Flickering Lights

Of Nietzche and Superman: Not so Small Ville

2012-01-24T09:25:00.000-05:00

As I wait here in the fallow wasteland across the street from my burnt house, I find caught up, yet again, by another long tale, and this post goes out as a tribute to it. It is the television series, Smallville, that holds me the way the Star Trek and Harry Potter mythologies have done in the past. I knew I was hooked when I saw the young Clark Kent sitting in his High School cafeteria reading Nietzche, and to confirm that this was a deliberate thematic thread, a character actually comes up to ask him if he is Man or Superman!

I do not get television where I live presently, and my Hindi Serials are one of the sacrifices at the altar of what I have come to think of as my fire. In absence of the Saas-Bahu sagas that used to keep my internal World Tree thriving and populated, my thirst for the Story has led me to this back-story of the Superman mythology.

I must also confess that when Christopher Reeves was struck with paralysis, I actually felt the fabric of the kind, hopeful, logical universe tear apart with a deliberate, malicious pair of shears and I almost believed in Sisyphus' condition: is spiritual, internal strength the only kind allowed to humanity? So it has been easy for me to fall for the promise of this extremely recognizable Hercules-tale.

However, this story is no simplistic, clear-cut good and evil tale with cool labs and loud explosions, though it has plenty of both; in fact, it examines the extremely complex nature of human morality. In one of my favorite quotes by one of my favorite characters in the show, Lex Luthor sounds this theme very eloquently when he says, "The path to darkness is a journey, not a light switch." This show goes on to examine what it means to be human by contrasting it with what it means to be super-human and addressing archetypal themes like light vs. darkness, the conflicted self, destiny vs. free will, the father-son relationship, the idea of a family, connection between the land and the people who are defined by it, and the nature of human love and its connections to justice, hate, and death.

This show is helping me come to terms with my situation. It distills and crystallizes all that is the best, all that is worst, all that is possible as well as its many alternatives, and presents my internal struggles in an easy to digest archetypal package, very much like a good Fairytale or Myth does.

Maybe it is time to re-evaluate my definition of Home as some kind of an end to my yearning, not so much to ease or to speed up my Odyssey, rather to recognize the journey as part of Home, since that is the condition, the space I inhabit. After all, the aim of the Story is to understand the ever-changing, ever-recognizable condition of being human, not a perfect, static landscape the unchanging gods would inhabit.

The Journey Home I: The Fog

2012-01-21T06:47:00.000-05:00

This fortnight has tested my patience, understanding, fortitude and all the little washers and screws connected to these machines. No work has begun on my burnt house and my questions about it are beginning to sound whiny. I cannot imagine how many more months upon months upon months have to be lived before the healing can begin.

It seems impossible that I should agonize thus over mapping out a journey across the street where I stand. But when one is trying to map the fourth dimension of chaos, the other familiar dimensions lose their logic and designations. The main problem that I have been grappling with is the loss of my clear perspective, one of my greatest losses in the fire that robbed me of my home. A clear vision remembers the past, understands the present, and can project a few options for the future; I, on the other hand, cannot bear to remember the past, cannot fathom the present, and am too afraid to believe that all will, indeed, be well. Every day, I find new depths in the pit I inhabit now, and the light shining far above is too bright to be anything but a gyp.

One would think that 15 weeks would provide distance and perspective, since I'd have had time to reflect. However, the machine of routine allows no such luxuries: there are papers to be graded, lectures prepped for, doctors' appointments made and honored, among all the madness of a household with a High school Senior and three cats that don't exactly get along. There is no time allowed for reflection, when all thoughts and moments are dedicated to juggling immediate necessities.

I try to snatch rare half-hours of my staring-out-into-nothing time, like this half hour before the day is born, because my daughter had to reach school at 5am and I have a few moments before the Sun peeps over the blanket of fog and begins to shout contradictory directions at me.

This entry serves as a reminder to me to navigate these dark, foggy waters with patience, for even the slightest stumble is likely to sink my ship. I must remember not to look down, since there is no way marker there. I must remember to steer true and slow through elements I cannot see, and learn to recognize, understand, and heed the strategically placed cliff lights as the only guides to harbors I can only imagine.

The Journey Home 1: The Haunting

2012-01-13T15:00:00.000-05:00

Courage, to me, feels like a four-lettered word, something one curses one's ill-wishers to have to possess and exhibit; we wish for our loved ones the unexciting, adventure-less mediocrity which keeps them safe, predictable and found. Ever since my house burned, I have been forced to wind myself tightly, to keep all parts of my self in a knot that cannot be undone by storms, strife, disease, fires, floods, or any other avatar of apocalypse. I have wanted to destroy all backups and other paraphernalia of my essential hard drive, so no byte of me may be lost, no loose ends may break off, ricochet and end up orbiting strange realities.

This is my attempt to log the impossible Odyssey I have set upon. Since my house burned last Fall, I find myself at a loss, with extra hands and fingers that have forgotten what it is like to be me. I have stretched my arm out in front of me in this darkness, but cannot see it any longer, the darkness being so unrelenting. So I must resolve to lift up my foot and place it somewhere other than where it seems to have rooted, hopefully, somewhere forward, wherever and whatever that means.

I went back to India for ten days, and when there, as usual, I sought subconsciously to inhabit my home here. However, I found my memories haunted by what is not there any more, from the feline I lost to the fire, down to the bunch of safety pins that used to live on my bedside table. People ask me what I need, needing to help me, but I cannot answer and end up roaming dazed through the kind, generous world full of plenty, unable to own or recognize. I have been committing to nothing, refusing all need to own, even for a cup or a bottle, for fear of adding to the burden I must keep moving with. All beds I have tried to rest on have felt un-mine; they are either too high or too hard, the pillows seeking shapes that do not fit my neck or head.

I know, if I want to retain the core of who I am, that I cannot go on like this for long. So I have been making conscious efforts to exercise my lip-stretches, blink the darkness back, choose blindness to all that is not there anymore, which is the hardest, since all that is lost glares in sharp relief every time my glance falls on what I have salvaged, tried to replace, or accepted.

So I took a very frightening step this past weekend: I bought groceries to stock the fridge and larder in the house I am staying at present, hopefully until mine is ready. This chore of buying groceries, something I used to do with such familiarity, felt like exercising the awkward vowels of a forgotten language, not having indulged in it since the house burned. The act of stocking up on my child's lunch stuff, soups, breads for ledges un-mine felt like I was trying to cheat on extra, forbidden rations in a time of famine. The ultimate step was when I brought in turmeric, hing, and cumin, and lodged them on the kitchen counter, next to the salt shaker a generous friend has given us. This has changed the very topography of the counter, and I cannot decide if the familiar spices taunt me, seem forlorn, or make a statement. Now, I have to remind my fingers to navigate that counter again.

I begin and end each day with the sight of my burnt, hurting home. No one has begun work on it, even though I have signed promises, been cited by the city for owning an unsafe dwelling, and have taken residence behind it.

My familiar, the ash colored cat, refuses to abandon it and continues to live in her burnt home, haunted by all that was, all that can never be. Kind reader, if you should pass by the broken lock and barred door, where cold shadows await, where the ghost cat sits at her vigil, hang a prayer on the dried branches, that my world be verdant soon.

The Funeral

2011-11-20T15:43:00.003-05:00

My house is dead and we had its funeral yesterday; it burned a few weeks ago and no one quite knows why, though I am sure I was responsible, somehow, for this devastation. On Diwali, my life irrevocably changed. I remember the morning with a forced clarity, since I've had to retrace it endlessly, both in my tortured solitude and verbally for various authorities who have tried to analyze and square this away neatly.

Like all deaths, however, this one defies all logic or sense of fairness, and really, it matters little how it happened: the fact remains that I came home from work one day to find a ruin, almost as though I'd wandered into an alternate multi-verse, in which I am less fortunate than in the one I inhabit, or that I'd wandered into a wrong fairytale (this was ME! This wasn't supposed to happen to ME!!). I usually don't sleep much any longer, and when I do, my vivid dream life tries to convince me that it was all a horrible nightmare, that of course my home is safe, exactly how I'd left it to go for work that Diwali morning, waiting for me to come and light the ritual lamps. But then I know exactly what that is: it's a defense mechanism construed by my shattered, shocked sense of self, and I confess to have wondered about the means by which I could lose myself in that dream and not wake up. With equal shame, I have chosen to wake up and tried to gather myself around me, like a shawl of ashes.

It amazes me how much of myself I'd stored within those charred walls. It is a strange feeling to realise that I own nothing: not a spoon, not a safety pin, not a needle or threader, not chairs or door knobs. A lot of my books, like my poor cat, did not make it either. On the other hand, I am sure I own some sheets, some photos, more clothes than the ones in that box next to me, but I couldn't say where they are. No matter how many times I try to remember what the Sufis, Saints and Poets have said, this realizing does not liberate me in any way. In fact, I am a lost soul whose horizon has either abandoned her or been erased. I have no compasses to steer my reality by!

Yesterday, my friends helped me remove, salvage, and discard the remains of my house. It felt like a funeral, and had it not been for so many kind hands holding me up, I would have been lost in yesterday, unable to find my way to today. As I considered the detritus of all that had made sane sense to me and recognized myself in each familiar arch, cadence, texture, and hue in that heap, the immensity, the impossibilities of my circumstance, my situation, stood out clearly, in relief, forcing me to meet their eyes with the same recognition I had saved for the Odyssey a student had given me, for the ceramic bowl my daughter had made for me.

Time behaves strangely for me now, and the very ground feels malicious, like quicksand, waiting to swallow me down. I think of Odysseus on his way home from Troy, never dreaming how much must be endured, conquered, travelled before reaching Ithaca and being recognized. I think of my Sita in this story under the Father Tree, slowly understanding the full implications of her impossible position. I think of the Ancient Mariner, who is left with only a harrowing tale that he must repeat endlessly.

I do not wish to seem ungrateful, of course; there have been many mercies: the worst, hopefully, is behind us, we have realized how many wonderful, generous, kind people we have always been surrounded by but had failed to realize it, and we have been lucky to have survived this with our fingers and toes intact. We shall, of course, build ourselves up from these fragments because, really, there is no other choice.

Kind Reader, please enjoy a glass of water in your own homes, in your own glass, and be grateful on my behalf for being able to do so. I, too, shall think of you, and take heart that Odysseus does find his way to Ithaca, after all, even if it takes decades. Please pray that the stars who have extinguished themselves from my skies have not gone out, but just changed their orbit, and shall be back soon to light my ship to familiar landscapes.

'Tis Almost Fairy Time!

2011-10-15T21:46:00.000-04:00

The days have suddenly shortened. Like Coleridge's Ancient Mariner, I watch the dwindling light, wonder and fear as at one stride comes the dark. On days like today, even as the temperature mounts in mid day, the sky never brightens and 6pm feels like 8pm, and my cat worries that I might have forgotten to feed him. My postage stamp of a backyard is alive with night rodents that scratch and screech into the hot wee hours.

Something archetypal in me recoils at the fading lights; in the dying year, I find it difficult to trust the shifting whispers of leaves. Many friends, especially the ones who live in different geographies and landscapes, claim to love Fall of all the seasons and I admire their courage to notice beauties as all things close and end. In this season of endings, mornings feel like a gyp, misnomers for the grey mists shrouding and hiding the earth in treacherous cobwebs.

I think it might be more difficult to face the Fall for those of us who nest in the Tropics, where either the day is bright or stormy or both, but never neither. I wonder if the urbane ducks, cats, and palm trees are affected similarly, if they would confess to a discomfiture with the anomaly of Autumn in the land of eternal sunshine.

I remember a really, really black Fall, many moons ago, when I used to consider 3pm and worry about where I was to be when all light was gone from the skies. That was the Fall when I first took my small daughter fairy hunting in the streets near indifferent strip malls. We would arrange rocks of broken cement and come back the following evening to exclaim amazement if they were or weren't where we'd left them. I took to spending nap hours to eek out child verses with hackneyed meter and beaten rhymes, and hiding them in hedges for us to find later that evening; those were our fairy lamps and they brightened many evenings.

Yesterday, we attended Sol's An Afternoon with the Elves, and not surprisingly, that resonated with me. The play celebrates our need to believe in the numinous in the midst of unbelievable, heartbreaking realities we often find ourselves in. In fact, the play contends that so strong is this pull towards the numinous, that often, we find ourselves upsetting the comfortable, easy status quo of the familiar and recognizable, as we race after the flickering, winking glimmers we imagine on the borders beyond our peripheral ken.

It is this very need that makes the lengthening nights sparkle with festive votive and lanterns,as the darkness is shawled in clothes of brightest hues; firecrackers and joyful music mingle with twinkling, tinkling jewelry to drown out the dusk hush; the greenest of evergreens grace lintels and mantels; the once tightly shut doors smile open in welcome, their thresholds sporting Rangoli.

Tropics do change their seasons after all, and fairies do light up the path markers of Fall. As I watch the long shadows dancing in my backyard and through my window, I am aware of a deep gratitude for the incredible, extraordinary capacity of our species to take arms against the very mantle of the sky, and by opposing, end the smothering dark.

Never-ending Story

2011-09-18T12:45:00.000-04:00

I read a facebook post from someone who confesses to her incurable addiction to German soap operas. I can so relate: I, too, confess to this addiction and have blogged about it previously; however, besides the opulent sets, familiar cadences, and use of folklore that I've addressed in earlier blog entries, there is the matter of the story, the plot itself that beggars justice.

I am truly amazed and humbled at these contemporary epics. The plots of these serials make mazes seem tame. There are numerous subplots, an inevitability, really, considering that the typical saga begins with a rather large joint family. These plots are very wise: they know that no story is meaningful if the characters don't mean enough. So of course, there are several episodes devoted to character establishment.

The story uses an intricate embroidery of colors, costume accessories, phrases, melody strains, and amazingly, a background chorus for effective characterization. For example, if a villainous, scheming vamp archetype is being introduced to the newly married bride (our protagonist), the background music associated with the vamp would include a phrase, like her first name whispered ominously, repeatedly; or if the neighbor's good-hearted son (our clown) is about to tell a lie, the background music is woven around a phrase like "Jhoot bola!" (Jhoot= lie; bola=he spoke). And then the story begins; the central conflict is introduced, and variations on the same theme form subplots for characters that are only slightly ancillary.

The plots are convoluted, unlikely series of events that rely on their very improbability for verisimilitude! They seem to rest on the truism that truth is stranger than fiction: after all, the individuals who make the audience examine their own lives and circumstances, and think back to an earlier decade when all that has come to pass since, would have boggled their imagination then. And reality itself is such a shifty thing! One cannot rely one's senses to verify it, and human understanding is so fraught with pre-conceptions, mis-interpretations, mis-calculations and a myriad of patinas, that it seems useless to commit to a limited version.

Moreover, the characters and situations are ever so easily recognizable, so easy to relate to, that the improbability of the opulent settings and costumes becomes just an acccesory to the permutations and combinations of events, and helps in construction of archetypes.

Fiction imitates reality, like a stick figure imitates a human being: this is the first lesson to all who choose to Read Literature. The soaps, like all fiction, then, channel this truth, the truth that transcends facts; the truth of humanity made recognizable in a stick figure has an appeal that is more universal than an individual's face reflected in a mirror.

So it is with these stories. Characters die and come back to life in a different place, with a different name, among new characters, often with different faces, but they become palimpsests of their previous stories which continue with their absence at the center. These parallel plots build up to a climax when the past and present are made to co-exist, acknowledge, and recognize each other, often in presence of the future, so the story can go on once one climax has been resolved.

I heard of a knife a family has; it's been in the family for many, many generations. Of course, sometimes, the handle has had be changed, and sometimes, the blade has had to be replaced, but the knife is still the same. This post is dedicated to unending stories that continually re-invent, re-tell, re-configure, adapt, to refract the variegated colors of the kaleidoscope that is reality.

Glass Windows and Long Stories

2011-09-13T17:42:00.001-04:00

There is something cosmic about staring out of the glass, on level with the clouds and tree tops, looking down on parking lots and roofs. Today, I am more aware of this feeling for various reasons. The most obvious of these is, of course, that it is a clear day, with unlimited visibility, the sun spilling gold all around the world, so the sky feels like another landscape. If I wasn't so afraid of situating myself in precarious places, like high glass towers which would often be at the mercy of the frequent storms, I'd be a megalomaniac, intoxicated by this sight.

However, there is another reason for being more aware of the cosmos: some new potentially habitable planets have just been discovered. The informed ponderers postulate about the existence of water on these planets, which could host life.

This worries me; I feel like I am perched at the edge of a high, fragile glass window in the middle of an indifferent storm. How is life an accident? We assume that we are unique; doesn't that scare everyone? This assumption seems illogical at best and egoistical at worst!

My reaction, of course, like always, is to seek out stories that examine other alternatives. The ones I have been drawn to lately have been fantastical universes, even multi-verses that are not anthropocentric. I find these stories about dimensions of other lives, life-forms, realities co-existing with us, fascinating. These have been the stories that have kept me up at night (work schedules notwithstanding).

An excellent example, of course, is the Harry Potter series; I revisited the first book since it was what my book club was reading, and again, I find myself hooked. I have blogged about this elsewhere, so I shall save my patient reader the repetition. Then, Shannara kept me up till the wee hours. And now, Stroud's London, told partially from a Djinni's perspective, holds me captive.

They say Fall is the season when curtains between various worlds and states of being are at their thinnest. The falling year does bring to mind the long story told over many nights, the longer twilights and small days, when humanity holds the largest number of festivals, celebrating beings we don't really understand but are acutely aware of. I think of this season as the least anthropocentric, when people are naturally drawn out of their shelters at night, to gaze at the large moon and sharp stars, and wonder.

So in a couple of hours, when the evening begins, I, too, shall fold up the day and settle down with the unending story that reminds me to be afraid of high glass windows. After all, I am not Sisyphus and my world is not as predictable or as anthropocentric as his: I do not inhabit a deserted universe, nor do I have the strength to roll this rock, or believe myself to be the only upright life form.

Against the Rains

2011-08-21T17:11:00.000-04:00

The monsoon has definitely settled in, and the horizon has all but disappeared. Do not ask me the time; it means nothing and those numbers won't anchor the day. Summer in the flat lands is always uneasy, not because it doesn't fit well, but because once settled, it refuses to lift or shift. My colleagues and students, like me, freeze through the work week in air conditioned buildings with sealed windows and heavy doors that resist opening. Our window overlooks the bridge over the Intra-coastal Waterway and the cars crawling up and down seem unreal, somehow insubstantial and pointless through the veil of heavy rain, loud with many complaints and opinions. In fact, the rain outside the misted over window seems to be the most important personality in the room.

One of the oldest fears of the human psyche is that the sky should fall down on the earth, and there are as many versions of the World Tree as there are storytellers, and just as many devices to keep the opposites apart. Forget death, pain, becoming food; the greatest fear we all share seems to be that all shall blend indiscriminately into a primal soup,the virtuous with the ugly and common, that our belief in the absolute value of our worth, the validity of our individuality, the confidence in our undeniable cosmic relevance and ability to affect universal effects, all shall be erased, rendered irrelevant.

In the center of the year, the air begins to emanate a wet fragrance that is unlike any other smell, at the same time, feels like part of every earth-bound smell. The monsoon in des has a particularly inimitable flavor. When I miss the sights and sounds of my birth-land, thankfully, I now have the television that speaks to me in familiar cadences I don't need to translate. However, nothing really fills in the emptiness when I miss the monsoon-fragrance. My house, like a lot of desi houses, smells of turmeric powder simmering with mustard seed cackled in vegetable oil and asafetida. So often, as I stand on the threshold of my kitchen and little backyard, I forget, and I wait for the koel's complaint when I smell the damp soil; of course, it never comes. My tongue yearns for the tang of raw mangoes marinated in salt water; but the mangoes, like the watermelon and carrots, taste different here.

Our species has evolved so that I don't really need to notice the seasons, except to nod a glance outside my window, or to ensure that my tires and wipers are adequate. The monsoon, however, clouds over my horizon underlined with many forgotten melodies, strains of taste, music, sounds, smells, and an indescribable anticipation as the rains arrive with the season of festivals, all culminating in Diwali.

I sit here, watching what looks like an apocalyptic, cosmic downpour that threatens to flood, swirl, and dissolve the individual thing-ness from everything beneath it, the very air trembling and booming, till the thunder seems to arise from the belly of things and the lightening illuminates nothing but the gray rain. I can see nothing outside my window, not even the palm trees, the roads, the stores I know to be there.

The Tree, then, does more than keep the opposites separate, more than keeping the earth and sky in their places; it shelters and hides creatures, offers a safe-house of sorts as the elements battle it out and the world re-arranges itself around it. For me, that Tree is crowded with remembered fragrances, tastes, rooted in the belief that the world I cannot see shall survive this rearrangement of elements, so the year may continue its festive march towards yet another battle against torrential erasure.

Tangled Weave

2011-07-28T19:02:00.000-04:00

This one began speaking as I was driving to work. The story watched me as I followed the curve of the off ramp, watched me watching it, and leisurely lifted itself from the bole of a gulmohar where it had been perched, and I knew I'd been taken.

And now I am haunted. There is no other word for it. There is familiarity in moving shadows, an almost recognition in the pattern the unmoving leaves sketch on my desk, the scuttling just outside my vision that falls silent when concentrated upon. If I ignore it, or at least pretend to, it'll intensify, and then there'll be chills around my knuckles, numbness just beneath the left hand ring finger, the muscle under the thumb drumming to an unheard beat. That's when I shall have to do something about it. I know this of old.

This time, it is a tangled loom of a story that has stumbled upon me. I can't see the end of it and feel its unwieldy mass pouring in the pit of my stomach. I am really uncomfortable with this one because, like always, being haunted does not assure a good story at the end of exorcism. And the heaviness of this one is frightening.

The thing about largely woven patterns is that they tend to stretch so wide and far that they often get lost somewhere on the horizon. If one is lucky, they carry their creator on their roaring wave and by the time she is washed up on the shore, the project is finished, races off on an ever undulating ocean. However, I am not so fortunate. I am haunted by snippets, images, silvery strands of plot-ghosts as I chase chores, drive, grade, and wonder. I don't yet know what, if they can, will ever crystallize in a coherent tale, but judging by the increased hauntings, the prospects seem promising.

Be that as it may, I can tell that these are going to be a difficult couple of hours, several months, two years, however long the birthing might take.

Good reader, pray that the birthing be easy; light a votive in the gathering the twilight, chew a gulmohar petal for luck, and begin reading or telling a long tale tonight, to ease the season's night passage.

Winguardian Leviosa!

2011-07-15T22:32:00.000-04:00

I just watched the last movie of the Harry Potter saga in honor of the passing of an age. I feel as though I am older for having lived this story. As I look back on what I like to call the Harry Potter decade, I am astounded at how much this story has reflected our world and how much it has helped me live it.

The world I find myself in the second decade of the new millennium has changed drastically and suddenly from the previous decades; I've had to re-define some very basic concepts, like the idea of safety, travel, friendship, communication, education, and segregation. It has been, for me, a decade of upheavals on a very basic, psychic level that has mandated that I replace my internal compass with a GPS.

I remember telling my friends scattered across the country that get-togethers should be no problems, since no place is farther than the nearest airport; but that was before 9/11, which completely changed air travel. I remember being able to count my friends on my fingers; but that was before facebook told me that I'd need many arms and many, many fingers to count my friends. I remember always being on the look out for reliable, reasonably priced calling cards and long distance plans; but that was before oovoo and 3G phones. The list goes on.

In a world that changes so fast, where tomorrow strides and barges in before today is done, I've held on to stories that distill these complex issues into familiar archetypes, told in a way that reminds me of the familiar way of life, at the same time shows characters trying to adjust to a completely new world, having to learn very similar lessons. This story resonates with me for many reasons, but I believe my ability to relate to the characters' choices, lessons, terrors, joys, and crossroads is the main one.

I am not alone in this, of course; my child, who is putting together her college applications, was very impressed to know that one of her dream schools has a very active Quidditch team; we visited "Harry Potter Houses" on our last trip to London and Oxford; no one today is a stranger to a strange word like "muggle."

Today, the entire theatre was completely full and the whole experience to watching this movie on the opening weekend was a treat, like watching a Bollywood blockbuster on opening night. The audience actively participated in the watching: there were boos, clucks, giggles, snickers, guffaws, and outright laughter, as though we were all at a live performance, not a movie. As the light faded out on the characters we'd all come to know so well, the audience burst into a resounding applause.

This was a heartening experience. When I read bleak projections for the future, dire consequences promised for irresponsible choices made by earlier decades, I am more patient. After all, there can be no way to predict what gems of imagination await during troubled, troubling times to remind us of the richness, sweetness, and sheer beauty that is the human experience.

Like audiences emerging out of a tragedy many millennia ago, we, the audience emerging from the theatre today were definitely proud of being human, of the same ilk as the characters whom we admire, then pity and fear for, and ultimately own, so that, like the wish-figures reflected in the mirror of Erised, they keep us company when we look into our solitary looking glasses.

Un-anchored

2011-07-13T23:31:00.000-04:00

I seem to have stumbled upon a pair of Cinderella shoes: they keep falling off my feet. My feet, in fact, have sent me on a quest for the perfect pair of shoes; but alas, like the perfect handbag, perfect footwear eludes me.
The world is full of shoes: some promise to place clouds beneath one's tread; some promise a complete metamorphosis; yet others pose in mall shops, like portals to alternate selves, selves more sophisticated than imagination could conceive, who seem serious about having fun and making bold statements about this fun.

Some months ago, my 16 year old NEEDED (capitals are deliberate) shoes and so off we went on our Odyssey. As I regarded the fare, I balked at the precariously high heels, the punishing straps strung with hard beads, the uncompromising brilliance staring me down. My child tried on many of these, exclaiming over the unimaginable comfort the shoes afforded, prancing around the store in her borrowed gait.

I crept surreptitiously out of her prancing orbit, afraid of being swooshed off and trampled upon, and found myself being stared at by a row of the improbable sandals, at the ready, seemingly awaiting orders to begin some combat, buckles glinting like weapons.

Undeniably, feet clad in dusty, stringy, un-heeled, loose sandals, feet like mine, did not belong.

Please do not misunderstand me, reader; I do not wish to appear un-groomed and grungy. However, my disagreeable feet are very particular about the kind of material that may clothe them, and they will not countenance the toes being enclosed. They cannot be made to perch any higher than the ground.

Today, I sit here, looking at my faithful sandals, worn out with fitting in, blending, trampling, all in service of my feet. I shall miss them, but like a sad Bluebeard, recognize the need for new ones to destroy.

When I was a child, I was thought of as a rather strange being, one who ran off from street play to hide in libraries, who learned to climb trees in search for an uninterrupted space to read in, who could not manage to keep herself grounded. Now, I know the real problem: I just did not have the right shoe that could convince and assure my feet of the solidness of the ground. I am still on the prowl for a good shoe, one that will not bite my feet in its arrogance and anger, one that will not squeeze my feet and spray blisters on them, one that will not feel compelled to change me into an unrecognizable self, which, instead, would make an effort to blend in with what exists, like an ideal daughter-in-law from a Hindi serial.

After all, not all feet are Cinderella feet, equally comfortable in clogs and gold slippers, and unless the shoe fits, one remains afloat, somehow unconnected to all that everyone is convinced is real, un-centered, even, like Yeats' falcon who cannot hear the falconer.

But then the alternative to Cinderella, of course, are Cinderella's sisters, with their bleeding, sliced up feet and blind eyes, stumbling cluelessly through a graceful wedding, all owing to the perverse insistence of their feet unwilling to fit the right shoe.

Easy Dreams

2011-06-19T17:20:00.000-04:00

The last couple of months have been fraught with much to do, much that seemed important to do at the time, much that I can remember nothing about. I spent weeks chasing chores that never ended, tried to meet schedules that seemed downright perverse and mercurial, and often sighed that the hours should be so short and unreasonable. This ado of daily routines pervaded over my waking hours and clouded my dream times. There have been times in the past weeks, when even as I knew I slept, I thought about tired solutions, worried knots that tangled my waking worlds, and even in sleep, reached nothing, knew no answers, only longed and waited.

Finally, it is all over: my quarter is squared away, my child is off on her summer adventure, the thunderstorm has passed, and the dishwasher is humming. I've also enjoyed almost a week filled with family, friends, and food, and the cats' contented napping is the very concrete image of my internal landscape.

I know I shall not remember today, just like I don't remember all the times when I have realized that I was happy. So I hope that this post shall remind me in my less contented moods, that I have known this wonderfully perfect, wet afternoon, which passed, and so shall my discontent. It feels important, then, to examine to what I owe this sense of well-being.

After all, it is Father's Day, and I should be missing my father. But I've just spent two days acutely aware of his absence as we celebrated his oldest grand child's graduation, an occasion woven with much joy and pride. So even though I am thinking of and paying homage to my father, I am not missing him: how can I, when I am surrounded with the poetry he loved, the stories he told me, and many of the books he treasured?

I should also be missing my child whom I won't see for days yet. But I missed her more at her cousin's graduation than now: every one I met, I wanted my child to meet; every step her cousin took towards her diploma, I wanted my child to savor; every picture I took with her cousin, I wanted my child to feature in. But today, I do not miss her: she is in one of my favorite cities in the world and she has promised to sprinkle thoughts of me all over its stones, museums, pillars, cross roads, and street corners. Hopefully, this city, then, shall dream of me tonight.

It would seem that I have my niece's graduation to thank for this ease I feel today. It has been a catharsis of sorts, but unlike other necessary, painful catharsis, this one has been a joyful one. In fact, I have found myself smiling as I remember the coffees we shared, the new and old conversational dances we partook of, and smile wider as I go over, yet again, the pictures from the day I spent with the clan. Of course, my niece's graduation has not been my first graduation by any means, even though I didn't attend any of mine. But I was struck anew at the significance of the ritual connected with this rite of passage, as every bit of that pomp and circumstance seemed to ring with fresh promise and all things bright.

Today, it seems my cup has exhausted itself with overflowing and is content to lie on its side, unable to hold much within. My television talks at me in familiar, lilting cadences of the many Hindis the serials and programs use, demanding nothing from me, not even attention. Maybe later today, I shall catch an old Hindi movie and my dreams will weave the well-known characters, music, plots, colors into their terrains and fabrics, until the very world of sleeping, like a city I have loved for long decades, shall dream of me.

Stories and Clay: Reflections on Motherhood

2011-05-07T22:30:00.000-04:00

Being a mother, I write this at a risk of being the more harshly judged. Tomorrow, however, is Mothers' Day and having celebrated Fathers earlier on this blog, it seems right to reflect on the relationship we all take so much for granted, unless it has somehow been snatched from us.

Motherhood, I tell my students, is not for the faint of heart; the parents among my students nod their sage agreement to this. I am awed, for example, at how the existence of an ugly, squirming new born (face it; new borns are beautiful only to their families and remain indifferent to those who love them beyond reason or proportion!) can change the very personality of the nourisher. It is the most illogical of relationships: as a parent, one begins this relationship with full awareness that there shall be no returns on this investment, that there CAN be no returns on an investment this huge.

Logically, motherhood makes no sense; it demands, to a large degree, erasure of the self. We are told that in exchange, we are to give up our firm, youthful bodies, to become willing houses for lives more important than ours, even sometimes be willing to go through really scary, painful, unforgettable physical procedures that will forever change us into unrecognizable beings. Even those of us who do not go through a physical motherhood are made to go through procedures just as exacting and harrowing that often make us question our sanity. This metamorphosis to being a mother is terribly expensive, shall curtail our personal freedoms in a variety of small and large ways, and impose a role that we shall have no respite from, sleeping or awake, as long as we shall live, and sometimes, even beyond that.

I am, then, understandably mystified at this need we have to nourish. It would seem more logical to enhance our own lives, strive to increase our life-spans, live more fully, rather than to choose decades of half-lives, to accept fatigue the likes of which even the sleepless nights and agonies of grad school can hold no candle to. So it doesn't make sense that motherhood would somehow stand for all we hold sacred!

But we often worship what we feel too strongly to understand. I remember the first time I held my daughter: a feeling so fierce seized me so suddenly, so strongly, it felt like a growl from a deep, old being that wept in fear, joy, fulfillment, and maniac laughter that bounces & echoes through thunder clouds. The nurses and attendants, well-trained and well-informed about the growl, gave me a wide berth until I could breathe properly again. I remember poking my infant in her crib, in the middle of many a night, until she shuddered a breath, so I could believe that I'd still have her upon awakening, if I gave in to sleep for a while. Of course, death, in any form would be more acceptable to me than the thought of losing her in any way, or of her being in helpless, uneased pain. I am a selfish woman that way.

However, when I look at all the mothers around me, they do not seem selfish at all. They patiently tolerate tantrums in malls and backseats of cars, wear out cookie cutters making endless peanut-butter sandwiches more alluring, gladly put their careers on hold for the privilege of greeting their pre-schoolers in the middle of the day for the nap, read one more story in their special Mommy Voice at the end of an exhausting day of juggling their many roles. These mothers sit, awake and still, at their children's bedside in the dark and breathe in the milk-and-soap fragrance of the children's dreams long after the story is done and the children unaware of their presence. They consider themselves fortunate, just for living this moment.

When she was six, my daughter made a baked clay bowl for me. It is a small fruit bowl that dreams of being a goblet. It is not exactly even or balanced, though it needs no support. Though glazed, the bowl's surface is not smooth: it bears thumb prints of a girl who used her hands for someone other than herself. That roughly made bowl holds countless moments and their leftovers in form of shells, pins, especially good erasers, and lately, a card reader for my sixteen year old's newest, proudest possession, the camera her uncle gave her.

To me, that bowl is the image of motherhood. It is a vessel that is too uncommon to be used in the common way vessels are used; it is too common to be put away behind a glass door as a curio or an object to be idolized and never used. Usually, we ignore it even though it occupies a prominent place on our furniture. But we cannot imagine it not being there. It is sturdy enough to hold momentoes of our life; yet we fear it might be fragile.

I look at that bowl now and wonder at its infinite capacity for holding little things that remind us of the stuff we are made of. I am afraid I lack the courage to clean it out and catalogue its contents to make it more manageable.

My sincere homage and salutations go out to all mothers, whatever their shape, provenance, or glaze, and to their infinite capacity for holding the entire Creation within their very fragile, very strudy arms of clay.

Trumpet Sound

2011-04-20T11:51:00.001-04:00

I began Monday with Tutankhamun's stolen trumpet, and the sound resonated and echoed throughout the day. I must confess to being worried: it has been known to herald disasters (the World War began shortly after its first sounding). I have since agonized over it: should I have heard it? Should I have refrained? Was there a cosmic message in the trumpet being stolen during the recent unrest in Egypt, a message that I was missing?

This is a common agony for me. I write a story or a poem, which sometimes is accepted or published, and once it is out there, I worry that it constantly misrepresents me, that I shouldn't have said that in this way, that maybe it was too personal or too impersonal or too sappy or too cynical. I feel like chasing my words, netting them, and somehow controlling what they say about me. Of course, I know this is as pointless as tying a brick to my child's head to prevent her from growing.

I think everyone who dabbles with the pen and keyboard would agree that the minute one decides to create a fictional landscape or, even just voices, a part of the self gets split. There is the writer, whose horizons include the reader, and there is the real person, who often refuses to acknowlege the writer in public, even sometimes is unable to recognize the split part of herself. One of the most rewarding experiences can be when these two selves meet, are introduced, and smile.

Last weekend, on Friday, I had a reward like that, one of those gem-evenings, beautiful, perfect, when all the universe smiled down on me. My book club had chosen my book for its discussion and I remain humbled and honored that so many of my friends came for the discussion. I learned more about my work than I could ever have imagined learning, and it has defnitely affected the way I have written since.

Of course, often, this smile at the split self sketches itself in fear at the recognition. How much does the writer reveal? In a world where the idea of privacy is so treasured because it is getting to be so rare, how much of the real person has the writer self laid bare for all to see?

One of the messages from that evening tells me that through my poems, I have revealed much of the way I mother, the way I respond to the world. However, I remember, while constructing the poems, I agonized endlessly over being too intensly personal, and labored over making them more universal, more impersonal. I look at them now, and maybe because I see the poems through the lens of my soul-searing revisions, I still think they are really not about ME, per say. Maybe my friends know me very well, and if this is the reason they see me so clearly in my written voices, then there is a great deal of comfort in that: at least I have not misrepresented essential truths to my friends!

One of my stories has just been accepted for an online journal's anthology, and it is a story I spent months over. This story follows the first person perspective of Sita, from the epic, Ramayana, a story I grew up with. I find myself worrying over my story: have I offended? Have I misrepresented her completely? What shall this story say about me?

I have also been working on a short story and I am trying very, very hard to make it more universal and less personal. But somehow, Oedipus-like, the faster I try to run from the real person, the more the writer self seems to run into it.

And it is boring to show what already exists and is so easily knowable. I like to write because it gives me the chance to explore alternate selves and realities, the heady, addictive world of "what if?". I strive to be that enigmatic writer whom people look at and say, "I can't believe SHE wrote this . . .", but alas! All these alternate selves seem to be nothing more than reflections of the same image, multiplied exponentially, as though through a couple of parallel mirrors.

I wish I had and had not heard Tutankhamun's trumpet. How different would I have been? How different my agonies? How would it feel to straddle both possiblities of hearing and not hearing?

But then I think of Odysseus, tied to masts, the Siren Song resounding through him. Does he agonize over the Song's influence? Does he wish he had chosen the safety of wax for his ears? We all are subject to our single natures, and our stories, then, are bound to tell of our real selves, the ones we often refuse to recognize, the selves we leave behind on retinas once our ships pass, and these selves speak a universal language, true and recognizable, and this song resounds precisely because the story is personal.

Ease Over

2011-04-03T22:37:00.000-04:00

A quarter of the year is past and with it, the break between quarters. I had so many plans for this week; most of those are still waiting for some more time off. It could be that my refrigerator died, demanding immediate attention and time. Maybe the unexpected exhaustion that swallowed up an afternoon was the reason. Maybe the projects I had chosen were too ambitious for a couple of days the break allowed. I don't know exactly what it was, but I see tomorrow morning striding too fast across to me and I do wish heartily for it to come a little slower.

I had wanted to watch the sun rise on the ocean, with my child, both of us sweetening the morning with muffins, something we haven't had time to do since she was in elementary school. Then I dreamed of twilights spent on the sand. I planned to begin the month dedicated to poetry, with a bang, two poems a day as long as the break lasted; I haven't written a line. I had promised myself a bribe of an entire season of Star Trek; I had to be content with one episode. This break had been the deadline for a quilt; I got in less than 20 stitches and it still awaits closure.

So here I stand, Janus-like, on the threshold of another quarter and I am afraid that this one will also stride away before I have a chance to glance back and take stock. This evening, then, warrants such a glance before I dismiss it as a loss.

This break did concede a few allowances. I have a clean, efficient refrigerator with no left-overs. I didn't have to forgo any of my yoga sessions, or my Friday morning garlands at the temple. I got to genuinely enjoy Holi this year, and so I am more attuned to the changing seasons and the year does not feel so bare or meaningless anymore. All the laundry is clean, even the daunting comforters and quilts. The evening spent at Relay for Life always feels like a gift and the march of the cancer survivors and their caretakers always shifts perspectives and I remain grateful for my life. Also, rare and unexpected was the evening I spent with my very, very good friend and my daughter, as we went for a play and really nice dinner.

So even though I didn't get to most projects, need a few more days to just catch my breath, and still have all this laundry to put away, the bell has summoned and it is time to refresh the screens and fill up the gas tank. I shall remember the next break waiting at the end of the new quarter when I bow to the sun in the morning, as I pause atop the on-ramp, to ease into the busy lanes that lead to I-595.

Under the Green Wood Tree . . .

2011-03-21T20:23:00.008-04:00

I have been watching television, I confess, when I should be doing worthier things, like grading or updating this blog! I apologize, but not too sincerely. You see, I have been watching a specific kind of television: the Indian channels, redolent with recognizable characters, lush landscapes, and colorful sets. But there is one other aspect of these serials that has me enthralled, their roots in folklore, tales and archetypes that one cannot dismiss as accidents flashing on peripheral vision.

I have found just the threads I've been looking for, to maybe embroider my stories with: vegetation. Like all other lore peculair to our species, Gujarati lore is rich with references to trees, flowers, creepers, grasses, leaves, twigs, bark, trunks, roots of trees. I find myself contemplating on those.

Street corners are defined by the all-too familiar Banyan, Peepul and Neem, with the coolest, kindest shades for the weary. Now close your eyes a bit, reader, to see the well in the shade, with its creaking pulley and fraying rope, fragrant with many tales; careful with those always-damp steps, though. No shaded well is complete without the serenly masticating bovine population, and the lazy buzz of meandering flies.

Now, reader, let your half-gaze wander up into the branches; that's where the stories live. Surely, it is the sigh of those dead lovers that moves the still afternoon air and worries those heart-shaped Peepul leaves, she the beloved daughter of the widow, he the traveling minstrel. That Neem bough is never still, as the spirit of the pot maker's youngest daughter-in-law laughs maliciously on it, and no wonder: her body was fished from the well's depths and no one quite knows what hour of the moonless night pounced on her. These aerial roots of Grandfather Banyan sway in memory of those childhood lovers, still alive, but flung afar from their monsoon swings, neither capable of contentment or joy anymore.

These are silent, arborial songs of the history of our collective experiences. It seems logical, then, that they should find their way into the stories we tell of who we are, what shades define and shelter us, what trees gave us dreams of far-off places.

So I shall explore some ways of weaving these elements into my stories.

After all, it is important to keep one's wells freshened with cool water, in case some way farer from a distant land may taste it and warble out a familiar, forgotten tune to stir lost hearts and spirits.

Catharsis

2011-02-20T20:13:00.004-05:00

This weekend has brought with it a relief that feels like a long dry season quenched with the coolest rain: I finished a short story.

This particular story has taken an extraordinarily long time to finish, even for me. The protagonist is a character from an epic and I have been struggling to figure out where and how to end it, how to begin it, and how to tell it. This is the common problem when the epics call out to be told, because the story governs the teller in a unique way.

First, the pre-made character comes with all the responses and attitudes of centuries. Then, the plot is sacrosanct, which can largely restrict character development. At the same time, the re-telling has to provide a perspective not included in the popular renditions of the epic, yet has to resonate with the reader.

I was worried about these issues when I realized that I'd have to write this story. I haven't been happy with this telling for many months now. I struggled with many issues: what parts of the plot to tell? How to tell without repeating the story that everyone knows so well? And most difficult: how to develop the character without changing her? Besides the fact that my character embodies too many archetypes to change her, I didn't WANT to change her in any essential way.

The story ended up being, cut, uncut, re-phrased, re-tried until I was ready to just forget about it. Characters were made ancillary, rounded, flattened, waltzed in and out of the first person perspective the story follows. I got quite dizzy and realised that this waltzing distracted from the intensity the narration mandated.Ultimately, things came together in the most natural manner, and the magic of the epic manifested itself with very little interference on my part.

I still got up last night out of sheer habit, trying to remember if I replaced a word with a better one, or if that comma belonged after a problematic phrase, or if an allusion should be removed.

I remember a similar condition from many years ago, when my child was an infant, and I found sleep more elusive than it was in graduate school! Last night, I kissed my story as it left my care to try out its luck in the world, and it frightens me as I realize that my child shall soon be ready to do the same, much sooner than I shall be ready for it.

I dedicate this entry to all stories that give us sleepless nights and take their own time over maturing, all stories that refuse the insistence on a predetermined time line and fight all fetters that would smother them with too much worrying, all stories that grant us so much relief and pride when they finally grow up, in spite of, or maybe because of all the mistakes, stumbling, and agonies.

Bubbles

2011-02-10T21:49:00.004-05:00

It is a normal, predictable Thursday. The same plots are being re-enacted on the television; the cat is napping in the same posture as yesterday; the same kids rocket by the window on various wheels; the mail carrier greets me in the same way; my back hurts in the same place; and the same star shines first in the west.

But something IS different today: I have, in my hand, the final copy of my first book of poetry.
It has been a long Odyssey, and even though I have been expecting the shipment, nothing comes near the actual feeling of holding the copy in my hands.

I am not ecstatic and I don't expect my life to change in any way. This is not some kind of pinnacle or a point of no return. This is one of the clogs ticking and clanging in place, a recognition. There is a comfort when a part of the self gets affirmed, like when one confirms a part of how the world works. For instance, I'd never seen an entire row of blue jelly fish being washed on the sand like I did last weekend. But the sight reaffirmed what I should have known: of course, that's what it's supposed to look like!

We watched the jellyfish rolling in with the waves, trailing their laces behind them, quivering as they burrowed deeper in the sand, the ink swilling like a little ocean contained in a balloon. A little unsuspecting bubble is all that can be seen once they are settled. One would have to consider one's next step very carefully.

Today my joy feels like the bubble scattered on a sandy shore, one among many, constantly being worked on by the motions of the waves, sand, the busy rocking of the very earth as the cosmos scuttles around in the important business of living. I send my feelers out towards the horizon, the line that defines our very realities but doesn't need to exist. I try to catch a wave that has passed over me: a time when I first realised that holding my book would be a part of who I wanted to be.

I dedicate this entry to that moment when I lay on that swing in a house called Horizon, watched the clouds swilling across the sky, and as the swing swept the winds over the pages of the book on my lap, I wished and vowed that one day, I'd hold a book of my own in my hands.

The house called Horizon, along with its swing, is gone and cannot return.

So I stand at the edge of the ocean, my book in my hand, and fling my image onto the horizon, to reach that house, that swing, that girl, that sky.

Strain

2011-01-10T17:02:00.006-05:00

I wasn't looking forward to going back to work today, even though I genuinely enjoy my job. It has been amazingly easy to lose days and hours, like misplaced erasers that no one misses. As I was walking to my Greek mythology class this morning, I remember shuddering inwardly at the prospect of ungraded work yawning at the mouth of the quarter, like Scylla's maw. The main reason for this unexplainable ennui is, of course, that my mind hasn't quite recovered from the fevers that had haunted my afternoons during the holiday season. Even on days I didn't have any demands, my rest hours would be spoiled with apprehension at the afternoon fevers; today, I was absolutely dreading the afternoon, even though the fevers are quite gone.

I was not excited, merely exhausted, a condition very unfamiliar for the beginning of the quarter, of the year.

As I clutched my pencil with renewed determination before stepping out of the elevator, a sudden music startled me. A student, who was sharing the elevator with me, had a cell phone and it had just gone off, trilling the forgotten strains from the old Star Trek, a mythology that invariably hovers over all my Greek myth classes with amazing frequency.

This, alone, is proof that the Universe is not a messy heap of unconnected masses, yoked together with violence (to borrow from Dr. Johnson) and accident; it is a wonderfully balanced entity, meticulous in arrangements and detailed designs.

The Star Trek strain righted the world on its axis: I was on my way to meeting an entire room full of people who loved the things I did, who are moved by the same stories that resonate with me, who, truth to tell, understand a part of me not available to my family (close as they are to me, closer than a heartbeat, even), and to very few friends, if any. In the classroom, time encloses us all in a bubble, from which we observe the milling humanity, like a species under a microscope, unconscious of our study, indifferent to our temporary removal from their midst. The concerns of leaking roofs, sick children, and gas prices await outside the doors. My students stared at me, enthralled by Orpheus' need to look behind, the secrets of what makes us human contained in that one restrained glance.

What are a few hours of grading to such magic?

The story is old and hackneyed, boring to tell and hear. But the miracle lies in recognizing the strains of the keys creaking to make puppets dance exuberantly, delightedly, to the twitches and whims of Universal strings.

Notes on a Mid-break Melting

2010-12-26T21:01:00.005-05:00

If the test of the true princess is the pea underneath mattresses, this week, I'd have snagged myself a prince, if I could have garnered enough energy. The changing weather seems to have melted my bones, gelled around bone-sockets, and is leaking out of my nose and eyes. But this weather seems to have affected not just my skeletal framework but also the couches and beds that offer no comfort as they are filled with bolder-like peas and pins and needles from quilts I've not finished.

Actually, I must confess, I am relieved that the flu has finally descended. It has been lurking around desks, just out of eyesight, a haunting more uncomfortable because it lacked definition. I have also been relieved for this downing because it means that I don't have to worry about being a support structure; I can let go and dissolve for a bit. And as it happens with all sickness, time expands while the fever clutches. When I feel better, I am heartened to know that only a few hours have passed, not few days or weeks.

Since the fever is not serious, the melting bones feel more like an indulgence, and each sneeze feels like a catharsis of sorts. It has also lent a construct to days that are unfettered by any routines; I know the worst time of the day descends once the day gets tired, and so I have been able to sort out some bookcases; this is especially significant because bookcases in my house are worse than some people's closets. They hold many ghosts; many unfamiliar books that no one claims; many favorites that cause strife about whose shelf they should reside on; and so, like a lot of healthily repressed families, we tend to not address them. But since the only contenders I have right now are the supremely incurious cats, I have finally sorted out a few haunted corners of the house, like that bookcase behind my child's door.

For each day, I assign myself a few chores. A day I don't get to a chore or two is especially welcome. These days I feel like an inversion of a Sisyphus, who relishes every inch his rock descends as much as his doppelganger cherishes each inch the rock climbs. It is also important to remember that Odysseus relishes the feel of being in the midst of the ocean, even more than he does reaching an island.

It was a Wednesday when I'd last looked at a calender; I washed my hair today, so it must be a Sunday. The immortals must feel thus, moored serenely in the middle of a never-ending break, melting every so often, every so often sorting out a messy corner, watching absolute nonsense on an indifferent screen or page that tell the same stories and enjoying it all, always keeping within ken the dream of hectic days, with resolutely mandated wakings and dreamings, of constant heeding.

The weather has turned chilly again tonight, perfect for a melting. I shall vend towards the couch and dream of needles, peas, and books that don't belong anywhere.

Because . . .

2010-12-18T14:56:00.003-05:00

The rain pounds on the cold windows, and for the first time in months, I am glad of it: rain brings changing weather, and I think I need it to. My grades are squared away, the madness of the most hectic quarter of the year is past, as is the holiday rush (for me). I look forward to a few quiet days of catching up with my inner self, something I've neglected this year. I have too many projects to actually appreciate a meaningful closure the end of December usually brings, but I do need some pockets of nothingness to adjust perspective.

Then again, I wonder at my need to justify this need: this blog-space affords one of the few indulgences I allow myself. I write here not because of deadlines, not because of monsters waking me up with itchy fingers, not because a theme needs more development or address, not because of any reason, just because . . . .

My father used to hate this word, this because word, which, he believed, holds many long-drawn out syllables for the sole reason of bulkily packaging lame excuses. He had a special kind of steel reserved in his eyes for when this word turned up in any explanations for, oh, a variety of situations, like why the Geography homework was not done, or the reason for the Civics grade, or how a sibling's favored toy ended up broken.

I must confess, I have to make an extra effort when I see this word in student papers: it is a good enough word and should not be mistrusted so illogically. Sometimes, I say the word out loud, drawing out the long syllable longer, to listen to myself say it, haunted with the steel from my father's eyes. Sometimes, I wonder at the hubris lurking in that elongated word: it assumes to know the bigger picture, and promises to explain the reasons behind its arrangement. So it seems fair to consider it a promising portal between multiverses that forever contradict all others, cancel each other out, and simultaneously co-exist and overlap with each other.

The rains have paused for the hour; the cats are napping in their preferred caverns; my child is out of town; and the long afternoon is still for a spell. I shall try to use this stillness to find the center of my being.

As the afternoon sinks into the evening, I scatter events of the past four or five months on my table and try to understand how their edges fit together, to realise a bigger picture. I don't know yet how these events will arrange themselves, but I do know the last piece of that picture: it is because, a word that links random-seeming events to choices of the past, to horizons of possibility, like all links, forged in steel, a word that holds a long breath in its chest that shall articulate itself as the afternoon exhales its explanations.

Chasing Closures

2010-11-01T19:38:00.005-04:00

It seems the planets have again changed their paths and are messing up my horizons. It could be the weather that has me so off kilter. The days are really hot, but evenings come fast and dawns are lazy in rising; I am trapped on a glassy ocean in the Ancient Mariner's Rime :"The sun's rim dips, the stars rush out/ at one stride comes the dark!" The tickle in the back of my throat confirms the changing year. Last weekend when I happened to look up in the sky, the silent, rolling constellations veritably glared down at me and I hastily lowered my gaze, caught staring.

It is the season of long stories for the long nights, and it seems my stories are not immune to this tendency of stretching out.

I have been working on a set of stories for a few months and I am happy with none of them. The one that I thought was easier to work with refuses to end. I'd started it as a prospective submission for a short story of about three to four pages (the standard 2000 words), but this one is over ten pages and like the endless night, it sits jealously.

But I am loathe to give it up since working on it somehow comforts me. It seems to have taken up the vigilant post of my never-ending quilt.

The story is a first person perspective and I feel already immersed in the persona. The topography of my character's garden is more recognizable than my living room, and I find myself resenting having to clear up the laundry and sort away the dishwasher. My character's face feels more mine than the scowling brows and down turned mouth staring back at me from my mirror. I admire her tenacity, her strength of will, her ability to keep her head in midst of unimaginable circumstances, and I come up short, with my anxieties, panic, and frustrations over the trivial realities I can't seem to get a handle on, that are protean at best. My character has another great advantage over me: everyone knows her story and how it ends. I have so many alternate futures and horrifying prospects that seem as viable as any other possibility I can imagine. Somehow, these things make her more alive, more believable than I. I seem to be a faded out, insubstantial shadow of my character, and often wish she'd take over my life completely as she seems so much more able to handle all that is demanded of her with aplomb and dignity.

If she weren't so admirable, I'd envy her! But truthfully, I don't. I wish she could, in fact, step out and help me bear the fardels my particular flesh seems heir to. And I shall miss her when my story is done; re-reading the same story (knowing it has been finished once) is not the same. It feels false and essentially wrong, even narcissistic, like trying to seek the magic of a first love in subsequent affairs.

So here is my plan. I shall not let this story end until the holidays (mine and everyone else's) are over. When the year finally falls, I shall wrap myself up in my story and let it heal and warm my and inner core that the boring, eroding demands of my waking self regularly devour and corrupt.

For the Love of Music, the Lure of Tale

2010-10-04T19:20:00.014-04:00

Once upon a time, in a far away land, I used to dance Kathak. We were told that the word, Kathak, literally meant Story Teller: Katha Kahey So Kathak (The one who tells the story, or Katha, is the Kathak). It is one of the classical dances of India, and I made a conscious choice of giving it up when my Literature Reading demanded all my attention and resources, a choice I recognized, even then, as logical, and heavy with regret.

Our Guruji would arrive at the height of our after-school naps; we'd be shaken out of slumber and made to get ready for the lesson. Of course, being kids, we really hated that. This rude awakening would be followed by Tatkar, the intense footwork exercises that get increasingly complex and convoluted as the training progresses. I didn't care for it then at all, even though it got easier for me to handle the complex rhythms and beats, because this exercise did not demand any emotional involvement from me. My favorite part came almost at the end of the lesson, when we would begin teasing a thumri or thaat. We'd try to channel Radha's unrequited, helpless love for the blue skinned god, or evoke Krishna as we'd tell of the mischief the god regularly got himself into, while not missing any beats or taal.

This is the fountainhead to which I trace my love for stories: the still afternoon air, a tale as old as memory, what Amit Chaudhary calls a cultural thumbprint.

As the training advanced, new strains were woven in, and we were introduced to the basic ragas, their, personalities, the diurnal characteristics associated with them, the diversions most suited to them. Yes, this does seem like characters, and they are characters! That was the reason I found them most attractive.

In fact, to date, my favorite type of painting is the Ragmaala paintings, in which each of these ragas is depicted anthropomorphically, along with the connecting raginis. I find them rather extraordinary: they express, perfectly, the exact emotions as well as the entire range of human feelings, and there are many schools of these Ragmala paintings! Just like human emotion, these ragas have no singular composer, and one doesn't associate individual artists with the paintings. There are, of course, stories about their origins, stories that connect these ragas to divinities. The ragas, in turn, tell these stories and more, and like the self-sustaining ancient deities, birth themselves.

They remove humans from temporal designations and introduce them to their feelings; for a lover of stories, nothing could be more perfect!

I am thinking of this world I deliberately turned my face away from, since I just finished Amit Chaudhary's The Immortals, and he so faithfully depicts this denied world. I must confess to more than a twinge of regret today, and these forgotten notes suddenly stand out in relief in the Hindi movie songs I am so addicted to, almost admonishing me for not recognizing them earlier.

But then I remind myself that the music is still within me, very much a part of my day, and I have given up nothing. After all, Katha kahey so kathak, and I am told I tell stories very well, like a true Kathak. Of all the compliments I receive from my classrooms, this one is the most meaningful to me.

The new Quarter begins today; I think I shall begin it with the story of Orpheus, my paean to the gods of music.

Et Tu?

2010-09-28T22:19:00.006-04:00

Frankly, I feel betrayed by the one entity I most rely on: my body. Actually, let me re-phrase that. Today, I've realised to what extent my body has been betraying me for the past few years.

I have always believed that the body is a summation of the balance between mind and spirit; that good health reflects this balance, and is a conscious choice; that I would know if something were wrong with me, better than any doctor.

I had not realised how slowly it all seeps away, without one's notice, when one is caught up in the time-consuming business of living. It happens very discreetly and the little negligible things go first, all choices, hour by ticking hour.

My eyes felt too tired or blurred to quilt; I blamed this on the extended time I've been spending with the electronic media, especially lately. So I decided to take a little break and chose to read instead. My feet swelled up and ached; I blamed this on the increased lecture time as I've just re-gutted my class structure to include more instruction. My fingers hurt; and again, I blamed the extra typing I've been doing. Predictibly, my eyes itched, watered, and refused to even look at the words dancing before me; I blamed the computer screen I spend the day staring at. I found myself tired at mid-morning. Admittedly, I've never been overly industrious, but I noticed I'd been napping a great deal lately.

It took an outsider, a doctor, to force me to take stock: that the pallor of my skin was not due to my being out of sunlight; that I needed outside help to re-balance the humors that make up my being; that my age is not advanced enough for me to plead it as an excuse.

This is, at this point, thankfully fixable with a little white iron pill, staring innocently up at me, tiny enough to be lost in the folds of my palm. It is humbling to think that that mote holds the balance of my being.

The worst of all is the deep betrayal I have felt from my body. I now believe it has a separate consciousness all of its own, and that my own intelligence and care are not enough to sustain it. This entity I reside in has lately cheated me out of hours of quilting, denied me poetry I could have made, even books I could have read, and stairs I could have climbed.

After a very, very long time, I've finished four books in five days, completed my syllabi for the quarter that begins on Monday, watched an entire season of Deep Space 9, and stayed up till 1am without paying the price for it the following day. Tomorrow, I look forward to some quilting and more reading, without feeling dizzy with fatigue at the mere thought of it.

This entry is directed to my body, which, I hope reads this somehow, and realises the hurt it has visited upon me by lying and cheating in this manner. I hope it feels chastised enough to promise not to try such shenanigans any more.

After all, we have miles to go before we can be safely out of these woods; I shall need strong eyes to tell a true light from mirages and bog fires, solid fingers to firmly clasp the walking stick, and strong limbs for definite purchase.

The Service Of Waiting

2010-09-13T19:49:00.013-04:00

A large part of being a Theatre Mom involves waiting, finding a place to wait comfortably, trying to get comfortable with being seen waiting, and convincing oneself that the busy work puttered away at while waiting has been a meaningful, productive exercise.

This is not all, however. One must prepare one's home to wait until its inhabitants return: dinner must be thought of, feline bowls refreshed and refilled, waiting lamps lit before hurrying away with all the implements (books, laptop, board games) that could ease the waiting. Upon return, one spends yet more time switching off wait-lights, lighting home-lamps, conversing with felines lest they should imagine themselves abandoned. Then the day needs to be wound up and alarms set to ensure that the waiting appointment on the morrow not be missed.

I am proud to say, I am quite the expert at this. Ask me about waiting spots anywhere in the tri-county area and I can probably point you to the most conveniently placed Panera Bread Company, the nearest Starbucks that plays the muzak most conducive to a Scrabble or Chess game, the neighborhood Barnes and Noble with the best spaced outlets for laptop plug-ins, away from the insulting bustle of the cafe and families rushing about, obviously not waiting.

The most difficult aspect to conquer in this is to get comfortable with being seen waiting. The servers at Panera Bread or French Bakery perambulate around one's chosen seat, with studied casualness or busyness. One must ignore all curious looks and concentrate very hard on pretending to not exist, on being invisible; idlers and loiterers are not kindly thought of. I have an entire wardrobe of clothing that renders me invisible, jeans and t-shirts of indeterminate grey-beige that the eye just skips over without registering any presence. Earrings, lip glosses, interesting handbags are to be avoided at all cost; if one's lips get dry, frequent refills of water in non-decrepit plastic cups are recommended as best recourse. Care must be taken that the books accompanying she-who-waits must be checked out from public libraries, preferably covered in monochromatic bindings or clear plastic that catches the most shy glare from the mutated lighting, magnifying it, making the title indistinguishable and unreadable.This deters conversation. One definitely does not want to converse, lest one be discovered "just waiting" and rendered irretrievably, incurably not-cool.

I will concede, Reader, that had it not been for these waiting hours, I'd not have graded, read, or played Scrabble as much as I have, and for that, I am grateful. There is something liberating about the knowledge that no trips to the grocery store make sense, since it'd be hours before the milk and frozen vegetables would find their way to their shelves in refrigerator & freezer. The public libraries, undoubtedly in pre-meditated malice, are 40 minutes away, making a round trip meaningless. So this section of the day, evening, morning is best resigned to timid waiting.

Don't get me wrong; I do not resent this. The week, hours, chores, obligations that surround this waiting often frustrate me with their insistent, meaningless necessity. The waiting provides me with a promised sanctuary of undisturbed, if forced, reflection, more like an oasis than a stranding. There are times, like today, when I have rushed around, conscious of and looking forward to the waiting promised at the end of the day. I also know that at the end of weeks of waiting, I shall be treated to a really enjoyable performance, with the added bonus of seeing my child in her element, while I get to gasp, giggle, applaud, and congratulate. There can be no greater reward for a parent.

I shall remember when time's winged chariot draws near, and my daughter shall fly away from any need of my waiting. I shall look back on these hours with fondness, and remember that it was not all rushing and busyness, that I cherished the waiting as much as the applause, the drive, the rushed meals, the littered laundry, and backpacks on the floor to trip over, as I ran around and after her.

The greatest service I am doing by waiting, then, is to my future self from whom this waiting shall be taken away. Then, I shall glance upon that inward eye and consider how my light is spent.

A Matter of Death and Life

2010-09-01T08:53:00.005-04:00

The past weekend has been a roller-coaster, and surviving it still makes me dizzy. The wise maintain that the actual business of living may take only a few minutes, but that's time enough to reel through the entire stretch of emotions our species is subject to, and this past weekend has proved this wisdom indubitably. I cannot remember another time when the simultaneous immensity of life and death has dawned on me to this extent.

It began with a chance remark from an old friend expressing desolation at the sudden death of another friend. I still am unable to believe it: the friend who has passed away was not sick, not much older than I, and the unexpected nature of her passing has left confusion, disbelief, and fear in its wake. The memorial service was very touching, and her bereaved family deported themselves with admirable grace and dignity. However, as I stood in that crowded room, brimming with mourners, I could see most of us wore a dazed look, as though we were actors forced into an unrehearsed scene, in a world where we don't speak the language fluently. I could not believe that the service would ever end, until she'd walk in, setting the tilted world aright; I could believe less that after it ended, a little hour, long eternities later, we did something completely ordinary, and drove home, stopping for gas on the way.

Devastating as this experience was, the weekend was not over, and the roller coaster ride was only half way done. The next morning, I got a phone call from Des: the youngest among us had just decided on a life-partner, and the family was buzzing with excitement and joy on facebook! Everybody had an opinion about when the wedding should be, who'd attend it, where they'd stay, what websites would have the best fare, and inexorably, the wheel of time trundled on, uncaring of its effect on its riders. We all look forward to a joyful expansion of our tribe, and we can't wait to welcome our new relatives we haven't yet met. The possibilities shine in our imagination, of the inevitable laughter, celebration, and reaffirmation all beginnings promise.

I know time, routine, and new concerns shall dull the lessons this weekend has brought home so dramatically to me, but I hope this entry shall serve as an indelible reminder of keenly, intimately experiencing joy and sorrow within the span of a couple of days.

I also know I shall need to perch at the edge of the ocean and land to actually evaluate and imbibe the inexplicable insanity, to turn it into some hard nugget of usable matter. The only lesson I can realise through today's haze of emotional exhaustion, is that neither life, nor death await; in the end, one is left at the edge of a precipice, given a moment to feel, understand, and internalise the familiar behind, the unknown vastness before and beyond, and then either pulled back or pushed forward, because no space may remain still or stagnant for longer than a moment.

Festive

2010-08-11T20:35:00.006-04:00

August has begun, and with it, the season of festivals. This month began with a wonderful, unexpected treat. Last weekend, we saw a wonderful film celebrating women artists and their ability to juggle family and other obligations with their urge to create; what better way to celebrate creation than thus?

This was made more meaningful because I could attend this function bracketed by the two generations that have defined me, my mother and my daughter. This event was attended by a group of artists and the treat was the discussions that accompanied this event.

A central problem sounded by the film that especially resonated with me, was the general assumption that women feel that they have to give up motherhood to be creative. It is true that I choose my daughter's needs over my need to write and this does cause a great deal of frustration for me, spilling over into other parts of our life. I would, undeniably, love to have more "me-time" and spend days, mornings, nights to just let my fingers have their will with the blank screen. However, a greater truth is that my motherhood has been responsible for every creative impulse I enjoy. I would have been a really hollow, empty shell had my relationship with my daughter not enriched me deeply.

Readying oneself for the festive season means finding one's centre, steadying one's inner core, and clarifying one's vision of self. This event adjusted my focus, priorities, reminded me of the reason why I am.

The film also pointed out the inevitable connection between women's routines and house work. In spite of resenting housework, I must confess to the rightness of it, the necessity for it, realize domestic chores as expressions of the nesting instinct that defines women's realities.

This afternoon has been a wonderful way to begin the festive season. I find that I look forward to the holidays, in spite of being so far from the building excitement that would be brightening up the long evenings in des. Comforted in my most creative relationship, I have bought rakhis for my brothers and nephews, to further affirm my relationship within the family, and shop for rakhi hampers with a genuine enjoyment. I hope to celebrate the birth of one of my favorite gods this Janmashtmi, and bid a celebratory farewell to the god of beginnings this Ganesh Chaturti. I shall dance with the goddess this Navratri, and plan out the illuminations, enjoy fireworks, and teach my fingers to find creative expression in decorating my thresholds with rangoli this Diwali.

As the monsoon clatters window panes, the winds sing a prothalmion of plenty and fertility, and Demeter begins to ready her daughter for her husband's house, it is difficult to resist the hysteria, affirmation, nostalgia, and unreasonable joy that is the music of the season.

The un-named protagonist of "Mother Holle" shakes the bed till it snows, in full understanding of the cosmic import of her domestic chores, heralding in Autumn festivities, lighting home lamps to celebrate and welcome.

Ravelled Sleeve of Care

2010-07-22T22:51:00.010-04:00

The ancient Greeks housed Hypnos, the god of sleep, very logically in the Underworld. If sleep were to take concrete form, it would be heavy like iron and subject to gravity twice as much as iron. In likeness of death, it drags the body down, forces forgetfulness, and defines the state of being awake. I have come to appreciate how much sleep rounds up our waking realities, since of late, I am one of the cursed whom night-sleep eludes.

This shift in my sleep patterns seems seasonal. There is something debilitating about the heat that smothers in the monsoon. The still, wet air squats stubbornly in the middle of the day. There is no way around it; it forces helpless victims to get horizontal, unable to resist weighted eyelids, to seep lower and lower down to the very Underworld. The god often reaches out his heavy hand and once it clutches, the eyes surrender.

Night brings no relief from this heat; only Hypnos abandons the red-eyed, sweating victim to the book piles on her bedside table. The air refuses to move, spreading such preternatural stillness, that whirring and sighing of fans becomes necessary noise.

My friends have no sympathy for my condition and tell me in an exasperated voice to switch on the air, for goodness' sake!

However, air conditioning aggravates this condition instead of offering relief. Imagine the stale air circulating through one's living space, stinking of forgotten dust trapped in unreachable crevices, moving over dead insect bodies in vents, through shoe-racks and hampers with unwashed laundry, chilling awkward pockets of rooms, shrouding the house in a false cool that clenches teeth, grates on inner throat linings, swells sinuses, blocks ears, parches the body. Water desperately gulped down also tastes dusty, reminding me of long summer afternoons at my grandparents' old family house, when my grandmother gave us water in glasses she forgot to rinse from their long slumber in glass cabinets during the school year.

So being in air-conditioned spaces makes me feel like a condemned slave trapped in an undisturbed tomb; I must confess my acute discomfort of that musty air.

Besides, I love the fragrance of night blooming flowers outside the window, one of the many gifts this season brings. I had fantasies of drifting off to sleep, borne on that fragrance in gentle rain, when I planted those shrubs. Now, even though I can't sleep when the night jasmine blooms, I seek a little comfort in its keeping me company.

During the day, however, I obsess over sleep. I evoke vivid dreams, try to capture cities, houses, streets, rooms from dream-scapes, and remember to think of them in vain efforts to induce sleep. I spend pointless minutes calculating how many hours' sleep I must catch up with; then, I further slice up leftover time into neat sections, allocating a slice of time to each day. Of course, this adding, subtracting, factoring is to no avail; but counting is a knee-jerk reaction of any mind deprived of night-sleep.

I've tended, then, to snatch naps, in afternoons, mornings, while stirring coffee, watching a TV show, in the elevator, at traffic lights. My family says I've been blessed with this ability to cat nap, and I must say that while these naps don't quite knit up my ravelled sleeve of care, they do offer some respite. Of course, there are times when I can't always tell if I am asleep or awake, but then there is something comforting and restful about blending of these two states, about blurred horizons, as though no distinction is demanded, no clarity made imperative.

Despite everyone thinking me blessed with them, my naps are an acquired skill, one of the many lessons my cats have taught me. I've often stumbled upon sleeping cat bodies in various positions, in unlikely places and the total concentration and commitment to the nap are fascinating to study. Nothing can rouse the napping feline, not the squeaking ducklings outside the window, not the rattle of their treat bag, not opening of cans, nothing. But once awake, the cat is all there, needing no time to transition between states, clear in demands, eyes shining with enviable awareness of his own intelligence and resolve.

I am still learning. I seem to have quite mastered the art of choosing to fall into sudden naps. If only I could also master the art of immediate, complete wakefulness, so the horizon between sleep and not-asleep is more than an illusion!

Conquering Variables Or How I Spent the Summer

2010-07-08T06:28:00.005-04:00

Yes, I have variables on my mind. Success could be defined as the ability to constantly factor in variables without losing one's cool while continuing to solve equations. These past few weeks have tossed up many variables that I must have conquered, because here I am, at the threshold of yet another quarter, contemplating the first week as it looms large and near.

For one thing, I refused to plan anything. I had no international trips and because of all the globe hopping of the past year, I was looking forward to a decent chunk of doing nothing.

But then what constitutes doing nothing, a phrase pregnant with promise and contradictions? This doing nothing has meant that I experience things I'd never thought I would, because I never think of them at all.

The beach was cold, wet, and dark, the sand packed so hard it hardly felt grainy. It was the day after 4th of July and we had no reason to be there. The sensibles had abandoned the beach to stay in to recover from the holiday, to watch movies, to play board games, to choose to turn away from the busy rains that had plagued us through the weekend. An isolated group of young hopefuls, noisy in their insistence on fun, ignored us as they gamboled away, flashes of their cameras lighting up their deliberate screeches.

It felt like it was time to go, but when I called my child to return from her walk, she said she was watching a huge turtle, and please could she stay?

Recognizing a variable of the best kind, I hurried, skirting around the many turle nests, across the sand to where I could sense her. It was too dark to see any shapes clearly, but not too dark to see the amazement on my child's face as we watched the dark, looming shape drag itself up the beach and begin digging.

I had seen this happen on youtube videos, represented on number plates across town, but never been treated to the real thing, an immense, incredible sight that dried up to my eyes as they forgot to blink. No, reader, we did not approach the turtle or take pictures of her, which would have been a profanation. Sometimes, the Universe rewards without any effort or reason exchanged for such reward, and it is a humbling experience.

Variables do not resemble each other, though, I found when I was treated to tubing for the first time. I had never quite understood what that sport entailed until I saw people floating down a river in inflated rubber tires.

It was the perfect day: not too sunny, not too cloudy and when we were dropped by bus at the top of the hill, I thought I was prepared; it looked simple enough. Vishnu-like, one just floated. However, like doing nothing, this was an action verb. There were tree-trunks and rocks one had to navigate through, and some it was impossible to avoid. That's when I realised I was faced with an unseen variable I would be forced to factor in: the moss and algae on the rocks which formed the only Terra Firma in the fast moving creek.

This has been an experience that has been fun and humbling in equal parts. The slippery creek bottom, my unconquered variable, reminds me that I cannot, ever, be confident that my feet shall find purchase in what seems like popular sport. I have to be prepared to get stuck, to keep up my upper body strength that I may be able to steer clear of the open jaws of still rocks under the bubbling, rushing water, giggling like a heady kid in the next tube. I have to be wary of insects that might suddenly show themselves, attack me from shady branches, swaying gently in the wind. And the only place I can actually close my eyes is the center of the stream, on deeper waters, the sun beating down and reducing all variables, relying on being visible to my fellow floaters for my safety.

I have a whole new respect for Vishnu, now that I realise exactly how much of what has to be factored into just floating and dreaming. I also know now why Vishnu is the Protector.

Sometimes, the very business of drawing breath takes one's breath away and at this moment, I am most reminded of the gratitude and divine quenching that overwhelmed every molecule of my being when I galloped down the first glass of icy water after I returned from the beach, after I emerged from the tube, as I write this and cause words to appear because I have navigated through the amazing variables and willed it so.

Amazing!

2010-05-16T16:51:00.005-04:00

This entry is in response to Chitra Divakaruni's prompt about one amazing thing that has happened. I have been thinking about the many amazing things, from the exquisite sunrises and twilights at the beach, to strange happenstances, like my leaving the home shores with only my punjabis and shakespeares, and realising that that's all the equipment I've needed in the new world.

But then when I really search my treasure boxes, one moment stands out like a jewel, a moment after which my very self-view has been irrevocably changed.

This moment, like all such moments, was not sudden like lightening; it had been building up for years, and with more immediate urgency the few months before it happened.

I remember it very clearly: the mirror I was looking at was blurry, with grey and ochre spots, the largest one immediately above my left temple. I also remember what I wore then, as I looked into that mirror: it was a light pink paisley printed quilted jacket, a favorite then.

I had my 6th month sonogram that day. Yes, reader, I was pregnant. We had decided that we didn't want to know the gender of the baby and had told our doctors and technicians about this. We knew we'd love it no matter what.

I was apprehensive because my family was far away, and I was afraid when I went in for the sonogram on my own, the very first time in my life I faced a scary machine with no one to hold my hand. I remember the cold gel on my skin, vaguely uncomfortable, and the quiet voice of the technician, pointing out various parts of the fetus. At last, it was over, and he said he was almost done, just a couple of minutes more.

I discovered I had never, until then, quite understood the import of holding a new life within oneself. That heart beat with such determined will; a fist half-opened in tandem with a foot suddenly flicking up, and I felt the kick. The fascinating, grey, blotchy, moving thing, image, was a human being, and wonder of wonders, it was within my body!

The technician stopped speaking, dragging, forcing my eyes away from the fascinating screen, the incredible, unbelievable throb of a life the universe had entrusted to me. When the technician knew he had my full attention, he said that the gender of the baby was quite clear; would I like to know?

I don't remember my response, but it must have been clear, for he awarded me with the most amazing words I have ever heard, "It's a girl!"

I don't remember, actually, the entire process of crying, but I do remember noticing that the ultrasound gel felt much, much colder than tears. What can I say, reader? This was the most important moment of my life, and I was sobbing and sniffling in the most pathetic manner imaginable! But I knew then, that that's what one feels when joy literally overflows: one loses one's dignity and sputters around in a daze.

I was to wait at the facility for about an hour more, and I wandered around the little strip mall, composed mainly of Cuban shops and Hispanic markets. I knew I had to do something, and I bought my daughter my first gift to her: a pair of booties and a matching skull cap. I then begged the counter-lady to use the rest room.

This, I remember as the most amazing moment: I looked into the mirror and realised that I was looking at a woman who has a daughter.

I told this to the woman in the mirror over and over again, "You have a daughter! A Dikri!"

Never has everything felt as right as those words. It was as though the universe had clicked and whirred into place, everything locked just as it should be because that very recognizable woman in the mirror had a daughter.

My daughter turns 16 this week, and I am continually amazed that I'd be trusted with a being like her, for however short a time. True, my times with her so far have been fraught with as much worry and discord as with joy and harmony, and we have had many, many amazing times.

I measure all those times against the yardstick of a woman looking into a stained mirror, owning her daughter, acknowledging her as a separate being, inseparable from her own being.

An Apology for Re-Visitation

2010-05-03T00:27:00.009-04:00

I am visiting an old friend: Anna Karenina. It is always a special treat when I open the first page and begin to listen, in complete comfort that this is a long tale that will be told well. A reading like this, like living through a brilliant production of Hamlet, cannot be, should not be hurried. It is very much like savoring a meal one has fantasized about but hasn't enjoyed for a while. The lines, the syntax (even though it is a translation), the very cadence of the text feel like a song long buried, finally allowed to surge and haunt, and I am very grateful to the bookclub that has allowed this excuse!

Some texts disappoint by not living up to their promise: they promise richness, minute details, subtexts, and a theme complex enough to warrant a labyrinthine plot, but only skim the surface, touch on the shallow waves, and move on to end before one has had one's fill.

Anna never fails me, though. It is a nicely developed text, with enough round characters so a whole canvas is wonderfully populated, at the same time balanced, tightly woven, and not over-done or spoiled.

Maybe it was the finesse with which the text was handled when I read it while reading Literature, a finesse that lingers beyond decades and lands, thanks to one of my favorite professors of all time. Maybe it was the many Thomas Hardy's I was reading at the same time (I am not a fan; a thousand apologies!). Maybe it is the memory of feeling young I associate with this text. Maybe it is the combination of all of the above. Whatever the reasons, this is a story I long for over and over again. On my bookshelf, there are only a few texts that warrant a return, and Anna proudly sits beside the epics and the Shakespeare's I constantly re-visit.

I like to sit in a dusty corner when I treat myself to Anna. The first time I read it, it was in a hospital library, waiting for my father to finish with the first operation of his day. So now, I like to have a slightly dusty fragrance, the fragrance of un-dusted book shelves in the background. The last time I read Anna, I even made sure to wake up extra early and read it between 4 & 6am, before the day actually dawned properly, since that was also my hour at the hospital library.

Some of my friends tell me I am old fashioned to actually like a text like Anna; sometimes, some others just smile awkwardly and look away, seemingly at a loss at what to say to a being like me; they mistake my enthusiasm for posturing. I must confess these awkward moments make me feel the extreme heaviness of Odysseus' oar like few other times do. I don't understand how I could be so misunderstood, and have learned to keep my peace, to mellow my enthusiasm so I don't seem glaringly inept.

Most people tell me they have no time to read such a thick book and shudder to underline their statement. Maybe my need for texts such as Anna is a character defect, a chemical imbalance, an excuse for my innate laziness?

Yes, I have a child; yes, she keeps me busy; yes, I have missed deadlines because I was doing chores or grading; but equally true is the fact that the savoring of well-loved texts lends relevance to my existence. I don't have time to do the laundry, sweep up the floor, keep my kitchen spanking clean, cook much, or entertain enough. But that is because these stories hold me in their thrall, keep me up when I should be asleep, give me migraines of guilt when I wander too far away from them. So it is true that there is a great deal of self-indulgence in my reading.

However, enjoying Anna is more than a narcissistic wallowing for a lost self. I know there is an ageless kernel in me that demands this re-visitation every time I get tired of my daily dealings with people and their "trivial dramas," as my daughter so eloquently puts it.

So visiting a text like Anna is my paean to the teeming humanity that surrounds me; it serves to remind me why I love real people, as I admire the nobility of Levin, appreciate life like Stiva, adore the simplicity and sophistication that Kitty is, so that I might be brave enough to live as fully and passionately as Anna does.

Not Getting Along

2010-04-27T20:45:00.004-04:00

I continue trying to pin my concentration, and the quilting I've been doing lately definitely helps. However, it is rare that I get an hour like this, sans homework, sans high school projects, sans melodrama that every adolescent is heir to, and I know I must work on my unfinished stories.

But here is the thing: I have lost control over them. They seem have acquired a consciousness of their own and often, I hear them snickering at me from beneath my closed laptop; I hear them murmuring, plotting, bickering with each other, calling out to each other, completely ignoring me. They wake me up with their constant cacophony and I can hear them singing each to each; they will not sing to me!

Like my daughter, they too have outgrown a need for me. But like my daughter, I haven't outgrown them. My everyday life is spiced up with my fictional characters' responses. I recognize spaces the stories unfold in. As I teach my fiction students the joys of flirting with perspective, my stories change tunes, voices, selves behind my eyes.

I disapprove of their brazen conduct, their lack of decorum. They remind me of the daughter-in-law, sister-in-law, mother-in-law triads of Hindi soap operas, those family sagas for which I have a fascinated disgust, like Milton's for Satan.

After all, I am constructing these stories (confound it, I still think of them as mine!), and how do they represent me to the larger world? Whatever will everyone think? Is THIS what I brought up and nurtured? Don't they realise the immense responsibility I shoulder in acknowledging them?

The really frightening thing is, what if I am the kind of writer they say I am? Someone very, very much unlike the kind I had always thought myself to be?

So I refuse to let them out.

Jealously, I keep them atop towers with no doors and have snipped off their long hair.

I am still looking for a way to quiet them, though.

Flashes upon that Inward Eye

2010-04-25T22:15:00.009-04:00

One would think that seeing beautiful places would strengthen the wavering needles of one's internal compass, reaffirm faith in the undying spirit that resists immunity to appreciation of the beautiful. However, I have been unable to reconcile my inner realities to the outer landscape that demands my attention with the insistence and privilege that comes from belonging and owning.

I just returned from Italy a few weeks ago and still cannot stop sighing over the places that turned out to be not dead cliches of images of exotic, improbable, far off places, but real locales, throbbing, teeming, vivacious.

I remembered to touch the stones wherever I went, trailed my fingers along the casual buildings across the street from the Vatican, laid my forehead on the walls of museums, tried to lock in the sensation of my hand resting on a parapet in Assisi, used a rock from a Mediterranean beach as a worry-stone, picked up and kept a brick-fragment from Pompeii. But every passing minute inexorably marched on, slamming into me the awareness of its passing. I tried to inhabit each one with my entire being, tried to inhale it, drink it in, possess it with every molecule, but being mortal, I have been left behind.

Of course, like any insanely infatuated tourist, I do have thousands of pictures, so as the year dwindles beneath routines, chores, and the business of carrying on, I have the option of reminding myself of a wonderful time.

I have had to treat myself repeatedly, have needed friends more than ever, all to remind me that even on that wonderful trip, I missed home, that I longed for my own bed, that I was more often than not tired of living out of suitcases that couldn't be unpacked since we rarely spent more than a couple of nights in one place.

So yes, I am glad to be back and this entry is one of my many attempts at bringing all of myself back here, on this desk.

I've always thought of my internal landscape as a hive of honeycomb-like structure, not an organized land-water-horizon realm. I find now, I have a few more chambers; I hope that these have strengthened the over-all structure, helped me understand hidden facets of who I am, and equipped me to hold more.

These hold fragments that I have no photographs of, an exotic far-off land in me, woven in the fabric of who I am, indelible, pure, true.

Tomorrow, when I look at my mirror to brush my teeth, I shall not forget to savor the sunlight spilled on cobbled streets of Florence, a golden afternoon, and smile because the day shall be good.

The Folder

2010-03-17T02:39:00.004-04:00

1:25 in the morning I woke up to the burning bile in the back of my throat, the pungent taste of work undone. I have been gathering papers since then: transcripts, birth certificates, passports.

It amazes me how a single folder, worth no more than a couple of dollars at the stationary store, just a set of card paper folded and pocketed that one can carry without noticing, is large enough to contain a life.

Along with most people, I keep all my "important documents" (even though this sounds like an oxymoron) in one place, that I may easily dash out with in case of a fire. And like most people, I don't open that folder unless absolutely pushed to do it.

Like a lot of people, I call this The Folder.

Maybe the hour had something to do with it, but facing The Folder felt like one of those times when in the silence and solitude of an endless moment, a recognition, realization, an unveiling descends and no words could articulate it if it was to be recalled and explanation attempted.

The first thing that met me when I opened the folder was my will; then I worked backwards through the breaking of my marriage, birth of my child, various transcripts as I had tried to find a niche in a world I'd immigrated to, the numerous recommendation letters I'd moved with (concrete good will, as I used to call them), my marriage certificate, transcripts, dissertation copies, school records, and finally at the very end, tucked away in the pocket of that folder, a birth certificate.

I have been asked to provide copies of transcripts and I have an impending international journey, both of which force me to confront The Folder, a confrontation, which, I must confess feels like meeting a self in a mirror that one keeps carefully concealed behind a thick curtain.

My M. Phil. dissertation focused on the image of the woman in fiction and predictable soul that I am, I'd named it "Mirror, Mirror." Ever since then, I've found every reflection a bit unsettling, like acknowledging and owning an older, less recognizable being as self, like suddenly recognizing a doppelganger on a lonely walk. My neatly tied up resolution to the dissertation does not translate itself into more accepting, healthier reflections in my reality, especially those reflections that include a movie of my entire life as I look to my death.

Now here I am, reflecting, yet again, an hour later, my paper work addressed, The Folder put away.

I am trying to calm myself down enough to catch a couple of hours' rest before the mad rush of my day begins. I am trying to read The Ramayana, trying to get a cosmic perspective, trying to convince myself that of course I matter, that there is more richness, complexity, feeling, relevance to my existence than can be contained in a cheap folder shut away in a drawer.

The Folder awaits, in sure knowledge that what I feel for it is immaterial, that it may be a discomfort now, but that the awareness of its being is also the reason I've had many restful nights, and that it shall be the loudest proclamation of who I was when it is time for it to be opened by my survivors.

Unlike me, The Folder needs no other validations or acceptances.

Time Out

2010-03-09T11:00:00.008-05:00

I have been contemplating the idea of time, lately. Constructing and respecting a time frame has been one of the many challenges I've had with my writing. I don't, of course, include my poems in this worrisome category, since they exist out of all time frames.

I try, very hard, as I am constructing a world, to stay as close as possible to the way reality works, in order for the fictional world to be easily recognizable. However, time is one concept that has been so difficult to frame. The last three weeks, for instance, have been packed with so much that needed to be taken care of, that even attempts at prioritizing seemed ridiculous, and ultimately, only whatever I had the time for, got taken care of. The rest awaits.

If I am unable to manage my work and time to handle my real expectations and responsibilities, how can I presume to manage a fictional time frame?

As if to reinforce my failures, now, almost all the clocks in my house have stopped telling the real time. It seems to defy logic, but suddenly, in tandem, the two clocks in the living room and kitchen stare belligerently and blankly, refusing to move their hands, even though they both continue to tick in some kind of a cosmic mockery.

The other two clocks take turns running 10 minutes ahead and 5 minutes behind, so I never get a clear view of my temporal compasses.

My friends just laugh it off, saying I need to make the time to change all their batteries, shaking their heads at my neurotic fear of a cosmic sign, full of foreboding. Of course, I can hear how uncomfortable and uneasy their laughter is, tinged with obvious relief, thank heavens this is not happening to them.

This is exactly how time has been treating my fictional world as well: I needed a story to be contained within a morning, but it seems to want to go farther back, years back, even, trace itself to its present moment, resisting all confinement the unity of time demands of me.

I have shelved that story for the time being, and have begun another one with less rigid time-constraints. Of course, that one is taking too long to reach where it needs to.

As a child, when I first began writing, I used to begin at the climax of the plot and weave people, events, feelings, objects around it, like a quilt. This practice, of course, is one of the greatest qualifiers of my efficiency as an instructor of thesis statements, and it has drawn me so close to quilting as a hobby (when I have the time).

Maybe that's the practice I need to go back to? But no; doing things the same way feels a little nauseous, as though no matter how much I walk, I don't get any farther, rather like using a treadmill than walking to a grocery store. That is one of the fears I have: to produce by rote so that I explore no new lands within myself.

Maybe the time is merely out of joint and I just need to wait to right itself back?

I could be feeling this temporal dislocation because I shall have made two international trips in three and half months. I shall have lost and gained so many days, hours, the very prospect defeats my every effort at controlling and managing the times I live in between those trips.

One of my students claims someone owes him a Saturday. He lost it somewhere between the two coasts of this huge continent and wonders if it means that he will live a day less. Fortunately, since we were in a Fairytale class, I could assure him he'd be awarded his lost Saturday in a chthonic package, either in a Dream, during a Journey, or a in similar archetypal time-frame.

However, once I left the class-room (and the space-time of Fairytales), I've wondered about my lost time too.

I sincerely hope that I, too, get these weeks back in some way, since they too, are what I'd log in as "lost."

Of course, that begs the question: What exactly is found time, then?

Thank You For the Music . . .

2010-02-19T22:25:00.008-05:00

Really, I wasn't expecting this to be particularly different from a lot of other recitals I've attended at the cutest, boldest, most wonderful little theatre I've been partial to for the past 8 years.

Don't get me wrong: I enjoy their plays immensely, but often, the recitals are just a fun night out for me, since I haven't grown up with the music. I can't sing along with the rest of the audience; I can't always understand the folksy wisdom that forms such an important backdrop to them; and often, the recitals are the first time I've heard the songs that the rest of the audience has imbibed with the air they breathe. I can only applaud the performances in terms of the quality of singing, which makes my response rather limited. I often forget the songs themselves and fail to recognize them when my daughter hums them, expecting me to join in.

So while I enjoy myself for the evening, it rarely leaves a lasting impression on me, like the plays often do.

However, today, to my surprise, the songs and their performances made me laugh and cry, and I don't do either easily. It always amazes me when this happens without my consent or expectation.

The theatre is holding a two day Folk and Classic Rock recital over this weekend, and if you've been reading this blog, this is not the music that, how shall I put it? Oh yes, moves my soul. Even though I did grow up listening to as much of the Beatles and ABBA as any other kid of my time, I am more of a Kishore Kumar- Lata Mangeshkar kind, a Hindi-movie-song-addict, and my kind of folk music is Gujarati Garbas.

And today, the theatre used no Beatles or ABBA (from whom, of course, I've borrowed the title of this post), which have become so pervasive that listening to them is fun, but rarely much more than just uncomplicated fun that comes from comforting, familiar lyrics and melodies.

On the drive home, I started thinking about this. I had never felt the teenage angst that I used to read about, nor was I ever angrily rebellious or vehemently non-conformist. I didn't feel alienated, disappointed, or depressed. I didn't have the wild streak that drove me away from home in search of an undefinable dream (my immigration was a deliberate choice, not a desperate escape). I never really felt misunderstood; why, then, did these songs of displacement affect me so?

But like the deceptively simple diction of the songs, the answer to this was simple in the way all complex, universal truths are simple: the songs spoke of the longing for home, the inability to define or reach it, the need to belong, the miracle of sunshine, the rebellion against thought-numbing conformity, the unspeakable obscenity of war, the fear of losing all the moments as time marches on, the entrapment of thoughtless choices, the immensity and futility of barriers, the indescribable sweetness of love, . . . the list goes on.

Usually, when I am affirmed of my place in the universe, this affirmation comes through an identification and understanding of an idea or attribute connected to the places I have trotted away from, the terrain I call Des. This evening has been one of those few times when this affirmation reaches me through an attribute from the land that is my chosen home.

It indeed feels like a life-changing epiphany when one recognizes an unbreakable, undeniable connection with the soil that, in archetypal terms, is one's Janma Bhumi, the land one emerges from. But today, I am doubly humbled and honored to have been included, accepted, through the shared music of its people, by my Karma Bhumi, the land I have chosen on which I may be tested, where I may prove myself through my choices and actions.

A Many Splendored Thing

2010-02-14T12:43:00.002-05:00

Today, of course, is Valentine's Day, and the whole world around me seems to have suddenly gone mushy, including my cats, who only seem to want to burrow and cuddle and talked to.

Well, actually, they could be asking for food, but that's more or less the same thing, isn't it?

It seems only proper that there should be a day set aside for this feeling that no one really seems to understand, only yearn for, illogical as it may be. We are told by lovers of lore, that this is like a sickness in the blood, that once this happens, one loses all appetite, all rest, as though one has drunk too much coffee, and all the colors and sensations feel highlighted in neon colors.

What is more, the literature of love warns us that there can only be one way love stories can end, with death! It all begins when eyes meet and ends when breath leaves body, sometimes, not even then!

All this sounds terribly uncomfortable, unnerving, and undignified, to say the least. Yet this is what differentiates living with full awareness of one's entire being, from simply drawing indifferent breath. This feeling we don't understand seems to govern our life and is as blended within our very existence, like a thread woven in a necklace, to transliterate the popular Hindi song.

Be that as it may, Love is a sad, if thriving business. You can buy disembodied, blood colored hearts on sidewalks, or from the suddenly ubiquitous traffic signal hawkers who knock on your car windows, beg you to get your beloved a balloon or blossom dipped in your heart's blood.

Then, there are the too-too red flowers that are so pathetic, so disturbing. Poor things: they are fed false messages and promises of possible procreation, forcibly inebriated with chemicals that urge them to bloom all the more hysterically in hopes of attracting hordes of bees and pollinators. Of course, no such thing happens; instead, they are snipped off, thrust, along with others of their kind in more alchemied, even coloring solvents, some even sprayed with painful glitter, to be sold as symbols of undying love, or at least as instruments of successful wooing.

Chocolates, I understand, delicious, rich, lethal in the long run, as tokens of love. But I am afraid I fail to understand the thriving business of hearts and flowers.

However, there is another, more effective way of wooing granted to us. More than chocolates, hearts, roses, and balloons, one could use the greatest gift bestowed upon humanity to woo one's beloved: poetry and words!

These last longer than flowers, feel softer than teddy bears and stuffed toys, are more redolent of emotion than saffron, can be varied and woven with more colors than rainbows, set truer than diamonds in that most fitting & priceless of cases, music, and instead of the guilt and teeth rot that are often accompanying specters of chocolates, words come with just sweetness and richness. They articulate, present, symbolize a whole plethora, an entire spectrum of feelings, at the same time apologize for their own inadequacy, a modesty glaringly lacking in the other objects associated with the expression of love.

So here is my suggestion to you: give your beloved a mirror decorated with verse that they may see themselves as only you can see them, their face framed by your regard.

Of course, a few chocolates and diamonds wouldn't hurt, the first well-vouched for as aphrodisiacs, the second promise to shine 'till all the seas gang dry, my dear, and th'rocks will melt wi' the sun. You could add a few blenders, hammers, or gardening gloves, if you are brave.

After all, love is a many splendored thing, sans rules, sans sense, and there are un-count-able ways to show how I love thee.

Told and Untold

2010-02-07T22:16:00.006-05:00

Too often of late, writing has become a luxury, a rare treat allowed by powers whose scheduling I don't understand. This past week, for example, sheer exasperation has driven me to the almost forgotten skill of writing by hand on paper; I cannot tell how it exhausts the fingers!

I've been working on a short story, on a particularly difficult part: the balance between sincere and corny or fake. This golden mean has proven elusive this time, as it often has, in the past.

All literature, it has been drilled into us, is the experience of being human. But the exact timbre of intensity of some very human emotions & the way veritable people respond to these emotions, eludes me. Just a tad too much of this intensity and it spills over into unforgivable melodrama. My characters suddenly seem banal and caricature-ish, insincere and unbelievable. If I try to control this intensity, impose some decorum and discipline onto it, it spoils and curdles into a blotch of cliches. My characters get reduced to predictable mediocrity and threaten to fade away. What is more, during attempts at such disciplining, I suddenly hear my own voice, lecturing! An unforgivable embarrassment to any fiction crafter, like underclothing peeking out at inopportune moments.

Often, I write volumes of drivel just to reach that sparkling instant of perfection, when I know I can save that phrase, that sentence, that word, and it's potent enough to spin off universes of stories to keep itself company. However, it doesn't help that for really boring reasons, I don't get a lot of time to write, like I used to. So my volumes of drivel have to be dashed off intermittently, like a dying car at a traffic jam.

I must confess, this makes me quite, quite nauseous.

I don't know how Austen did it, finishing a masterpiece in what must have felt like snatched epiphanies in hours stolen from chores. I don't know, but I can very well imagine. For instance, even though I don't have the family problems that plagued Austen, I do know the guilt of awareness that this time could have been, should have been devoted towards some effort at cleaning up my house. I also know that in less than five minutes, I shall have to surrender this keyboard to more pressing matters, to serve more imminent deadlines.

My child is doing an Art History project and I am staring at a rather bad reprint of Botticelli's "Birth of Venus" and it amazes me that colors, composition, and inherent tale in the masterpiece still take my breath away; it feels like sheer poetry! How did he do it? Reach across centuries, through bad printers, to catch a tired woman at her messy desk, take her collar and force her to pay attention to the timeless?

The answer, it seems, could lie in stories that are indelible features on the face of our species. I shall let the epics work their magic, then; it might be time to revisit poetry and hopefully, that'll help me reach the undefinable.

After all, Odysseus assures me that poets have closer commerce with the gods than anyone else, and Odysseus is a wise man.

High!

2010-02-02T11:15:00.004-05:00

The last weekend brought an unexpected treat: kite flying. Actually, Makar Sankrat, or Uttraan, or the Kite Flying day is long past, on January 14th, when the sun entered the Makar Constellation. However, this year, on that weekend, there were no prospects conducive to kite flying due to unreasonable cold and illogical winds.

As a child, I remember figuring out my year in terms of the festivals, starting with this one. I remember the blaring of popular movie songs, the fragrance of molasses cooking in ghee and sesame seeds, the usually interrupted cerulean of the sky as a patchwork of kites, kite-tails, even lanterns. I remember the familiar streets from a height, as the day would begin and end on roof tops and terraces, and instead of the hawkers and occasional cars, the streets would be rife with boys running after kites with dead branches, the better to snare them with, my dear!

I never thought that this would be one of the festivals I'd miss; it was never the most favorite one, since I am female. Where I grew up, there was a strong gender differentiation: the girls usually held the spool of kite-thread, while their male counterparts actually flew the kites. It was a truth universally acknowledged that one needed a boy to really control kites, to fly them, to mend them, to balance them, and to shout appropriate expletives during kite-wars. One of the most important things to do during recess was to compare scars borne on one's hands, cuts from the kite-thread which was processed in glass dust. But this was only for the boys: the scars sported by the girls were frowned upon as proof of their unacceptable tom-boy-ish tendencies.

However, as an adult, I find that I do miss flying kites. I find I love the heavy tension of the kite-thread when the kite is high, and the knowledge that it is high because I wish it to be. I love to control a weaving kite with well-timed snatches, to steer it within the air currents, to let the kite-string flow as the kite discovers new heights, to coax and bully it to go even higher than it thought possible. I bear the scars of kite-thread on my fingers and palms with a great deal of pride.

Adulthood has also brought me an added satisfaction to flying kites: I don't care what people think of my femininity or lack thereof. I am too old (and therefore, too invisible) to be judged for exhibiting tendencies that are not stereotypical of my gender. In fact, I hope, the sight of my battling the winds that my kite may greet the sun, could hearten other younger females to try their skill with more comfort because they aren't the only ones.

This month also brought me a physical copy of an anthology which has published my short story, with a check (my first). For about a week, every time I looked down at it, I felt an unbelieving joy, hunger for what my friends and family thought of it, and itchiness in my fingers for fixing it further.

It felt like a high I remember from my childhood on rooftops in the cool dawning. I know once the story is published, I have no control over it, that in effect, the kite-string is cut and beyond my reach. Still, there is a responsibility that comes with the sight of my name in print.

I feel the heaviness of the sky on my story, grounded by my name below it, a feeling as concrete, as nebulous as the illusion of control over a kite buffeted by January winds.

Free

2010-01-20T09:46:00.002-05:00

She is young, so she doesn't want to leave yet. But I am always afraid for her, afraid the cats might somehow get her, afraid she might be lost, afraid she misses her family too much, just afraid.

I let my birds go last weekend. I've had a tribe of them for the past 15-16 years, but due to really boring, tiresome reasons that only sound like bad excuses, I've had to make this decision.

I didn't want to abandon them; I wanted to make sure that they'd know where to get food from, even after they've left my house. I had visions of training them gently to get used to the outdoors, since they are born in captivity. I prepared a space for them in my postage stamp of a back yard, arranged some bird feeders just beyond the open cage door, hung an old wind chime that scares the cats on the open cage door, all in said preparation.

But woman supposes and the Universe just laughs.

I stumbled on a step and the poor things, alarmed, just flew out in a panic. I could see them circling the roofs and trees for a couple of hours after, and called out to them in vain. Either they couldn't hear, or they couldn't recognize their cage from above; whatever the reason, they didn't return.

However, what worries me the most is that all of them did not leave: a young parakeet, who looks like she might be ready with an egg, continues to live in the cage, the open door notwithstanding.

For the first day, she kept calling out, even responding when I talked to her. But for a whole day now, she has been just quiet. She shuffles around when I call her, but doesn't speak anymore.

The cage door is still open and the wind chime seems to be working.

This makes me wonder about the nature of freedom. Everybody pays so much lip service to it, but who really understands the cost, the heavy, heavy burden that inevitably comes with it?

Imagine the terror of an open sky on untried wings; the monstrous confusing fear emerging from a forgotten instinct at seeing a dark, wide wingspan; the desperation at seeing the sun set among unfamiliar wilderness, hunger gnawing at the innards; the need to find home; the inability to do so.

I wish I could articulate to my daughter the wisdom of the little parakeet who chooses to stay, even at the cost of her song. Freedom seems like a wonderful dream come true and it is natural to want to choose. However, once one leaves the safety of confinement, it is impossible to find the way back, even when the way beckons.

Ultimately, freedom devours the unprepared, who find horrors beyond their darkest nightmares coming true, instead of the endless shimmering blue sky.

And me? I am left with this huge hole in the centre of my being, where my birds used to live. I am the impoverished, helpless cage-master who understands their terror and confusion but is unable to reach them, the open cage door notwithstanding:

The air gets in the way, and no matter how much of it I gulp it down, it seems endless, like the unforgiving sky.

Honorable Enemies

2009-11-27T17:47:00.002-05:00

I have been fighting ants who battle me for my living space in the most archetypal of wars: might over right. No place is safe from them, no container air-tight, no feeding bowl ant-proof; to say that they are ubiquitous would be an understatement. I also reside with cats, who count on my opposable thumbs for their main food source, and my unpredictable schedule demands that the sensible thing to do would be to leave out some dry food they can snack on on days I return home after 14 hours.

Because I live in Florida, everyone I sing my woes to responds with the same refrain: "It comes with living here; get used to it! I have ants too."

But, I ask you, how can one get used to it?

I have tried haldi powder some swear by; I sprinkled it on the rim of the air-tight cat food container, around feeding bowls of the cats, even underneath the paper on the parakeets' cage. Then, there were the coffee grounds, ant baits, moth balls, and granules that promised to drive the armies away within a fortnight.

Nothing worked. The ants returned in hordes, ever increasing in number, seeking out ways of seeping into cat food, garbage cans, even the water left out for the cats. I have quested after the true ant-proof feeding bowl with the faith only a grail-knight would understand. I have tried chip-and-dip platters, filling the larger part with the water, and holding food, Tantalus-like, in the middle, where the dip is meant to go. But the ants defeated me there too. I found them, invariably, in the food, and once there, they kept the cats away.

I have even thrown away shamefully large amounts of money in hopes of owning such an object. One promising bowl cost me as much as $29 a piece. It is a complicated construction, which heartened my courage and loosened my purse strings. It's a two-storey contraption that is meant to hold water on the first storey, and a detachable bowl that hangs over the water that's meant to hold the food. I thought this $29 contraption would work wonderfully in ways the chip-and-dip platters never did.

But the ants got in that too.

I must confess that at this point, the ants have won my admiration for their tenacity and sheer determination. I have seen them hanging in complex clusters so others can march over their bodies to spaces too high for a singular ant to reach. I regularly clean out ant bodies of willingly drowned martyrs whose cadavers have provided purchase for others to reach across oceans of water. If the cat knocks over the wet food and a bit remains undetected by my mop, in they march and arrange themselves in labyrinthine formations to increase efficiency.

These creatures are also the best cleaners I know. A surface visited by ants, you can be sure, is clean enough to eat off. Not a scrap, granule, or bit remain. And they eat almost all organic material. I am convinced, if I was a greater slob than I am, I'd never wipe off the stove after cooking, trusting, that given time, the ants would clean the stove better than the most abrasive bleach cleaner can.

In just a few hours, these tiny insects build apartments, streets, winding pathways, roundabouts, even two-way highways around the littlest scrap the cat spills. Every time I clean up the ants, I imagine ant-bards hiding in shadows, watching the apocalypse with unbelieving horror, as a civilization is cruelly wiped out with a poisoned shower from above. I wonder which ant-heroes fought valiantly to save the cocoons and the young, whose brave pincers rescued the queen or collapsed doing it, and what ant-verse the minstrels will use to honor the glorious past so meaninglessly erased at a whim of another being. I also wonder how long I shall carry those ant-lives on my back.

Every survivor knows to honor the worthy opponent. This entry is a pean to my worthiest opponents, the ants. I bow in admiration to their ingenuity and unfailing enterprise.

Fighting with ants also keeps things in a proper perspective for me; what the singular ant is to me, I am to the Universe. When I crush the ant, I don't stop to ask its identity and judge if the ant is good, important, or how many others of its species depend on its well-being, nor do I wiegh the consequences of its demise on ant politics. Yet, I am convinced, that the ant about to be crushed is sure of its rightful place as a prime predator of a higher intelligence.

Is that what the Universe thinks of me? And how else am I to prove my worth as a being greater than an ant, but to point to the heavy burden of dead martyrs I carry?

On A Solitary Thanksgiving

2009-11-26T23:18:00.005-05:00

This has been one of those Thanksgivings when I am alone; my daughter is visiting her father, and I have refused invitations from friends.

I have thirsted for some time to myself, to catch up on grading, quiz-construction, lecture prep, reading, and a bit of blog-surfing. Once the Summer passes and Fall descends, my routine gets a bit hectic and I need some down time, more, I notice, as I get older and slower. So this was the time I have kept for myself, sans chores, sans car, sans a life beyond my door.

However, by the time it was afternoon, I found myself orbiting Facebook, wondering what was going on in the world beyond. As expected, most entries were about how thankful people were for various things in their lives; some entries even invited additions.

This does make me feel a little guilty since I cannot adequately, ever, articulate how grateful I am for everything and everyone I've known and felt. There are many problems with this: what can one say? How does one reduce such a complex feeling into proper words? All the words I tried out seemed trivial, trite, and a repetition of what everyone else had already said, perhaps better.

There is another problem with this formal expression of thanks: whom does one address it to? The Divine? Other people? Oneself? But no; that smacks of hubris and seems unwarranted, rather silly, even.

In the final analysis, I find myself disappointed: it seems to me that everyone thanks themselves and each other with what seems like a self-congratulatory tone, a pat on each others' backs for what a wonderful job we all are doing at being nice and selfless to each other.

I think what is lacking here is a ritual, to make this expression of thanks formal, to lend it validity. Certainly, there is the food and there are the relatives and friends, but then this day becomes very similar to any family reunion day, like Memorial Day, only indoors. Of course, there is the mad rush to the malls the next day, but the stress-driven, neurotic Black Friday is, by no stretch of imagination, an expression of any gratitude, or quality time spent with friends and family.

I don't want to seem ungrateful, or Scrooge-like with this entry, because that would be an outright lie; I lack the strength of character and fortitude such a role demands.

What is more, I AM thankful for every breath I draw as me; I am grateful I got to live this precious time as who I am; I am grateful for the people around me, of course, but I am equally grateful for being able to genuinely enjoy my solitude; I am grateful I have the means and know-how to treat myself occasionally with whatever I want to read, write, eat, and dress in; I am grateful for having seen as much of the world that I have; I am grateful for the disappointments and stumbles, not because they've made me better or stronger (I sincerely doubt that they have), but just because they are mine; as I get increasingly narcissistic here, I am most grateful for the hands and eyes I am using right now.

But most of all, I am grateful for the written word that has created such a rich world for me, enriched all levels of my realities, and made sense out of a chaos of cosmic proportions.

The best expression I have found for my gratitude remains the unchanged from my daily routine, that which I begin and end the day with: I shall light a votive in my little home-temple.

What would, do you do?

Bright Fragments

2009-11-21T13:50:00.008-05:00

The wedding in my previous entry was all I had hoped for, and more. This occassion has provided me with fodder to nourish my solitude for more hours than I care to log!

There is no subsitute for the amazement I feel at discovering how little people's impressions have changed. I've always prided myself on being forever attuned to the passage of time, and that I have grown so far away from my 20 year self, that she no longer even speaks to me.

However, meeting family who remember that 20 year self, and address me thus, reassures me that the timeless self prevails, and what is more, is recognized more than I realize.

There are too many details to ennumerate, both large and small. For instance, there was the lunch on the day we reached, just before we got our hands decorated with henna. I don't remember what we all talked about or laughed at, but it was trivial, similar to all we've talked of and laughed at in the past, and comforting like the diurnal cycle, with the certitude that we shall, all of us, talk of and laugh at the same things until a'the seas gang dry, and the rocks will melt wi'the sun.

One thing that was missing in this wedding was the nervousness of the bride and groom, who were very comfortable with each other and their families, and genuinely enjoyed each part of their wedding: they did not seem distracted, over-extended or stressed at all. In previous weddings, the bride and groom were always separate, so isolated within their immediate families and demanding ceremonies, that the attendees were often left on the peripheries, socializing among themselves.

However, in this wedding, even though we all were unbelieving and ecstatic at meeting everyone else, all the festivities revolved around the couple, who were at the centre of all the action and excitement. They sang and danced with abandon, infecting everyone with their very obvious joy. We were all treated to a different, exuberant side of my quiet, philosophical cousin; I have captured him spinning on the axis of his friend's hands, laughing uproariously with his head thrown back, comfortable in his wedding finery. I shall keep that image as a prototype of a good wedding celebration.

I had also mentioned in my previous entry, the importance of having my daughter with me, whose excitement I was counting on to kindle the magic of weddings, and I was not disappointed. Contrary to my expectations, she chose to wrap herself in a heavy silk sari for the ceremony, and conducted herself with marvelous grace in it! She didn't mince her steps, but danced exuberantly; she didn't keep adjusting the palloo, but used the passing breeze to make it dance with her; she didn't make the sari seem cumbersome for her slight frame, but used it to reinforce her confidence in her self and feminity.

Neither did she use this occassion only to dress up. She, along with her cousins and newly made friends (whom, I am sure we are related to, just not sure how), actively participated in the festivities, even when it involved no dancing. For instance, during the actual wedding, she arranged herself in the front aisle, with various generations and branches of our family, to better witness the proceedings, bullying her cousin to take pictures of important parts she might otherwise miss. At one point, we could all hear my teen sigh audibly and follow the sigh with a long-drawn "awwww!" at the "cuteness" of it all.

Now, after a few weeks, the honeymoon is over and we are valiantly trying to get used to our mundane realities; but the pictures have just been uploaded and there are requests bordering on demands for missing moments & dvd's, and a burst of comments and exclamations over the visible ones, making us all re-live the wonderful weekend we all spent together so long ago, just a few minutes past.

What can I say? These are fragments I have shored against my ruin.

On Beholding a Night of Solemnities

2009-11-04T10:04:00.006-05:00

Really, I should be grading, or finishing my latest short story, or beginning a new poem. But my mind keeps skittering away, so I guess my "work" shall have to await my discombobulated brain's leisure.

I am in the middle of packing for a weekend away, to attend a wedding. We have our finery ironed and packed, the accessories boxed and arranged, and only the trivia to touch upon before we leave on our road trip. I have planned to prep my daughter on the road, about proper, expected behaviour; I have remembered to pack back up fine clothing in case our first choices don't work out; I have also taken my entire collection of earrings and bangles in case someone else needs just the right shade of periwinkle or electric blue.

I am very excited, of course, at the prospect of meeting my family, dressing up, and celebrating not just a festival, but an official addition to our tribe! And even though I packed my outfits after much deliberation and discussion, I know I won't really care what I look like, an odd attitude towards an occasion sure to result in photographs. It's true, though! My excitement about attending this wedding is one of the gifts my present, older self does not share with my 21 year old self, with whom I am in constant comparison.

I remember hating weddings when I was younger. Instead of celebrations, these were obligations to be squeezed in a madly busy schedule; they were just so numerous that during the wedding season (after the monsoons and Diwali), we sometimes attended at least a couple in any given week. I remember I did my best to plead off, and on more than one occasion, even offered to wash all the dishes, a chore I hate to this day.

I also remember preferring to attend receptions rather than the actual ceremonies (which were slotted around noon), since the ceremonial fire made my eyes water and I invariably developed a headache in the middle of the day, what with the monotonous, incomprehensible intonations of the priests, the extra-spicy, extra-oily food, and the constant longing to be done here so I could get on with my day. The people I usually met during these day-weddings were retired, curious relatives, whom I was to bow to, and to whom individually and smilingly, I was asked to report and defend my current and past academic pursuits and interests, as well as extra-curricular activities that would reflect well on my up-bringing and family background.

The receptions were usually held in the evenings, in less crowded spaces, and there was enough time and breathing air to actually socialize against a background of instrumental music. The bride and groom were usually ignored, distant beings to be spared a glance and forgotten, worth a moment's notice of a handshake and picture, excuses, merely, to spend a few hours in a picturesque locale, to dress up but not uncomfortably so, and to indulge in a nice dinner with friends sometimes too busy to meet elsewhere, or during the day.

However, this anticipated wedding is going to be different. Since I am much older, and by that corollary, more attuned to the universe, I anticipate an awareness of a cosmic union, which the gods themselves attend to bless a human event. Also, I hope to see sheer magic since I shall get to see this wedding through the eyes of my daughter, for whom weddings are a rarity, making her immune to the boredom I felt when I was her age and told to get ready to attend one.

Like Diwali celebrations, Navratri nights, my beach twilight, and well-loved texts, then, I expect that attending this event shall anchor me, affirm my designation in a universe that constantly demands reconstruction of the self, and present a perch on a threshold of eternity as I witness a ritual older than five millenia, along with other generations of my tribe to provide a sense of continuity and rightful belonging.

Sacred and Profane

2009-10-31T22:36:00.007-04:00

It's Halloween and for a superstitious being like me, it's exciting, though not exactly fun, unless reflected in retrospect, in the light of tomorrow's sun.

But it's only 11pm right now and the sun is a long way away. As I await the midnight hour that promises to transform the profane into sacred, I wonder about the nature of the sacred and the profane. It seems to be an assumption universally accepted that these two are diametric opposites, yet I wonder how that can be. Popular belief also indicates that the sacred is abstract while the profane is concrete; however, I am no closer to defining the exact nature of either than I was at 10, though I like to believe I'd recognize them and understand the difference, should the occasion ever arise.

Since I don't want to take chances with forces I don't really comprehend, I believe one must acknowledge the profane as an integral part of the universe, as deserving of celebration as the sacred.

In honor of the most profane evening of the year, I buy very good candy, and remember to set aside a budget for my child's costume. My daughter and I spend hours selecting the choicest chocolates, peanut butter cups, and tootsie rolls. My child cannot believe that I spend more money on the sweets for this holiday than I do on Christmas or even Valentine's Day, but she, being wise, asks no questions. I also encourage her to explore parts of her repressed self and tell her to choose "really original, interesting" costumes. So we set aside at least a couple of afternoons chasing pieces of a repressed self through the aisles of Party City and Micheals; this year, she is going as a Jabberwaukie (I am sure I've misspelled that, so a thousand apologies!); consequently, we aggressively hunted down a scarlet tutu, red gloves, white masks, and feathers amidst the curious glances who wondered at our shopping cart as much as they wondered if I, in my salwaar-kameez, was in some kind of a Bollywood costume.

On this most unholiest of nights, I do not like to leave home. I light a votive in my home temple before it is properly twilight; if I have to be out, I keep salt in a Ziploc in my purse and try to be unobtrusive as I throw pinches of it over my left shoulder any time someone gives me what I think is an odd look, and those are aplenty on this night. Understandably, then, my daughter prefers to spend her Halloween away from this strange self that surfaces only for a day!

I don't DARE not celebrate this day; after all, like I tell everyone who'd listen, one never knows who or what might come knocking when the veil between realities, dimensions, worlds is at its thinnest. And I really would not want any imps resorting to tricks in absence of treats.

In the face of the undefined, then, I prefer not to take chances. Profane might just be a matter of perspective; to our species, this could be that which threatens humanity's well-being, as a lot of our apocalypse stories and movie monsters would insist. However, I am willing to bet the book I am in the middle of, that a cockroach and a cat would hold really different views from those of the neighbor's grandchild dressed up like a nightmare.

So it would seem that the ideas of sacred and profane are not universal constants; and yes, I'll say it since the occasion seems to call for it: there are more things in heaven and earth than are dreamed of in philosophies!

Regardless of its cosmic relevance, though, this day should be celebrated as an important part of being human. Halloween celebrates our darkest faces and forces us to own the uncomfortable selves we deny. It forces us to stare into the heart of darkness, reflect on the ubiquitous Mistah Kurtz, for a while refrain from paying hypocritical lip service to ideals of peace our species claims to uphold, and conquer shadow selves by embracing them.

And then there is the comfort of the idea that the profane gives in to the sacred, and that's just a matter of a midnight passing; no sacrifices need to be made, no gods appeased. The light is as inevitable as the darkness and it is all a matter of time, which continues to lumber on, unaware, uncaring of its nature.

Previously, On This Episode . . .

2009-10-16T09:58:00.008-04:00

I now get television because for the first time in my life, I am paying for it. Long ago, I did watch a lot of television as a fresh immigrant, drinking in the accents, the jokes, and the horrors. But that didn't last long and I found very little to interest me on the small screen, and so gave it up and returned to voracious devouring of the written word, a comfortable hobby that afforded the much-needed quiet time from the hectic cacophony of my routine.

However, now, my routine seems not so cacophonous; actually, it seems that the only noise I hear for long hours is the one I make. My days also demand that I translate everything I say to almost everyone, into English, which often exhausts me; at any rate, I crave the flowing vowels and soft consonants of, from Des, easy voices that demand no translations, musical scores as familiar to me as rickshaw horns, blaring to move complacent, lowing cattle away from traffic junctions. As the theme from the serial spills out, it rushes into my silent corners and fills them with soothing warmth, like a painful knot easing away to a hot compress. I confess I crave noise from a different world than the one I inhabit.

What has especially caught my fancy are Hindi soap shows, predictable, cliched, exotic. The sets are ostentatious; palaces are rented to shoot these episodes that depict joint families occupying spatial mansions. Sitting rooms have ten-feet fountains, sparkling algae-free, although no one ever seems to tend to them; windows are higher than chandeliers that sketch exclamation points exactly half way between winding staircases wide enough for five people to walk abreast; the room itself has split levels, with interesting alcoves and inviting sitting arrangements.

The kitchens are enviable to anyone who remembers or fantasizes about conjuring up, brewing faultless chai, sheera, and parathas. These kitchens are occupied by several women of the household, yet manage to remain uncrowded. The tasks themselves seem cleaned up for television: the fenugreek or methi never leaves smudges of black earth on characters' fingers; the cream of wheat or sooji never sticks, brown and useless, to the stirring utensil, even when the flame under the vessel can be seen merrily dancing blue and orange; not a single hair from well-coiffed heads strays as these characters stir indubitably perfect crushed rice or poha concoctions, so perfect that one can almost taste the lemon redolent with fresh coriander and crushed ginger.

The costumes and furnishings are opulent and colorful. Deep cobalts and parrot-greens, dancing oranges and sparkling reds gracefully drape characters, hiding all bodily flaws beneath fabric folds, or coyly suggesting mysteries. Often, the motifs on these sarees seem to echo the normal sarees one can actually spend days in, but these patterns, coupled with the rich textures, only serve to highlight how removed these sarees are from the recognizable, real, everyday fabrics. The accessories do not look like the paste they must be obviously constructed out of, but sway heavily, convincingly along the characters' temples, ears, throats, arms, waists, feet. As though to reinforce the incongruity between the real and fictional, these characters often sleep in these costumes, their pillows un-dented by their undisturbed, heavy and bejeweled hairdos.

What these serials channel, then, are stylized fantasies of a collective, and the nostalgia they evoke is for things that could never happen, never did happen. How, then, can they remind us of home when the world they depict is so unrealistic?

For the answer, one must re-visit the Rasa Theory and Natya Shastra, attend some folk theatre and festivals, watch old Hindi movies, and re-live the undying songs from those movies. What is evoked in these serials are feelings, values, fables, and guiding metaphors peculiar to those that belong to both, the Indian subcontinent, as well as the adopted countries they now call home. They remind us of what our languages sound like, make us feel clued in to the latest trends and slang of "back home," and provide us with navigational tools for our psyche.

When I visit India, I don't want to seem like a visitor incapable of sharing any jokes or horrors. So I watch these Hindi serials avidly, very much like the fresh immigrant watching local and national television shows to familiarize herself with her home, so she won't be left out, so she'd fit in gracefully.

On Not Writing

2009-10-09T13:24:00.008-04:00

It has been quite a few weeks since I've written anything of significance, that is new. I've been tinkering a lot, but unfortunately for me, nothing surfaces that I care to talk about. This is the main problem with writing: so much happens that it all overwhelms me and I tend to crumple up the words and trash them like so much used tissue.

Whenever some substantial time passes before I write, I am fascinated to observe myself to see if my reaction to this not-writing is any different, any more or less intense; it never wavers, however. There is a whole cycle of emotions that regularly and dutifully cross my emotional landscape, like predictible monsoon clouds.

The gamut of guilt, chagrin, humility, frustration, and finally loss follow each other with such organized motions, as though I were a choreographer and these my students that I'd taught dance moves to aeons ago, and they go through them with precision and meticulousness that my ambitious daughter would envy.

The Rasa Theory tells us that if certain gestures, colors, musical notes, harmonies, and myths are enacted during specific times, this enactment inevitably results in evocation of a mood; the audience, historical & social settings, geographical locations, even languages may change, but like a chemistry formula, the resulting Bhava is always conjured.

I wonder if all our emotions are predictible and controllable like this. If I can put myself through the same cycle of emotions just by refraining from my writing for a span, does it not imply that ultimately, I have complete control over my emotional responses, irrespective of my age and circumstances?

This might seem like the perfect solution to all that is unmanageable and chaotic in my life. However, I know I am not in control, not really. Like the Universe of Greek mythology, my inner self is the one with all power, a self that is inaccessible to my conscious mind, which, like the Olympians, remains but a manager granted intermittent, limited control for purposes it doesn't always understand or realize.

After all, I cannot keep away from writing for too long, and the cycle of my feelings is not complete until I feel the cosmic relief that comes with seeing a word on a blank page, knowing I thought it up and put it there.

I tell my students that there is no magic greater than language; I feel renewed everytime I realize this after a span of being deprived of creating in it. After such a dry spell as I've just had, I feel so rewarded at being able to just write, that I need no other reward or acknowledgement.

My very good friend has a specific imagined audience: a future graduate student reading her work; I find I have a specific audience too: a future not-writing self reading her own words with thirsty eyes, a Wasteland dull and static behind her, the harsh, clear sky above devoid of clouds.

Arangetram!

2009-08-04T10:45:00.004-04:00

This past weekend has provided an exquisite experience, that of seeing my niece, Shivani, ascend the stage: she had her Bharatnatyam Arangetram (literally, "ascending the stage" or graduating with a diploma in this dance form). What impressed me the most is a 16 year old's ability to use an ancient art form to tell immortal stories.

Like me, Shivani too, is a first generation immigrant, but unlike me, she immigrated as a young child, and so describes herself as being more American Indian than Indian American, a distinction of a few but important degrees. Essentially, this means that the language she is most comfortable with is American English, though she does choose our mother tongue, Gujarati, for choice circumstances when no translations would suffice. I know she has been taking French as a second language in school for the past few years as well. Also, since Sanskrit and its derivatives are the languages of Bharatnatyam, Shivani would have imbibed the basic structure and vocabulary of these languages too, during her decade long training in the dance form. So her multi-lingual abilities are not new to me.

However, this dance form works through more than syntax and vocabulary; it appeals to the language of the very soul of a culture, thriving and alive for millenia. Its practitioners and enthusiasts, especially those young like Shivani, have learned more than a dance form brought alive from temple walls; they have learned a certain designation in the Universe to keep them from feeling lost, fragmented, displaced, or afloat; they have learned articulation of the highest kind that includes the body, the intellect, and the spirit. The language is the language of the immediate experience, described and catalogued in Natya Shastra, a language that demands absolute perfection of gesture, economy of movement, unrelenting grace from the performer, and active participation from the audience.

I must confess to reservations I had about this project before attending this evening. However, I can think of no better way to celebrate a girl's initiation into adulthood. This evening has taken at least a decade of preparation and changed everyone involved, Shivani most of all.

Shivani and her girl friends think it no great matter to weave two-hour Gordian knots in their hair to accommodate and balance head pieces and braids of designs centuries old; they swap programs to compare costumes whose fashion hasn't changed for around a thousand years; they are familiar with heavy, ancient patterns of jewelry that is worn in unusual places, like the sun and moon on each side of their hair parting, or the intricately curved ear pieces hung from strands of pearls curled around their temples; they paint each others' feet with red markers to emulate decorations described in texts that date from around 2nd Century B.C.A. Moreover,these ornaments are not just cold pieces of metal either; the significance of the bells or ghunghroo, for example, is not lost upon the teenagers who have willingly forgone afternoons at the mall and movies with friends while they dedicated the time to learn an art form their community brought along as their most precious cargo when they decided to establish a home far away from their birth-land.

This experience is more meaningful in an immigrant's world, since it involves not just the particular ethnicity, but also invites the larger community, the local slice of the global village. Shivani's Arangetram enthralled audience members of several ethnicities and backgrounds. Two of Shivani's friends who spoke to the audience about her confessed they had never been to an Arangetram before, or even knew what one was! They were not alone, of course, as many of the audience members enthusiastically exclaimed to me after the performance.

Such an event, then, inevitably enriches us all by reaching across limitations of geography and chronology, by invoking the ubiquitous stories that define us and introducing our friends to them.

Undoubtedly, this 2 hour performance very clearly illustrated one of the most attractive faces of the immigrant identity; it presented a wonderful reflection of an identity that constantly and eternally re-defines, forges, discovers, and resurrects itself and I am honored and humbled to have been a part of this celebration.

Bereft

2009-07-26T08:47:00.003-04:00

I have just been abruptly and inexplicably abandoned: my labptop remains unblinkingly, stubbornly black, and my flash drive (the one I refer to as my "mangal sutra": its significance obvious at being compared to a woman's dependence on her marriage) is corrupt, all the information and files perversely curdled to gibberish.

I have always been aware of my dependency on my electronics, but it was an awareness that was comfortably obscure, vague, like a balloon payment due a couple of decades in the future. In my defense, however, I do back up everything: on my computer and my flash drive, which, everyone tells me, is practically indestructible. Of course, like my present apocalypse would avouch, nothing, absolutely nothing is ague proof, and if the universe decides one is to be without back ups or blankets or roofs, no amount of pre-planning, insurance policies, savings, or technological know-how can abate destiny.

This week has been a lesson in humility and patience. I have been trying to come to terms with the fact that I shall have to re-create my universe: all my courses, all my notes, all my assignments, even all the poetry and a couple of short stories I've been writing for the past few months, all is lost.

If my father were here, he'd tell me not to worry, that the original blueprint is still intact, in my head! However, right now, my brain is so numbed it cannot approach the thought of my loss without commanding my knees to feel weak, my shoulders to melt, my extremeties to turn cold, and eyes to leak.

The question, then, is, should I go back to a pre-lapsarian age of keeping paper back-ups, every comma, every phrase securely penciled in before the day ends? I remember my student days. I had several of those huge pothis, the Books that businessmen open during Diwali, with kum kum and an invocation to Ganesh, the kind that are hard-bound in red cloth, the seams stitched firmly with strong thread.

Those tomes were my hard drives, my back ups, and they, being too heavy, lived on my bed side table.

When I immigrated, of course, I had to leave the pothis behind, along with my problematic, enviromentally unfriendly dependence on paper. Like all immigrants, I have been very proud of my adaptability to new ways of working, writing, and saving. In fact, I am afraid I might have boasted my intent of weaning myself off the need for hard copies in not too distant past.

This hubris, of course, is the reason why such a disaster has visited me and left me thus bereft.

As I sit here, at a borrowed machine, surrounded by my primary sources, re-creating presentations and notes I shall need for next week's classes, I mourn for my pothis, for an age that has long passed into memory, when nothing could be completely destroyed or lost, and my relationship with the written word was organic and real.

However, I also know that the pre-lapsarian age I mourn for was fraught with incomprehension at my hurried notes, rubbed off and otherwise illegible writing, and having to scroll through many, many heavy pages for a bit of information since those tomes had no search function.

I also know that while it might be cumbersome to re-create all my work, once re-created, it shall be more prolific, legible, organized, and accessible to me. Besides, making these presentations reminds me of how much I enjoyed making them in the first place and keeps me from being atrophied.

For my creative work that is lost irretrievably, I go back to the undying truth that all that is born has to die; losing those poems and short stories should remind me that once out of my being, they don't belong to me but to the universe, which has, rightfully, swallowed them. But the lost pieces feel to me like lost children, and even though I know I am not the first who has lost them, and that not all children who are concieved get to be born, I still rage at the injustice of having to give them up before their time.

Going back to the drawing board is both necessary and inevitable, and I do understand that. However, every time I have to make that journey, I get a little more lost on the way.

Notes From Trekkies' Quadrant

2009-07-18T16:47:00.006-04:00

Most of my friends are taken aback when they find out that I am a Star Trek junkie.

I consume them all, beginning with when Captain Kirk was in captain, on to the Next Generation, Voyager, Deep Space 9, and now, Enterprise. I know most characters well enough to provide a personality analysis without much notice; I know what makes their space ships go, and what a big deal it would be if they were to be forced to eject their warp cores. I think it quaint that the characters are trying to break the warp 5 barrier with Enterprise NX in the sub-series set in the 22nd century, when Enterprise NCC 1701-D of the 24th century is easily capable of warp 9! The various quadrants of Universe are also familiar to me, and I have a very clear understanding of the space-time continuum, the laws that govern it, as well as the ways of The Continuum and its inhabitants, a realm beyond space and time.

What I don't understand is my friends' and family's amazement at my obsession. My obsession has always been, and continues to be a story well told, a truthful depiction of the human condition, and themes that all epics address: the nature and exploration of the self, idea of a journey that changes the universe, grappling with varying concepts of possible and immediate realities, the uncomfortable inevitability of death and its meaning, the grey, fluid areas of ideals and morality, and constitutions of the sacred and the monstrous.

I remain intrigued with the race of humanoids Captain Picard meets, whose language is purely metaphoric, so the universal translator falls short, only able to translate vocabulary and basic syntax. At the conclusion of this episode, the protagonist feels compelled to turn to neglected and all-but-forgotten epics, with corner-stone archetypes and metaphors.

It is easy to empathize with the Voyager and its crew, lost in the Delta quadrant with no way of finding their way back home to the Alpha quadrant. An accidental moment condemns the crew to a seemingly endless quest for home in a journey that is precarious and existential at the same time. Throughout that series, there is an unmistakable strain of loss, longing, and nostalgia that all travelers and immigrants feel, the very strain that resonates with us when we try to map the oceans with Odysseus and his crew, or wander through the Dandaka Vana with Rama, Sita and Laxman.

The very delicate balance between dignified, sensible tolerance and unseemly interference needed to maintain some order on Deep Space 9 is very relevant in the contemporary world. The station, perched on edge of a wormhole, rare because it is stable in both, Alpha and Gamma quadrants that it connects, bubbles with activity and strife, a melting pot of races, species, and life-forms that pass through it constantly. What happens here is an external, crystallized, symbolic version of the conflicts that have haunted our race since before recorded history.

Our deep set fears of being reduced to non-humanized automatons whose individual consciousness is stripped away, who are assimilated to fit into comfortable cubby holes, can be recognized in the Borg that hunt all the species, a common enemy. The idea of the Borg explores one of the most contemporary issues, a theme that seems to have displaced divine weaponry in present day tales, the relationship between humanity and technology. On the one hand, there is the obscene assimilation of the Borg, who countenance no differences, and on the other hand, we are presented with the ideal of such a relationship in the character of Data, a figure which forces us to closely re-examine what exactly it is that makes us human, or even organic!

I dedicate this entry to the same idea I have dedicated my blog to: the story that tells of us, that outlasts our little lives and helps define us in relation to the ever-expanding world that we find ourselves in.

In a nutshell, then, Star Trek embodies two quintessential, timeless, unchanging wishes we all have: to boldly explore the new, and to live long and prosper.

Being Off

2009-07-03T07:44:00.006-04:00

Summer is a barren season for me.

I usually have time off from work, and during the hectic, mad days just before this break, I have plans, concrete, substantial plans about what should be accomplished during the break. My father used to say that a holiday is not necessarily time off, but time to change the nature of work for a short while. So dutifully, I prioritize projects, categorize chores, even establish a time table. I also imagine the rest of my colleagues and students doing the same. By the end of this week, I had thought to be able to have a definite body of finished work, precipitated pearls that would vouch for my industrious nature and self-motivation.

But inevitably, like every Summer, I have nothing. Literally, the past week, I have measured out my life in coffee spoons and cat feedings.

I find I have lost the week to day dreaming, missing my child until I thought my entrails would spill out if I got up, sleeping very little, chatting online, reading, and watching episodes of Star Trek checked out from the public library. I didn't leave the house and forgot dates and days. I don't even remember the passage from 8:30am to 2pm. It has also been raining constantly, so the light outside has only heightened this atmosphere.

I went to the beach, once, during the week, hoping to catch the moon rise. But everything was a singular non-color, and the dimensions were all wrong. I couldn't see the horizon: the heavy, iron of the ocean had blended perfectly with the low swamp of the sky. There were no waves crashing against the sand; instead, the water lapped lethargically against itself. I didn't stay for long, since I can take a cosmic hint: it wasn't a good week for the beach.

I read that some of my friends have been doing yard work, catching up on syllabi, fixing up their house, visiting exotic locales, meeting each other for coffee and lunches, while I have beamed off the planet, orbiting Facebook like a lost asteroid.

However, I also know I need this staring-into-space time. Too often, I think, we forget to just be, get swallowed up in the intense busyness of finding work to justify our existence, to earn our keep. This blog belongs to one of those islands of liminal time, where nothing happens, because nothing is allowed to happen. This week, I don't believe is wasted time, since meaningful time wouldn't be exist if there were no time without meaning.

In an ideal world meaning and its opposite would be perfectly balanced. In other words, people would work only for half their waking hours. I sincerely believe that a deliberate denial of constant work is essential for meaningful, productive schedules.

There needs to be a non-definition to one's days, designations, even self-hood. I fantasize that's what vacations and break times were constructed for. However, sometimes, even on vacations, I find myself trying to cram in as much sight-seeing, things-to-do as I possibly can, which exhausts the spirit more than the body. So much of me gets used up, I am surprised I can spill out of the bed the following mornings, and mercury-like, run sporadically through another day, viscous and undefinable. This kind of vacation fails to do its work, and I find myself snatching my staring-into-space time while at my desk at work, or at the stove, cooking.

The week has been a chthonic time, twilight terrain, liminal space. It has been pregnant with possibilities: every hour, I had a wide array of choices, and I chose nothing, leaving the hour intact and unbroken. After a time of stasis like this, a time of hectic schedules follows, beginning with the end of 4th of July, and I know I won't get another break until next Summer.

The very mention of a specific day, date, and number signifies the end of my Dream. I am afraid it might be time to notice that the rains have stopped, the sun is high, the horizon very clear. I shall dislodge the cat and light a votive in my little temple-shrine; the day has begun.

My Father Had A Daughter

2009-06-21T14:17:00.003-04:00

I don't usually post to mark events, but today, on Fathers' Day, I am moved to reach for the solace of the written word, for my father, who passed away about a decade ago.

I am not thinking of him particularly because of the day. Actually, I don't consciously think of my father, really. I think parents form a background to one's experience so they are never really absent or blatantly present. I feel my father's being in me in seemingly disjointed images: his kind, brown, smiling eyes when he looked at me (I am told I was his favorite being); his palm encircling my wrist to calm me down after a traumatic exam; his silent, helpless laughter as he read Richard Armor and Jyotindra Dave; the indescribably timeless, sweet, comforting sound of his violin; the earnestness of his tone as he explained the anomalous expansion of water to me. There are many others, of course.

When he passed away, one of my best friends told me never to hope to recover from it: that would never happen. I'd have to, instead, acquire survival skills, and learn to live without him, as though his absence was like a psychic amputation of sorts. This manner of dealing with my father's absence has helped me weave him into my experience of being alive without having to feel survivor's guilt. I have, since, shared beautiful sunsets with my father, laughed a bit more in his name, savored his favorite dishes with new appreciation, wondered at the endless universe beyond the stars he first helped me name, even learned to be grateful for the richness of solitude he so loved.

I join the world today, as it celebrates Fathers, past, present, even future! The gifts they give us are as undefinable and undeniable as the myriad avatars they take as they guide us through difficult cross-roads. Sometimes, we have to conquer them to answer Sphinx's riddle and understand our nature; sometimes, we blame their autocratic stereotype and use them as symbols to rebel against; sometimes, we accuse them for being too distant with us, for not compromising with their idealistic expectations of us. But despite it all, our very sense of self emerges around their presence and absence, and we forever belong to them in equally undefinable, undeniable ways.

I dedicate this to the joyful, ageless twinkle in my father's eye as he looks down on his infant daughter in a worn out black-and-white photograph, as she clutches his forefinger above her temple and stares confindently, directly at the world.

My father had a daughter;
Today, like all days, she is grateful to him for taking upon with her, the mystery of things, as if we were the gods' spies.

Home Bodies

2009-06-18T08:49:00.007-04:00

People often ask me who my best friend is. I find this to be one of those problematic questions, difficult to respond to: how can there be a singular? what are the parameters? is this specific to a decade? a continent? Usually, I just offer a meaningless quip: "Oh I have none: people have better taste" or "They knew too much; I gave orders" or something equally meaningless.

However, upon reflection, I have to say, my best friends are my non-human cohabitants, beings other humans often mistakenly refer to as "pets."

My non-human cohabitants offer me company, should I tire of my own, and demand I make no more effort than to ensure mass-produced, processed, store-bought food be available in their feeding spaces.

My relationship with the cats, for instance, is extremely intuitive. They sense when my back hurts more than can be soothed with Tylenol: between sleep cycles, I inevitably find warm, purring bodies nestled exactly at the epicenter from where the pain radiates. More mornings than I can count, I have woken up with the realisation that the back of my knee and calf is curved deliberately just so, that a feline body may fit perfectly there.

The cats, too, have trained me well. I do not need them to use words to know when they are in mood for a snack, in need of solitude, or consumed by wander-lust. I know the precise angle to move so that the cat is more comfortable on the cushion. I've computed, to the last inch, the amount of unfinished quilt a sleepy cat needs draped on the floor so her slumber may remain undisturbed by my needle.

My daughter is growing up faster than I ever thought possible, and I know my house will be too small for her soon. With every parent, I share the horrific, nightmarish prospect of a house without my child, compounded with the added isolation of being a single parent. I find myself trying to listen to what such silence would feel like, but my birds ensure that every moment within and immediately surrounding my living space is filled with their busy chatter, their whistles, their opinions. I do not need television: their daily dramas, fights, and wooing suffice. It also reassures and comforts me, somehow, that they recognize and greet me as one would an alien visitor: essentially benign, if vague and incomprehensible.

Of course, as is my wont, this relationship on my side is fraught with immense guilt at the despicable, unspeakable cruelties my species regularly visits upon theirs, not the least being my robbing them, namely the cats, of the most natural right of any living being: to procreate, because they are "fixed" since I am a "responsible pet owner." But then, like my daughter likes to remind me, I am subject to my nature, and would feel guilty even if they were the dominant species in my household, which, she again points out, they are!

I don't know if my life is enriched because I live with felines and birds because I can't conceive of an alternate existence. But I will concede to this: my roommates do root me, anchor me with the absolute conviction of belonging within my house.

As I stood in the kitchen of my mother's house in Baroda (India) on my last visit there, I saw a cat being offered a saucer by a little girl who lived in the house behind ours. This is one of the images of my personal collage of what Home means to me.

In Sincere Gratitude

2009-06-05T20:05:00.007-04:00

Some days, when I seek nothing more from the universe but avoidance of unimaginable disasters, the universe hands me an unasked for gift.

As these gift-days do, it began with time behaving strangely, normal behaviour for a Wednesday: one can't believe it isn't Friday when Monday seems so long ago. The gift-moment is wrapped in crumpled brown paper, tied with tired, disintegrating string.

This past Wednesday was one such day.

We had an emergency at work that forced us to cancel our classes. Unfortunately for me, it happened on the day of my Fairytales class, which being an elective, happens to be one of my favorites. Our classes are three hours long, and I was especially looking forward to this week's, since it would have been the last instructional session before the exams and assignments descend upon us, to remind us to somehow quantify our experience that often defies brackets and descriptors.

As if on cue, our emergency hit exactly the moment before my first phrase could breathe. For the next that couple of hours we were out, I felt cheated, my two special hours stolen, never to be replaced. I discovered I was actually angry enough to nurse a headache, something I haven't felt in at least a couple of years. At the end of two hours, everyone told me to forget about my class and just go home. Being unreasonably angry, though, I didn't listen. I marched up to the classroom, planning to leave a regret-note on the board before leaving.

I was pleasantly surprised to see students waiting for me! They told me of others who had just checked in and missed me. We had but 45 minutes before class ended, but those minutes, to me, felt like a gift, benevolent rain to appease my unbecoming rage.

These minutes helped me realise that beyond grades, beyond paychecks, beyond competition, beyond degrees, there lies a brilliant, undying, thirsty spirit that impels our species' need to forever discover and reinvent.

It is to my students' awareness of this consciousness that I dedicate this entry. I can never quantify this awareness, or my gratitude for it, in terms of faculty development points or survey statistics, but this awareness is what qualifies me, more than my documented credentials.

Now, I am better prepared, I find: I have a list of specific cafes and ice-cream shops, where I shall suggest my class meet me, should another emergency try to steal hours from us.

Something Rich and Strange

2009-05-25T07:31:00.004-04:00

I remain amazed at how much of my life is run over by the agenda and priorities of my child. I try to involve myself with her life because at my back I always hear, time's winged chariot hurrying near. Never have I felt this press of rushing hours than when I have waited for my child to finish whatever has swallowed her up, whether it is homework, friends, hobbies, or other terrains I can never chart or follow her through.

I spend a large part of my waiting time trying to find spaces that would let us share an experience, spaces that are free from other worlds and lingering moods that hang over us when she emerges from them.

Yesterday, I found one of these spaces. My temple hosted a lecture / demonstration of Bharatnatyam. My child and I had spent the morning trying to be civil to each other, trying to be patient, she, perhaps more than I. I was also afraid that once we reach the temple, she'd again lose herself among a horde of friends, as is her wont.

But we were just late enough to have to sit by ourselves in the back of the hall, and most of her friends were participating in the event, and so unavailable.

It was one of the best couple of hours we've spent in the last few weeks. As is our wont, we spent the time whispering comments to each other, comparing dancers, costumes, color combinations. But most of all, we shared the undying tales being spun before us. She'd tap me to tell me she recognized the stories being depicted, or that she remembered the basic hand gestures, or to confirm a deity being invoked. I'd lean over to her to tell her unfamiliar stories, or explain the lyrics, or point out various gestures representative of specific characters and events.

Even though we had cell phones with us, we forgot about them. Even though she had a project due, I didn't worry her about it. Even though I'd not let her sleep over at a friend's the previous night, she didn't sulk over it.

It was the love of the Story that brought us together. There is no substitute for a good tale, and even though yesterday's story tellers ranged from very good to confusing, from seven year olds to twenty-somethings, the tales themselves transcended all those details, reached across millenia, languages, geography, generations, and enthralled us so we are more aware of who and what we are, not so much bound by where and when we are.

For now, we have buried our hatchets, and hopefully, the demanding pace of our routines will ensure those hatchets stay buried, full fathom five!

Sometimes, when the number of trivial resentments pile up, the best cure is an hour stolen out of time, to live together an endless tale, so that the harmonies are restored.

A Reading

2009-05-09T07:22:00.005-04:00

Usually, I complain: about my kid, my grading obligations, my bank balance, my back, even my cats!

But I cannot complain today: I just had one of the best days I've had in a long, long time. I dragged my very good friend to Miami because I wanted to attend a reading by one of my favorite authors, Chitra Divakaruni, whose work resonates with me to the extent that I wonder if she writes solely to express my response to the universe, with the graceful articulation I do not possess.

One of the major reasons she caught my attention is I stumbled upon the reason she says she feels compelled to write: to try to preserve a world that is fast disappearing, may already be gone. Her characters, who often leave their own worlds behind, usually end up trying to fit, acknowledge, belong to the realities they are left with. One of the most fascinating treatments I find in this author's work is the way her characters feel about the spaces they inhabit, wish to inhabit, or don't inhabit any longer.

I have just realised that all the houses I grew up in, or I felt a belonging to, do not physically exist anymore. Where they stood, now squat shopping mall, office complexes, and apartment buildings. It amazes me that the spaces that haunt my dreamscapes, tower over the cities behind my sleep, are now officially figments of my imagination, scraps of memory I don't really remember very well. Yet all the spaces I now live in, my living space, my desk at home and at work, my car, the streets I drive on, all seem extensions of the ones that don't exist anymore.

So reading Divakaruni's work, about characters who are driven by the spaces in their mind, feels like a validation of my own experience, since it examines the myriad stories that emerge out of the way one changes homes, discards old ones, adapts to new ones, misplaces parts of oneself in forgotten places, displaces oneself in an insistence to own, and ultimately, in isolation, one is forced to face a mirror that refuses to lie.

My friend, who is a first generation immigrant battling similar issues, agrees with me and confesses to being one of the newest fans of Divakaruni's already extensive fan list.

I can truthfully say that attending this reading has been one of those experiences that have helped me further crystallize the self I am right now. I have folded this away and shall re-examine it when I stand at the edge of the beach, the terrain that separates and joins land and no-land, one of the timeless spaces that allows me to look into the nature of things.

Ode to My Sack

2009-05-03T12:27:00.003-04:00

I have been examining things I carry around, more specifically, what I carry them in. I went to the mall with a friend this weekend, and she, as is her wont, made a beeline for the purses and wallets section in every store we passed, including bookstores. This has forced me to consider my own graceless sack I lug around, like an external organ hanging on my shoulder, weighing down my gait.

Now I must confess, there are days I want to be graceful and efficiently feminine the way my friends are, in spite of repeatedly telling myself it doesn't matter what I, or my purse, look like.

My sack is an excellent example.

No matter what color, texture, material, or dimension of the purse is when I first purchase it, by the time a week has lapsed, it inevitably becomes The Sack. This is filled with things I can't use, like grocery store receipts from last month, orphan pen lids, defunct pencils, broken paperclips, single staples, and a couple of flash drives that have died and turned turtle.

When I look for a perfect purse, I look for something large enough to hold a book, even though I resist weighing down my shoulder with books. The next thing I look for is many compartments, mistakenly thinking that compartmentalizing my objects is going to make my purse more organized. Of course, this never happens; these objects aspire towards, and quickly achieve a homogenized identity and consciousness, much like indigenious peoples settling on the banks of a river come to be known by the river's name rather than their particular tribes and origins.

I remember, some time ago, I'd found a purse that fit me exactly. It was the right size to hold a small hard cover or a paperback; it had just the right length of straps which could not be adjusted, thus saving me hours of agonized choosing and adjusting; it had the exact texture, not too rough, not slippery, being made of the perfect blend of canvas and recycled plastic; it held enough leftovers from the week so I didn't have to upend it daily, yet was not large enough to go without being cleansed, purged, for much more than a week. This purse had felt so perfect, I'd even forgiven it its lime yellow and white, hues that went with nothing, not my clothes, skin tone, cell phone, car, or any part of my external being.
Of course, this was too good to last and this purse got stolen before the month was out.

This was a sure sign from the Universe, beyond reasonable doubt, that I was NOT to have a fitting purse in this life time; that my being tied to The Sack was a existential gesture on part of the Cosmos to ensure that the world may be balanced. Sisyphus-like, I pull my sack around with what I hope is dignified resignation; Ixion-like, I am tied to my heavy hold-all that I shall never be able to put down for a rest; Tantalus-like, I gaze at windows festooned with the most perfect of purses, wallets, and carry-alls, knowing they are out of my reach.

I don't doubt that somewhere, my doppelganger is enjoying her perfect purse, confident in the knowledge that no matter what sack she purchases, within the week, it shall be miraculously transformed into the most ideal of purses.

After all, the Universe must be balanced.

Can I Own This? I Wrote It!

2009-04-26T18:14:00.005-04:00

I wonder about the ownership of what I write. Beshrew me, but I feel rather protective about what I write, not necessarily because it is wonderful, but because it comes from me. I mean the writing that involves real sweat, that takes me at least some hours from inception to finished product, which I sometimes send out and hear nothing about, or worse, which does get printed without my name attached to it.

Do I lose those pieces? Can they be picked up by anyone who wants, assuming someone wants?
Should I be flattered that someone wants to own them?

Should I be more grateful that a piece was chosen and worry less about it being credited to me?

I realise we live in the world of many blogs, in which a great deal of the written word is migrating to a brave new world to stand on its own merit. Does this suggest, then, that my concern is invalid and quixotic? I have been regularly contributing to a local South Asian magazine; the latest issue has my article in its entireity, but nowhere is my name mentioned. Even though I was told that I'd be given a letter head confirming that article as mine, there was a strong underlying tone of indulgent tolerance at my quaint disappointment, which, of course, makes me feel sheepish.
As the days have progressed, I have been feeling increasingly foolish, even though I am hurt enough to not want to contribute to that magazine again (knowing me, however, I probably shall).

I have been trying to come to terms with this situation. Library of Congress claims that I don't HAVE to slap copywrights on my work, right, left, and center, that the fact that I wrote it protects it enough. But I am still struggling: do I take my writing too seriously? Should I just post everything up and wean myself off the need to claim it as mine?

Maybe I should split up my writing into two kinds: the kind that's important for me to remain connected to, and the other to be offered up to the Universe because it is not serious enough. The former category would contain my almost-done book and poetry (that I have no idea how to market and publish, so they remain with me, like overgrown children).
The latter category would have my non-fiction articles and pieces like the short love-story I finished last night for a lark because my daughter always says I don't have a romantic bone in me and I wanted to prove her wrong (you may well ask who the adolescent is, here, but I won't wait around for the answer). I'd offer up this non-serious-for-a-lark writing up to the world and see if it spices up my blog, causes more hits, compels people to leave comments, etc.

Does writing then, need to outgrow its parent and break umbilical cords to be meaningful? If so, like children, can't it at least carry on its lineage? After all, what other insurance do I have against erasure?

Library Visit

2009-04-23T23:33:00.005-04:00

I am getting old: my visit to the local library today is a definite indication.

Every now and then, to ensure a balanced diet, I treat myself to reading non-substantial lit, and in this junk read category, I had everything, rural mysteries, cat mysteries, urban tales, fantasy, cop series, everything that even obliquely refers to India, Star Wars books, best selling thrillers, kid lit, teen lit, and more.
I remember my forays into the new releases' shelves. I could boast that there were less than 5 authors in that section that I hadn't read. I also remember actually enjoying picking and choosing, much like the way an epicurean would choose her chocolate, tasting a bite here, abandoning it for something more delectable, deliberating before committing . I would emerge with a bursting bag after browsing for hours.

Today, however, I found myself actually hunting down a singular book my book club is reading, something that's not even due to be finished until June. I found myself moving towards the check out desk with a book in my hand, my bag awkward and empty on my shoulder.
Worried, I made myself go to the new release section and browse. To my alarm, it was full of authors I had not read. Worse, no impulse directed me to reach out, even to read jackets!

I have come to the painful, crushing conclusion that I am older, because I am getting choosy about what I read.

I shall miss my old self, who devoured the written word in all its incarnations and forms, whose genuine enjoyment of it was not marred by discrimination. This person was truly free because she did not care what others thought of what she read. Her freedom opened her to inhabiting many, many simultaneous universes and she had a quixotic nobility peculiar to people like Walter Mitty, who refuse to be constricted by one lifetime.

Sita and Snow White

2009-04-20T15:41:00.005-04:00

I was never one for good-girl stories, like Anne of Green Gables, Secret Garden, or The Little Princess. Even female characters like Beth in Little Women irritated me. Jane Eyre had to work really hard to earn my regard and catch my attention, which was hooked on the first Mrs. Rochester. It took me years, decades, even, if truth be told, before I could appreciate the complexity in Sita and admire her for her choices. To this day, my students know of my disgust with Snow White, whom I have confessed to want to slap on more than one occassion.

As a girl, of course, I pretended very well and professed false admiration for the Good Girl Archetype (please note the capitals; they are deliberate). Secretly, I wondered if there was anything wrong with me, because I seemed incapable of admiring true goodness. I worried about the myriad set of connected character deficits this one would mean, especially in regard to my acceptance factor among my friends. While my girlfriends secreted and devoured romances or Mills & Boon (as they were called), I exhibited my Mills & Boon trying to convince everyone around me how Normal I was, and secretly admired Jo and Amy March, Draupadi, Elizabeth Bennet, Portia, Beatrice (as in As You Like It, NOT Dante's Galatea-like figure), Kunti, even Hidimba and Amba.

I wonder if I have carried over these deficits into my life and this has influenced the female characters I create. Here is a sample, one of my characters, the Old Woman, who has haunted me for many years now:

The Old Woman stepped off the falling twilight, from the top of Her hill, directly on to leaves of the old tamarind tree. The ancient clock of the Tower started its chimes, announcing the end of the final afternoon of peace before the festival season. As She descended from the tree, She took care not to touch the earth with her backward feet, the toes facing behind Her. So heavy were Her backward facing feet, one touch and there would be no telling what apocalypse might descend.
Her eyes were red burning coals. But they’d burn out and She knew She’d have to find new coals to replace the ashes in the sockets. Her gaze stopped at Her feet; She considered them while the world around Her held its breath.
When She exhaled through Her red, sharp mouth, centuries might have passed, for the leaves, roads, roofs, windows were now covered with a patina of dust and smoke from Her rattled, fleshless ribs. She flexed Her fingers which faced Her elbow, and unclenched Her palms from which a mixture of kum-kum and ashes forever drizzled. The coal shigri on Her head gleamed orange and black for a moment. Her sari, the sole garment She wore, the color and texture of clouds, settled around Her wrinkled up breasts and pointed shoulder blades.
Finally, the Old Woman turned towards the singing street. The Tower clock finished its chimes and the world exhaled behind Her.

Tamaso Ma Jyotir Gamaya: Rescue by Tale

2009-04-05T14:51:00.005-04:00

I am always surprised at my responses when my comfort zone is threatened. This in itself is surprising because my response never varies: I freeze up and stop all things, cooking, quilting, writing, reading, speaking, everything.

I wonder how much my need to write is connected to my feeling safe and comfortable. This begs the question: Is my writing, then, a luxury, not the necessity I've been thinking it is? If it is a luxury, how justified am I in indulging it?

Obviously, my thinking gets increasingly convoluted, self-defeating, claustrophobic, narcissistic, essentially useless. This strain only feeds the lethargy, and often, external forces are needed to extricate my faculties from such bogs.

Of course, this coma doesn't last longer than a few hours, thankfully for my household, after which I commence my usual being, beginning with reading.
Amazingly enough, this never fails to restore.

For instance, I am just beginning to thaw out, and fairy tales, predictably enough, rescued. Since I am doing my Elective for the course that begins next week, I am justified in reading those.

These tales reassure me that Stasis is temporary, even though it may seem to last for a century, can be mistaken for a death, and trap a person in a tower with no doors. Every pain is accompanied with a reward, and even though one can't choose the pain, the reward is what one needs most desperately.

And since I am not out of the bog yet, here is my question: is this healthy application of wisdom of ages or senseless pathos and an inexcusable fallacy of interpretation?

Untold

2009-04-01T07:58:00.003-04:00

I tried to get some parts of a project together so I could have a couple of short stories. Because of really trivial and boring reasons, I haven't been able to spend quality time with my project, and it's been chasing me in my head.
However, when I visited it, I didn't like anything I could salvage. One of my very good friends tells me I am too happy with the delete button, and that the work is not bad.
I've always have problems with beginnings, as anyone who reads this blog can tell. But now, it is the wrapping up that won't come easily.
I find reasons not to work on my writing: I have syllabi to construct, a quilt to finish, reading to do, an Elective to re-examine. I also feel as though I've fed my resident monster as long as I write something, anything, syllabi, assignments, reviews, and to a large extent, I am content. My demon is too exhausted to wake me up in the middle of the night, with itching fingers.
But I stay awake anyways and worry if I shall die without anyone knowing my story, stories; they need to be told.
But they seem to have chosen a rather incompetent teller.

Horizons

2009-03-28T18:46:00.003-04:00

It is incredible how much a trip to the beach can do for one's well-being. It seems to me the older I get, the more I need the sand in my toes, and the briny smell every time I open the boot of my car.

I suspect that sitting at the edge between worlds, perched on a flimsy umbrella chair displaces me from all designations, elevates me from who I am, have to be. I am erased from the corporeal world and reminded that the horizon I think I can see so clearly is an illusion of the most dangerous kind.

I grew up in a house with three stories, and the middle story had a swing, the central swing, the veranda around it cleared so it may be free. I am a Gujarati, and like a good cliche of one, I believe in benefits of swinging when the day stops climbing and begins descent. I remember swinging on it, watching clouds, kites, roof-tops, sparrows, pigeons, and tree-tops, and when I got up, it would be time for the afternoon tea.
Appropriately, this house was "Kshitij", or Horizon.

This loosening from the dream of life, as Jarrell calls it, is what the beach and my umbrella chair afford me.

I like to be reminded of the illusion of the horizon to keep things in a manageable perspective, and I'd like this reminding to be an ordinary thing, not the extra-ordinary, apolcalyptic "loosening" the poet talks of.

I place my chair just so, at the very edge of the incoming tide, where the sand is not yet blatantly wet, but remembers being so. The hooves of my chair dig firmly into the sand for proper purchase, and I bury one foot in the sand so it disappears. As the tide advances, my foot un-buries itself so it is not in the way.

By the time the moon rises, the water has been flowing under my chair for some time. The gulls and sandpipers are mostly done with their dinner and the breeze worrying the palm fronds smells definitely of the night.

I have a lot of places and actions that help me touch the timeless universe I inhabit, but I fear these beach moon-rises have brought too many harmonies, for me to be able to live away from the ocean.

Cataloging

2009-03-23T21:51:00.007-04:00

After a hectic day, week, millennium (I forget), I wonder if all the busy-ness that has webbed away part of my life is meaningful in any memorable way. If asked to catalog what I have been doing for the past ten days, I'd come up with a blank.

There have been even busier times before, and I do remember months flying off like Marvel's sun, blending sunrises and sunsets, rolling into a ball and off the horizon.
The most concrete memory I have of these busy times is the sight of my right eyebrow in my car's rear view mirror, glanced at accidentally in shocked recognition in mid sentence.
Or should I invoke Prufrock and apologize for measuring out my life in syllabi outlines?

It must be the tax season, Spring, that has me thus discombobulated. Chronicling, documenting the past year, achievements, losses, developments, regressions, somehow only serves to reduce me to sheets of paper, controlled, classified, filed properly.
The more drawers or folders one can split oneself into, the more versatile one's personality is supposed to be. I should boast equal and respectable thickness in my "daughter-sister-aunt-niece" folder, my "mother" folder, my "house-holder" folder, my "instructor" folder, my "PTO member" folder, and my "quilter" folder, among others.

What I wonder is, where is my master folder? Do I need one?

What if the only concrete memory I can retain at the time of documenting, chronicling, is an accidental glimpse of my peeling cuticle as I tap the keyboard?

2009-03-14T08:56:00.002-04:00

So my cousin, also one of my best friends, sent me a link to a brilliant animated project, Sita sings the blues by Nina Paley. This is based on Ramayana, yes, the epic. It is simply clever. My favorite element of this film are the three narrator shadow puppets, which look like Indonesian shadow puppets of the Rama Lila tradition. Paley has chosen to tell the Ramayana with Sita as the protagonist, an endearing character who bursts into the Blues in the voice of Annette Hanshaw, the Jazz singer from the 1920's.

I tell everyone that my favorite epic of all time is the Mahabharat, but lately, it seems Ramayana is speaking a bit too loudly to ignore. The themes it explores are just as valid, morally complex, and contemporary as the ones the Mahabharat addresses, and the characters just as unapologetic about their choices and contradictions. In fact, sometimes I think that Rama, the protagonist, evokes strong, mixed responses from his audience; he gets a great deal of criticism about his treatment of his wife, and this treatment raises interesting questions about gender politics. And Sita? I remember my friends getting angry with her: is she for real?
Paley's film reminds me of those responses.

So I guess it is time to visit the epics again; like going into the woods, one has to do this every so often or one loses touch with all that makes reality tolerable and beautiful.

Badly Begun

2009-03-13T09:28:00.002-04:00

Lately, I have been struggling with short stories. Mine, that is. I have an entire folder that consists of nothing but beginnings; when I try to choose one, I find that the folder only thickens without any choices being made. My stories still cry, in a separate folder, like neglected, hungry children.

It could be because I teach the genre and have been inhabiting students’ stories for the past few weeks, an exercise that will culminate into a finished product of sorts next week. Maybe this has heightened my sensitivity and intolerance of badly begun tales.
It could be the short novels I’ve been reading lately, that feel so unified and perfect that they must have been birthed full-grown, like Athena, from a singular painful headache, all in one sitting. Between last weekend and today, I read Morrison’s A Mercy, revisited Lahiri’s Unaccustomed Earth, and just a few hours ago, finished Trumbo’s Johnny Got His Gun. I found myself marveling at wonderful beginnings, like Trumbo’s introduction: “World War I began like a summer festival.” How perfect is that?

I do not aspire towards such perfection, of course. I’d be grateful for a much used, hackneyed, will-do-for-now band aid of a beginning.

After clacking away dejectedly, I usually close everything and watch a Hindi movie; maybe not thinking about my characters and their foolishness or wisdom would sweep off the cobwebs in my head. But I find myself noticing the ways of these movies.

So here I am, thinking of beginnings, this time, Bollywood style. I ask myself why these movies fascinate me. Why do I find myself glued to the tale even when I know it many times over?
It is the beginning, I know, that keeps me hooked, that promises the familiar resolutions I am so comfortable with. I wonder in my quest for a good beginning, I should venture into the clichés proposed by these movies and have paraphrased the five I found most repeated:

1. Some relationships cannot be named.
2. This is the story of _____ Mansion.
3. This story is about three brothers.
4. This is ____ city.
5. The story is ancient.

All of the above are abrupt announcements of purpose, a bad thing, we are told as students and practitioners of the craft. They only work because they are spoken, not written.

Maybe my problem is that I am trying to write tales that are best told.

You-Who? Or the Calling Game

2009-03-12T18:29:00.005-04:00

It was finally 9:50pm on the Wednesday of a hectic week and we were settling down, homework, for once, squared away, chores, for the present, abated. But I should have heeded the portents hinted by the red moon on the beach earlier that evening, before thanking the gods for having survived the day.
For just then the phone rang, startlingly, suddenly. I saw a number that I did not exactly recognize, but that felt familiar, like a dream encountered while awake, or a phrase on the edge of the tongue, refusing to fall. I exchanged an uneasy glance with the cat and my daughter as I pressed the “talk” button; both, the cat and the daughter left the room for more comfortable spots. I had received a Call and this would take time.
A vaguely well-known voice boomed, “Hello! Who am I? Did you recognize? Who can it be? Guess!”
Okay, I thought to myself. The caller knew me by the childhood diminutive of my first name. There, was I happy: It wasn’t the city cemetery seeking to sell me my burial plot, or a collect call from a lonely inmate of the city penitentiary.
But now came the difficult part; I couldn’t hang up; I was obliged to play. The Caller continued chortling, chuckling, and shouting all at once, in a rather accusatory tone, “What? You forgot ME? How come you haven’t guessed as yet? You don’t RECOGNIZE my voice anymore? Well, that’s what happens when you never call! It is your punishment! Hahahaha!”
I was still racking the inbuilt file-o-fax inside my head, riffling through chits of stickies, memos I’d forgotten, all the inevitable paraphernalia around the home phone. Yet, the name, the face of the caller eluded me.
After a few minutes, I saw no recourse and surrendered.
“I am so sorry! I am afraid I . . . Please, can you . . .? I am sorry, so sorry!” I pleaded, to no avail, of course.

It seems an endearing characteristic of the South Asian psyche, that every so often, the muse strikes and we Call someone we haven’t called in, oh, say, a dozen years, and have them guess who we are. Usually, this urge hits us right around the festivals (this IS the Holi week), and one expects to be tagged by or precipitate something not-so-ordinary, something miraculously fun.

I call it the “you-who” game and like any self-respecting game, this one has its rules. The point of this game, like Vyaapaar or Monopoly, is to outsmart the opponent, in this case, the Caller or the Called. If the Called guesses the identity of the Caller before 5 minutes are up, then the Called wins, but if . . . You get the idea.

But no cheating: the Called must have absolutely no idea when the Call is going to suddenly burst upon a quiet horizon. There should be no prior emails, no hints on Myspace, no pokes on Facebook.

The Called cannot have met the Caller for at least a decade. The ideal time for the Called and Caller to have last met would be at either one’s wedding, or weddings of tangentially connected relatives of a particularly labyrinthine, thriving family tree. Then, the Call should be placed once the kids are getting ready for College.
There are, of course, exceptions to this rule. It is acceptable for the Caller and Called to meet occasionally before the Call, amidst large crowds, say, for an evening meal attended by at least 50 other people, wherein both parties may exclaim over the number, growth charts, and academic accomplishments of their offspring, and how much weight has been gained by each. However, during these meetings, only inane, meaningless exchanges are allowed.
There are a few more rules to this complex game. The Caller and Called must have known each other very well in early stages of their lives, and as a result, be very well acquainted with the other’s most embarrassing moments. The Caller, especially, should maintain a log of at least 3 such episodes, which can be recalled loudly, graphically, in most colorful detail at the time of the Call.

This narration serves to further discomfit the Called and distracts from fast memory recall, thus awarding the Caller extra points.

The most effective defense of this move requires quick thinking on part of the Called. Feats of youthful heroism (factual or fictional) executed before an admiring, wide audience are safest to recount. If the Caller reacts, that could narrow down the possible suspects.

Sometimes, the Caller can be foiled by handing the phone over to a female relative from an earlier generation, if one is available at hand. At this point, the Caller has effectively lost, because no Mashi, Foi/Bua, Kaki/Chachi, or Baa/Maaji /Biji worth her water has ever mistaken the identity of the Caller, or forgotten any episodes relating to the Caller’s embarrassing youth. However, these are grey areas, since in this case, the Called has not foiled the Caller.

A good game of “you-who” can be carried on for the better part of 15 minutes. Once recognition has occurred, only then can the usual inquiries of health, local weather, names of children, and present occupations of spouses may follow.
These proprieties must be most diligently observed. If well-played, “you-who” can provide centre-pieces for many online posts (like this one) and weekend family phone conversations, which can be liberally sprinkled with numerous nods and exclamation marks galore.

There are, inevitably, cynics, who seek to spoil the fun. Some of my friends actually express frustration and condemn the Callers as being presumptuous:
“Just tell me who you are! I mean, I got a life here!” These cynics scream. “For crying out loud! If YOU don’t know who you are, I sure don’t!”
The cynics always like to end their diatribe with such rapier wit.

I beg to differ from them. I grew up in a world that views intimacy as a privilege. Introductions are divulged only to strangers. “Our people” recognize us, even if we are quarter of a century older and 20 kilos heavier. Time is not strictly compartmentalized so the past is erased when the future arrives, and the identity of the people one grew up with does not necessarily reside in their names. Conversations left incomplete decades ago can be resumed with ease and grace, because like in fairytales, once recognition is achieved, the Cosmos is balanced and everything is in its perfect place. A thousand years passed feel like only yesterday and we feel our youth restored.

I find it immeasurably heartening that I shall never age in perception of the Callers, and nor shall the Called age in mine. When I receive a Call, I feel as though I have been, yet again, through no effort or merit, included in the inner circle of “our people.” I am reassured that my memories of who-I-was are not just boring, repetitive stories of a glamorized, improbable utopia, like my daughter sometimes suspects. There WAS a real person, and those ARE real events, like the Battle of Panipat or the Vietnam War.

This quaint, confounding game of “you-who” reaffirms who we are and reminds us of forgotten selves we might have left behind or packed away.

By Shefali Shah Choksi.

Holi

2009-03-10T10:27:00.003-04:00

Today is Holi.

I reminded my child of this festival and like an automated toy, she regurgitated the story of Prahlad, Hiranakashyapu, and his demon sister after whom the festival is named.
My child knows me so well, and remembers all the stories I gave her, I thought in congratulation.
In the next breath, she reminded me that she also has her FCAT's today.
So much for reinforcing ethnic heritage, I resignedly thought.

However, Holi, like Navratri and Diwali, feels exceptional: nothing can dampen my spirits today. Not my desk groaning under titanic loads of ungraded student papers, not my full inbox demanding urgent acknowledgements and replies, not the broken A/C in my classrooms, and definitely not my child's insistence that I inhabit the physical, geographical space I have chosen as my home and deny galaxies of times past spinning constantly in my head.

A couple of weeks from today, the local South Asian community is having one of its get-togethers to celebrate Holi and then, my child might feel a bit of the magic connected to this day that welcomes the Spring. I shall always be grateful for such melas: they reinforce my ethnic heritage to my child more than I ever can hope to with my isolated voice telling stories.

Since today is also a work day, there is little chance of my visiting the local temple to offer the gods tokens of gratitude for colors and Spring, or for a much-needed visit to the beach to watch the indescribably beautiful Spring full moon rise.

These words shall have to suffice for today: I remember and know, therefore I am.

Writing with Fingers

2009-03-07T11:34:00.004-05:00

I am so grateful to all of you who visited my blog. These, indeed, are amazing times we live in. The craft of writing has come such a long way and I only refer to my lifetime. The black slate was the first surface I scribbled on. I remember, very concretely, the scratch and squeak of the slate-stylus, or the slate-pen, as it was called. The way soft chalk felt was very different, and I thought it awkward to hold. Then, my writing world changed completely with the lead pencil and neat squiggles conjured themselves fluidly on a maleable, thin paper surface.
Whether scribbling wordless shapes on the pavement for street games, computing and figuring out math problems and verb conjugations on slates, or laboring delicately with a fountain pen to keep the paper blot-free, writing has been one of the most meaningful acts I remember from time before chronololgical memory.
Today, as I write this in a format and medium that is light years from the pavement and the slate, I ask myself if my fingers miss actually feeling the words as they emerged, it seemed to me then, from my blood, skin, and nerves. After all, it seems like cheating, almost, that my fingers don't sieze up with painful exhaustion and need very little flexing.
So who is the one really writing, if my fingers feel so detached that only the tips tap gently on keys and fly away? How close am I to the words if I don't feel them being painfully concieved and sharpen beneath my skin?
Even though I've been using this form of physical writing for more than a decade, closer to two, it still feels strange, this strange distance from the very sensuous act of touching my thoughts. I fear it might add a dimension of alienation, since I connect my use of the computer key board with my immigration to the US. The only keyed writing implement I'd used before was the old fashioned type writer, which demanded my fingers pound the requisite keys with proper determination and insistence. So there was labor there.
I do, I find, have answers to my earlier questions. The ideas that are splashed out today need no labor, which makes this world a Utopia of sorts. We now have the luxury of expression without pain, truly free. Now, fingers do not need to get involved so intimately with thoughts and their labor can be saved for the needle.
One of the proudest memories I now hold is the sight of my daughter owning the keyboard with enviable familiarity when she was 3 and wielding pencils with equal grace on paper taped to the living room wall.
These, indeed, are amazing times.

Once upon a blog

2009-03-05T22:01:00.005-05:00

I am very new at this:
Isn't this the way a lot of blogs begin?
I can relate. Beginnings usually confound me; I prefer to broach them once I am done saying all. It is very fortunate, then, that my world affords such luxury of choice to me, for a rain forest would have to be sacrificed to my quest for the perfect potato chip of a beginning, using crunch and salt to whet tastebuds.
It might also make sense to begin with a fear, so I confess this: I am afraid my blogging might end up as a useless exercise in claustrophobic narcissism. I am also afraid no matter how loudly I speak, in however many languages, I shall remain unheard.
However, I do hope that my fears are my usual neurosis which will melt in clear light of logic. And we all know that naming a fear averts such a disaster.
Disasters squared away and fears conquered, now, then, would be a good time to start.
So I shall resort to the traditional, and hope that instead of a potato chip, this beginning shall serve as nothing more or less than a threshold.
Once Upon A Blog . . .

Arjun at the Swayamvar: Voices from Mahabharata

2009-03-05T19:37:00.000-05:00

Being best friends with the divine doesn’t help
The same old intrigue and desperations led me to this contest and fire
My arrow, though true to its mark, is fueled by mortal sinew and blood
The eye it snags spits out tissue and nerve
The whole exercise feels like a hoax, a bad deal with too-tiny small print
But the Fire Princess seems oblivious to any cosmic conspiracy
Seeing only the promise and comfort of my muscled shoulder, my twinkling glance
Admiring only the sensuous garland entwining my bronzed epithelium.

I lower my eyes (she is shorter by a full head) to hint at my noble humility
She exchanges a quick glance with her brothers, one divine, one fiery
Seeking assurance for the rightness of her choice, the propriety of what is happening
I too look around, but my brothers have forgotten me in the moment
They all are busy blinking tears, of victory, of gratitude
You’d think I’d blinded them when my arrow targeted the fish eye.
They do not smell the fog of envy that clouds the Hall
It stings my eyes as it rises to the canopy and darkens the skies

I wonder what sightlessness descended when my arrow pierced that eye
The contest feels weighed, like loaded dice, a veneer covering a warning
A clanging prothalmion sung as prelude to apocalypse

My shoulders sag under the heaviness of flowers as I lift the bridal garland with sure hands
And hang my head to accept the burdensome future of a dying age.

Shefali Shah Choksi

Square Watermelons

2009-03-05T19:21:00.001-05:00

Blame the air flowing on distant river banks, whispering whorls to us
Punish the soft land that cushions and bubbles us forth
Trained by millennia and DNA, we still think the small round ones cute
We sing to them to inhale and expand from within their souls
Tendrils on our heads and arms dance and twist to show them how,
First in tight corkscrews and then unfurling out to modest curves
We venerate the gibbous moon and worship the oval earth
This rotundity is our adulation, our paean, so we may fit widely
Even forgiving the hothouses, greedy knife, lost seeds,
Here hold one of us: see how we curve snugly into your arm and waist

Why force this unnatural angularity on to us? For what fault
Would you peg us into a cube we don’t trust?
We only seek to be, not conquer, convert, or consume!
Our universe is unbalanced, as we squat ungracefully on market stalls
No longer feeling our browned, tinseled tendrils pulled and tied into perfect bows
Envious of the round eyes and wide mouths of those who gawk at us
When the moon visits and you have forgotten us, we dream of spheres,
Shell-shocked in the freak section with bonsai
And tiny women’s shoes with very high heels

Shefali Shah Choksi

Street Talk

2009-03-05T19:03:00.003-05:00

Who would choose translation
As a brand new home?
Wander in other people’s streets
Utter well-mouthed phrases only to
Tell ours we don’t belong anymore

But who can forget streets?
They show up unannounced behind closed eyes
Their names unbidden fall from tired tongues
Pavestones beckon to absent sighs
Weep piteously promise to behave if only
If only the footfalls stay familiar

The curving arches must be resisted
The dusty square forced into oblivion
Games and battles smirked away
Like insisting invisibility of rusty spots on the back of a girl’s dress
Embarrassing only if acknowledged

The streets darken for us at dusk, no lamp luminous
Aarti at their temples now clang with Others’ fervors
Flowers of offering have chosen fresh fragrances
We sneeze in reaction to unaccustomed incense

We laugh, encouragingly apologetically it is not enough
Once abandoned, these streets refuse guilty reunions
Erase our faces from old walls that hold memories of our grandfathers
Cobblestones remain hard unyielding Our weeping cannot confuse
Rains to evoke remembered aromas from redolent dusts

These streets moved away and misplaced us
Left us in a forgotten attic rusty metal trunk with broken hatch
We carry on our backs, strapped on with gods and syntax
We are no longer allowed to use.

Shefali Shah Choksi.