MA as fantasy

Julia Kristeva has written of consecrated motherhood as a fantasy of lost territory that is nurtured by all adults. In the religious sphere, we see it in the form of a Mother Goddess or as Mother Mary, while in culture, we see it as the ordinary-seeming Ma who holds her son’s heart in her fist. In politics too, it emerges as the motherland, although politicians also tap into the power of consecrated motherhood when they bring their flesh-and-blood mothers into political discourse. We saw this most recently when Kamala Harris described her mother as an immigrant in the US – “a brown woman with an accent” who was tough, courageous, and yet, never lost her cool.

What Harris doesn’t quite say is that her mother, being human, is fallible. Instead, she sticks with the fantasy Ma – an unfailing, temperate presence who compensates for other lacking, including an absent or distant father...

Interestingly, the Hindi screen Ma looms larger if she is widowed, divorced or has been abandoned by the father. In this form, she is nearer to the primal Mother – the unrivalled creator and provider whose primacy cannot be challenged. In this way, she becomes an article of faith rather than a flesh and blood woman. The tricky part, of course, is that articles of faith never have any longings of their own. In Of Woman Born: Motherhood as Experience and Institution, Adrienne Rich writes that it is only as mothers that women’s bodies are seen as “beneficent, sacred, pure, asexual, nourishing”. In order to be deemed worthy, a woman must be seen as maternal, or at least potentially maternal, and these ideas still play out in public discourse.

Read the full article here: https://indianexpress.com/article/opinion/columns/kamala-harris-salim-javed-mother-9539227/

Of love as fodder for fiction and a self-concious formal experiment

Is a novel a beautiful thing? What of a novel that is presented as an “outline” for the first draft of a novel that the narrator intends to write? Should the reader approach it as a finished aesthetic product or should it be taken for what it claims to be: a loose skein of ideas and character notes? Rahman Abbas’ On the Other Side is a tricky novel to read partly because it poses these questions even as it sidesteps genre conventions through the device of a narrator who claims to be working on a “bulky novel” based on the diaries of his deceased protagonist, the novelist-teacher Abdus-Salam.

Abdus-Salam is not necessarily a likeable or an admirable character, and the unnamed narrator does not tell us why he (or she) cares about him or his legacy. In many respects, Abdus-Salam is a fairly ordinary man. He chews a spiced-up tobacco mix and teaches at a suburban school while harbouring creative ambitions. While he has complex and conflicting thoughts about religion, in this, too, he is not very different from most people. He veers between opting in occasionally (going to the mosque once in a while, if only out of long-standing habit), to claiming that “God is everyone’s shield”, to doubting god privately even as he fears divine retribution in moments of crisis, such as illness. His amorous adventures, however, do make him an exceptional protagonist, if only because of how long the list of his paramours is, and how he uses them as fodder for fiction.

Read the full review in Frontline magazine: https://frontline.thehindu.com/books/rahman-abbas-on-the-other-side-indian-translated-fiction-experimental-writing-review/article68553415.ece

Against the Death of Dream (in Wasafiri, 40th anniversary issue, Autumn 2024)

I've written my first essay for the lastest issue of Wasafiri, themed Futurisms. Here's a very short extract from my essay, Against the Death of Dream: 

One of the most dangerous things, Pash warned, is the clock that moves on your wrist but not in your eyes. For years I wondered at this image of a stopped clock in the reader’s eye, and the way the poet juxtaposes frozen time against water frozen inside eyes. (Sabse khatarnaak vo aankh hoti hai/jo sab dekhti hui bhi jami barf hoti hai). If to dream is to have a vision for the future, then the death of dream is to accept that the present moment is all of time, and that we must lose all hope for a safer, more loving, more leisurely time. Read in this light, I would argue that the danger is not restricted only to the loss of hopeful dreams; it is just as dangerous to lose our nightmares.

In Radical Hope, philosopher-psychoanalyst Jonathan Lear writes that anxiety can be a realistic response to the world, which suggests that anxiety-induced dreams serve to alert us to individual and collective threats. If we know how to ‘read’ our nightmares, we may find that they serve as timely warnings. In my own experience, I find nightmares to be a useful aid in reconnecting with my instinctive ‘self’. Last year, I had woken up from a miserable dream...

Please read the rest of the essay in the lastest issue of Wasafiri (119, 40th anniversary issue, Autumn 2024).

Annie Zaidi

Ye na samjho matwalo

One of Ali Jawad Zaidi's Urdu ghazals, likely written soon after India won independence: 

Ye na samjho matwalo! Kaun ab sataayega?

Haar maan li dukh ne, sukh to aazmaayega

Bekasi ke mele mein jo bhi gaahak aayega

Jholoyaa.n to bhar lega, khud bhi lut ke jayega

Dhoop mein naha legi jab asaadh ki dharti

Zarre-zarre mein saawan phir se kunmunaayega

Har guzarte lamhe par muhar lag chuki lekin

Laakh bhool jayega, phir bhi yaad aayega

Humne kitne afsaane likh ke chaak chaak kar daale

Waqt apna afsaana, hum ko kya sunaayega!

Baar-baar mud-mud kar yoon na dekh, deewane

Kaun raah dekhega, kaun phir bulaayega

Aankh kyun ladaate ho, dopahar ke sooraj se

Shaam ke dhundhalke mein, khud ye milne aayega

Za'm khud-parasti  mein aaj ka naya insaa.n

Zindagi ki mayyat se butkada sajaayega 

Fard-fard tanha hai, kul samaaj tanha hai

Main jo chup rahoon Zaidi, kaun gungunaayega? 

      [From the collection, Nazeem-e-dasht-e-Arzoo]

طشتری میں چائے کو پھونک مارتے ہوئے مجھے فیض مل گئے۔

I've tried my hand at translating a poem from English into Urdu. The poem is 'I find Faiz Blowing on his Saucer of Tea' by Imtiaz Dharkar. You'll find the same text in Nagri letters and Naskh. 

طشتری میں چائے کو پھونک مارتے ہوئے مجھے فیض مل گئے۔

 طشتری میں چائے کو پھونک مارتے ہوئے مجھے فیض مل گئے 

پڑوس کی دکان میں. 

فیض چچا، میں نے کہا، اپنا پرانا محلہ پہچان میں نہیں آتا۔

مکان مالک نے کرایہ بڑھا دیا  

اور جن لوگوں کو ہم جانتے تھے، سب چلے گئے۔

اکال میں اجڑنے کو آپ کا باغ چھوڑ آئے۔

کسی نے آپ کی کتابیں طاق سے اتاریں  

اور دوبارہ چھاپ دیں الفاظ بغیر۔  

ساری کوئلیں اٹھا لی گئیں اور پنجروں میں بند کر دی گئیں۔

وہ گلوکار جو آپ کے نغمے گایا کرتے تھے  

سامعین کے سامنے ہی ان کے گلے دبا دیے گئے۔

فیض نے طشتری اٹھا لی اور چائے پی۔  

جب دل بھر جائے، وہ زمین کا چہرہ

چیر دیتا ہے۔

تم اسے دکھ کہتی ہو،  

میں اسے امید کا ایک پھول۔

انہوں نے کہا، مجھے ایسا لگا مگر  

شاید مجھ سے سننے میں کوئی غلطی ہوئی ہو۔

ہو سکتا ہے ترجمے میں ان کے الفاظ  

الٹے ہو گئے ہوں۔

- Imtiaz Dharkar/Tr. Annie Zaidi

Many thanks to Saif Mahmood for discussion on a couple of tricky lines, and for correcting any mistakes he found in my Urdu spellings.

तश्तरी में चाय को फूंक मारते, मुझे फ़ैज़ मिल गए

पड़ोस की दुकान में

फ़ैज़ चचा, मैंने कहा,अपना पुराना मोहल्ला पहचान में नहीं आता

मकान मालिक ने किराया बढ़ा दिया

और जिन लोगों को हम जानते थे, सब चले गए

अकाल में उजड़ने को आपका बाग़ छोड़ आए

किसी ने आपकी किताबें ताक़ से उतारीं 

और दोबारा छाप दीं अल्फाज़  बग़ैर 

सारी कोइलें उठा ली गईं और पिंजरों में डाल दी गईं

जो गुलुकार आपके नग़मे गाया करते थे 

सामाइन के सामने ही उनके गले दबा दिए गए 

फ़ैज़ ने तश्तरी उठा ली और चाय पी

जब दिल भरा हो, वो ज़मीन का चेहरा 

चीर देता है 

तुम इसे दुःख कहती हो

मैं इसे उम्मीद का एक फूल

उन्होंने कहा, मुझे ऐसा लगा मगर

शायद मुझसे सुनने में गलती हुई हो

हो सकता है तर्जुमे में उनके अल्फाज़ 

उल्टे हो गए हों ।

[From Imtiaz Dharkar's 'Shadow Reader', page 79]

'Mohabbat karti aurat'

I took the liberty of doing an Urdu translation of Manglesh Dabral's Hindi poem 'Prem karti stree'. It didn't take much translation to be honest. The basic grammer and syntax is the same in Hindi/Urdu and Dabral's poetic idiom is rooted in the sort of everyday Hindi that is quite similar to everyday Urdu. This poem in particular had very few words that needed translation. I have only changed a few words, substituting everyday Urdu words that are also common to Hindi.

محبت  کرتی عورت دیکھتی ہے

ایک خواب  روز 

جاگنے پر سوچتی ہے کیا تھا وہ 

نکالنے بیٹھتی ہے معنی  

دکھتی ہیں اسکو عام فہم چیزیں 

کوئی ریتیلی جگہ 

لگاتار بہتا نل 

اسکا گھر بکھرا ہوا 

دیکھتی ہے کچھ ہے جو نظر نہیں آتا  

کئی بار دیکھنے کے بعد 

محبت  کرتی عورت  

یقین نہیں کرتی کسی کا 

کنگھا گرا دیتی ہے 

آئنے میں نہیں دیکھتی خود کو 

سوچتی ہے میں ایسے ہی ہوں ٹھیک 

اس کی سہیلیاں ایک ایک کر

اسے چھوڑ کر چلی جاتی ہیں 

دھوپ اسکے پاس آیے بنا نکل جاتی ہے 

   ہوا اسکے بال پریشان کیے بنا بہتی ہے 

اسکے کھاتے  بنا ہو جاتا ہے کھانا ختم 

محبت کرتی عورت 

ٹھگی جاتی ہے روز 

اسکو پتا نہیں چلتا باہر کیا ہو رہا ہے 

کون ٹھگ رہا ہے کون ہے بدکار  

پتا نہیں چلتا کہاں سے شروع ہوئی کہانی 

دنیا کو سمجھتی ہے وہ  

گود میں بیٹھا ہوا بچہ 

نکل جاتی ہے اکیلی سڑک پر 

دیکھتی ہے کتنا بڑا پھیلا شہر 

سوچتی ہے میں رہ لون گی یہیں کہیں 

- منگلیش ڈبرال  

In Roman font:

Mohabbat karti aurat dekhti hai

ek khwaab roz

Jaagne par sochti hai kya tha vo?

Nikaalne baith'ti hai maa'ni 

Dikhti hain use aam-fahm cheezain 

Koi reyteeli jagah

Lagataar behta nal

Uska ghar bikhra hua 

Dekhti hai kuch hai jo nazar nahin aata

kayi baar dekhne ke baad 

Mohabbat karti aurat

yaqeen nahin karti kisi ka 

Kangha gira deti hai

Aaine mein nahin dekhti khud ko

Sochti hai main aise hi hoon theek

Uski saheliyaan ek-ek kar

usey chhod kar chali jaati hain

Dhoop uske paas aaye bina nikal jaati hai

Hava uske baal bikhraaye bina behti hai

Uske khaaye bina ho jaata hai khana khatm

Mohabbat karti aurat

tthagi jaati hai roz

Usko pata nahin chalta baahar kya ho raha hai

kaun thag raha hai kaun hai badkaar

Pata nahin chalta kahaan se shuru hui kahaani

Duniya ko samajhti hai vo

go'd mein baitha hua bachcha

Nikal jaati hai akeli sadak par

Dekhti hai kitna bada phaila shehr

Sochti hai main reh loongi yahin kahin. 

- Manglesh Dabral 

(Urdu rendition of his Hindi poem 'Prem Karti Stree'. The original can be found here: https://www.hindwi.org/kavita/prem-karti-istri-manglesh-dabral-kavita)

An Ordinary Woman and Twelve Ordinary Men

CAN A WOMAN tell the unvarnished truth about what happened to her? This is the central question at the heart of Anand Ekarshi’s Aattam (The Play), the 2023 Malayalam film that was recently adjudged the best film at the 47th edition of the Kerala Film Critics Awards.

The film takes its structure from the iconic Twelve Angry Men (1954), a teleplay that has inspired multiple films since, including the Hindi film Ek Ruka Hua Faisla (1986). A bunch of men weigh in on what appears at first to be a matter of outright criminality, and must decide the fate of the accused.

However, what makes the creative twist in Aattam particularly successful is that it has freed the “judgement” from legal institutional frameworks and moved it into a creative workplace. The “case” in question is sexual harassment. Anjali (Zarin Shihab), the lone female member of a small drama company, has been molested and the other members must decide whether or not her alleged abuser should continue working with them.

I wrote this short essay about Aattam, Indian movies and representation of sexual harassment, especially at  the workplace. My own headline for it was: 'An Ordinary Woman and Twelve Ordinary Men'. 

Read it the rest of it here: https://indianexpress.com/article/opinion/columns/aattam-frames-woman-loneliness-sexual-harassment-9343881/lite/ 

Look out for 'Two Way Street'

Very pleased to hear that 'Two Way Street,' a short film I wrote has been named by Platform magazine as one of the shorts to look out for in 2024. Do look out for it at festivals, screenings or wherever it might be available to watch. 

Here's what they say about the film: 

As a versatile artist encompassing roles as a screenwriter, filmmaker, actor, and stage lighting designer, Asmit has made a significant mark in the film industry. His films have been featured at prestigious festivals such as MAMI, IFFLA, IDSFFK, SASFF, and many others. His recent short film, Two Way Street, garnered acclaim by winning the V Shantaram Golden Award for Direction at the South Asian Short Film Fest. Following its success as a winner at the Best of India Short Film Festival, the film qualified for the Academy Awards 2024. In this compelling narrative, an ordinary taxi ride transforms into a battleground when the Taxi Driver refuses to enter a particular lane. The passenger, in response, decides not to disembark until reaching his destination. The story unfolds as a poignant projection of the taxi driver's inherent bias against a specific community and the passenger's determination not to become a victim of discrimination.

Here's a link to the article: https://www.platform-mag.com/film/short-films-to-watch-in-2024.html

Three new poems in Usawa

Three new poems in Usawa Literary Review's tenth edition (Jan 2024) . One of them, below. 

There was a country we could have been

 

There was a country we could have been

together – utterly shapeless

and well past reform

 

A laughing country with as many sides

as a well-cut diamond – tumbling valleys

of rusty lakes, rivers above,

seas to the right and left

 

The world would look and lust

for this land glistening emerald and sapphire

sitting in the sun rocking

on its heels with night's cool laughter –

How they'd hate us and how they'd long

for our warmth, our knowing, our winking

and getting by

 

If the mist came down real thick

some morning with the blinding rain

with the mountains plush and forest thick

and the bears standing guard

while everyone was busy fighting –

could we be our country yet?

*

 (c) Annie Zaidi

Link to three of my poems in Usawa: https://www.usawa.in/issue-10/poetry-10/there-was-a-country-we-could-have-been-and-other-poems-by-annie-zaidi/

Review: Stories about being Muslim in contemporary India

My review of Tabish Khair's latest collection, Namaste Trump and Other Stories: 

The book’s structure is imaginative, if also unusual. While its contents can be described as split into two broad sections–the novella Night of Happiness, which was published as a standalone in India in 2018, and a set of short stories–it would not be wise to read the novella as distinct from the stories. In fact, it is impossible to read each story as a self-contained whole to the extent that the same characters re-appear in more than one story; the narrative appears to pick up where it had been left off, with a different story inserted in between. 

Why has the author chosen this unusual approach instead of simply writing two or three novellas, and what should we read into the placement of the pieces? To me, it appears that Khair is nudging the reader to look beyond the events of individual stories, to seek out patterns, and to pay attention to the movements of time and shifts of location that the characters undergo. Some characters are semi-rural while others are firmly urban but all are strung together on the twin threads of Phansa, a small town in Bihar, and the experience of being Muslim in contemporary India, be it as protagonist, victim or observer... The horror of violence – past, present or future – repeatedly manifests in these stories in the shape of a paranormal experience. The sympathetic narrator of Night of Happiness must contend with an invisible halwa that leads him to feel “a bony hand” clutching at his heart. 

The titular story, “Namaste Trump” reveals the banal cruelty of a cynical upper-class executive who turns out a domestic worker during the COVID-19 pandemic, an act that has spiritual consequences. “Shadow of a Story” is a proper ghost story where Khair is in his element as a writer of fiction working in academia. Its narrator is a man who takes literature seriously and is able to reconsider positions taken in the context of literary criticism, and reassess his own valourisation of a particular postcolonial aesthetic after an encounter with brute violence in Phansa. Truth appears as a frightening presence in “The Thing with Feathers.” A personal favourite, this is a story about the unravelling of a teacher, Rakesh Sir, who “did things properly, always within limits” but who loses control of his tongue, and thus inadvertently becomes dangerous. The author once again drives us to a junction of reason where the evidence provided by one’s physical senses and simple common sense collides with an intangible, unbelievable world where the rules of our world no longer hold good. 

Through these Phansa-connected stories and their chaotic or uncanny outcomes, Khair reveals to us a landscape where petty cruelty is interlaced with looming threats of violence or destitution, and also with a quiet courage that approaches madness. It is a landscape filled with memorable characters that the reader can carry into, or far beyond, the towns and villages of their own origin. 

Read the full review in Frontline magazine: https://frontline.thehindu.com/books/book-review-namaste-trump-and-other-stories-tabish-khair-confronts-experience-of-being-muslim-in-contemporary-india/article67729914.ece

Eaten by a look

In Western fairy tales, a witch is a scary woman who might ‘eat’ you, cooked or uncooked. In South Asian fairy tales and folklore, she might eat you simply through gazing at you. Worse, she might marry you and then eat you at leisure. I have been researching witches in contemporary South Asian fiction for my doctoral thesis (a work in progress) but in the meantime, I've published this blog post for the Durham University Edible Histories project. It looks at witch appetites in folklore, mainly from India. Do read if you're interested in the subject. Link below: https://staffblog.webspace.durham.ac.uk/eaten-by-a-gaze-witches-in-south-asian-folklore/