Time

Tonight, the moon shines
Just like a decade ago
With a little fire, glowing yellow
Setting memories aglow.

At my bedside, a lamp comes alive
After long; golden lines slanting
At a familiar, pleasing angle
Gazing upon these words, knowingly.

Dusted and brimming, nostalgia
Arrives — moments beam up
Floating slowly through this
Tropical air — and it is a moment, pregnant.

This rain, enthusiastic, torrential,
Seeped with the spirit of another time,
Awakens a longing, tugs at my heart,
Turns my soul on.

So much the same, so fleeting
It remains. This night must
Not leave. For as dawn encroaches,
I’ll be lost, my past vacant, yet again.

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Static

The drum stick ricochets off skin

Like the flutter of wasp wings.

They dance – thrust, throw, shove, grind –

Frenzied, hurried. Dirty

They’re pigeons in heat.

The tiny hair on their cheeks has risen.

Accidents happen – gaze, chests, bottoms, lips.

Around them, within them, their own blood

Turns to sweat. The air turns musky;

Their voices, husky. Zoom in, out of focus.

There’s nothing but the sound of them

Breathing. Nothing; but them. 

Small town life isn’t always as idyllic (read boring) as it seems

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(This is partly a review of Ruskin Bond’s new book Tales of Fosterganj (Aleph), and partly a trip down nostalgia, reliving my time at Landour, a small hamlet in the hills of Uttarakhand and, more importantly, Bond’s place of residence.)

Landour, the home of writer Ruskin Bond, is decidedly a sleepy little hamlet. If you travel far enough up the cantankerous Mall Road of Mussourie, you will reach a narrow, winding little street, along which sit four tiny shops selling everything from shampoo sachets and tooth-brushes to excellent waffles,aloo paranthas and vanilla shakes.

If you sit here for a couple of hours, you will eventually sample their best teas and coffees, have meandering conversations with residents of the town, and even be offered lessons in Hindi by a Caucasian woman from one of the Scandinavian countries. Sundays see perhaps the most amount of excitement, as almost the entire population, numbering a few hundreds, turns out for Mass at St. Paul’s cathedral next door.

If you go beyond a two- kilometre radius from this point, there is nothing but wind-washed pine trees, long winding roads, panoramic views and a deep peaceful silence to keep you company. Landour is just the kind of place you’d want for a quiet vacation, where nothing really ever seems to happen.

The Fosterganj of Bond’s latest novel is deeply resonant of his chosen homestead. “Straddling a spur of the Mussourie range, as it dips into the Doon valley, Fosterganj came into existence some two hundred years ago and was almost immediately forgotten…a cluster of modest cottages, a straggling little bazaar, a post office, a crumbling castle, a mountain stream at the bottom of the hill, a winding footpath that took you either uphill or down…It reminded me a little of an English village, and indeed that was what it had once been; a tiny settlement on the outskirts of the larger hill station. But the British had long since gone, and the residents were now a fairly mixed lot, as we shall see,” begins our protagonist, a writer in search of a quiet corner and some recluse from the bustle of the big city.

Charmed by the apparent stillness of Fosterganj, he rents a room above the resident baker’s shop-cum-home; and makes friends with several very interesting oddballs rolling about town: Foster, the impoverished “landowner” and mendicant, the namesake of the town, who spends his time gardening, thinking up elaborate schemes to make some money that he will then spend on his daily ration of cheap whisky; Hassan the baker, the silent, wise watcher with a brutal history and whose 11 children are a constant source of amusement for our protagonist; Vishaal, the diligent banker and accountant rolled into one, taking care of everyone’s financial matters; and Sunil, the local thief who tries to turn over a new leaf by catching lizards for a man who makes saande-ka-tel that promises to make the user’s sex life a whole lot better.

What follows are adventures of all kinds — from serious threats like a spate of rabies and man-eating leopards, to a silly scramble for lizards all over the hillside — that constantly defeat the writer’s claim that nothing ever happens in Fosterganj. Among all the stories that he becomes a part of, the one about the ramshackle castle lost in the woods stands out, even in his own experience. Occupied by a strange mother-son duo that claims to be relatives of the royal family, the place is deliciously haunted, replete with ominous crows on windowsills and skeletons inside the king’s bed.

The story of Fosterganj, then, is the story of the people that inhabit it. Building narratives around a space is a fairly popular trope — the stories in R.K. Narayan’s Malgudi Days reveal this fictional village in south India through the eyes of a group of schoolboys; Elizabeth Strout’s Pulitzer-winning Olive Kitteridge does the same for the coastal town of Crosby, Maine, through the complicated but unconnected stories of the brash junior high school maths teacher. Sherwood Anderson’s 1919 classic Winesburg, Ohio is the story of this town told by George Willard, who spends his childhood and young adulthood in the small town; Siddharth Chowdhury’s Patna Roughcut brought the capital of Bihar to life, lending it a degree of exoticism, when seen through the eyes of Ritwik Ray, the reporter who has returned to his hometown fresh after completing his master’s degree in Delhi. The charms of life in a small town, where everyone knows everyone else, are considerable; the matrix this creates becomes the sustaining force for the space. That is the essence of this genre.

As is often the case with Ruskin Bond novels, a lot of which revolve around the first-person narratives of a writer-journalist type (characters you’d suspect of having a strong likeness with the author himself), it is his own experiences in the Doon valley, in Shimla and Delhi, enhanced for your reading pleasure by Bond’s rich imagination and signature easy style of prose, that populate his latest work of fiction too. Fosterganj is effectively Landour, but perhaps a looking glass version of it — a little inverted, and therefore so much more entertaining. Time may not run backwards here, as in C.S. Lewis’ sequel to Alice in Wonderland, but this certainly is an alternative world, one which Bond inhabits as completely as his quaint hometown.

Glitter

I lie in a bed not made for me,
Wrapped in sheets that smell of you.
You, who stay away, far far away,
a thousand miles, a million galaxies
away, in the room adjoining. There,
I spy you, hiding among shadows that
grow as evening turns to night. Sometimes,
what you seek is not what you find.

I am shrouded in darkness – I want
to believe you search for me just as I
turn to you. There is much I imagine as I
breathe you in, but lesser that I forget as I
air you out. We are lost in the dark and to each
other. The night has worn us. You glimmer
pale, reflecting your thoughts. Sometimes,
the people who save us, also enslave us. 

You plague me – as you are and as you could be. 
You are a warlock, an addiction; a spell cast,
a charm thrown, another self invoked. I am as afraid
of seeing as I am of dreaming, for I thought I saw me
when i saw you. Illusions must not last. Now, we
must sink the stone. Before it ends, the surface
will shiver. Now, we must disappear. Because
sometimes, we are just the dust, not the gold. 

I now pronounce You.

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One of the trailers for Shuddh Desi Romance begins with, of all things, a statistic: “77% women feel it is wrong to kiss on the first date” (or something to that effect). This is followed by a shot of Raghu (Sushant Singh Rajput) and Gayatri (Parineeti Chopra) going at it, presumably on their first date; after which comes yet another ticker: “If you disagree, come watch our movie” (or something to that effect, again).

This, of course, is complimented by a week full of afternoon news on TV channels with headlines like: “27 KISSES!!! IS Sushant Singh Rajput the new Emraan Hashmi?!” Forget food security, riots in UP, Wawrinka’s almost there genius, Syria and the rest of the world, because this, really, is quite the crucial question that all our lives depend upon. But, umm, I can’t overdo the sarcasm bit at this point because I, after all, did go watch this film, intrigued as I was by the prospect of seeing that beautiful man locking lips and acting skills with not one, but two, women! (voyeur much?)

So, ladies and gentlemen, imagine my disappointment when, by the time the intermission (or bathroom break, as they call it in the film) has arrived, I realise that he’s done nothing but kiss so far, and that his acting skills seem to be some kind of a mirage, an illusion that emerged thanks to those glistening bronzed six-pack abs that took our collective breath away in Kai Po Che, his debut film. As Raghuram Sitaram, he plays the tour guide + local loafer + baarati available on hire, who falls in love (at first sight) with a random girl he meets on a bus, en route his own wedding. What should’ve been an awkward but adorable guy comes across as horny and not a little retarded with his repetitive ‘kya hai’s.

Now this girl he’s fallen in love with is your average Indian cutesy thing, who talks about her previous boyfriends, and smokes, incessantly. And this girl (Vaani Kapoor) he’s about to leave at the altar (at the pretext of taking a leak, no less) is a beauty of epic proportions and seems to be the well-behaved, demure kind that is the stuff of Indian guys (and their mothers’) wet dreams. But the heart wants what it wants, so run away we must, safe in the knowledge that we shall find her.

After a rushed, incoherent proposal, Gayatri and Raghu end up in a live-in relationship (which lasts for 15 mins screen time, but I hope is supposed to mean at least a month?). After a few ups and downs, and a lot of dancing at the camera to a song that goes “ab chali meri love life” (along with smoking, drinking and shaving together), they decide to get married one drunk night.

To cut a long story short (and to avoid spoilers, and because the plot is not what I want to talk about), let’s just say that there’s a love triangle brewing. All three have commitment issues, get cold feet easily and are in the bad habit of leaving without saying goodbye. There usual excuse is that they must visit the loo right this very moment. Rishi Kapoor and his royal moustache are a pleasant break from the monotony of secret looks and winks and nudges that this film relies on. And the choice of Jaipur and Jodhpur as backdrops make sure the aesthete in you is satiated. And the stylistic moorings of the film are fresh and deserve praise.

But, finally getting around to what I actually wanted to talk about: This film attempts to put the spotlight on live-in relationships. Jaideep Sahni, the man who’s given us gems like Khosla ka Ghosla and Chak De India! in the past, experiments with the modern-day idea of a relationship — speedy, raunchy, naughty and with an exit always in view. For this, he looks at the concept of a live-in relationship and, it seems to me, approaches the subject like a star-eyed little child: there’s presumption aplenty and a thought not well-executed.

Since I belong to the generation of people he’s put his lens on (and seems quite sympathetic towards), I feel that his characters are just caricatures. These semi-etched people then fall in and out of love in the wink of an eye, think themselves street-smart but are actually blind to the motions of cupid and dear old Goel saab, and are also quite scarred by the travesty that is life. Towards the end, while analysing (or rationalising?) his behaviour, Raghu finds blame in all these fake weddings that he sees day in and day out. “How can I bring myself to commit to someone when I bear witness to the sham that Indian weddings are?” he asks of his companion (as promised, no spoilers).

This is where things get problematic.

First, weddings do not a marriage make. I mean, of course, you can’t have a marriage without some sort of ceremony to put you in binding contract, forever and for always. But there’s so much more to making a marriage work than simply the rituals. Yes, we do go crazy, bordering on intense insanity, during weddings. Yes, there’s ample posturing. But beyond that, what you make of your relationship is entirely based on your mutual capability and will to adjust.

Second, our main characters here seem to choose a live-in relationship as an alternative to, quite in rebellion of, marriage. All the people I know who prefer to do live-ins are actually opposed to marriage as an institution, not tired of weddings (or out of money to buy a good pair of Nikes). In Shuddh Desi Romance, the raison de etre for a live-in relationship just seems to be an aversion to being “forced” to be in a relationship.

Third, this “being forced” comes from the assumption that marriages are forever. For characters as independent and strong-minded as these, divorce or separation can’t be out of the realm of possibility, logically speaking. So, for Raghu to say “this getting married business doesn’t suit me” because it feels like imprisonment, is a little out of character too.

Sahni’s intention is clear — he wants to normalise the idea of a live-in relationship by placing his film and the characters in a tier II city, a little away from the melting pots that metropolises like Delhi and Mumbai are becoming. He also wants to show what factors could lead up to a couple choosing to keep in informal. But, the reasons he finds along the way are confused, and end up portraying an entire generation of people as thoughtless, naive and childish. Can’t see this going down too well around here.

The Story-Teller

Everyday, she tried, without success,
to string it all up together. She sat
cross-legged, eyes clamped shut; stood
on her head, belly sucked in; lay
prostate, airing her thoughts; walked
painfully slow, measuring her step.
And yet, it all stared back at her,

Mussed up, strewn about, incoherent.

Mere words, she looked at them,
lolling about in the sun, making her 
sweat buckets, trying to take stock,
like a mother of triplets: one produce, 
but thrice the effort. She plucked and 
pleaded and coaxed and berated:
“Gather around!”; but they wouldn’t listen. 

Within her, she knew, there was a story
waiting to be told; a song to be sung, 
a landscape to be painted. Everyday,
she told herself, is a new start, for today
we shall finally voice. Love, war, peace, hunger,
passion, pain and introspection — today
was her day of expostulation. 

But the days stayed mum, whispering through her.

Them words be tricky, smug little imps,
Hanging off the edge but never diving.
Them words, they laugh at her — now old, 
grey and frail — taunting her still, playing
hide and seek. They still rushed past her,
and once, she was certain, she caught a
pity-soaked whisper: “You are the story, m’dear!”

Momentum

This time, they sought
the dark corners of the Web
to hide in. Anonymous, shedding
off all identity, this is where
they would let it blossom. For now.

They’d tried, and failed,
to keep a low profile. No public park,
heritage monument, or obscure cafe,
brimming over with so many like them,
could contain the music

Of their rising, overwhelming
affection for each other. Public
display was another matter —
They weren’t sure who had earned
the right to witness those moments.

They always came, invading
upon their continent of silent,
imagined kisses. But this at least,
they believed, was worth it.
Worth protecting. Worth preserving.

Even matchbox-sized rooms,
with the sun drawing needle-thin
lines across the terrain, was not
enough. They always came,
wondering what was being strangled

Or birthed. Contain. Compress and
compose. Words, now, were
their choice of coitus. Only, they feared,
no turn of phrase ever invented
could describe the enormity of

This accelerating crescendo.

The Wrath of the Spurned: How Acid Attacks Life Beyond The Moment

(Now that the Supreme Court of India has made the laws regarding acid attacks more stringent — imposing a rather difficult-to-implement ban on sale of acid, and a more respectable amount of financial aid — it is worth looking at how this might change things for the better. You can also read this here)

Pragya was sleeping on the upper berth in a sleeper compartment of a train to Varanasi when she felt a burning sensation on her face. She woke up with a start — she literally felt her skin on her cheek come away when she touched it. “I jumped down and began screaming with pain. It was 2 am, my clothes had melted and people around me thought I was going mad. If it weren’t for the foreigner who recognised what had happened to me and called a doctor, I would’ve perhaps not survived,” she says, recalling with vivid clarity, the moment she was acid attacked in 2006.

The attack came merely 10 days after her marriage and, as she and her family were to find out in the following weeks, was the repercussion of a rejected marriage proposal. “The man was at least a decade older than me and apparently already married. They caught him and put him in jail in the next few months, but he’s out on bail now. None of it changes the fact that it took me over two years simply to recover physically,” she says.

Recently, two men on a motorbike threw acid on four sisters in Shamli. The case has made national headlines, as did another incident in Patna where two teenage girls were also victimised in their sleep. It is heartening to see an increased focus on reporting sexual crimes against women, following the December 2012 protests that were triggered by the gangrape of a girl in a moving bus in the capital.

It is important to recognise the special nature of acid attacks, seeing as they are generally perpetrated by somebody in the know. In the Shamli case, one of the accused is the brother-in-law of the victim. The girls wanted to go to town about their illicit relationship, and this was his way of containing the situation. In the Patna case, the attackers were spurned lovers.

“A general perception is that the male ego cannot take rejection lightly and seeks to overcome his rage through such an attack. This is complicated with the impulsive spirit of today’s youth, which cannot handle what we call ‘delay of need gratification’ – they don’t seem to find any sense of illegitimacy to their actions. Another explanation would be the lack of accessibility – the feeling of “if your attractiveness can’t be available to me, I will make sure nobody else can have it either”,” observes Dr. Arvind Mishra, professor of social psychology at Jawaharlal Nehru University.

The notion of revenge is critical to acid attacks, since its intent is to ruin the victim’s life without actually ending it. Such attacks cause disfiguration that lasts for a lifetime, because the social stigma attached to deformation ensures that the victim would no longer have access to a social life, nor will she be considered a viable candidate for marriage. The fact that acid is easily available at kirana shops and supermarkets across the country, doesn’t help the situation.

The consequences of acid attacks can be very dire – considering the fact that this form is particularly popular in the low to lower-middle classes of society, the victims’ access to medical help might be limited. Basic operations to keep the victim alive could result in bills as big as Rs 50 lakh, or more, at times. Also, the facilities to treat first degree burns are few and far between. It was due to the lack of proper medical treatment that 23-year old J Vinodini died in Pondicherry after being attacked by her neighbour, and battling for life for over three months.

It is also within the momentum created by the December 2012 protests that the Criminal Law Amendment Bill was passed recently, recognising the various forms of such violence and raising the punishment bar for rape, voyeurism, stalking and acid attacks. Up till now, all these offences were clubbed under the ambivalent label of ‘grievous hurts’ in sections 320, 322, 325 and 326 of the Indian Penal Code, punishable by imprisonment upto seven years – legislation, or lack thereof, that itself showed just how seriously violence against women was being taken by the state.

Under the amendment ordinance, acid attacks, along with the others, are recognised as specific crimes and are punishable by imprisonment of upto 12 years, along with a fine of upto Rs 10 lakh. While this is a definite improvement, it still seems to fall short of the correction required in cases of acid attack, from the point of view of the victim. “The government has made provisions for a parallel amendment in the Criminal Procedure Code to provide compensatory medical and private aid for victims. But whether this will be followed through remains to be seen,” notes Madhu Mehra, director of Partners for Law in Development.

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She is sceptical because of two factors – the speed of convictions in India is nothing to boast about, and it isn’t possible to adjudge the capacity of the accused to pay the stipulated fine. “The government needs to recognise that this is among the most physically debilitating crimes. It must also acknowledge the fact that violence can create polities of its own kind. For the victim, it would be more important to get back on her feet. You can either make sure that you take up social transformation, but when you can’t even tell the Khap panchayats to shut up, you could at least ensure that the schemes or provisions you draft are water-tight,” she states.

In such a situation, does regulating the availability of acid make sense? “Not really,” says Mehra, “because it isn’t the ‘weapon’, but the intent that needs to be inspected. Ten years ago in Mongolpuri, we heard of a case where men on motorbikes were slashing women’s faces with razor blades. The government could slap restrictions, but there’s always a way to get around the law, especially for a product so cheaply available. We just can’t deal with disfigurement and that is what needs to be addressed.”

Today, living in near-complete anonymity in an undisclosed location, Pragya believes that she’s been luckier than most, thanks to a supportive husband and family back home at Varanasi. “I have no friends though – when I walk on the road, people ask me what happened to my face. There’s plenty of sympathy, but they don’t really want to associate with me beyond that,” she says.

She has now started working with Stop Acid Attacks, an NGO working to help victims with medical and financial aid. Her aim is to help girls come out of the trauma through counselling and group support sessions. “I don’t think I am abnormal – it is feeling that a lot of girls develop when their faces and bodies are maimed in this manner. I want to help them get back to their lives as before,” she says.

Defence, Disarmament and Global Wars in the age of mecha

(Also read this here)

jaeger kaiju

The high point, quite literally, of Guillermo Del Toro’s latest, Pacific Rim, is the moment when our hero Jaeger (outdated but strong yet, thanks to its drivers) slashes off the evolved, ever more dangerous Kaiju’s wing in mid-flight. The Kaiju, a futuristic dinosaur, is now flying as it zooms in on the Jaeger for its final kill, but like the proverbial trump card, out comes a sword (please note the irony) from the Jaeger’s right hand, just in time to pierce through the monster. Dismembered, the Kaiju returns to the ocean with a resounding splash; and the narrative is back to being a rather humdrum, predictable one.

Released worldwide on the July 12-13 weekend, Pacific Rim has, on an average, garnered lukewarm critical response. This lumbering spectacle of an apocalyptic war against aliens is a delight to watch for its expertly crafted action scenes. After all, what’s not to like about humungous robots and monsters fighting each other to death?

Disappointment is inevitable — lead characters Raleigh Beckett (Charlie Hunnam), Mako Mori (Rinko Kikuchi) and Stacker Pentecost (Idris Elba) are all given back-stories that are rushed through; and the plot, like the Jaegers of seven years later, needs a severe upgrade. But then, this movie isn’t as much a psychodrama as it is the latest offering in the mecha genre of Hollywood cinema — with a history of movies like Star Wars, the Godzilla series,Transformers, and Sucker Punch — and revives the giant robots vs. monster trope, possibly the oldest idea in Japanese anime.

Pacific Rim does inspire some thoughts on the evolving nature of weaponry and the state of warfare. The Jaegers (German for hunter) are run by two fighters, located in the head of the machine. They must meld their brains, hearts and memories with each other as well as the machine, in the process becoming a ‘maschinemensch’ or machine-human — a trope explored often enough, and first seen in Fritz Lang’s 1927 classic Metropolis.

Although this ploy isn’t quite the same thing as drone warfare (since the fighters are very much a part of the action, ‘remote’ only in the sense that there is minimal bloodshed), which in itself is more in vogue today, it does endorse the idea of ‘sanitised’ battles. In the aftermath of a fight, you as a viewer don’t see maimed and tainted bodies, blood or gore — which one can easily presume to be part of the scene — but, instead, witness broken machines, shattered buildings and, poignantly, Mori’s lost red shoe. Whatever ‘blood’ you can see on screen is glowing blue acid dripping from mutilated Kaijus, which is not nearly as disgusting or dread-inspiring. In that sense, Del Toro panders to a notion that is by now the staple of sci-fi and even action cinema — war doesn’t have to end in visible human casualty.

Man and machine have come together on various instances in cinema previously. In The Day the Earth Stood Still (1951), Lock Martin played the alien robot Gort, controlled by Klaatu, with a message for earthlings; Star Wars had Anthony Daniels and Kenny Baker play ‘droids’; Bladerunner and Robocop simply assimilated man and machine to form human-like androids; and most recently, Avatar dwelled on the notion of man controlling a morphed, mechanised version of himself. Through them all runs common theme of bettering the human condition, perfecting his survival skill and instinct through ‘mechanical enhancements’.

In our real, brutal world, however, man does not inhabit the machine (yet); he is far, far away, working on his surveillance or targeted bombing from safe, often undisclosed, locations. The ‘enemy’, for the last decade, has been hiding among his ‘own’, and has had to be ferreted out and hunted down like pesky rats. In this clash of civilisations, identity marked the ‘other’ and ‘ours’, and has been the crucial factor in deciding what is worth fighting for. Pacific Rim, like other sci-fi movies in its league, locates its enemy in the predator whose roots are alien, outside the realm of this planet in this space and time. These may be like all the other unknown threats from ‘out there’ threatening our world, but the movie departs from tradition in pulling upon all of humanity’s strength to fight this war.

Unlike his predecessors, Del Toro is more inclusive — his concern is not the US Pacific coastline alone, nor are his rangers strictly American. His heroine is Japanese; Beckett’s comrades are Russian, Chinese, British and Australian. Of course, in the end, it is Beckett, the American who saves the day. But in an industry where directors are used to casting at least one race/religion/nationality in the underdog/villain/sidekick role, this movie does give the idea of a global war a different twist.

Will Pacific Rim live long in pop-culture memory? Most probably not, thanks to its forgettable, repetitive story. But as a moment in the history of mecha, overwhelming sci-fi cinema, it could still make a lasting mark, for its representation of a world in flux.

You [already] Stink and Burn

Perhaps it should have been heartening to see so many people finally coming out on the streets, crying for ‘justice’, whatever it is that they mean by the word; demanding that our roads be made safer, that rape cannot be tolerated.

Perhaps it is the ever-growing cynic in me who just cannot find a hint of satisfaction or relief in the drama that is unfolding every moment in pristine Lutyen’s Delhi, in these beautiful winter days.

Perhaps they will pass a new law, there will be a new CM, there will be more police on the roads, the papers and TV channels will follow rape cases more doggedly.

BUT!

This is not the first time a woman has been raped to the brink of her death. This is not the first time the CM has shrugged off responsibility. This is not the first time the common man and his kin have come out in the streets. This is not the first time they’ve increased security. This is not the first time there’s so much excitement. This is not the first time – and it won’t be the last. Not the way we seem to be going about it!

Because rape isn’t an under-the-table act, where both parties can leave with some sense of satisfaction, gratification. It isn’t an assembly line product that has come to dominate psyches, turned into a status symbol, something that one MUST have, a sign of one’s affluence at the cost of another’s impoverishment. It isn’t a man, a regime that has his/its own way all the time. It isn’t an ideology, a religion, a policy, a piece of property. STOP calling your picnic a fucking REVOLUTION, for heaven’s sake!

Because if you think what you’re doing out on the roads – shouting slogans, burning effigies, calling authorities names, getting a shower-down by policemen, demanding death by hanging and/or castration – is a revolution, you don’t know shit about what it is like walking on the road, alone, everyday, with a mix of fear and stubbornness swirling inside you, making you nauseous and pumping adrenaline into your bloodstream all at the same time. Knowing that any moment now, you will face an ugliness that you never dreamed possible, even in your worst nightmares.

You don’t know shit about how everyday, you see it in their eyes, everywhere. That you’re being undressed slowly or hastily, depending on just how his highness likes it, your breasts are being weighed, your buttocks are getting spanked, and this may not just be foreplay. You know it because you can see the bulge in their pants that they will continue to thrust into your behind, your shoulder and everywhere else as you jostle for even the littlest space to stand in an overcrowded bus.

You don’t know shit about that lecherous uncle / cousin / male relative (even fathers!) who will leave no stone unturned to be with you in a closed, isolated space, touch you whenever possible, wherever possible, however possible. And just how the sight or sound of them fills you with an inexplicable dread, a sense of terror that can paralyse you down to your very puny soul.

You don’t know shit about how your dreams, your identity, your entire being is subservient to your safety, which is just politespeak for your family’s honour, that nondescript sense of selfhood that rests almost completely on the girl’s sorry shoulders. You have a job that keeps you out late? Imagine the possibilities! How can you not be panicking yet? After all, worrying is our prerogative, beta.

(By the way, if you do know all this and are still screaming your head off in the streets, for your and fellow sufferers’ rights, then aww, you poor little naive thing. Even my rant here on this webspace that nobody reads isn’t half as bad as yours.)

Why do you talk about it, and those who do the deed, as if it were exclusive to you and your environment? Rape isn’t an isolated act, much as it may require isolation as a condition to facilitate its happening.

Rape doesn’t happen because the girl (or boy) was looking soo unbearably sexy that no power in that dot on the time-space axis could’ve stopped her (his) molestation.

Rape doesn’t happen because the rapist harbours exceptional degrees of lustiness. Nor does it happen because the night brings out their romantic side.

Rape happens because society, and you, let it happen. Because you don’t stand up against offences of any nature in public places such as, say, the Metro. Heck, you don’t even get up to give your seat to the old/ pregnant lady standing in front of you, that’s how blind you are! Rape happens because we live in a repressed society where girls and boys are segregated, having boyfriends is seen as criminal, sitting and talking with a boy in a public place warrants a lock-up, being beaten-up, where prostitution remains illegal and sex is seen as a depraved, corrupt activity. Rape also happens because Hindi cinema glorifies masculinity, which in turn has its source in violence and sex. Rape happens because power equations across class, caste, gender lines are changing – lines that were drawn by the very people who are climbing lampposts and posing for pictures at India Gate today, not-waiting to put them up on FB to show they’re so with it. Rape is not one man’s crime, it is even yours when you tell your daughter/sister/mother to stay indoors at night, even though all you want to do is protect them.

At this rate, rape will continue to happen. Even as you lot are ‘protesting’ – which, come on face it, is just asking for revenge – there were at least three more cases reported in today’s newspapers. Do you think your shouting is loud enough to drown out their urges inside their heads? Doesn’t look like it.

Rape will also keep happening as long as you think that women need to be protected. The presumption here is the male is and always will be an animal, naturally. That’s like, WTF? And all you women, you buy into this crap because it makes you feel better in your cramped existence too.

Rape happens because in the friction caused by shifting plates in the continent of patriarchy, there’s a little squeak that the woman manages to edge in sideways now. Because when boys with bloated heads from small towns arrive in the National Chutiyaap Region, otherwise known as the land of promise, they see all these…the girls!…calling the shots! How could this be? Meri ma toh mere baap ki jooti ki dhool chaat-ti hai, ye kya anarth ho raha hai yahan?!

Rape will keep happening because you mothers don’t slap your sons enough and continue to let them turn into such egoistic, horny bastards.

Rape will keep happening as long as educationists and the moral police (who should be sent back to the 17th century) believe there’s much glory in segregation and separation, not realising that in the process, they turn this ‘other’ into this fantastic, exotic creature that must be had at all costs.

There are other reasons for rape to happen too, but the overarching reason it actually goes DOWN (ALL puns intended) is because the girl’s body is thought of as a site of control. Even as you yell from the ramparts of the Parliament for equality, what you should be fighting for is to gain control of your body. Free it from this omnipresent gaze, free yourself from being conscious of this gaze.

The only way you can really stand up for the poor girl struggling to get off ventilators now is by swearing to change how you think and how you let others around you think.

By some twist of fate, she’s a hero today instead of being a victim for life or even dead, and that is the only good thing to come out of this charade. She will live respectably where countless others have perished.

But her life will be in vain if you don’t realise that this is not one incident, this is not the 9/11 of India, but something that, sadly, happens everyday, several times a day.

The answer, my friend, doesn’t lie in retribution, in castration, in revenge, because that is only enabling a vicious cycle. It lies in education. Unless we learn lessons from history, as modern as last year’s fascinating summer, things will never change.

That is, of course, unless all you’re looking for is cheap thrills over the weekend, in which case, ignore all that you’ve read so far. Obviously, you are the MAN of the moment.

Last Call: What the FUCK do you mean by a rape CULTURE?! Can you please think before you let these words come out of your mouth?!