Green is the Colour of Memory evokes jarring images of heartbreaks, curfews, and despair. Most importantly, it tries to reach out with its own language of silence, resistance, and love — Sahana Mukherjee, Charles Wallace Fellow 2017 (Creative Writing), University of Edinburgh
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14 May, 2018
[Pandit’s] main concern is the Indian military and the besieged city of Srinagar where he teaches…but, beneath the veneer of sorrow, he has a disguised sense of humor —World Literature Today
Camus had once written, ‘Art cannot be a monologue,’ asserting that an artist cannot create in isolation and must speak of the ‘reality common to us all.’ Huzaifa’s work emerges as an excellent example then of this art, in the form of poetry that creates a tiny corner and opens its arms wide for a dialogue to begin; not only does he offer us a counter-narrative, he also engages with the reader through the sharpness of his language—sometimes you hear it from close quarters and sometimes it is a distant whisper making space for you to step in. — Kitaab
To say Huzaifa’s poetry is political and stop at that would be an injustice to his language of politics—a language that is rooted in the historical past and present of Kashmir and being a Kashmiri, but also rooted in other identities. —Jaggery
“I harbour no pretensions that my poetry is the collective voice of Kashmir or that it contributes to the struggle for freedom and dignity. I write simply because I suffer like everyone else, and wish to give adequate expression to this feeling of indignity and powerlessness,” says Kashmiri poet Huzaifa Pandit. Read more.