Remember Me Nought: The 1985 Air India Bombings and Cultural "Nachtrdglichkeit"t by Angela Failler with artwork by Eisha Matjara
This paper engages with the poJitrcs of remembering and forgetting that surround the unsettled history of the 1985 Air India bombings. In particular, I use the concepts Nachtriiglichkeit and "affective recircuitry" to describe the way in r,vhich the bombings have been problematically and retroactively framed through a post-9 / 1"1. "war on terror" lens in recent, public recollections of this traumltic past. Examples are drawn from the federal Commission of Inquiry into the Investigation of the Bombing ofAir India !B2,as well as from public memorial sites and ceremonies dedicated to those killed in the bombings. The paper also centres on a reading of Eisha Majarat new photomontage series Remember Me Nought to consider how artistic commernoracions might contribute to a criticai counterpublic in response to the injustices that continue to manifest in the ongoing aftermath of this mass violence.
A History of Forgetting In 2005, during the long overdue criminal trials of Air India bombing suspects Ripudaman Singh Malik fromVancouver, British Columbia (B.C.) and Ajaib Sing Bagri from Kamloops, B.C., plane wreckage stored in a "secret" Royal Canadian Mounted Police (RCMP) warehouse was revealed to the court as forensic evidence.2The wreckage, including pieces of passenger seats and a fuselage with windows still intact, had been recovered from the ocean floor afterAir India Flight 182 crashed off rhe coast of Ireland onJune 23,I985.The flight had originated inToronto, destined for Delhi via Montr6al and London.All three hundred and twenty-nine passengers and crew on board rvere killed in the crash, which was the resuit of a mid-air explosion.Among them were two hundred and eighty Canadian citizens, the majority of whom 'uvere of Indian (South Asian) backgrounds. Less than an hour earlier, in a separate but ostensibly related explosion, Japanese baggage handlers Hideo Asano and Hideharu I{oda were killed as they prepared another Air India flight to depart fi-om Narita airport tn Tokyo. The tr,vo suspects on trial, Malik and Bagri, r,vhose alleged involvements r'r'ith a radical Sikh separatist movement implicated them in the attack on Indiat national airline, rvere that the eventually acquitted by B.C. Supreme Court Justice Ian Josephson.3 Josephson deterrnined handling of .rrid.n.. by RCMF and the Canadian Security and Intelligence Service (C_SIS) during the p.ol-onged twenry-year investigation had been critically flawed, prompting the--release of the accuied.a His decision was met wiih dismay by the relatives and friends of those killed. For them, the ongoing lack of resolve in the case simply added insult to injury, deepening their already unanswered Erief. fiurune-gJo prrFl sn{J ..rorrat uo re a,, ll/6-lsod e q8no;qr peulel; dlenrlctorla; ueeq e^rg s8ulquroq ?rpul rry 9g6l''suol ar{f 'stunofce trperu ru€ertsureru pue saruerqureurer I?IJUJo lueler ulqfllx1 drlrncrrc e1 e,trrcaJJV pur, ..]re>lqlq8erlqce g,,
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VII n5
works not only to shape interpretations of the historl' of the bombings, but also the choice of actions that are seen as available towards redressing or compensating for its iosses. Vloreover, a \,var on terror framing works to ensure that any recollection of the bombings not representable within the prioritized/privileged framework of "anti-terrorism" or "national securiry" is marginalized in terms of its circulation as public memory of this history.Take, for instance, the critical account of lJniversiry of Toronto Sociologist Sherene H. Razack. Razack was called to the stand as an expert witness during the inquiry in 2008 to comment on whether or not she thought systemic racism played a role in either the pre-bombing threat assessment or post-bombing response by the Canadian government and its policing and intelligence agencies. Razack testified that, indeed, she believed systemic racism played a role in both contexts, citing repeated instances where government officials, CSIS, RCMP, and Canadian airport authorities ignored, disbelieved, erased and lost cruciai evidence including warnings by the Indian government and Air India officials as well as surveillance tapes of the acquitted suspects.12"In a nutshell,"she explains,"systemic racism operates when all lives do not count the same and when those charged with protection are not inspired to do their best to ensure that no life was lost."13 Following her testimony, Razack was lambasted by Barry Brucker, counsel for the Attorney General of Canada, who did /ris best to undermine her credibiliry calling her opinion unfounded and superfuous to the mandate of the inquiry itself.laTellingly, Brucker's main objection was that "fher testimony] was going to form part of the public record."15 A second example of this exclusionary framing occurs as Prime Minister Stephen Harper, during his speech at the unveiling of theToronto memorial onJune 23,2007,the anniversary date of the bombings, declares this date henceforth the "National Day of Remembrance forVictims of Terrorism."16 His new dedication, ostensibly a gesture to acknowledge the Air India bombings as a Canadian tragedy, nevertheless removes any reference to it. In doing so, he neatly sidesteps the specificities of this complex and largely unresolved past, including evidence that clearly implicates the state in its mishandlings.That is,by dedicating a"National Day,'Harper repositions the state as a benefactor or advocate of the victims and their families, deflecting criticism of the government's own (in)actions and shifting blame for what may have been a preventable tragedy. Along with the inquiry, then, this site of remembrance, through its official framings, functions as an attempt to contain the unsettledness of a lingering past whilst encouraging sympathy for an anti-terrorist agenda-one whose modus operandi includes the intensification of policing and securiry measures which, as critics point out, encroach upon the civil liberties of Canadians, and where, ironically, the rights of racially marginalized groups become most vulnerable as profiling and surveillance practices are increasingly imposed. 17 The retroactive framing or revision of the 1985 Air India bombings through apost-g/1"1 "war on terror" lens also performs a kind of cultural Nachtuaglichkeit. Nachtriiglichkeit rs a Freudian concept that has been taken up by psychoanalysts and cultural theorists alike to complicate the idea of memory, or remembering, as a simple exercise of recalling a stable field of objects or experiences from the so-called "past." In psychoanalysis, Freud used Nachtriiglichkeit to describe how a memory trace of an earlier experience may be revised in order to fit in with new experiences, or what he called "fresh circumstances."lS Moreover, as new experiences or fresh circumstances revise memory traces of the past, the past is re-invigorated with "psychical effectiveness" or unconscious meaning for the present.lg Nachtrdglichkeit,thus,draws our attention to how the past and the present exist in a dialectical, dynamic relation to one another in remembering. That is, while the past can linger as an after-effect shaping interpretations inlof the present, the present retroactively revises impressions of the past. These "dual vectors of Nachtrtiglichkeit]'zo after-effect and retroactiviry are at r,vork in interpretations of the history of the Arr India bombings, as well understandings of what the bombings s8urquoq €ryuI rry aqt ot patr?rrpop su8rsep Ierroluaur perosuods-awts uI tueurollo^ul urog popnlJxe uaoq'r€J snqt 'os1e e ?g slsluv w'atlg lq papanay >lJo^\eruep srpeu-I]lnu s,eped er?f pue nn'apsu141 rulg ernl?o; s.euqsrJ)'I stAIuIrS ,n'uapg Sut4aag Qa\otadsa6l eur?Jpnlop qeltfte141 Eqs;'g ee'illoJ pr!.UqElN aqx ffiaH noyup) uolt3g IeflJotslq s.r,ur?p?g ne; elluy zs,.'3eug 3o 1ueru38€u?W eqa,, L-rols froqs s,eefteq>lnry rlrr?qg rc'ila,47a41 p s.4a$8 uI drteod s.u?rt.4lselu?red erun ol gg,,'(1nra,,8urprocer I€3rsnru qetqew d1rlN ruorg SurSuer srotrrl!\ pu? stsllr? u?Ip?u?J uersyqlnos dg u1.to,u'3o roqrunu urerueJ tuecgru8rs e Jo eruetsxe eqt alrdsep ua'souo pesrterpau tu€erJsuletu pu? prtgJo o1 ltur8teru s8urquroq oqlJo suorteroruaunuor rrtsrtre'uortelncrrc crlqndgo surral uI'ueqt dlSutst-rd-rns 1o;1 8z'louurf ue fuolsrq .rrlnorl-red srr{t oteroureururof ol petsnrtue eq uef, su€eru (p8e1) prurog q8no;qr tsrd crlerunert erp tuouncop dlenrrelgo pue dpueredsut.rl ol uod.rnd ttqt ser-rrnbul IeI3So e>lIT suoge a1q^^ ter{t Sureg uorlecqdrur eqr-uorcrdsns puodeg sI t?qt >iror\\-r(rorueru se (trpqe;oruaru Surqcnol pu? serresJnu'stueae Sunrods'sdrqsreloqrs epr€uop) d:rrnbur eqtJo lo ?epua Sutpug-lcg ol{t satueg ro dn sles tr 1y\oq roJ osl? tng 'sSurquoq aqt Jo suorlete;d;etul rIlsIJr? tnoqe tqnop stser tI .uoq .ro; dpo tou Suqou qlro^a sI aroq.,stulg pue Dlooq reqto,, eqt uo tealec s,lofeyg LZ,,'sDeJ uo prwq d1t:essereu Jou eJe qllrl^A sorrols do1e.l.ep ot esuerrl 3rtsru? pesn a^Eq deru sroqln? eqt 'estl rettel agl uI [rog] dpe8r.ri oqt Jo sluele eqt uo dlasool pas?q stulg put Dlooq roqto urog peqsrn8utlsrp eq lsnur,, 'suollnrc eq .,'eseqa,, ..'ellqeJorueru Surqcnol,, pur ,,so3?sseru Fuoll€Jrdsut,,'sptorrl u8ruaq srq ut (res;nu 'urrtuol l€qt Dlooq l?rJorueru ur€tJer Jo uorlrcqqnd eql satrf, osl? aH prrdsoq e put 'sluaire 3un;ods 'sdrqs.rqoqrs Jo uort€frpep eql q8no:rqr s8urqruog eqt ur pop>l esoqt pozq?Irourotu 3 eq sertrunruruo3 pu? spnpr^rpu qtrrq.^a ur sdezrr selrc (eonsnf uno3 erue;dn5 u?rpeu?J pe-rife:r) JoFW uqof ,rauorssruruoO 'd,rrnbur IrJepeJ eqi Jo eseqd tsrg erlt Jo trode.r d.rtururns e u1 dpeSttt elpul JrV eqt Jo suorteluose;de.r cr1sr1;? punor? u1!\€rp ueoq osp seq uorcrdsns Jo rI€ ur 'd13u4se,re1u1 92,.'slslJor JJr u.uo;8 euoq,, leuualod : sollesuroql uonrdsns 3o steS-ret eruo3aq dleuorl.rodordsrp deqt tegt sr-u?rp?u?J tplrs .ro 'uerpeue3 UtISV qlnos'uEIpeu?J aql opul se rlpuepr.(tru'senrlrlal Jreqt se 11e.^. sr s8urqruoq erpul rr17eq] uI srullfl^ otlt;o druoleru elrT 'oq^A osoql s? qcns slua.red tue;Srurcur pezrlenu Jo uerpllql urocl u?Ipeue3 'uolJ?reue8 puoces osp lnq 'e;aqzrresle uJoq suezrlrc dpo lou SurpnlcrJr-9z..suazrln elrnb-lou,, s€ Pallet;ed esoql dlerueu'surrprur3go selrl depd-rerle eql ur srq]Jo lctdrur er{Js;srorpo,, (tsrror;el puuelod ''a'r) loedsns ureue3 punoJ? sJeal ot sertrroqtnr rrlqnd roJ seltlunlroddo st peleudotddt Sureq e,re e1tla. ^\Erp-or lno u^\erp slr ur er€yns ol enurluo3 leql senssl IersJe^orluor 's8urqruoq elpul JIV eql Jo es?3 eI{] uI y7,,'1e?to1 o1!\ lsel,,-oJnlnJ eql ur srsrJf, J€lrurrs r(ut Surlue.l,erdgo erueu aql uI pe>lolul dgecr8alels a.re (rotuaru pur dtolsrq eJer{,lA slcefo;d I?rJoruotu put suorsslturuo3 I€JapeJ s? qlns s:ssa:o;d qfinotql osle tnq 'setns?otu dtr;nces pes€orrul qfinotqt dpnorlqo lsolg-suezllrc lcelold of dl111qt str ur eJuapguoc cqqnd dn e;oqs ot 3urryo,u, uaos eq osl? uto eltts eqt'txetuor sfi{l uI drryqerauln.t pu€ ssousnor.rroe.rd Jo asues ? ezlllg?ts ot ldruatt€ u? uI ot uorcrdsns pue lsnrl qloq ql€lle 01 selrl?tuoseJdor ro/puE plo tno >lees ol ruaql tdruo;d uec serletxue pu? sr€eJ,seldoed'r{tr.rncesurSo ^.eu seurrt ur'sr trqara'serlorxur pue srroJ percelord ol Surp.rorce (peqcue;rue-er '.pp? plno^\ 1'serurleruos :ro) peu8qe-er er€ uorf,rdsns pue lsnJtJo srolJol rrlqnd.'rorrrt uo re,l.r,, tuenbosqns eq1 puell/6 s€ q3ns 'srsr-rl pazrrec-red go serurl 3ur:np leql senS;t uturJn€l ,r,,'A.t1rn)JrceJ elllf,eJJe,, pouJe] seq ueru rn s du uef I sr'r o e qr s e rp nr s r?rnrrn r "ri#ii*; #:;r'ffl;ffi [ J ##,:T,"' :;:''*. o €rpul rrv eqt ur uotttuSocor elutg aqt t;td seruoceq 'qlns se'ya4qt713p.tlq)vN ^\or{ Jo .}o rc,,'lluolslq uerpeu?O ur tre tsrrorJel dpeep lsoru eqt 'turcgru8rs tsour eqt 'rse83rg aqt Jo srulltll er{] ero.^a eseql teqt purtsrepun dpeelc ,u.ou eldoed wqt osues aqt ur -ret3t s-read dueru e3lrT eroru [s8ulquoq erpul u? uI rrveql] sql [e uaru8 srq 11y6,,'sal.:rdo eq.,'sdezn eruos uI,,:uns DnnozueA ar{l q1I.^4.^AeIAre]uI 'W dpelncrl:red '.uou uearu urqd srqr se>l?tu ,radrtpl ueqdafg / 6 Jo ((selu€tsulnf,Jll rlsog,, eqr 3o tq8q ur
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where, rather than hosting design competitions (as is often practiced in the memorialtzatton of victims of mass violence), public oflicials have comrnissioned landscape architect firms to work alongside parks and recreation boards and city planners on these projects.This form of exclusion and the suspicions raised around the work of artists speaks precisely to the potential of artworks to disrupt and challenge the symbolic authority that oflicial accounts of the bombings have maintained. Moreover, arfworks have the capaciq to evoke experiences or expressions of traumatic pasts that formal and official efforts (especially those committed to nationalist agendas and producing concrete, conclusive evidence towards securing inviolabfity) cannot-namely, the less tangible effects of trauma that linger as unconscious desires, memories, and unfinished grief; in other words, those traces of trauma that remain largely ungraspable but nonetheless bear upon the force of the past for the present and future.37
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frgure I MAPLE SUGAR ftom Rewember Me Nought QOIO) by Eisha Ma{an, reproduced with permission of the artist.
Remember Me Nought: ATechnique ofAwakening Remember Me Noulht,3s prorro.Jtive new photo-o.rtage series by Montr6al artist and filmrnaker Eisha Marjarr, g."pipl., witir" the less tangible, lingering .ff..tt of trauma and the exclusions that have characteiiedformal and official .e-.mbia.r.es oithe Ar India bombings to date. Marjara is intimate\ connected to this history having lost her mother and sister on Flight 182. She also directed the critically acclaimed firn Desperaity Seeklng Helen,3s a docudrama that interweaves the event of her The mother and sister's deaths with negotiatiJns of girlhood and South Asian Canadian identity' the eight piece series Remember Me Niwght,four of iryhich are reproduced here with narration in DItoIq ereftew'p;ec elpprur eqt q'stueurnrop I€JrlIlo aqtJo lxetuor Surzrurrlr8el eqr uro{ poro^os ueeq ro plls Surzreq sloqs Snru leq Jo ecuenadde eql dq pezrstqdrue doutde;csrp e-uezrlr) l;o sspr?f, u?rp€u?J e sr pezruSofar eq o1 a133n:r1s prul? Eregtoru raq pue eqt dq peluese.rde;'uorsnlcur yo asrruo:d aqt uoe.A$eq uortorp?rtuor ogl saqrr3sep e:refte141 'uorte;;eu Surdutdruoca? eqt uI 'sprorer (1qtlo11 '(T plrgo puo su?s l?f,rxapul 'acuo tt 'ere sp;ec uorltf,IJlluepl arn8rg) ,,,$rlual1,, uI spreo uorle3grtuepr s.reqtou raq Jo aJnteeJ er{t 'eldruexe roJ 'o>leJ'eru€rqureurrr Jo o3lltrerd eql ur pue dlrrgrcelqns30 uort€urroJ er{l ur qtoq-Jer{to qleego aruldnuetul put alltntltsuo3 dlsnoauellnrurs ate cqqnd pue ale.tud eqt se8pelzrr.oulce eJr-lJr''yll 's:regru8rs rrlqnd pue elerrud Suruorlrsodsuerl pu? ^Aoq ,Surpesur '8uuede1 dq iuonecrldrurratur rreqt stseSSns ,9rurxo.rd rlar{l 'treJ u1 'ry8no5tr aW taqwawad ur setrsoddo d;rurq s? tser ,tldrurs tou ore cqqnd pue eteru,rd eqt 'suolsuet eseql altdseg 'sJuo pr^o[ rtJLI] Jo ssol Jqt uodn sler:g;o :r1qnd uEIpBueJ ruog tlal sreqto pue eqs lrelSau pu€ tuaruqletep agt o>lo^e '.sloqruds puorttu pue su8rs orqdt,rSouoor '
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Figure 2 ID-ENTIFY ftom Remember NIe lVoughr (2010) by Eisha Marjara, reproduced with permission of the artist.
then traces out and transposes her mother's face with a thumbnail icon of the plane wreckage'. references around it in her own hand (an effect also visible in "Maple Sugar").This redaction not only her full Devinder's final expulsion in the bombings, but delibeiately points to prior exclusio.ns from participation in the citizenry on account ;f being considered a "foreigner."As such, the montage and it, text illusirare how individuafhistories are enrwined with social histories; or, tn "..t*p"nying a public or collective framework'"a3 Joan Gibbons'words, how "the personal inevitably sits within within a In this instance, the iife and death of the artist's mother are remembered as embedded be denied or history of colonial relarions and ongoing systemic racism, frameworks that continue to .,forgotten" racially-based by Canadian public autho"rities"wrth respect to ttre Air India bombings and other
historical injustices.a+ . :-r, franle Also prominent across the series are Marjara's use of repetition and a frame-within-a technique.In "Maple Sugar" (Figure 1), for example, photographic images of the artiscs T.?:jr:t^' multiplied and nested within eaih other as well as flanked by images qi{::: **t"Tt9^:::::T:ti 2) repeateo mug in tuin, framed by the wing of a plane and a clouded sky. In "Id-entifi"' (Figure ot petnqrrluol ursrfer srruetsds 1!\og Jo 'eleld lsrg eql uI tuln€rl Ieuolleu e s€ peSpal^aou>lre aq ol pe1rE s8urquoq ?rpul rrv eqt lqm jo uorlsanb pa8pelzwoulceun dle8tq 1pls oq] Surns;nd sotetlssereu pJr.lA,roJ Surnoru Jou uorleJoureruuro3 Jeqlreu 'sserppe s.JelsrultrA1 eurrJd ol{l ol Suiprorcy 6t(.'seuo pe.r.o1 ,rnod ol al?el u€f, ezrr dce8el tsatee:18 aql fsil,,'pepnycuoc;ed.rep1 'srqa.,'spur1 IIEJo sreraprnur pue s;adotlsep lsure8e e133nr1s,, ot pu€ ,'e;eq tsrd E€lpul Jo selu€q eqt t:odrur ot >iees oq,^A stsrurellxe fesoql] eztleur8:c:ru dlrortrruatsds put dlngete),,07 esrurord e sapnlful reqr uqd t-((lanerl roJ aJes seDls eqt o>l?ur,, ol ueld qluaruuterro8 srq qlLA pJe.l JoJ eloru ol arull s?.44 lI leql pu€'pe13uofeJ ssol Jo eJolu.^aou eJe \ €r[t"J aseq]'purq ur l8olode IeI3Eo tr? pue goda: q,|rrnbq eqr q]p wqt esues e pe8ernocue qreeds srg s.rtal. e.tg-dtue s8uqres 8n..'ro5eeJeqt se{r.ureJ.surrtrrn eqtJo tuerul?er] aqt put o8e \tJo leuoltntltsul eql,, roJ sSurqruoq aqt ur peilDI esoqt Jo se^neler aqt ot dSolodt u? pereJJo pue d:rrnbur IerepeJ egtJo uolsnlruor al{t perunouut dlsnoauttlntuls.red.rell ueqderS'a;a11 'oluo.roJul 0[02'E7 eunf uo pleq .(uorua;ec Ierrorueur drrs-re.truur r{Tg-.{'tue^\t eqt se qrns stuele pe;osuods .(lercrgo'luere-t te elqrdpd uaoq seq Suruatseq srql'suon?Jeqreler Suro8uo stl pue s8urqruoq erpul rIV eqt punore aJnsolo spJrn{ol Suruelseq eJe serlrJoqlnr rqqnd uer{^a Jurll e l? IeIfnJf sr s8uruedoSo uolleeJf eI{J 'sesJnofsrp oqqnd Suorut elelnfJlf put a3:rarue o1 serrotsrqralunor lE3rtrrs ,lto1p lq8[u teqt sSuruado Jo uolleortr eq] uo peolsul lnq 'lorluoJ put dtr;ncce uo lou peceld sr srseqdrue ue'os Surop uI /i(.'tueserd pue rstd eqrSo drqsuolt?ler poqslulJun 'Surplogun'frulrudp,, eql SurzruSocer'sseuenrsnlJuoJul pue efuoutlu;edrur ol uolluelw .u.e,rp'qe*fte141 e>lrT 'slriJouJeruJeluno3 '1uese;d eql JoJ lsed aqr go Surueeru aql eJnfes ol Sundruelle Jo uollnloseJ (q I€rrrotsq uo Suqrxg urqt Jeqt?d'sonrroqtne orlqnd pue tuourureno8 uuptue3 eqt pau8rsep pue peuorssrrlruror setrs Surlsrxe sezrrelr?reqr an3rc 1 teql dcuepuel t-no,,e1doed pue stuelo pettf,Ildruoc ol s8urureru -reln8urs u8rsst ol ta8ea,, slerJoruatu Ieuollueluor 3o druepuel eql lsure8t sIJo \ 'sureldxa Sunon serrref 'puorueruJelunoJ aqJ.,'ltlJotueurJeJunot,, e s? uolltrunJ ol poolsJepun eq str u1 tr7?rl: ry7noy1 aW nEuawad's8urqruoq rrpul rrv eqt Sunuese:der ot qrto.rddt rtlnrrutd 'luer{l Jo dulp€er-er put Surprer Jno setetrssoJeu t?rl^A sJ se I .rno uodn ec;o3 Surnurtuor rler{l'1ed put l(g em8rg .,'a13ue1,,) l1 slnd e-rel-rt141 sr.,'ecrds ro erurt ur punoq og touu€o,, daql a-req.u. sseusnollsuocAo se8pe 3qt te re^oq 'se;n8g lue.rrdsur:r1-rues e>lrl'sof,eJl d.rorue141 'Surreqruerua;go sseco;d crleruoldruds pue erulcelqns dfq8q eqt ur rorpou? euo ruo{ alqe3rrtxau euroroq lsrd eqr put tueserd eqt urorel{ \ ya4ry13p't1qta51 Jo uorlou eql ol sn suJnloJ 'sercuerrdsueJl-ruros s.t:relwyq aprsSuop 'ftoruaru Jo A\er,r sIqI e,, .$srtts repro uI str,.'lueserd er{l ur IoJluoo pue .{rrTrqrts Iernllnl put arrnrelqns roj arlsep ol pasller pue peur8erur lou u?qt uego eJoru sr lsrd eqt eraqa sectld ert (suorssa-rdxa ,rreql pue) solrolueul 'sen3.rr TaIIIW stlorlrrN rcIoqls d;erelq sV'sseupoxg ro eruoutluted 3o eelut;en8 ou q1I1!\ srtllor e ol .Lrorueru :,{es ol 3r sr sr tr 'sp.rozrr roqto uJ 31astr fuorueru Jo tnq 'eJrl Jo sseusnonuol aqt dpo lou olo pootsJepun eq u?l'(y e;n8rg) .,sprol[t]s?f,, pue (E e-rn8rg) ,,e13uea,, ur dl.relnrrl-rtd uees'lcega stq] dq pa.terqce sseurltsoq8 eqJ'raqtoue euo Jo lno pu? otul tueqt 8u1ptg put 8ur-r:rn1q 'tue;edsuttt-rrues ;o 'tue;edsurtt se8rrur pue se,rn8g srepuoJ e.refte141 r!7noy1 aW fiqu,taluad lnog8no;qt dtotsrq etpul rrv aqt Jo s8urlunore; roqto uI elqISI^uI put elqlsr.t ap?ru ueaq s?q leq. uo 'sdeq-red teld e u1 drolsrq slqt ulqtl^\ peploJuo serrtsnlur 8ur;e8uq eqr q8nolqr 're33ns ot anurtuor orl^\ puqeq Uel asoqt dq pscueuadxe setrnlur pepunodruoJ put 'ssol 3o s8urppeqrue 'erun?Jt Jo sooqla eqt ezrroqdeleru dpde s8urlseu pu? suortltede.r :eq 'ronoe;o111 'Suuaqruerue; r{lron^. err selrl esor{^\Jo sru;et ul drryqrzruSocarJo suoltlpuol pu€ uortruSooe:go seure$ eqt Surryrqs uerr.a sdrq;ed ro 8ur-roldxa ot potins dpqncu,rtd Jlesrr'sr e8etuotuotoqdgo anbruqret aql ltqr (lsee1 l'rel eql re) srseSSns eteq Surtuerg ot uonuetw pepuetxe s.eltleyl 'dotplceq s eSetuoru eql s? se^ras rrqr oroqd dll-rJ le^rr{rr€ ue urqtr.^a patu?;; osle ere qlll{^a spr?l CI eldrtlntu ,(q porue.g ere sloqs
0zl Figure 3 TANGLE ftom Reneufier iVIe Nb'3lr (2010) by Eisha Marjara, reproduccd with permission of thc rftlst.
E' "*' E^ * Figure 4 LAST WORDS ftom Remember NIe Nought (2010) by Eisha Marjara, reproduced rvith permission of the artist.
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just cornpleted serving the time for the rnanslaughter sentence but awaits a new trial for additional charges ofperjury.A "fo.rrth "masternind" ,rrrp..t, former-Burnaby, B.C. residentTllwinder Singh Parmar, popularly referred to in the media as the behind the conspiracy, was ki11ed in 1992 while in custody of Punjab police and was thus never bror'rght to trial in connection with the Air India bombings. 5 Ki'' Bolan,"Air India plane proposed as memolial: families say wreckage should be permanent reminder of the t'-agedy that killed loved ones," Vancouuer San,6 November 2004' 5a-7 93 5b 19;t'eccdEk=
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