From February through April 2007, avian influenza (H5N1) was confirmed in poultry in 4 of 34 Afghan provinces. A survey conducted in 2 affected and 3 unaffected provinces found that greater knowledge about reducing exposure was associated with higher socioeconomic status, residence in affected provinces, and not owning backyard poultry.

This article explores the politics of monitoring at the Universal Periodic Review (UPR), a new United Nations human rights monitoring mechanism which aims to promote a universal approach and equal treatment when reviewing each country's human rights situation. To what extent are these laudable aims realised, and realisable, given entrenched representations of the West and the Rest as well as geopolitical and economic inequalities both historically and in the present? Based on ethnographic fieldwork at the UN in 2010-2011, the final year of the UPR's first cycle, we explore how these aims were both pursued and subverted, paying attention to two distinct ways of talking about the UPR: first, as a learning culture in which UN member states 'share best practice' and engage in constructive criticism, and second, as an exam which UN member states face as students with vastly differing attitudes and competencies. Accounts and experiences of diplomats from states that are not placed in the 'good students' category offer valuable insights into the inherent contradictions of dehistoricised and decontextualised approaches to human rights.

Female suicide in Afghanistan has generally been given economic and psychological explanations. More rarely has its social dimension been analysed. In this paper, I underline the communicative potential of Afghan women's suicide in the 'post-war/reconstruction' context. I highlight its ambiguous symbolic power and its anchorage in the subversive imaginary universe of women's poetic expression. I argue that while reproducing certain cultural ideas about women's inherent emotional fragility, women's suicide also challenges the honour system in powerful ways and opens possibilities for voicing discontent. I qualify female suicide as the 'art of the weak' (De Certeau 1980, 6), a covert form of protest, a performance-in the sense of Bauman (2004)-that builds upon traditional popular 'knowledge' about gender in order to manage the impression of an audience and make women's claims audible.

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