Pakistan Desires: Queer Futures Elsewhere

Kasmani sets the foundation for this reimagining in his introduction, where he conceptualizes Pakistan as Pak*stan – a stylized term, with an asterisk, meant to evoke openness and multiplicity (p. 1). This concept suggests a flexible, affective space, inviting readers to envision Pakistan as a place where queer identities can flourish as part of its cultural and spiritual landscape, rather than as an external imposition. Kasmani’s vision defies narratives that view queerness as foreign and instead proposes it as essential to Pakistan, making a strong case for seeing Pakistan as a site where queer desires are not only possible but celebrated.

The anthology opens with Syeda Momina Masood’s evocative piece, “Of Girls, Desire, and Sacred Things,” where she explores intersections of female intimacy, desire, and religious devotion (p. 23). Masood’s narrative blends personal reflection with cultural analysis, depicting sacred spaces as clandestine sites for same-sex intimacy in Pakistan. Through her lens, religious practices emerge as sanctuaries for queer love, subtly resisting rigid interpretations of piety. Shayan Rajani’s “Loving Men, Loving God” continues this theme, examining how Sufi traditions intersect with same-sex intimacy (p. 31). By drawing connections between divine longing in Sufi poetry and same-sex desire, Rajani invites readers to see that queerness is not anathema to Islam but deeply entwined with its mystical practices. Together, these essays challenge readers to understand queer identity in Pakistan as both a social and spiritual phenomenon, expanding the boundaries of belonging.

Kasmani’s anthology delves further into the creative representation of queerness through Pakistani art and cinema, showcasing how these mediums serve as both subversive and preservative spaces for queer identity. Gwendolyn S. Kirk’s essay, “Spaces of Critique, Spaces of Desire,” analyzes gender-bending portrayals in Pakistani cinema, illustrating how films challenge traditional gender norms, subtly introducing queer desire even within the constraints of cultural expectations (p. 65). Abdullah Qureshi’s essay on the artwork of Anwar Saeed frames Saeed’s depictions of male homoeroticism as both an aesthetic choice and a method of historical preservation. Qureshi presents Saeed’s art as an act of archiving a distinct queer genealogy within Pakistan’s cultural history, making it more than a personal expression but a critical cultural narrative (p. 166).

The anthology’s most poignant sections focus on the khwajasara (transgender) communities of Pakistan, examining their unique temporalities, community experiences, and religious practices. Vanja Hamzić’s “Temporal Nonconformity” delves into how khwajasara individuals navigate time, employing collective memory and ritual in ways that defy linear narratives, allowing them to resist imposed definitions of identity (p. 125). Claire Pamment’s essay – “On the Other Side of the Rainbow?” – complements Hamzić’s by documenting how khwajasara individuals engage with the Tablighi Jamaat, showing how religious practice provides a means of reconciling gender identity with spiritual devotion. These essays reveal that khwajasara lives are shaped by resilience as much as resistance, grounded deeply in religious faith and a collective sense of belonging (p. 146).

Digital and diasporic spaces also play significant roles in the anthology, reflecting how queer Pakistani identity is increasingly navigated across borders and within virtual realms. In “Beyond Hooking Up,” Ahmed Afzal examines the digital lives of queer Pakistani men on platforms like Grindr, revealing how these virtual spaces become sanctuaries for connection, intimacy, and community in a society where public acceptance is limited (p. 184). Extending this theme to the diaspora, Gayatri Reddy’s essay, “Queer Desi Formations,” examines the experiences of queer South Asians in Chicago, particularly through the life of poet Iftikhar Nasim. Reddy shows how these individuals negotiate cultural loyalty with the freedoms afforded by diasporic life, revealing the fluid and layered nature of queer identity across borders and global networks (p. 216).

One of the anthology’s final essays, “Queer in a Time of Kashmir” by Jeffrey A. Redding, addresses the intersections of queer identity and political conflict, especially in the context of Kashmir’s contested sovereignty. Redding’s analysis connects issues of self-determination, territory, and queerness, portraying queer identity as integral to discussions of sovereignty and autonomy within politically volatile regions. This chapter, like the anthology’s broader themes, underscores the political dimensions of queer futurity in Pakistan, challenging narratives that exclude queerness from national discourses (p. 236).

Pakistan Desires: Queer Futures Elsewhere is more than an academic collection; it is a gathering of voices that reimagine what it means to be queer in Pakistan. Kasmani’s editorial vision celebrates the resilience, creativity, and depth of Pakistan’s queer communities, positioning queerness as both a personal and collective act of belonging, resistance, and future-making. This anthology challenges Western-centric frameworks within queer studies, making it a significant contribution to South Asian scholarship by presenting a nuanced understanding of queerness as interwoven with history, spirituality, and social identity.

For readers engaged in queer theory, South Asian studies, or interested in the intersections of identity, culture, and religion, Pakistan Desires offers an essential exploration. It suggests that queerness in Pakistan is not merely an individual experience but a dynamic, socio-spiritual phenomenon – a powerful act of reclaiming space and shaping futures. Kasmani and his contributors remind us that queer futures are not only possible but actively imagined and lived, even within Pakistan’s complex socio-political landscapes.