Meeting Indian Writers

About a month ago I was contacted by Grinzane Cavour foundation, an organisation based in northern Italian city of Turin that is also involved in promoting translation of literature from other languages into Italian and literary awards. They told me that for their next award ceremony they are planning a two day seminar on Indian literature and writers, and asked for my advice.

My suggestion was that keep a space for persons writing in Indian languages as well, whose works are almost unknown in Europe. Finally this suggestion was accepted and they have kept a small space on writings in Indian languages in which they have invited Uday Prakash, Bahgwan Dass Morwal and Gayathri Murthy. I am also invited to speak in this session.

The remaining authors from India or of Indian origin, are all those who write in English and these include Shashi Tharoor, M.J. Akbar, Tarun Tejpal, Sudhir Kakkar, Anita Nair, Lavanya Shanker, Altaf Tyrewala, Vikas Swarup & Nirpal Singh Dhaliwal.

Some of these authors, I have not read yet. Some others, I tried but did not like their way of writing. However, among the two new writers, I really liked Lavanya Shanker and Altaf Tyrewala.

This meeting is starting tomorrow. I am very curious to know these well known writers and listen to them. I also hope that I can get some interviews, record their speeches, etc. and then report on this blog.

Violence of Language

I had seen the Colombian writer, Efraim Medina Reyes in Ferrara, a couple of months ago. He had been in a round table with Arundhati Roy, Gofredo Fofi, Elif Shafaq and Laila Lalami. He might have been a good writer but he did not seem to be a very good speaker to me at that time. Or perhaps when he had spoken I was tired and distracted, I don’t know.

I had written about that meeting in this blog in October 2007.

What ever the reason, after the meeting from that particular session he was the only writer about whom I was unable to remember anything significant from his speech and that had made me feel a little guilty.

Yesterday I saw an article by him in an Italian magazine, Internazionale. “Il sesso forte”, the stronger sex. The article was apparently about the violence against women. I started reading it and just the first few lines made me sit up. Perhaps I had understood wrongly, I had thought and reread those lines. No, he had actually written what I had thought he had written. The article started thus:

Men kill each other for a variety of reasons. Most of all in their hunger for power and money. Yet, behind every war and aspiration for peace, there is always a soft and hairy cunt.

It was this last part of the phrase that had shaken me awake. Internazionale is an intellectual kind of magazine and though in Italian language people do tend to use equivalent words of fuck, prick and cunt much more liberally than in many other languages, this magazine is considered to be a little on the serious side for that. Thus if they have to use words like that they would use equivalents of making sex, penis and vagina, rather than their more popular counterparts.

I felt that the particular phrase in Medina’s article’s had been put in that particular way to shock the reader. As I read further, it was clear that the whole article was written to shock. It does not mince words and uses the words cunt, supercunt, gang bangs and rapes abundantly.

What is there to get shocked, you might well ask. Don’t we all use these words in other contexts? It was this undercurrent of violence that I felt in Medina’s words that disturbed me since apparently he is talking against violence in the world, about violence that especially targets women. Yet even while speaking against violence, he is expresses himself in very violent terms, I felt. For example, look at this part of his article (my translation from Italian):

We men can not imagine how terrible it can be for a woman to be forced to have sex. There are still some who think that when a woman refuses to share her cunt with them, actually she is just trying to provoke them. It must be clear that when a woman says no, it means no and you must forget it. I know it is not easy and it must have happened to everyone. But before letting yourself be obsessed by the cunt that has been negated to you, it is better to think of all others that are waiting for you with a smile.

So I had the feeling that he is writing something but his words are conveying exactly the opposite.

And then I was thinking about something else. In literature, in books and magazines, in our daily language, we are all becoming more open in the use of the swear words. In Italy we tend to use these words in way that they become ordinary words, they lose their taboo power. Parents use them in front of children and children use them in front of parents.

Even in some Indian books, magazines and films, it is the same thing. The written and depicted realities tend to reflect the real world in use of these words.

In a way I understand this need. Our bodies and sexuality in general has been too long hidden behind taboos, embarrassments and silences and it is good that those walls can be broken down and we can speak about these parts of our lives more openly. Yet I have a feeling, Medina’s use of the language is not the answer, that makes our body parts mere objects. Sex is not just a mechanics of penetrations and movements. Or does such language actually help us in breaking those barriers?

Coy Subhash Ghai

I was reading an article some where about the different remakes being planned in Bollywood, including a remake of Karz, with an original title called Karzzzz with our very own nasal popstar Himesh Reshmaiyya and that it was first proposed to Subhash Ghai, who refused saying that it will not be correct to remake a film like Karz!

And I was thinking, wasn't Karz "inspired" by "The Reincarnation of Peter Proud"?

A frosty magical morning

There is something magical about waking up and looking at the twinkling lights of a christmas tree. This year our tree has ice white and blue lights that are beautiful.

I looked out of the window and saw that all trees were covered with white frost.

Frost or no frost, if you have a dog you need to go out in the morning so that he can err... shit and piss. I know, the two words, don't rhyme well with christmas trees and magical ice white and blue lights, but then even on magical mornings, you can't forget the realities of life, can you?

So out we were, I and Brando, shivering together and walking amidst grass that looked like it had been altered with photoshop. In the part of the park where elderly persons have their handkerchief patches of "kitchen gardens", surviving lettuce, cabbages had been turned into ice-statues by some demon.

Someone had covered their tiny plants with plastic bottles to save them from the frost, they stood up like Milo's Venuses, their arms chopped off by the same demon.

In the end, it was indeed a magical morning.

Is Bhatinda the new Jhumaritalaiya?

Finally I saw JBJ, Jhoom Baraber Jhoom.

The reviews were so bad and I am not a real fan of any of its stars, so I was not very motivated to watch the film. However the music was wonderful and I kept on listening to the songs. Even after many more newer movies had come and gone, the music of JBJ continues to pulsate in my head even now.

Plus the negative reviews are actually a plus point, the more negative the reviews, the less expectations I have when I do watch some of those film. This is true up to a point. There are certain films with unbelievable storylines, that good or bad reviews, that I don’t want to watch any way. But for films like JBJ, I think that bad reviews are good since almost always I end up feeling that the film was not so terrible after all.

That is how I started watching it, ready to doze off while watching it. Yes, I hate to admit it but it seems to happen quite frequently recently, that I doze off while watching some films and my wife swears that I snore louder than the background music of some of these films. So I was there, feeling a little complacent and superior, about the depths the Bollywood film industry has fallen to, sprawled on the sofa in the living room.

Guess what, I never dozed off and on the whole I liked the film. I thought it was a little whacky but it was good fun. I loved Lara Dutta too, the first part of the film, like in the song "Ticket to Bollywood".

I even liked Amitabh Bhacchan, he looks kind of cute and he seems to be enjoying himself.

But I can understand the point of all the critics and aam junta, who didn’t like this film. It is a real nightmare, especially for those defending Bhartiya sanskriti and NRI dreams. The film bulldozes almost all the sacred cows dear to babies fed on mamma Yashraj films’ milk of Raichand families, Rahuls, Veer-Zaaras. Yes, I know I am mixing my Chopras, Johars and Barjatyas, but I am sure you get point I want to make.

Jhoom Barabar Jhoom is a subsversive film

The film has been packaged as usual YR Films’ dream merchants’ usual masala fare, but actually it is quite subversive and not very subtle about it.

Most of all, it does not respect Indian sensibilities. Probably it rankled the nuts of our Pakistani brothers as well. One of my femminist friends was telling me that there is nothing like an "attack on our culture" to bring Indians, Pakistanis and Bangladeshis together. While taking care of their errant wives/daughters/sisters, they forget all their other differences. And, this film is an "attack on our culture", no doubts about it. Let me explain myself better.

AB’s baby (Abhishekh Bachchan) as Rikki Thakural, originally from Bhatinda and transplated in Queen’s Engliand, could be a bhaiyya living under madam Mayawati ji, even if occasionally his accent does get English. He is a crook, bumming off magazines and other things from honest shopkeepers (remember Amrish Puri, the stern father of DDLJ?). He could be Bunty who has run away from Allahabad and landed in UK. No sophistication, no house with the staircase fit for horse-riding, no chandeliers, no private helicopter, no loving mother waiting with aarti ki thali. The character must have been like ice cold showers to all those Bhatindawallas planning to sell off their lands to migrate to the land of milk and honey. I mean, how can you emigrate to the land of the plenty and continue to be a crook and bhaiyya? What kind of dreams are these?

And, BTW, is Bhatinda the new Jhumaritalaiya? Lot of the heroes and heroines these days are from Bhatinda. Remember JBM and the sikhni, Geet? I bet, it is a ploy to raise up the property prices in Bhatinda, but let me not digress.

Zinta baby’s Alvira Khan (Preity Zinta) is a Pakistani babe who must be the nightmare of all Indian and Pakistani parents, who are losing the desperate fights to keep their children uncorrupted by the decadent values of western culture (if you can call them values and culture!). All those NRIs don’t need to go to cinema to see those nightmares, they live them every day, so why should they watch a movie that revels in glorifying that nightmare? A good Muslim girl does not wear short minis and does not talk with strangers at the Railway station. Not even one burkha scene in the film! Terrible for our Asian culture!

And, the story of love between a Muslim girl and a Hindu boy, it is a serious business. It can be done like in Veer Zaara, but what kind of values are you promoting if you never raise the religion issue in the whole film? Are we trying to say that for love, religion is not important? Terrible, no sharm haya is left in today’s world!

Lara Dutta looks good enough to eat in the first half of the film, but in the second half, her character as the tart Laila is terrible. I mean, we can be understanding about these "fallen" women with loose morals but they must show a bit of remorse for their situation, and they must be willing to cover their heads and coyly ask for maafi, while chanting Hanuman chalisa. However, Laila does not feel any remorse, she uses dirty words, behaves like a slut and then takes a honest mummy-loving dear lad like Satvinder (Bobby Deol) and turns him in to one of those modern kinds who go out with their girl friends without worrying about Bharitiya Sanskriti or their moms.

The film was not given an “adults only” certificate and I am sure that it must have been an insidious but gravely deleterious effect on the morals of our corruptible youngsters. Rightfully it was refused by our intelligent public of NRIs and hopefull NRIs in India.

I hope YR films (and their brothers and sisters in Johar films, Bartajatya films, etc.) have learnt their lesson and are preparing the next episode of Raichand-Rahul saga with half-naked cold-proof heroine dressed in a Bhartiya sari dancing in the Swiss mountains, waiting to cover her head demurely with her sari and touch senior Raichand ji’s feet as his respectful bahu, while celebrating karva chauth. I bet that will be a huge hit.

I the mean time, I am still smiling after finishing towatch JBJ, but then I was already morally corrupted, so that is no big news that I like all these faltu films!

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Films of Ferzan Ozpetek

Today I saw the new film of Ferzan Ozpetek. "Saturno contro". Means That "the saturn is in opposition". Like in the horoscopes. For a long time afterwards I was thinking about his films. I think that he is among the best Italian film directors today though I am not sure if his name or his films are known to English speakers? (In this picture Ferzan Ozpetek).

Ferzan was born in Istambul and came to Italy as a young student in late nineteen seventies. For fifteen years he worked as assistant to different directors including the wonderful Massimo Troisi. In 1997 he directed his first film, "Hammam, Bagno turco" (Hammam - the Turkish baths).

"Saturno Contro" that I saw today is his sixth film. I haven't seen all of them, I missed one of them, Harem Suaré that had come out in 1999.

Alternate sexuality is a common thread running through his films and sometimes, I have heard people dismiss him as the director of "gay films", but I feel that this would be reductive way to look at his work.

Alternate sexualities including gays, bisexuals, lesbians, transexuals, all find a place in his film world and are portrayed as real people, not as caricatures. Often he mixes the theme of alternate sexuality with other themes related to the marginalised persons such as the elderly and the urban poor.

Another common theme of his film is that of persons, especially women, who live lives cut off from their emotions and then something happens, that stimulates a radical transformation in the way they see the world and themselves.

Finally another common theme that I have noticed in his films is that of emotions linked to death, separation, loss and grief, and how we cope with these emotions, how they change us.

"Saturno Contro" starts with a group of friends. Most of them have crossed forty. David (Pierfrancesco Favino) is a writer who is gay, and his companion is Lorenzo (Luca Argentero). Their friends are Antonio (Stefano Accorsi), his wife Angelica (Margherita Buy), and Antonio's mistress Laura (Isabella Ferrari), a Turkish translator Neval (Serra Yilmaz) and her policeman husband Roberto (Filippo Timi), David's ex-boyfriend Sergio (Ennio Fantastichini), an astrolger and drug addict Roberta (Ambra Angiolini) and Paolo (Michelangelo Tommaso) a medical student and an aspiring writer, who wants to come close to David.

These friends meet regularly. Antonio and David are childhood friends but now it is Angelica who is closer to David and Lorenzo. Lorenzo discovers Antonio with his girl friend and does not what to do to protect Angelica, Antonio's wife, from this news. During a dinner at David's home, Antonio finds an excuse to go out to meet his girl friend. Then suddenly Lorenzo, who was not feeling too well loses consciousness, rushed to the hospital, he goes into coma. Suddenly their lives change and death enters the story.

Rest of the film is about Lorenzo's coma and then death in the hospital and how David and other friends react to it.

The film is an exploration of grief, when you suddenly lose the person you love and it seems that suddenly the world does not have any meaning. All the friends feel the grief of losing a friend but in their own way they all understand that the pain of David is strongest and yet do not know how to deal with it. It is a very moving film, slow and lingering over the details, of coming to terms with loss.

Le Fate Ignoranti (The ignorant angels) was another film of Ozpetek that came out in 2001 and became a popular and critical success. It was the story of an apparently happy and successful couple, Antonia and Massimo. Massimo suddenly dies in an accident and Antonia (Margherita Buy), a doctor is grief-stricken and shocked. Her whole life seems empty and meaningless.

One day among Massimo's office things Antonia finds a painting, behind it somebody has written, "From your angel". Suspicious that her husband had an affair, she tries to find out the person who had given that painting to Massimo. That is how she discovers that her husband had a relationship with a man, Michele (Stefano Accorsi) for the last seven years.

Initially shocked and repulsed she can't belive that her husband was betraying her to a man, but then she wants to understand and enters the world of Michele, a world where a group of gays, transexuals and lesbians live together as a community.

Michele says, "Don't be angry with me, you will be always his wife. Outside this house I could never be anything for Massimo. I loved him for seven years and yet I can't go and cry on his grave".

Antonia wants to understand that part of Massimo that she never even knew that existed. She feels attracted towards Michele but he is gay and not interested in her as a woman. Slowly Antonia understands that Michele is not the answer to her grief. Learning to cope with her grief, Antonia goes back to her own world.

In 2003, Ozpetek made La Finestra di Fronte (The window in front) about a woman Giovanna (Giovanna Mezzogiorno) with two children, living an unhappy life. Giovanna is attracted to a young man Lorenzo (Raoul Bova), who lives accross the street near her house. One day she finds an elderly man who has lost his memory. Giovanna and Lorenzo try to discover about the past and family of the man, discovering that he was put in a concentration camp by Nazis because he was gay and his grief for his companion, whom he could not save from death.

In 2005, Ozpetek made his most spiritual film, Cuore Sacro (Sacred heart). It was the story of Irene (Borbora Bobulova), a successful and ruthless entrepreneur, who seems unperturned by the suicide of her old friends because she has taken over their old company. Then while planning to take over an old family home, she discoveres the secret of her mother, who was apparently mentally ill and prisoner in that house. Her encounter with a thief young girl and the young girl's death bring her in contact with the reality of urban poor and her own guilt. Filled with remorse she gives up everything and in a gesture of penitence removes all her clothes in a metrostation.

If you have not seen any of Farzan's films, I hope that this brief discription of his works will make you curious to see his films. I like his gentle way of story telling and his film worlds very much.

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Dams, development and the poor: Medha Patkar

Medha Patkar, the famous activist from India fighting for the rights of poor and voiceless persons, was in Bologna at a meeting organised by CGIL, the Italian workers union. I was translating her speech from English to Italian in this meeting.

 

I agree with some of her points regarding SEZs, the corruption that pervades most of our system in India, the lack of care about what happens to the poor and marginalised persons. I also agree that the present dominating idea of development is result of a particular view point of developed world that has its roots in colonial past, industrialization and in a belief that nature is for man’s exploitation and thus for most persons the more things you have the better it would be.

 

However, I am not sure if poor persons, just because they are poor, would be happy with another idea of development. Activists like Medha speak of lofty ideas, such as the ideas of self-contained mutually dependent small communities with limited material needs envisioned by Gandhi and some other thinkers. Perhaps it is the globalisation or may be a sign of changing times, but I feel that very often all of us, rich and poor, often share the kind of dreams that are based on material wealth.

 

I have met Medha a couple of times, and she comes across as a very sincere person. However, sometimes I feel that she is too self-righteous and non-realistic in some of her ideas. Anyway, here are some points from Medha's speech in Bologna.

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I come from the National Alliance of the People’s Movements in India and also from the struggles in the river valley of Narmada. These years and decades long struggles are still on and have been facing newer challenges because the whole paradigm to which the state and the corporates are committed to, is certainly bringing an onslaught on the population including the indigenous people, farmers, the working class people, artisans, the fish workers and almost 95 or more percent of the working classes.

But it is not only the case of a dam in one single river valley, apply it to various development projects. We realise it that people are bound to assert their right to the local resources which are taken away in the name of development. So sections of the civil society and of course the state, come out with certain symbols of development which fits in their paradigm like large dams or large factories. We question it, from the point of view of how the process of taking away the resources (works), and diverting of these resources from one kind of economy to another kind of economy. We raise this question.

We are also questioning the centralised-based development paradigm and planning process. When centres are in the capitals of the nation states, the communities, the rural as well as the urban communities questioned, “Who decides what is development”? And through what democratic or undemocratic procedures and processes do they impose these plans upon us? It was also bringing out the ultimate ways of managing the resources, beginning with their small units that are the communities, which are also the ecological units. So that there will be no displacement and eviction of people from their cultural, environmental milieu and also from there own kinds of life-styles and economies.

It was one story when this was within the boundaries of one nation state. With the whole paradigm of globalisation, corporatisation and privatisation, it has attained unprecedented scale and unprecedented force, including the use of physical force that the state maintained but also the various factories of the corporate powers which have infested the state itself. The nexus between the state and the corporate power, it wants every piece of land and they are eating our resources in the name of industrialisation, in the name of progress and development. It is not just the rivers, but also ground waters, reservoirs that are handed over to the companies such as Coca Cola, the mineral water bottling plants. The people living on the land with the water resources are waging battles, if not wars. In the name of industrialisation, in the present paradigm, the land is opened to all industries including like your Fiat company from Italy itself.

This has taken a new turn by the states announcing the policies and laws of Special Economic Zones (SEZs). These are officially known as “foreign territories” within Indian territory. These SEZs are large chunks of lands which are acquired partly by the state and partly purchased by the companies, who can purchase not just small farms but whole districts, areas as big as the regions (in Italy) including hills and valleys, because they have already earned so much profit. These zones are the ones which give all concessions and not less than 21 laws for the corporates. They are cutting on the labour legislations which were earned through decade long struggles by the labourers and workers.

I belong since birth to the family of a labour union leader, who was freedom fighter as well and hence I know how hard earned are those labour legislation and yet with the rush of a pen, the legislations are declared “not applicable” to the corporates, that are allowed to operate not just with free trade but also with free operations. With special judges, with no local self-government, even those elected and recognised are not allowed to function in these zones, like the Panchayats. So with these kinds of zones coming up the corporates are not just confident, but are arrogant and aggressive in taking away the lands and every thing attached to the lands.

West Bengal is a left front ruled state for the last more than 30 years. We have always been allies of the left front parties. At the world social forum, at various for a where we raised our voice jointly against the neoliberal paradigm. If you want to have a look at the resolution passed by the parties, various partners and allies in the left front in India – Communist party of India Marxist, Communist Party of India CPI, the Revolutionary Socialist party, the Forward Block, if you look at these four parties, you will find that they unequivocally question the neoliberal paradigm. They question the World Bank, IMF, WTO, they support Cuba and Venezuela and the changes in the Latin American countries such as Brazil and they vow for the people’s rights and the non corporated state.

And yet in West Bengal problems are there, coming up in place to place. In Singur there was a forced acquisition of about thousand acres of land, 997 acres, for a project that was known as Tata’s small car project.

The industries minister of West Bengal told us, when we held the public hearing on the invitation that came from the people, myself along with Mahashweta devi, the well known literary person in India, others like former justice Sengupta and also the radical left wing intellectuals, we all held a public hearing and heard the people. The people had an unanimous voice in opposition to the project. People said that whatever needs to be done, has to be done. The corporates and before the corporates, the faith has to come to us, we are the communities, we have the power and democratic constitutional right and they should say what it is that they are wanting to have, why that project, what is that project going to bring to the nation and to themselves, how are they going to get a share, whether they are going to get it or not? But the Government absolutely said no, that they are not ready to disclose the information. So we as the members of the panel placed our demands to the industries minister and had dialogue with the chief minister also. We were shocked to get the answer such as, “Oh in the neoliberal economy, after all what can we do? We have to bargain with the companies, if at all. We have to accept the land which they choose, we can not choose the land to be given to the industries. If we don’t allow them to get the land which they want they would go away to some other state. Even for the rehabilitation, we have no policy as yet here. We will in the process try to talk to Tata so that we can have some package evolved..”. We were shocked to hear this from the left front leader.

As the struggle began, it has already faced some repression, some of the opposition political parties were involved, so the Government started saying that this is all political. When we came in as people’s movement, they could not say that because we are not for the typical political or electoral politics. We are in the people’s politics. But we don’t consider the parties as untouchables, but we feel that movements are political in themselves. When we as the farmers, fish workers, the displaced people, some of the unorganised sector workers, unions, some of the organised sector worker union, we all said raised the voice of support to people of Singur, they started directing the repression to us.

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