Dec 6, 2009

Season Snippets - Mood Mridangam

A series of short posts on little things in and around kacheris this December Season.
***

A joke from the last season. My uncle walked out of the toilet in the Music Academy and said, "I just witnessed a great cosmic phenomenon - a long line of Brahmins, all piddling!"
***

"Hey. The counter for season tickets for Music Academy open tomorrow. Nine-thirty. I'm told there will be a big crowd. Be there by eight-thirty."

I was there. At eight-thirty-one and a few seconds. The first sight I see is of this elderly mami and mama opening their tiffin boxes and eating idlis coated with molaga podi. Chomp, chomp. In the lobby outside the mini-hall, there are these people drinking coffee from plastic cups and discussing some ticket issues loudly. Slurp, slurp. They've clearly been there for a while.

I enter the mini-hall, my initial self-righteousness about having turned up very early substantially eroded, and find a much larger crowd that I had imagined. All in hushed conversation with their neighbours on various issues. Chatter, chatter. A man, who realises I'm a newbie when it comes to season tickets directs me to a seat. He tells me, "Only 750 ticket available." I ask, "2000?". Not there. I try, "8000? 6000?" All over. Only 750. People sitting around me, all clearly newbies to this ticketing ritual, complain about the Academy's opaque ticketing system and favouritism. Grumble, grumble. After nearly an hour, a man announces, "Even the seven-fifty-rupee tickets are over. Those who do not have slips may kindly leave."

Peeved and hungry, I walk down to Woodlands and let my frustrations out on a blameless plate of upma-vada with hot filter coffee, while whining to my uncle on the phone about the tickets. Chomp, chomp, slurp, slurp, chatter, chatter, grumble, grumble.
***

Arun Prakash's greatest skill is in setting the mood for any piece with his mridangam - he seems to read what the main artiste is trying and recreates that effect perfectly. I can still remember a chilling Hiranmayeem that TM Krishna sang at Odakathoor Mutt in Bangalore accompanied by him. The mridangam and the voice attained unity that day - you would think they came from the same source.

Yesterday, when Ravikiran announced, "I shall now play a Thyagaraja kriti in Raga Neelambari, 'Nike Dayaraka' in Mishrachapu taalam," I could almost see Arun Prakash licking his lips. After a most soothing alapana from Ravikiran and Lalgudi Vijayalakshmi on the violin, they started the kriti. The percussion side remained silent for about three lines. Then, they began punctuating the kriti with single beats. Slowly, they built up to just three touches at three-two-two. This was interspersed with very interesting, but very minimal, very delicate rhythms. Neelambari's lilt was given just the right pedestal to thrive on.

After the Neelambari, when the audience was suitably blissful, a Garudadhwani came. Tatvamerugatarama. And the mridangam was right on the button, exuberant and joyous!
***

Nov 30, 2009

Randomness and the Death Penalty

Some serious stuff now (the result of a major argument in real life). Jokes will come later.
***

I read the 187th Law Commission Report years ago in Law School for a project. I revisited it last week and found this passage about this case of Harbans Singh. There were three accused - Harbans, Jeeta and Kashmira Singh - all sentenced to death by the Allahabad High Court for equal participation in a murder of a family of four persons.

Each accused filed a separate special leave petition (an appeal of sorts) to the Supreme Court. Jeeta Singh's appeal came before a bench consisting of Justices Chandrachud, Krishna Iyer and NL Untwalia. It was dismissed - in other words, his death sentence was upheld and he was executed in 1981.

Kashmira Singh's petition came before Justices Fazal Ali and Justice Bhagwati. After considering his case, the judges, who allowed the appeal to be heard only on the question of sentencing, reduced his sentence to life imprisonment. Justice Bhagwati was well known for his stand against the death penalty. As a result, one accused was executed and the other was given life imprisonment for the same offence.

Things get more unpredictable - the third accused, Harbans Singh's petition came up before two judges who dismissed his petition. He applied for a review, which was also dismissed. Apparently, the decision in Kashmira Singh's case was a part of an office report that came along with the petition, but this office report was not brought to the court's notice when the review was actually heard in court. Kashmira Singh, presumably out of desperation, filed another writ petition that came, fortunately for him, before a Bench that had Justice Bhagwati on it. After noting these bizarre facts, the Court sent the petition to the President for clemency.

Justice Bhagwati writes:

"The question may well be asked by the accused: Am I to live or die depending upon the way in which the Benches are constituted from time to time?"

There remains, today, no justification for the death penalty. We're talking of a state taking someone's life - something it theoretically, politically, morally has no right to do. As pure retribution, the death penalty is uncivilised and retrograde; studies have shown that its claims as a deterrent are dubious - try telling the next Kasab he'll be hung for his actions; and it rules out even the smallest chance of reform. Above all this, its irreversibility makes it so darned risky. The New Yorker has this frightening piece on an innocent man being killed by the state of Texas. Given India's chaotic police and investigation mechanism, the dangers are even more stark. Leaving people's lives at the hands of judges' political leanings is nothing short of idiocy.

Revenge cannot justify our criminal punishments anymore, surely.

Nov 19, 2009

Silver Jubilee

This post was supposed to be up this morning. But things haven't really turned out the way I've planned them today :) (and that is, probably, the first smiley on this blog)
***


Conversation with a good-friend-at-the-bar (both bars):

"Dude, a review of my concert came in the Hindu Friday Review!"
"Kick ass, macha. What did it say?"
"He bambooed me here and there. But there was some encouraging references to 'interesting' and 'promise'..."
"How many years will you be promising, da?"
And we laughed.

It's a big number - twenty-five - a quarter of a century, one-fortieth a millennium (think about it - lay forty of my lives end-to-end, and you've covered everything from Allauddin Khilji to Facebook), silver jubilee and all that. It is also a small number - Sachin (and Javed Miandad before him) has played international cricket for nearly as long, wars have taken longer, and really, in the context of the cosmos and other large items, twenty-five years is nothing.

Let us get back to the main issue - my promise. [I have a vague philosophical doubt here - when someone shows promise, who is this promise made to? To the world at large? To specific people? To themselves? Anyway, irrelevant.]

Apparently, when I was a year-and-a-half old, I could identify fifty flowers in a book and tell their names. When I was four, I could recite some two hundred shlokas from memory. I'm sure my Amma saw a lot of promise at this stage. Lots of people who heard me sing as a kid said I had a great voice and all that - when I first started singing swarams and stuff, there was even talk of 'natural' and 'genius' and the dreaded 'promise'. When I was a kid, I was really good at mental arithmetic - I could multiply, add, subtract, divide large numbers without pen and paper. My teachers always thought I was smart because I'd come up with geometry proofs that weren't in the textbooks. Today, I'm introduced to people variously as a promising flautist, promising lawyer and a promising writer (the last one is a bit random, really - I've been a musician of some sort all my life, and associated with the law for seven years, but writing, apart from this blog, there isn't much at all).

Today, my memory only serves me in one useful way - I remember phone numbers (lots of numbers I know are not saved in any medium - only recollected when needed) and people (this is an embarrassing skill sometimes, because I know exactly who people are and they have no idea I know them). Otherwise, my memory is as normal as anyone else's. I can barely listen to myself sing anymore. True, I'm doing a lot with my music - but nothing to match that early 'promise', no signs of all that 'genius' people spoke about. I'm not confident of solving a quadratic equation today, although I'm sure minus-b-plus-or-minus-root-b-squared-minus-four-a-c-by-two-a will come in handy. I haven't written much at all - there are stray articles here and there, those short stories that appeared in vague magazines and newspapers, there's that aborted novel - nothing of note, really.

Which is why, on my twenty-fifth, today, I wonder if I will spend my entire life as a promising fellow and nothing more. Like Amol Muzumdar. Like Dinesh Ka(a)rth(h)i(c)k threatens to be. Hirwani. Kambli. People who were expected to become the next big things, but never did. Perhaps the pressure got to them, maybe their promise was miscalculated, they might not have worked hard enough, or they just weren't lucky.

I'm guilty of the first three, and I cannot comment on the fourth. Which is why I think it is time to spend my next quarter-century fulfilling this promise; not wholly, or in full measure, but very substantially; not to the world, or to my Amma, or anyone else, but to myself.

Happy birthday to me.
***

(Apologies to people for slightly personal nature of post. Apologies to Jawaharlal Nehru for the plagiarism.

I share my birthday with Indira Gandhi, Sushmita Sen, Sonali Bendre, Jodie Foster, Zeenat Aman, Calvin Klein, Larry King, Arun Karthik Mohan. Today is also International Men's Day and World Toilet Day. I think we can safely assume that the latter was not invented by greeting card companies.)

Nov 11, 2009

Return of the Odds and Ends Post

See previous such posts here, here, here, here. I'm sure there are more, but I can't find them now.
***

Hanuman

I'm a slightly religious guy, although temples don't really interest me. I prefer finding my Gods elsewhere. Like lots of people in my generation, I've gone through an atheist phase, and then I've come around to where I started - although, in the process, my conception of this Being might have become slightly more sophisticated. Coming back to the point, temples don't really interest me. So, I often evade and avoid visits to temples (unless there are concerts happening there). Even so, the Anjaneya temple in Nanganallur has always intrigued me. Every single person who has gone there has told me that it is a must-visit. I haven't heard a single bad report of the temple - even people who tell me it is really crowded always add that it was still worth it.

The other day, I had an opportunity to visit such temple - Guru was getting an award from the Rotary Club of Nanganallur for his services to Carnatic Music, and I was the driver to Nanganallur. Mami (his wife - a most sweet lady) came along. He was least interested in seeing the temple (actually, he was worried there'd be too much crowd - Sunday and all that, given his advancing age etc.), so Mami and I (ooh, that makes it Mami and Mami) went to the temple.


Now, when people hype up something majorly, often it disappoints. The temple didn't. The idol ("32 feet high," Mami whispered in my ear, as I stared at it in awe) was large and beautiful. There was this stateliness about it (not easy to achieve when the statue in question is a plain black, monolithic monkey with folded palms), and there was a dignity to the way the temple was kept. I liked that. Don't get me wrong - I love my chaotic temples, but this had a real dignity to it. Really enjoyed myself there. (Also saw a Hayagreevar Temple where said Mami did an archanai in my name for my early marriage. That was a bit trippy.)

I even liked the awards function that evening. Except for the Rotart District Governor (who spoke too much and knew little), no one else engaged in mindless superlativitis (none of the he-is-an-avatar-of-Lord-Krishna-himself-type stuff - only some very well-written words about ). At the end of it, there was a heavy saapaattu. Felt like a wedding - two payasams, sambar, vetthakozhambu, rasam, chips, chepankazhangu (chamagadda) roast, ghee, fruid salad, curds etc. Yum.

I will soon forget the contents of the meal, I'm sure. I might even forget why I went to Nanganallur. But that Hanuman will stay with me.
***

The Post Office

I went to the T. Nagar Post Office with aforementioned Thatha to collect his pension. Each year, in November, all pensioners must give this thing called an "Existence Certificate". Basically, you must certify that you exist. "Respected Sir, As evident from this letter, I still exist. Regards, TVKRS Subramanian" type thing. I once heard of a case in one of the High Courts where a man hadn't given this certificate for 3 years, but still got his pension. Suddenly, when he gave the certificate in the fourth year, the Government discovered that there was no certificate for the three previous years and demanded that he return his pension. He argued in the High Court, successfully, that if he exists now, he must have existed in those three years also. Unless he was Jesus Christ or Vishnu (who came back ten times).

Anyway, I went to the Post Office with Thatha. The pension section is on the second floor of a building with no lift - some basic planning, perhaps? (Thatha is surprisingly fit for his age, and I can think of people twenty years younger than him who'd find it hard to make the trek up the building.)

Nevertheless, he called the mobile number of a friendly lady who worked in the pension section, and she told him she was in Bombay. They had a conversation for about five minutes where they caught up on each other's lives (her Appa was not well, apparently, and Thatha informed her about his own recent sortie to the hospital), at the end of which she said she'd send someone downstairs to get the form and take his signature. He said he'd ask his grandson to go up and bring the form. Friendly substitute lady came downstairs with me, introduced herself to Thatha, asked about his health, he found out some basic info about her (Husband's job? How many children? Son? 11th Standard? Going to IIT class?) and took his signature.

The institution doesn't work, but the people still seem to make it friendly enough - just like how many nationalised banks and government departments work.
***

Twins

When I was (much) younger, I couldn’t tell the difference between Anandabhairavi and Reethigowla, Darbar and Nayaki, Bhairavi and Mukhari (sometimes Huseni also!), Kedaragowla and Yadukulakambhoji. Today, I find it hard to understand why I couldn’t tell these apart! (I sometimes still don’t understand how people who know no music tell really close ragas apart, rarely, if ever, making a mistake.) I think it is like telling the difference between Sehwag and Tendulkar. When Sehwag burst on to the scene, I’d often look at him bat and presume it was Sachin. And he’d take a single, and the guy at the other end would look the same. Soon, you begin to tell Sehwag from his backlift, his slightly wooden legs, his bat-speed, his savageness on the on-side and his slapping cover-drive. Sachin’s legs are always in position, he doesn’t look brutal even when he lifts it over mid-wicket and his cover-drives are lovely punches. They haven’t changed over the years, you’ve learn to identify them better. When you first see them, you only learn to look at the patterns you already know. You’ve seen a Sachin. So, when your mind is faced with Sehwag, it only sees the similar stance, the build, the irreverent shot-making. Only after some time, do you begin noticing those differences. When I was first faced with Reetigowla (after I had already learned to identify Anandabhairavi), my mind immediately slotted it in the ‘Anandabhairavi’ folder. Only with time, did it see those differences.

Now it knows that for all their likenesses, Anandabhairavi and Reetigowla are very different animals. Anandabhairavi seems to enjoy meandering in the madhya sthayi – that glide from panchamam to nishadam to panchamam that defines the raga, the twisty sgrgm phrases; and has heart-rending tara-sthayi sancharas (recall the anupallavi in Marivere). It has been interpreted, reinterpreted, encroached upon over the years, but it retains its classicist nature – like Sachin. Reetigowla, on the other hand, has trademark mandhra-sthayi sancharas (unlike most Anandabhairavi interpretations), has a lovely plain double nishaadam (oh, I love that sound!), an odd symmetry amidst its jumpiness (the nn-s/ gg-m combination, for instance), and a different kind of joy from what its predecessor offers. I’ve always thought of Reetigowla as slightly moody. When the artist has got it right, he’s on a roll, but on days that he hasn’t, you’re waiting for the next guy to come in – like Sehwag. Reetigowla might have looked to Anandabhairavi for inspiration, like Sehwag did to his guru, but it has carved an identity that gives it its own flavour.
***

('Twins' might appear in the next edition of Sruti - if you like Indian classical music/ dance, I'd strongly suggest subscribing to it. Check out maadi!)

Nov 2, 2009

Rowena

Someone told me this story. He's even written it, and will publish it as part of an anthology of his writings. Something about this story made me want to tell it. So, Ram Mama, apologies in advance for this borrowing.
***

I remember Rowena as a collage of images. Montage would be the more correct word, but collage seems more apt - my memories seem to be a jumbled set of stark pictures, each with its own identity, yet wedded to the other; they all jostle for space, yet they feed off each other; they are irregular, shapeless, but just right. Some images are larger than the others, some brighter, some sharper, some colour, others in black-and-white. I don't really remember when I first saw her or where. It must've been on a hot mid-morning (my memory suggests the month of May) in Adyar in nineteen-seventy-one or seventy-two. This much I can guess, because I know I was not married, living with my parents in Adyar, doing my Bachelors, and I have one memory of her linked to a Test Match that definitely happened in seventy-one.

Back then, when the people in the locality discussed her, they did it for one of two reasons. First, they didn't know who she was or what she was doing in Adyar in the seventies. She was a doctor, an MBBS, who worked out of an old house converted into a clinic three roads parallel to mine. The white text on green background on the board outside merely read "Dr. (Kum.) Rowena, Physician, MBBS" and had consulting hours written at the bottom. She hadn't grown up in Adyar, unlike many of us, she moved there and set up her clinic. She lived with her parents in the same house, I gathered. I never really found out what her father did, or where he worked, or why he moved to Adyar. I didn't even understand her name. There was no surname - at least not on the board. She could have been a Hindu, a Muslim or a Christian. Something in my head suggested she was a Christian. I think it was the 'w' in her name - a very Western alphabet. I wondered if she was Bengali. A corruption of Raveena, perhaps. Or from Orissa, which is in the same general direction as Bengal. Maybe she was from Sri Lanka, the Maldives, or Mauritius. A friend suggested (correctly, in hindsight) that she was from either Goa or Mangalore.

The second reason was that she was quite a stunner, looks-wise. She wasn't the fairest around - her skin was chocolate-like. I liked that. Her large, black eyes were very beautiful, but they gave one the sense that they would be even more pretty if she weren't that overworked. Her nose was a tad long and pointy, although that seemed to add to her. Her hair fell from head down to her waist. It was always neatly combed and pleated. She wore lovely clothes - colourful, neatly pressed kurtas and chudidars, with the most fetching of dupattas, deep-hued sarees, even tops and bell-bottoms. Above all of this was the way she carried herself. There was a certain dignity to the way she walked, talked, behaved; but that didn't diminish her vivaciousness. She was very aware of her attractiveness, but never let it influence the way she dealt with people. Even when she knew she was being leered at, she didn't let it bother her.

I never really spoke to her. I might have helped her out with bus numbers once. I remember smiling at her each time we crossed each other. I remember treasuring those smiles and recollecting them for months. At twenty, you don't need to know someone to be infatuated with them. I knew she was older, but she couldn't have been much older. She was unmarried - the "Kum" was ample evidence of that. This was enough for an obsession to mushroom. I vaguely remember making changes in my schedule to catch her at the local vegetable shop and the bus stop in front of her house. I also recall hatching a grand plan to distribute sweets to everyone in our locality to celebrate Deepavali just so that I could enter her house (She wasn't at home when we went, but I met her parents, who didn't care much beyond accepting the sweets with a smile). Beyond this, I didn't have the courage to do anything.

My only real tryst with her came through her work. I fell really sick around the time when India won that dramatic Test Series in seventy-one in England. I remember listening to the radio commentary, wrapped in a blanket, with my extended family crowded around the room trying to decipher what Chandrashekhar was doing with the ball. My fever raged on unabated even after the series ended. My thrifty father decided that before a big doctor sees me, he could try the local physician. I didn't complain.

She came in an off-white-and-black patterned sari - even today, I can draw those peacock feathers and the ornate flower-patterns from memory. She didn't talk much, only asked me professional questions on my health. I don't know if she made the correct diagnosis: my pulse raced when she took it, my heart beat harder when leaned over me with her stethoscope. When she was done, she patted me on the head, and said with a smile, "You'll be fine in a day or two." I melted. As she was leaving, she asked my father what I did. He said, "He's an Economics student. Sings a bit." "Next week, you can sing again!" she said, and left.

After that, each time we bumped into each other (often, I engineered this), we'd have a little conversation. Always the same conversation - we'd enquire about each other's health, I'd ask her about the health of the people in the locality, she'd ask me about my economics and my music. In my head, I was engineering a lot more, but in reality, I was highly unsuccessful. One day, without warning, the board came off, and we heard that she had moved with her parents. No one knew where they'd gone or why. The locality gossiped for two or three days, but soon forgot. I moved from that silent romance to the next.

I met Rowena only once after this. At the Central Railway Station, around six months after she left. She stood alone, with a large bag, and looked even more overworked. I noticed her first, but was too nervous to talk to her. She noticed me, our eyes met, and she half-smiled. I became braver, and walked up to her.
"How are you?" I asked, "Long time!"
"I'm okay. You?" she asked.
"The same." I couldn't now ask her about the health of the other people in the locality. Our conversation would end. There was a lengthy pause, before I asked, "You left without telling any of us..."
"I ran away from home. Got married to someone. I'm living with him now in Nellore."
We said some more things to each other, but nothing really registered.

About two months later, I read in a newspaper that Dr. Rowena (still no surname), aged 24, committed suicide in her house in Nellore after her husband, Raghavan, aged 27, died suddenly in an accident.

Oct 30, 2009

I've been attracting a lot of Japanese spam on this post here - taking the comment count to a whopping 61 (and increasing by the day).

Obviously, when people try to sending me a message with such alarm, one is curious to know what the message is. In such cases, one uses Yahoo! Babelfish.

Sample translations:

"The price checker of the life who can diagnose present life experience! As for experience abundant your life being one no point? If you do with everyone, super it is pleasant, also the entertainment people doing, price check of [ru] life! You bodily sensation will try doing the price checker of the life who is spreading with the television and word-of-mouth communication"
My life is price-controlled.

"Young the wife of the world which is called [serebu] is hungry to the man, especially position disturbing, because the encounter unexpected is little, everyday you buy the man to always stress emission via the SEX circle and search. Here is the word-of-mouth communication sight of their business"
There's too much word-of-mouth happening, no?
"It doesn't try diagnosing the price of life? You diagnosing your own value, price your life annual income, as a human becomes the nudity. Challenging in the friend, and simultaneous it will deepen the bond."
Human becomes a nudity. Deep.

Oct 20, 2009

The Delhi High Court on Sex

Continuing this search, I came across Justice Sikri of the Delhi High Court, in a case relating to intellectual property and viagra, Pfizer Products v. B.L. Company and others (2002 (25) PTC 262 (Del)).

Nobody can match Krishna Iyer for sheer hilarity, but this still is quite something. The opening lines of the judgment are:

"Sex is an inescapable part of us. It is there from the moment of birth when we are given a sexual identity - boy or girl - and it is with us until the day we die - when it goes on the death certificate."

Innocuous enough, even if the logic is a bit stretched. (As in, what goes on the death certificate?) Then, comes the real meat:

Ever since Adam and Eve ate forbidden apple and were transported to earth, sex has become basic human instinct. Among other creatures copulation may be only a biological act - for procreation. However, for human beings, sexual intercourse is not only procreative. It is creative as well. It has been described as "the greatest driving force in the living world".

No wonder then, that much is written about it. From time immemorial. On how to enjoy it most. On how to continue to enjoy and be sexually active even at advanced stage of life. Vatsyayana's 'Kamasutra' has placed him among the immortals and no better elegy or eulogy can be written than the following lines:

"So long as lips shall kiss and eyes shall see. So long lives This, and This gives life to Thee".

So, it's all Adam and Eve's fault. Skip a couple of paragraphs to find this:

Sex may be most confusing, disappointing and lonely experience. It may also be most piercingly beautiful, earthshaking and companionable experience. It is the experience of latter kind, which human beings cherish.

Adapting someone else's joke - as far as confusing and disappointing experiences go, sex ranks quite high. Further:

Knowing this insatiable appetite of human kind, medical science - traditional and modern - has not lagged behind. Aphrodisiacs are "discovered" and "invented" for prolonged and enhanced sexual encounters. Various therapies are administered for treatment of impotency or for sexual failures of all kinds. What a remarkable gift it would be, for those in need, when it was accidentally discovered that the drug - sildenafil citrate, commonly used for treatment of angina, could be a stimulant for male Erectile dysfunction. The plaintiff became pioneer in commercially exploiting the same. When a drug of this nature hits the market, there are bound to be many players. More and more would inevitably enter the arena. They would make the exploit. And it is bound to create economic war. That is exactly what has happened in these cases.

A slightly needless introduction to a judgment, but we could all do with some bad, kinky humour once in a while, no?

(More judgments will come.)

Oct 14, 2009

Before Sunr-eyes!

The other day, when I watched Before Sunrise (again), I spent the entire movie watching their eyes. Through quick glances, fluttery glimpses, stares, glares and glints, their story unfolded, and the movie was even more enchanting than it used to be!

I love that stupendous scene in the listening room of a record store - their eyes truly rule it. The record starts playing, a guitar plays a repetitive string of chords, they look at each other briefly, smile and look away immediately. The scene is slightly claustrophobic (they're closer than they are comfortable being?) - the low, close camera angle, them leaning against the corner of a presumably small room, music all around them. They turn away from each other for a few seconds, and slowly, her gaze sets upon him. A smile is beginning to develop on her face when he suddenly turns to her. Deftly, she looks away - as if she had never been looking at him at all.

Now, he looks in her direction - his expression shows that he likes looking at her. Julie Delpy's cuteness sure is infectious. The song starts, she smiles to herself. He smiles, his eyes are still on her. She turns to him suddenly and catches his stare, he turns away uncomfortably and there is an impish smile on her face. They both look away at the soundproof walls around them.

It's her turn now. She barely looks in his direction when he turns to her. Has he caught her? The moment is too brief for her to really know. Then, he gets a good, long look her her as she pretends to take in the music, glancing at him from the corner of her eyes a couple of times. For a second, their eyes meet. They smile, but it is a fleeting one. Then, they're back to playing their game. She looks longingly while he stares at the ceiling and turns away just as he turns to her, he does the same, they flash slightly longer smiles at each other just as the singer croons, "I have never wanted you so much/ Come here." Then, the scene cuts to them walking down a road.

The scene in the listening room isn't more than a minute long, but their relationship strengthens from this point onwards - it is almost as if that closeness, those glimpses and that music somehow convinced them that their idea might not have been such a bad one after all. Maybe, it gave them time to be with each other, but not talk - something they didn't have until then.

Later that evening, they're sitting in a church (one of the few places open at that time of the night) and they've just had an aimless conversation about how she feels like a very old woman, and how he feels like a thirteen-year-old boy. She jokes about how, earlier, on the ferris wheel, it was a very old girl kissing a very young boy. She finds it funnier than he does. Their eyes meet, his hand reaches out and tucks her hair behind her ear.

He asks her, "Have you heard about the Quakers? The Quaker religion?"
She tells him she hasn't.
He says, "I went to this Quaker wedding once. It was fantastic." He goes on, "This couple comes and kneels down in front of the whole congregation, and nobody says a word unless they feel that God moves them to say it. Then, after about an hour of," a slight pause, he turns, fixes his eyes on her, "staring at each other, they're married."
"That's beautiful. I like that," she says.
He's staring at her now, watching her eyes, hoping she will also stare at his. Three or four seconds pass, she looks away. The look on his face tells us that he has realised that they still have a long way to go.

Somehow, they traverse that path very fast, for by morning, they cannot take their eyes off each other. They hear a harpsichord play from a house on the street, they look through the window to find a man actually playing it, peering nervously into the notation in a book. They watch him for a bit, and they launch into a brief, impromptu dance to the music. He asks her if she has ever danced to a harpsichord, she says, "Of course not..." He twirls her and releases her. She stands a foot-and-a-half away from him now.

Their eyes are locked, and he says, "Wow."
"What?" she asks, unsurely.
He puts his hands on her shoulders and says, "I'm going to take your picture... So that I don't forget you, or... or... all this."
"Ok. Me too."

Then, they face each other and just stare at each other, like the Quaker wedding, soaking in each other, till their mind cannot forget the scene. Their eyes look tired, because they haven't slept all night, but there's still a freshness about their gaze, there is longing, nostalgia for just the previous day, there is this urgency, there is even a touch of sadness. The photograph they take is not of that second, or that street, or of their faces, or the harpsichord-player - it is a photograph of an entire day - of the train, the men in the cow-play, the record store, the poet, the church, the concert in the bar, the wine, of making love. The photograph captures the fact that they will probably never be together like this again, and yet, that they are just where they want to be.
***

(I just realised that two of my favourite movies are set in Vienna. I wonder if that is just a coincidence.)

Oct 9, 2009

Break an Egg

Here are some choice comments and observations on Wake Up, Sid (in bullet point format for easy reading):

• The Director seems to have watched Dil Chahta Hai too many times (which is not a bad thing). And I think he liked parts of Lakshya also. So, there's either tons of internalisation (a la Kavya Vishwanathan) or lots of nudge-nudge-wink-wink-check-out-this-tribute to DCH (that scene where Ranbir Kapoor tells someone on the phone - "Mard ban. Be a man!").

• Every father seems to tell his son to "kal se office aa jaao" at the breakfast table after the son has scraped through (or, as in this case, not scraped through) college. We saw it in DCH, in Hero No. 1 and so on and so forth. Moral: chilled out sons must avoid the breakfast table.

• I have no issues with understated drama. But no drama? Instead, a series of highly convenient (non) events - not my tumbler of filter coffee. Even Sooraj Barjatya films are slightly edgier than this.

• Do all rich kids drink orange juice in the morning? If so, I want to be a rich kid. Yum. Orange Juice.

• I want to understand Konkona Sen's revenue model. The way she moved into a new home, painted and decorated it in a highly un-struggling-writerly manner even without having gotten her job was a bit much. Then, she just allowed Sid to stay with her, not thinking of how she would feed him two square meals a day. Maybe she was also a rich kid masquerading as a non-rich kid.

• Wasn't the Background Score highly elevatorly? Yet, it failed to elevate. (Ok. Fine. Bad joke. Sorry.)

• The paper birds in on the wires in the house represent the fact that the inhabitants are aware of the fact that they can fly, but they prefer sitting on a wire. If this were a Fellini film, I'm sure this interpretation would be welcomed with open arms in the psuedo circles. Unfortunately, this just seems to be the art director being arty and the director going along with the idea.

• Am I the only one who found it significant that Sid had major senti feelings towards the rain and his father's company manufactured showers?

• Is there any reason why one would cry at the end of the movie? (Other than crying out of sheer frustration.)
***

(a) No. I didn't hate the movie this much. Feeling slightly uncharitable currently.
(b) Oh, super super girl, Francis Buchanan (swalpa gender-identity-crisis) has a hilarious blog. Go read.

Oct 7, 2009

I am sorry if this post comes across as a rant. I don't have the energy to be funny right now.
***

For the last three months, I've been subject to Tamil serials in the evenings - from when I come back to work until ten-thirty. Thankfully, work ensures I get home only by nine-thirty on most days. Tamil serials are loud, brash, depressing. Characters only show the most disgusting emotions - of hate, jealousy, taking offence (a la the Culture Vultures), anger, 'honour', revenge.

The "bad" are intolerably bad - they always (and I mean ALWAYS) talk as if they're scheming (For instance, there was this scene where an evil mother-in-law was asking the cook to get milk for her granddaughter. She somehow made even that line sound evil!). Usually in the pettiest of manners. For instance, there is this lady who is behaving like she's unwell so that she can take advantage of her divorced daughter-in-law who takes pity on her. There's this other lady (in another serial) who (with her son) is trying to play some really really random politics in her brother's house - like creating a huge fuss when her nephew buys some expensive (Rs. 6000) jewellery for his wife. There was this other scene where the man's family troubles his pregnant wife only because she's earning and her husband is jealous of the whole deal. They complain that the coffee she's made is watery, that the cups in her house are too small, that the house is too uncomfortable.

Then there's all the ridiculous corporate battles they fight. Where they kill each other off without any trouble or remorse. Nobody is ever happy. Nobody is ever nice to another person. Except the VICTIM. The VICTIM is a central character who is simply too nice to everyone around her. (No, the VICTIM is never a man. A correct reflection of society, although a bit exaggerated.) Her niceness is always taken advantage of. People are always screwing her over. Always. And she still finds the strength to be intolerably nice to everyone. Only, she cries so much that you'd prefer her just getting screwed over instead of trying to be nice about it.

I wont even begin on the gender issues - every stereotype is reinforced. The thaali sentiment, dowry (In one serial going on right now, a wedding is stalled due to dowry issues, and not one voice is raised against the practice itself. Not even in the households watching these serials, I bet.) (Ok. Right now, as I type, the mother and daughter are having major issues because the daughter spilt rasam, thereby creating food shortages in the household.) Then there's the ubiquitous chinna veedu (literally, small house - "second family" of a man). Everyone seems to have one. And the domestic political possibilities of such a situation seem endless. There are always people to be jealous about, people to cry for, people to kill, illegitimacy and status to squabble over.

The music - can it be a little less harmful on the ear? Slightly?

I know that Tamilians as a class are highly petty people. But even by those standards, these serials are a bit much. Surely there are better stories to tell, no?

Sep 24, 2009

Eccentric and Happy

Based on vague facts. Largely fiction. Written partly in 2007 (found the first few paragraphs in my gmail account), and finished in the last two hours.
***

I picked out a maroon crayon from my box and began colouring the shirt when I felt a hand twisting my ear. I turned around to see my Geometry teacher, a short, fit man with a Chaplin moustache frowning, as his right hand turned my ear almost upside down.

"What are you drawing in my class?" he bellowed, his other hand reaching for my notebook. He picked it up, still holding my ear and examined the drawing. If he was a man with any ability to look at the larger picture, he would've noticed that I was a natural artist. He would've noticed that I had a eye for picking the right features to exaggerate and a hand that drew bold, clear lines. He would've also noticed that my lettering was sharp, readable and yet not print-like. In other words, I was an ace cartoonist.

One cant blame him for being thoroughly disgusted though. He was staring at a cartoon of our physics teacher - a tall man, with longish, straggly hair, slight stubble, luxuriant moustache, sunken eyes and a slight hunch standing with one foot off the ground with a bottle in one hand, looking unnaturally happy. The word, "Kuduka" was written in Kannada at the bottom of the page in cheery red letters.

Our physics teacher was a kuduka - an alcoholic. It was an open secret. Hell, it wasn't even a secret - he sometimes came to class smelling of cheap rum! Yet, our geometry teacher reacted just the way he was scripted to react. He tore the page off my book, folded it up, put it in his pocket, slapped me twice, told me off with an unintelligible roar and said he would let my physics teacher deal with the matter.
***

Each time I think of my physics teacher, I am flooded by this vivid image of him announcing that he wouldn't teach anything that day, and proceeding to pace up an down class with a smirk on his face, lost in thought as the class created a fish-market-like ruckus around him. (I have often wondered if fish markets were actually this noisy. Just like the tune in which school kids sang, "Good Morning, Teacher", the fish market metaphor seemed to transcend generations and geographies.) He did that often. He also sometimes announced in his lovely, deep, singsong voice, "Go to the playground! Go to the library! Do whatever you want!"

On days like this, we would get bored of ourselves. Someone would ask him, "Sir! Tell us a story." He would look around the class dreamily and say, "I know no stories!" At twelve, we found it hard to believe that a teacher would no know stories. So, we probed, "Sir, what countries have you seen?" This is where our physics teacher had an advantage over every other teacher in our school. The rest of them read stories off books and told them to us. He had lived those stories.

"I was in Vienna for five years, working in a laboratory there," he would start and then proceed to tell us about the wet, cobbled streets, the old European construction, the art, the sculpture, the coffee shops, the waffles, the pancakes, the ice coffee (to a twelve-year-old growing up in small-town Karnataka in the nineties, coffee that was not hot enough to burn a hole in your tongue was quite a novel concept). He told us about this old man who walked the streets in the evenings in Vienna selling balloons. "He was the nicest man in all Vienna," our teacher told us, "He had this dirty beard - it looked like that broom!" he said, laughing loudly. "I used to talk theoretical physics with him. He never understood much, but he listened to me with great interest." Each evening, my teacher walked with his old man around Vienna, selling balloons and discussing physics. Each day the old man took the teacher to a different part of town, an unknown corner, a new bar, through a different bylane. The old man also made lovely sketches with a broken pencil in an old notebook. My teacher asked him many times for a sketch the man had made of the road on which my teacher lived. "I never part with my drawings," he said. When my teacher had to leave Vienna, he took the old man's address. "I wrote to him. Twice or thrice. And he wrote back. But after that, I didn't get any replies from him for seven years." We feared the worst. The man must have died, we thought. "Then, one day, there was this huge parcel for me from Vienna. When I opened it, I saw this framed sketch of that road I lived on! The glass had been broken in transit, but the clarity of his vision remained intact." With it, our teacher told us, there was a note, "My father died last evening. In his will, he gave this away to you." 'You still have that drawing?" we asked. "It must be somewhere in my room," he said.

There were more stories - of how he found himself in South America with invalid papers and didn't even know what country he was in, of how he hurt himself trying to imitate a kangaroo in Australia, of the magnificence of the Grand Canyon ("Nothing even remotely as humbling!"), of seeing a Gandhi monument in South Africa, of winning a bottle of champagne in a roadside fair in Portugal, of Casablanca, of the pyramids of Egypt, of the Middle East, of China, Japan, Canada and even Iceland.

"I won a silver medal for my research in the US," he once told us. He explained what his research was on. But beyond vague references to atoms and other really small particles we couldn't see, we didn't comprehend most of what he said. I still don't know what his research was exactly on, or what he won medals for. I heard from someone that his research hit a bad dead-end, and he was devastated. But nothing more. I asked my uncle who was a physicist if he knew my physics teacher. My uncle had never heard of him, although his colleague muttered vaguely about having read one of his papers years ago, "No one really knew if he was right."
***

My physics teacher sat in the common staff room drawing shapes on his table with chalk, pausing every now and then to write out an equation. I was summoned to explain that drawing, and I entered nervously. He ordered me to sit and wait. No student ever sat in the staff room - we respectfully stood and did what teachers asked us to do. So, when he asked me to sit, I stood at his table, head facing the ground. He looked up and said again, "Sit." I sat in an empty plastic chair.

After ten minutes of writing on his table, he said, "You draw really well." I went over that statement in my head a hundred times to see if there was any sarcasm in it. There wasn't. Two teachers walked into what was until then an empty staff room. "I'm supposed to shout at you now," my physics teacher continued without noticing his colleagues, "And tell you that you need to learn to respect your elders. I am expected to tell you that a teacher is God. But you know all that." He paused. The other two teachers looked bewildered.

He stood up and said, "Come with me."

He took me to this messy room at the back of the school where he lived. His beige shirt was drying on the rope in a corner. He would wear it the next day, and the maroon one would hang on the rope. There were books everywhere in his room - dusty volumes of physics textbooks, on heat, electromagnetism, dynamics, light, the quantum theory; detective novels of all sorts - from the Arthur Conan Doyle to Agatha Christie to all those noiry American writers (he even had a couple of Indian detective novels that straddled that thin line between detective fiction and soft porn!); lots of books on Vedanta and Bhagavad Gita (he dismissed those with, "God and I don't get along. Still, I need to know what my enemies are up to."); and some stray history books.

"All these are yours?" I asked.
His eyes twinkled as he said, "The physics books are. The others are from the school library. None of you ever go there anyway!" It was true. We only went to the school library to hide from teachers when we hadn't done our homework. The last time I went there, I flicked The Complete Plays of Oscar Wilde.

He took The Red Harvest off a chair and asked me to sit down. He made some space for himself on his bed and sat on it, leaning against the wall. "What class are you in?" he asked.
"Eighth standard..."
"Ok. So, in two years, you'll be asked to decide what you want to do for the rest of your life." He said that and went silent. I didn't know where this conversation was going. He was silent for a very long time. A lizard on his wall ran all around the room twice before he spoke again. "If you like to draw... tell them you want to draw!"

Again, he went silent. I didn't know if I was expected to leave at this point. After a while, I asked him, "You chose to teach?"
He laughed. "I hate teaching! I was doing a lot of research. People called me all over the world to speak on my work."
"Then what happened?"
"It all came to a standstill suddenly. Wrong hypothesis. No results. I was a bit depressed. I immersed myself more into work to try and salvage something. In the process, my family lost patience. My wife and daughter left me."
I was not sure I wanted to hear all this. But I was stuck. And he was extremely open about his life. Yet, I felt, strangely, like an intruder.
"So, I came back here. Trying to live as close to them as possible now. Teaching here..."
"You gave up your research?"
"It was going nowhere anyway!"

When I left his room that day (after he made me draw four portraits of himself), I felt inexplicably happy. His mood lightened very quickly and he joked about all the other teachers. I made cartoons of them for him. He filed them away in this folder he fetched from his cupboard.
***

For the next few months, we were great friends. I never grasped physics very well, but we had enough to talk about. I spent many afternoons in his room talking about literature and school politics. The summer holidays came and I went to Bangalore and Madras. The next academic year, I found he wasn't there. He had quit the school and shifted to Mangalore. No one really knew where he was or what he was doing.

I found out a week later that his wife had found a new job in Mangalore.
***

I bumped into my physics teacher in Mangalore almost twelve years later. He didn't look a day older. But I had changed beyond recognition. It took him some time to place me, but when he did, his face turned into the brightest of smiles. We talked and laughed about many things in a nearby restaurant over dosa and coffee. He only told me he worked in a college there teaching physics to post-graduate students, "The library here is better and is more unused!"

"What do you do now?" he asked.
Almost guiltily I told him I worked for an investment bank. "I still have your drawings!" he said, "I look at them every now and then..."

He didn't volunteer any information about his wife and daughter, and I didn't ask. But he seemed very happy - much happier than he was in my school.

When we parted, I asked him for his address or phone number. He just said, "Nah. Remember me like this. Eccentric and happy. Who knows when I'll turn eccentric and sad again?"
***

Sep 19, 2009

The Supreme Court Speaks on Sex (Part I)

Our Supreme Court has been around for sixty years and in this interim, it has given expert opinions on various issues of utmost importance. Recently, I started looking for the Supreme Court's orders on sex. It started because I remembered this famous judgment I read years ago. Phul Singh v. State of Haryana (for those who have access to legal databases, the citation is AIR 1980 SC 249). When I read the order again, I realised it was far funnier than I remembered it.

Justice Krishna Iyer, in his inimitable style starts his order thus:


"A philanderer of 22, appellant Phul Singh, overpowered by sex stress in excess, hoisted himself into his cousin's house next door, and in broad day-light, overpowered the temptingly lonely prosecutrix of twenty four, Pushpa, raped her in hurried heat and made an urgent exit having fulfilled his erotic sortie."


After setting out some more facts, he goes on:

"We must, however, direct our attention in a different penological direction. For sentencing efficacy in cases of lust-loaded criminality cannot be simplistically assumed by award of long incarceration, for often that remedy aggravates the malady. Punitive therapeutics must be more enlightened than the blind strategy of prison severity where all that happens is sex starvation, brutalisation, criminal companionship, versatile vices through bio-environmental pollution, dehumanised cell drill under 'zoological' conditions and emergence, at the time of release, of an embittered enemy of society and its values with an indelible stigma as convict stamped on him-a potentially good person 'successfully' processed into a hardened delinquent, thanks to the penal illiteracy of the Prison System. The Court must restore the man.

"A hyper-sexed homo sapiens cannot be habilitated by humiliating or harsh treatment, but that is precisely the perversion of unreformed Jail Justice which some criminologists have described as the crime of punishment.

"It may be marginally extenuatory to mention that modern Indian conditions are drifting into societal permissiveness on the carnal front promoting proneness to pornos in life, what with libidinous 'brahmacharis', womanising public men, lascivious dating and mating by unwed students, sex explosion in celluloid and book stalls and corrupt morals reaching a new 'high' in high places. The unconvicted deviants in society are demoralisingly large and the State has, as yet, no convincing national policy on female flesh and sex sanity. We hope, at this belated hour, the Central Government will defend Indian Womanhood by stamping out voluptuous meat markets by merciless criminal action...

"This reflection apart, we must, as part of the sentencing package, design a curative course for this prisoner to rid him of his aphrodisiac overflow and restore him into safe citizenship."

Sire, take a bow. Now to cleanse myself (a libidinous brahmachari) of bio-environmental pollution.

(I have discovered some other gems. Will put them up when I get the time to mine them and produce relevant extracts.)

Sep 11, 2009

Half-Dream

This image has been kicking around in my head for a while now, getting clearer by the day. By the night, rather. The same half-dream, over and over again. My new bright red car on top of a nameless cliff overlooking a nameless city. It is well past midnight. Dim streetlights flicker. The odd car, the odd lorry on a distant road, moving silently.

The doors of my car are open. There is music playing from inside the car. This music. I sit on the cliff, legs dangling and watch the city till sunrise.

Sep 2, 2009

A Personal, yet Performing Art

Mining the internet's Carnatic music resources and databases, I came across a curious recording of one of Mali's speeches at a concert in Bangalore. After announcing his retirement early in the speech, he proceeds to tell the audience that he had become a musician by accident and that until then, he had been performing only out of necessity. He then says that when he feels like playing, he will let people know, and that they can come and listen to him. "Free of cost," he adds, and ends his speech with an emphatic, "I've had enough. Saakaithu!"

Indian classical music is an extremely personal art. While an artist can (and often does) produce music mechanically, it is only when she looks within herself and withdraws from the world around her that she produces something truly special. In other words, you might sing a really good Bhairavi by using standard phrases and keeping the typical outline in mind and play around with svaras and patterns. But if the Bhairavi has to be exceptional, you need to lose yourself in its vastness, understand each svara, explore each gamakam, delve into the mysteries of its two daivatas, revel in the magic of that unbound, floating nishada.

Despite the personal nature of the art, the Carnatic concert stage is not viewed as a necessary economic activity to keep artistes going, but as the pinnacle of artistic achievement. The concert is not about exhibition of talent as much as it is about expression and exchange of ideas. The kacheri is a spontaneous melting pot of styles and traditions. Each of the artistes comes from his own school, understands and performs music in his own way. In other words, each of them has gone through a highly personal journey, and they get together to exchange notes on what they have seen. While this can lead to contrasting, or sometimes conflicting approaches, the intention is always to create synergy.

If the Carnatic concert is such an enriching experience for the performers, then what is the reason for Mali's outburst? Why did he crib and complain constantly? Why did he avoid and evade engagements?

We are forgetting another factor - the audience. The kacheri is not just a place where four or five musicians jam together. If this were so, they could have got together at one of their houses. (Frankly, the sound systems take away more than they add.) The stage is a place where they play for listeners, and sometimes, these listeners can come in the way of the performers' art. It is when a singer, in the middle of her probing Dhanyasi alapana, where he is exchanging deep phrases with his violinist, finds the mama in the third row snoring away, two others peering into their cell phones and wristwatches, and large groups at the back exiting lazily, that she asks questions of herself. Who does an artist perform for? Is her art an outpouring of what is within her? Or is it something she offers for the audience's pleasure? Is her art then moulded by her audience, tweaked to their tastes, sculpted by their desires?

Perhaps, she wants to devote three hours to meditate on the myriad forms of the kaishiki nishaadam - its quirky appearance in Bilahari, its amorphous mix of the most wondrous sounds in Bhairavi, the striking double-use in Ritigowla. Maybe she wants to go one step further and sing Ahiri, Dhanyasi, Thodi and Punnagavarali in succession to put across the finer distinctions between the four nishadas. What holds many artistes back in taking upon such an exciting assignment is the fear that to a not-so-discerning listener, the concert might become monotonous.

Planning for a concert then becomes a major exercise. The artist often ensures variety in selection of pieces - a mix of shuddha and prati madhyama ragas, janya and janaka ragas, contrasting ragas, songs in different talas, varying tempos and emotions. The next level of mixing is ensuring various composers and eras have been represented, all languages have been given their due, all compositional forms have made their appearance. Often, the artist does this mechanically. She feels like singing Shankarabharanam as the main raga, she will choose a contrasting Ranjani is the other important raga. She will then sandwich an Anandabhairavi between the two and plan her concert around it. Her personal expression is shaped by what the audience wants to hear. She should, maybe, pause and reflect on whether such perfunctory planning is worth the audience she gets for it.

Even so, the kacheri does not deserve to be belittled in this manner. It is, and it will remain, the most sacred space in a Carnatic musician's life. It is a challenging and rewarding activity. It involves great concentration on one's music and an acute understanding of the listener's response to it. Unlike an exam, you cannot scratch out a wrong answer and write it again. In other words, Carnatic music does not live and breed in homes or through recording studios - it comes alive on stage.

It is when faced with this dilemma that many artistes lose their sense of balance. Some choose to dilute their music to attract audiences - some such experiments succeed, most fail. Some others make no compromises - they perform for themselves and themselves alone. Mali's was, perhaps, an extreme case - even as a child, he played many concerts to support a large family. As he grew older, he often performed only when he desperately needed the money. Still, he was a fiercely independent performer, playing whatever he felt like whenever he felt like it. He would go through some of the most intellectual laya gymnastics (alienating most of his audience in the process) and then play a Bach piece with a nervous violinist following him! Even with all this, he was wildly popular.

Without an audience accommodating his eccentricities, he might never have been this famous - his imagination, his aesthetic and his techniques that have vastly enriched our music might never have been known outside limited circles. Maybe, audiences today need to be this understanding. They should, once in a while, forgive an artiste for embarking on journeys that might not be to their taste. In an old MD Ramanathan recording of Mivalla Gunadosha in Anandabhairavi, he sings the chittaswara about six times - each time offering a new spin on the same swaras. Even if these spins seem as dubious and mysterious as Anil Kumble's, the audience must be willing to be bowled over. This will, surely, make the kacheri a far freer, more intelligent space.

Aug 7, 2009

"Where are you from?"

It is a question I've dreaded all my life - "Where are you from?" Not because I don't have an answer to it - because I have too many answers.

Since I am a lawyer, I shall indulge in some statutory interpretation. One of the rules of statutory interpretation is that you must give a term its plain or literal meaning. So, "Where are you from?" then gets interpreted plain and simple as "Where do you usually reside?" For the first seventeen-and-a-half years of my life, this shouldn't really have been an issue. I lived in Manipal.

"Where are you from?"
"I am from Manipal."

Right?
Wrong.

There's another rule of interpretation that says that any statute must be interpreted keeping its purpose or its intent in mind. What is the intent of this question? Depends on context, perhaps? So, in Manipal, in my school, "Where are you from?" could mean "Where do you live?" if a person wanted to know if I take a bus to school or I cycle to school or I get dropped in school or I take the little KMC bus. Or, it could be the equivalent of that ubiquitous Indian question, "Native of?"

In my case, this is an even more difficult question to answer. So, my ancestors on my Amma's side are from Palakkad in Kerala. But I've been to that village (Pallassana) only once in my life. My Palakkad Tamil is fairly weak, and I'm not too fond of elavan or matthan. But on the other hand, I love avial, I have looked in the mirror on vishu many many times, I have said "Happy Onam" to people and meant it, I have watched Malayalam movies and have understood them. Am I then 'from' Palakkad?

My Appa's side confuses the matter even more. They're from Nellore, but settled in Hyderabad - Tamilians from Nellore living in Hyderabad. Speaking in an extreme Telugu-ised dialect of Tamil that I am most familiar with. My name is very Telugu sounding, the panchangam we follow at home is Telugu, many of our rituals are Telugu, many people from one generation above me read literature in Telugu. So, am I 'from' Nellore? Or am I 'from' Hyderabad?

But wait. I grew up in Manipal. I speak Kannada more fluently than I speak Tamil or Telugu. I read and write Kannada as fluently as I read and write English. I've actually studied Kannada formally for years, and I have actually read a Kannada novel without any assistance. I've lived and loved in Karnataka for twenty-three years and I understand Kannadigas better than I understand any other people. I can name all Kannada Jnanapith award winners, but not a single Tamil one. I can name all districts in Karnataka but only five in Andhra (and not a single one in Kerala). Am I from Manipal then? I went to college in Bangalore. So Bangalore?

But often in college, "Where are you from?" was a means of ascertaining what you are. So, Manipal (apart from giving people ideas about it being in the north-east or near the Bangalore airport) confused a lot of people.
Then I would try, "Oh. Its near Mangalore."
"Oh! You're a Bunt!"
Just because I attended random weddings at Bunts' Sangha when I wanted a free lunch?
"No, dude. I'm a Tamilian from Manipal."
"Your parents are from Madras?"
Long explanation.
"But why do you have a Telugu name?"
Longer explanation.

Another common problem with this question as a kid was on trains and buses. Friendly uncles and aunties with their simpler linguistic backgrounds would never understand what a boy speaking fluent Kannada and Tamil studying in Bangalore was doing on a train from Madras to Hyderabad.When I then spoke to them in Telugu, they would just stop talking to me. People are always wary of someone who speaks too many languages. Also someone who cant give a straight answer to "Where are you from?"

Funnily enough, in Delhi, I had no issues with this question. I'd just say "Bangalore" and speak to them in slightly accented Hindi and they'd never suspect that I could have a complex background. They'd just presume Bangalore was close enough to Madras (or "Chinnai" as they call it these days) and that the language I spoke was the general "Enna Rascalaa" language. (Actually, even south Indians have very little idea of South Indian geography - a South Indian friend who has lived in South India all his life tried arguing with me last week that the sea at the Elliots Beach was the Arabian Sea. He refused to believe that Madras and Kerala were on different sides of the coast!)

Sometimes, I have fun with knowing all these languages. My uncle and I went to a Bata showroom last month. The guy at the showroom, from his accent, was clearly from Nellore. Immediately, we started talking to him in Telugu. While he was surprised that we figured he was Telugu, he didn't ask us about it. Then, we went ahead and spoke to each other in Tamil. Just when he thought we must be a border case like him, we talked to each other in Kannada. Bewildered, he asked us, "Where are you from?"

Aug 5, 2009

Friendship, Love, Forgiveness and Remembrance

Before I start on the actual business of this post, I would like to point out that 'monads' is not a fake word. Check this out.

Also, major SPOILER alerts.
***

When I watched Dalapathi last Sunday (yet again - will I ever get tired of this movie?), I wondered if they were showing the movie because it was Friendship Day. The thought didn't strike me until I discovered a random channel showing Boys simultaneously. Dalapathi is currently my favourite Mani Ratnam movie, for reasons ranging from deeply personal to highly technical. But the one reason that I want to share in this post (I'll write another long one on Dalapathi sometime.) is the portrayal of a friendship. Mani Ratnam does play the senti card, and plays it quite heavily too. But as a viewer, you never feel its melodrama. Compare this with the recent Nadodigal. This movie is about three friends who help one of their friends run away and marry a girl. Now, this couple are children of rival politicians. In the bloodshed that ensues, the friends who help them suffer severe losses - one loses hearing, another loses a leg and a third gets an ugly gash over his eye (he also loses a girl forever - but the girl is so irritating that you hardly empathise with his loss).

So far so good.

Then the friends discover that the couple have broken up - that they only had lust, no love. So, these friends decide they will kill the couple. Throughout the movie, there are extremely sentimental references to friends and friendship. After a point, I cringed at each mention of the word 'friend'. The movie suggests, on many occasions, that the sole purpose of having friends is so that they can help you run away with your girl/guy at some point.

Which is why a friend who didn't like the movie got asked, "Yen, Meydam? Onga love work-out aaidchaa?"

Nadodigal as the title suggests is a nomadic film. It is never clear on what it wants to say or prove (or disprove). Its biggest drawback, though, is that it doesn't even have good-looking people to make the ticket price worth it.

Love Aaj Kal doesn't suffer from this problem. Deepika looks absolutely delicious. I think her yumminess in this movie is only topped in recent times by Sushma Reddy in that Limca ad (I'm telling you - if I had found any theatre showing that ad before the movie, I'd buy a ticket, watch the ad and cut. Even four shows a day.). Harleen (whose real name is being kept secret, although the internet reveals she's some Brazilian model) looks really cute too! Love Aaj Kal is a strange movie - its humour is smart and subtle, its romance is unconvincing (and a bit sudden and random), its 'message' is not really a message, its point is a bit unclear. If Imtiaz Ali has some insights on love, he's not making them very apparent. One theme that runs through his three movies has been this sudden discovery of love for the person next to you, after being engaged/married to some third party. A friend turns into your 'love', and you discover it a bit late, always.

But I enjoyed myself. I'm not complaining.
***

The most enjoyable, layered, complicated, honest movie I've watched in a while is Blessy's Bhramaram - in Malayalam, starring Mohan Lal. A stranger turns up at a man's house claiming to be his old friend from school. The stranger knows lots of details about this man's school and class and teachers, but his name doesn't seem familiar. As layers peel off the stranger's story, and its emotional core is thrown open to you in a powerful last scene, you are shocked, saddened, silenced. You're blown away.

The movie deals with forgiveness and remembrance. It deals with both a society's inability to forgive, and an individual's ability to do so (even if it might have been out of necessity). It deals with raw emotions of a man whose life has been blown apart by his past catching up with him unexpectedly.

I don't want to reveal more, because this is a movie I'd hate to spoil for anyone. Watch it. Watch Mohan Lal take on a most difficult character's role and play it with accomplished ease. Watch a relatively unknown director take his steps towards superstardom.

Jul 31, 2009

Dear Boycotting Lawyers of the Madras Bar,

Why am I not surprised that you are doing this? Why doesn't it shock my conscience? Why am I not appalled, distressed, angry? Wait. Why are you doing this?! Oh. There's an amendment to the Negotiable Instruments Act by which, in cheque bounce cases, the defaulter must, when he is summoned before the Magistrate, deposit 50% of the amount of the cheque.

Right. Lets give this some thought. An unwarranted law? Most definitely. Proceedings under the Negotiable Instruments Act are quasi-criminal in nature. This almost definitely amounts to presumption of guilt on the part of the defaulter. 50% of the amount of the cheque could amount to a fair sum in many circumstances and to make him deposit it even before trial is surely unconscionable. There are two more laws being opposed - first, is Service Tax on legal consultancy services; and second, the proposed amendment to section 377 of the IPC. Lesser said about these, the better.

But that is not the issue here. Often, as lawyers, we come across laws that we don't necessarily agree with. The Parliament's wisdom isn't infinite or infallible. The issue then is - what can we do as lawyers when we think a law is unfair?

First option: we make representations to the Government - tell them why, legally and practically, the law makes no sense. Why litigants, lawyers would be put to unreasonable hardship. Tell them why they should let things be the way they are. Mediate, negotiate. Generate public opinion on the issue through debate and discussion.Write in the newspapers. On blogs. The Government will not take the considered opinion of lawyers on a question of legal procedure lightly, would it? If there is any merit in our argument, they'll most definitely reflect on our view before they go ahead with their decision.

Second option: we challenge the validity of this law in court. We get our best representatives to make arguments on our behalf. We tell the judiciary why, legally or constitutionally, such a law is invalid. We argue on the Right to Equality, perhaps - on the inequality of treating one class of litigants differently from all others. We speak of the basic tenets of our criminal justice system. We hope the judiciary, belonging to our own ilk, will appreciate our concerns.

Third option: we boycott court for a day. We shout slogans, we destroy public property. We unleash mindless violence on our 'Learned Friends' who try attending court. We waste an entire day of precious judicial time (and further delay already delayed proceedings - for instance, our office has a 1996 revision coming up for final hearing tomorrow. After this boycott, no one can predict when it will come up for final hearing again.*). We put innumerable litigants, already burdened with an excruciating system, incomprehensible procedure and overworked courts to even more hardship. To what end? On Monday, we're working again - after that extended holiday we took earlier in the year with that boycott, we cannot afford to do this for very long, can we? The law doesn't necessarily change, the Government doesn't necessarily reconsider its stand. Do we even understand that at the end of this exercise, even if the Government reexamines this law, it will only be out of frustration and not because it wants to?

As a part of the judicial system, we are responsible for carrying out very important functions vital to the health of our democracy. Let us not make a mockery of these functions.

Yours,
Swaroop

* as it turned out, the matter has now been adjourned to 17th of August. Who knows if both lawyers will be free on that day? What if the judge is on leave? Or the matter is very low on the list and doesn't reach?

Jul 17, 2009

DK Pattammal (1919-2009)


Inta saukhyamani ne jeppajAla,
ento yemo yevariki delusuno.

Jul 13, 2009

Madras

Learning Tamil

So, many years ago, my cousin and I bought Tamil alphabet books in Madras (I lived in Manipal and he lived in Bangalore then) and taught ourselves Tamil reading. We even wrote letters to each other in Tamil (in those prehistoric days of the blue Inland Letter) to practice. But we lost touch with the language after that.

Now, I practice using signboards, bus routes and movie posters. The word I learnt to identify most quickly and accurately in two weeks in Madras is 'Kalaignar'.

Conversations with Thatha

Conversation 1: About six months ago
Two fairly cute chicks walk up the stairs to the second floor. They say, "Good Morning, Mama!" to my Thatha as they climb up. I'm immediately curious.
"Thatha, who are these girls?"
"Oh. They're call girls."
Stunned silence.
Thatha explains, "All-night they sit and take phone calls..."

Conversation 2: Last week
I've just entered home at night after office. A letter has come to me with my credit card bill.
"There is a letter with your credit card bill in it."
"Oh, ok." I proceed to inspect the bill.
"What have you been eating on the trains?"
"Eh?"
Then I look at the bill and realise that all payments are due to "Indian Railways Catering"!

Amma's Question
To her old friend
"So, what does your son's friend do?"
For a couple of seconds, I wonder what it means. Then it strikes me. Friend!

Conversation with Guy at Canteen in the High Court
"Oru bottle thanni kudunga..." (Give 1 nos. bottled water...)
"Cooling la venumaa?" (You want it in cooling?)

Argument with Auto Guy
He: (Check this sentimental argument out) "Saar, we're not going to get rich by cheating you..."
Me: "Then why are you cheating me?" (Take that.)
He: (Damn. I didn't expect that response) "Saar, also... No auto... Traffic... mumble mumble..."

Bus Advice
When you see a bus saying T.Nagar on it, don't jump with joy and rush into it. Taking a bus is like getting into a relationship. If you're not sure of where exactly the bus goes, you could be taken for a ride. For instance, 5B, from Mylapore to T.Nagar goes through Adayar, past IIT, past everything, through Poland, Greenland, and then hits the road coming from Velachery and reaches T.Nagar. Don't take it unless you like to sight some Polar Bears for just Rs. 5 (or you want to go to Adayar or IIT or Velachery).

Conversation with Cousin who's just finished his Twelfth Standard
In stern voice, "So, this Engineering College you want to join... Is it strict? Do they forbid you from talking to girls and using cell phones?"
Taking the bait, "Yes. They are very strict in these matters..."

Conversation on Shaving
To me: "Saar, you must shave everyday and come to office. These two days stubble and all is not good..."
Me, pointing to colleague: "Look at this guy. Always a two-day stubble."
Colleague: "Dude, I shaved this morning. Even then it grows like this."
To Colleague: "You must shave in both directions. Look at my stubble. So smooth... Touch and see." Grabbing hand, "Touch and see."
Me: "Saar, just because the 377 judgment is out-aa?"

Oh, lastly:
Lowely, beautiful, smart, fair, well-educated, superwoman, Madras-but-now-in-You-Yes friend has a food blog. Go check out.

Jun 25, 2009

Shakespearean Monkeys


The three of us are planning a meeting of the Slimes Society of India in Madras sometime next month. Little Boy (the one in the middle) will make a trip to visit us here. Mail me if you want to know dates and plan visit to Madras at the same time. Entertainment guaranteed.

Jun 15, 2009

Nero: Ambalapady (Part II)

Continued from here. Sorry for the delay. Much reorganisation of thoughts been happening over the last few months.
***

Shavasamudra, despite its name, was a cheery beach. It was hidden away from the tourists because the Government promoted Malpe as a tourist destination instead. The name was less deathly, they thought. No one cared if the water was an unnaturally spectacular turquoise - unlike the rest of the coast where it was darker and almost grey. No one cared if the sand was the milkiest of whites - not off-white or yellow. No one realised that harshness didn't come to Shavasamudra naturally - the waves were never harming, and the sun was always tempered. But then, who would want to go to a beach called The Corpse Beach? Who would want to bathe in that bloody water (A poet even wondered if all that blood made it blue. He was clearly confusing water with litmus paper)? Who would want to be at a beach with the most haunting of forts looking on grimly?

It didn't seem to affect the locals. They were there nearly each evening: they all had their routines and their favourite spots where they met and socialised. Many would walk along the edge of the water, the stronger waves kissing their feel lightly. They would walk from the port in the South to the fort in the North or the other way around, a healthy two kilometre walk against a strong sea breeze. A bunch of boys played cricket with a heavy tennis ball on a grassy patch near the fort - they were wonderful players of swing bowling. What actually happened at the beach, though, was a free exchange of gossip.

Stories started in one corner of the beach and almost magically transcended groups of gossipers until the whole beach was talking about it. One man would tell a story to the six other men who were listening to it around him. Then someone walking past this group would spread tell the story to someone else walking in another direction. And with these walkers, it reached other groups and so on.

Like all small towns, Kapmannu had a grand tradition of gossip. Like in all small towns, you couldn't cook payasa in Kapmannu without the whole town smelling it. The grapevine was as complex as it was unreliable - stories were often founded on conjecture, half-truths, legend and myth. Frequently, the source of the gossip changed the nature of the gossip. Veeresh's gossip would have information about which party bought how many cigarettes and paan that afternoon, and how this act affected the story. The seven doctors in the hospital always had medical theories to support the gossip they spread, and the lawyers claimed knowledge of vague properties owned in vaguer towns that contributed to the story.

Embatmuru, the owner of the tea-stall would always connect every piece of gossip with some conversation that happened in his tea-stall. Everything always started there.

Krishnaprasad had come the previous week for his morning tea and idlis when Ramanan entered the stall. Two things were wrong about this - Ramanan never came to the tea stall in the mornings because his daughter made tea for him. Also, Ramanan's eyes looked particularly tired. The first thing he told Krishna was, "I'm still alive, kid!" Krishna took out his revolver and pointed it at Ramanan. They looked at each other menacingly for a couple of seconds before bursting out laughing. Ramanan said, "Six months, kid! The Goddess was wrong!" Krishna finished his idlis, went to the basin to wash his hands and said, "If you keep talking like this, the Goddess will make sure she's right!"

When Embatmuru heard of the murder, he spent the entire morning wondering who the Goddess was, and what Ramanan had done to anger her.

Krishnaprasad was a constable with a theory based on gossip. When his bosses worked out the procedural why and how of the murder, he engaged in the substantial why and how. Krishna knew something about the murder that people around him didn't know. At least, they didn't seem like they knew, else they would have been discussing it.

Ramanan's murder was predicted, actually prophesied, by an Oracle.
***

Krishna still remembered that bus ride back to Kapmannu from Ambalapady. He was a little edgy and worried, while Ramanan laughed away.

"Kid, that guy there's looking at me weirdly," Ramanan laughed, "Maybe he'll get up, draw a dagger from his pocket, and stab me!" Krishna didn't say a word. "You could kill me! You like Lalitha, I know that. But she's marrying the other guy. You could get angry with me for not controlling my daughter, pull out your service revolver and shoot away," he continued laughing. Krishna turned to look out of the window. "Don't take it to heart, kid. I cant say anything to my daughter. I'd prefer you, frankly. That Nero's a bit soft in the head. But I cant force..." Krishna got up and walked to the door. When the bus slowed down, he jumped off. He was at least thirty kilometres away from home. He walked in the opposite direction - back towards Ambalapady.

Buses whizzed past him almost angrily in either direction on the highway. The occasional bike rode on the side of the road, unnaturally close to where he was walking. He tried stopping a couple of cars for a lift, but they didn't stop. An hour into his walk, he jumped off the highway into the fields and waded through the paddy. The mud was wet - it had rained the previous day. He convinced himself that it was a shortcut. His shoes were wet and grimy - it was like he had his own personal puddles to walk in, and despite the fact that he'd folded up his pants, they were fairly dirty too. The sea was a good two kilometres away, but he could feel its presence in the fields. It was almost an hour before he stopped to think.
***

Krishna was never too religious, but he was a bit superstitious. He couldn't explain it. Despite his scientific education - he had a B.Sc in Chemistry - he had this perverse fascination for the occult: the omens, the soothsayers, the predictions, astrology. He read his daily fortune each day in the local newspaper, and lived his life by it. He would choose his coloured banian depending on the lucky colour in the newspaper. He would look for his daily lucky number everywhere throughout the day. If the horoscope told him that he mustn't be adventurous, he wouldn't even flirt with Lalitha. Whenever he travelled, he kept tulasi leaves in each of his bags. He was terrified of black cats crossing his path and lizards falling on him.

Ramanan was the opposite. He read his daily horoscope, yes. But as a joke. He laughed about it and dismissed it. Every time there was a reference to his love life, he announced it loudly to his daughter, "I'm going to find a new girl today! At this age, with this leg!" The local astrologers, who lived in the same part of market street, were teased by Ramanan each day when he passed them on his way to buy supplies for the restaurant.

Krishna went to the Ambalapady Temple each Friday to witness the darshana - the sighting, literally - of the Goddess. The quaint, quiet temple came alive each Friday as one of its Trustees, a man of few words in normal life was possessed by the Goddess. It was a spectacle. Devotees from all around the area came there by about seven in the evening to witness it. On that Friday evening, Ramanan accompanied Krishna to mock the event.

Although he'd been witnessing this each week, the sight never failed to impress Krishna. The Oracle was placed in the centre of the hall where he would be possessed. People crowded around him in an irregular circle, crowding around the imaginary line to give themselves the best view of the event. The Oracle sat down on the floor next to two of the archakas. Some mantras were chanted, mango leaves were used to sprinkle water around the Oracle and on his head.

Gongs were sounded.

Slowly, the sounding of the gongs increased in volume. Gong, Gong. The temple bells added to the gonging. Gong, Gong.
***

Krishna continued trudging through the fields, the gongs still reverberating in his ears. The could even hear the archakas screaming their mantras over the din. He was right in front of the cirle, as he always was. Ramanan stood to his left, muttering into his ear every now and then.

"So, this Goddess, she's going to fly down from the skies?"
"Just watch."
"Ooh. I can see this misty figure flying down from that star there!"
***

The gonging continued. Louder than ever. The archakas were resigned to not being heard over the din. Yet, they shouted as laud as they could. One of them moved towards the oracle and whispered something in his ear. The gonging was louder than ever. The crowd raised their hands collectively in a namaskara. Some of them clapped with the rhythm of the gong. Gong, gong. Others, including Krishna, closed their eyes.
***

Krishna was tired from all the walking. It was unlikely he'd ever reach Ambalapady on this route. He sat down on a rock and removed his shoes. He shouldn't have pushed Ramanan to ask that question. He should've let Ramanan be. But Ramanan wasn't respecting the power of the process, and the only way to make him believe was to force him to ask a question.
***

Gong, gong. Suddenly, the Oracle stoop up and swayed to the throb of the gonging. The crowd imitated his action. They were all also swaying metronomically. The power, the tension was reaching the upper threshold. Ramanan let out a loud, derisive laugh. But everyone else was too involved to notice.

The Oracle let out a loud scream. A shattering sound that signalled that the Goddess had arrived. The Oracle was the Goddess now.
***

Krishna wondered what had made him push Ramanan forward to make him ask the question. Maybe it was his giggling. Or the comments he made. But he didn't have to ask the Oracle that question, really. He could've asked him anything else.
***

The crowd went quiet. The archakas performed a couple of small procedures, before one of them announced, "Ask the Goddess whatever you want to know. Be warned. The Goddess is a powerful being and might be angered by trivial questions. Be warned. The Goddess is frank and honest. She will not hide anything from you simple because it is unpleasant. Don't ask her questions you would rather not know the answer to."

An elderly man was the first questioner, "My granddaughter - when will she get married? Will it be a happy marriage?"
The Oracle replied, in a baritone that the man didn't seem capable of producing, "Next year, before Shivaratri. The marriage will last forever, but how happy it is will depend on how co-operative she is."
The old man's face fell. His granddaughter was probably the rebellious sort.
Ramanan whispered, "Calculated guess. That man's granddaughter is about 25. You can tell from what he looks like. If they're looking for someone, and the way he asked the question, it seemed like they've been looking for a while, its safe to assume they'll find someone in six months - by Shivaratri. The rest of it was vague."


A lady brought a child forward and asked the Goddess to bless him. "He will do mathematics and science! He will do very well!" The Oracle said.
"Right. She looks Brahmin. Half the Brahmin boys from this area do engineering. Its a safe guess," Ramanan said.

"My wife isn't feeling all that good these days. She feels weak and doesn't talk much. What is the problem?" a middle-aged man asked.
"She's been possessed by a spirit..."
"...probably having an affair with the man next door..." Ramanan mumbled.
"...and that spirit doesn't agree with your soul..."
"...it isn't the neighbour, its that business rival..."
"...and your soul will have to consort with hers more..."
"...you must stop having that affair with that other lady and screw your wife more often..."
***

It was that last line that angered Krishna, he was convinced. He wore his shoes again and began walking towards the highway to catch the bus back.
***

Ramanan found himself pushed forward by Krishna, closer to the Oracle than he'd've liked. He was not prepared to ask a question. The Oracle looked dreamily in his direction. One of the archakas prodded him, "Ask! Quickly!"
Ramanan considered for a second before asking, "How long will I live?"
The Oracle considered its response for a couple of seconds, before declaring, "By next Deepavali, your child will kill you!" The Oracle collapsed in a heap. The archakas were too stunned to even rush to his help. The crowd moved away from Ramanan as if he could explode and die at any moment. Krishna was dumbfounded.

Ramanan just smiled.
***

Krishna reached the highway, got into a bus and headed back. He was still unable to think clearly.
***

To be Continued.

Jun 13, 2009

Travel

I'm known for unplanned, impromptu travel. I also consider myself an expert at it. I had to use all my expertise to pull off yesterday's bus journey.

First, I booked a ticket on a KSRTC bus on the internet. The bus was surprisingly empty. Didn't understand why. Then, thanks to some directionless driver and vague dinner plans with Appa, I almost didn't reach the bus stand in time. Somehow, things fell in place and we reached Majestic with time to spare. Had a quick coffee, found the bus and boarded it. A good friend called with some happy news. Discussed it with him, and entered the bus. Conductor ticked off my ticket. Sat at seat number 5.

Suddenly, another middle-aged man came to seat number 5. After a quick check, we realised that my ticket was for the wrong date. I was a day early for my bus.

Asked the conductor if he had another seat. Initially, he said he did. So, I waited in that bus until it was about to leave. Then, the idiot tells me he doesn't have a seat.

I walk out of the bus in frustration and two touts hound me and ask me if I want a ticket to Madras. They said there was an AC bus for 950. I showed them the finger. Literally. Then, the guy said, "Non-AC. 500." I was tempted. I walked along with them, when they started negotiating again, "Saar, 600..." I was a bit desperate and I might have agreed. But some other dude standing far away signalled to me saying, "Don't go."

I don't know why I took that decision to not go. I went to the other dude who found me an AC bus for 600 bucks forty minutes past midnight. Had a chai and illuminating conversation with this other dude while we waited for the bus. Definitely the friendliest tout I've seen in my life. Ismail, his name. I tried out my Hyderabadi on him, and he was excited. "Not bad," he told me, "You can speak passably." He didn't even let me pay for the chai.

I wonder what makes us trust some people and not trust some others.The first two touts were as touty as Ismail. Somehow, I decided he would find me a better bus. And he did. Years ago, I trusted a lorry driver in Anantapur. Then, I knew I had nothing he could steal off me. I had about two hundred bucks in my pocket, I didn't own a phone, iPod, laptop or watch. I was wearing hawaii chappals and cheap clothes. If he was giving me a lift, it was out of the goodness of his heart, I believed. And I was right.

On the other hand, I have made errors of judgment. I once even paid heavily for being chatty with an auto driver.
***

In any case, I reached Madras safe and sound this morning. Was the most comfortable of bus journeys. I'm a little sleepy. Will catch up on that after lunch - one of those rare exceptions to non-afternoon sleeping. And then I shall meet more people and take the night train out. Back to Bangalore.

Random one-day travelling sure is fun!
***