Monday, December 29, 2014

Sorry Luis, But Objectification is not Social Commentary

Christmas mornings are lazy by definition, and I am a procrastinator on the worst, most deadline-ridden days. So you can imagine why I would spend hours skimming magazine websites and absentmindedly clicking on articles. With a tall mug of black coffee and a warm sun on the window, it seemed like a beautiful start to the day. That is, until I had the misfortune of discovering the article and the artist that I am about to talk about.

It was on Konbini, a pop-culture magazine that has come up on my feed a lot in December. Jordan Gold had compiled and introduced a series of cartoon illustrations by Luis Quiles earlier this month. This article made its way into my reading material on Christmas morning, and promptly ruined it. It began the by talking about the mixed effects of internet feminism. This alone confused me a little, because I have personally benefited enormously from the websites, zines, blogs and Youtube channels that  discuss feminism with an accessibility and candour that all of us need right now. I have learnt a lot, even from people that I completely disagree with.  But that was okay. It seemed like a good hook to start a discussion about art that engages with it.
And then I saw the first picture.

It was titled ‘Columbia’. Now, firstly, because it is uses the Colombian national flag as its background, I would have thought the title would refer to the country and not to the university, which incidentally would also make for a great commentary on sexual violence right now. But the spelling ambiguity was the first of many problems. The picture shows a woman wearing only a hijab. Her body is bare and instead of nipples, we see smileys.

Now, I am not an art-historian and perhaps it was a sign of my lack of education that I could not see any social commentary in that picture except the flimsiest, laziest kind that casually uses some ‘profound’ symbols and juxtapositions to legitimise what is basically a horribly objectified white female body. Evidence?

Well, for one thing, her body is viewed from above – usually, if not always, a sign of entitlement on the part of the viewer/reader. If you want to depict oppression in a way that effortlessly manages not to lend itself to masturbation, try Joe Sacco. In this case, there is clearly a problem. The breasts glisten – the body is not only faceless but effectively othered by a hijab. And infantilized with those Disney-princess eyes, and it is also shiny, skinny (shows ribs) and still large-breasted. Also, if anyone can explain the statement ‘You make the cocaine…’ to me, I will be grateful. For me at least, the reduction of nearly fifty years of violent and illegal drug trade into a ready, easy cartoon mainly about breasts does not qualify as social commentary.

I scrolled down and had a look at all the cartoons. In every image that engaged with the adult female body had been blatantly sexualized. ‘Girlfriend’, I think, particularly awful. You cannot really depict the relationship between videogames, fantasy and misogyny by depicting a woman exactly how that culture would. Adding a band-aid does not cut it. If Quiles is aiming for irony, it is damningly ineffective.

In most of the works, I saw a last-minute attempt at inserting respectability and fashionable subversion into what were primarily highly eroticized bodies of women, offered for the viewer’s delectation. In ‘Walking Dead’ of course, I could not find any commentary, which is why it was perhaps the least annoying image. Here the artist unapologetically gives in to his fantasizing. I have not watched the series but I can imagine that all women vulnerable to imminent zombie attacks do in fact hang out in incredibly impractical unbuttoned onesies, and as a zombie in knotted shirts and panties. Still don’t see how the work is included in an article about art as social commentary.
Same problem with ‘Pussy Riot’ and ‘Anti-Smoking’.

The only image that really worked as an intervention, that made me sit up with something other than irritation was ‘Disney’. Terrific colours and conception and in that cartoon, the inherently graphic style of his actually works very well.  Same for ‘Untitled’.

I find Luis Quiles’ style arresting, and some of his works do achieve stark visual effects replete with interventional ability. But that does not mean that they are interventions at this particular moment as his career. Most of the artwork, from I have seen on Konbini and his own page, is no better than any other mediocre cartoon that objectifies women for entertainment. Right now, most of it is simply smut. To pass it off as ‘tackling’ geo-political issues is an insult both to his potential and the intelligence of the reader and it bothers me that a new, interesting magazine would do that.
Of course, Luis Quiles’ own admission[1] that the ‘deep message’ is just ‘boobs’ does not help his cause at all.





[1] Christmas Eve post on his Facebook face. See the cartoon:
https://www.facebook.com/luisquilesart/photos/a.431789840308060.1073741837.290662047754174/431789923641385/?type=1&theater

Thursday, November 27, 2014

In Conversation with Griselda Pollock

This interview took place on 23rd February 2014 at Peterhouse when Griselda Pollock gave a talk at the Perne Club. It was subsequently published in DODO, the Peterhouse newspaper, Lent issue.





Having written over twenty-seven books in her academic career and ruffled some heavy patriarchal feathers, the disarmingly modest Griselda Pollock describes herself as an ‘old fart’. It is very hard to agree though as she holds an entire room of Cambridge graduates and fellows in rapt and moves with frightening agility between female politicians, Angelina Jolie, the male gaze, FGM and innumerable other compelling but vastly different topics. The only thing that ties them all together is feminism or, plainly put, the fact that they all affect the lives of women.
Griselda Pollock has dedicated her multiple lives as an academic, art historian, activist and woman to the cause of feminism. Last week she was in Peterhouse to give deliver a paper titled ‘After-Feminism’.
We chatted briefly before her talk on many subjects including the position of women in politics, the cultures of impunity and sexual harassment and finally, about the depiction, treatment and subjectivities of women in art. Here is an extract of the conversation -
Speaking of Thatcher and Gandhi, do you think having women in politics, although it’s very empowering in its own right, is necessarily the same as having feminism in politics?

That then is part of the double structure which is what is the iconography of women in public...what does that do? What does that do to any person who is woman? Politics is a place where women can be. But obviously processes by which women have to struggle to even be there make such a primary aim that it is not a of matter of saying we don’t need women in politics because we need feminists  but we do become feminists at the point we realize we need absolutely to transform the entire world. It’s that other dimension and I suppose that is what the difficult thing is for us to grasp that at the moment because the representation of women – for example, in the light of the death of Mrs. Thatcher in the British imagination – is confusion between the powerful woman who really is simply a phallic fantasy and that question of the right to consistently revolt against the status quo, to demand change - but a change you and I cannot yet imagine.
I mean I can imagine the changes I could've asked for but if only the full understanding of what my generation did was not caricatured and misrepresented and forgotten or you know, hidden again then your generation could ask other questions that our generation could not have even seen.

Is it always about generations? Do all places across the globe experience the same wave of feminism at the same time?

I resist the whole concept of the waves. I think that is a complete red-herring and I think it’s a form of historiographical construction which not only metaphorically has the idea of an endless ocean. I mean, what is a wave? It is not a construction. It is not something you build. So what happened if you had a multi-storied house - what if you talked about certain people building certain foundations and others said no, no that is not it and found another room - if we imaged it in terms of architectural buildings as opposed to something like the sea, endlessly washing away.
The other thing about the generations is that precisely the model of the familial - the idea that we are generations creates this sort of mother-daughter relationship - this Oedipal succession - well no, not Oedipal, because the mother-daughter isn't Oedipal – but at the same time, there is this sense of understanding, not in a familiar way but in that it is important.  Each historical moment, each political generation is confronted with certain immediate possibilities, necessities, imperatives that become significant and are not consistent of the time. So the image of globe with light bulbs going off, because, you know, Korea coming out of Emergency or Taiwan going into democracy or Eastern Europe coming out of Stalinism or China in its post-Socialist rediscovery of gender. All of these things have their specificities but at the same time you can image it in terms of the revolution of the enlightenment which was about virtue, and then the bourgeois revolution which was about rights and then the 1970s when it was a question about the body which I think is still an unfinished business.

Earlier this month, Georg Baselitz said that “Women don’t paint very well. It’s a fact’.  Last year Charles Saatchi was photographed trying to strangle his wife. Do you think misogyny is experiencing a sudden resurgence in the art world?
I think there are two different aspects to this. I certainly think that misogyny is much less constrained in both the real, statistically measurable violence against women, and symbolically, in terms of the tolerance. If you think about what Helen Mirren said in the Golden Globes about protesting against the gratuitous violence against women that becomes part of every narrative that we see, it is quite unnerving.

And where do you locate Baselitz in this?

Baselitz is just foolish really. He is a tired, old man. His words are not to be taken seriously and what was fascinating in that interview was that if he had said those things forty, thirty years ago he would have said women cannot paint and I cannot think of a single woman to name but now he said women can't paint although I will allow you Agnes Martin, and you know, Rosemarie Trockel. He named others and yes, he said they are no Picassos but that admission would not have been possible thirty years ago because he would not even have those names in his head. So his argument was unpicked by the very fact that he could summon up all these names and all these examples. So we have made certain kinds of progress. But the fact that anyone reported that as anything other than an embarrassing example of a person from the dark ages is not great.
At the same time, Gerhard Richter's painting sold for 21.22 or 25 million just six months before the Baselitz’s comment so we do know that financially and symbolically, still, the most valued things in the world are by a white, European man even when the most exciting art in the world is being made by men and women all over the world and certainly not in painting.

What is it like being a feminist public intellectual in the present times? Does being a feminist in academia provide any respite from the kind of hate speech, internet trolling and street violence that social activists, bloggers and young women frequently face?

Yes and no. Yes insofar as being of a certain age that I am, I don’t participate at all in social networking. I am not susceptible to it and whatever is out there about me or with me does not touch me. Being an intellectual allows me the space to work with many young women because I provide a space where people want to think about these things can do so with some dignity and intellectual ambition. So, my experience of being a public feminist intellectual is actually that of being perpetually nourished by the fact that feminism is a life and death interest to a range of women and some men who stand with it. I do think it is extraordinary the degree to which the development of these social networking sites and trolling and cyberbullying is creating new spaces for not only violence towards women and their denigration but also the whole issue sexualization and norms with which people have to engage with. The issue around sexuality, particularly, is the interface between pornography on the internet and the normalization of the pornographic as the standard of sexuality which has a very direct link to hate speech, misogyny and what young men think women are.

What is your view on the reports of exploitation and unsanitary living conditions for low-wage workers working for the Guggenheim museum in Abu Dhabi? Do you think in this case art has become a site of oppression?

Any institution can become a site of oppression. Art is not a site of oppression but then art institution is a different thing from art itself. Art institutions are part of a massive space of real capital investment and subject to everything going on there as well as increasingly the level of financial capital investment is so extreme compared to even thirty years ago that it is also going to be the site of new, symbolic investments and therefore seemingly shields these institutions from being viewed just as another of the major financial institution of the world.

Many works of the canon glorify rape, sexual torture and objectification of women (Rubens, Titian, Le Sueur to name a few) - should they still be accessible to textbooks and academic curriculum as examples of great art?

I do not believe in the category of great art. I think you study art because it has to be interrogated and read. This is the work of feminist re-reading and queer reading and postcolonial reading - to alter the kind of way that people understand the world through having to encounter these inscriptions in different ways.
It matters enormously how you frame these works of art and that has been resisted in the museums so far.

Art history is often seen as a less profitable disciple than others. President Obama recently said that workers could make more money in "skilled manufacturing or the trades than they might with an art history degree". Do you think moneymaking should become the main focus for degree seekers?

Two answers : I do not think that you get a degree in order to get a job. That is a betrayal of everything both positive and negative about the legecies of the modern university project. If we have a concept of democracy, every eighteen-year-old has a right to a period of self-development through education. This whole notion that you start thinking from the age of seventeen 'how am I going to insert into the economic machine is ultimately destructive of democracy. It has to be defeated and resisted.
Secondly, there are two kinds of art history. I revolted against the art history because I think it IS in the service of the market in certain ways. The kind of art history I teach is enabling people to understand the symbolic as well as the material structures of the world through their iconographies and social applications.
So it is one of the best educations you could get but I would not send people off to study at Christie's.

End of interview.




Monday, July 21, 2014

Birthday Letter

The gaze-locked earth and the sun
Will conspire, I am sure, to dazzle
The twenty-second of august
Into relentless beauty.

It will be a lime-green, crisp, ironed day,
The kind that mothers give their daughters
And lovers imagine being each day.
Rejoice.

But remember, it is as likely to be muggy,
It may twitch with impatience and gurgle
Slight remarks out of a hopeless, sour belly
That the overweight, sullen phone will echo.
The walls, the wilting flowers,
The acerb, expired red-mud of the pickle-jar
May be your only witnesses to this injustice.
Rejoice, regardless.

It may be that on the suspenseful,
Letterless, text-less, tastless dawn
All you will have will be a kettle
Blubbering with compassion and clarity.

There may be a burnt toast with it,
If we are lucky.

Remember, my older, elder self,
Remember we have spoken of this.
And I am with you now
Exactly, precisely, seamlessly
Thirty-one days in the past.
As I will be with you,
Cheek to cheek,

Thirty-one days in the future.

Saturday, March 1, 2014

Backwards


For Debalina.



ACT I

A pinching sharpness pierced the dark. The hazy shapes of a dream receded swiftly leaving merely an afterimage of a possible past and disorientation. Slowly, slowly and yet, in a rush, it seemed, the shrill pinch aggressed upon the dark until it was no longer dark at all.  Neeli felt her body stretch out around her. Under the harsh noise, she became aware of being a pile of limbs, unwieldy and haphazardly strewn under the rajjai. Her left arm shot out of the sheets in habit and tried to extinguish the assault – her fingers crept all over the fat alarm clock until they found the right button and then pressed it.

All was well again.

Yet the renewed silence failed to bring back the comfortable oblivion. Neeli could not sink back into the pillow. On the contrary, a thin film of sweat began to spread across her body. Still half-conscious, she felt two half-moons of wetness spread into her armpits, just as a thick line of moisture ran from the nape of her neck to the small of her back soaking the sheet. Within a few minutes Neeli began to feel constricted and tried to throw away the duvet which in the chiaroscuro of sleep and awakening had taken the supernatural proportions of a leviathan. The struggle seemed to last for ages. The cunning beast, invisible yet heavy as a sea, caught her limbs in between its folds. Each fold morphed into an antediluvian crag, holding back Neeli’s foot and arm and torso and waist in an adamantine grip, determined to subsume her in its monstrous nightly existence that had nothing to do with the harmless patterned rajjai that lay on the bed during the day. The harder she struggled, the larger and tighter the ropes became until Neeli was so thoroughly entangled that she could only move her head and nothing else.

‘No, no, no, no…please!’

Neeli’s innards and remnants of the cheap vodka from the previous night coalesced into a perfect scream as they tried to rush out of her. She swallowed several times, exhaled and then went totally still. By now her retinas had adjusted to the dark and the room began to make itself known with a menacing stillness. From her trap, she could make out the clock, a large plastic thing she had bought at a sale. It sat round and eternal, emitting a gentle, obsessive tick-tick-tick-tick… She turned her head slightly, very slightly to the left. A windowless wall stood right next to her bed. Faintly bright in the dark, it was a buttery yellow during the day. A dark square hung in the middle, an old film poster her father had sent on a birthday. Nothing else. Just a wall bare except for a poster and a clock. That was all there was to her outside the tangle of the bed.
A wave of despair broke over Neeli. Her temples began to throb and she felt a little hardness form in her throat. Here she was, totally trapped, alone in the dark, in a city far away from home. She could not tell what time it was but it was not morning. She had no idea why alarm had gone off in the middle of the night and she had no idea what she was doing there, on that bed, in that awkward clamminess, flailing in a jigsaw of cheap bedding and underwear. In a rush the images of a cool cement floor, a cotton bed sheet and a jute swing in a balcony in a faraway city flickered through her mind. But before she caught up with them, before she had a chance to protest and forget, the other images crowded in.

Suddenly the old, familiar line of a clavicle fell into her mind. It just floated in nothingness – a dark, supple hue of the skin clinging to the bone and the contour of the shoulder above it, falling to the side in a graceful jigsaw with the bone. Then the image began to grow. A long, mannerist neck soared in a tilt and soon, above it, a soft, pale face with thick eyebrows and the soft shimmering dot of a silver nose ring.

Neeli clamped down on herself, evading the inevitable for long as possible. She tried to conjure up other memories; she forced herself to consider whatever had elicited pain, resentment, envy. She was willing to take little pin-pricks to avoid the avalanche; her limbs shot out and thrashed against the death hold of the tangle. Everything began to dance in fury around Neeli’s confined form until the distractions faded away and the memory inundated her with a colossal, sea-heavy, unbeatable torrent of knowledge, guilt and shame.

Act II

Neeli gingerly picked up the saree by its edge. It was their mother’s and they had both seen it many times in her iron almirah which she kept all her clothes.

Rina had never quite grasped the concept of a wardrobe. All her life, she had put her clothes in a large free-standing closet and this strange medieval almirah was always locked. For Neeli and Tinni as little girls, the gravest privilege was to be present in the room when Rina opened her closet. They would point at the yards and yards of folded silks and zaree and ask what each one was called. The names, as intricate and soft as the textiles, would then float around the  room… kanjeevaram narayanpet Varanasi … strange beautiful tissues of music alighting on each folded saree. This privilege only occurred on certain days of the year. They would mostly be birthdays and school functions when the sisters would nag and nag until Rina gave up and let them choose a saree to wear.

Neeli always chose the pale, unstarched cottons. Rina tried very hard to understand the rationale behind her thirteen-year-old’s strange, middle-aged taste but she never got anywhere. Neeli just pointed and waited until her resigned mother brought out the old, modest beige tangail.

Neeli gazed at the border of the blood-bright silk that she held between her fingers. Absentmindedly she stroked the outlandish gold paisleys.

Her first memory of this saree had disappeared a long time back; a heap of later memories of remembering, missing and wanting had crystallized into a perfect, glorious moment of once-upon-a-time rigor and divested it of all imprecisions. This memory of a hundred memories was the beginning of many things in Neeli’s life, and the end of her love for her sister was one of them.

It was a sunny, wintry afternoon. The bedding had been put out in the veranda to be warmed and Neeli and Tinni sat on the warmed mattress as the sun slowly chafed their backs. There was a crispy scent of roasting aubergine and cilantro in the air, and soon enough, Rina appeared in the veranda, wiping sweat from her brow with her saree. Neeli still remembered the efficiency of that motion and the graceful tuck of the anchal into her waist.

Neeli had inherited her mother’s tremendous will and hard looks. Tinni, even in her infancy, was the exact opposite with her liquid, wondering eyes and long neck. If the family had any hopes in the adage of looks being deceptive, Tinni proved them all wrong.

Her name, face and nature formed a seamless symphony that was very hard to ignore and equally hard to recognize. Everything simply came together in her. The pixie grace of her limbs conspired with her disyllabic little cowbell of a name. Her nature was mostly a mystery to everyone because in a family of rampant arguments and fights, Tinni had somehow always managed to smile and murmur her way out of tricky moments. No one had ever seen her angry. Unlike Rina, who saw her daughter as an unearthly being, entrusted to her care but not really her own, Neeli had always been certain that her angelic sister had simply found the key to a secret place where she could stow away the redness of the eye, the tears, the throbbing temples and the stream of expletives that showed them all up.

Rina pulled out her wedding silk gently out of its crepe-paper wrap and spread it out in the sun. ‘The fabric needs to breathe’, she cooed. The airing of the saree was an annual ritual and one of utmost solemnity. Every winter, Rina arrayed her dearest, most delicate sarees in the sun. It was ostensibly for the moths and the damp, but everyone suspected it was also because Rina, most of the time a self-effacing wife and mother, just liked to see her treasures shimmering in the noon sun.

ACT III

Neeli held the same saree now, in her hands, more than a decade later.

The ghastly glare of the tube light blinked and sputtered.

The explosive, unspeakable dullness of the summer twilight coiled tighter.

Neeli continued to stare at the anchal. She was not aware of its being a saree anymore. It could have been a piece of paper or a severed limb.

Behind her blank, unmoving eyes, it was 1987 again and she was a little twelve-year old woman, sitting on the veranda, hugging her knees.

Rina suddenly turned towards her elder daughter.

‘How many times, Neeli, just how many times have I asked you not to sit like that?’

Neeli was too excited about the saree to care – ‘But father is not even here. You said, only in front of father. Besides, I am wearing full pants. You can’t see anything!’

Rina turned red. It was a raging battle in the house. Neeli had just turned twelve and she was simply unable to understand why a girl who had begun to bleed must never sit cross-legged. Every time Neeli was told off, she would retort with the very unladylike –‘But I am wearing PANTS!’

All this would obviously not be a problem if she wore the long, ankle-grazing skirts that Tinni had begun to wear, even though she was eight. But Neeli had refused to come out her ‘tape frocks’. By now the white, child-like smocks were indecently short and Neeli’s insistence on pairing them with the ‘full pants’ did not make it any better.

Neeli had never told anyone why she had refused to wear the skirts. She did not know it herself. But every time she saw Tinni glide down the stairs or sit at the window with her skirt dangling in great folds below her, Neeli had felt a little needle-point of something that she could not describe.  A strange fascination seemed to root her to the spot. A fervent love for the sight rose up until it became a nausea that swirled inside her.
Neeli often stole into Rina’s bedroom and stood in front of the mirror staring at the plain, round, moon-face in it. She would think of Tinni’s soft, long hair. Her own hair hung around her face in glum simplicity. Tinni’s shadow seemed to stand beside her and point out all the bits of the body that needed sewing, cutting and lifting. The blunt, flat nose, the relentless hair on the arms, the plump cheeks...the girl in the mirror was not her. Something seemed to have gone wrong somewhere and Neeli was being punished by having to wear the body of this mirror-girl.

And now, now it was Tinni’s wedding in a month. She would be enclosed in the crimson swirls and folds of Rina’s happy marriage, while Neeli, the older, the expectant, the righful would have to sit in an old yellow room, full of cobwebs and memories of dead men where the walls constantly peeled and the cockroaches quivered harmlessly, feeling their way around twilit kitchens.

ACT IV

The sudden howl of the phone jolted Neeli out of her reverie. She looked up and noticed that the orange of the sundown had dwindled to a bleary grey outside.

Her legs felt strange and heavy as she maneuvered them towards the shrill center of violence. She came out of her room and the dereliction of the house exploded into a violent consciousness.

The rusty meter box full of hungry live wires gaped out of the damp walls of the corridor, snaking around the yellow half-light of fat bulbs. Neeli took slow, measured steps. There was no hurry, not anymore.

Her eyes fell on the large photo of Rina on the wall. She seemed to have sprouted an ethereal plait above her head for a second and then the lizard flicked its tail and scuttled across the wall. Rina continued to hang on the wall, lopsided, patiently smiling through a desiccated string of tuberoses, hung upon the frame on the death anniversary the previous year.

The phone never stopped howling. Neeli had been hoping that whoever was calling would give up before she reached the dark belly of the bedroom. But this was an urgent, desperate call and not to be ignored. Neeli signed and picked up the antediluvian receiver.

Tinni’s effusive rush of pleasantries caught her by the neck. There was no escaping as the enthusiasm about the wedding, her fiancĂ©e and her work leaked out of the phone and into Neeli’s skull. Waves upon waves of energetic love and happiness seemed to issue out of the receiver held a few inches from her ear.

At last, Tinni’s voice came to a startled pause. Neeli’s silence had finally punctured the gaiety. They both waited for each other to pick up the conversation until, at last, Tinni asked about the saree.

‘So, um, have you found the saree?’

Neeli heard a throaty, unnatural voice explaining that the saree had always been in Rina’s almirah. It then went on to explain how Rina had given detailed instructions about the bequeathing before her death.
A thin, nervous laughter came from the other side and then Tinni wrapped up the conversation. She was going to be there the day after, and she was looking forward to catching up.

‘Bye, sis! See you tomorrow’

‘Bye Tinni. Call me when you are at the station.’

Act V

The day was here.

Neeli paced the length of the small garden at the back of the house. She felt little hollows of pleasure as she squashed the hibiscus blossoms underfoot.

A quiet breeze had begun to blow.

The grass, the fractured glass on the window, the wooden shutters of windows all began to dance in a great twilight frenzy of oblivion, of innocence, of some alien happiness that Neeli found insulting.

Tinni would be here in a couple of hours. What had she said – eight? Or was it nine? How long did it take from the station? There was not much time left.

Neeli paced back to the grey shadows of the bedroom. The saree lay on the bed where she had left it the previous night. In the shadows, the crimson had changed to a darker gleam as it weaved through the quiet glow of the golden embroidery. The bed, in the unfamiliar, new shadows of the twilight had become an endless continent swathed in white.

In the middle, the saree gushed out, a river of blood and shimmer.

Neeli felt something inside her ribcage contract, a hard thud. Her body convulsed for a moment as if it was getting ready to birth. Then everything went still, everything except some vile, impudent clock, hidden deep in the pericardium, that seemed went on ticking loudly.

As she stood at the doorway, Neeli felt her body being crisscrossed by a thousand live, screaming wounds. They wove their way through her skin, tearing up whatever love she still had for Tinni.
A thousand little fragments of their shared childhood sprung up around her. As two points of dull ache gathered near her temples, Neeli remembered that day once again.

Neeli had been possessed by some perverse energy that day. She had refused to back down. The argument had got more and more heated. Neeli would not sit differently. Rina got exasperated. At first she had been gentle, but after an hour, she lost her temper. What would she say to her in-laws if they saw how badly Neeli had been brought up? How could a twelve-year old answer back with such insolence? Rina had felt more and more helpless. She could never raise her hand like her sisters did. She could never bear to see those angry welts on Neeli’s back that all her nieces bore. What could she do? How could she punish for refusing to listen, for refusing to be a woman?

Then it had struck her.

Neeli had not known what calamity was on the way when Rina had casually picked up the coveted, sun-warmed swathe of silk lying between them. In one graceful swish, she had unfolded the saree and taken it to Tinni, who had been watching her mother and sister bicker for a long time.

‘Tinni shona, you are my good girl. You always listen to me, so I am going to give you my wedding saree. When you grow up, you will be a beautiful woman, and you will look perfect in this when daddy gives you away. What do you think?’

Rina had watched Neeli’s face and regretted her decision immediately. Neeli would never come to know why Rina had insisted that Neeli stay with her, why she had coddled her with sickening affection for the rest of her life. Neeli could only remember that day. She could only remember Tinni’s elation.

Neeli  picked up the saree and carried it outside.

She knew Rina could not have taken her words back. She understood. She really did.

Her breath came in short, loud bursts.

Tinni would be here soon, wouldn’t she? Tinni, who had fled the nest a long time back. Tinni, who had gone out in the world and found her love. Tinni who was beautiful and beloved. And now she was coming back for her inheritance.

The saree weighed down her arms like a dead baby.

What would Neeli say to her brother-in-law? She did not know what he looked like. She imagined a blurry shape next to Tinni. Would she give him a hug? Would she congratulate them? Neeli, the poor, older sister without any prospects, living in their dead mother’s house - what could she say to her sister and her husband?
She dropped the saree on the grass. It rested there - a little pool of gilded darkness in the gloaming light. What had Rina called this light? ‘Koney-dyakha alo’ – yes – that was it, the light to glimpse a bride.

Would Neeli ever look bridal? She caught the stoop-shouldered, rickety shape in the window pane.

Suddenly Neeli realized that she could not see her sister again. She realized that something terrible would happen to her if she saw Tinni in person. The obedient clockwork of her bones would unhinge from their sockets, her limbs would give away and she would cease being Neeli.

So she ran to the kitchen and rummaged through the cupboards. The lighter had been unused since Rina’s death. There was no need for incense burning or candles anymore.

Neeli did not let any thoughts form in her mind. She gripped the lighter tightly in her palm and sprinted back.
The saree still lay there, bits of it swollen up in the breeze, the edge fluttering.


She held the blue glint against the dark fabric until the fire began to stick. Within a few seconds, the flames crept upon the saree, spreading through its length in luminous tendrils.

Neeli felt numb. The fire was so quick, so quiet. There was barely a rustle as the silk began to blacken and disappear under the flames. The little garden suddenly seemed too small to contain the ferocity of the blaze.
A little ball of panic started to push upwards in Neeli’s stomach.

She wanted to put it out but the fire was just so beautiful. Everything was simultaneously aglow and in shadows. The saree had become a long burning rag, all its splendor and length devoured.

Neeli did not know how long it had been when the fire seemed to slow down. It no longer ran through the saree – there was no longer anything left to run on. Instead it continued to burn steadily in a little luminous heap upon the remains of Rina’s treasure.

The panic still rushed through her body, and yet, Neeli felt strangely detached from it. It was as if she merely inhabited the body that panted and covered its nose against the fumes. The saree was now gone. Tinni would soon be here and she would find the scattered scraps of black clothes and the blackened patch in the grass.
Neeli ignored the thudding in her chest and focused on her feet. They were rooted to the spot and lead-heavy. Slowly, slowly, she willed them to move. She took short, delicate steps back into the house.
She stuffed her purse with a wad of notes from the jar on the fridge. She went to her room and emerged a minute later with a handbag. It contained some clothes, her passport and the folder with all her certificates from college.

Meanwhile the blunt thuds went on at the back of her mind but it was all so light, so light.

Neeli felt self-possessed and precise. Everything was so simple.

She picked up her bag and cast a final, sweeping glance upon the room and then began to walk.

She walked past the main door, the gate. She kept walking.

Soon she would become a dark, small shape against the horizon and then, and then, she would disappear altogether. 

Wednesday, January 29, 2014

For Anna, who also loves 'Medea'

Medea


There was once an angry queen called Medea

Her cheating husband really had no idea.

She said to her husband ‘Darling, I love you!’

While she put his little boys on the barbeque,

But she got away scot-free and now lives in St. Lucia.


Glauce


In the land of Corinth there was once a princess,

Her name was Glauce and she loved a new dress!

But a married man was she wooing,

She should really have been more clued in,

And she certainly should have trusted the wife less!


Creon


There was once an unwise king called Creon,

His daughter to be looked after when he was gone,

So he caught the first cute guy in town,

And lured him in by promising the crown.

But the guy’s wife found out and burnt them all at dawn.


Jason


Do you see that beggar called Jason?

Once he had a wife, a kingdom and a son.

But he threw it all away,

For a turn in the royal hay,

And now he has to make do with none.


Monday, January 27, 2014

The Anatomy of the Primordial

The estuary of time meanders into the timeless abyss
 Shesha, the void-eyed serpent of a thousand faces,
Slithers this way and that, across the waves as I, Vishnu
The order of the universe, the witness of the beginning
And the prophet of the culmination, breathe out the cosmos
Upon these waterless oceans of nothing.

The coronary clock-hands of the nothing
Continue to strike the hours into the abyss
As the blue-boned, circadian mind of the cosmos
Sloughs off its latest rage. Those cotton-clouded faces!
Those ambrosia-mottled limbs of devalok are beginning
To seize and choke my being! No, No, cries Vishnu.

But the gods, the leaves, the shoals and the fires are also Vishnu.
I am the nameless, the limbless; the solitary sailor of the nothing.
The synapses of each moment wreathe my end to my beginning
While I cannot die, I must give birth and blossom into this abyss.
The umbilical lotus springs out, bleeding immortality onto the faces
Of the four-headed Brahma, the son and the keeper of my cosmos.

Brahma, as he is born, excavates the suns and the jupiters out of the cosmos
He tills out the moons, earths, comets till the Milky Way gushes out of Vishnu.
I, Vishnu, the king and the steward, breed continually till I am a thousand faces.
I am the wild boar and the vast shell of the tortoise, and the life-giving nothing.
I, my lotus-son and the serpent are both the ouroborous and the abyss,
We are the map of the apocalypse woven into each dewdrop of the beginning.

Matsya, the piscean lord, gave me his form to wear at the crisis of the beginning.
I remember his immense lamellar bones, his lobed fins; his tail rips the cosmos
Like ice. I lived and blessed his fragile, scaled body, and still it lurks the abyss
Around the sub-Himalayan landform. For a mortal body to house the Vishnu
Is great suffering: from the king of kings he has become a near-extinct nothing
They call him the coelacanth for his hollow spine – the spine he lost for my faces.

As the ocean bed retched up the ambrosia and the venom, the greedy faces
Of a million demigods slobbered upon my shores. I saw then the beginning
Of bloodspill: they would all suffer and nothing would come of this mad nothing.
Vishnu, then unbecome, took off his cyan-scaled skin. He turned the cosmos
Into a stage lit by a million suns. He became the aniconic, courtesan-Vishnu
To lure and thwart, swerve and sway those who must fall and be eaten by the abyss.

In the boundless midnight abyss,
The trinity reigns in the name of Vishnu
And so shall, till the culmination of the cosmos.

Saturday, January 25, 2014

Happiness is the skin of a morning

Writing is difficult.

I wish to write every day, every minute, because there is so much along the lining of the cavity, just waiting to pour out in a slide of haphazard words, gesticulations, stares and tears. A conversation with a friend or a guardian spirit is a better vehicle for release One can spew and spew and it all dissolves into the great void of the world. I sometimes wonder if the air is not an incarnation of the blue-throated dancergod- breathing in and holding the toxic waste of the human soul for an eternity.

Writing, on the hand, remains. Writing stays still and writing dances across the manifold surfaces of the limbless internet and the humble ten rupee notebook that your mother may decide to read one day. A website may be hacked, a diary read without consent. In other words, whatever you choose to put down in a legible script risks being captured and taken away, or worse, used against the writer.

This paranoia has always kept me for writing a diary. However, over the last two years I have had a notebook that occasionally swallows up my misgivings, regrets, rages and terrors. But only that. Nothing positive, nothing heart-stopping ever goes into it. I think I would find it easier to own up to my flaws and ugliness than to confess to breaking down in front of a painting a strange city or having a morning that compensates for all the dull, sad mornings I have ever had.

To own up to a happy moment is to admit that happiness exists. I am not brave enough to raise the stakes that high. If I admit that happiness exists that I can no longer submerge my soul in the petty, the tiresome and the easy. I must go out and find this nebulous little poetry of existence.

To write about happiness is to remove all scope of denying that it happened to me, and that is to constrain myself forever from despair and annihilation. That would be difficult.

But I am happy. I am happy right now, listening to music I have never heard before, writing this confession and setting it free into the oceanic randomness.

I must give in to my bad writing. I must write trite things and silly things and self-indulgent bullshit and non-p.c. confusions and everything that is frothing and freezing the innards. So, I shall begin by writing about this morning, because I think I had the most mindful, ecstatic, heartbreaking morning of my life.

It is 1.37 pm and I have written a page, and the happiness is still quietly nestled against me.