ABSTRACT
The present chapter ponders upon the influential role that Partition as an occurrence of the past plays in determining and formulating the ontological essence of the self, with specific reference to Sabiha Sumar’s film, Khamosh Pani. The chapter interrogates into both the collective and subjective premises of the past, namely history and memory, and attempts an understanding of the tension that characterises the subject’s relationship with memory. Memory evolves as perilous return that consistently problematises its premeditated denial by the subject. The chapter explores the limits of such denials and argues that they are failed forgettings, constructed on a manipulated and imposed poetics of silence.
