That Novel I’ve Been Working On . . .
Aside from not being a dog, or having a drinking problem, or being homies with a diabolical, talking baby, this is exactly what “working on my novel” has been like. At least for the last two years when all the research needed for the narrative is, in a sense, sorted. This is still a hilarious clip (note to my dad: this is how you use the word “hilarious,” not to randomly describe things like scuba diving, clothing, or hamburgers.) But it is less funny when I think about myself as Brian Griffin. Fortunately, I can’t sustain such introspective and deep thoughts while watching Family Guy for very long. In case it isn’t clear, this is a slightly late New Year’s Resolution Post. Yes, eleven days late. So what?
As I was saying . . .
At some point between my birthday and the end of the year, I make a perfectly plausible New Year’s resolution: to carve out some writing time and get that novel I’m working on finished. Then I write other detailed resolutions that expand and strengthen the initial resolution. I also throw in some I’m going to exercise and drink more smoothies.
Last year, I even attempted to do NaNoWriMo in November, which didn’t go quite as well as I’d hoped. In fact, it went in the opposite direction. If you’re wondering why my NaNo word count widget is still stuck in November, it isn’t the result of laziness; it’s because that’s the last time I even looked at my story, let alone touched it, and I mean that in a completely normal way.
While I would like to blame Kavya, my two year old daughter, for my lack of time, energy, motivation, inspiration, etc. I can’t. Nor can I blame my hectic work schedule. It’s not that hectic, or draining. The real issue really boils down to. Well, me. I am not looking at writing fiction as a job, and I probably should start doing that. There is no divine inspiration, or sage advice to gleam from writing books or magazines. The bottom line is that I have to write like it’s a job.
When I write freelance articles and essays, I know someone is going to pay me as soon as I finish it. Even when I grade papers or write up lesson plans/syllabi, I know at the end of the 4 month semester, I will be paid for my effort. Writing fiction is totally different. There is no guarantee of anything. Not of payment. Not of publication, or the time frame. As Victor Frankenstein says to Robert Walton in Letter IV of Mary Shelley’s Frankenstein: “Unhappy man, do you share my madness?” Yep. I do, homeboy.
After my five days of NaNo and my pitiful November word count, I felt a bit bummed and even as I write this post, I still haven’t looked at my writing. But clearly, I wasn’t that distraught because it didn’t stop me from livin’ it up on a holiday to Hawai’i for Christmas.
So, rather than making a huge New Year’s Resolution post filled with lofty goals, this year I have exactly two writing related goals:
1) To get organized and start taking my writing seriously, instead of waffling about. That wasn’t really a goal, more an offhand inner thought that somehow made it to #1 on my resolutions.
2) I’m going to post a monthly word count in the sidebar, and try to gear myself up for NaNoWriMo. This is the year I finish my novel.
3) Read more. Maybe post some reviews on here of some of the books I’ve read.
I’ll end this post with another inspirational video by the best writing mentor anyone could hope to have:
The Epic Battle Continues: Is Star Wars or Terry Pratchett’s “Discworld,” Fantasy or Science Fiction?
Last week, two of my School of Visual Art students almost got into a fist fight during class discussion. Alright, that is not entirely true. Nor is it partially true. It was all very civilized and uneventful, although chairs may have been thrown had I left the room and didn’t reign the discussion back to its original purpose: dissecting the narrative structure of Mary Shelley’s “Frankenstein.” Somehow, during the course of our discussion, we ended up having a bit of a quibble over Star Wars being boxed into the Fantasy or Science Fiction genre. Or possibly both of these genres.
We started discussing the basics of story structure from Aristotle’s “Poetics,” and predictable horror films and romantic comedies where plot and characters were clichéd, and stlll we paid our ten dollars to watch these stories unfold exactly as we thought they would in the cinema. We paralleled this to Shakespeare’s comedies ending in a marriage and his tragedies ending in bloodshed and a pile of dead bodies, including the protagonist(s) at the end.
We were in the middle of breaking down the inciting incident, catalyst, call to action, which are all exactly the same thing, and about the rules that allegedly govern genre. Most of my class had watched Star Wars (yet another reason I love teaching here!) and we had just begun to talk about what its catalyst might be, when the two trouble-makers of the class, Brandon and Pau Something Or Other (not related, despite the same last name) made their very brief arguments for their difference of opinion in regards to the genre.
Pau felt that the narrative of Star Wars was pure fantasy, while Brandon thought that since technology was guiding the story, it was a clear case of Science Fiction. They naturally spent the rest of class wearing dunce caps and sitting on opposite ends of the classroom looking remorseful.
We eventually brought the discussion back to Shelley’s use of the letters where bugger all happens until letter four, the purpose of Walton narrating the story, and the use of the stark empty plains of the North Pole as the setting. Shelley wasn’t on a budget. Gothic castles and scenery were available, as were humped, scary looking man servants from Transylvania. But as a massive Star Wars fanatic, and as an admirer of writers from both genres, I was intrigued. I saw the point both Brandon and Pau were making. Brandon’s position is based on a fairly simple and widely accepted criteria for the distinction between science fiction and fantasy. If futuristic weapons or aliens are involved, it is Science Fiction. If a quest, knights, dragons, a princess, or magic are involved, it’s fantasy.
Pau’s argument is one at odds with this distinction and centers on the narrative, which as we all know, is one complicated mofo. She also loves the term “magical realism,” which I’ll save for another post. To oversimplify the narrative of Star Wars:
Armed with a fancy sword and guided by a wise old wizard with great zingers, a gallant knight sets off on a quest to slay the evil dragon and save a beautiful princess. Along the way, he learns martial arts from a master, combats evil, and is shocked upon discovering that the evil dragon is really his father. And the sequels begin.
Terry Pratchett, one of my all time favourite British writers, most famous for Discworld, is known the world over as a fantasy writer. It doesn’t help matters that he wears massive black hats, has a bit of a lisp, and is not shy about wearing what look like magician’s cloaks. And he wears the title (as well as the honorary “Sir”) with pride. In the video above, he says in no uncertain terms that when he was writing Discworld, he was making a conscious decision to write fantasy by using dwarves and wizards. It features virtually the whole gamut in addition to incompetent wizards and wise witches: There are mythological and real creatures, all of whom take on human characteristics. But science fiction writers like H.G. Wells, Mary Shelley, or Ursula LeGuin would probably not agree with his notion that “Science Fiction is a subset of fantasy.”
A lot of libraries and bookshops can’t be bothered to separate the two genres, so often meld the two together in an unholy literary medical experiement, placing books in both genres alphabetically in the Fantasy/Science Fiction section as if they are exactly the same thing. I’m sure that most, if not all writers of what we consider to be in the genre of fantasy or science fiction, made a conscious decision to put elements of their genre into their story on some level. But this doesn’t bring us any closer to a definitive criteria of what makes Science Fiction, science fiction, and Fantasy, fantasy.
Some claim it stems from the narrative, the plot devices, or the characters. Others claim the distinction lies in far more integral ways. science fiction is –as the name implies– rooted in science. It must create a world and the laws that govern its logic through facts, and should be based loosely on what we know to be true today in order to speculate a future utopia or dystopia.
But this sounds like what a lot of fantasy writers do as well. Terry Pratchett has consciously sought out to write fantasy and has followed all of the rules a fantasy writer follows. But he has also broken many, perhaps unconsciously, or perhaps he was just concerned with writing a bloody good story. If a science fiction writer is rooted in science, then a fantasy writer is obviously rooted in fantasy, or the land of make-belief. It generally doesn’t have to provide the science or logic of its world. In Lord of the Rings, for example, we simply accept that this world of hobbits and trolls and dragons and an evil magical ring exist. There is no effort from Tolkien to go out of his way, or even in his way, to explain their logic.
But there is an awful lot of science and logic and what not that underpins every single one of Terry Pratchett’s novels and short stories, which is not surprising, given his influences. The Discworld series contains all of the elements of fantasy, but it also speculates on society, draws clear parallels with political and religious ideology and how silly all of it is, as well as delves into the logic of the world. He breaks down how it is possible that this world is a large disc with a waterfall on its edge, that rests on the backs of four elephants, who are standing on a massive turtle. This sounds very familiar to religious myths from Buddhism and Hinduism to explain things like death and even earthquakes (an angry bull needing to be appeased) .
Add to this confusion, subgenres like supernatural or horror that have become accorded all of the rights of a proper genre. Now, where does Frankenstein fit? Technology isn’t actually used and there aren’t any aliens or technological weapons. But the idea of a creature being created through “science” is easy enough: Science Fiction. This is clearly no fantasy. But it is scary. Horror, then? But there is no gore; And unlike her predecessors, Shelley attacks what was thought to be a sacred institution: Nature. Through an intensely amplified moral argument, she sharply questions our morals as individuals and as members of a collective society. This sounds more like Science Fiction though doesn’t it? It is making a speculation. But it is scary. Existential Gothic Horror Science Fiction perhaps?
And then there are those who feel that stories like Star Wars or Discworld can’t be neatly placed in one genre, and that this whole thing is a “false duality.” You can see the parallels with the Heroic Epics of Beowulf or Homer’s Iliad/Odyssey. Whether we’re talking about Achilles or Huck Finn; Odysseus or Beowolf;, Mulan, that kid from Transformers, or Luke Skywalker, the “quest” of the Hero is the same: to save someone or something greater than him/herself. And when you bring in a spiritual quest, it complicates things even more.
If a bookshop felt like putting Star Wars or Discworld in a category called Science Fiction/Fantasy/Spiritual Adventure, I would be fine with it. But it is rare to see a story transcend whatever genre it is intended for these days. The prequel of Star Wars, for example, is completely technology based with no wiggle room for anything other than Science Fiction. A story about an alien invasion with no depth to the narrative, is generally agreed on as being Science Fiction; a story about a mythological creature living in a mythological land wanting to rid his land of evil by destroying a ring is Fantasy. I don’t know if there is a debate on the genres of these things because as I’ve told my wife, Sona Charaipotra many times, I am not a nerd.
To paraphrase this entire blog post: “Neither.”
Weekly Update For NanoWriMo 2011: Days 1-7
WEEK ONE : TUESDAY, NOVEMBER 1 – MONDAY, NOVEMBER 7, 2011
Weekly Word Count Goal: 1,644 x 7 = 11,508
Actual Weekly Word Count: 6,200
Total Words Written: 6,200/50,000
The Good: I am excited that my novel is finally taking shape and that I’m not constantly second-guessing the story, the characters, or the narrative structure of the entire thing. I am also very pleased with the progress and the fact that I am sitting down to write. So, I am at peace with the progress I am slowly making.
The Not So Good: My progress could obviously be better. I do need to stop dwelling on refining sentences and move forward with the plot. But most importantly, I really need to carve out time from my schedule because otherwise, everything else will take precedence. Even though, I’ve only hit 53% of the NaNoWriMo goal, it is a 53% boost from where my writing was at on October 31st. This coming week will be better. Wish me luck!
NanoWriMo 2011: Day 6
DAY SIX: SUNDAY, NOVEMBER 6, 2011
Start Time: 2:30 pm
End Time: 3:00pm
Today”s Word-count: 17 (no, that isn’t a typo!)
Total Words Written: 4,200/50,000 (from Day One, Day Two, Day Three, Day Four and Day Five)
The Good: We got to Cape May in good time. The room is lovely as is the beach and the weather is nice. Kavya is thoroughly enjoying herself.
The Not So Good: I got so bloody knackered that I completely zonked out when we came into the room. I did sort of work on my writing for about half an hour, from 230pm to 3pm, but I got 17 words that I think mostly consisted of vowels and were refining sentences that were already there. So I’m definitely not pleased about my progress today.
Dialogue Makers: Attack of Short-Story Writers
When I first started my M.F.A. in fiction at California State University, Fresno, I had zero interest in Southern fiction. I had, of course, heard of Ernest Hemingway, and had to analyze two of what I had thought were plotless short-stories: “Hills Like White Elephants,” and “A Clean, Well-Lighted Place.” I was admittedly bored out of my head at the prospect of having to do it again in graduate school. But I was pleasantly surprised because the analysis this time wasn’t focused on the symbolism, or on understanding what the writer meant, not even on forcing the motif of light and dark or the abortion imagery. Instead, Steve Yarbrough, my creative writing professor and thesis advisor, focused the discussion on the mechanics of the short-story.
Dialogue is one of the most underrated skills for a fiction writer to study. It’s viewed almost as the exclusive territory of screenwriters. The stories that I enjoy reading (short-stories, novels, non-fiction) use a range of tools to tell their stories. There are beautiful sentences with lovely imagery and words that pop into your mouth and crackle (description); the plot is intriguing, and the dialogue is believable and the characters are deliciously complex. So, the stories of the authors mentioned above are not ones I read just out of entertainment, but the fact they are fantastic stories to really attempt to dissect how the writer’s achieved the effect they did.
NanoWriMo 2011: Day 5
DAY FIVE: SATURDAY, NOVEMBER 5, 2011
Start Time: 9:30 pm
End Time: 11pm
Today”s Word-count: 2,000! ! !
Total Words Written: 4,200/50,000 (from Day One, Day Two, Day Three, and Day Four)
The Good: Not only did I get to hang out with Kavya during the day, but I put in a major dent into my story. While there was some dilly dallying with refining bits and pieces and stopping to add to the backstory, overall I am quite chuffed that a) I surpassed my daily goal and b) that it seems to be coalescing smoothly.
The Not So Good: This is not necessarily a negative yet, but I have a feeling I know what is going to happen tomorrow and the day after. So, starting on Sunday morning until Monday afternoon, we are going on a little family trip (just me, Sona, and Kavya) to a little seaside beach called Cape May, about a half hour from Atlantic City in New Jersey. We’ve brought our laptops, but I think it’s safe to assume bugger all is going to happen with the writing. I just don’t think we’re organized enough to switch Kavya off between the two of us so that we both get some writing time. This is the ideal situation, but hopefully it will just be too cold that we stay indoors the whole time, Kavya sleeps the entire time, and we do some hardcore writing. Yep. That’s what might happen. I am of course very happy with my word count today, but it’s not so much that I can take so many holidays of having days with word counts of ZERO. Wish me luck!
NanoWriMo 2011: Day 4
DAY FOUR: NOVEMBER 4, 2011
Start Time: None
End Time: None
Today”s Word-count: A Big FAT zero
Total Words Written: 2,200/50,000 (from Day One and Day Two)
The Not so Good: Kavya wasn’t feeling well, so we kept her at home, which meant I got woken up by Kavya saying hello to me and wanting me to read her one of the gabillion Elmo books on the shelf to her. I also had grading to do, which would have taken me about an hour to do, but ended up taking about seven because Kavya kept running away with my papers or wanting me to take a break and clap my hands like a mental patient. So, basically I was absolutely knackered by the time evening rolled around and I made a half-hearted attempt to look at my story, but ended up falling asleep. Tomorrow is Saturday and some words need to get written!
NanoWriMo 2011: Day 3
DAY THREE: NOVEMBER 3, 2011
Start Time: None
End Time: None
Today”s Word-count: A Big FAT zero
Total Words Written: 2,200/50,000 (from Day One and Day Two)
The Good: I got to hang out with Kavya. We talked about many interesting things, like lava formations on the Big Island in Hawaii; she kept saying “more” and after a pause, “waataarr” then proceeded to get the entire cushion I was sitting on, including my trousers wet. We did some yoga. She knows one move: the downward dog. This is followed by her climbing onto my head.
The Not so Good: Thursdays are my full on days where I start at 9am and come home at 4pm. The only writing I did today was while sitting on the train for about fifteen minutes, and that essentially consisted of adding a vowel or an article before closing my laptop back up and walking home. And as soon as I came home, I took a nap. Then I woke up and Kavya was climbing onto me, saying, “Papa, Elmo?” followed by her flinging herself over to the bookshelf to get a book and wanting me to read it to her. So that was the end of my night. Tomorrow doesn’t look all that promising either as we are headed to Sona’s mum and dad’s after my class at S.V.A. and have a fun trip planned for Sunday and Monday to Cape May. So, I am hoping that I keep my momentum going and it doesn’t flatline because I have a novel to write!
NaNoWriMo 2011: Day 2
DAY TWO: NOVEMBER 2, 2011
Start Time: 9:30 am
End Time: 2:00 pm
Today”s Word-count: 1,000/1,644
Total Words Written: 2,200/50,000
The Good: I did force myself to sit down and write. And I am pleased with the progress I am making and with where the story is going and how it’s taking shape. Plus, so far, I haven’t veered off my outline . . . although I’m not moving forward with the plot either. I am trying not to be overly critical and getting too bogged down with the minutia of perfecting my sentences and ideas.
The Not so Good: I dawdled a bit too much during my writing time. I had five hours to write, but a lot of it was taken up by looking up names of Bollywood films I’m referencing in the opening and on youtube videos and articles on Bollywood star, Amitabh Bachchan’s link to inciting mob violence in 1984. Yes, research. It wasn’t necessary. I am also not thrilled I didn’t meet my full word count for yesterday and today, but I am pleased I’m writing. I did still refine and added bits to the first part of the novel, rather than ploughing straight ahead. I’m also needlessly concerned about tomorrow when I have a full teaching load. I should have just concentrated on today and gotten my writing sorted.
Overall: I didn’t get completely bogged down in making the sentences and ideas flow perfectly, and I am happy that I am writing with a direction, so I don’t feel like I’m wasting my energy in developing plot points or characters that aren’t going anywhere (as has happened in the past). I may have stopped the narrative a wee bit with the description and introduction of the sister character in a flashback that wasn’t there before. Hey, I did say I am trying not to be overly critical! So, overall, I feel like I’m making good progress.
NaNoWriMo 2011: Day 1
NOVEMBER 1, 2011
Start Time: 9:00 am
End Time: 11:00 am
Today”s Word-count: 1,200/1,644
Total Words Written: 1,200/50,000
I didn’t hit my exact word count, but so far, so good, athough I did a lot of refining and I did still go back and edit. I’ve actually sat down and written more than I have in the past year and am actually progressing with my novel. So hip, hip hurray for me.
I attempted to write my novel during National Novel Writing Month in 2009 (NaNoWriMo or just plain NaNo), and while I would like to blame many things other than myself for not putting in much of a dent, it was through a lack of planning. I didn’t have an outline or even a sense of where I was going. This year, I am hoping it will be different. I am going to try and write 1,600 words per day.
I found these nifty word count image meter thingies that I am going to update you with daily during November. For those of you interested in using them yourselves, they are very easy to use.
You just put in this url and change the word count, target, and mood number: http://wordmeter.heroku.com/meter/words=1200&target=1644&mood=2
This year, I made an open declaration to all those who read this blog in my resolution post, Literary New Year’s Resolutions for 2011 of my writing goals this year. The reason I made it public rather than simply scribbling it down in my journal is so people would see my progress and I would be publicly shamed if I didn’t make strides in accomplishing my set goals. So far, the only two people who bully me into admitting my failures in letting Jersey Shore or FaceBook trump my writing goals are Sona Charaipotra (that’s my wife) and Dhonielle Clayton, her classmate, fellow fiction writer and homegirl at the New School’s MFA program, and blogger extraordinarie at TeenWritersBloc.com
You will find a public display of my inadequacies and . . . adequacies. No, that’s not the right word. My successes and failures – that sounds better – in keeping up with my writing goals for the next 30 days – click tab above that says “NaNoWriMo” or (check out http://www.navdeepsinghdhillon.com/category/nanowrimo). According to my New Year’s post, every week, I aimed to write 3 days a week, 500 words per session. So 1,500 words per week. It’s now November and my word count is at 0. So slightly short. This month for National Novel Writing Month, I’m going to put in a more respectable effort. Bullies welcome. Caste no bar.
What Are You Doing to Prepare for National Novel Writing Month (NaNoWriMo), 2011???
Yep. This cartoon by Errol Elumir pretty much sums up my thoughts on preparing for NaNoWriMo. I have my Scrivener sorted out (here’s a post I wrote to figure out what writing program to use: Scrivener vs Storyist). I have my pencils sharpened and my notebook organized. But . . . no outline!
It’s National Novel Writing Month, Can I Get a Woop Woop?
Two Novembers ago, I attempted to write 50,000 words – a completed novel – during National Novel Writing Month, most commonly referred to as NaNoWriMo, and those in a love-hate relationship with it refer to as NaNo. It has become a perfectly acceptable verb to use during November: “Are you NaNo-ing?” “How’s your NaNo-ing going,” or in my case, “Sod this Nano-ing. I’m NaNo-ed out of my head. ” Of course, I didn’t mean it. I have mad love for NaNo. But also mad hate. While I was doing it in 2009, it was definitely mad hate. And the whole of last year was filled with mad-guilt. This year, thanks to a great chat with Sona and Dhonielle, where I was forced (literally) to break down my story, I’m starting NaNo on a more cheerful and optimistic note. So yes, mad love for now.
Writing, like many other creative fields, is an incredibly lonely and isolating thing to do. It’s difficult being anti-social, not so you can put your feet up and unwind, but so you can sit in a corner of your house with a laptop. So two of the things I like about NaNo is that it connects you with a quarter of a million people around the world who are all trying to write a novel, and there are some amusing “pep talks” by established novelists. All of the participants, especially the aspiring novelists, are thinking This is the year. Very few will be disciplined enough to actually write 1,667 words a day, and make it to the full 50,000. What it gives aspiring novelists is a community and above all, hope. The hope that this year they can put a dent in their novel, maybe finish it, maybe even publish it.
The “Miss Representation” Trailer, Crazy Feminists, and A Hillarious “Got Milk” Advertisement Campaign That is Not Sexist At All.
A hilarious advertisement campaign by the “Got Milk” folks gives hope to men who have to deal with the erratic behavior of their wives/girlfriends due to their P.M.S. symptoms. The campaign is called “Everything I do is Wrong” and promotes an understanding of this mental disorder as well as garnering sympathy for the men who have to live with the repercussions of it. The premise is not just opinion. It is scientific. According to a study, milk (and other dairy products) help to calm down the craziness of women during their time of the month. One of the ad campaigns shown on the left features a bloke with disheveled hair, and a befuddled expression, as he carries several cartons of milk in his hands. It sends the positive message to little girls and women all over the world that with enough milk, God willing, a woman can someday be president of the United States. Maybe even a doctor.
There is a video clip from CNN that I can’t embed, but here’s a link to it: (http://youtu.be/65GUEKn0duQ). What I found particularly interesting in the video is the way this topic is being discussed. There isn’t an ounce of outrage from either of these women. This is a perfectly acceptable advertising campaign and is just “hilarious.” And the only people who would have a problem with it are those silly “feminists” and “women’s rights groups,” who live out in the Amazonian jungles and are completely separated from reality. Other videos covering this story showed reactions of women from various walks of life, and none of them were offended either (http://www.youtube.com/watch?v=US8fzDbUFNM).
Don’t ask me why I know who Coco Rocha is. Just accept that I do. What I admire about her is that she is one of a very tiny number of successful supermodels who have spoken out against the culture of eating disorders in the modeling industry that has largely contributed to our perception of beauty. And by extension, the perception that women and girls the world over have of beauty. Coco has said that after a trip to Singapore where she ate up a storm (it’s Singapore, how can you not!) and gained a few pounds, she was given the advice to lose the weight because the look that year was anorexia. But whoever gave her that advice didn’t want her to be unhealthy, so added, “we don’t want you to be anorexic, but that’s what we want you to look like.”
I remember reading an article in college ten years ago about young girls in Fiji developing all sorts of eating disorders shortly after American television was introduced to the island in the 1990s. In countries like India and Korea and Pakistan and I’m sure plenty of other countries in those regions, skin products contain bleach. You heard me right, bleach, so that everyone can look beautiful like the actors and models on the telly.
Our daughter, Kavya, is a little under two years old now and has no concept of gender roles. She takes things she wants and declares an item, regardless of what it is as “mine.” She will wear whatever we give her: onesies, dresses, skirts, trousers, jackets. She has no problems letting out a massive belch and then laughing so hard she almost falls off the sofa. She also has some slick bhangra moves, which was traditionally a Punjabi dance form performed exclusively by men after a good harvest. While there are plenty of co-ed Bhangra teams today, there are still many who still believe moves like the “dhamaal” are considered too “vulgar” to be performed by women. The counterpart is an equally slick, but thought to be more ladylike dance form called the Gidhha. The completely unnecessary video below was taken when Kavya was about two months old and it shows you where her loyalties lie. The video is flash based. Sorry iPhone and iPad users:
For now, we can monitor the shows she watches and the books she reads. But it is only a matter of time before she is introduced to an explosion of pink with barbie, princess lunchboxes, dolls, tea sets, the notion of prince charming coming to rescue her, and who knows what else coming at her from every direction, including from her classmates. It isn’t that I have anything against princesses or the colour pink. I just bought Kavya a pink tutu and a tiarra. She is, after all, my little princess. What I have a problem with is the lack of balance. And as annoying as I find Dora the Explorer, she really is the only female protagonist in children’s shows that is normal, does things other than wave a magic wand and isn’t pink. Not that there’s anything wrong with that. It’s also nice that she shows people that brown children exist too. Once Kavya is introduced to Dora, we will unfortunately have to completely refurnish our flat with Dora merchandise though. Speaking of which, if you find the Dora the Explorer with the message of empowerment too boring, just buy your daughter a Dora the Princess doll so she can comb her hair and make her look pretty.
Anyone who knows even a little bit about me knows that I am a massive bhangra-head, especially for old school hits. The catchy Punjabi song, “Gal Ban Gaye” by Sukhbir, from the 1990s that I have bhangra’d my head off to many a time without paying very much attention to the lyrics (below) makes it fairly clear:
“Munde bhangra paunde te kudiyan gidha pavan” (0:24)
“Munde car chalaunde te kudiyan pedal javan.” (1:24)
These lines literally translate to:
“Boys perform the bhangra and girls perform the giddha”
“Boys drive cars while girls walk.”
This of course is not exclusive to Punjabi music videos. Don’t get me started on the sorry state of the current Bhangra music scene, which is getting pretty much every single one of their cues from American hip-hop videos, complete with the sexed up “hip-hop honeys” and sunglasses in a nightclub (cheers for that tip, RDB).
Birpal Kaur was one of the subjects of an L.A. Times article on Sikh women and their relationship with their kesh/hair. The entire L.A. times “A Decision On The Razor’s Edge” piece situated Sikh women, not within their own spirituality and relationship to their faith, but within the context of their potential husband. After all, how can Sikh women ever find a husband “who is attracted to a hairy-legged, mustached woman?” It’s not like the French ever get married. That quote pretty much sums up the tone of the L.A. times piece. In Birpal Kaur’s rebuttal post on The Langar Hall, “Separate But Equal,” she explores this cultural double standard; Sikh males aren’t warned that Sikh women won’t find them attractive unless they wax their eyebrows, cut/trim/shave their facial hair, or wax their chest and legs. Their turbans and facial hair are a sign of masculinity. Ironically, the Sikh religion is probably one of the only religions in the world which gives equal rights to women in no uncertain terms within the religious text of the Guru Granth Sahib, the Sikh Holy Book.
There is a fantastic documentary called “Miss Representation” that I encourage every single one of my readers to watch. It will make you think about the role media plays in shaping the minds and values of grown adult women starting with little girls, around my daughter’s age. Here’s an official excerpt:
“the film explores how mainstream media contribute to the under-representation of women in influential positions in America and challenges the media’s limiting and often disparaging portrayals of women, which make it difficult for the average girl to see herself as powerful.”
Here is the trailer:
If a woman is raped in America (and most of the sane world), she doesn’t have to produce four witnesses to the rape or face being prosecuted for adultery. Sex trafficking is not a publicly accepted part of our “civilized” society. Women can work in almost every profession men can work in, except for military combat. They can, however, guard a combat vehicle unarmed in a combat zone, which is much safer. So, comparatively, women in America are free. And in this post women’s liberated land of ours, there is outrage against overt forms of sexism and of course, violence against women, including rape. But both the subtle and no so subtle messages we have allowed our media to put forth (and that is being emulated around the world) we have somehow accepted as a part of our ethos. This documentary brings up a simple, yet deep rooted question: Why?
The Original Speedy Singh: 100 year old Fauja Singh, Marathon Runner And Now, World Record Holder!
Yesterday, while most of us squeezed out the last bit of fun from the weekend by lounging at home and watching telly, Fauja Singh earned a spot in the Guinness Book of World Records for being the oldest person to complete a full distance marathon. To put it mildly, he wasn’t the fastest bloke at the marathon. Kenneth Mungara of Kenya ran the marathon in 2 hours and a bit, winning for the fourth year in a row, while it took Fauja Singh over eight hours to complete it. So why was there no bhangra music playing when Kenneth Mungara crossed that finish line, and more importantly, why isn’t Kenneth Mungara in the Guinness Book of World Records? Because Kenneth Mungara isn’t 100 years old and made of pure steel.
To put this distance into perspective, a half marathon is 13 miles (20ish km), and the full marathon is 26 miles (40ish km). I live a relatively active lifestyle. I take long walks with my wife and daughter, I do kickboxing, I practice yoga a few times a week, but I cannot even fathom walking 13 miles, let alone running 26!
What I find so inspiring about Fauja Singh’s accomplishments has nothing to do with his breaking world records, although that is lovely icing on the metaphoric cake. The world is clearly gobsmacked that he is 100 and is defying conventional medical wisdom to take it easy. But for me and I’m sure for all those who have been following his story, it goes deeper than that.
Fauja Singh never had any intention of moving to England. He was living a very contented life as a farmer in his village of Beas Pind in Jallandhar, Punjab, and would jog to places he needed to go. When his wife died and he was left alone, he moved in with his eldest son in England in 1992. He had the usual sense of loneliness, difficulty with the language barrier, and culture shock that afflicts so many older immigrants to the “western world” where they find themselves without much of a social life and living largely sedentary lifestyles with weekly visits to the Gurdwara to eat incredibly unhealthy food from Guru ka Langar. To add to that, his son, who was 45 in 1992, and his daughter-in-law were killed in a car crash, which led him into a state of depression. But rather than succumb to it, he started jogging. He has run countless half marathons, and completed his first full marathon in 2000 at the age of 89.
He runs wearing his very neatly tied turban and is the classiest runner I have ever seen. He has run for charities like B.L.I.S.S. that help premature babies, as well as those promoting Sikh culture. In 2004, he was part of an Addidas advertising campaign alongside David Beckham and Muhammad Ali’s daughter, and he replaced Beckham in the posters!
What I love about his message is not just that you should never think you’re too old to accomplish your dreams, but his entire outlook on life is incredibly optimistic, despite what he has gone through.
One his best words of wisdom (there are many great gems):
“The secret to a long and healthy life is to be stress-free. Be grateful for everything you have, stay away from people who are negative, stay smiling and keep running.”
“Ghazal King,” Jagjit Singh is Dead, But His Ghazals Live On
Tonight, my father-in-law, Kamal Charaipotra, posted, “my buddy is gone” on his FaceBook wall. He had been out all day, so had no idea that his “buddy,” world reknowned “Ghazal King,” Jagjit Singh had died of a brain hemorrhage this morning in Mumbai. My wife, Sona Charaipotra, had to break the news to him when he came home. Earlier today, when she called me to tell me about Jagjit Singh, she was on the verge of tears. In California, my father, Pashaura Singh Dhillon, a Punjabi poet and singer, was also upset when he heard. Thousands the world over are tweeting and writing heartfelt messages on FaceBook and other social networking sites. Celebrities, politicians, media personalities, and people from all walks of life, particularly in Pakistan and India are voicing their sadness at his death. It doesn’t feel like a celebrity or the “Ghazal King” has passed away. It feels like a family member we had assumed would be with us forever, is suddenly gone. He was 70 when he died and I’m sure many are wondering how he became so old without us noticing.
Growing up in Iran and New Jersey (U.S.A.), Sona and her sister, Meena, have heard most of Jagjit Singh’s ghazals, which they can sing verbatim and with much vigor. But they don’t listen to his music on a daily basis the way their father does. They listen to a mish-mosh of hip-hop, pop, grunge, old Bollywood, new Bollywood, “pop” bhangra, and sometimes Jagjit Singh as the only classically rooted singer in their collection on iTunes.
My father-in-law is not exactly a connoisseur of poetry. He doesn’t own any poetry books in any language, but has quite a lot of manuals for installing electrical wiring or DIY plumbing. He has sentimental value for his old Hindi records and record player he refuses to throw out. He appreciates good poetry that is sung, occasionally that is recited, but not enough to go to their live performances or buy their cds. He finds the ghazals of Ghulam Ali and Pankaj Udhas, too slow and doesn’t connect with their poetry the same way he does with Jagjit Singh’s. And it isn’t simply because he uses modern instruments. It’s much more complex than that. He owns every single one of Jagjit Singh’s collections. Even the repeats and “best of” collections. He has been to countless Jagjit Singh live shows, and remembers playing “Ahista, Ahista” with such frequency in the car, that Sona used to sing along in Iran before she was 2 years old.
The first concert he went to was in Iran and when he came to The United States in the 1980s, he would drive for hours and brave traffic, just to go to packed auditoriums in places like Long Island, Washington D.C., Washington Square Park in NYC for the worst seats all the way in the back, just to catch a glimpse of the man and to hear him sing his heartfelt tunes, live.
My father, on the other hand, is a Punjabi poet and singer, who lives, breathes, and writes about poetry (view post for an overview of terms used in Punjabi poetry) and is much closer in age to Jagjit Singh. He has stacks of poetry books on the shelves in Urdu, Punjabi, and some, though not many, in Hindi. Like Jagjit Singh, my father is a traditionalist and yet a modernist at the same time. He believes in the purity of the message and the artform of the ghazal, but he isn’t a “purist” or elitist that uses overly complex literary language as to not be understood by the general population. Nor does he have anything against the use of modern instruments (most of my dad’s poetry is accapella anyway though) to enhance the poetry. While he does own many of Jagjit Singh’s cds and dvds, he also owns collections by old school classic ghazal singers like Begum Akhtar, and more modern singers like Ghulam Ali, Noor Jehan, Attaullah Khan, and countless Punjabi singers of the ghazal from both sides of the border. He watched many of Jagjit Singh’s concerts and interviews on the BBC, and has a deep respect for the man. He was truly saddened when he heard of his death because of what it meant to the world of the ghazal and the end of what he called “the era of the ghazal.”
My father respected Jagjit Singh for coming from a humble Sikh family and making it in an industry wrought with competition, and for popularizing the ghazal to the masses, which had until then been only accessible to the elite. He even understood why Jagjit Singh shed his Sikh identity by cutting his beard and hair after he was ridiculed for trying to sing a Gujarati song. He wanted to be “mainstream.” These were issues my father faced (and Sikhs everywhere continue to face). My father faced these issues, not as a singer, but as a landcape architect in many parts of the world where he was judged before he even opened his mouth. My father respected Jagjit Singh for his achievements and the values he espoused as a human being and a singer.
It has always been a source of curiosity to me as to what makes Jagjit Singh so enamored to a cross section of people of different faiths, generations, economic and political backgrounds, and even people in Pakistan hold him in high esteem. And it wasn’t because he stayed under the radar and didn’t voice his dissent on issues. He has come out against the Bollywood film industry as a whole, against its “item numbers,” and the values music shows mimicking American Idol espouse. He has talked about the complete lack of variety in Punjabi music and how it has become completely vulgar in both its lyrics and content of its music videos. His view on shows like Indian Idol and Sa Re Ga Ma Pa was that “If you bring competition into music, the soul is lost.” And he knew plenty about soul.
He even divided Bollywood when he questioned the talent of A.R. Rahman and the “poetry” of Gulzar. Of ghazals, he said that intrinsically “good” ghazals will continue to be popular despite not being played on the radio or in films. Interestingly, there were some who claimed that there simply was no place for a ghazal in Bollywood, and Pankaj Udhas, who owes a nominal amount of his success to being a playback singer in Bollywood predictably came to their defense. He argued that A.R. Rahman had tremendous talent and could easily write a ghazal. Of course, he hasn’t and probably never will. Why does he need to? Not that this makes him any less talented. A.R. Rahman undoubtedly has an incredible voice, but Jagjit Singh’s point was that while A.R. Rahman’s singing ability and the musical composition is catchy, the lyrics/”poetry” of what he is receiving such accolades for are vacuous and are mimicking western musical melodies. “Jai Ho, Jai Ho” is really as profound as the “poetry” gets.
Jagjit Singh’s impact on popularizing the Ghazal genre is unquestionable. Before Jagjit Singh, the ghazal was performed in intimate settings at mushayras for the elite in both India and Pakistan. It was laden with literary vocabulary steeped in old Urdu that the average person found too complicated. This highly refined and nuanced form of poetry was not supposed to be understood or accessible to the average person. But Jagjit Singh saw it much differently and brought soul to the Ghazal combined with poetry that anyone could understand.
He had an incredibly melodic and soothing voice that prompted some psychiatrists in metros of India to prescribe his ghazals to de-stress. For a man who sang such heart-rending songs, he had a great sense of humor that often came out during his live performances.
He made the decision to stick to ghazals in 1972 when he went to perform in East Africa. His group told him to gyrate his hips a little and sing the super-filmy song, “mere sapnon ki rani,” which he did well, but afterwards he famously yelled at his group and told them he was not going to sing these silly filmy songs, and would only sing ghazals. And he stayed true to his word. Even the songs he’s done for Bollywood films like Arth and Sarfarosh have all been ghazals. And instead of relying on just classical music instruments like the sitar, he incorporated modern instruments like guitars and even synthesizers into his ghazals.
What many people liked about Jagjit Singh, aside from his silky smooth voice, was that he didn’t come from a long lineage of singers, or have connections in the music industry. His beginnings were very humble in this regard. He was born in Sri Ganganagar, Rajasthan, to Amar Singh Dhiman and Bachan Kaur, and raised Sikh. He was on-track to fulfill his father’s wishes that he be an Indian Administrative Services (IAS) Officer. After graduating from Khalsa High School, he went onto studying science at Government College, and eventually received a degree in history from Kurukshetra University in Haryana. His father saw singing talent in his son and let him study singing under the tutelage of very reputable musicians, starting at 12 years old. He studied many forms of classical Indian music like the Khayal, Thumri, and Drupad.
Jagjit Singh moved to Mumbai to pursue a singing career without any contacts, no “godfather,” or any real plan. He shed his Sikh appearance by shaving his beard and cutting his hair to be more “mainstream,” but still held onto his Sikh values, which came out especially after the death of his only son, Vivek, in 1990. He met his wife, Chitra, when they both sang jingles for advertisements and for private events like weddings. His first album, “The Unforgettables” created quite a splash and was criticized by ghazal purists, but loved by the people, who he intended it for anyway.
Chitra became extremely depressed after the devastating loss of their son in 1990 in a car accident, and they did one final album together where they bore their souls before she quit singing publicly. Her grief was private. But Jagjit Singh shared his grief with his listeners. He turned to religion and sang Hindu Bhajans and Sikh Gurbani as a way to deal with the pain. He wrote incredibly introspective ghazals that delved deep into the human psyche. And just a few years ago, in 2009, Jagjit Singh’s adopted daughter from Chitra’s first marriage (Monica Chaudhry), committed suicide.
Jagjit Singh is much more well known for his ghazals in Hindi and Urdu, and while many have heard his ghazals in Punjabi, he is not particularly well known for them, which is a shame because they are very beautifully sung.
He has sung ghazals from the Guru Granth Sahib (the Sikh Holy Book) to help him cope with the loss of his son, and he has also sung Punjabi folk songs. But what really shows his comfort and ease with the language is the way in which he renders the haunting words of Shiv Kumar Batalvi’s, “Maae Ni Maae.” This is not an easy poem to pull off without really understanding not just the Punjabi language, but the language of poetry, the meaning behind the words, and the intense amount of emotion that it hides behind. Here is a direct English translation of the first stanza:
| Maae ni maae | Mother, o mother |
| Mere geetaan de nainaan vich | My songs are like eyes |
| Birhon di rarak pave | That sting with the grains of separation |
| Adhi adhi raateen | In the middle of the night |
| Uth ron moye mitraan nu | They wake and weep for dead friends |
| Maae sahnu neend na pave | Mother, I cannot sleep |
(check out the full translation here: http://www.apnaorg.com/poetry/suman/17.html)
Watch his rendition for yourself:
One of my favourite ghazals that he sang five years after the death of his son captures the universal message he tried to convey throughout his life and that we still see the truth of today. “Main Na Hindu Na Musalman” from the album Mirage. The first lines are incredibly simple and yet so powerful. “I am neither Hindu nor a Muslim. Just let me live.” It reminds me of the human rights message of Guru Arjan Dev’s shabad in the Guru Granth Sahib (page 885):
“koee bolai raam raam koee khudhaae ||
Some call the Lord ‘Ram, Ram’, and some ‘Khuda’.
koee saevai guseeaa koee alaahi ||1||
Some serve Him as ‘Gusain’ (Jesus Christ), others as ‘Allah.’”
I wrote a blog post not long ago (link to the post) on the death of Sardar Gursharan Singh, also influenced by the poetry and universal message of the Guru Granth Sahib. He dedicated his life to bringing street theater – “thada” in Punjabi meaning “platform” to the people in Punjab. And that’s how I feel about Jagjit Singh. He was a revolutionary in his own way, both in terms of bringing the genre of the ghazal to the level of popularity it enjoyed in both Bollywood and at sold out concerts in Pakistan and India.
According to Jagjit Singh, popular Bollywood songs – what he refers to as “item numbers” – shouldn’t be called music because they lack any kind of lasting quality or art. They have been made popular through radio air time and being played on the television. He has also said that Bollywood music and movies used to be an extension of literature, and now are devoid of any art. And I completely agree with him. Jagjit Singh’s ghazals from decades ago are still incredibly popular, not because of the media playing his music over and over, but because they were and still are artistic, poetic, honest, and transcend any time period because of their emotional honesty.
Jagjit Singh’s death is a tragic loss to the world, and especially to his wife, Chitra who must be devastated by his loss. And his death symbolizes so many things to so many people. He impacted the lives of people from all political, ethnic, linguistic, and religious persuasions. Even across national boundaries. Some focus on his contribution to the world of poetry, others to how his emotive voice shaped their experiences of life. My wife grew up with his voice, and my father-in-law connected with the values he represented, as well as the emotional honesty he brought to all of his songs. His ghazals will live on for the simple reason that they are well written, beautifully and powerfully sung; in short: they are good based on any criteria. They will reach many more generations, including my daughter, Kavya, who will be singing along to “Ahista Ahista” soon enough. I leave you with an interview where Jagjit Singh talks about the integrity with which he conducts himself and how he chooses the ghazals that he sings:
The “Big” Mac Writing Software Showdown: StoryMill vs. Storyist vs. Scrivener!
I was eight years old and in Punjab for the summer holidays the first time I was proud of something I had written. My paternal uncle (chacha) bought me a small 8 x 24 inch-ish wooden plank called a phatta, which village children used to write on with a homemade wooden pen that they filled with ink. I spent hours writing all 35 characters of the Punjabi alphabet on it, and at the end of it, my mum said “good,” then without warning proceeded to wipe the phatta clean with a mildew coloured paste. She had neglected to mention my work would be destroyed. This phatta experience was the first instance of a psychological condition that my wife, Sona Charaipotra, also a writer, my father, Pashaura Singh Dhillon, a Punjabi poet and singer, and I suspect many readers of this blog also suffer from: word hoarding.
Merriam-Webster defines a hoarder as “a person who accumulates things and hides them away for future use.” For as long as I can remember, I have done this with words. This phatta experience was not fun when I realized the permanent loss of data that was to follow. If I had my way, we would have returned to Dubai, United Arab Emirates, with suitcases filled with nothing but stacks of wooden planks, all black with the profound thoughts of an eight year old. Since this phatta thing didn’t work out, I became paper mad (I still am, but to a much lesser degree). I still keep journals. I still write on napkins. And I feel odd leaving the house without paper and a pen or pencil. In graduate school at California State University in Fresno, I rarely used a computer for my writing. Almost all of my work was initially handwritten in notebooks, and then reluctantly written in Microsoft Word to be printed and pimped out for workshop critiques.
But my first novel that I’m in the midst of writing now didn’t even move with this approach. As the research for my novel set around 1984 started piling on, I got lost in entire notebooks and a sea of random papers filled with notes on books, articles I’ve read, on potential characters, real life incidents, ideas for fictional scenes, facts, etc. It all became quite overwhelming. So, I attempted to organize things on my own. I named the main folder on my MacBook Pro, “Writing” and within it, subcategories with names like “Research on Blue Star,” “Bhindranwale,” “Militancy in Punjab,” “Operation Black Thunder,” “Things I May Use,” “Actual Writing,” “Drafts,” “Timelines,” “Characters,” and “Possible Storylines.” Needless to say, that didn’t go very well at all.
During one of my googling binges, I found out about the niche market of Mac applications/software catering to fiction writers that went beyond Final Draft, which is specifically for screenwriters. I’ve tried almost all of them, starting with the free ones, and moving on to the paid ones. All of the paid ones offer generous trial periods, which is what I used to make my decision of which writing software to use (you should too!).
I Love You Phillip Morris
Steven Russell is happily married to Debbie, and a member of the local police force when a car accident provokes a dramatic reassessment of his life. Steven becomes open about his homosexuality and decides to live life to the fullest – even if it means breaking the law. Steven’s new, extravagant lifestyle involves cons and fraud and, eventually, a stay in the State Penitentiary where he meets sensitive, soft-spoken Phillip Morris. His devotion to freeing Phillip from jail and building the perfect life together prompts Steven to attempt and often succeed at one impossible con after another.
Download the script here. Read and print the first 20 pages for Monday
A Serious Talk
Download and Print the pdf for the short story, “A Serious Talk” by Raymond Carver and bring a copy to class on Monday evening (June 6) http://old.texarkanacollege.edu/~sskinner/Texarkana_College/Ashbowen_files/A%20Serious%20Talk.pdf
Ding Dong, Osama bin Laden is Dead.
Unless you’ve been living under a rock for the past three days, you’ve all heard the news: Osama bin Laden was killed in a hail of gunfire, his body buried at sea in a well orchestrated CIA operation over the weekend. Moments after the news was official, it was a very bitter sweet moment when my wife and I saw people of all colors celebrating the death of Osama bin Laden in cities all over the United States. But none brought it home more than watching people rejoicing in his death at World Trade Center.
It brought back a lot of painful memories that didn’t just involve this one man. Aside from feelings of utter panic, helplessness, and a tremendous sense of loss for human life, brown folk, especially Sikhs, were suddenly viewed of as different. We weren’t included in the “us” and had become the “them” unless we could prove otherwise by elaborate displays of patriotism, which included waving the flag, belting out “U.S.A.” and in some cases, wearing a turban made out of the American flag.
It wasn’t a shock that the first hate crime victim after 9/11, Balbir Singh Sodhi, was a turbaned Sikh, but it was still a devastating blow. And just recently, Arizona Rep. John Kavanagh introduced a bill wanting to remove Sodhi from the state’s 9/11 memorial because he wasn’t a “9/11 victim.” Thankfully that bill was vetoed, but what I’m concerned with is that this bill was even introduced. And it was clearly attempting to remove the name of a man who didn’t look like “us.” Can we expect more instances where brown folk, Sikhs in particular, have to prove how American we are? Better stock up on those flags.
Back From My Slumber!
Some of you have emailed me or left comments wondering where I’ve gone, expressed in various shades of concern/relief/glee/distress/ambiguity. Not to worry, I am back from my slumber. The image above is obviously not of me. It is of my daughter. And, as indicated by the caption, when she slumbers, I slumber. That’s how this small family of ours works, otherwise we are both grumpy. In case you are wondering what this image has to do with the rest of my post, I’ll tell you: absolutely nothing. I needed an image conveying slumbering. She’s my daughter. She’s pretty. She’s slumbering. And this is my blog. Now, on with my post!
A few months ago, I was asked by a friend of mine if I’d like to contribute to The Langar Hall (TLH): a “progressive” Sikh blog (link to learn the basics of Sikhism). Normally, I stay far away from anything connected with religion, because it inevitably involves drama, and a seemingly innocuous comment or idea becomes politicized in a blink of an eye. In real life, these perceptions turn into long feuds, sometimes culminating in violence (the use of tables and chairs by “modernists” in Canada is just one example). Online, it doesn’t turn to violence, but does result in a lot of drama with a lot of people angrily punching keys on their keyboard in an effort to prove their point.
Martin Amis on “The War Against Cliché “
The mere mention of Martin Amis’s name (in England, anyway) sends grown men hurtling towards a nostalgic past they were probably never a part of, and women into hysterics. The sort reserved for Michael Jackson when he did the moonwalk. I can’t think of any other author who has ever had the power to elicit this sort of behaviour from grown men and women, let alone still be able to pull it off in their late sixties.
Martin Amis is the grand-daddy of Lad-Lit (classily referred to as Dick-lit in America). He exploded onto the literary scene at 24 years old, winning the prestigious Somerset Maugham Award with The Rachel Papers in 1973. The plot of his novels has never been very exciting, but he has managed to amazingly move past cliché, despite the story he’s telling, and even the characters controlling the story epitomizing cliché itself.
Goodies and Baddies: Creating Complex Villains and Heroes
Ever since my wife started her MFA in creative writing at the New School last fall, I’ve been spending a lot of time hanging out with my daughter, who just turned one a few days ago. I watch her three nights out of the week, and I’m often asked how I get any writing done when I’m watching her.
The answer is simple: I don’t.
Initially, I attempted to balance the two, which did not end well. I was exhausted, didn’t get any writing done (I calculated once that I’d written 7 words, including pronouns, in five hours), and didn’t feel like I’d spent any time with Kavya. So, I decided to embrace spending time with my daughter properly, and a rather brilliant way of thinking about my writing (pat on back).
Call me a horrible father, but two of our favourite activities, regardless of the season, is to stay indoors and watch youtube, or something on the telly. And yes, we eat at the sofa, crumbs and all, much to Sona’s irritation (“I don’t know why there are crumbs on the sofa, Sona. Maybe YOU put them there from that pizza you had earlier in the week!”). We do, of course go out for excursions to New York, the mall, out for dinners, the park, coffee shops, museums here and there, and the bookshop (an absolute must). But this is what we end up doing when it’s time for papa to “work.”
And what do we watch? Movies. Television Shows. British Soaps (Eastenders yip yip). We also watch plenty of old school Bhangra videos that don’t feature scantily clad girls dancing around men wearing sunglasses inside strobe lit dance clubs. I’m raising a fiery Punjab di Sher Bachiye (little lioness), not a piece of furniture.
The reason I call this “work” is because that’s how I view it. Before Kavya, I never actually watched television for anything other than entertainment, and relied on novels, short-stories, and plays for sources of inspiration and narrative structure. Now, I still use those forms when she’s asleep (nothing beats a Shakespearean villain/hero, and nobody can create tension through dialogue and minimal description like Flannery O’Connor or Ernest Hemmingway). But I have come to truly appreciate the 3 act structure and A/B story of writers behind the television shows and movies I am drawn to. My novel has finally gotten off the ground, and I am attempting to create characters that move beyond stereotype, and have real depth to them. I tried reading some Shakespeare while watching Kavya, but she tried to eat and rip up the pages of his plays. Even e-books don’t work because then she climbs onto my computer and beats the keyboard and screen with all her might until she’s shown something more visually alluring.
Project 1984: A Novel Idea
A Quick Background
No, I’m not referring to George Orwell’s 1949 dystopian novel about a country whose citizens are being oppressed by a totalitarian government. Yes, I’m being facetious.
There are some very eerie similarities between what occurred in Orwell’s Oceanian province, Airstrip One, and the continual oppression and denial of justice that culminated in the government lead Sikh massacre that same year – 1984 – in India, the self-proclaimed “world’s largest democracy.” But I’ll save that for another blog.
There are even more eerie similarities in the shared nature of oppression and struggle for human rights in more “civilized” nations like the United States, France, England, and Canada to name a few. This oppression comes in the form of the creation of – in the words of Edward Said, author of Orientalism – “the other.”
The easy way out is to give you a quick overview of my two cents and leave you a list of links to some great books, articles, and organizations which have compiled some excellent resources on the subject. But I’ve never done things the easy way. Besides, my aim is not to simply disburse information that has already been compiled. It is to attempt to come to an understanding and start developing characters for my story.
Project 1984: An Overview
PROJECT 1984?
The name of my project is an intentional misnomer. Initially, my project was supposed to be based on the events of 1984 in India. It has since expanded to include the aftermath of 9/11 here in the United States, but I had no idea what to call the project. So, for now, the project name stays, while the intent and content change shape.
1984
When people talk about 1984, it’s as if everything hinged on this one year. As if prior to 1984, everything was running smoothly, and after 1984, everything returned to “normal.”
When I first started my project, I wanted to tell the story, in the form of a novel, of the Sikhs, in what I thought were the three key defining moments in my lifetime of the Sikh identity: 1) the storming of the epicenter of Sikh sensibilities and spirituality – the Golden Temple – during Indira Gandhi’s sanctioned and K.S. Brar’s lead “Operation Bluestar” in June, 1984, 2) the era of faked encounters by K.P.S. Gill where many innocent Sikhs were tortured and killed and all of these deaths were dressed up as daring police encounters with dangerous terrorists in some remote area of Punjab, and 3) From November 1-3, 1984, a full day after Indira Gandhi’s assassination, the anti-Sikh pogroms –state sanctioned massacre of Sikhs in Delhi and elsewhere – at the instigation of congress leaders like Jagdish Tytler and Sajjan Kumar, who will, in all likelihood, never face a day in jail.
Jakara 2009: 1984 – Reflect. Respond. React.
A Quick Background
The spirit of the Jakara youth movement is a model that I think should be emulated in other countries, including India. It began in 1999 when a handful of Sikhs in their teens and early twenties attended the Sikh Renaissance Conference, run by people of our parents’ generation. They found the message informative, but thought there wasn’t a meaningful discussion because the youth voice was drowned out by the adults. So they decided to start their own conference and keep the adults out.
Growing up in Fresno, there really was no excuse for me not to have attended Jakara until I was 30, the cut-off age. I always found something else to occupy my time with: in 1999, when they first began, I was 21, in the Naval Reserve, and had just started taking depressing Victorian literature courses at Fresno State. So that summer I had extended my Annual Training in Spain to go travel around Europe. In 2000, I wasted most of my time swimming and playing video games. The year after that I was working on my thesis, then I left to go teach in China for two years, and then I was in graduate school. In the summer of 2005, I got married. Then my wife and I went on a backpacking honeymoon across India for six months. The point is, for some reason, although I was a stone’s throw away, I didn’t think to make it a priority to go. And it isn’t that I found the topics being explored boring; I didn’t bother to see what they were. The truth is, I found the idea of being confined for an entire weekend discussing Sikh issues utterly miserable. Yes, I was one of those people.






































