I love The only one I dream of You're still the one I kiss good night. It was released as the third single from her third studio album Come On Over (1997). We beat the odds together About You're Still the One You're Still the One is a song co-written and recorded by Canadian singer Shania Twain. (You're still the one) You're still the one that I love. (Because you're still the one) You're still the one I run to The one that I belong to You're still the one I want for life (You're still the one) You're still the one that I love The only one I dream of You're still the one I kiss goodnight (Jsi stále jediný) Jsi stále jediný, za kým běžím Ten, ke kterému patří You're still the one I run to.
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