The hero and the villain

I like mystery stories in books and films. When you start with them, you already know that the author/director is going to plant red herrings along the way, and you have to constantly second guess them, and not to get distracted. Finally when you are able to guess the plot and the mystery near the end, or when the author/director manage to surprise you in the end, it can be very satisfying.

In Ravan, director Mani Ratnam behaves in the same way. He makes you think that you are going to watch a certain kind of movie, while showing you a completely different one.

Yes, finally I saw Mani Ratnam’s Ravan. And I loved second guessing his motives while making this movie, and I loved that he managed to surprise me in the end.

The reviews of the film were so harsh, especially about Abhishekh Bacchan. They said things like “he has single handedly destroyed this film”. Some people have even watched both the versions of the film (Tamil and Hindi) and are all praises for Vikram in the Tamil version, and thus, the condemnation for Abhishekh Bacchan seems even harsher.

I am not very fond of the Junior Bacchan. But after reading all those reviews I was left wondering if Abhishekh was so clearly bad in that film, how come the director and the different technicians couldn’t make it out while they were shooting the film or editing it? After watching the film, I feel that Abhishekh was good in the film, not exceptionally great, but good enough for Mani to plant his red herrings and create confusion.

For the last few years, I find difficult to sit through most bollywood films. So, after reading all the reviews and comments about Ravan, I had first thought that I will not watch Ravan. Then after some time, I thought about Mani's other film, Yuva. I had loved it and I had loved Abhishekh in it, so I decided that I had to find out for myself, how could both Mani and Abhishekh get it so completely wrong like the reviews seemed to suggest?

I didn’t like the beginning of Ravan. A collage of shots mixing up Beera (Abhishekh) standing on the top of the cliff, the policeman (Vikram) giving the speech in some military academy kind of place and the porcelain beauty (Aishwarya) on the boat getting kidnapped, looked pretentious and tiring. Perhaps Mani sir is too high on pretentious camera angles and confusing techniques, and that is why ordinary viewers have been put off by this film, I had thought.

Yet, within ten minutes I was hooked by the film, and watched it till the end without feeling bored for a moment. I think that it is a clever film with Mani Ratnam playing with the human biases and using them to cheat & confuse the viewers. Very thought provoking. However, may be I can understand, why it may seem off-putting and tiring to most viewers.

The archetypal revenge stories of Bollywood: The basic story of the film is nothing new and has been shown many times on Indian screens in many variations.

The revenge story involving cops has two main versions:

(1) Poor ordinary man and the corrupt cop story: The poor good guy is the hero and corrupt power-mad cop is the villain. The villain kidnaps and rapes the good guy’s sister/wife and the good guy takes up arms for revenge. At the end of the film, the villain is thrashed, jailed or killed.

(2) The honest cop and cruel ganglord story: An honest cop is the good guy. Somehow he manages to irritate the hoodlum. For revenge the hoodlum decides to teach the policeman a lesson and kills his family or kidnaps his wife/sister and rapes her. The honest police officer, goes after the hoodlum and in the end, kills him.

Mani takes these two versions of the story and mixes them up. The film starts as the type 2 story, that is “honest cop versus cruel ganglord” story, with kidnapping of honest cop’s (Vikram) wife (Aishwarya) by the cruel ganglord (Abhishekh). Almost halfway through the film, you realise that perhaps it is type 1 story, a “poor ordinary man and the corrupt power-hungry cop” story. However, Mani continues to create confusion by planting his red herrings.

Mani Ratnam’s question to the viewers seems to be: are you sure that you are supporting the right and the just side or you are letting your inherent human biases guide your feelings for the wrong side? I think that this question is very topical if you think of some issue of contemporary India like big dams, exploitation of tribals, beneficiaries of economic development, etc. It seems that if you have nice names like Vedanta or if you can use nice words like development and "India the new super-power", you can get away with exploitation, destroying the homelands of rural poor and triabls and worse. Mani uses similar techniques – mythology, looks, names to create a hero and a villain, who are not what they seem to be.

Story: On one hand there is a local tribal hoodlum, a kind of Robin hood helping poor oppressed tribal villagers. Other tribals, poor and uneducated people say good things about him (“He is like water, transparent”). He is secure in his world, not worrying about the new police officer appointed to his district and is busy in his siter’s wedding, whom he loves because “she is the independent kind, the kind who stands up to him”. He is probably a small time local crook, as there are no armed guards protecting him.

On the other hand, you have an ambitious police officer, appointed to a district, who decides to shot at the unarmed local hoodlum-Robinhood, while he is busy with kanyadaan of his sister. It is a little strange that hoodlum is loved by locals, yet police can come to his village, to his sisters' marriage and yet he and his men are completely unaware about it. This also points to his being a small local fish. Police officer's brother and other policemen, take the bride to the police station and rape her. The smart police officer, must have been aware of that? He has a nice looking wife, and when she is kidnapped by the men of the hoodlum, he goes after the tribal gang, refusing any comprise, killing as many as he can.

Treatment: Mani Ratnam takes the ordinary man versus corrupt power-hungry cop story except that he doesn't explain much about the motives of the cop and uses all the tricks to confound the viewers, so that cop is treated like a hero and the poor man like a villain.

Tribals in the film are not the cute bum-shaking, singing villagers of Bollywood, they have mud, ash or yellow paste of haldi streaked on their faces. Their clothes have black streaks, their eyes are circled with black, to make you think of devil or Shiva’s Yam-doots. Beera is made to look repulsive. He even mentions that he has ten heads like the demon king Ravan. He also has a habit of changing his expressions, and usually ends up with a crazy glint in his eyes. Just in case you didn’t get it, his hands move on his head like wings of a fluttering bird, making you feel that he is mentally unstable.

The other guy (Vikram) is macho, good looking, educated, apparently in love with his beautiful wife, a regular city guy, a hero material. His wife is cute, does lovely dances, surrounded by small children. His name is Dev, and there are different indications that he is like Ram from Ramayana. His relationship with his younger brother (Nikhil Diwedi) reminds you of Ram-Lakshman relationship. If you still had any doubts, there is Sanjeevani (Govinda), the forest guard who makes you think of Hanuman from the way he climbs on the top of roof-tops and swings from one tree to another.

When the film starts and you feel that it is story number two, the honest Ram like policeman fighting for his honour, fighting the cruel uneducated tribal bad man to save his beloved wife. As the film moves, the lines between good and bad are constantly blurred and only when the Jamuna (Priyamani) story comes out, some doubt creeps in and you start thinking that perhaps the cops are not the good side in this film.

Even then Mani Ratnam does not make it easy for you. Events unfold in such a way that every time you can feel a twinge of sympathy for the poor Beera, the director makes sure that you feel a little repulsed about him, by playing with the prejudices of urban film goers about rural unkempt, mentally ill, black and ugly uneducated persons. He plays dirty by highlighting everything that can look bad for Beera.

It is only at the end that you understand the way the policeman manipulates everything cold bloodedly, uses even his wife and her emotions, to get his own way. He does not hesitate from trapping and killing Beera, even while he knows that Beera has been good to his wife and has even spared/saved his own life. May be in the background you have some mining company or some other big company, who want the tribal boy out of the way, but Mani does not tell you about it.

I think that Abhishekh is brilliant and courageous for accepting to come out so strongly in being repulsive and crazy. Actually I liked everyone in the film, except may be for Aishwarya Rai. She does try hard enough, but she does not create electricty with Abhishekh, their vibes are not hot. I would have preferred someone more earthy and intense like Rani Mukherjee, the way she had portrayed Sashi in Yuva. Or Nandita Das or Konkana Sen. Aishwarya looks beautiful, but she vibes better with Vikram, like in the dancing song, “Khili re”. And she doesn’t fit with the wild jungle and thumping waterfall (photographed beautifully).

The week points about characterization of Beera (Abhishekh) are his hands, his legs, his teeth. His fingers seem too well kept, clean and manicured, and his teeth too white for being the tribal ganglord. I also felt that Mani went a little overboard in asking for his repulsive makeup. Like, in the dance “Thok de killi” with blacks streaking his clothes and around his eyes, looked too theatrical and obvious.

Some parts of the film, like the whole sequence at the end, with Ragini (Aishwarya) getting down from the train, coming to look for Beera, their meeting at the cliff top and their getting surrounded by police, seem very implausible. What kind of villain is this? He comes without a gun, does not even know that hundreds of policemen are following the woman in his jungle? But looking for that kind of logic does not help to appreciate the film. In any case, I think that the film was not about logic or believability of the story, but about archetypes of good and bad in Indian unconsciousness, and using them to raise questions about our inner prejudices.

I feel that with this film, Mani Ratnam throws a challenge at the viewers, that he will turn upside down your ideas about the hero and villain, he won’t let you identify with the hero, and then he seems to ask, tell me does it make you uneasy? Going by the general response to the film, it seems film goers have taken him on his words.

Think of Yuva, by no stretch of imagination, you can call Lallan a good person, yet in Yuva you can understand his compulsions and even identify with him. In Ravan, Beera is a much better character compared to Lallan, yet Mani does not let you feel any empathy for him. That required courage or may be it was foolishness? In my opinion, he does merit an accolade for making such a thought provoking film about how we make assumptions on superficial grounds about people and classify them as good or bad.

I don’t think that the Ram or Ravan of the film are in any way about Ram or Ravan of Ramayana. But rather, film uses ideas about Ram and Ravan to create confusion in our minds, to make it more difficult for us to decide who is good and who is bad. Yet, if I think of the scene where Nikhil Diwedi pulls at Priyamani’s nose at the wedding mandap and then she is gang raped by the policemen, it creats some unease in my mind. Is Ramayan also talking about something more sinister when it says Lakshman cut Surpanakha’s nose, I ask myself. Or may be I am reading too much in what Mani Ratnam wanted to say and provoke with Ravan?

Changing worlds, changing identities

I was reading about the dramma caused by Joel Stein's column in The Times, the complaints of Indian American community and the subsequent apologies tendered by Stein and Times, and also the opinions of some Indian opinionists about the issue.

The editorial of Sagarika Ghose in Hindustan Times was clear in its advice for the Indian emigrants - if you are going to be in the global marketplace, learn to laugh at yourself and also learn to live with the communities that host you. It criticised the ghetto mentalities of Indian communities and advised them to stay at home in India, if they do not want to adapt to the culture of their adopted homelands.

Another editorial in HT by an Indian-American, Anika Gupta, complained that being an emigrant kid growing up in US, she was forced to learn to laugh at herself since the majority is incapable of understanding diversity. Thus they have had enough and can't be expected to take such irresponsible comments from a person like Stein in 2010.

I agree with some parts of both the views and yet have some problems with both of them. Sagarika Ghose's views are expressed in a superficial and insensitive way. Anika Gupta's view is perhaps too close to her own experience and thus lacks the necessary detachment.

I think that people have a right to express their feelings. If this debate was not about cultures and identities, perhaps we could accept others' feeling without much problems.

If I grew up in a calm area surrounded by green farms and clear skies and today I find that place covered with concrete houses, busy highways, speeding cars and increasing pollution, no one is going to get upset if I decide to write about my feelings, and about how I miss the old days. There will be people who are happy at the change, who look at the change as being "development" and appreciate the comfort of having shopping malls and cinema halls, but even they can appreciate that you are remembering something else, and don't argue about your right to remember the old times with nostalgia.

But the place where you grew up, if it has changed because many emigrants speaking different languages, eating different food, wearing different clothes are living in that place, it is not polite to say that you miss the old times when things were different. If you say that, it is automatically taken to mean that you are a racist or an ignorant conservative.

I don't think that is the best way to look at it - I think that we human beings can appreciate the good things about the changes, and yet miss parts of the past, before the change happened.

On the other hand, being emigrants is complex business. Understanding your own diversity and negotiating how you can live with the culture that surrounds you, can be painful and difficult, at least for some. So you have the right to express your difficulties and ask for respect.

Thus, in my opinion, both the view points are legitimate and should be expressed, without worrying if someone is going to get offended. I agree that emigrants need to express their own issues and difficulties, but we can't ask others to shut up and not say what they feel.

So for me Joel Stein also has equal right to remember the old days before their neighbourhood changed. I can understand it and empathise with it. Even I feel a bit like that, every time I go back to Delhi and look at the way city has changed in the past thirty years. It doesn't mean that I am negating that emigrants don't have difficulties in defining their own cultural identities and negotiating with majority cultures.

Heartless cities

I was reading about the report of Smita Jacob and Asghar Sharif about the homeless persons dying everyday in the streets of Delhi and their conclusion that up to 10 homeless persons die every day and that most of them could be starvation deaths among men of working age. I am a little sceptical about these conclusions, even though I do believe that our cities can be terribly heartless places for the poor.

I remember reading about Delhi Government's decision to "send back" the beggars in Delhi to their original places to prepare for the Commonwealth Games. And I was trying to think, in what way this was different from the witch hunt against Bihari bhaiyyas living in Mumbai by the goons of Nav Nirman Sena? Beggars are not persons who have come to earn their living? Isn't Delhi their capital too and don't they have the constitutional right of all Indians to live where they wish? People who were indignant about Mumbai antics of the Thakre family and their followers, didn't seem much bothered by Delhi Government's decision about the beggars.

I am definately not looking at beggars from rose-tinted glasses. However, I do believe that if they are part of an organised racket, those who earn most from it must be respectable citizens who can afford to move around in big cars and who definitely do not need to be afraid of being sent away from Delhi. That racket must be paying hefty fees to the whole series of paymasters, starting from the police to the politicians.

No, my scepticism to the conclusions of Jacob-Asghar report comes from other considerations. I don't think that if people are dying of hunger, the majority of it them will be working age men. It does not seem logical. I think that the city does offer opportunities for working age men to find some work, at least enough for eating, and if homeless persons in Delhi are dying, I would expect them to be mainly elderly persons, women, children or sick persons.

I think that the Supreme Court and we all need more answers and they should not be too difficult to get. Delhi has four medical colleges. Ask them to organise autopsies for all unidentified dead persons in Delhi for ten days, as a pilot study. It is not so much extra work, just 2-3 extra autopsies per day each medical college for just ten days. Perhaps the medical colleges already have this information and somebody just needs to involve them in the discussions?

If there are an average of ten homeless persons dying every day, in ten days of pilot study, the medical colleges can do 90-110 autopsies and it will give us hard data about the ages, gender, other diseases and nutritional status of the people who are dying on the streets of Delhi. Then Supreme Court can take a better decision.

Children of mixed gods

Yesterday, I was at the presentation of Fatima Ahmad's new book "Aukui". Fatima's mother was half Indian and half Vietnamese, her father was Somali. Fatima was born in Cambodia, where she lived for the first 21 years of her life, till the war broke out and they were forced to migrate to Somalia.

In Somalia, Fatima faced the more orthodox side of her religion. She was not supposed to go out, not to talk to men. It was different to grow up as a Msulim in Cambodia, a predominently Buddhist country than in Somalia. After three years in Somalia, Fatima moved to Italy. (In the picture below, during a reading from her book - Fatima is in the middle)

"Aukui" means "black devil" in Cambodian and refers to the difficulties she faced in Cambodia because of her skin colour. She also had to overcome barriers created around her disability. She said that she has written this book to tell her story to her younger brothers and sisters, who were born later and do not know about their roots. About her religious beliefs, Fatima said that she takes what she likes from Islam, Buddhism and Catholicism.

Discussions about mixing of faiths and religions immediately resonate in me. In my family, we have three religions - Hinduism, Catholicism and Sikhism.

I think that with globalisation, with people moving from one country to another, there will be even more opportunities for people of different religions to meet, fall in love and make families. I also think that today, with greater awareness about ideas of human rights and religious liberalism, there are greater opportunities for people in mixed families like ours to maintain our distinct religious identities and yet be all together in harmony.

A couple of months ago, I was in Vietnam and one evening, I had a discussion with a friend, who is Buddhist and has married to a Catholic. They are planning to shift to Italy in a couple of years. "I continue to be Buddhist", she had said. I had thought that in her words, there was an unexpressed anxiety about shifting to a predominently Catholic country and yet, continuing to be a Buddhist.

"And the children of such mixed families, what about their religion?", sometimes people ask me. I don't know how did others deal with this, I can only share how we dealt with it. For us, all children have a right to their family traditions from both the sides, mothers' and fathers' sides. This means that children should be able to feel at home in all their family religions, should participate in all their religious traditions and rites. We had had a church wedding and a hindu wedding, our son had his baptism and his mundan.

It is true that sometimes religions have prayers that talk about supremacy of their god and being the only true religion, but I think that if children can understand that their parents are in peace with each other, they grow up with their own understanding of their religions.

I feel that these children growing with shared understanding and beliefs of different religions, will be the new citizens of the world. I also feel this understanding is precious and should be valued and nurtured.

In India, because we grow up with different religions around us, over the centuries we have developed so many examples of mixing up of religions and traditions. Between Islam, Hinduism, Sikhism, Jainism, Christianity, etc.

Once I had read about one of the first Indian censuses done during British times and how people had difficulty in telling their religions, they were not sure if they should call themselves sikhs or hindus, and were forced to decide. Over the past decades, growing ideas of religious orthodoxy and fundamentalism among all the different relgions, seem to strengthen the differences, the divisions and the boundaries between religions and beliefs.

We, the children of mixed gods need to counter this and ask for respect of our religions, our mixed religions.

I have been reading debates about Indian census and if we it should ask questions about the castes or not. I wish that Indian census would also ask about religions of persons and give them the possibility of giving multiple answers - we can also be Hindus and Muslims at the same time, Sikhs and Jains at the same time, Hindus and Sikhs and Parsi at the same time. I wish there is a question that asks, how many believe that there is just one god for all human beings not withstanding their different religions? and how many of us also pray in religious places of other religions?

Alternate world histories

Tamim Ansary has written an alternate world history. Born in Afghanistan and settled in America, Ansary was asked to edit a school book on history and his job was to identify the significant world events, divided into ten units, each unit with three chapters. Thus, the world history had to be broken down into thirty chapters.

In the introduction to his new book, Ansary explains his experience of dealing with members of his school editorial committee, negotiating with them about what events can be significant enough to go into those chapters, and how those persons didn't see Islam as important enough to have a chapter.

Ansary says, from the view point of the academics in the West, the world history can be sub-divided more or less into the following significant areas - birth of civilization (Egypt and Mesopotamia); the classical age (Greece and Rome); upper rennaisance (spread of Christianity); Rennaisance and riforms; Illuminism (sicence and exploration); the revolutions (democratic, industrial and technological); the coming up of nation states and the fight for the empires; first and the second world wars; the cold war; and the triumph of democratic capitalism.

However, Ansary proposes to look at the world from the point of view of Islam and to identify their significant events for the world history, and he comes up with the following list - The antiquity (Mesopotamia and Persia); birth of Islam; the Caliphate and the search for universal unity; the fragmentation - the era of Sultanates; the catastrophe - the crusades and the mongols; the rennaisance and the era of three empires; the permeation of the Orient by the West; the reform movements; the triumph of modernist lays; and the Islamic reaction.

Thus, Ansary has written a book called, "Destiny disrupted. A history of world through Islamic eyes".

I like the idea of the book and I think that it will be interesting to read about the world and the events through an alternate point of view. The Western worldview is so dominating that we end up thinking that this is the only way there is to look at the world.

I think that it will be equally interesting to read about the world histories as seen by other points of views. For example, from India, what events we see as significant, that shaped the world? Probably it will start around Mohanjodaro and Harappa, go on to spread of agricutlure in the Ganges valley? What role will play Ashoka and Buddha in shaping the history of the whole Asian continent?

And the Chinese world history, how it will it differ from others? And the worldview of an African or a south Amerindian?

Perhaps, some book publisher will bring together persons from all over the world to write an alternate world history, that brings together the significant events from all our pasts! I would like to read that.

The old pictures

It was an old black and white photograph. There was nothing particular about it. Yet, it caught my attention. And I must have glanced at it only for a moment. With my sister, we were going through old papers of my mother, trying to think of things to keep and those that could be given away or may be thrown away.

There were too many things to be looked at, so we were just trying to look for really important things, and to keep them separately. At the rest, we could take a look later.

"Margo", I told my sister, showing her the picture. The name of the person in the picture had come to me in a flash. There were two of her pictures there and a postcard. I had put them in the bag of things that I wanted to look first.

My mother's diary was the most important thing among those papers, and it was the first thing I did - transcribed it on computer. Day after tomorrow, it will be three months since she died. Going through her papers, her diaries, her pictures, is perhaps my way of trying to hold on to her memories.

So yesterday, while going through some of my mother's papers, I again saw that black and white picture of Margo. It has her signature on it, with her full name, Margaret Louise Skinner. But she liked being called Margo, I remembered it.

I had met her in Hyderabad in June 1960, when I and my other sister, had gone there to spend the summer holidays with our father, who was working in that city at the office of Socialist party. I have a vague memory of going some where with Margo and my mother on a rickshaw. At that time, I had no idea of who she was and what she was doing in Hyderabad. She was obviously angrez, a foreigner and a friend of my father. I also thought that she was somehow related to Socialist party, perhaps someone admiring Dr Lohia, the socialist leader - I don't think that anyone had said it to me, I must have assumed it.

Some months or may be a year later, when we were back in Delhi, I remember her parcel from the USA. There were two animal figures like soft and furry gloves in the parcel, where you can put your hand inside the glove, put fingers in the eyes or mouth of those animals and move your fingers to make them move like puppets. It also had some make-up things like lipsticks and eyeliners for my mother. I remember looking at those gloves once, but I never found them them again and slowly I forgot about them. May be my mother had put them away as they must have been very precious because you couldn't have found something similar in India in those days. Or perhaps, she gave them to some body?

Those childhood memories, sharp and vivid once, slowly faded as I don't remember hearing her name again. Some of those things came back, as I looked at her pictures.

The postcard is from Florence, it has a postal stamp of 19 January 1961. The card is addressed to my father and she has signed it as "M". In the card, in small and neat handwriting she talks about her stay in Florence and the things she has seen in the city ("staying in a pension, for 5 dollars a day, including three wonderful meals and wine"). She also wrote that was getting ready to leave for Paris and then to take the boat back to New York.

The second picture gives a little more information. It is the "afternoon tea" offered in the faculty to "the Fullbright professors Miss Skinner and Miss Smith" in 1953. From the faces of the persons in this picture, I think that it must have been taken somewhere in Philippines. So this means, Margo was a university professor and had been a Fullbright professor outside USA! May be she had also come to India as a Fullbright professor in 1960?

I did an internet search and discovered somethings more.

One Margaret Louise Skinner was born in San Francisco on 10 April 1921, and she had died in 1992. In 1990, together with a person called Fritz Leiber, she had published a book of poems under the name of "Margo Skinner" titled, "As green as emeraude" (Dawn Heron Press, USA).

There was another Margaret Louise Skinner, born in 1921 in Kentucky, who had also died in 1992. She was married but didn't have children.

I couldn't find any of their images on internet, so I was not sure if poet Margaret was the Margo I had met in Hyderabad or was it the Kentucky one?

I tried to look for more information on the poetry book and found my answer. Among the titles of her poems there are - At an Indian wedding, At Mahabalypuram, Vishnu and ... To Deepak.

Calling names

This reflection about names of places and countries started from the book "Empires of the Indus" written by Alice Albinia.

Indus is the mighty river that starts from high mountains in Kashmir and goes to end in the Indian ocean through a wide delta in Sindh region of Pakistan. All the other important rivers on the western parts of India (Satluj, Ravi & Beas), Pakistan (Jhelum & Chenab) and eastern part of Afghanistan (Kabul), end in Indus. It is this river that gave India its name, though today most of it belongs to Pakistan.

Albinia writes that when India was divided, and Pakistan chose its new name, Jinah was expecting India to take the official name of Bharat and was aghast when it decided to keep India as its name, the name of the undivided country. It meant that India could claim the heritage and history of the past associated with the name "India", while Pakistan had to invent a new history for itself.

However, this reflection about Indus and India took me into another direction of thoughts. The Indian name for Indus river is Sindhu.

Rajesh Kochhar in his book "The Vedic People - their history and geography", makes an interesting point about development of languages in western part of the Indian subcontinent. His story starts with persons from central Asia. They moved into Afghanistan and then some of them migrated towards Sindhu river (Rigvedic people, as they wrote Rigveda) and others went towards Persia/Iran (Avestan people, as they wrote their sacred book Avesta). Later, as iron became available and thick jungles in the gangetic plains could be cut, the Rigvedic people migrated deeper into India.

Kochhar says that Avestans, used "H" more commonly in their language while Rigvedic people used more "S" in their language. Thus, Rigvedic group had names of many places and rivers starting with "S", including Sindhu river, while Avestan group had the same names starting with "H". So that for the Avestan group, Sindhu became Hindu.

Among other things, Kochhar proposes that Rigveda is mainly about three thousand years BC, when these persons were living in what is today called Afghanistan. To support this theory he explains the lack of references to Ganga river (Ganges) in Rigveda. Thus, he says that Sarayu river of Rigveda is not the present Sarayu in Uttar Pradesh, but is actually Haroyu (present name Hari Rud) of Afghanistan; in the same way, he arguments that Rigvedic Sarasawati river was actually the mighty Afghani river, Harahvaiti.

That is how, persons living on banks of Sindhu river were called Hindu and their religion became Hinduism. Come to think of it, Rigveda also does not mention any religion called "Hindu".

And, where did the word Indus came from? I guess, it came from Latin, the language of Roman empire and the lingua franca of the classical Europe, where "H" is silent and rarely used. For example, in Italian, Hinduism is called "Induismo" and Himalaya becomes "Imalaia". Therefore, the name of Indus river and country's name, India, both probably come from Latin.

All these reflections about names of places and country, worry me a little.

Thinking of all the campaigns for reclaiming our roots through name changes (Mumbai, Bengalaru, Chennai, etc.), perhaps one day there will be a campaign to change India's name to Sindhia and Hindus can call themselves Sindhus, and Hindi can become Sindhi?

That obviously raises another question - how are Sindhis going to call themselves?

Hasn't mother already seen it all?

I was reading a story about a new film called Pankh. It was clearly written to titillate and to shock. At the same time, it raised a few questions in my mind. Here is what it said:

Director Sudipto Chattopadhyaya is extremely miffed at the lurid bent given to Pankh...The nude sequence will qualify as the boldest ever in an Indian film. It comes at a time when the boy-hero must prove to his domineering mother that he is, after all, a man.

Says the director, "I've never spoken about this sequence before because the content is bound to be projected out of context. It's actually the climactic moment when the hero Jerry (Maradona Rebello) can no longer bear with his mother's taunts about his manhood. Jerry takes off his trousers to show his mother that he has a d...k like any man..."

Do you think that such a thing is logical, that a guy has to show his dick to his mother to prove that he is a man? I mean, hasn't his mother given birth to him, wiped his potty when he was a baby, given him bath? Didn't she know already that the baby had the necessary appendage?

If his mother was taunting him about not being a man, perhaps she was talking about his personality or his behaviour?

So there I am, a bit confused, waiting to hear more about it, when the film comes out. I don't know, how does the screen play deal with this sequence, but in real life, I can imagine a today's urban mother, when she sees her teen age son nude like that, is likely to say, "Jerry, didn't I tell you to change your underwear everyday? How long you have been wearing those dirty undies? and don't stand there like that, you are going to catch penumonia!"

What do you say?

PS: I have read another story about the film. It is an interview with the leading actor of the film, Maradona Rebello, and that clarifies the situation. In the film Jerry is traumatised by the experienced of being cross-dressed by his mother in his childhood. Thus, perhaps the scene described above, can be explained.

Actually I am glad that Pankh is attempting to touch on another aspect of human sexuality. Though debates tend to focus on the gay-lesbian-straight issues, in reality, the issues related to human sexual identity are many more, perhaps infinite. Our identities in terms of "to be a man" or "to be a woman", depend very much on the kind of sexual orientation we feel inside us, but also on expectations and attitudes of other persons surrounding us. Expectations and attitudes of key figures like parents and siblings are probably even more important in this sense.

Thus, I can understand that a child to be cross-dressed by his/her parents when he/she is too small to understand or pose resistance, may be equally painful as those children who feel that they belong to the other sex, but are forced not to cross-dress by their parents, fearing ridicule of others.

So kudos to Sudipto Chattopadhyaya for touching on this sensitive theme and best of luck to Rebello for daring to go into uncharted territories in bollywood world, as an actor.

Women changing rural India: Sarpanch Sahib

Common perception is that in spite of poverty and under-development, women in South Asia have played a much more active role in leadership and politics of their countries and their communities than in the western “developed” world. Persons like Sirimavo Bhandaranayike, Indira Gandhi, Sheikh Hasina, Benazir Bhutto, Mayawati and Aung San Kyi are responsible for this common perception. Yet, those who know the reality of our world, know that for most women, especially in rural areas, their lives are often closed in the boundaries of traditions, hidden behind veils, bound by rules of caste and class.

India started an experiment in 1993 to change this apparently immutable world of rural women by reserving certain election seats at village council level (Gram Panchayats) for them. At that time, many persons had thought that this would not change anything, men will continue to decide and rule as usual, using their wives or mothers or daughter-in-laws as a cover.

Initially almost all the women who entered the poltical arena because of this policy, were in some way forced by their families. Most of them did not receive any training for the roles they were asked to take on. Almost fifteen years later, it is perhaps time to take stock and understand how this change has worked out in practice and if indeed there has been a change?

Yes, in spite of all the cynicism and active obstruction by old political power-brokers, the experiment has started to bring about a change. “Sarpanch Sahib – Changing the face of India”, edited by Manjima Bhattacharjya (Harper Collins India with India Today and The Hunger Project, 2009), tells the stories of some such women who became presidents of their Gram Panchayats (village councils).

The stories of the book are told by women like Manju Kapur, Indira Maya Ganesh, etc. and are immensely readable. They talk of villages from different parts of India. To understand what these women went through and continue to pass through, what it means for them to live lives of poverty and yet strive for better governance against all odds, makes for a humbling experience.

I liked all the stories. They are succcess stories, even if they show that nothing is easy and at times, the idea of “success” does not quite express what they have achieved. They show that change in the unchanging world of rural poverty, could be almost imperceptible. Like the story of a person like Kenchamma, a dalit woman, who continues to shell betel nuts for a living, even while she is into her second term in the Gram Panchayat. Like this passage from her story:

Quite far removed from the Kenchamma of 1993, who cried in humiliation as she returned from her first meetings, bewildered and frustated at not being able to say anything. We were walking through the village and my eyes fall on her callused hands. She points to the skin of betel nut strewn in piles every where. She did four sacks yesterday. At 50 rupees a box she makes 200 rupees for the day. ...An uneducated Dalit woman has done for her village what seasoned political aspirants have not. But what has she got in return? What does one make of this strange sort of limbo? Thins have changed so much over one generation – from Cariappa’s to his daughter-in-law’s, yet they remain disturbingly unchanged.

Kenchamma has been president of the panchayat twice and is now a grudgingly respected member of the village community – respected by Dailts and Lingayats. But she is still a poor Dalit woman. As if being any other way would be improper. Improper not to live in a thatched, leaking mud hut, or to plaster her house, to not struggle for daily wages, improper to imagine other livelihoods, work not just for the village but make a career out of governance and use the 10 years of hands-on learning she has had. The boundaries have been pushed, but still only from the limits of the home to the village. Isn’t it enough that you have been allowed to reach this far, the voices seem to suggest?

I think that Kenchammas of this world are wise, they know that entrenched social hierarchies can react back with terrible fury if they feel that the status quo is being challenged. They know that they can not count on any one else to protect them. So they bide their time, they accept to continue to living lives of poverty and marginalisation, even while achieving small changes, providing education for their children. They are not aiming for revolutions, they are aiming for a change. Most of us from worlds far away from theirs, including many development experts, are frustrated with this path of slow change.

Perhaps we, or some of us, would have preferred revolutions?

I would recommend this book to everyone, especially those who think that they know India, that they are building the modern new India, that they are bringing in the progress. It would bring a sense of balance in what they think about themselves and gain some respect for those Kanchammas, working in far away places to bring small changes in rural India, taking personal risks that most of us wouldn't have the courage to take.

Migrating souls: Leaving India by Minal Hajratwala

Books and stories that talk about immigrant experience fascinate me. Stories about Indian immigrant experience, their second generations in their new homelands, fascinate me even more. I have realised that when I read them, I talk to myself all the time.

At one place in the book, Minal says, “Deep in the marrow of every story is a silence”. Perhaps, it is there, in that silence, that the reader and the author can meet and talk, about what was left unsaid and what can not be expressed in words. In that sense, it was particularly hard to read “Leaving India – my family’s journey from five villages to five continents”, because our parallel dialogue in that silence was at times so intense.

When I start realising that I am liking a book and that I would like to write about that it, I start bending the corners of those pages that have particular passages that touch me in a special way, so that when I write I go back and refer to those particular passages.

In “Leaving India”, I have marked so many pages, that if I try to write all the feeling they evoke in me, probably I will end up writing a bigger book. So I will not even attempt to write all those things.

I read it almost in one go, over a period of three days. And, I had to stop myself at times, to put aside the book and go for a small walk, just to think, and also to prolong the joy of reading it.

Minal’s family’s journey starts from five villages in south Gujarat, at a time when there was no state called “Gujarat”, in late nineteenth century. Poverty and dreams of making a mark in far away parts of the British empire, take away the men, leaving their wives with their children in Gujarat. Slowly, the wives also follow their husbands and then as fortunes of the empire change, and new opportunties arise, the emigrants change homes, searching for more hospitable lands where they can grow their families in peace and dignity.

Among all the stories, the one which touched me most was the story of Bhupendra and Bhanu, Minal’s parents, probably because I could empathise and understand more the kind of problems they went through. Among all the pages that I had marked, I have decided to take one passage from this part of the book that touches on the challenges and opportunities that emigration experience can give us:

In New Zealand, Bhanu might have become small and huddled; our lives there were always slightly shabby, as if the gray of the skies had settled over our skins, clothes, hopes. In Fiji, she would have been one of the several daughter-in-law, bickering for position in a chaotic and quarrelsome extended family. In India she could have lived a life of middle– or upper-class privilege, with ahousehold of maids to supervise.

In America my mother bloomed like a tropical flower, colourful, with a thick, strong stem, petals as sturdy as bark....

Slowly we became – all four of us – American. For Bhupendra and Bhanu this would become clearer with each visit to India or Fiji. Although they tried to blend in, to do as the locals did, the mask was less and less perfect. The changes were physiological: they oculd not drink the water, had to be careful about what they ate ... The changes were also psychological. They found they simply could not understand why certain things were as they were, how people could stand to live that way.

You don’t need to move to USA to realise that you have changed. Shifting from Patna to Delhi or Mumbai can change you equally. Going to university, living on your own, every change marks your difference. In that sense, you don’t need to be an emigrant to understand what Minal is writing about.

Minal’s own journey as a second generation emigrant growing up in USA, was also interesting since through it I could imagine a dialogue with my son and see his growing up experinece. He himself would never talk of such things with me, and unless he decides to write a book about himself one day, I have no way to enter that world.

Minal’s own journey is much tougher, I think, compared to my son’s journey, since it is linked to her struggle to live her sexuality that doesn’t fit in with the heterosexual “normality” of the traditional family.

As the world globalises, I think that Minal Hazratwala’s book tells a story that is more universal, that can be understood and felt by all those who move away from the places where they grew up, from villages to the cities, from one country to another.

LEAVING INDIA, My Family’s Journey From Five Villages to Five Continents, by Minal Hajratwala, 2008, published by Houghton Mifftin Harcourt company USA e Tranquebar press India.