Fear is a good thing[…]fear is what drives us to take risks and extend ourselves beyond our normal limits, and any writer who feels he is standing on safe ground is unlikely to produce anything of value.
– Paul Auster, “Invisible”
I have felt fear this past nine weeks. A lot of fear. I smelled the sulphur breath of a dragon still many miles away but surely snorting in anticipation of meeting me. It was healthy until…
…I stopped writing every day. You may have noticed. The fear became stale and crippling. The sulphur had plugged my synaptic junctions.
My thoughts now stray so far that my hands are always playing catch-up without ever catching up.
So here’s a pensive pause.
I’ll miss looking into you, dear Void, but I need to look into finding fresh fear.
I hope you’ll miss me too.
I shan’t be long.
To feed on fresh fear confidently go Pale Fish to water’s surface
I am posting this on March 9, 2015. A regular Monday. Rape is not just an International Women's Day issue. It is an everyday-of-the-year issue.
Death and Birth of Nirbhaya
On the night of December 16 2012 a 23-year-old woman, a medical student, was gang raped by 6 men in a moving bus in Delhi. She had boarded the bus with her male friend after watching a movie. There was no one else in the bus but them and a group of intoxicated men who were out for a “party”. An altercation between the woman’s male companion and the group led to his beating and her brutal rape. All the while the bus kept circling a strip of highway. The rapists then dumped her and her friend, naked, by the side of the road into the cold Delhi winter night. She died a few days later in the hospital of her wounds. The doctors were surprised that she had lasted as long as she had, given the extent of internal organ damage that she had suffered.
On December 17 2012 when the news started circulating about the horrifying rape and its shocking details young Delhi-ites took to the streets demanding justice for ‘Nirbhaya’, as the young woman was metaphorically named to keep her identity safe. Nirbhaya means “without fear”. The demonstrators cried for justice for rape victims, for equal rights and equal freedom for Indian women everywhere.
The fire spread to other major cities of India. All this is very reminiscent of chapters from our history books on the Indian Independence Movement, and it rightly should because we, Indian women, are still fighting for our independence from the Patriarchal Raj.
The controversial India’s Daughter
When I first learnt that the incredibly insightful documentary series, BBC4’s Storyville, will be premiering a documentary film-“India’s Daughter“-on the Nirbhaya rape case on March 8, to coincide with International Women’s Day, I was nothing less than proud. I was proud of being a citizen of a country which was open to unbiased documenting of an incident that had cast such bad light on its gender values for the world to see; that was mature enough to revisit the trauma, not to rekindle pain, but to educate; was unafraid to expose its weakness in order to give voice to its weakest. Having been a long time viewer of Storyville documentaries and appreciative of its programming quality I knew that the film would be well done (to say the least). I marked the date on my calendar, sent out a tweet about it as a ‘to whomever it may concern’ (as I thought it should concern everybody), and went to bed.
Over the next couple of days I picked up on some odd goings-on. I caught snippets of Twitter chat on…the idiocy of giving airtime to rapists…disrespect to society…the commercial interests of foreign channel…ban of a documentary…
No, it could not be!
Quick searches on Google and Twitter led me to these outrageous headlines,
My pride in my nation was replaced by bewilderment which soon gave way to anger. It seems we are not a rational country, we are an emotional one. The ruling party of India, BJP (which recently cut expenditure on its initiative for rape crisis centre by 92.6%!) was extremely annoyed by BBC4’s documentary and banned it from being aired in India. The reasons for the ban against the film as a whole are superficial, ironically mocking their own logic:
“…rationale that the ban was in the interests of justice and public order as the film “created a situation of tension and fear amongst women” and the convicts would use the media to further his case in the appeal that was subjudice…”
If a convict’s statement of his innocence is considered to be true just because it was on television and on no other merit then our Judiciary clearly doesn’t know how to conduct its business. I think it’s insulting and shocking that that is how much faith the Executive and Legislative branches of our government have on its most precious democratic institution. #JudgesAreNot Stupid.
As the ban was announced the public became aware of the aspect of the film that had stirred up the controversy: giving a convicted rapist (who was driver of the bus), Mukesh Singh, a public platform to profess his views on rape. If you thought that was soul cringing then how about dedicating film footage to the defense lawyers, (so-called) educated Indian men from higher social and financial classes, whose arcane ideas of female decency and role in Indian society weren’t so far away in their essence from that of the rapist’s notions. Now that struck a sensitive nerve. While many applauded the dissolution of the thin veneer of modernisation that Indian society boasts at any given opportunity, thousands took to online forums to voice their anger against the presentation of the film. The director of the film, Leslee Udwin fled the country in fear of arrest and BBC4 decided to air the film early (in the UK) on March 4 stating that the issue had been handled responsibly and refusing to bow down to external pressure. A BBC effigy was burnt in a protest in Varanasi, a sacred city for Hindus as a warning to BBC.
The key lessons that make India’s Daughter necessary
I didn’t want to enter the debate without first seeing India’s Daughter in its entirety since placing judgement on anything seen or heard out of context is much too similar to high school drama for me and I swore to stay away from all that the day I graduated high school.
Although it is the rapist’s voice that has stirred so much controversy making it seem as though that is what the documentary is all about it in fact makes up only for a fraction of the film. Yes, I knew beforehand what he could say in his defense. We’ve been given excuses for rape for a long time and they have come to be used as scare tactics/advice/disguise for misogyny: girl was “under-dressed”; was out late; was “mixing with boys” and other such banalities. So when I considered his statements they did not shock me. I was certainly angry. On the contrary I am surprised by people’s shock at Mukesh Singh’s unrepentant stance. Even those who have seen the documentary and reluctantly appreciate it seem to not understand the impact of the film.
Rape is about power, a misplaced idea of power. Power is the real source of the evil here, as is the case in many other circumstances. (I wonder how many people realize this.) Singh’s statements make this abundantly clear. He still feels powerful because he believes he is right. He believes he is right because we live in a society that propagates the same ideas. Society however does not condone Singh’s and his friends’ chosen expression of power (rape), which surprises Singh because he thinks he was acting within the rights given to him by society. That is a crucial message that hits home and makes the documentary necessary: Indian society as we know it right NOW gives POWER to men and not to women.
Power tends to corrupt, and absolute power corrupts absolutely.
– Lord Acton
Also, I can’t imagine why a man who could indulge in such a heinous act would change his lifelong-held beliefs just because of incarceration. We like to think that if we caught sexual offenders, locked them up, sentence them to death our job is done.
So why should we hear a convicted unrepentant rapist?
Because the solution to making India a safer place for women is not by locking up rapists, it is EDUCATION ABOUT GENDER EQUALITY, and that is the primary lesson of India’s Daughter.
The other major lesson gleaned from hearing Singh speak his mind is that of a sobering reality that exists not only in Indian society but also worldwide, a message that is amplified by the point-counterpoint nature of the narrative. The realization came when I heard from his parents and also relatives of the other rapists: These rapists (or devils, demons, animals, scum as we usually refer to them) are PEOPLE. They are OUR people, born to ordinary folks and who were living ordinary lives. They weren’t born as sociopaths they were made into one. We use language to distance ourselves from horrifying acts and their actors. When we give dehumanizing labels to people we remove society’s culpability. We can then sit proudly in judgement of these “others”. I suppose here’s where many of the detractors of the documentary chime in: “Why does this animal need to be heard?” Because by calling him an animal and giving him a sub-human status we refuse to face the ugly aspects of our species-nobody is above or beyond evil. Scary? Yes, it is. Right now it is scary to be a woman. (What is scarier however is a moralizing government for a seemingly democratic country.)
The main question here is could we have learnt all this without Singh’s interview? Was his interview necessary? I think so. He is a concise representation of the mistakes we are making. Perhaps some of these lessons are out there in the obtuse reviews made my investigative committees and in court documents; social scientists’ theses; lost amongst the indecipherable shouting matches dubbed as TV talk shows; or even rant-y blog posts on the internet. How far and wide would these sources of information reach when compared to an hour-long hard-hitting documentary on cable TV? Let’s take into account here the populace that does not use the internet regularly for social commentary and relies on television for everything.
A lot can also be learnt from the delusional statements made by the defense lawyers (ML Sharma and AP Singh), that are anachronistic to the point of hilarity. Especially when paired with the liberal views of Nirbhaya’s parents (whom we would consider of being from a lower social class and “unqualified”), make for the disturbing realization that India’s gender equality problem is not class-based or educational degree-dependent. How many Indians believe that only poor, uneducated people rape; women are oppressed only in the lower classes of society? Prejudice doesn’t play favourites. We need to stop generalising about our societal problems.
It’s convenient to blame the British for everything
I am also happy to note that India’s Daughter does not generalise. People were certain that a documentary made by a foreigner would provide wrong and overly generalised inferences about the problems in India. The film makes so such claims. It does not spin the idea that ALL Indian men are misogynistic with rapist-like tendencies. Neither did I hear a foreigner’s view on the issue. The film has been produced for a TV show that has a dedicated following. I think if Udwin or the BBC wanted to make money off it then we’d have heard of them submitting India’s Daughter to film festivals. I find this argument highly ridiculous especially given how ubiquitous rape scenes are in Indian cinema. I learnt the word Balatkaar (“rape” in Hindi) synchronously as I learnt Pyaar (“love”).Where did I first hear the term “ Uski izzat loot lee” (“stole her honour“)? It was Indian cinema. There is even a wiki page dedicated to Indian movies ON Rape (which now includes India’s Daughter)! How many generalisations have we gleaned from these other movies and how much money has been made? How much of this went to the supporting rape victims? Also, I don’t think Udwin, who has been a victim of sexual abuse, would make this film for commercial gain (Source: “India’s Daughter” – A Young Woman’s Open Letter to the Prime Minister).
Will giving Singh a public platform encourage those who think like him to rape?
I don’t think it will; but ONLY when put in context of the film. When watching the film I realised that it is Nirbhaya who is the champion here and it is her life that needs emulating. The heart wrenching accounts from her parents and tutor paint a picture in such bold, resilient and joyful colours that Singh in comparison is a dull, ugly blotch. His act and his ideology pale into nothingness in comparison. The film crew have not been “disrespectful” as touted by many before the film’s release. They haven’t killed her memory. They have immortalised her achievements and her person forever. Even though there is quite a bit of eulogising in the beginning of the film towards the end we see Nirbhaya simply as a daughter who was taken away, in the most horrific manner possible, from her parents. She is the average Indian woman that we can relate to.
However over the past week we have just been hearing about Singh’s statements. He has received more publicity than ever before. If we were to believe that “publicity of rapist can entice rape” then the ban and the media circus that ensued has done more to further this cause (dubious as it may be) than the movie could ever have. Ironically the ban intended to protect our society has silenced the one who needed to heard the most: Nirbhaya.
Why should you want to watch India’s Daughter?
Because only by facing your biggest fears can you fight them.
To talk about things that make us most uncomfortable because that is how we tackle ignorance.
Because you need to know that every woman in India country is disempowered right now.
To realise that the ban is a myopic stand taken by a government that has essentially shot itself in the foot. (For more on the incredulous reasons given by politicians for the ban please read the op-ed piece (“BJP Government, Don’t Embarrass India“) authored by writer, ex-diplomat and politician Shashi Tharoor.)
Your parents remember you, Nirbhaya, in the name they gave you. They call you Jyoti, “light”, that was born to remove darkness from their lives. I use your name now because your parents think that you, as a person, should be remembered in as much detail as your death, if not more. You have achieved more than what your parents dreamed. You have brought your searing light to our entire society, to burn through prejudice and patriarchal interpretation of Indian cultural values. You have made me nirbhaya to carry your jyoti for the freedom of all women. I don’t know what you looked like and I don’t need to. I see your face in every woman. Those who have missed the point of the documentary on your life and death have missed the point of all revolutions: to depose oppressive ideas by public activism.
When you ask me to revise a poem you ask me to meet again the Muse who seldom responds to invitation. She comes in suddenly through the door left open, announcing Her presence with words that have never sat together before. She says what She has to say and goes quiet; goes away or gets broken down into elements of the universe that I absorb without an intent.
Where am I to find this forceful genius?
I’ve been told to look for Her in spaces in-between words and lines, rhyme and rhythm, movement and breaks, language and sound. But I don’t find my Muse there; I find a key in a foreign language to a map that She drew.
Is She hiding in the white glow that lights my keyboard when I switch on my workstation? So, I should work and work and work on my verses. Or, is She in the deep breath that helps me ease into sleep? Then, I should breathe and breathe and breathe with my eyes closed to trick her into appearing. Perhaps it’s She who is the trickster: a mirage; a playful spirit that whispers in my ear. In which case I am cursed with the burden of loneliness.
With or without Her it seems it’s going to take a lot of time to re-see a moment that no longer exists, to re-write it in a way so that it exists forever.
I am beginning to grapple with the abstract idea of “completion” in creative writing which seems even murkier when talking about poetry. I read recently that “a poem is not truly finished until it has been seriously revised” and also “be wary of a poem that appears to be finished“. Statements that, as an amateur with 8 weeks of formal education in poesy, I find contradictory.
I need to also say that the poems you have been reading on my blog are not “seriously” revised. They have been written quickly, in a matter of an hour to a few hours if the form is tough (the Sestina, which is one of the hardest forms, took me about 12 hours). These poems are here more or less as they came to me. Now I am considering that all of this work here is a) probably unfinished, which is not a bad thing as, Da Vinci once said, “Art is never finished, only abandoned” and b) not good, trite, tripe. It’s making me question the quality of my natural skill for this art form. Though at present I am depressed by the thought, I am hopeful that I can see this as something to learn from; that all this self-doubt will make me a better writer and that it is a natural process. I hope it happens sooner rather than later because my Muse seems to have gone into hiding for fear that I will doubt Her every word and I cannot sleep because thoughts only She can give birth to have grown louder in my head in her absence.
I have received only love from this wonderful blogging community, for which I am immensely grateful but this post is not about wanting an ego-boost. At this point I just want to learn from you, specifically about the role of revision in your creative process. Any and all thoughts are welcome from everyone, poet or not. Who knows who might be inspired by your comment!
Here’s an example of the creative process of the great Walt Whitman,
Summary of the manuscript (from Boston Public Library)
Written in Walt Whitman’s own hand, this early manuscript version of To a Locomotive in Winter shows Whitman’s creative process as he revised and reworked the poem, changing words and even pasting paper overlays of new passages until he was satisfied with the result. This manuscript poem is dated February 23, 1874, but Whitman continued to modify the text and it was considerably altered when published in 1876 in Two Rivulets, a companion volume to the 1876 edition of Leaves of Grass. This poem was republished in the 1900 edition of Leaves of Grass, well after Whitman’s death.
speaks volumes about
When made silent the message
screams ferocious fear.
This is a shadorma which I wrote after reading the following quote,
In this latest video, an unidentified man says Islam calls for the destruction of all idols. The museum worker was dismissive of this piety, saying the militants “don’t care about the statues” but rather are trying to “send a message to all the world.”
We welcomed the new year from a chalet, looking over a vast valley sparkling with the fluorescent lights of alpine villages. We had the Milky Way above and its poor but deeply enchanting reflection below us. At midnight the villagers lit their fireworks and we opened our window to let in the sub-zero winds that carried the crackle and pop of communal cheer. We saw before we heard. We felt before we saw. We then turned out our lights to watch and listen. There is something so poetic about seeing light suddenly emerge from darkness. It kindles an emotion of pure joy in me. I wonder if that is a remnant of my very first experience of light, as I emerged into it almost three decades ago.
Colour is the touch of the eye, music to the deaf, a word out of the darkness.
– Orhan Pahmuk, “My Name is Red“
Entry for Weekly Photo Challenge: I consider this moment the greatest reward for not having subjected us to the tyranny of a typical "New Year Party".
Here’s my second attempt at Erasure Poetry which is a type of Found Poetry. My first attempt was just an abridgement of the text!
I have used the text from ‘The Voyage Out‘, the first novel by Virginia Woolf from erasures.wavepoetry.com. It’s a useful website with a number of interesting texts (and poems derived from them), to practice erasure poetry. I don’t know how much I’ll pursue this particular form but I have tried another way of jumpstarting my creativity by fusing free-write and found poetry which was rather fun (poem: Ramble On! Sing That Song!).
The sun down, dusk at the
hours to kill-
coffee and cigarettes,
had been fed
in the lion-house,
hippopotamuses, swine, some loathsome reptiles–
points at you
them, that fixed
attention too far
I lost my dreams in between these mattresses
we share. The gap is pressed against my spine
and I wake up feeling disjointed. Sensory
elusion, recession at this gorge-made of bed sheet-
marking our sleep, where dead cells accumulate.
Vertical blinds open at one slat allow
light through without interference to light
the room in grey tones. My right-foot heel
is stuck in the enveloping gap between
our mattresses. I bend my toes in unison
and then stretch them out to get blood going.
I lost my dreams in between these mattresses
we share. I stretch my arm over on your side
to feel the impression of your body and it feels warm.
My arm flails ruffling the sheet and your duvet is far.
In an awkward angle I find your pillow,
and I bring it to my face and inhale your new-age
man musky sweat smelling of AXE power and Gucci
‘Made to Measure’ and this gap between our
mattresses widens as I shrink. I fall into it helpless
remembering your curved spine for which
I’d cross this gap each night.
I lost my dreams in between these mattresses
we share but grasp at this illusion of poetry
I found in waking up without you.