Tuesday, October 07, 2014

How an Indian woman dresses

Indian woman wearing traditional Indian clothes (before 'western' influences hit mainstream sartorial choices): Exhibit 1



Indian woman wearing traditional Indian clothes, indulging in a traditional Indian indulgence (before 'western' influence on Indian culture): Exhibit 2


Indian woman wearing traditional Indian clothes (before 'western' influences hit their sartorial choices): Exhibit 3

Indian woman wearing traditional Indian clothes (before 'western' influence): Exhibit 4


Indian woman wearing traditional Indian clothes (before 'western' influence): Exhibit 5


Indian woman wearing traditional Indian clothes (hard to say whether this is before, after or despite 'western' influence): Exhibit 6


Indian woman wearing traditional Indian clothes (before/after/despite 'western' influence): Exhibit 7


Indian woman wearing traditional Indian clothes (most likely before any significant cultural influence barring her own tribe, given the confidence of her stance and lack of shame about her body): Exhibit 8


Indian woman wearing traditional Indian clothes (before/after 'western' influence?): Exhibit 9


Indian woman wearing traditional Indian clothes (before/after 'western' influence?): Exhibit 10


Indian girl wearing traditional Indian clothes: Exhibit 11


Indian girl wearing traditional Indian clothes: Exhibit 12


Indian couple wearing traditional Indian clothes (probably only for a special festive occasion and not the clothes worn in their daily lives): Exhibit 13


Indian woman wearing traditional Indian clothes (almost certainly despite 'western' influence, given the source of the photograph): Exhibit 14


Indian woman wearing traditional Indian clothes: Exhibit 15


Indian woman wearing traditional Indian clothes (obviously, donned for the stage): Exhibit 16


Indian woman wearing traditional Indian clothes: Exhibit 17


Indian women wearing traditional/modern/contemporary Indian clothes (and their own comfortable, traditional method of draping): Exhibit 18


Indian women wearing traditional/modern Indian clothes: Exhibit 19


Indian women wearing traditional/modern Indian clothes: Exhibit 20


Indian woman wearing traditional Indian clothes (and traditional woman's hat): Exhibit 21


Indian women wearing traditional/modern Indian clothes: Exhibit 22


Indian women wearing traditional/modern Indian clothes: Exhibit 23


Indian women wearing modern Indian clothes: Exhibit 24


Indian women wearing traditional Indian clothes (obviously, donned for a stage performance): Exhibit 25


Indian woman wearing modern Indian clothes: Exhibit 26


Indian woman wearing modern Indian clothes: Exhibit 27


Indian child wearing traditional/modern Indian clothes: Exhibit 28


Indian women wearing modern Indian clothes: Exhibit 29


Indian woman wearing modern Indian clothes: Exhibit 30


Indian woman wearing modern Indian clothes: Exhibit 31


Indian women wearing modern Indian clothes: Exhibit 32


Indian women wearing traditional/modern Indian clothes: Exhibit 34


Indian women wearing modern Indian clothes: Exhibit 35


Indian woman wearing modern Indian clothes: Exhibit 36


Indian woman's figure representing a 'yakshi' wearing what once must have been 'normal' clothes for a woman in some part of the Indian subcontinent: Exhibit 37


This is for all those who want to tell women what Indian culture is, or isn't, or what our great 'Indian' tradition and culture expects women to wear or not wear. Take a good hard look. We have worn all sorts of things depending on climate, comfort, and available technology. Also, depending on our desire. OUR NEEDS and DESIRE were reflected in OUR CULTURE. We exposed various parts of our bodies at all ages, at various times during our shared history and geography. And we will continue to do so. Learn to live with that.

Consider this a brief tutorial, those of you -- Yesudas, Madhu Kishwar, Mohan Bhagwat, Mamta Sharma, and politicians affiliated to a range of parties including the currently ruling BJP (Goa CM and Madhya Pradesh CM), TDPNCP, TMC, CPM -- who have directly or indirectly suggested that 'western' influences on our clothing lead to assaults on our persons. You seek to confine us to Exhibit 24, 29 or 34 in the name of 'safety' and 'Indian' cultural values with no sense of the history or reality of Indian women's clothing. The truth is that none of these women were or are safe from sexual assault or harassment, with the possible exception of Exhibit 37. And that is because she is cast in metal and cannot experience an assault even if it is aimed at her body.

[Photos sourced from the internet. All sources linked to at the mention of the relevant exhibit]

Saturday, September 27, 2014

A deliberation on song, sexiness, and the filmy mahila

It could be that I'm blinded and deafened by the deliberate sexiness of the new Bollywood. But I often feel like feminine desire as depicted in film songs these days has all the charm of the high headlights on a speeding truck. Which makes me wonder how far we come in our representation of women. 

I keep watching old Hindi film songs and what I come away with is a gentler view of women's desire. Take the lovely innocence of 'mausam mausam, lovely mausam'. This song, perfect for rainy afternoons, stars a very young Padmini Kolhapure. The way the song has been directed and choreographed leaves me feeling content – as if this is how a song of adolescent love ought to be. There is a sense of gentleness and safety, an implicit trust. (It also strikes me that I cannot tell whether the director was a man or a woman, and this is a wonderful thing.)

Or, take a song like 'O phirki-wali'. It has royalty (he is dressed like a prince) chasing after a girl who sells phirkis. Obviously, the power balance is tilted against the girl, and yet, in the video, it is the girl who has power. This power does not come from physical strength, or class or caste. It is rooted in her ability to say 'yes' or 'no', and more significantly, in the man's ability to take 'no', or to negotiate towards a playful 'maybe'.

The man is pursuing the woman, but not stalking her. She is fully aware of his presence. She is smiling. As a viewer, you get the impression that if the on-screen woman expressed fear, the man would leave. Even though he is a prince, he will not assume that she is flattered by his attention. That is what makes him a 'hero'.

Another reason I love the video is that it features a working class girl, who has all but vanished from popular culture. A few decades ago, we saw songs attached to women who did all kinds of work: 
the phirki-wali (https://www.youtube.com/watch?v=R9J8aXqiesI&feature=kp
the flower-seller who can row her own boat (https://www.youtube.com/watch?v=UHCf8FUwkJE
the maalin (https://www.youtube.com/watch?v=ObKhSldrhnw
the chaku-churi-sharpening girl (https://www.youtube.com/watch?v=flmj_t5fgGM
the nariyal-paani vendor (https://www.youtube.com/watch?v=IdyD_jaRXm0
the farm hand (https://www.youtube.com/watch?v=-u5UaxHDl3E
the chai-wali (https://www.youtube.com/watch?v=crzo7x07GTs
and even the thief (https://www.youtube.com/watch?v=6TiNABGkMvM)

In these songs, the women's profession – an aspect of their lives which does not involve a man – is in the forefront. That they work, and that work means stepping out into public spaces, partaking of the social economy, engaging with strangers –  all this was reinforced.

This applies to working class male protagonists too. The factory worker, farmer, even the army jawaan are no longer at the heart of Hindi cinema. Now we have the industrialist, the pilot, the gangster, the middle class student, and sometimes the unemployed (or unemployable) youth. But for now, let us keep our sights trained on women and songs.

It is also true that more women professionals are part of Hindi film stories now: wedding planners, scholars, academics, bank executives. But in songs, they're usually depicted in a romantic or familial context. If film songs are intended as an expression of the inner life of a character, then what does the new Bollywood song tell us?

From the lyrics, we get the impression that characters are looking to be loved, or are upset at not being loved. The video often focuses on the woman's clothes, vibrant colours, interesting landscapes. But the visual contours of love, or lust, are cautiously defined. The woman is often depicted running (in front of the man or away from him), holding up substantial skirts. Or she stands about, waiting coyly, while the man approaches and makes a romantic or sensual overture. This is particularly true of lip-synced songs.

Watching them, I realize what I miss most is the 'forward' woman, and I am not alone. I went to a women's only college and I remember that the songs we girls enjoyed most were the ones where a female protagonist is flirting, seducing, wooing, complaining.

They allow the character to be a person, and not just a pretty object of desire. And the male protagonists were also allowed to sulk, or have a coy personality that required women to woo them. Look at Tanuja propositioning Dev Anand directly in 'Raat akeli hai'; or trying to get closer to a somewhat scared, Jitendra. 

Jaya Bhaduri is demanding some physical loving from a hands-off Sanjeev Kumar in 'Baahon mein chale aao'; Asha Parekh is teasing Shammi Kapoor under the guiseof seeking forgiveness; Asha Parekh is teasing Rajesh Khanna under no guise whatsoever, and is suitably punished for her pranks; Madhubala is manaao-ing a sullen Dev Anand; Jaya Bhaduri is manaao-ing a sulky husband; Mumtaz is asserting her intentions; a child-like Saira Banu is teasing the crochety Shammi Kapoor

The women have a greater degree of control in these songs, and the men seem to be decent human beings with minds of their own – they can be tempted, or not; they are sulky, upset, nervous, laidback. They were not eternally lustful, nor scornful of women who pursue them. The woman here is not a tease; she's doing the teasing. 

In the 1990s, there were a few instances of videos where female protagonists expressed desire towards 'tough' guys who seemed not very interested: Mamta Kulkarni doing a fine matka-jhatka job of wooing Salman Khan in 'Ek munda meri umr da'; and Raveena Tandon, sinuous in yellow, seducing Akshay Kumar in the rain. In recent years, the only song that struck me as allowing a full expression of female desire was 'DreamumWakeupum'; it is not only overtly sexy but the director also takes kitsch and the filmy-panaa of the fantasy to an extreme so that you see it for the fun it is. But since the 1990s, there were very few shy or bewildered 'heroes on screen.

Even when the song is romantic, my impression is that the women (or girls) appear more 'whole' in songs from the 1960s and 70s. 

There is something very significant about the choreography of love songs. We draw our ideas about love scripts from what we watch, or read, and we also feed our own ideas into the pool of popular art. The songs I like best show great 'engagement' between lovers. They look at each other longer – Raj Kapoor and Nargis in'pyaar hua iqraar hua' is the first example that comes to mind. They hold out their arms, hold hands, hug as Sanjeev Kumar and Suchitra Sen in 'tum aa gaye ho'. There is no doubt in the audience's mind that this is mutual desire. It is not one person reaching out, and the other person being reluctant or indifferent.

This business of depicting a woman's reluctance or indifference correctly is crucial, especially when we are struggling with a street culture that romanticizes feminine reluctance and worships male aggression.

In this regard, older film songs are more balanced. There are songs where romance is in the air, but the woman is not yet responsive, like 'Maana janaab ne pukaara nahin', 'Bekaraar karke humein yoon na jaaiye', or even 'O phirki wali'. Note that in the videos, the man follows the woman but his gestures never turn threatening. He does not touch the woman, until she does begin to respond. He might be playful but he is not aggressive. And he does not 'gang up' on the woman, ever.

Since the 1980s, there have been more songs and more where the camera follows the woman's body, focussing on curves and clothes, rather than feelings. One of the most annoying and boring examples of this was a song I stumbled upon. The director forces the poor actress into a white saree, places her in water, making her touch herself for a very long five and a half minutes. Yet, the director is not even brave enough to show her body through a wet white saree.

This poses an interesting contrast to Raj Kapoor, who found the courage to film the wet saree-no blouse song (https://www.youtube.com/watch?v=QqVJJym959U) and the white-saree-under-waterfall songs (here https://www.youtube.com/watch?v=SvuFicZH3Jw ; and here https://www.youtube.com/watch?v=E3AtYcr_6Hw). That the latter video has millions of views and that viewers have noticed nothing but breasts is another matter. How people respond to a visual sequence cannot be controlled by the filmmaker. But his view of society, and of women, is communicated through the camera. I get the feeling that Raj Kapoor was not afraid of showing off his own liking of women's breasts.

I don't know how women in the 1970s and 80s responded to Raj Kapoor's wet saree songs (I'd be interested to know) but I personally don't mind them. Kapoor did not fail these characters by giving them nothing except breasts. To his credit, he made stories about men's conflicted relationship with women, and sexual desire, and society's exploitation of women's bodies. He even included a brief nude scene as part of the schoolboy's fantasy in Mera Naam Joker. In his time, he must have raised hackles but he have had the courage to deal with how people received his work.

Now just look at this song from the Sanjay Khan directed 'Abdullah'. It is an example of what can go wrong when the director is not careful about how women's sexuality is portrayed. Although the perspective is that of a bunch of villainous-looking Peeping Toms, the actress is depicted singing, frolicking in the water with girl friends. But the frolic is choreographed as if it were a performance, as if it were intended for consumption.

This is bad film direction. It suggests that the filmmaker was not thinking of the female character as a person whose voice the audience would hear. She was a distraction, a beautiful object. Contrast the 'Abdullah' song with the sexiness of Zeenat Aman in this beautiful rain-dance number. There is coyness and joyous sexiness, but there is also fun, and a definite engagement between the protagonists.

Viewers who complain about 'vulgarity' in songs are unable to articulate why they are uncomfortable with the imagery. Some of it may stem from a sexually conservative upbringing. But many of us are also complaining about 'objectification' and one of the things we instinctively sense is a lack of empathy.

The camera and the choreography tell us something that the video's creators will not – the song puts women at the centre of focus so they may serve a certain kind of fantasy. In this fantasy, the woman (or multiple women) have little agency, no special skills, no warmth, no hopes for her own heart. She's there, at best, seeking to draw attention to her beauty, and, at worst, drawn by the scent of a man's money or power.

We usually tolerate the kind of fantasy described above. But when repeated too often, it gets exhausting. And some days, when real world people talk or behave in ways that mirror that warped fantasy world – when I remember that some men would rather kill a woman than see her take charge of her life, her heart, her body – a film song can infuriate me. And on those days, I turn to youtube and begin to google old Hindi film songs for comfort.

Friday, August 15, 2014

Gulab hooks reviewers

"Annie Zaidi's Gulab is a near-perfect ghost story and one of the things it does so well is achieving this balance. It is perfectly paced and uses its ghost shrewdly and sparingly."
- The Sunday Guardian 

"Zaidi makes brilliant use of the sense of disorientation that comes from an unacknowledged sense of loss, coupled with an unfamiliar location, a strange language and self-assured strangers. Bit by bit, she tugs away at all that Nikunj knows—his memories of Saira, his belief that he’d gotten over her, his ideas of life, love, fidelity and death—till he stands naked, confronting only the reality of himself and his perceptions."
- Mint

"There is a whirlwind of conversations, heated exchanges, physical fights and helpless sobs as the tempo builds and the mystery deepens. It’s nothing sort of a roller coaster ride, smooth one minute, scary the other and in between pregnant with foreboding."

"Gulab ends on a different note than its beginning. It begins with a darkly comic, almost absurd response to the idea of courting the supernatural with its everyman ordinary hero. And it ends with a chilling and seductive struggle as Nikunj is drawn to the magnetism of a dead woman’s charms."
- The Asian Age


"There’s more fun watching a ghost movie than reading a scary book. But Annie Zaidi’s novel, Gulab, ticks all the right boxes for an entertaining read. To start with, the book is all of 184 pages, it is a love story, it has a ghost, it has intrigue and a twist in the tale."

"From the very beginning we know what to expect from the story, yet the simplicity with which the author has woven monologues and dialogues, built up suspense and created situations keeps you hooked.
What binds the narrative together is the 24-hour time-span within which the story takes many unexpected turns." 

Wednesday, July 16, 2014

That other space

 
Gulab tests the limits that our mind sets upon a ghost’s powers. If you see her as a woman clinging to life, there is not much to fear. Yet: what if she wants to return to your life? 
And what makes you think you can make her leave?

Annie Zaidi brings her characteristically clear-eyed exploration of love to this beguiling, 
hair-raising ghost story.

Order it online. Or walk into the neighbourhood bookstore and ask. The book ought to be in stores over the next few days. 

Sunday, June 29, 2014

An Impractical Education

This is the latest graphic story I wrote for the Mint.



I have been thinking for a while now about the inadequacy of our secondary and senior secondary school syllabi. As far as I can see, the syllabus informs teenagers about fairly complex natural, physical and chemical phenomena, formulae for equations and trignometric calculations that most of them will never use in their daily lives. But it leaves them totally unprepared for life.

The average school student is illiterate when it comes to survival skills, especially in urban areas where they do not have any opportunity to learn through direct observation.

The choice of studying Science, Arts, or Commerce is a significant life decision if we assume that this choice is to have a real bearing on how we live our lives, or how we can make a living. I took up Science and later, in undergraduate college, 'Arts' (which is really the Humanities and Social Sciences). But the curriculum told me nothing about how to live. All I had was an assortment of facts and formulations, decrees and interpretations. If I had not been lucky enough to have the money for a specialized degree afterwards, I would have floundered. If my family did not support me further, I would have sunk into poverty. At fifteen, I was being prepared for what could eventually be a career in, say, medicine or astronomy or biochemical engineering. But I was totally unprepared for supporting myself in case I did not have the resources or temperament to study towards the aforementioned careers.

A formal school education tells us very little about how to make a living from the land or how to actually - practically - tap into nature's resources. We grow up knowing nothing about sustaining life (or love, which is incredibly sad and goes a long way towards dehumanizing and de-sensitizing the populace). Why is this so?

I am starting to believe that a highly stratified (in India, this means stratified along class and caste lines) society has something to do with it. We take human labour and basic survival skills for granted because we expect someone else to do it for the higher ups, i.e. people who access to formal schooling.

This someone else would be a low-paid mazdoor, some unfortunate born with limited access to white collar schooling. Even if this someone wrangles some schooling out of the system, a secondary school certificate is not likely to lead to a white collar job. The only other way out of poverty would be entrepreneurship, which would mean a small investment of money or material assets. The poorest in India have been rendered landless either by the caste system or modern institutional 'development' leading to displacement. Worse, they often work under conditions that lead to health breakdowns with no compensating insurance or benefits.

The pool of labour might have shrunk, but it exists. And so, the rest of us survive without having any real survival skills. Growing hundreds of food crops, harvesting, cooking, cleaning, growing cotton, rearing silkworms, beekeepers, weaving, sewing, shoe-making, assembling machines, cutting wood, building houses, mining sand and stone, cutting and shaping metal, identifying medicinal herbs. We cannot do any of this.

Skills that define human civilization, skills without which we would not last a day, are denied to us. And we allow it because we see so little value attached to these skills in the current economic system.

I often wonder, what would it be like if we actually began to attach value to our own survival? Would we not be a different sort of India?



Wednesday, June 25, 2014

Still smouldering

The best thing about being able to look at a banned book in hindsight is that it also offers a kind of foresight.

The short stories – and a one-act play – that made up Angaaray are mundane stories in the literal sense. The book focussed on the everyday brutality suffered by millions of Indian Muslims in the early twentieth century. Economic despair, domestic enslavement, sexual oppression, hypocrisy practised under the guise of religion, the physical damage suffered by women who are not allowed to make childbirth choices – it is at the intersection of these truths that the four Angaaray writers placed this book.

What we have now is an English translation of the original Urdu manuscript that was published in 1932. There are five stories by Sajjad Zaheer, two by Ahmed Ali, a story and a play by Dr Rashid Jahan, and a story by Mahmud-uz-Zafar.  The saddest thing about reading the book today is that it remains relevant.

Read the rest of this review in TimeOut 

Monday, June 09, 2014

A bookish adventure

I stack books in double rows on each shelf so that an invisible row sits behind the visible row. Some shelves are three thick. I’ve also begun to stack books in horizontal piles on top of a row. Last year, I donated a boxful to a children’s library. But a donation cull is one thing; sentencing a book to death by drowning is another thing. To leave a book vulnerable is to say that the ideas it holds are insignificant. Which leads to a difficult question: what books are more significant than others?
There is no better time to evaluate a book than a physical crisis. A couple of years ago, the house was flooded again. As the water rose around my ankles, I decided to put on a pair of gum boots and get down to the dirty work of classifying books in descending order of ‘significance’. On the lowest shelf went the most ‘dispensable’ ones. I’m not naming names but...
Read the rest of the essay on trying to rescue books in a household flooding situation and thus assessing its importance, published in the new edition of Kindle mag. 

Wednesday, May 14, 2014

More about love

I was invited to read and talk about love at the Godrej India Culture Lab book club event in February 2013.

I had upheld love as the only truly significant thing that happens in our lives, apart from the necessity of making money in order to stay alive. But for what should one stay alive if not to love, and enable love? I do believe that all human life and endeavour is about finding and keeping love. In most human societies, marriage is the cornerstone of our culture, but perhaps that is only so because we use marriage as a way of holding on to love, trying to prevent ourselves from frittering away our loves too easily.

You can listen to some extracts from in Love Stories # 1 to 14 in this video.


Sunday, April 27, 2014

An excavation of our pre-partitioned self

Peoples’ political and cultural choices are directly impacted by history, or whatever little scrap of history is allowed into our narratives about who we are, and it is a shame that most of us in India and Pakistan are either ignorant of the forces that led us to where we are, or have been actively misinformed. A God in Every Stone sets out to peel back some layers, revealing a part of our selves that lay buried under the dust of the 20th century.
I reviewed Kamila Shamsie's new novel for Timeout recently. Read it here.

Sunday, April 20, 2014

Because so much rupaiyya makes us blind

As citizens and voters, we are often stumped by the glaring lack of options. There doesn't seem to be anyone 'good' around. All candidates appear to be either directly corrupt - having been implicated in scams, or their family members named as beneficiaries of their time in office - or else, their politics is inherently corrupt. Their policies benefit a certain small group of people, heaping privilege upon privilege instead of levelling the playing field, and doing little to extend public infrastructure, that is truly public in the sense of being accessible to all. 

Why do they do this? 

As always, the answer is - follow the money. Political campaigns are very big business, and therefore, likely to be pro-big business. The more expensive a campaign is, the more compromised the candidate is, no matter how good his/her intentions. India does not even have a precedent of candidates and political parties revealing the source of 'donors' to election funds. AAP has made a fresh start in this direction. I wish all parties would follow suit. Transparency must begin with political parties.


For voters, the mounting of a 'big' (expensive) campaign is especially problematic because it obscures the candidature of smaller parties or independent men and women. The Election Commission is supposed to monitor how much money is being spent, but there has to be a way for the media to play a more proactive role during elections. It is not enough to discuss the 'chances' of various high-profile candidates. That is not what the fourth pillar of democracy is expected to do. If the media is supposed to 'communicate' information to the voting public, is incumbent upon the media to discuss all candidates - their work, their track record, their manifestos, their background, their allegiances, their politico-cultural agenda - and give each one a fair chance. 

On the subject, a comic I wrote recently for Mint

I attempted to show why the few 'clean' candidates who want to serve as politicians are so invisible. We seem to only hear and see of people after they have spent a lot of money, and this is enabled largely through media. Click on the picture to see a larger image.


Wednesday, April 16, 2014

Sharing, caring etc

Further musings on toilets and our shared existence as citizens, families, lovers etc. I do firmly believe that the day we all start leaving a public toilet cleaner than we found it, we will have understood the true meaning of patriotism.

I'd also like to say that there is nothing so unromantic as an unclean toilet, and that a nice, airy, really sparkling clean bathroom-toilet is a strong incentive to commit to someone.

The following comic appeared in Mint.


Saturday, February 15, 2014

because lioness hearts are not the same as lion hearts

"cubs are slow, fathers fast and lion mothers know that truth
is the thing that prevails... "

I have a new-ish poem in Kindle magazine. This one was inspired by a National Geographic program about the lives of lionesses and lions in the savannah grasslands in Africa. Read the full poem here.

Thursday, February 13, 2014

Short Story - Inverter

For a minute, nothing. Then a pool of light gathered at the window across, smearing itself untidily against the grimy glass.

I didn’t know what to do after that. I looked at the moon, at the street below, and sucked in the warmth spreading in my blood.

The next night was the same. She let her pool of light shimmy across the lane one more time, and went down the stairs. I too pointed my torch at her, turned off the light, then turned it on again.

We did this every day now...."  

From a new short story 'Inverter', published in Verve magazine. Read it here.


Sunday, February 02, 2014

A snatch of music

This is the latest script I did for The Small Picture in Mint. It comes from me missing music in public spaces, and then, chancing upon a few snatches at suburban railway stations last year. 



Wednesday, January 15, 2014

# wishlist 2014

I had, on an impulse, begun to tweet a wish-list in the new year. Most of these were civic or political wishes. Am compiling them here in one place and will keep adding to them as I keep wishing and wanting.
- Can somebody not pass a law against people stealing others' hisse ki dhoop? Isn't sunshine basic human right like food, water, oxygen

- Pass a law to prevent housing society discriminating against tenants and home buyers on the basis of religion/ race/ caste/ sex/ marital status.

- Do away with 'obscenity' as a legal concept for arts and public spaces. Define sex/ nudity limits for the public in clear terms. Everyone should be subject to same rules, regardless of religion/gender. If Naga Sadhus can be nude at a public mela, so can performers in a park.

- Introduce farming, childcare, sewing as optional subjects at the Senior Secondary school level instead of Chemistry, Physics, or Geography. Home Science must be a compulsory exam (theory + practicals) for both boys and girls at the higher secondary level. Cooking, cleaning etc should be treated as new subjects and be available as new combinations. (For instance, Biology + Farming + Childcare is an excellent combination and it should be allowed at an entrance levels for pre-medical exams. Any additional knowledge of other subjects, say Chemistry, can be acquired after the entrance is cleared, through a secondary exam for students who opted out in school.)

- Insist that all public offices be open to citizen engagement via email, along with a guarantee that they will get a response within 3-5 days. Officials in all departments MUST resolve email complaints in 7-15 days. Failing which, citizens should be able to approach a higher official to escalate the issue, also via email or phone.

- Citizens must have the right to approach a lower court directly in case public officials fail to respond to email complaints within 15 days.

- Insist on TOTAL transparency, especially for wages and labour. Firms, even private ones that employ less than 20 people must also be open for public scrutiny.

- I want cars to be taxed MUCH higher. The state should also incentivize experiments in transport: 4-wheel cycle carts? Solar cars? Also incentivize WALKING.

- Free up transport choices. I want cycle rickshaws in Mumbai and other cities. Cyclists need to be given priority because they are the most efficient commuters in every way possible.

- Set up a website and an office to help less educated/ illiterate workers get registered for work, and potential employers can access them through phone calls.

- If people are going to jail for non-violent crimes only because they cannot pay the fines, allow them to opt for community service instead.

- For sexual crime offenders, along with jail terms, they must take a course of education on gender, consent, sexual rights. They must read certain books, watch certain films etc.

- Make gender studies compulsory in secondary schools, as a sub-set of social sciences. Make it optional in colleges, in lieu of compulsory English/Hindi.

- Let sewage treatment happen at local levels (within residential colonies and each territory demarcated along political zones). Make corporator/ MLA directly responsible, and encourage citizens to take care of their own sh*t.

- Instead of 'free' water and electricity, let people harvest their own water in cities and use solar energy. The capital cities must lead by example. They must also own up to the fact that there's nothing free in life. Citizens in villages pay with their lives for 'free' water and electricity (@ArvindKejriwal listen up!). If we must have free water (in taps, inside homes) and 24-hour electricity, let the villages have it first, before the cities do.
- Enforce commercial land grant rules based on intent of use. If a factory/ mill shuts down, the land reverts to the city or the public commons. It can only be put to commercial use, if someone wants to set up another labour-intensive project.

- If private schools, hospitals are not admitting the poor, then let them buy land at commercial rates. If subsidized land rates are being offered in cities, then the schools and hospitals must be open to the public. Preferably just build a whole lot of public hospitals.

Sunday, January 12, 2014

Plural losses

This piece was written for The Small Picture on December 6, and for my grandfather, who left so much unfinished, so much unsaid:




Saturday, January 11, 2014

On writing, getting published etc

I often get approached by aspiring authors who want to know how to get published, and what my own experience has been like. So I thought I would just collect my various thoughts and responses in a single post. Treat all advice, however, as general advice. Each writer has a different journey and therefore different points of view.

- Finish the manuscript.
- Edit it to the best of your ability. Format it properly and check grammar and spelling.
- Send a query letter directly to a publisher. You will know of most publishers if you are a reader (and if you are not a reader of books, I don't know what you are doing trying to become an author).
- Most publishers have websites. You just have to run a google search. Many Indian publishers these days do encourage you to query directly, so send an email. Try and make sure your email has complete sentences and full words instead of sms-ese.
- Find an agent if you are confident that you will get a good advance. India has very few literary agents but Siyahi and Writers' Side are two example. For foreign agents, you will have to again send query letters. Am afraid I don't know anything about finding foreign agencies.
- There is some good advice here, written by those who are clearly more experienced than me : http://www.writersdigest.com/editor-blogs/there-are-no-rules/getting-published

MORE

I recently talked to Cosmopolitan (India) magazine about how I got published. Here's the Q and A, which might be useful to some of you:

1) What made you take to writing? What were some of your motivations, aspirations, goals etc? Anxieties, concerns too?

A - I do not recall ever making a conscious decision to 'take to writing'. I wrote a bit in high school, but mainly essays or my speeches for debating contests. As an undergraduate, I used to participate in all extra-curricular activity - song, dance, drama, fashion show. The college had an extempore (on-the-spot) poetry contest and I participated, and to my surprise, won. I began to take writing a little more seriously then, mainly because of the encouragement I received by my English Literature teachers. Soon I began to co-edit the students' magazine. By the time I finished college, I knew I could write decently, and didn't know if I could do anything else. I had no clear ambition or, indeed, motivation. But I did write quite a lot of letters, diaries, poems. Mainly to express myself, I think. Nor did I have many anxieties in the early years. I had the arrogance and confidence that very young people often do. I think I needed it knocked out of me, and that happened very quickly when I moved to big cities and my reading widening to include contemporary Indian writers who was clearly leagues ahead in terms of both creative expression and basic knowledge of the world, society, culture and so on.

2) Did you start by getting feedback from your inner circle? How did the aspect of support and encouragement from family/ friends play out?

A - I rarely sought feedback in college, though I did show my poems to close friends. It was only a couple of years after college that I began to think about what I could do to get better. I began to read a lot more contemporary work from India as well as translations from everywhere else, that it began to sink in that perhaps I was not ready yet. I began to seek peer review groups and found a couple of places online. 

Friends and family are reasonably supportive, though I do not show my work to them while it's in process. Unless these friends happen to be writers themselves. We've had well-known writers in our family before (my maternal grandfather), and in any case cultural growth has always been encouraged in my family.

3) Were there steps involved? A progression? Diary...blog...digital...publishing/ author conventions & seminars...networking...print? Would you recommend that to aspiring writers?

A - Yes. Like I said, I wrote a lot of letters and essays initially. I began working for newspapers and magazines and wrote almost daily from the year 2000 onwards. At home, I would try to work on fictional stories though none of them came to fruition. In addition, I blogged a lot, from 2005 on, and was offered my first book deal on the strength of those posts.

I don't think seminars or writer conventions helped in the publishing process. I am not good at networking and when I attend, I do so in a quiet way. However, it is always good to hear other writers speak of their ideas, and be introduced to new kinds of writing through such seminars. Writers come in all kinds of personalities, so what they take from a gathering of writers depends on what they came looking for.

4) What's the best way to pitch/ put together a proposal and make oneself stand out in the clutter?

A - I wish I knew. I've rarely attempted book proposals, and when I have, I have not been successful. I prefer to just write the whole book and then try to get an editor interested in the manuscript.

5) Could you please dwell on the writing process itself? Timeline, schedule, any experimentation involved? Learnings from the process? What was particularly fulfilling/ frustrating? What to guard against?

A - I like to experiment with genre. I want to try and write in as many kinds of ways as I can, so I give most genres at least one shot. I also get rejected a lot, and some of my work is a failure even in my own estimation. My main learning is that you've got to keep at it. 

I don't have a fixed schedule, but I try and write regularly, and I read regularly too.  

What's most fulfilling is when I've finished something - a poem or a story - and it is just where it needs to be. For now, this is the best it can be. The feeling that I've said what I wanted to say in the genre I chose. Most frustrating is not being able to do this - to start something and then not finish it as I'd hoped.

6) How would you summarise the publishing and writing industry in India currently? Is it a good time for first time writers and is there a general openness towards new voices? In your opinion, what are the challenges first time writers are likely to/ can potentially face in this setting?

A - There is a fair degree of openness. But this is not a good time for everyone in a commercial sense. Writers whose voices are very experimental, or who do not translate easily for foreign markets must be content with very small print runs and very few readers. The Indian English market is very crowded, and there is not just a lot of intellectual laziness and creative stasis, there are also a lot of below-average writing available at a very low cost. It is easy to be lost in the crowd.

7) Do you think it's tenable to be a full time writer in the Indian context? How do you manage it? Tips on how to follow one's calling and also keep the roof up?

A - Not easy if you're a fiction writer. Impossible if you're a full time poet or playwright. I have thus far made a living from journalism and related media formats. But I continue to struggle, so I really should not offer anyone any advice.

8 - What was the response to your first book like and what's in the pipeline?

A - There were decent reviews when 'Known Turf: Bantering with Bandits and Other True Tales' first came out. I'm not sure how much it's sold but it did go into a second edition, which was good news. I'm trying to work on a novella and also editing an anthology for next year.

9) Any general pointers/ insight that you'd like to share that's not been covered in the questions above.

A - General advice - read. Read constantly. Those who live in the world of words must be familiar with the landscape. Reading is what you want others to do, when you write. You better know the worth of what you're offering before you expect anything from readers. 

STILL MORE

If you're looking for more details from my own personal experience, here is another interview:
http://www.bookchums.com/blog-detail/author-interviews/bookchums-interviews-annie-zaidi/NTc3.html


Tuesday, December 31, 2013

In gratitude, and regret

I cannot fully express the nature of my regret at not having done this post before. I had meant to, as soon as I walked out of the hall after watching Club 60. But it was late, and over the last month, I was always either too sleepy, or too distracted by my own struggles to stay afloat, to stay hopeful. Next thing I hear, Farooque Shaikh is gone. And though I never met him, I would have liked to say 'Thank you', especially for playing Dr Tarique Shaikh. This post is not about the actor. It is about the film.

I cannot, with any sincerity, say that it is a flawless film. It is not. I was half-afraid actually, that I might be bored. It gave off 'sincere' vibes and such is the Hindi film industry's track record of sincerity in recent years, it is often accompanied by boredom and predictability. Still, I had little choice.

I have decided not to pay cinema halls for encouraging bad cinema. I especially stay away from 'big' films with 'stars' when they seem to offer nothing except a thick account of expenses. I stay away from stereotype and misogyny and re-makes. But I had not taken my mother out for a movie for a long time and Club 60 seemed to be the only film I could watch without compromising my newfound principles.

So we went out. One multiplex theatre had pulled the film off the screen, although a show was still being advertised in the papers. We went to another multiplex.

The film started. I was surprised at the outset - there was a very brief, fast-paced treatment of the events that led to the tragic death of Dr Saira and Dr Tarique Shaikh's son. No zabardasti ka melodrama. The drama of grief, after all, lies in the way people struggle to live, despite their losses. And the film allows this struggle to be a dignified one.

But what surprised me what that the film turned out to be actually quite entertaining. I was laughing, my mother was laughing, and none of the jokes were derogatory even if there was a hint of naughtiness in the scene. The music was lovely. We actually enjoyed all three ghazals.

But the real reason I am writing this post is that after a long, long, long time we saw characters who had 'Muslim' names, but who were allowed to be just human. They were doctors. They were allowed to live in a normal upper class home with a dining table, at which they eat parathas.

The couple is allowed to enjoy the sea breeze without an azaan somewhere in the background. The lady is allowed to wear silk sarees or salwars with no fuss. She is allowed to be who she is - a highly skilled professional - instead of being reduced to a bundle of token symbols or rituals that add up to a visual and aural portrait that screams 'Muslim'. She is allowed to love her man and demand love from her man.

And their problems are human problems. A dead child. Depression. Work. Friends. Leisure. Club memberships. They don't sit and 'pray' in times of trouble. They roll up their sleeves and try to act. And when they make friends with people from other cultural backgrounds, they don't feel like a misfit. They can go to parties and ask for a soft drink instead of alcohol, and that's that.

How hard is it to write and make films where people of a particular community are people and not slaves to communal identities? It must be very hard, indeed, for this one film has come after such a long time. But it came, and I am glad I saw it. And that's about all I want to say.


Thursday, December 26, 2013

Low drama, low conflict

For a while now, I have been thinking about the need for 'drama' in stories, especially scripts. It is taken for granted that for a film or play to work, there needs to be a steady escalation of drama. That conflict must be established early on, that we (or rather, the audience) must be worried about the fate of the principal characters, and that the level of 'difficulty' in these characters' lives must rise, reaching a 'climax', after which there is a resolution.

Of course, it is taken for granted that we are talking about a particular moment in time, or rather, a phase in someone's life. It could be 24 hours or one night (eg - Gateway of India, starring Madhubala), or a few months (most films we watch), or over twenty years (eg - Amar Akbar Anthony). Very occasionally, the story may span two or three generations (eg - Jasmine Women, or Gangs of Wasseypur) wherein it is understood that the protagonists change, and our investment in their future might shift at any point.

Which means, we pick out a slice of someone's life, a slice that is full of difficulty, and further dramatize it for the purposes of... well, for the purpose of drama. Because what else do people want from storytelling, right?

That is what we're taught by books, by theatre and film practitioners, and in most of the entertainment options we've had. This is not wisdom I wanted to challenge. Until recently.

I read a short story a few months ago (I'm forgetting the story title and the author's name) and was left a bit unsettled at the way it ended. It was the story of a man and a woman who are in bed and perhaps trying to figure out what they will do with each other. They are not a married couple. I'd assumed that some form of marriage or a commitment angle would work itself into the story. There must be conflict, because one of them will not agree to the other's terms. There would be tears or resentment, and eventually, they'd make up or part ways forever.

But the story never left the bedroom. There was a vague discussion, skirting the edges of disagreement. No major drama though. There was an assumption of desire, and a call for truth. And then what? Well, nothing. That was it. The writer allowed the characters to stay untroubled. There was no violence, not even of the emotional kind.

And it left me stumped. Because I'm conditioned to expect 'high' drama. In stories, there's a lot at stake: life, limb, sanity, social security. My reading and watching life has prepared me for troubled situations escalating to fever pitch, usually ending in violence. If not blood and gore, then at least a kidnapping-rescue situation, a gentle-slide-into-fatal-disease situation. At the very minimum, an I'm-going-to-die-without-you situation.

I still remember the face of my little niece as I was trying to tell her a story. I'd created some animal characters and set up a chase. My niece was about four years old then, and she was not liking the dangerous direction my narrative had taken. She interrupted me twice, and each time, added bits to the story to 'save' the protagonist. She wanted things to be 'alright'. The problem was, I did not know how to tell a story in which things were just alright for everybody.

I realize now that this is not because I am so aware of the wrongness, the tragedy and danger in people's lives. 'Real' life is fairly dull. People are bored, but not bloodthirsty. Many of them accomplish things without coming to grief. Are those stories not worth telling?

I clearly remember being bewildered by this film Happy Go Lucky . It is the story of a school teacher who is very optimistic. From the first scene on, I was expecting that character to come to grief. Why else would you make someone so cheerful, right? I was so sure that her cheerful, trusting outlook would be destroyed (or at least, severely tested) that I got really tense, biting my knuckles in the dark theatre. But although she is walking about at night, alone, she comes to no harm. 

Then she meets a nice-looking man. I thought "Ah! Now comes the conflict!" But no. The man likes her back. They get together. All is well. So then?

So then, I felt a bit annoyed. I thought, 'What kind of film is this? Nothing really happens.' But then I calmed down and thought some more. It is not that 'nothing happens'. There's a lot happening in every scene.; I wasn't bored at all. I was actually very involved with this character and her life. The thing was, nothing bad happened. Sure, some people were mean to her. But I felt pity for them, not for the protagonist. She was fine, handling everyone's stress quite well.

The best part is, three years later, I remember every other scene. That actress, her smile, her eyes, her ability to trust, to not be overwhelmed by sadness, to wait for happiness. So now, I must admit that it's a good film. A memorable film! 

What was the script doing? It was not escalating the drama quotient. It was negating the need for a drama quotient. Not every story needs drama, and not all dramas need to end in either tragedy or comedy.

These days, I am more and more convinced that 'high drama' does not lie at the heart of entertainment. Most people are actually looking for happy sights and sounds. We fear death and destruction - ours as well as other people's. That's why so many people prefer watching 'hulka-phulka' cinema. When we watch 'action' films, we prefer violence that has no resemblance to real physical violence. It is not messy. We do not feel the pain or guilt that is inevitable in real life. When we watch thrillers, we want to walk away with something at the end - a sense of justice, at least, and restored normalcy. When we watch romance, we want to melt and have faith that people actually want - and get! - each other.

In a story, things must happen. In life too, things happen. But must those things be violent? Does every sadness or disappointment have to lead to depression? Why are we so very reluctant to tell stories of normalcy, of dull aches and quick recoveries? Why are we not more vigilant, more resistant, more open to what a good story is, and how it must be told?


Tweets by @anniezaidi