Wednesday, January 20, 2016

downstairs, a world away

to that neighbour i like,
to him, to his old-fashioned clothes,
to his young man's body
trapping an old man's mind,

to him, i want to say,
my parents moved away 
from who you are now
about five decades ago.

in a clot of amber
you exist 
between ages.
musical, kind,
dogmatic, superior.
you remind me of another,
a friend's father, a clever,
controlling man; patriarchal,
mellow, oily.

i don't know you well
though you remind me of camphor smells 
from my friend's house;
of incense and incantations that 
my parents refused to

but you, i look at you,
fortunately childless, and diligently 
happy, preserving, perhaps,
an illusion of your father's life,
like i try, sometimes, to preserve mine.

we'll never ever be friends.
but at times we talk, briefly,
about nothing of consequence.
at others, with discreet superiority,
i talk about you.
i wonder why you're jobless
and have not married;
i watch your bent back as it dips to 
tend to the few plants in your terrace
before you wash the floor,
your shoulders set
somewhat righteously.

between our ancient neighbours 
and my young family,
there you are,
young-old, old-young,
holding on to custom and 
forgotten ways, 
odd, laughable,

Tuesday, July 07, 2015

Mud and Ash

‘Those grass blades were his eyelashes,’ I’d say,
Pointing to the soil.
‘Those big, bright lilies, probably
‘His teeth, broad, blinding.
‘He was impulsive, could be sharp,’
I’d say. ‘See those brambles?
‘Probably his tongue.’
She’d squirm, I know, at my words.
Embarrassed by this display of
Posthumous sibling rivalry.

You came ten years too late.
No use to me as a playmate, shrivelled and squalling,
The one whose ears, my crying, recently-widowed mother
Whispered a name into, thrice on each side.
And now, 25 years on, you’re ash,
Tied up in a square of red cotton,
Which the cousin warned us
Had to be kept near a lighted lamp.
I did that.
Mother, in her raging grief, 
Refused, politely, that ritual relief.

A burial might have been better.
Something of you that we could still see,
Some mud, tinged maroon
With your drying blood.
Mud we would sift through fingers
Seeking, really, the brown comfort of your hands;
Mud we could gaze upon with eyes
Seeking your smile, those flashing eyes,
That sudden laugh.

‘Those grass blades were his eyelashes,’ I’d say,
But now, all I know is that the wind
And the waters took your ashes,
Benign, insignificant, of no weight.
So different from everything
We ever knew
About you.

Tuesday, April 28, 2015


this tamping down of feelings
this quietening of the heart
this shushing of the murmurs
this worrying of wrinkles
on the silk that rests inside 
this buttoning down of greed
this tempering of rage

the quiet upheavals that 
make up the unseen rebellion
of my days

Tuesday, January 13, 2015

Breathless in Fort Kochi

(This is a pic-heavy post, and as our template is terrible with pics have had to upload them tiny. For a closer look, please click on the pics – they should open up in a larger size!)

For about six years after we got married, Amit and I only took small holidays to Goa and to Junagadh. One year, we decided to shoot for Kerala, where my family comes from. 
 In 2010, in rain-soaked, post-tourist-season Kochi, the streets were empty. It was just us, the locals and a few Kashmiri salesmen. That week the Synagogue was shut and the Mattancherry Palace murals were being restored. We only caught unintentional glances of the homes of Paradesi Jews – still occupied by families who seemed to embody Kochi’s fascinating and diverse history (in 2014, we saw that their homes were souvenir stores). The Kayal or the ominously swollen water body that flows by Kochi was surreal, and we stood at the jetty in the noon drizzle and watched it. The humped backs of a school of leaping dolphins – darker than the dark grey waters – were a surprise treat. I recently found a postcard we had got N to write and post to my mom about it.

This time was totally different. We had an agenda. No more being cheap dates. We had just a night and a morning there, and this time we had to see the Mattanchery Murals (if I didn’t, what would I say to Amrita Sher-Gil, who loved them so?) and catch bits of the Kochi Muziris Biennale too.

The first evening we were in Fort Kochi was a pulsating polar opposite of our last, quiet visit. Amit and I stared at each other in shock. Wait, had we time-and-space-warped back to Chembur Station on a Sunday evening? The entire sea-front was chock-a-block with people. I looked around, and asked a man in Malayalam why there was such a crowd. ‘Beeenaaalay...’ he replied in a drawl. Who needs the pretentious ‘Bi-enn-aa-lay’, when there’s the much more sensible ‘Beenaalay’ at hand?

Walking ahead, we were startled by a ‘family’ of tightrope-walker-dolls which popped up suddenly, among a bunch of vendors selling laser-light-flower-pots and lighted yoyos. Standing under it, a father explained to his wide-eyed son, ‘Ida beenaalay kya vendi aana’ (‘This is for the Biennale’). Gulammohammed Sheikh’s ‘Balancing Act’ references a miniature painting from Rajasthan and has figurines of world leaders like Obama, Sonia Gandhi and Modi as tightrope walkers. Very striking – and poignant, I thought – given the times we live in. 

Kochi, I realized, had grown up and become slightly self-conscious. Hosting a Biennale is serious business, and it takes a fairly mature government to even attempt to scramble on to the bandwagon. 
The Kochi Muziris Biennale, with all its quibbles and problems, is pretty awesome. It’s awesome that 95 artists from 30 countries presented their works during the KMB, across 12 venues; that the location was faraway Kochi, and not the more accessible Delhi or Mumbai or Goa; that the artists were commissioned to work around Kochi’s maritime history; and that they were displayed in these monumental, semi-industrial spaces; and that the postal department was excited enough to create a special Biennale cancellation stamp about it (yes, lame-ish, I know, but still, imagine talking to the Post Office about Art!). Amazing it is that the KMB’s been organised by three artists and individuals (not by a governmental or corporate body, though there is a significant amount of government-corporate sponsorship). The above photo, incidentally, is of P Sreekumar, Postal Assistant at the little Post Office in the grounds of Aspinwall Hall, one of the Biennale’s venues.

The artist-organisers were evidently keen to rope in locals and there are these self-conscious signs everywhere, proclaiming that ‘It’s our Biennale!’ And going by the number of locals we saw, Kochi seemed to have decided – in its slightly sleepy manner – to agree with them. Sajan Mani’s banners declared (oddly in English): ‘My grandfather is not an artist’ – the hand-written bit in Malayalam, my mother surmised (because the print isn’t clear), says ‘Art doesn’t belong to anyone’. Which, as we will see later, is exactly the problem that some people have with the KMB.

Kochi has the most gorgeous historical mercantile buildings. Aspinwall Hall and the Pepper House and the Durbar Hall and the Spice Godowns and the Mill Hall – all impressive and all tainted by history, because they are, after all, symbols of ruthless colonial rule, of commerce and exploitation. It’s a large, evocative canvas of a city that was probably just waiting to be painted on. (I decided to let go of my political problems with those symbols for a change, and gasped in suitably middle-class awe at the architecture. These marriages of form – between vernacular building idioms and European ones – and how they differ across India are so interesting.) 

Kochi’s people – across class and religious lines – seemed interested in the Biennale. And if that isn’t delightful, what is? There were families all around us, and I heard one young student point out to Bose Krishnamachari and say to his friend, ‘Ada Beenaalay de main aal aana!’ (‘That’s the main guy of the Biennale’). Their faces were so bright, you’d think Mohan Lal and / or Shah Rukh had just walked in. Young couples with kids had travelled all the way from Vypeen Island across the Kayal and from the fishing settlement nearby to give the whole caboodle a look.

What works for the KMB is how the spaces meld with the objects on display – definitely a result of conscious choice. So while the 2.5 tonne steel bell put up by Gigi Scaria, called Chronicles of the Shores Foretold, is monumental, it also resonates with local history and environmental issues. The bell was hoisted up by the Khalasis of Malabar, I read in The Hindu. Apart from the holes in the bell’s sides that are supposed to symbolise punctured time, and the bit of Khalasi history that it brings to mind, I just loved the fact that to see it you have to come to the back of the building. Below the giant, shining bell are the plastic-bag-pitted coastline and the human beings who are employed to clean it endlessly; while looming up at you from the across the bay is Kochi’s container yard. Put it all together, and there’s a sharp, unmissable rap on civilization’s knuckles for you! 

Aspinwall Hall, where we started, had Natraj Sharma’s Alternate Shapes of the Earth: tall stools, with bizarre models of possible earths at the top, and dusty mechanical works at the bottom. Very steampunk. I believe the series is a response to the 2002 riots in Gujarat. With a child in tow, one can almost never gaze patiently at art. But then one also tends to see more of the few things one does look at. N and I had a deliciously pointless discussion on sustaining human life on top of the odd but highly symmetrical shapes, and it was entertaining to listen to snippets of all the other kids ‘arguing’ around us too. 

If N weren’t there, discovering that the Pors and Rao’s black teddy bear (which looked like it was made of solid plastic), was actually made of faux fur wouldn’t have been quite as thrilling. The pinpricks of light woven into the sooty fur thrilled her heart.

At Sushanta Mandal’s kinetic steel and soap sculptures, we paused to watch how bubbles were made by the ten or so incredibly crafted mini-mechanisms as they interacted with air and soapy water. We were suitably puzzled by Mona Hatoum’s exposed wires and bulbs, which were interesting, and made me wish I could have read up more on it.

Hew Locke’s Sea of Power, with its marriage of history, art and craft, was just delicious. British-born Locke makes massive ‘drawings’ on walls using black cord and beads. The sheer craft and detail of his work are startling and beautiful. In this interview, he says that he thought – like most Westerners – that Vasco da Gama was an explorer.  He learned during his research that ol’ VdaG was, in actual fact, a bandit. He calls his work ‘a rambling narrative’. But honestly, huge, delicate, detailed drawings made of black cord and beads? Just unbelievable is what it was!

 We walked past the film maker Madhusudhan’s Logic of Disappearance – 90 intricate black-and-white drawings, all three walls of them – and loved this one the most. 

Stepping out into the sun, how could I not laugh out loud at Shanthamani Muddaiah’s Backbone, a sculptural installation in the shape of a large spinal column? With my back brace on, carrying my cushion, I had to selfie!

Sahej Rahal’s Harbinger was a whole lot of strange inside a sanitised, white-tiled, spice-sorting space within Aspinwall Hall. I loved the giant randomness of some of Rahal’s clay and hay works. Especially when they are placed next to the whimsy of his smaller ones. Overall the pieces were puzzling – is that a pterodactyl or a kite, the child asked before walking out to the swing tied to a giant tree outside. Amit and I lingered, simbly louving Rahal’s completely barmy and defiant pieces. 
Pepper House had, to my mind, the really yummy exhibits. I loved Benitha Perciyal’s The Fires of Faith, a rather melancholic assemblage of broken and damaged religious icons. What should one do with an idol that one used to pray to but that has suffered some damage? Is an imperfect idol an effective deity? That’s the sort of question that only makes sense in India – where so much rests on the perfection of an idols’ form. The one-armed, broken-legged, damaged icons seem so human, so sad. 

Bharti Kher’s giant wooden triangles loomed at us from inside a large room in the Pepper House. Like a giant baby’s cradle toys, they hung from the ceiling and reminded me of the huge wooden dividers and protractors our maths teacher used to bring to class so that all 64 of us could watch her plot an angle on the board. Not surprisingly, Kher’s display is related to navigation and geometry. Called Three decimal points, Of a minute, Of a second, Of a degree , it’s great fun to look at. The Penrose Triangle  is one of the geometric entities Kher’s work refers to.

Like a thumb tack bang in the middle of the lawn in Pepper House, stood N S Harsha’s Matter. It is a solid and life-sized monkey holding a ball and pointing to the sky with some urgency. Each time we walked in and out of the corridors of the House, going from room to room, from abstract installation to beams of light, we passed by windows through which we could see this fellow. Something about the solid real-ness of the monkey made me feel that he was the fulcrum of everything on display here. Like he was holding together all the swirling mini-universes of the other displays.

The last bits of the KMB we saw were the street art – the mind-blowing Debtor’s Prison by BC or the Backyard Civilization. I don’t think the piece was commissioned for the KMB specifically, but truly, what a treat it was to turn a corner of a road and suddenly see the colours and details of the mural!  

But the best of them all – the really clever things – were the anti-Biennale posters, stencilled and then stuck on to the walls of the Fort Kochi area using wheat paste. We were not there at the KMB long enough to see all of it, process it, love it and then question it. But others were, and Guess Who (an artist or a group of artists who feel that the Biennale is just an elitist exercise) is definitely perturbed enough to take to the streets themselves. The #heavymeaning image is particularly sharp! Please do read more about Guess Who and their anger and their efforts in the TOI (who of course tried to ‘out’ them) and the BBC. Here are some of the brilliant images we did not see.

Having bought our tickets for the boat ride to Ernakulam, we were hanging about the jetty when Amit spotted these trippy gents – brought to you by the irreverent folk at Guess Who! I’m not sure, but I think this image of Che now nestled among newspaper readers was Guess Who’s work from a Biennale past.
So delightful, and such fun to see this mash up of Indian and Western icons (Mr Bean and his eyebrows as an upper-caste Malayalee gent is perfect and I wondered how I’ll ever look at him again and not think of Kerala).

If you’re a true lotus eater, this is most excellent – fantastic art pulled together by one set of hard-working people, and fantastic graffiti drawn by another set in protest. What’s not to love?

Pic credits: Mostly to Amit, and a few to me. 

Thursday, August 14, 2014

Is that *really* the time?

I grew up in a family where life was always just a little bit interesting – and often not in a good way. Both my parents were career people and our home was always full of people walking in and out. I had high-strung aunts, so yelling-matches between my dad and his sisters were par for the course. My mom, a true flower-child at heart, held a regular job and did everything that was required of her, while remaining stubbornly free and quirky in spirit.

So home was always just slightly off-kilter, a very informal, very to-hell-with-rituals sort of place. Not that my parents were itinerant or irresponsible – far from it. They were just your average hard-working immigrants who had a decidedly rationalistic outlook to life. I grew up without many of the rules most ‘70s kids had to deal with. I don’t remember having too many toys or clothes, but what I did have, as a gift from mom, for as long as I can remember, was the right to always, but always, voice my opinion and do just as I wanted. (And boy, did that come back to bite her!)

That air of informality made our home enviable to visiting cousins and friends. You could eat and slouch around and do what you liked – always accompanied by lots of mom-inspired laughter. I, on the other hand, craved a bit of structure. I looked at my friend Vasumati’s Tam-brahm family with envy. Their life was rigorously routine-driven. Each meal was precise (three lots of pressure-cooked wedges of rice with ghee, sambar and curd respectively), and they had regular pujas at home accompanied by a manically tinkling bell. Best of all, Aunty was a stay-at-home mom, while Uncle had a regular job (and didn’t take off on work like my dad). Then there were the exciting few days in the month when their well-regulated household went nuts. Vasu’s dad cooked frantically, the children were yelled at: ‘Keep away from amma!’, and Vasu’s mom sat in a room by herself. Things seemed briefly crazy and I sorely wished something like that would happen in our house. It didn’t, of course. Nairs aren’t usually hysterical about menstrual taboos.

My mom – ex-hostelite and career gal – was delightfully lax about everything. I could sleep in for as long as I wanted (a sin in other units of our family) and wear what I wanted, and not bathe if I didn’t feel like it. My hair was rarely oiled, and mom never insisted – unlike Vasu’s –  that I always wear a ‘shimmy’ or a chemise under my clothes (for some reason, wearing the chemise under your clothes thing had become a sign of great modesty among families in our neighbourhood).

The one symbol of this pleasantly relaxed set up was our wall clock. It was a medium-sized wooden box, with a glass pane that had bunches of detailed curlicues embossed on it. The buds and petals of the pane hid a large steel pendulum that you could always hear, no matter what other ambient noise filled the room. The clock had to be wound regularly, of course, and often the adults forgot to do so. This meant that you stared at the same time for a few days, and the world still carried on. Then one of the grown-ups – a cousin or my mom or dad – would climb a chair and use a butterfly-like metal key to wind it up. There was a delicious whirring sound, and then, suddenly, the pendulum’s majestic tick-tocking would fill the room again.

When I was 9-and-a-half, my dad died. Much changed in our lives – I felt like I’d moved out of the pleasant fog of childhood into a crystal-sharp reality. With one less adult around, our clock got wound a lot less and developed an eccentricity. It began to gain time. Once wound, it would go faster by a few minutes every day. We discovered this quite accidentally. Initially, we could never predict how much faster it was – but in a while we figured out that it usually gained time in multiples of five.

So, if you were rushing for a train or a bus, and you shouted, ‘What’s the time?’ The reply would be, ‘8.45. No, wait, not 8.45, it’s actually... wait, we wound it last Monday, and it’s Saturday today, so, wait 5, 10, 15, 20... No it’s 8.25, actually.’ Phew! Whatever time the clock showed, you always knew that really, somehow, you were ahead of it. It wasn’t 8.45 yet, but when 8.45 happened finally, you would have  already stared at that moment in time and laughed in its face.

When we moved up a bit in life, mom bought us a larger home, which had – hooray! – a real bedroom. And we had three clocks. The demented wooden one wasn’t thrown away – for some reason, it took pride of place in the hall. Things got even more interesting then. We didn’t have to add and subtract minutes now. We just had to shout, ‘What’s the time?’ and someone from hall would reply, ‘9.30inthehallclock!’ while someone else in the kitchen would shout out, ‘No! 9.10inthekitchenclock!’ And the person in the bedroom would holler, ‘No, it’s actually 9.15inthebedroomclock, I checked with the News time yesterday!’ You could pick your favourite clock to follow. And if you asked what the time was and the person in the room it was in did not reply, you could shout out, ‘...Inthebedroom? What is it? Tell me - quick!’

I still have three clocks at home. My bedroom clock, the one I peer at reluctantly every morning, is still fast by about 20 minutes. When I open my eyes and see that it’s 6.15 a m, I know that it’s 5.55 a m really, and yay! I have 20 whole minutes more to sleep! The hall clock is ahead by just 10 minutes, because it’s closer to the door. My cel phone shows the precise time, as dictated by the government of India. And the clock in Amit’s room is exactly on the dot.

Amit grew up in a universe far, far away from mine, and he believes that clocks should show the precise time, and that all the clocks in the house should march at the same pace. He doesn’t like it when I shout, ‘Hurry! It’s 10.20inthehallclock, but you can also chill a bit because it’s actually 10.10 inmyphone!’ From the bedroom, panic lacing his voice, he shouts back, ‘But I can see that it’s 10.35 here!’. It really annoys him that I laugh and yell back, ‘Come ON! You can’t go by the bedroom clock!’ Hahaha!

We had one of our serious, this-is-an-intervention type chats about it. Why, he asked me, can we not go by the actual time? Why must the right time be sifted through filters of wrong times – especially in the morning when we’re all trying to get the child to the school-bus by 7.53 a m precisely? I really had no clear answer for once, except that it felt – somehow – like a psychological advantage that I never wanted to lose. But how is it one, he asked?

Honestly? I don’t know. All I can say is that I remember the excitement of that moment in Around the World in 80 Days when Phileas Fogg and Passpartout return to London, dejected, believing that they have lost Fogg’s bet. Only to find out that they have, in actual fact, gained a whole day. The author – in a totally pedagogical exercise – explains how time is gained when you travel from West to East and back again, in small accumulations of 5 minutes each day, dropping, I thought, like coins into a box. And something about that careful calibration of time appeals to me, and makes me feel like I’m in a race against myself.

It keeps me tethered to that quirk-filled household of my mother's even as I obsess about stuff like breakfast, the two tiffins, the two precise pony tails, and so much else.

So yes. In short, the clocks in our house continue to be set ahead of time. For no particular reason.

Saturday, August 02, 2014

When you’re away

Posted rather tentatively, a poetry :) 
My effort this year is to stop being self-conscious as a writer. (I don't know precisely what that means, but I'll be damned if I let that stop me from posting it!) And so, an attempt at poems and their post-age. This was written in April, and it's now, what, August? So you can see how well that resolution is going. Feedback would be loved, appreciated, resented mildly, and yet, learnt from!

When you’re away

When you’re away,
I want to be in your thoughts.
In the laughter of a page,
In the whistle of trees as the wind plays,
In the particular blue of a flower or a breeze,
I want you to remember me
When you’re in a pool, gazing at pebbles intently,
Or in a room where the hush lives splendidly.
It’s not a lot;
I want you to always want to think of me.

Of course, I won’t be in your thoughts.
Your thoughts, free birds, will soar and fly,
Will want to skim clouds
And sip flowers for tea.
They’ll swim till they reach
The ink-blue sea.
And you may suddenly wonder
Who that dense blue reminds you of,
And you may ask yourself why.
But you won’t feel that inward twist,
That pang, that cry,
That mix of false memory
And very real desire. 

Thursday, July 03, 2014

An article on Chembur for Timeout, Mumbai...

...From many moons ago, be warned! This article appeared in a Timeout column (June 2011) on why you love a particular suburb. Mine was called 'I love Chembur'. The format needed a short description of the suburb + some stuff it's famous for. Hence the 'gems' :)
Disclaimer: I also wrote an I-Love-Yaari-Road piece for Timeout. What can I do? I'm a sucker for this city!

Chembur has changed so much in three years - and not in nice ways either. Fewer trees, more heritage-category bungalows that have been demolished, more high-rises in their place, and a chintzy, real-estate-market-driven 'Chembur Festival'. It's getting increasingly anodyne, and spiralling home-buying costs mean that more of the terribly-rich come in. And once that happens, there goes the neighbourhood! It feels silly posting this now, so many years later, but the piece has its moments - I think...

I love Chembur

If you don’t know Chembur, then praising it is a bit like trying to sell you a date with a cousin who has halitosis and BO, purely on the basis of their wonderful personality. But if you’ve lived here – or even visited – you’re bound to love Chembur for its inner beauty, and no questions-on-personal-hygiene asked. There are things Chembur does so well: it has a few tree-lined roads, a few remaining old bungalows, and and a sliver of a sense of neighbourhood.

But again, if you’ve never visited here, you’re likely to get all caught up in Chembur's minor infractions yes, there is an atomic reactor near the Turbhe Hills close to us. Oh, and if you must know, there are fertilizer-producing-smoke-spewing factories and refineries around here. And of course the noxious dumping ground further north in Deonar perturbs you? All very bad for health, I’m sure, but like others who live here, I prefer the blissful path of urban denial. Because seriously, if an atom is split behind a verdant hill and I don’t combust, it’s not anything to go nuclear about, is it? 

Unlike the atomic reactor, the Deonar Dumping Ground definitely makes its presence felt – especially if you’re downwind. In fact, garbage is why the city first laid railway lines to the village of Chembur in 1906, bringing its refuse into Deonar, and with it, the start of construction. Goan Catholics came here between the late ’20s and the ’30s, followed by the Sindhis in the late ’40s and South Indians in the ’60s. Hemmed in by the new middle-class settlements, Chembur’s original villages retreated shyly, and only a few still survive as pockets or gaothans. Slowly, neighbourhoods with distinct identities grew – the Marathi, the South Indian, the Sindhi and the Goan – each with a unique ethos. I'm all for urban cross-polination, but it’s wonderful to walk through the localities and get a sense of what it must have felt like to live among people who eat, drink and pray like each other.

But you mustn’t think of Chembur as a bucolic place. We’ve been groped by glamour in our day. Raj Kapoor built the RK Studios here in 1950, and between the ’60s to the ’80s, stars like Ashok Kumar, Nalini Jaiwant, Shivji-ke-filmi-avtar, Trilok Kapoor, the redoubtable Kishore Sahu, and lovable Dhumal lived here. Shilpa Shetty was my junior in school (I personally have no recollection of this, but hey, that was many cosmetic 'interventions' ago!) and so, they tell me, was Vidya Balan. I'm not going to talk about Rishi Kapoor, Anil Kapoor and Shankar Mahadevan going to the boys' school across the maidan, because that would just be name-dropping!

Neighbourhood gems:
Food at the Station: The market at Chembur Station has a powerful pull. Probably because it’s actually a foodcourt disguised as a shopping haven. Satguru Pavbhaji makes the stuff piping hot and you wash it down with sweet, sweet mosambi juice. Exactly the balm you need after you’ve dodged cars, hawkers, and people’s elbows to buy veggies. A particularly tasty Mumbaiyya version of bhel puri, made in disgusting environs, can be had at Gupta Bhel. Across the road, after the sun sets, the mutta dosai guy works some egg magic on the dosa theme. At Hotel Saroj, the Sweet Nazis will order you to queue up for their yummy faraal, and no talking in the line back there. 

Sindhi camp: Morarji Desai, it is said, first looked at the military-requisitioned land next to the golf course and decreed that it should be used to house Sindhi refugees. This was told to me by a resentful Golf Club official who added that but for Mr Desai's intervention, they'd have had a 24-hole course. I mean, the sheer effrontery of putting human need and suffering before golf! Really! The refugee camp meant that the Club was reduced to a 'measly' 18-hole stretch, when it could, sob, have been much larger.
Apart from being a hub of commercial activity, the Sindhi Camp has a ‘food mile’ - a long culinary expression of a nostalgic community. There's chaats at Jhama and Sindh Paani Puri House, the kheema and paya at King’s or Sobhraj, rabri-kulfi in little stalls and much more. The man at the counter in the iconic Jhama is stern, but ask nicely, and he might tell you that Raj Kapoor often took gulab jamuns from their store to Russia.

Mallu joints: Built in the ’60s for the employees of Burmah Shell, the buildings of ‘Shell Colony’ didn’t meet the company’s high standards. So the flats were sold in the open market to working-class families – mostly Malayalee. With time, some phenomenal Mallu eating joints grew around the area – like ‘Jose’ under the railway bridge, which served marvelous shark-fin curry and hot jeera water (it’s shut now). Pradeep near Sawan Bazaar, which makes a phenomenal beef fry, and Sunny’s (opposite ‘Hot Baby’ Rasila Bar) where fish is conjured into a mean ‘meen curry’. Mallus who miss authentic Kerala spices - and  the salty tang of the Thrissur dialect of Malayalam - head to the 'Kerala Shop' in the middle of the sabji mandi, under the flyover. They are purveyors of lovely fish-curry-tamarind, banana chips, tapioca fritters, dried fish, large, yellow plantains and hot parippu vadas. The serving of the sassy Thrissur lip is on the house!

Deity watch: In Chembur you could pray up a multi-faith storm. Apart from the many dargahs and the Turbhe mosque (one of the city’s oldest), Chembur has the stately Catholic OLPS Church, and many Syrian Christian churches. The most interesting among its temples is the 400-year-old Bhoolingeshwara Temple near the Fine Arts Hall (and now the Monorail Station). It is chief among Chembur’s six or seven gaondevs or village temples which once stood at the ‘borders’ of the smaller villages here. Chembraayi, the gaondevi of Chembur, a shapeless stone form, wears a benign smile and presides over mortals from a really small, ceramic-tiled room in Charai village, right inside Sindhi Camp.

Green memories: Chembur, I read somewhere, was named for the large Chimboree crabs that lived in its marshes. Just like Kurla was named for the Kurli crabs. The marshes have sadly been stamped out.  Isaac Kehimkar, the butterflies-and-flowers man who trained with Dr Salim Ali, and actually grew up in Deonar remembers a place that had streams with clean water in them! He caught snakes and crabs in the marshes. 
Deonar and Chembur are horrifyingly different now, but there’s still a small tree cover. It's being systematically destroyed, though the few trees still draw some birds. According to The Times of India, a green patch with 1200 trees is going to lose 600 of them soon. Just another case of the state giving land away to a private builder. But more of that later.
There are still parts of Deonar and Chembur, where you can sit in your balcony and watch golden orioles, crow pheasants, magpie robbins, red-vented bulbuls and owls. Industrial development around Mahul has meant that not too many residential buildings came up there, leaving the mangroves for aquatic birds. Take a fishing boat from the Mahul Jetty to the few existing marshes, and get up close and personal with Mumbai’s annual pink visitors, the flamingos. 

Sunday, April 20, 2014

In which the Springs are Cleaned!

In an an ideal world, I’d have had not one but two kids. And we’d live in a house by the sea, with a dog, and I’d be writing picture books and teaching college kids for a living. And I’d cook like a dream, be clear-skinned and willowy, with a musical laugh. But the genie from the magic lamp just called, and he’d rather stay indoors and work on world peace.

Why do I miss having more kids? I grew up an only child till I was 10, and there’s a small shard of loneliness in my heart that just won’t go away. I blame it on being sibling-less for a large part of my childood. Besides, once you figure out that you can make your own human beings, why stop at just one? Having one kid means that there is no learning curve – there are just big, giant learning potholes, where you, spouse and kid all come away feeling quite jarred. Every challenge, every idiosyncrasy of every age is new to us parents-of-only-kids. No wonder second-borns are chilled-out. Their parents are past this overweening curiosity. First-borns and only kids probably feel like they live in a fish bowl, with bloated parental fingers pointing at them all the time.

One such puzzle was that we could never, ever, ever start a project without N jumping in to ‘help’. But ask her to do the same thing on her own, and she’ll baulk. For example, N is learning to play the guitar. Tell her to practice and the moan is so loud and long that you’d think the siren in the nuclear reactor nearby had gone off. But if Amit were to pick up the guitar and attempt to play it, whoosh, she’ll be there like the Road Runner, whisking it out of his hands and hitting those chords.

Want to entice her to paint? All I have to do is pick up a brush, and shell abandon her book and charge right up. I guess something deep inside children’s reptilian brains responds to the sight of their parents attempting to enjoy themselves with a rousing cry of ‘How DARE they!?’ 

Our vacations and holidays are usually spent in a morass of waking up late, eating too much, reading all day, heading out for an evening of play, and then coming home to read some more. This year though, weve had to rethink our non-plans. Recent eye issues had the doc telling me that N ought to do fewer tasks that involve potential eye strain – less of reading, sewing, braiding scoobies, iPad-ing, etc., and more of what, I dont know! Since there are no sibs and no ‘building kids’ this translates into howls of ‘WHAT should I do?’

Painting and art are big talking points in our house. Amit is an obsessive doodler and N loves to paint  if you dontell her to. I love looking at art, but its been about 20 years since I last messed with paints. I decided on a summer project that would involve less reading, more doing: I’d do one piece of art every day for the next 30 days. Interestingly, N refuses to stand for any teaching from Amit, the trained artist, because seriously? Isnt she already better than him? I suspect she feels annoyance at his expert status with all his published books and whatnot, and no soft-peddling of his skills helps. So hopefully, watching me  the clumsy, non-artist – take a risk and attemot to paint, she would be nudged to do so too.

And its not just my usual Evil Parental Outreach Program. Ive been toying with this idea for a while now, and an inspirational prod came from this article sent to me by my friend Alka Hingorani, an art historian, lover of learning, art and potatoes, a teacher and scholar. Unlike Clark Kellogg, though, I cant imagine committing myself for 365 days. I’m all for low-hanging fruit, thank you, and think Ill aim for 30 days – sounds more like something Ill manage to do by the skin of my teeth.

I’m hoping this will sweep away some of my mental cobwebs. I love the internet  it is, quite frankly, the reason why I stay sane. But there are days when I feel like a consumer of words and visuals, and not a maker of them, which is what I really want to be. The discipline of clearing my head to paint every day might help me steer myself back to writing amid the white noise of life  I hope!

The other inspiration has been my friend Hansa Thapliyal, filmmaker, sewer of wonky dolls, builder of cardboard houses, and writer of incomprehensible letters. 
Earrings Hansa once made me

Bike-riding girl wends her way
thru the cityscape
Most adults I know would not bother with so much whimsical, hands-on creating for its own sake. But Hansa builds little cityscapes with girls riding bicycles, makes photo boxes with newspaper cuttings of her friends’ favourite artists and attempts small animations where she frickin’ makes every prop and character. 
The great thing is that while she is skilled and imaginative, she isn’t always neat. But the joy in her making is infectious – and best of all, it isn’t intimidating. I’m not as industrious as her – with any luck, I hope never to be :) but a little attempting to draw/paint/collage might, possibly, trigger the writing finger! (Please do click on the thumbnails for better views.)

Shoebox house with driftwood tree
Detail from shoebox house

We’re four days down now in our summer art project, N and I, and I can already sense my internal discomfort, a restless shifting-of-the-feet. I don’t know what to paint. What I want to paint, I dont know how to. The last time I held a brush (and was just as useless) was about 20 years back. Kellogg said he reached the ‘what next’ point at the end of three weeks. Guess who got there on Day 3?

The Fragrant Ant is mine and
the chalk pastel Waterfall is N's
Do I look up the thousands of sites devoted to art projects? Do I think up quick wet-on-wet watercolour projects that are easy and please me (because I somehow imagine that they have a Monet-esque haziness)? Do I try collage? How do I start to draw – something I definitely cant do  and then paint? Do papers speak to amateur artists, and if they do, am I stone deaf? 
Working with N is educative. Kids have this way of demanding a lot out of every experience. They are not cheap dates. Everything they do, eat, hear, watch or play must satisfy them. It may not look great to adult eyes, but at a very deep level they know what works for them and what does not. 
I paint to put something on paper, to fill it up somehow. I struggle with colour and poor brush technique and inhibitions. But Im done surprisingly quickly – mainly because my standards for myself are delightfully low. 
Then I look up and see N at work. Her engagement is complete. At 9, shes still uninhibited compared to me. Shes going through a phase of wanting desperately to draw realistically, and is a hard task master to herself. Her absorption is a lesson to me.
Painting 1.5, wet butterflies
Painting 2, Day 2, a dragon in the making
It may be an uphill task to get her to start, but like all kids, when shes in the zone, she won’t stop at one painting. If something’s ‘not coming out right’, she’ll work herself into a hissy fit of exhaustion and anger. Expeditiously, I suggest short cuts and quick fixes. I get such snappy answers, that I’m reminded of working on books with Amit. He draws delightfully but would rather be unhappy and sulky than accept what he thinks is lesser work from himself. 

Of course there is no issue of artistic ownership where my art is concerned. What is mine is most definitely hers. And I dont have much of a say in the matter. So the owl I was working on today  in my mind a mix of watercolour and collage – got thick grey brush lines on its wing when I walked off to make myself a cup of tea. I smiled at that. The next time I left the painting alone, splashes of green paint filled up portions of the wing. Well, I could live with that, I said to myself.

On my way to dinner, though, I nearly fainted. There was my elegant grey-and-yellow-and-now-also-dull-green owl, with weird puddles of watery red inside its large eyes. Reddish watery streaks had leeched all over the painting, and there was no debating the fact that it was messed up beyond rescue. 

Seeing my crestfallen face, N rushed up and said, I was painting red zigzag angry lines in its eyes... Its an image we once had on her cake – an alien with angry red, thunderbolt type lines in its eyes – and we had loved it. I kind of looked blank for a few seconds, my disappointment evident. She immediately said, Im sorry! Ill make you a painting just like this one tomorrow, ok? Later at night, I told her it was ok for her to paint on my paintings, because it was, well, just ok. She didnt have to feel bad. 

As I write this, four precious days into my ‘project, I can see my poor departed grandmother shaking her head. She wouldnt approve of talking about a task before its all done and dusted. You just do not do that. Not if youre a good, god-fearing, risk-averse South Indian. Already I can see N reaching the point when she loses interest in the proceedings, and I know Ive fallen off more wagons than Id care to count! Ah well, lets see how it all turns out, shall we? If I do get around to completing it, watch this space for an update!

Monday, February 03, 2014

Yours, Mine and Theirs

Amit and I have very distinct ideas about books and their ownership. I think books must be allowed to roam free. They must be given to friends, so that they can freely mess with other people's minds. I love stumbling into my books in friends’ houses. By equal token, if I borrow a book of yours, I might just forget I did, and I do believe that's not a crime. Because, honestly, if we guard our books too much, how will they ever meet new people? 

Since I also v. much love the act of buying books at random, I have to give them away so that my house doesn't crumble under their weight. And then sometimes, with some books I adore, I really feel that if you’re my friend, I couldn’t live with myself if I didn’t share this piece of literature with you, right here, right now. You may get on with your life; but if I don’t press that book into your (possibly reluctant) hands, I’ll never forgive myself.

Amit, on the other hand, would like to build a stack of lovingly-gathered books. Then he’d like to climb on it and sit there and be watchful, while his friends admire the stack. It’s a healthy enough sense of collector-ship, except he takes too much joy in the sheer possession, I often tell him. Don't get me wrong – he's a lovely, generous man, and he'd give you the shirt off his back; he'll gift friends books, and lend them books, but in his head, unlike in mine, the 'nice distinction between meum and tuum', as P G Wodehouse puts it, hasn't been completely wiped out with a water-soaked sponge.

And then comes the moment when I want a particular book. I miss it, I need it. And I know we have it somewhere. So I indignantly ask Amit where he put it. Gallantly, he looks for it, he doesn’t find it, we dredge our memories, and of course, flashback to scene of the wife forcing book into bashful guest’s bag. I look shame-faced; Amit is pissed off at the wasted time and at my now-what-will-I-do expression. The thing is, when the book’s gone, no one misses it as much as I do.

Between us we've managed to accumulate a decent stack of children’s picture books – old and new. And the pride of the stack is certainly our little trove of vintage picture books (Indian, Western and Russian) that Amit has bought over the years, trawling used bookstores in the cities he visits. The collection is safe and has grown – probably because he has tucked them away in a cabinet way below my limited bending-range. There's no way I can force unwitting children to take them home. Out of my reach, they seem to have bred and had babies.

We love American vintage picture books, but we grew up in India in the 70s. Our childhoods (tragically TV-less) sparkled with Russian picture books. Being a ‘friendly’ country, the Soviet Union pumped the most beautiful children’s books into India. They were meticulously translated and printed. While American books of the '60s and '70s were beautiful, some pictures in the Soviet books bring back visceral memories of being small and entirely fascinated by a specific image. Often it's an image I've clean forgotten – a memory I never knew I had. But when I see it now, in that newly-bought-old-picture-book, it's back. Sudden, sharp, evocative, and smelling of being 7-years-old again.

Two of the books we recently found did that for us – The Live Hat for me, and the The Brave Ant for Amit. Here are images from some lovely old picture books (uploading pics on Blogger is not fun – or satisfying!).

A Live Hat by N NosovTranslated from the Russian by Fainna Glagoleva. Illustrations by I. Semyonov. Progress Publishers, 1977. I had completely forgotten this book, but seeing it had me reeling with memories of a summer evening and mum giving it to me – she'd bought it on the train coming home from work. I took it with no sense of gratitude at all, and lost myself in it immediately. That picture of the crawling hat was genuinely stirring and a bit scary! Lovely, crystal clear images of the entire book here. I love the one of the boys throwing potatoes at the hat – but you'll have to go to the link to see it!
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The Brave Ant by Tatiana Makarova. Illustrated by Gennadi Pavlishin. Translated into English by Fainna Glagoleva. Written circa 1940, English translation: Progress Publishers, 1976. When we found this book, Amit gasped because it brought to mind his many attempts to draw out the luminous pictures as a kid. Truly, my image doesn't do justice to that respectable mosquito and his leaf-letter! Try this page for a few images from the book. You'll have to scroll down, though.

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Life with Grandmother Kandiki (below) by Anna Garf. Illustrated by Victor Duvidov. 0828511829 In wraps. Translated by Joy Jennings. 
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Gallant and Dopey, Pages from a Dog's Scrapbook, by Marjorie Turner. Raphael Tuck & Sons, Tuck Books (more about them and their lovely postcards later!). 1930. Please head to Cyndee Marcoux's page for see some really good quality images of each page. Two below are from her pinterest page.
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The White Deer, (below) a Latvian Folk Tale. Translated from the Russian by Fainna Solasko. Illustrations by Nikolai Kochergin. Progress Publishers, 1973. The most jewel-bright of all the books we have!
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The Wolf who Sang Songs by Boris Zakhoder (below). Illustrated by V Chizhikov and Translated by Avril Ryman. Progress Publishers, 1973. You can see beautiful scans of whole pages of the comically-drawn book here.


And then the most traditional and yet bizarre-looking of them all, Alyonushka, (below) Russian folk tales translated by Irina Zheleznova and Bernard Isaacs. Illustrated by Igor Yershov. Progress Publishers, 1989.

The orange octopus acting as the sea-god's mount is so unusual and so much fun – as lovely as these warriors flying on horses against the sunset!

While hunting for these books online, I ran into another visceral-memory-stirrer-upper. The dusty, yellow-blue drawings for Masha's Awful Pillow. Those pictures of Masha kicking the pillow, her bright blue bed, and Masha sitting next to a kennel are, well, things I didn't know were lurking in my head. Now to find the actual book :) Yay! More book-crawling needed!