I do not even agree with classifying writing as 'classic' or 'contemporary'. Great writing is contemporary regardless of when it was written. It is always timely. It communicates with readers across time and space. A great piece of writing is contemporary whether written yesterday or ten centuries ago.

A long time ago, I discovered that all I have been taught about the disconnect and the contradiction between the heart and the mind is false and misleading. I have learned to feel with my mind and think with my heart. I have learned that the two are not enemies, but Siamese twins – you can’t silence one without crushing the other, too.

As our knowledge increases, so does our desire to maintain silence and hide from the world whose face is washed every morning with the blood of countless innocent people.

This is exactly what it means to be caught in the colonial matrix of power. It is to be constantly suffering from lack of options, and constantly finding oneself in such a position that all the choices available have already been chosen for you. As a result, you are constantly trapped and unable to think or do otherwise. You are consistently deprived of the possibility of working with other possibilities.

The role of the academy as a colonial and imperial space par excellence, which in the age globalization and corporatization of practically everything, has become the biggest enemy of knowledge and the decolonial option. In fact, the academy has become a space that instead of creating options, is doing everything in its power to deny most people options and keep itself as the only game in town.

While the imperial university continues to pay lip service to letting the subaltern speak, make no mistake: the subalterns have never been silent. They have always been thinking, writing, doing, and sensing. The problem has always been with the shortsightedness and racism of the colonizers and the imperial spaces where certain knowledge gets produced and promoted, while other knowledge gets silenced, mutilated, and buried under the rubble of indifference and arrogance.

Great works of literature from other places are not only censored by banning them, but even more so by silencing them, by refusing to translate them in the first place. Marginalization is the worst form of censorship and intellectual assassination. Likewise, choosing what gets translated into a certain language and what gets marginalized is a form of shaping and constructing the historical memory of a place according to whims of those who own the money and means of knowledge production.