Atamjit’s play Come back from the War (Murh aa Lama Ton) is a very uniquetext in many ways. Perhaps the first play in Punjabi language that deals with war – the First World War – as the title itself indicates, it is a multi-layered text that unfolds against the backdrop of the din and chaos of the First World War being fought around Ypres, the war theatre in West Flanders, Belgium. Anchored as it is in the specific historical situation of the Great War, it undoubtedly foregrounds the barbarity, violence, atrocity and futility of the War. However, through its complex structure, use of the technique of montage, deft intermingling of the real and the surreal, and self-conscious intertextuality, it transcends its limited situation to bring into sharp focus many other themes which are of eternal significance to humanity. In fact, because of its polyphonic and multilogic structure, it is difficult to place this text under the disciplinary economy of a particular type or genre. As it is, the fact is that each literary text, with its irrepressible recalcitrance and excess, overruns all limits and boundaries assigned to it. The labels are like nets we cast over the play of difference in plural to master differences and to control them. Come back from the Waris a text that, in very stubbornly tending to breach all borders, asserts its uniqueness in its difference from others. Heinz Kosok in his book The Theatre of War The First World War in British and Irish Drama published in 2007, which is a study of two hundred plays dealing with the First world War, suggests that judging war plays is a particularly difficult task because the literary evaluation competes, and more often than not comes into conflict with, the evaluation of the historical event which forms their subject matter, the War itself. All wars undergo a series of highly divergent evaluations by historians who differ on the justification of the war and its conduct by the military leadership. But still, if we have to think of some criteria of judging a war play then he suggests that there are six such criteria: originality, authenticity, universality, actuality, complexity and homogeneity. Atamjit’s play passes all these criteria very successfully. And in the present circumstances when any minor skirmish between the nuclear weapons equipped nations can lead to a conflagration which may engulf the entire plant earth, Come Back from the War is a play that does make positive gestures towards a better future by awakening readers and audiences to the futility of war.