Category Archives: Musings
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.”
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:
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.
Finding the right Writer’s Colony and Writer’s Conference
I have been teaching English literature, developmental, and creative writing to college students for several years now. I have attended loads of conferences and workshops relating to my work as an instructor of writing, covering things like plagiarism, using technology in the classroom, incorporating grammar workshops and handbooks, and the technicalities of using online rosters and posting things on blackboard, etc. But I have never taken a workshop directly related to my job as a creative writing instructor (or my aspirations to be a novelist!). None of the colleges and universities I have ever taught at offered it, but even if they had, I doubt I would have applied.
And the reason is, to be quite honest, I found the whole concept of writer’s conferences, colonies, and retreats rather dull. But having said that, I did find the panels on historical fiction and even some Young Adult ones I attended with Sona at the Brooklyn Book Festival in the summer of 2010 to be hugely entertaining and a great learning experience. But that entire event was free. Maybe that’s what my problem is.
I probably should have added “set aside x amount of money to be spent on my writing” to my Literary Resolutions post for 2011. But I didn’t. So now I’m making things up as I go along. They do add up really quickly, so you really have to figure out if it’s worth the expense. Especially when you have to travel for them, which is the case for all of the conferences and colonies I’m even considering.
Stoopid NYC MFA Students
I always love a good literary throw down because academics will never concede they’re in any way wrong, so it usually ends in a shootout. Oh wait, I’m confusing it with a gang war. It actually ends with one person having a strop (British slang for behaving like a child) and storming off. It’s even funnier online because there’s nowhere to go. It is, in one very fitting word, “awesome.” This time it involved the lawyer, poet, Ph.D. student, and blogger Seth Abramson, and Sona Charaipotra, a hot mama, New School Young Adult MFA student, TeenWritersBloc blogger, oh, and my wife =) It’s exactly like the feud between the East Coast and West Coast rappers. Sona’s like Tupac and Seth is like the Notorious B.I.G. Don’t let his Harry Potter outfit fool you. That is a Harry Potter outfit, right? Anyway, Seth wrote an article in the Huffington Post in which he does not call NYC MFA students idiots, and Sona wrote a blog on TeenWritersBloc.com titled “NYC Students: We’re not all idiots” See. Just like gangstaz.

James Frey and his best friend, Oprah Winfrey
Seth Abramson’s article, “James Frey and the Creative Writing Master of Fine Arts” has very little to do with either. He starts off discussing the unethical and exploitative nature of James Frey’s publishing company (check out my blog about it here), and then the article abruptly stops being about Frey and springboards into what he writes about on his blog: the perils of being in a high priced MFA program that is not fully funded. It reminds me of those reefer madness posters from the 60s.
Dead Narrators in Fiction
There is surprisingly very little information on the internet about using dead narrators as a fictional device. It is a facet of storytelling that I find fascinating, partly because I am very anti-social and don’t get out much, but primarily because I have been thinking about killing one of the main characters in my novel, and having him continue to narrate his story. Perhaps there’s a reason people don’t return my phone calls. Or my texts. Or my Facebook messages.
I have been told that this kind of narration is akin to burping at the dinner table or having a unibrow on a first date: something beneath the refined and well-groomed writer of literary fiction, but commonly used by those uncouth and low brow Young Adult writers as they smoke that hashish in their trailers while drinking Hennessey out of brown paper bags.
Young Adult authors, unfortunately, don’t get their props. And I’m about to take away what little props they do get by re-distributing the art of the dead narrator to other genres.
Some of the reviews on YA books like The Lovely Bones by Alice Sebold irritate me because they reference Stephanie Meyer’s Twilight saga as using a similar technique. And she doesn’t. Vampires, while technically dead, are not really dead narrators. Unless someone drives a stake through Edward’s heart (I am so there for that book and that movie) making him cease to exist, and then he continues to narrate the story, I don’t think the Twilight series should count as having a dead narrator. He is, in Meyer’s reality, alive. Sort of. Also, it’s a rubbish book, with rubbish characters, a rubbish plot, and rubbish writing. Sorry, had to get that out.
Using a dead narrator will either cause people to think of you as a very clever writer (ideal) or someone using a gimmick and that too a clichéd gimmick (not ideal).
Tasleema Langoo, A Kashmiri Muslim Performing Kirtan at the Golden Temple in Amritsar, India

Tasleema Langoo - Kashmiri Muslim performing Kirtan
Ten years ago, there was a lot of talk about Tasleema Langoo, a Muslim who became a bit of a celebrity amongst the Sikh community in Kashmir for having a beautiful voice and using it to sing and teach Kirtan – recitation of hymns from the Guru Granth Sahib – to Sikhs in the Srinagar Valley. People who heard her for the first time at a Gurdwara in Srinagar were mesmerized by the then sixteen-year-old, and initially had no idea she wasn’t Sikh because of the passion she showed, her perfect pronunciation, and detailed attention to the nuances of the raag – a very specific style of singing to convey a particular mood. When they found out she was Muslim, they were duly impressed, one of the old women saying “she takes us nearer to our own religion.” She had first been introduced to Gurbani by her father, who bought her a copy of the Guru Granth Sahib, the Sikh Holy Book, in Urdu from Amritsar.
































