The Kafkaesque reality of Pakistan's blasphemy laws

Sherry Rehman, Pakistan’s ambassador to the US, is under police investigation for alleged blasphemy after making the case on television for the law to be re-examined and for the death penalty to be removed.

In Franz Kafka’s novel, The Trial, the protagonist Josef K. is unexpectedly arrested by two unidentified agents from an unspecified agency for an unspecified crime. For the duration of the story, neither Josef nor the reader knows what he is supposed to have done, even when he is eventually killed for his crime.

The situation surrounding Pakistan’s controversial blasphemy laws is not dissimilar. The law means that anyone found guilty of defaming the Prophet Muhammed can be sentenced to death. Many facing such accusations have been forced into hiding or killed by mobs before they even stand trial.

Blasphemy laws in and of themselves are not unusual: many countries across the world have legislation which restricts what one can say about religion. The problem in Pakistan comes from the exceptionally harsh penalties, and the light burden of proof. The law sets out no guidance on what constitutes blasphemy, no standards for evidence, no requirement to prove intent, and no safeguards to punish those who make false allegations. This means that, essentially, the standard for blasphemy is whatever offends the accuser. As such, it is frequently used to persecute minorities or settle personal vendettas.

Witnesses can refuse to repeat the alleged blasphemy in court, in case they themselves become culpable. There have been stories of judges refusing to hear evidence defending the accused for fear of offending religious zealots. Blasphemy is a non-compoundable crime, meaning that cases cannot be settled out of court. Once a charge is filed, it is difficult for the case to be quashed, and the accuser cannot simply drop charges. It is not unthinkable that someone could be accused of blasphemy and sentenced to death without ever being told exactly what they are meant to have said and thus being unable to disprove it. Suddenly, Kafka’s Josef F doesn’t seem quite so surreal.

That blasphemy laws are a serious impediment to freedom of speech goes without saying. But the extent to which this is true has been highlighted yet again in recent days, with the news on 21 February that Sherry Rehman, Pakistan’s ambassador to the US, is under police investigation over allegations of blasphemy.

The basic facts of the case are as follows. In late 2010, before Rehman had been posted to the US, she lodged a private members' bill seeking to abolish the death penalty for blasphemy after Aasia Bibi, a Christian woman, was sentenced to death. Two other politicians who were campaigning for a change to the law were murdered soon afterwards. Salman Taseer was shot in January 2011, and Shahbaz Batti in March 2011. Blasphemy reform was shelved soon afterwards.

On 30 November 2010, before Rehman’s private members' bill had been thrown out, she appeared on Dunya TV’s news programme, Dunya Meray Aagay. She repeated her calls for the law to be re-examined and for the death penalty to be removed. Remarks she made on the show prompted Muhammad Faheem Akhtar Gill, a marble dealer in Multan, to lobby police to register a case against her for blasphemy. After nearly three years of persuasion, his efforts have been successful, and the police have started an investigation under the orders of the Supreme Court. Given the aforementioned problems with the blasphemy legislation, the media cannot report what Rehman is supposed to have said, in case newspapers fall foul of the law. People are clearly curious: a Google search for “Sherry Rehman - what did she say” yields 21,800 results.

That a lawmaker should face a criminal investigation for discussing a parliamentary matter is, once again, Kafkaesque. The law of parliamentary privilege applies in Pakistan. It gives members of parliament legal immunity for actions done or statements made in the course of their legislative duties. The idea underpinning this law is that parliamentary business shouldn’t be impeded by restrictions on free speech. In the United Kingdom, where libel laws are the biggest drag on free speech, MPs cannot be censured for defamatory statements made while they are in the Houses of Parliament. Given that blasphemy laws are arguably the most significant restriction on free speech in Pakistan, it would not be unreasonable to expect a similar immunity.

Of course, parliamentary privilege covers lawmakers while they are actually in parliament – and when Rehman was speaking to Dunya TV, she clearly was not in the parliament building. But the fundamental fact remains: the blasphemy reform bill was passing through the legislature and a lawmaker is now facing charges for discussing it. A crucial part of a functioning democracy is the ability to openly and publicly debate significant legislative changes before they are passed into the statute book. If proposed legal changes cannot be openly discussed without politicians facing prosecution, it has serious ramifications for the very functioning of the Pakistani state. It is the public that will suffer if laws and policies can’t be debated and scrutinised.

The blasphemy law has created and facilitated a culture of vigilantism. As soon as someone has been accused of blasphemy, they live under the threat of death. When the young Christian girl Rimsha Masih was falsely accused of blasphemy last year, her family was forced into hiding. According to the Islamabad-based Centre for Security Studies, at least 52 people accused of blasphemy have been killed since 1990. Many die at the hands of angry mobs before they are convicted. Given this high threat of violence, it is perhaps unsurprising that politicians are afraid to touch blasphemy law.

In Pakistan, as in my countries across the world, those who shout the loudest end up wielding the most power. Unfortunately, extremist or conservative elements are more than capable of invoking religion to stir up mass outrage and violence. There is no doubt that this has had a chilling effect on free speech across the board; campaigners working in areas from women’s rights to internet censorship can find themselves dismissed as blasphemers or immoral people, and facing the associated backlash.

Politicians should not be above the law (a particularly sore point given recent corruption allegations), but nor should they be penalised for doing their jobs. A situation where the reform of a particular law cannot be discussed in case the discussion itself breaks that law is worthy of a Kafka story, but not of a healthy and functioning state.

 

Sherry Rehman, who was appointed Pakistan's ambassador to the US on 23 November 2011. Photograph: Getty Images

Samira Shackle is a freelance journalist, who tweets @samirashackle. She was formerly a staff writer for the New Statesman.

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Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

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