Saturday, April 24, 2010

The Witch Hunt


When they paraded her naked,
jeering at her, condemning her to be the "dayan"
her ancient breasts on her wrinkled body
were wounded by the stones pelted.
Her stoic eyes surveyed the scene
refusing to shed a single tear,
rested for a flickering moment on me
and i averted mine in cowardice.

Refusing to acknowledge those years of affection,
she showered on her neighbor's children.
Denying the tangy taste of raw mango candy
that she hid in our pockets magically
and wearing of those hibiscus and frangipani flowers
with which she tidied our unruly hair.
Abnegating those myriad times when her timely interruption
saved us from our mothers' beatings
and also forgetting her "knowing teasing" look as
I eyed, courted and eventually married her only niece.

And I let them burn her at stake
for the sickness of village children
and deaths of three cows and one half-blind dog,
knowing well it to be the pretext
to grab her half an acre land.


Requiem for the Earth


seasons changed, years passed
but the cycle of Life continued
what died yesterday, bequeathed an inheritance on today
and Death was won over.
the bountiful mother nurtured us,
fulfilled our every need....
But, today, slowly writhing in agony,
the terminal patient waits for her death,
surrounded by her sons
whose eyes twinkle in insatiable greed...

photo courtesy : Deepak Rao

Thursday, April 1, 2010

pawns of patriarchy


No, I am not Scheherazade,
nor was meant to be,
and i don't know a thousand stories
that would salvage me.
He would certainly behead me tomorrow,
a promise sealed with kiss.
The dawn would soon break
and end the briefest bliss.
The hunter would prey again,
renew his vows in confetti shower,
and i enslaved to an indifferent him,
would pray for his heightened power.
I want her to suffer my fate
No, she must not win him over.
No, this bloody rite must never end
and he must find a newer lover...

Tuesday, March 30, 2010

devi


It was Chaitra Ashtami..
and he called the little goddesses home,
washed their feet, served them meals
and considered himself lucky
on accomplishing yet again the biannual feat.
He praised Durga and on sandal rosary beads
chanted her hundred and eight names.
While she dreaded the coming days,
singing lullaby to her never-to-be-born 'Devi'

Wednesday, March 3, 2010

the infinite charms of motleyed india: a journey and many discoveries...


“Age cannot wither her, nor custom stale

Her infinite variety”

- Antony and Cleopatra” (W. Shakespeare)

India, with her infinite kaleidoscopic variety, is a land of myriad charms and beckons us to experience it in all its grandeur and sumptuosity. For long, I have been making these never-ending lists of places to visit… and high on my itinerary was a trip to Karnataka, which perhaps becomes an impeccable smaller model of India herself, in terms of the variety she offers..

So when the opportunity presented itself, I seized it with both hands and soon I found myself flying amidst bales and bales of cottony clouds, which tempted me, not just once, to step out of the plane and take them for mattresses to laze about. Well, of course, commonsense and my dad (sitting next to me) kept me tied to my seat. Soon the view changed to those of patches of land tinctured in subtly different shades, perhaps straight out a Nerolac shade card. We got off at the new Greenfield airport in Bangalore to meet my mamaji, who on the way, talked a great deal about his grandiose plans of showing us all the places, which were mainly either religious in nature , or, part and parcel of a typical metropolitan culture.

On the first day, I certainly didn’t want to be a nettlesome guest and decided to play along. He took us to the famous Tirupati shrine (in Andhra Pradesh), where I wondered for the “nth” time that how even “darsana” of the deity depended upon a person’s social standing or paying capacity. While we could manage it with in half an hour, I saw these long serpentine queues moving at a painfully slow pace, if , at all.

Day 2 was relaxed, with my mamaji making plans to visit yet more “mandirs” and malls and I knew it was time, I put my foot down and remind him that I would rather have an eclectic variety of things. He was clearly annoyed but was magnanimous enough to offer me a chauffer driven car and his wife as a winsome companion. With her, I explored the architecture of Bangalore stopping at places like Summer palace of the Wodeyars ( built to look like a smaller replica of Windsor castle in England), Vidhan Soudha, the seat of state legislature, built in what is often described as “neo-dravidian” style and High courts. I was amazed to see people talking in almost impeccable hindi and women sporting salwar kameez (when I had expected them to wear nothing but sarees). The ubiquitous gold jewellery minus any stone or enamel work also captured my attention but it was the love for good food, ranging from dosa , dal vada and gobi Manchurian on street food carts to the seven course meal, in the most opulent (read expensive) restaurants that made me explore Bangalore even more keenly.

The next day, we started for Mysore, where apart from the obvious places of interests like mysore palace, St. Philomena’s church, brindavan gardens and mysore zoo, the thing that most elated me was this rare opportunity of seeing paintings of Raja Ravi varma, exhibited in Jaganmohan palace. I moved mesmerized from the scenes depicting Sita, cringing away in fear as Ravana slices Jatayu , to the wild and untamed beauty of Kalidasa’s Sakuntala, before she met Dushyanta. Another memorable adventure (or, rather, misadventure) was the travails of trying to climb this mammoth Nandi bull statue on Chamundi hills. It is believed that if you whisper your fondest wish in his ear, he would take it to straight to lord Siva. See! The “sifarish” seems to work with Gods too, or so we mortals like to believe.

Eating “medu vada”, a delicacy of mysore in a small dilapidated shop with tea while the rains poured cats and dogs was yet another delight whose memory and almost lingering taste wouldn’t wash off for years to come.

Day 4 promised a good weather and I decided to stay in Bangalore itself and explore the state’s emporium for handicrafts and handloom. Under the brand name of “Cauvery crafts”, it offered me a gamut of objects to buy and covet (for many were clearly out of my range). I bought many papier-mache masks of kathakali dancers and a couple of silk sarees from there. A visit to Bannerghatta National park made me exclaim with joy as I beheld for the first time white tigers, who apparently were in the “mood for love” and definitely not very happy with our lack of discretion and audacious curiosity.

Traveling in and around Bangalore and often in the country side, I marveled at the abundance of small ponds filled with lotus and water lilies, which later made me appreciate Monet’s impressionist paintings all the more. Another thing that stuck me was the symmetry and colour of “mysore tiles”, varying in hue again with the subtletly present in colour “shade cards” alone, decking the roofs of so many homes. With the succulent verdant green background these red roofed homes were really inviting in their basic simplicity.

On the penultimate day, after my strong (read stubborn) insistence, my mamji finally allowed us to travel to see what I had been dreaming for days- the temple art and architecture of hoyasala dynasty, about whose splendour I had been reading for many many years in my history textbooks. These temples in Halebidu and Beluru , built in black schist stone, based on a stellate ground plan, filled with intricate sculptures and friezes were rapturously exquisite. Those yakshas and yakshinis, sensuous dancers, not to forget the menagerie of elephants, lions, horses almost came to life and I moved enthralled, admiring the hands that chiseled these and yet claimed no glory in terms of their authorship. On our way to these temples, we also stopped at Sravana Belagola, where these never-seem-to-be-ending stairs finally took us to this 57m tall monolithic stone statue of Bahubali, claimed to be the tallest in the world. Right opposite to this was Chandragiri hills, named after the famous mauryan king, Chandragupta. Its claimed that it was here, he after converting to Jainism, meditated and breathed his last.

My trip was coming to an end and I wanted to make peace with my much antagonized manaji. So as a reconciliatory gesture I proposed a short trip to Bangalore ISKCON temple, which had the desired effect and my deeply religious uncle was smiling once more, even sharing many jokes and anecdotes. I ended my tip with the most sincere and heartfelt apology for all my obduracy and the inconvenience I had caused them and also an equally earnest gratitude for their being such hospitable and gracious hosts and helping me take one step further in discovering my myriad faceted India.

Wednesday, December 23, 2009

prithvi bana: an apotheosis of shakespearian fool





A discerning reader of Shakespeare can't help but draw parallels between Shakespearian dramatic world and the phantasmagoric hindi cinema. However, our traditional fools (read comedians), much unlike those of shakespeare, have rarely risen above slapstick comedy, horseplay and bawdy language.
In recent years, however, this one-dimensional, monochromatic "flat" character has not only gained dimensions but also colours. The apotheosis of which could be seen in Anurag Kashyap's "Gulaal", where we encounter subversive songs and sarcasm dripping tirades of Prithvi Bana, perhaps the lone voice of conscience in the general melee of 'blood and mire', underneath whose apparently foolish and meaningless acts, we discover acerbic wisdom, the efforts and travails of a man forced to be relegated to the background by the people racing to fulfill their vested interests, ventilating their angst or satisfying their bruised ego.
Much like Shakespearian fool, he comments incessantly on the events, unremittingly trying to change them... but, much like Shakespearian fool, he is also rendered incapable of altering the course of events and 'restoring the wasteland'..

Sunday, February 8, 2009

slumdog millionaire: confessions of a movie addict :-)


my first reaction to the movie was of extreme uneasiness and revulsion... and an overwhelming desire to escape once again to the world of "twilight" (the movie i watched a few hours before), to savour the sweet slow romance, to be oblivious to the stench, squalor, sordidness of slums... infact to be the oblivious of their very existence and to the fact that the world is not a very nice place to be in, if one is left all by herself to fend for... in the movie we follow the protagonist jamaal and "his two fellow musketeers" in their travails and vicissitudes, almost in a picaresque manner... imagine a life where even survival becomes a fight and only the fittest survive...others are blinded to gain alms or raised to satisfy others' lusts....
infact i concur with an excellent observation of a friend of mine when he said that had it not been for his older pragmatic (though often deceiving ) brother, jamaal may have also been preyed upon.The initial revulsion at the grossness of jamaal's passion for amitabh bachchan and the deluge of expletives wore off gradually as we travel back and forth in time to discover and marvel at each anecdote which comes along with his each correct answer... the stories gory and incredible, tear jerking and goosebumps raising!! the demonism of maman, the goon who blinded little kids seemed no different to me from the spohisticated malice of the host of the show. infact the entire world seemed to be such a wrong place to be in. And amidst all this The thing that touched me the most in the movie was jamal's unceasing love for latika, the hindu girl, for whom he walked many many extra miles..the girl for whom he dared to trespass the red light areas and even the house of a local DON.. It was very heart warming to see such lambent love  even if it exists merely in literature and cinema. 

Supported by a very powerful background score, this movie lived upto the expectations that were built around it. However i didn't find the usual mellifluence of Rehman in the songs of the movie. but then again, to give the devil his due, i think the songs were commensurate with the social strata it was depicting.... which brings me to yet another very disturbing question. Is it a mere coincidence that the west loves all those movie which either show india as a land of mysticism or as that of abject poverty? or are we being the victim to yet another kind of "orientalism"?? The image of the seamy side of india is being endorsed deliberately or unwittingly?? its almost like most indians believing every pakistani wearing pathani suit, chanting anti-india slogans, sitting amidst rubble and Ak-47S in dilapidated squalid buildings which have a crescent made rising from their dome. As the suave charm of islamabad is very much a reality, so is the rising middle class of india, something consipicously absent in the film. Then why is it that the west appreciates only such images which present india in a very unprepossessing light. Many of us would argue about the truth of these images and would tell me that they are a fact and not fiction....something i can't deny in even my rose-coloured image of india. my only problem is why only such images are endorsed and appreciated... all in name of realism...

All in all, the movie makes one think a number of things which one has probably shirked for so long.. it takes you right in to the middle of squalor, the poverty, the ugliness and all those things that makes a common man and not to mention the government uncomfortable. And yet the feel-good element which takes jamal from rags to riches inspite of all his travails and troubles,  manages to warm us up as we join the throngs of crowd to cheer him and the invincible spirit of man. i hail the movie with both thumbs up!! 

Saturday, January 24, 2009

the multi-tasking indian women


An eight armed Goddess!!  With a ladle in one hand, while a laptop adorns the other, a diaper blooming on her open palm as she cradles her little child in the crook of her other arm. A watering can dangles from those deft fingers, as she balances the tray of cookies and other goodies, and tries answering the phone call of her boss, with one gloved hand making its way for the cake baking in the oven. 
No, its not an animated movie with special effects, nor has Goddess Durga, the primeval feminine "shakti" condescended to grace thee with her presence!! Its the image that conjures up in my mind almost magically, the minute the phrase "multi tasking indian woman" is mentioned.
Being a woman in India is as challenging if not more than being one in another country with tons of laundry to be done, shopping to be shopped, that delectable sumptuous platter to be presented as per the preferance of pizza loving billu and pinki, "dal roti" sasu maa, "mughlai" hubby, and thai curry- ardent  guest who had chosen to make himself "atithi deva" that very day and would very much like to encroach upon bhabhi ji's hospitality.. :-)
and to top it all, imagine those incessant calls from the boss  ( even when the leave has been duly taken), for this and that and this!! while the little "slice of her heart" clamours for attention and the darling husband playing romantic by losing all his shirt buttons!! 
India, a society in transition, still has to wake up to the idea of fair divison of labour as with the educational and economic advancement of the woman, the "best" of both the worlds is "blessing"  her with the windfall.
Therefore, the multi-tasking "superwoman" goes round and round, using all her wits and not to mention every ounce of her energy to complete her Sisyphus- tasks only to find many more springing up as from the little droplets of evil blood in ancient lores,  many headed Hydras gestate!! the demons which need a goddess with her eight arms to combat and to be finished!!
Having proven their mettle in ever field, Indain women have to crusade  against a more formidable foe. Having conquered prejudices, which doubted her capabilities, she now has to conquer "heightened expectations" which prove a more arduous task than any of those given to Herakles himself..
The expectation of being an exemplary leader or a helpful team mate at the work place, along with being an equally dexterous housewife on the domestic front... the expectation of being an understanding peer and following the ideals of being a perfect wife, which as per indian tradition are  "to counsel her man like a judicious magus, to run errands for him like a slave girl, to feed him like his mother would and to pleasure him like a courtesan"
But the question that arises is whether any human being - especially the one that has been called "the weaker sex" for such a long time, really capable of accompolishing all these tasks, while maintaining her cheery benignity and not to forget her makeup- those waxed arms with french manicured nails??
Is it humanly possible for her,   "the weaker vessel" to swim among the sharks just like her man does at her work place and yet must come home all smiling to do a sink full of dirty dishes and basket full of laundry clothes?? Is it humanly possible for her to bring out of her cornucopian horn (or akshayapatra if u prefer), toothsome food which would please the varying palates??
If its not humanly possible and yet she accompolishes these herculean tasks, then the epithet - "eight armed durga" is hardly a misnomer!! :-)

p.s.  i started this one as a serious essay but its just that i feel too blithe right now to add a didactic note to it :-)

Tuesday, December 30, 2008

palimpsest india: my impressions of "the moor's last sigh"


#Reading Rushdie's "the moor's last sigh" brought me face to face with what he calls the "other" india... india minus the majority hindu population and the "majorest" minority... the india of jews, parsis, catholics..very often relegated to the back ground..he wonders aloud that how would reader take his family history which isn't about hindus and muslims...
#the protagonist's personal history as in rushdie's other novels, is the history of not only india but also takes us to the moorish spain...he takes us back and forth in time.. combining the events in his life with that of the nation.. strutting from spice garden kerela to mumbai of mob wars...then again to a dali-esque labyrinth...this two times faster growing and wasting Moraes who becomes the confidant of the hapless reader :-) 
#the recent rapid depletion of tolerance for "the other" also has been more than hinted in the antics of "the croaking frog" and uninhibited censure that "in the end would come a battering ram, knocking at our doors"... the fear of the minorities and the non-marathi population are almost as relevant today as were during the time this book was written...
#using a device called "ekphrasis" in which the writer uses the description of art to describe things, rushdie has also made the strongest metaphor of the book...ie. of a palimpsest...how india like the paintings of moor's mothers were palimpsested with the previous impressions that can't be wiped out completely...and how the acceptance of these various impressions without trying to wipe off the past completely in order to write a new chapter today will probably make this kaleidoscopic india survive... 

Friday, October 3, 2008

poems written under the influence of modernism and existentialism :-) back in 2003




the human apocalypse

there was darkness at noon
the screaming scavengers
restless pursuit...
the sun eclipsed
the moon turned bloody
the trees devoid of life nourishing sap
the graves upturned
skeletons strewn across the wasteland
oceans retracing tsunamic steps
rivers parched to thirst
sacrificing babies at desperate altars
sisyphus pushing the boulder uphill
i walk on, pained at my own aching tooth


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from womb to tomb

 

the umblical cord has snapped

and i see myself in the mirrors of the world

trying to identify with that woman

 

On Razor's edge, would i be tested?

would i be blown in a thousand directions?

while the delicate glass is moulded

shall my spirit overcome uextinguished

 

Do i dare trust humans

with faces out of kaleidoscope

one shade less, one hue graver

 

Teddy bears won't be soft anymore

scaring me with that carnivorous teeth

the eyes of fairies not so benign

as their hardness would gnaw at my heart

 

solidified tears  would refuse to fall

choked voice humiliating me

while depth would be equated with cowardice

 

would I forever be procrastinating?

in this journey from womb to tomb

or like the protagonists of many plays

"I can't go on, i will go on.."

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in praise of the resilience shown by afgani women : a poem


in praise of the resilience shown by afghani women

Do you remember all those wounds on her body and soul?
when she was pulverised like bamiyan buddhas never to again become whole;
incarcerated in veil, with a merciful one-way window to the world,
silence was rammed down the throat of the singing bird.
denied all laughter, hope, song and even the fresh air,
she was expected to deliver, in dark rooms, the male heir.
her face corrupts, they explained, her footstep excites,
shaming her for the raging lust that within them fights.
her thumbs chopped off to teach the lesson to painted nails,
kicked in flank and shin, for venturing out, unchaperoned by males.
when her flight was cut short midway, with Kalashnikov's aid,
who could have thought that of much stronger stuff than bamiyan stones she was made
that not only she, in all fortitude, survived the night,
but rose from her incinerated self to make her nation see the light

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Sunday, September 28, 2008

devi - journey of a woman in to divinity and lunacy

Its the tale of Doyamoyee who having unwittingly cured one villager after another,  fails to cure the one who mattered the most- her cherubic nephew khoka... its the tale of a woman who willingly chooses to live the dream of her father-in-law (who saw her as an reincarnation of goddess kali) and so convinced of her own divinity, refuses to go with her educated husband who tries to make her see sense.... its the tale of a woman who experiences solitude even amid the myriad who had flocked to her door for blessing or boon or treatment... its the tale of a woman who loses it all.. her beloved nephew khoka, the belief in herself, her husband, and most importantly her sanity... and in the end vanishes in the mist...losing herself....
the president gold medal winning, satyajit ray's movie generated a lot of controversy when many fanatics saw it as an attack on hinduism and tried to stop it from its international release. but with it eventual release, it won standing ovation everywhere, apart from the coveted president's medal. Sharmila tagore who in her teenage gave the outsatanding perfprmance as Doyamoyee once commented "Devi was what a genius got out of me, not something I did myself". 
What made me ruminate for days was what was Ray's intention (if it was to be believed that all art had a purpose)? the spectator as per his/her socio-cultural baggage would interpret the end of this movie differently. a person not aware of hindu customs and beliefs may see it as a divine nemesis of sorts... a woman who tries to become goddess faces the wrath of goddess by losing what ever she valued the most?? but then the question i would like to ask is... that if it was a blasphemy for a woman to see herself as the goddess, why was the one who put this in her head spared?? otherwise as well... as i said.. one has to understand that in hindu culture.. it is not out of place to have human incarnations for gods and goddesses.
The other explanation vendible is the psychological breakdown a human undergoes when he/she carries more weight than one can.. the responsibility of the goddess to cure the multitudes of their "fever and fret" of the world sequesters her from all that was hitherto dear to her.. she plays lesser with khoka now..can't seem to connect to her role as wedded wife.. can't hold gossip sessions with her fellow woman and can't even massage her father-in-law's feet,  all thanks to her newly found status of being a "devi"... for a devi doesn't trifle over such things... and when the final test comes, she realises all her ministrations have come to nothing. All her divinity comes to nothing when she had to heal the one most cherished.. and she fails the ones who mattered the most... a reason good enough for anyone to go insane.
perhaps, the beauty of any classic lies not in establishing the real meaning of the text but relishing in its ever-fleetingness... :-)

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writing back to the centre


from: classical telugu poetry - an anthology
edited and translated by: v narayana Rao and david Schulman






Sita



Sita was my classmate
she and i pored over
that great new poem the Ramayana
of Satyanarayana

when we were finished I asked her
looking ar her thoughtful eyes:

"You listened to the whole story
we followed Rama
with the swiftness of poetry
into the wilderness of ancient times
we met him, went, to the forest with him,
we saw him
kill Bali from behind the tree
and test his wife by fire
Now tell me, do you want to 
live like sita, the wife of hero Rama?

When she heard me, she said:
"hey Pratabhi
Sita is the very epitome of
Indian womanhood
Its a dream, having
the good fortune
to live like her

But even if I want to be Sita
I'd never want to be Rama's wife
tell me, would you ever want to be 
Rama yourself?"

why should I, when you don't want
to be Rama's wife?
My desire, rather is to become Ravana.

with all my ten mouths
I will kiss your lips, your face. I will
bind you
with the gaze of my twenty eyes
I will press you to my chest
with twenty strong arms
and make you one with me
in one embrace 

Now,
Sita is my wife
                          - pratabhi (1919- )


isn't it interesting?? here Pratabhi, the poet wins the hand of "sita", who'd prefer to be Ravana's wife and not Rama's. What we see here is the subversion of a Grand Narrative built over a myriad years that all hindu women would  naturally and blissfully want to chant the hymn to gauri and fast on to ensure a Rama like husband. The test by fire to which sita is subjected  and insensate machinations to kill Bali on the part of Rama is contrasted with the pratabhi's passionate "Ravana role-playing"..
These little subversions here and there perhaps make life less tyrannical with those little gaps to be filled with all those hitherto supressed voices. Writing back to the centre hence becomes one of the greatest freedom that a writer representing the voice of "the other" can enjoy. And the hitherto "infallible" fortresses of the given narratives become less formidable to scale.
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