Aug 27, 2008

The Love Theme in Ritigowla - Part IV

All the parts are together here.
***

"Hi!" she said.
I'd been waiting there for nearly an hour. I was too eager to meet Ni and turned up disgustingly early. She was half an hour late. I spent most of the one hour glancing curiously at these two guys who seemed to be rating each woman at the cafe. They weren't being to discrete about it, but none of the women noticed them. They'd look at her, and then look at each other, say something and turn to make notes on the paper napkins. I was staring at them, when they froze. They suddenly seemed speechless. I turned to see what they were looking at, as Ni walked in through the door. She had that effect on people.

She wore a green top and brownish skirt, and looked a little like a tree. I had never seen her in anything but a sari before.

"Hi!"
"Been waiting for a while?"
"Nah. Five minutes or so."
"So, you've been here for about an hour."
"No!"
"I can tell when guys lie."
And there it was again - the shimmer in her eye, and those eyebrows that seemed to have a life of their own. I smiled wryly.
"You wanted to tell me some stuff," I said, not wanting to waste time.
"Oh yeah. Why I disappeared. Yeah."
And then she went silent for about ten seconds. I didn't mind. The longer she took, the longer I could legitimately stare at her. Her phone beeped just as she was about to talk. I noticed that she had the most exquisite hands in the world. I hadn't felt them yet, but I could tell that they were really soft. Yet, there was a firmness to the way she held her phone. Her fingers, furiously typing a message, moved with such artistry and finesse, that they would have put the best dancers' feet to shame.

She put her phone down on the table and said, "Yeah. Why I disappeared."
"I got that part."
She smiled, and her eyes darted mischievously in my direction. The Love Theme in Ritigowla played automatically in my head - the Hindi smash hits from the Coffee Day speakers were drowned out.
She spoke, "I had this feeling that you had romantic intentions."
I didn't fully understand what she meant. But before I said anything, she continued, "I mean, you were interested in me. Or at least, I got that feeling. And I was with Anand by then..."
I laughed my fake laugh and said, "That's ridiculous! I had no romantic intentions."
"I can tell when guys lie."
What did she have in those eyes? It felt like she could actually see through you with them. She said something more, but the Love Theme was so loud in my ear that I couldn't hear it.
"You don't believe me?" I asked.
"No, I don't."
"I asked Sharanya out that very night. I'd been interested in her for quite a while."
"So, when I disappeared, you thought you might as well do something about it?"
Those eyes were at work again. I laughed again, and this time my laugh convinced her.
"So, you were in love with her!"
"Yeah. But I think the love's sort of fading now." I wanted to smack myself on the head with a violin for saying that.
"That happens, I guess. I broke up with Anand a month ago." That image of Watermelon rolling down the hill flashed before my eye again.
"Love faded?" I asked her.
"Not really, we still like each other. But its unworkable."
I didn't ask her for more details, and she didn't seem too inclined to offer more to a guy she's meeting for the second time in her life.
***

I spent most of that music season trying to guess what concert she would be at. I got very good only towards the end. The December Season just isn't long enough for a romance - especially if I'm the guy.
***

Despite everything that was not going for us, Sharanya and I managed to last for nearly a year. When it ended, we were too jaded to even have a fight - we'd prolonged the inevitable for too long. We were on different tours when it happened - I was in the Western Ghats in Kerala, and she was in Dharamsala on the Himalayas. We had always operated in different altitudes.

She sat in a rundown internet cafe on the main temple street of Dharamsala and composed the email ending everything. She talked of how all the trekking gave her time to reconsider relationships in her life, and that it was clear that ours had to end. Ours was probably the easiest relationship to sort out for her. Her father left home when she was seven, and his whereabouts were unknown. Her brother was last known as a small-time crook in the seedier areas of Bangalore, working his way through the ganja business.

She walked through the arrival gate at the Delhi airport when she saw a cab driver standing with a board that had her father's name on it. He had a very common South Indian name, but she decided to wait anyway. His flight arrived an hour late, and Sharanya went through a range of emotions - from curiosity to nervousness to anxiety to doubt. Would they recognise each other? Would he choose to recognise her? What if there is another woman with him? What is he like?

A man in very British clothing emerged through the makeshift gate - the airport being under renovation. In a bowler hat and overcoat. It was like he was on the sets of some old movie. She took some time to recognise him, he didn't take even a second. Without warning, he took her in his arms, like when she was seven and tried lifting her. Laughing, he said, "Oh, you've grown heavier!"

She never told me where he was all those years, or why he had come back, or why he was suddenly this friendly with her. She spent a week with him in Delhi, before deciding that she needed some time to think her life through. She was walking down Janpath when she saw a bus leaving for Dharamsala. Quick enquiries told her that there were lots of seats empty on the bus. She took it.

By the time she came back to Delhi, her father disappeared. As far as I know, she never met him again.

For months, I asked myself why I'd let Sharanya go. She was almost perfect. She read a lot, watched the coolest movies and plays, and was a regular on the Madras fabindia-wearing, coffee-drinking, pontificating circle. She was really pretty, smart and had a great sense of humour. She wrote very well. She had fervent opinions on everything - she once passionately argued with me on why water was better than toilet paper. Neither of us had put enough effort into keeping the relationship going - it started on a whim on a drunken evening, and we spent the year behaving like that drunken evening never ended.

I was fifteen kilometres away from getting network on my phone - only BSNL provided network to the elephants, bisons and the tigers in the jungles of Kerala. Four friends, three guides and I sat on a fallen branch of a tree waiting for elephants to pass. The elephants ate with great care - plucking grass out of the earth, cleaning it with dextrous flicks of the trunk and depositing them in their large mouths. Something told me one of the elephants wasn't enjoying its grass too much. I don't know why I got that feeling - maybe it was the little shake of the head each time it digested one lot of grass, or maybe it was the fact that it tried cleaning the grass for too long. Clearly, It was only eating here because it was lazy to find better grass.

They seemed to eat forever while my thoughts wandered.
***

"God, you're incompetent!" Sharanya said.
"This guy's bowling really well, di. I cant read the spin from his fingers," I replied.
The bowler, a twelve-year-old kid, who could bowl seven different underarm spin variations with almost no change in action, laughed. She snatched the bat from my hand.
"Seven runs in four balls!" the boy announced. Tension mounted as close-in catchers waited for the one-tup catch. She took her stance - its languorousness matched Laxman's. The first ball was tossed up. It hit the cement floor. She moved towards it spryly and hit off the front foot. The ball spat off the pitch and beat her outside edge.

"Seven runs in three balls!" the boy laughed.

She took her stance again - I could watch her move all my life, it was so gracefully unhurried. The ball was tossed up again. This time she moved back, waited for the ball to jump off the track, adjusted her shot late and punched it between two cover fielders who fetched the ball as it rebounded off the far wall the marked the boundary.

"Three runs in two balls," the boy said and added, "Akka, if you hit it outside the wall, you're out!"
"I know."

The next ball was the deadliest - the boy maintained that even he was never sure of what it would do off the pitch. She countered it in the most obvious manner - she took it on the full and guided it through mid-wicket. The ball reached the boundary in a hurry. Ravi Shastri would have spoken of tracer bullets. She handed the bat to the kid standing at cover and walked away triumphantly. I remember being bowled over by her sheer coolness.
***

Pluck, flick, chomp.
***

"When you go away, it feels like someone's reduced the colour setting in the world with a remote control."
"Yuck. But I can do worse. When you go away, a thousand needles pierce my heart, rendering me lifeless..."
"...and you come back to life with my magical kiss..."
"The kiss that causes whirling winds, lightning, rain..."
"The romantic sort of rain."
"The sort that comes in just when the hero and the heroine feel deep love for each other."
"Like we're feeling now."
We laughed until we drowned out the radio playing in her car.
"I love you."
"I love you more."
"Impossible. Nobody can love someone as much as I love you."
"You don't know me."
"Always a step ahead of me, eh?"
"Please tell me we aren't going to fight about this."
Without warning, or saying a word, she kissed me.
***

Pluck, flick, chomp. Now, a group of wild boar sauntered along purposelessly.
***

"Ah, you seem to have settled down with this girl."
I smiled.
"So, I can leave?"
"Why do you have to leave? And, where does your sort leave to anyway?"
"We don't leave. We're always around. But I might not talk to you as much."
"Kaishiki, no!"
"Don't worry, you'll manage fine."

Amma walked into the room, "Who were you talking to?"
"Phone."
"Oh."
***

Pluck, flick, chomp. The elephant that didn't like the grass settled himself in a corner next to a rock. I couldn't tell the grey of the rock from that of the elephant. The boars walked around as aimlessly as ever.
"Dude, it'd be awesome if Obelix jumped at the boars from behind that rock!"
***

"Why are you lying to me?"
"What?!"
"You have no composing assignment. You're just hiding, that's all."
"You were there when I met that guy the other day. He said..."
"He said that if the two guys he has in mind don't take it up, he'll give it to you."
"But I have to be ready. And, in any case, its good to keep a couple of pieces ready."
"You're just using this music excuse because you know that when you're with your music, I cant be around."
***

She was right. That's where the screw up came. Pluck. She had everything going for her. Flick. Except the fact that she was musically uninclined. Flick again - man, this piece of grass is dirty. I think she wasn't too badly off musically - I mean, she danced well, and had a decent sense of rhythm. Chomp. She just came under too much pressure from me.

The elephants walked away after their hearty meal. The one that thought the grass wasn't good enough, gave the grass some thought. It wasn't too bad. It was quite good, actually. Just that, he'd closed his mind - he'd always thought it was greener on the other side. The Love Theme in Darbar wasn't bad at all, but Ritigowla just seemed better.
***

It was mid-June and I was in Trichy playing at a concert when my phone beeped on stage, leading to some hasty movements and turning off. Anna had travelled to the US with my teacher, and was supposed to come back around that time. I wondered if it was him.

When I opened the message after the concert, I read, "I heard you tackled point a!" The sender was Ni. I didn't realise what she meant for a while. When I did, I replied, "Yeah. Two months ago... Who told you?" "Your brother - I went to the US to play in the same set of concerts." "Now tell me - what is b?" "In person. Come to Bangalore if you really want to know."

I didn't even pause to reply to the last message. I packed my bags hastily and headed to the bus stand. The next bus to Bangalore left in ten minutes, but there were no seats on it. I bribed the conductor who let me sit with him and the driver in the front. This wasn't going to be a pleasant overnight journey.
***

To continue.

25 replies:

Anonymous said...

ufff, the 'almost perfect' sharanya vs. the back in the middle of the rainbow ni?

theres nothing to beat this mushiness for a muchly marriedly matron. are you diversifying into classical carnatic musical m&bs, sir?

*not that one is complaining* ;)

Anonymous said...

Just letting you know that I like. :)

s said...

the problem with reading a good series, one realises, is that it is difficult, after a point, to to say "THIS WAS AWESOME" in new and original ways. that is, for people like me, anyway.

aandthirtyeights said...

@shankari
haha! you think the M&B guys would hire me? I'd be thrilled to write soft porn for women!

@disktop, s
thanks!

Anonymous said...

gud stuff! i totally identify with sharanya...

ad libber said...

The more I read about Sharanya, more I dislike her (the feeling, let me assure you, is completely unjustified). So yay :D

This is not Mills and Boons yet. The porn part is yet to arrive. Also the parts describing the golden beauty of the male when his hair falls over his eyes while the evening sun casts a soft glow on his bronzed arms.

aandthirtyeights said...

@anonymous
Heh. Who are you?

@ad libber
Ah. Maybe I should include a sequence where the narrator finishes his bath, and towel-clad stares at himself in a full length mirror and admires the tubelight casting a glow on his bronzed arms.

ad libber said...

Now that is your mills and boons,even if it sounds awfully like that song in Saawariya.

Sharan said...

genius! esp loved the pluck, chomp, flick part. and the random conversation with kaishiki. brilliant! almost as good as part one-- might even be better, but for the "modal bhaga" syndrome ...

aandthirtyeights said...

@ad libber
Ah. We have the knacks for these types of things, don't we? :P

@sharan
"Modal bhaga" syndrome andre yenappa?

Anonymous said...

Wish the book deal was mine to offer - esp. since there are teasers of scantily clad virile men rubbing themselves with towelling material.

*sighing and starry-eyed*


Meanwhile, the happy news is that you've got an Award. Yaaay!

Check it out at my blog and carry it onward please.

Sharath said...

Hi Swaroop,

First of all, I am Sharath, and I came here through Ritika (Palit)'s page...and no, you don't know me :-)

Something I noticed about your dialogue: It is full of what people usually call "ping-pong" dialogue...the sort of dialogue that works in movie scripts but not stories...let me give you an example...

"Hello, Ram."
"Hello, Shyam."
"How is it going?"
"Not bad, how are you?"

That's "ping-pong". Works in movies because people can SEE what's going on. In stories, it's usually a good idea to add some more information.

"Hello, Ram," Shyam said, nodding at the approaching figure.
Shyam shrugged. "Hello."
Ram said, "Howz it going?"
"Not bad," Shyam said, though the way his long-drawn eyebrows told a different story.

You see the difference, I am sure. Now I don't know if this is a habit or if you were DELIBERATELY experimenting with ping-pong dialogue in this story, but I thought I should point this out.

In passing, there are some situations where you WANT to write ping-pong dialogue...it's good to mix and match. Your fiction will be richer then :-)

Hope this helps a little...

Yours
Sharath

aandthirtyeights said...

@shankari

Thank you, thank you! We shall accept the award, and award it around.

@Sharath

Hey, thanks a lot for the feedback. This ping-pong style that I often use is inspired directly from the films of Howard Hawks - stuff like Bringing Up Baby, The Big Sleep and His Girl Friday. For me, the magic of dialogue lies in that wit and pace - it is a personal preference that's crept into my writing.

But yeah, point taken. Too much pace isn't always good. Speed thrills, but kills.

Sharan said...

modal bhaga is modal bhaga. title self-interpretable. if i explain, then you'll allege me of spewing out more fundas, theory-a-minute. etc.
and one more theory, just for kicks:ping-pong dialogue(again title self-explanatory-- not self-interpretable, for it is, in my opinion, stupidly obvious, unlike how titles should be), fits the way you write... many readers anyway skip the "he said, digging his nose" part in a dialogue. furthermore, it slows down the racy pace of the way your stories are told. and for the intelligent reader, who reads adding the lines, he can always imagine what the characters are doing-- i like that freedom :)

Sharath said...

Hi Swaroop,

Sharan has a point, too. Dialogue should IDEALLY convey emotions just through the words of the characters. And as he says, intelligent readers can often imagine the words being said without you having to insert a tag.

But sometimes you as a writer may want to have your character say something IN SOME PARTICULAR WAY. For instance, the character is just saying "Hi." You could say something like:

Swaroop said, "Hi!"
Contrast that with this:
Swaroop took one step closer to her and folded his hands. "Hi."

The second approach adds more detail to your narrative. Your reader sees Swaroop as YOU want him to see. In the first instance, Sharan might think Swaroop waved when he said the words, I might think he yawned, or someone else might think someone else. In the second instance, there is a lot less room for interpretation. You as a writer are guiding your readers in a much more involved manner.

It's not just the slowing down of narrative. It's the detail. And detail is the lifeblood of fiction (as I remember reading somewhere).

But having said that, though, there are instances where you want the story to be pacy, so you DELIBERATELY use ping pongs. I'm not saying don't use it at all. Just use it in moderation.

This is not a criticism of your work, just something I noticed.

By the way, I just wanted to ask you something. Do you write just for fun or do you harbour dreams of getting published some day?

I am working on a novel myself and I am desperately on the look out for people who're in the same boat as me. You know, just for some mutual back-slapping when the going gets tough :-)

Sharath

Sita said...

so you. i know you've said not really and everything. but the dialogue, the descriptions, the pluck, flick, chomp.
also, about the ping-pong dialogue.. i think it gives that much more space for the reader to create her own visual imagery. it's not always necessary to elaborate, and that's the beauty of that.

aandthirtyeights said...

@sharan
Pah. Why is everyone doing this to me? "I shall not say X, because you'll react with Y!"

@sharath
"The second approach adds more detail to your narrative. Your reader sees Swaroop as YOU want him to see."
I think that's where the difference of opinion lies. Often, I don't want the reader to see things the way I see it. I like that ambiguity.

I could easily annotate this to make the reader see what I see. But readers would have had conversations like this, (please tell me I'm not the only one!) and they'd like to imagine it in their own way. I mean, even something as basic as what the mood for those lines is - are they being romantic, or are they saying it in a mocking-ish fashion? These are questions that I want the reader to sort out for herself.

Or, from Subtle Subramanian - what does Lila look like? Does she have curly hair? Is she fair? Does she have a sharp nose? Lila's such a perfect woman, that I want the reader to picture the Lila he/she can identify with. It calls for an input from the reader, and I'm all for that.

Again, an example from the movies - there's a scene in Bergman's much maligned Persona where one of the protagonists is describing a random orgy on a beach to the other protagonist. It would have been easy for Bergman to show this as a flashback, but he chooses not to. The details of the event are very sparse, yet, the images of the incident are striking in my head. I'm no Bergman, but one must make attempts.

I was writing a novel, but its sort of shelved now. Its going nowhere. And other things have taken up too much time. In any case, you want some back-slapping, mutual or otherwise, feel free to mail me - swaroop dot mami at gmail dot com.

@sita
Heh. I've got very very reliable feedback that the narrator is much more likeable than me because he's not afraid of accepting that he's a chootya, and I am!

Sharath said...

Hey,

This sounds so much like an argument between a screenwriter and a book-writer :-)

The thing about movies, and about the scene you mentioned that had a striking effect on you, is that viewers have quite a lot of sensory information to pick up on. For instance, if we take the scene you mentioned (though I've never seen the movie), you had the body language of the speaker that you could see, you could hear the tone of her (or is it his?) voice, how the scene was lit, the position of the camera, and of course, the background music (or lack of it)...so the "striking effect" you described came about as a result of the combined effect of all these things, IN ADDITION to the words themselves.

Screenwriters know that. They know that their writing is only part of the whole package, so they keep their dialogue very crisp. Having said that, though, good screenwriters write very detailed scripts on where the camera should be, how the expressions of the actors should be, what the tone should be, how the lighting should be, etc etc.

But they don't have to. When you're writing for screen, you can get away with using a lot of dialogue with no action tags at all, because the viewer will see the action in addition to listening to your words.

But for poor writers like you and me, we ONLY have our words. We have to invoke mood, develop characters, advance our plot, and create suspense while doing it - and all this using our words.

So don't take inspiration for your dialogue from a movie, unless your ambition is to become a screenwriter. Take it, instead, from your favourite book. Read any published book and see how much ping pong dialogue they use. I've done it, and I know from experience that it's very minimal. Hardly any writer I know uses it as their staple "form" of dialogue. They always have action tags, little bits of body language, a facial expression here, an adverb there, a grunt here, a snort there, a crossing of legs here, a ruffling of hair there.

So why do writers do it, when they can just write dialogue snippets and leave everything to the imagination of the readers? Because that's the whole point - you're creating a world for your readers with your words, and you want that world to be detailed, so that the deception (so to speak) created by your words rings true.

Besides (jeez I am going on and on and on!), your dialogue helps you characterize. If your character says, "Kiss me!" some of your readers might think she is on her knees begging, and some might think she is gripping the collar of her man and pulling him towards her.

So some of your readers will perceive your character to be weak and submissive, while some of them perceive her to be strong and dominant. So if your story later turns on the woman's character, half of your readers will feel cheated (assuming there are only two possible interpretations of that sentence. I can think of at least five as I type this, but you get the point).

Alternatively, if you had said:
"Kiss me!" she pleaded.
OR
"Kiss me!" She dug her nails into his shoulder.

You are creating a character. Your readers will instantly see the first as a submissive character, and the second as a dominant, demanding person. So when you later make a plot twist based on this woman's character, your readers will be with you all the way. There will be no inconsistencies, and no muttering swear words :-)

But hey, I agree with you that readers should do some of the work, but as a writer, you should do some of the work as well, right? :-)

Unless, as I keep saying, you're writing for screen.

By the way, all of this is something I learnt only over the last year or so, and I am still striving to implement it in my own writing (which is not easy), so don't take all this as a personal criticism. This will make you a better writer, full stop.

No hard feelings :-)

Sharath

Notice, also, that if you were writing for screen, all you would write is "Kiss me!"

aandthirtyeights said...

@Sharath
You're right - I haven't read any writer who uses this much ping-pong dialogue. In fact, I don't think I've read any major writer who uses this much dialogue. But this is an experiment that's worked for me for some time now (Or so I believe!). The problem with a blog is that when someone doesn't like something, they usually don't leave a comment. But people who do tell me things say they really like the dialogue (some readers complain that all characters have intelligent things to say), which is why I haven't been changing anything there.

In any case, I will try out what you're asking me to.

Sharath said...

Haha, I know what you mean...that's one reason I stopped writing blogs and reviews on the internet...after a while, you only get positive comments, and that can lull you into a false sense of security...

That's why I am on the lookout for communities that can offer "proper" criticism on what I've written...and pass judgments on how "publishable" my work is...that's why I sent my first novel out to publishers without showing it to any of my friends...and it has come back from two publishers already, rejected :-)

So now I know I am probably not good enough, and that I have to improve if I have to publish...though it's good to have some support and company on the way...that's why I asked if you were one of those writers who wish to publish...

Anyway, on a totally different note, if you fancy entering a flash fiction competition, have a look at this...a 500 word short story...I am sending a couple to this one...I recommend you do, too :-)

http://livejournal.caferati.com/

The deadline is on the 7th September, so hurry! and pass it on to any of your writer friends on here...

Sharath

aandthirtyeights said...

@sharath
I've entered the competition. Was one of the first 20 entries, in fact! A really bad entry, but "Journal" is quite a boring theme... (At least to our writers-blocked brain!)

Sharath said...

Oh, you have...that's good!

I've already written a couple for this...and I have an idea brewing for a third...which I am probably going to write by the end of today...

Maybe we can compare notes after the seventh of September :-)

And, have any of your other friends entered it? We should all get together and chat about it sometime, I think.

Oh, one more thing, the other day, while I was writing my comment to you about how my novel was rejected (ironically), I got an email from an agent asking to see the full manuscript (I'd sent a proposal to her a couple of weeks ago)...so yeah, a confidence booster right there :-)

Sharath

aandthirtyeights said...

Don't know if any friends have entered it. Yeah, we can exchange entries.

And congrats on the book! Keep me posted on developments.

s said...

what i like about ping pong dialogue is that way you tell the reader exactly nothing about the people involved except in the way that the others in the dialogue see them. there is no impersonal narrator. and it makes writing it a hell of a lot easier. though its a pain to think of proper dialogue, i really like writing it. on the other hand, whether people like reading it is a different issue, and one that i will delicately let slide :p

Sharath said...

Hmm, just in passing, I remember a story Hemingway wrote COMPLETELY in ping-pong dialogue about a couple discussing abortion...and I remember noticing that the word, "abortion" does not appear in the entire story...

I don't remember the story's title, though :-/

So ping-pong dialogue, done well, can be, and often is, beautiful. But I would advise beginning writers (and I am one of them) to stay away from it.