In Mohammed Hanif’s crosshairs

If you enjoyed Mohammed Hanif’s A Case of Exploding Mangoes, it will have prepared you for another scathing satire from the Pakistani novelist on the senselessness of war, the hypocrisy of those who wage them, and the bleeding heart humanitarian contractors who rake it in to mop things up.

Red Birds brims with razor sharp verbiage and a plot embedded with glaring absurdities of the perpetual war machine of the military-industrial complex. There is a whiff of Heller in Hanif: the only difference with Catch-22 is that the murderous technology of modern warfare is 60 years more advanced, and America is bombing mud huts in the desert with laser-guided smart ordnance, and not dropping dumb bombs from B-25s.

As they turn the pages, readers fly through skies full of flak, eruptions of Hanifisms:

‘First they bomb our house, then they take away my son, and now they are here to make us feel all right.’

‘If I didn’t take out homes, who would provide shelter? If I didn’t obliterate cities, who would build refugee camps? Where would all the world’s empathy go?’

‘They bomb us from the skies, then they work hard to cure our stress … I get PTSD, she gets a per diem in US dollars.’

This is writing that forces the reader to confront the brutal reality of wars waged by remote control, linking the trigger on the joystick to guts spilling forth, bubbles in pools of blood of the dead and dying. All this far from the oval offices where policies are made, or even from the glass cockpits from which pilots launch video-game missiles at crosshairs on the screen.

Major Ellie is one such pilot who crashes in the desert of what sounds and smells like the Afpak border, and fortuitously right next to a ‘fugee camp’ where most of the action in the rest of the book takes place with protagonists like young Momo and his dog, Mutt. The other character (and what a character she is) is a caricature of a USAID worker Lady Flowerbody who is there to do good, and offer bandaid to people her own country has bombed to smithereens. Her developmentese is very similar to the lingo of the lords of poverty we are familiar with in Nepal as well: ‘I am conducting a survey on post-conflict resolution strategies that involve local histories and folklore … to use this community as a laboratory for testing my hypothesis about how our collective memories are actually our cultural capital … ’

While the backdrop in A Case of Exploding Mangoes was about Gen Zia of Pakistan who was ostensibly killed by bombs hidden in a fruit crate in the cockpit of his C-130, the setting for Red Birds can be from Timbuktoo to Quetta and everywhere in between where the American military is waging Third World Wars against tiny white figures in real-time infrared satellite imagery.

Red Birds lays bares the hypocrisy of not just America’s ‘war on terror’ and the obliteration of countries, peoples, societies. It is also a sad reminder of what the Russians have done in Syria, the Saudis in Yemen, or for that matter what conquerors have done throughout inhuman history.

Hanif used to be an air force pilot, and shows us that it is not just history that is a farce. So is the unfolding present.