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THE ICON INTERVIEW: THE UNFORGETTABLE AMNA ILYAS

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Amna Ilyas just wants to be memorable.

She’s ridden the ebb and flow of changing narratives in entertainment, selectively doing films, TV and even theatre. She has modelled full-time and, then, stepped away from the rigamarole to occasionally surface as a showstopper. She has also recently turned entrepreneur with her eponymous clothing label. But as she navigates the various paths that she has chosen for herself, her underlying aim is to be remembered.

Amna elaborates, “As an actor, for instance, I want to do a few honest performances rather than many unforgettable ones. I might just take on two roles in a year, but I want people to talk about them, rather than enact 80 characters that don’t even get noticed.”

Amna says this sitting across from me wearing a tangerine one-shoulder blouse and skirt. The skirt is pleated, falling in flouncy layers near her ankles and she wears an assortment of chunky bangles on one hand. She’s tall but, today, she particularly towers over me in her high, high heels. Getting noticed, I quip to her, should not be a problem for you at all.

Of course, we both know that Amna is referring not just to her looks but to the work that she does professionally. She has taken her time to figure out what she wants to do, and how she wants to do it. She has fumbled in the past — struggling with stereotypical roles, lacklustre scripts and even ending up at the wrong end of industry favouritism. Fortunately, it has all made her wiser, stronger, more sure about her career choices.

She’s been a striking model on the catwalk and a critically praised actor on TV, in films and on stage. She’s equally serious about her new role as a clothing designer. And she wears four-inch heels. What drives her to want to constantly stand out?

“I have been through some very dark times,” she accepts, “but at one point, I paused and decided that I wanted to change the narrative of my life. I wanted to do things that made me happy and that made me sleep better at night.”

Shop, Amna Ilyas

One of the things that makes Amna very happy right now is the response that she has got for her fledgling clothing label, Amna Ilyas. The brand launched quietly late last year, with an online store. She then planned out a pop-up exhibit in Karachi in January, and followed it up with a debut runway show at Laam Fashion Week (LFW) in Lahore some weeks ago.

Most celebrity-run clothing labels in Pakistan tend to be side-hustles, only coming into the limelight when the celebrity isn’t busy with other preoccupations. Amna’s brand’s trajectory seems to be different, with a fashion week showcase and successive collections — an Eid-centric collection has just gone live on the website — being announced. She seems to be quite serious about this new venture.

“I am,” she nods. “I took a sabbatical in my acting career, waiting for the kind of roles to come my way that resonated with me. And waiting is a hard thing to do. It can get really frustrating. It was around this time that the idea of a clothing label came to me and I started fiddling about with different plans.

It has been so encouraging how so many of my friends from entertainment and fashion have been turning up to support me, from coming to the pop-up exhibit to celebrated designers such as Fahad Hussayn and Nomi Ansari telling me that they were there to help out when I was in Lahore for the fashion show. I thought that people would be sceptical about me suddenly wanting to design, but the love that I have gotten has made my heart so much bigger.”

“A lot of my designer friends joke about aunties who have nothing to do at home, so they start designing. That is not the case with me!” She grins. “I have planned this label out very intentionally, and I am not doing this because I’m bored. I really feel that the brand’s ethos is an extension of my identity. All my life, I have worn clothes as a model, understood craft and fabric, worked with the country’s top designers. What else could I have done better?”

But does that mean that you are also designing the clothes, I interject.

“We have a small design team,” says Amna. “I started this brand with a friend, stylist Ehtesham Ansari. He is the brand’s creative director and, of course, he is more educated in terms of design, fabric, cuts and trends.”

She continues: “We also have two to three stitchers. We have all been working very hard. The LFW team reached out to me just three-and-a-half weeks before the event. For a while I wasn’t sure that, with our limited resources, we would be able to put together a line-up of 16 outfits for our debut fashion show. But then, I love challenges and I didn’t want to miss this opportunity.

“Most of my designer friends take three to six months to come up with a collection for a fashion show. Fortunately, we were showing in the high-street category and weren’t going to be delving into hand embroideries. Still, there was a lot of pressure. We came up with a concept, taking inspiration from the colours that fill up the horizon at sunrise and sunset.

“We didn’t sleep in the last week before the show! The whole team travelled to Lahore for LFW, and even our sewing machine went with us because we didn’t have a stitching unit in Lahore. Fortunately, it all worked out.”

So the response has been good? Amna beams.

“I opened the show wearing a red outfit and a customer reached out and bought it, just the way it was, with dramatic sleeves. It made me happy that there were people out there who appreciated cut and colour, as long as it was done right.” She adds, “Even when we launched online last year, one of the designs — a black co-ord set made from lightweight voile — sold out very quickly.

“And it has been so encouraging how so many of my friends from entertainment and fashion have been turning up to support me, from coming to the pop-up exhibit to celebrated designers such as Fahad Hussayn and Nomi Ansari telling me that they were there to help out when I was in Lahore for the fashion show. I thought that people would be sceptical about me suddenly wanting to design, but the love that I have gotten has made my heart so much bigger.”

The search for roles

Amna may have chosen to venture towards a clothing label at a time when her acting career was on hold but, as fate would have it, by the time she launched the brand, more interesting roles — the kind that she had been waiting for — had also started coming her way.

She played SP Saamia in last year’s Humraaz. Directed by Farooq Rind, the drama may not have gained popularity but Amna’s character stood apart, a lone policewoman in a drama-scape dotted with stocky male policemen.

She then proceeded to play Barrister Saman, a pivotal role in the currently on-air Aik Aur Pakeezah. With a script written by Bee Gul and directed by Kashif Nisar, the drama tackles cybercrime, its consequences and the legalities associated with it. Amna’s forthright barrister acts as the lone voice of reason in a society drowning in misguided notions of honour.

“In retrospect, all the insecurities and uncertainties of the past seem worth it,” she smiles. “When Farooq Rind offered me my role in Humraaz, he told me that the character in the script was of a male. If I came on board, he would change the character to a female and create a backstory for her and, if I didn’t, he would not change the gender and would not offer the role to any other actress.

“For a director of Farooq Rind’s stature to say this to me, at a time when I was struggling and waiting for opportunities, felt great. He had seen the theatre play that I had worked in about a year ago, and this was why he had reached out to me. Of course, I signed on to the role.”

And how did the offer for Aik Aur Pakeezah come to her?

“I wish that I could tell you a dramatic story, about how the role came to me, but actually it happened quite ordinarily!” she laughs. “I had worked with Kashif Nisar earlier in the web-series Teen Tara, which has also been written by Bee Gul and is currently streaming on an OTT [streaming] platform. He had offered me that role after a chance meeting at the airport. We were still waiting for Teen Tara to release when he called me one day and said that he was sending me the script for Aik Aur Pakeezah.”

Amna continues: “I read the first five episodes and I understood that Saman was a pivotal character. I was happy that such a script had come my way but I was also sad, simply because every scene made me so emotional. I called up Bee Gul and told her, what have you written, and that if I am feeling so distressed while reading the script, what kind of misery must you and Kashif have gone through as you knitted the story?

“Kashif told me that he would send me more episodes but I said that I didn’t need them. I was convinced that I wanted to play the role.”

Was there ever the fear — based on the past bad experiences, perhaps — that being part of star-studded ensemble casts in both Humraaz and Aik Aur Pakeezah might mean her role gets sidelined?

“There has only been one past bad experience, where my role was entirely cut out,” she says. “I had once been signed on to be part of just a song in a film. We filmed the entire song but, when the movie finally released, I was barely there. I heard that the movie’s lead actress had wanted me to be kicked out.” She laughs.

“I am now very careful before agreeing to any role. I get clarity from the producer and the director on where my character will be placed and the teams that I am working with now are very honest with their actors.

“For instance, with Aik Aur Pakeezah, I am so happy to be part of a project which is driven by these powerful female characters, from my role to the characters enacted by Hina Khwaja Bayat, Nadia Afgan and Sehar Khan. Sehar and I had some scenes together and we would end up crying before shooting. It was difficult, especially since my character was supposed to always keep things together, and not get too emotional.”

She muses, “An actor is like a plant. You give the plant water, sunshine, air, the right environment and it will flourish. Similarly, an actor flourishes when working with the right people.”

So, was she working with the wrong people in the past which led to her being unhappy? “I think back then I was not aware of the kind of roles that would resonate with me. I had just made the shift from modelling to acting and I was running after acceptance, in a rush to prove to people that I could act.

“But it wasn’t easy. Stereotypical roles came my way very often. People would slot me into negative roles simply because I was thin and dark. There were times when I would get a phone call, everything would get finalised and then I would hear the news from somewhere else that some other actress had been cast in the role that I thought I would be playing. There were other times when I would feel disrespected because of the kind of roles that were being offered to me.

“I just felt that I deserved better. It made me very bitter and led me into making some bad decisions. I started picking up projects randomly. I would sign on to a slipshod script in a mediocre production just because it meant that I would get to play the lead. I was miserable, fighting for money, dates, wasting my time and energy, feeling like I was getting old.

“So, I just stopped and decided that I needed to design my life differently.”

Life’s many designs

This ‘design’ of her life has certainly changed.

Did she, during these difficult phases, encounter certain people within the industry who wanted certain ‘favours’ from her in return for work?

Amna grins. “Oh? Are we talking about the casting couch? A lot of times I think people are too scared to approach me. I am tall and, then, when I wear my four-inch high heels, I am even taller. My mother is a single parent and she raised us well, in a very dignified way and I know that I would not ever want to do anything that would break my peace.”

She adds: “Having said that, there have been times when people have made certain kinds of jokes or made offers. When you are part of an industry where everyone looks a certain way but you don’t belong to that type and you are waiting for work, people may read that you are desperate and try to cross a line.

“Also, I am being very upfront when I say that, a lot of times, I am described as ‘hot’, more often than ‘beautiful’. So, I do get a lot of attention [from men] and sometimes it does get difficult to navigate my career.” Amna can sometimes be disarmingly candid.

“However, I have never surrendered and done something that would not let me sleep peacefully at night. I hope that no one ever feels desperate enough to do something that they don’t want to do. We live in a dark world, but we all need to know how to refuse to be part of something that we don’t agree with.”

Right from her modelling days, Amna has been vocally critical about how notions of beauty in Pakistan tend to revolve around fair skin. Has people’s perception of beauty changed over time?

“To a small extent, maybe, because there are so many people trying to bring about a change in mindset,” she says. “Only recently, I was attending a Basant event in Lahore and this older woman came up to me and told me, ‘You act so well — your skin looks so fresh here but on TV you look like a Smita Patel-type’! I think she even mentioned the word ‘Tamil Nadu’. I told her, straight-faced, that next time I would make sure that my make-up was done right and my director must not have figured out the right lighting. I just found it so funny because I have now become immune to such ridiculous comments.

“At the same time, I am thankful that so many people are liking my work,” she adds.

What’s next for her? Does Amna Ilyas — confident, sure of what she wants to do, finally doing the kind of work she enjoys – have time for a love life?

“The concept of settling down does interest me and I have options, but I don’t have time!” she reveals. “Most of my family has moved abroad so it is just me and my mother here in Karachi, and I have to take care of her. Then, there is my acting work, my business, my website. I have not signed on to a new script yet because the offers that have been coming my way lately have not interested me. But I am considering roles. There is so much to do.”

There is so much to do. But no doubt, Amna will try to make sure that it’s all memorable.

The writer is a fashion and entertainment journalist with over two decades of experience. She can be reached at maliharehman1@gmail.com

Published in Dawn, ICON, February 22nd, 2026



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THE REBEL ENGLISH ACADEMY

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ON THE NIGHT OF THE HANGING

Every thing is as calm and orderly as it should be in a jail devoted to the safety and care of one very important man. All prisoners but one are asleep in their cells, restless, dreaming of their victims or their loved ones, which in most cases are the same people.

The Rawalpindi sky is clear and full of stars; all the talk about omens is rubbish: there are no meteor showers, no storms brewing on the horizon, the sky is not going to shed tears of blood, the earth is not about to split open and swallow its wretched inhabitants and their grief.

The man who is awake has asked for a safety razor, claiming that he doesn’t want to look like a mullah in death. After consultations with superiors, the jail superintendent has sent for a barber, who shaves the man gently, making sure to clear the fuzz from his earlobes. The man asks for a cigar and the jail superintendent doesn’t need to ask for his superiors’ permission. No man who is about to be hanged in three hours and forty-five minutes has ever tried to kill himself with a Montecristo.

The jailer makes sure to light it himself; the man chews on his cigar, takes two deep puffs and regrets it, thinking maybe he should have quit when he had the time. The man asks for his Shalimar perfume, sprays himself and lies down on the floor. A mosquito buzzes near his ear. On any other night he might have called in the jailer and given him a dressing-down for infesting his prison cell with poisonous insects, might have accused him of being a tool of the White Elephant, his favourite invective for the United States of America, but tonight he just shoos the mosquito away half-heartedly, listening to the rising and fading whirr of its wings. He is grateful for the company.

Everyone agrees on the above events. Those who wanted to hang him, those who wanted to save him, those who wanted a martyr in the early morning whose blood could help them bring about a revolution, even those who were indifferent, all agree up to this point that the man lay down on the floor, pulled a sheet over himself and stayed still, dress-rehearsing being dead.

The latest novel by Mohammed Hanif is set in the immediate aftermath of the hanging of former prime minister Zulfikar Ali Bhutto but revolves around an eclectic cast of characters, including a disillusioned socialist who runs an English tuition centre for the children of peasants in OK Town, his childhood friend who is a mosque imam and who provides him space in his compound, the on-the-run young daughter of a former comrade and an ambitious young army captain deputed to gather intelligence against the martial law regime’s foes. Eos presents, with permission, excerpts from Rebel English Academy, published recently by Maktaba-i-Danyal in Pakistan…

Although everything was still and orderly in and around the cell where an about-to-be hanged man practised his death pose, there was activity, quite a lot of activity, around the country in some crucial spots. Many would later say, especially journalists and diplomats who made a living out of exaggeration, that it was the longest night of their lives, that they knew something historic, something catastrophic was about to happen. But only those who had been woken up without warning with a degree of rudeness would remember this night when their own time came.

An imam was hauled up from his small room adjacent to his small mosque and ordered to get ready to lead the funeral prayers of a very important man. One of the world’s sturdiest planes, a C-130, was on standby at Rawalpindi air base to ferry the body to the man’s village. A military truck followed by six machine-gun-mounted jeeps made its way towards the airport, with some sleepy, some alert soldiers, their commander wondering why a dead man needed so much protection. Elites stay elite even in their death, he thought.

Some soldiers sang a tea jingle: “Chai chahyie, kaunsi janab.

“Shut up,” barked the commander. “We are on VIP duty.”

A caretaker at the village graveyard was asked to start digging a grave, and when he asked what size, he was slapped. “Your own size,” he was told.

Above are the facts that everyone agrees upon. As with every hanging, there are differing accounts about the man’s walk to the gallows. How did he walk? Some say he never actually walked. That he collapsed on the shoulders of his jail guards and had to be carried. His jiyalas say that he walked on steady feet, head held high, climbed onto the podium as if addressing the nation one last time, kissed the noose and put it around his neck.

Others say he was carried on a stretcher and two policemen, themselves shaking at the gravity of the moment, had to prop him up by his armpits before fitting the rope around his neck. You can’t hang a man when he is horizontal on a stretcher.

There was one oversight by the jail superintendent, but that was taken care of by the ingenuity of a captain who happened to be on the scene on a top-secret mission. After discovering that the jail administration had forgotten to order a coffin, the captain barged into the jail armoury, looked around, saw a body-sized wooden crate that was used to store the jail guards’ rusting guns, shouted at them for not having any respect for their weapons and handed the crate over to the jailer who, in gratitude, leapt forward to kiss his hands.

The captain put his hands behind his back and reminded him that he was on post-hanging photo-shoot duty and would like a few private moments with the body after the man was hanged. The jailer agreed, knowing he had no choice in the matter, and asked the captain if he would like to witness the hanging. The captain declined the offer, saying he wasn’t on hanging duty.

He was here on a different mission.

Before being taken to the waiting cargo plane, the hanged man was left alone in the jail superintendent’s office for a few minutes with the captain, who had brought a professional photographer with him. In those few minutes, the photographer had to perform the most shameless, and as these things go hand in hand, the most high-powered assignment of his otherwise mediocre career.

He pulled down the hanged man’s soiled shalwar and, with the flash on, took half a dozen photos of his genitalia. It was done in the forlorn hope of confirming the persistent rumour that the hanged man was not circumcised and hence a Hindu. The very fact that photos were never processed or released was proof enough that the man was indeed circumcised and hence a Muslim.

The man himself might have argued forcefully that the one didn’t prove the other, that many Muslims in his hometown never bothered to circumcise their children. But this little episode ended when the captain made a phone call and reported that the bastard was dead and circumcised. There was a sigh on the other end of the phone. The director of Field Intelligence Unit’s internal security said that the bastard was lying and cheating even in his death. “And you, Captain, you had one job. What are we going to do with you?” said the director and put the phone back on its cradle with historic disappointment.

The nation was thus spared the indignity of waking up to newspapers with pictures of a hanged man’s genitalia on the front pages.

The captain was punished with a transfer to a town where car number plates started with the letters OK and where people from far-off districts came to get their vehicles registered. The captain had done a brief stint in OK town cantonment after getting his commission three and a half years ago and knew that the vehicle registration plates were the only exciting thing about the city. He knew he would need to create his own entertainment and come up with a mission to shine on this punishment posting.

Three nights after the hanging, when our captain, let’s call him Captain Gul, is inspecting his room in the Bachelor Officers’ Quarters and testing the strength of his bed, all the while looking at himself in the dressing table’s smudged mirror, admiring a hint of a cleft in his chin, his wild sideburns and lush black moustache, a few miles away there is a knock on the door of the Rebel English Academy which, despite its misleading name, is a law-abiding and affordable tuition centre for basic English. Its founder and sole teacher, Sir Baghi, is about to receive a young lady guest he is not expecting at all.

ALLAH’S WILL

Molly Rafique must have planned it this way, although he would insist forever that it was all Allah’s will. When Molly sneaks his young lady friend into the academy, Sir Baghi is finally enjoying an afternoon of solitude.

He had sent his students home the moment they heard a newspaper hawker shouting in the street about the hanging. Baghi knows that it will be a very long weekend. He wants to use this unexpected holiday to mark papers, review his syllabus and read the fourth chapter of To the Lighthouse.

He also plans a visit to Venus cinema for a matinee in the hope of finding some random afternoon love. It’s not in his nature to be optimistic but he is hoping that the cinema won’t be shut down.

Molly’s lady friend carries a faded sea-green sports bag, with the logo of a panther in the middle of a leap, ‘Pride of OK Town’ inscribed under the panther in fading gold letters. She is wearing baggy tracksuit bottoms, a white dupatta embroidered with white and yellow nargis flowers loosely draped around her neck, a girl old enough to know that she needs a dupatta but young enough not to know what to do with it. She has the air of somebody about to take a leap and start running, somebody who is being chased by their own past or, at least, what they hope is their past.

Molly is sweating, his forehead a network of the entire world’s troubles. A sheen of sweat covers his shaved upper lip, his famous beard quivering. “Can you look after my guest while I do the funeral prayers?”

Funeral prayers? Baghi groans, the veins in his neck bulge because of the unspoken words. He always buttons up his always-black shirt’s collar, less a sartorial choice and more an attempt to hide a crimson hammer and sickle tattoo on his upper chest. Baghi is past his shouting days but he still gets the occasional urge.

He knows the mosque is Molly’s business but why does Molly want to have a funeral in absentia for a man hanged two hundred miles away and buried in his village in the dead of the night three days ago? A man who was clearly a feudal despot in the clothes of an awami pseudo-socialist, bald and squeaky and certain of his own immortality, the type of man who, from his death cell, writes a threatening pamphlet titled ‘If I Am Assassinated’ … and is assassinated anyway, someone who says you can kill a man but you can’t kill an idea. Baghi wants to tell Molly you can’t have a funeral in absentia for an idea. But the mosque is Molly’s business.

On another day he might have said, Molly, surely you don’t want to start a socialist revolution in your mosque? Better not to start it anywhere — look at me.

“What can I do? The bazaar is full of jiyalas and they want a funeral. I know he wasn’t very nice to you but he is gone to Allah now, where we all must go one day, and we must honour the dead,” says Molly, moving towards the door.

Yes, we must honour the dead, Baghi wants to say, even if the dead once had a chilli-powder-laced rod rammed up my ass for writing a letter.

Baghi also wants to say that this is a teaching institution and not a resting place for girls with hurriedly packed sports bags but, before he can say it, Molly is gone, leaving behind the smell of his favourite ittar, a confused mixture of rose and jasmine, and his guest with large, searching eyes, scanning the place for something familiar.

She puts down her bag, moves towards Baghi and holds out her hand. Baghi observes her hand, hesitates before taking it. When was the last time he had shaken hands with a woman? This was not the kind of town where people shook hands with women, not the kind of neighbourhood where people left single women in bachelors’ quarters to be entertained. Her handshake is determined and it forces him to look her in the face.

Ruin, he thinks, she is going to ruin us.

In five years of teaching English to sons and daughters of peasants and shopkeepers, Baghi has developed a revolutionary technique: single words spring up to describe a moment in life. In order to teach these students, you didn’t need proper sentences. Verbs and nouns and adjectives and qualifying adverbs could wait. Usually, a word was enough to describe a given situation, an intention or, in this case, a sense of impending doom.

Baghi rarely gets to say that he was right because it has been proven, often enough, from matters of politics to affairs of the heart, that he was almost always wrong. Later it would turn out that he was right in this moment when he forgets all the flourishes of a successful English tutor and a closet revolutionary, looks at her and comes up with the perfect word: ruin.

Baghi doesn’t much care for the native language tradition which has evolved many ways of describing a face, especially a woman’s face — in fact, most of classical poetry was devoted to capturing a woman’s features. Snakes and wine goblets featured prominently. You looked for wine goblets in the eyes, poisonous vipers in the hair, and the face was always book-like. To Baghi’s enduring irritation, nobody ever said which book, a slim T.S. Eliot volume or a copy of the Original and the Biggest Heer. The English language, Baghi believed, was more accommodating, more precise, yet more expansive.

You could do away with wine goblets and coiling, hissing snakes; you could just say her nose was sharp and quivered gently when she breathed, a little dimple on the left cheek, which still had baby fat, set off a mole on the right cheek. If he was into women, he would say she could probably set anybody’s bed on fire and turn their life to ashes by loving them and then abandoning them to waste away their life writing below-average poetry, invoking as many snakes and broken goblets as they pleased.

Baghi had wanted to do many things in life: bring a violent revolution, make the rich suffer, give all the peasants’ children a world-class education. But right now he was content doing small courtesies; he was going to ask his lady guest to have a seat and politely inquire if they had met in a past life.

But before he can say it, she plonks her bag on the floor and takes a seat. He offers her tea, he offers her water. She refuses with a wave of her hand and sits on the chair; she looks towards the ceiling, the bookshelf, the blackboard, then speaks suddenly, and while native poets may have heard a koel cooing, Baghi only hears a dry-throated, husky voice which some men with unresolved sexual urges might find desirable, a voice defeated but refusing to surrender, the voice of someone ready to get up and go looking for a fight again.

“Do you often entertain his friends?” The question sounds like an accusation to Baghi.

“No,” Baghi says. “Not like this.” He fingers his buttoned-up collar, stutters and finds himself defending his friend and landlord Maulvi Rafique’s character, not that his character needs defending: he is a man of God, a rising star of the spiritual marketplace; people offer him mutton qorma and cash in advance to listen to him telling them how to live their lives and how to prepare for the afterlife.

She is waiting, still looking at him, as if urging him to explain his life as the entertainer of stray women.

“I mean, sometimes we have friends over, common friends, and we talk, but if you are asking if he has brought a woman to my academy, I would have to say no. This is an institution of learning and not a…”

She is not listening to him any more. She is the kind of woman who tunes out when a man starts to bullshit. That’s one of the many reasons on Baghi’s list for staying away from women.

Mohammed Hanif
Mohammed Hanif

“I didn’t know he was the Bhutto type,” she says.

“Not a good day to be his jiyala,” Baghi says.

“There never was a good day to be a jiyala,” she says, looking up at him, expecting him to say more.

“He’s a maulvi, offering prayers for the dead is his job.” Baghi shrugs.

Baghi doesn’t like to talk politics with women… He has learnt his lesson and likes to keep his affairs away from female comrades.

“Can I get you something cold or maybe a hot drink?”

Repeating oneself is the essence of life. When he tells this to his students, he attributes it to Virginia Woolf but he is not sure if she ever said it. That is under the category of Things Virginia Woolf Might Have Said, an evolving list in his teaching career. The bourgeois comrade who caught him in the study circle also accused him of never having read a word written by a woman. Baghi is trying to prove her wrong.

“Water,” his guest says.

Baghi takes out one of the two glasses he keeps aside for guests. Students drink from plastic tumblers — no casteism in this academy, no hierarchies, but they are young and careless and Baghi has no patience for glass shards in the feet and blood on the floor. She accepts it without a word, gulps it down in one go.

“And how do you know Maulvi sahib?” He is deferential and doesn’t call him Molly in his absence as he has called him to his face since they were children… Molly used to bristle when he started calling him Molly but Baghi could tell that he secretly enjoyed it. He was his Molly boy before he became a serious scholar of religion who accepted cash only for his sermons and refused to eat farm-bred chicken and knew people who could spring you from a police dungeon.

She looks at Baghi as if trying to decide if she should lie to him or just slap him. “I pray behind him. This is the only mosque where women can pray but you wouldn’t know because you don’t believe in God.” Baghi is startled. He doesn’t believe in God but over the years he has learnt to keep his non-faith to himself and his academy students. She has probably heard it from Molly.

“He’s a friend, more like an elder brother to me. There was a fire at my house so he offered to put me up, temporarily,” she says and watches him for a reaction.

Molly has friends? Baghi knows that he has followers, many, many followers, worshippers who prostrate behind him feverishly, broken people trying to put themselves back together, repentant paedophiles, proud murderers, lovers, addicts, heartless traders, all flock to him for salvation. Baghi believes he is the only friend Molly has, the only one who refuses to pray behind him or anyone else. But no, Molly has another friend-sister who is here sitting in his chair, a friend with hazel eyes and roasted-wheat skin who has landed in the academy with an oversized sports bag because, obviously, Molly has no other place to take her.

Does Mrs Molly know that her much-respected husband — my god on this earth, my companion, my protector, mera sohna — has a lady friend-sister who is sitting in the same compound a few metres away?

The mosque loudspeaker turns on and Molly’s friend-sister seems surprised at the proximity of the electric crackle and the piercing sound of prayers that follows. She takes her dupatta and covers her head, probably realizing for the first time that she’s sitting in a mosque, in Allah’s own house.

“You don’t remember me?”

Baghi is blank for a moment. “Were you a student? I would have remembered.”

“Not to worry. I was here only for two weeks. I failed. Are you still a good English teacher?”

Nobody has ever asked him that. Nobody. Because they all know that he is the best there is. They might also say that teaching English is the only thing he is good at. The revolutions he had hatched lay in dust. The Mazdoor Militia he had started folded after one industrial action with two dead and even the defunct militia expelled him after his open letter to Ummah. Brief visits to police lock-ups and picnics in shabby rehabs were all in the past.

But yes, he is good at something. Something useful. Send a peasant’s son to Baghi’s Rebel English Academy, a young boy who can’t even call his own cow ‘cow’ in English, and within three months he would write a perfectly composed essay called ‘Our Cow’ that would get him passing grades in high school. Send him for another three months and he might get a job as a clerk, six months and he might pass the police recruitment exam and become an official torturer.

“I try. This is the most I can do, I just help them.” He doesn’t tell her that some of them go on to become police officers and diplomats. He is trying to be humble like you should be with a young woman you have just met. You are supposed to rub your own nose in the dust in the hope she will pick you up by the scruff of your neck and say, oh come on, don’t be humble. She has no such plans. She sits there waiting for him to pick himself up.

“Some of my students have become UN diplomats — one almost became a foreign secretary. But they were hard-working children, no credit to me.”

She has no interest in his glorious career where he grooms future UN diplomats. “I failed my English in FA,” she says as if he was personally responsible for her failure. “Second division for every subject and F for English. Zero, anda.” She makes an egg with the forefinger and thumb of her right hand. “I went to college for a year on sports quota. District gold medal in 400 yard hurdles.’”

“I am sorry to hear that,” he says. He doesn’t remember her name but it seems rude to ask her now so he continues. “I wish you had stayed longer than two weeks because the system I have devised —”

He gets an appreciative smile out of her but then she cuts him off mid-sentence. “I used to come with my friend. My friend became a doctor and she says you gave her a new life, English life. Now she lives in Norway. Maybe you should try teaching me again.”

Baghi blushes. And also panics. “Are you planning to stay?”

Excerpted with permission from English Rebel Academy by Mohammed Hanif, published in Pakistan by Maktaba-i-Danyal

The author is a journalist, playwright, film scriptwriter and novelist. He has published three previous novels, including A Case of Exploding Mangoes, Our Lady of Alice Bhatti and Red Birds

Published in Dawn, EOS, February 22nd, 2026



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GARDENING: ‘HOW DO I RID MY TOMATO PLANT OF LEAF MINERS?’

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Chikoo tree not bearing fruit | Photos courtesy the writer
Chikoo tree not bearing fruit | Photos courtesy the writer

Q. I am attaching a picture that shows the infestation on my tomato plant leaves. This tunnelling destroys the leaves of my vegetable plants every year. I spray my plants with organic concoctions, such as baking soda, vegetable oil and red chilli powder and, at times, crushed garlic mixed with water. But nothing helps. Please guide how to get rid of this infestation and avoid this destruction of my tomato plant leaves.

A. Looking at the photograph, it appears that your tomato plant is under attack from leaf miners. It is a very common pest when it comes to tomato plants. Small adult flies, scientifically known as Liriomyza sativae and Liriomyza trifolii, are generally detrimental in this case. These pests lay eggs on the leaves, from which larvae hatch. The larvae then tunnel through the leaf, consuming it from within. The larvae then fall to the ground and transform into pupas, which then transform into flies. This process occurs after every one to two weeks. Therefore, the pest attack on the plant spreads very quickly.

Leaf miners are not caterpillars or fruit borers. They live and feed inside the leaf tissue, so contact pesticides usually don’t work on them. Only systemic or translaminar insecticides that can penetrate the leaf or move within the leaf tissue are effective. Sprinkling and spraying chemical pesticides are considered among the best options to save the plant from leaf miners.

The best organic option would be to fortnightly spray the plant with an organic neem oil solution mixed in water. You may also cover up the plant from the beginning to deter flies from laying eggs on the leaves. If an attack occurs during the plant’s early growth stages, the affected leaves should be pruned to ensure the safety of the rest of the plant and to limit the pest from spreading.

All your gardening queries answered here

Q. What types of flowers can survive water extracted through borewells in Karachi?

A. A plant’s performance is relatively diminished and compromised when it is being supplied with water extracted through borewells. Flowering plants that tolerate slightly saline water, though with somewhat reduced flowering, are bougainvillea, oleander, vinca (or sadabahar) and portulaca, to name a few.

An infestation of leaf miners on the tomato plant
An infestation of leaf miners on the tomato plant

Q. I have a chikoo (sapodilla) tree for the last six years, as shown in the photograph. We are tending to the tree to the best of our abilities, providing it with fertiliser, care and watering. However, it has produced neither fruit nor flower. Please suggest what seems to be the issue here.

A. Looking at the photograph, your tree appears to have been grown from seed rather than grafted. Trees grown from seeds usually start fruiting after at least six years to a decade. Sometimes, they never fruit at all. On the other hand, grafted trees usually begin fruiting within three to four years. This is why I believe the tree was likely grown from seed.

However, if it’s grafted, then the plant needs to be enriched with fertilisers that are rich in potassium, phosphorus and boron. Nitrogen-based fertilisers should be stopped. You mentioned that you are watering the tree regularly, which is a good thing. However, in some cases, creating a water-stress situation can provoke the tree to start producing flowers. In this case, withholding water for two weeks, then watering heavily can improve the chances. So, you can try that out as well.

Sometimes, overcrowding of the leaves can be detrimental. The leaves, branches and stem drain the tree of its energies while hampering the chances of flowering. One of the quick fix solutions would be to graft a healthy and already fruiting branch from another tree. Gardeners prefer this technique as it ensures immediate fruiting. In your case, the tree is likely to fruit within the next one to two years. Best of luck!

Q. I have a desert rose plant at my home in Karachi for the last few years. It has not flowered since I bought it. What needs to be done to change that?

A. Adenium, or the desert rose plant, is a hardy plant that survives harsh weather and difficult conditions. However, it still requires a few care practices, such as frequent pruning of branches, shifting to bigger pots or ground to improve root space, and keeping it safe from dew and overwatering. Do share its progress after applying these solutions. Hopefully, it will start to flower soon. Fingers crossed!

Please send your queries and emails to doctree101@hotmail.com. The writer is a physician and a host for the YouTube channel ‘DocTree Gardening’ promoting organic kitchen gardening

Published in Dawn, EOS, February 22nd, 2026



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ADVICE: AUNTIE AGNI

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Dear Auntie,
I am a 35-year-old woman who has been married for seven years. My husband is a lawyer and is not from within the family. The problem is that my parents do not like my husband and never greet him properly. Since my husband has a very bad temper, he has stopped meeting them altogether and now just drops me outside their home without coming in.

The thing is that he’s too sensitive about their attitude and keeps asking me why they act in the manner that they do. I have told him many times that they are just insecure because they are not so financially well off, but he keeps pestering me day and night. I’m mentally and emotionally exhausted and do not know what to do with him. Please help.
Exhausted

‘My Husband and Parents Don’t Get Along’

Dear Exhausted,
Your situation is more common than people like to admit and, honestly, it puts a strain on many marriages. When the people you love refuse to meet each other halfway, the responsibility falls on the person who belongs to both sides.

However, what is truly concerning is the pressure your husband is putting on you by questioning you about your parents’ behaviour. People who are hurt often want explanations for what is happening, but explanations cannot always bring relief. And you cannot keep answering the same question over and over just to calm someone down.

So no, this is not easy. You cannot change your parents’ insecurities and you cannot control your husband’s temper either. But you can change what you are willing to put up with.

To begin with, you should set a firm boundary with your husband. Do it calmly by telling him that while you understand that he feels disrespected, discussing it repeatedly is affecting your mental health and that you cannot keep dissecting it every day. Sometimes people do not realise the toll they are causing until you bring it to their attention. Also, remind him that they are your parents and that you aren’t open to hearing a tirade against them every day.

Moreover, you should stop trying to change the situation for now. If he drops you off at the parents’ house and doesn’t come in, let it be. Some time and distance can help calm egos in ways that arguments cannot. So don’t try to fix it for now. You might want to speak quietly to the parent who is more open to discussing the situation and let them know that this issue is hurting you.

At the end of the day, you should not be responsible for managing and juggling everyone’s egos, especially since all those involved are adults.

Think about where your own limits lie. And talk to yourself honestly. Not as your parents’ daughter or your husband’s wife, but as yourself, and ask how much of this you can continue to absorb before something inside you snaps. And then set limits on what you will put up with and what you won’t.g

Disclaimer: If you or someone you know is in crisis and/or feeling suicidal, please go to your nearest emergency room and seek medical help immediately.

Auntie will not reply privately to any query. Please send concise queries to: auntieagni@gmail.com

Published in Dawn, EOS, February 22nd, 2026



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