Kashmir is a festering wound that refuses to heal, with politics and rhetoric becoming an overwhelmingly dominant reality. Every story doesn’t need to have a happy ending. Every story doesn’t need to wear a badge of hate — where victims take turn to victimize other victims in this never-ending saga of convoluted history, conspiracy and paranoia.
In this context, “Kashmir — The heaven that rots in hell” is not only refreshing, but is also unique in the sense that it never wraps itself up with a cloak of prejudice. The pain still feels unbearable, even without any hyperbole.