Tag Archives: Navdeep Singh Dhillon
Kony 2012: Potato, Potatoe; Uganda, Sudan, Rush Limbaugh is Not a Racist, and Other Minor Details
There has been intense and not undeserved criticism against the Kony 2012 video on twitter, facebook, all over the web, and it is, as they say “trending.” That whole Occupy Wallstreet is old news. This is the new thing.
The 28-minute film posted on Vimeo brings to light the Kony 2012 movement that aims to arrest Joseph Kony, leader of the L.R.A. : the Lords Resistance Army, called a “Christian Movement” by Joseph Kony, who uses child soldiers to retain his power and uses them to rape, kill, and mutilate, while many girls are forced into sex slavery. The L.R.A.is no more Christian than Al Qaida is Muslim, but the Lord’s name is used, and I think it can be generally agreed that it is in vain.
The critics of “Invisible Children,” the organizers of the video and the movement have all had plenty of things to say, but nobody has defended Kony as part of their criticism. The intense criticism that has been raging on twitter, facebook, every media news outlet from the Guardian to the Washington Post, has been criticizing the video’s manipulative, dramatic, Hollywood style marketing. And let’s not forget the . . . let’s just call it misinformation, shall we? Let me rephrase: nobody off his trolley has defended Joseph Kony- On his radio show last October, Rush Limbaugh applauds Joseph Kony as a “Christian warrior” taking a stance against those evil Muslims who blow shit up. A proud moment for Jesus? Probably not. At least it proves Limbaugh is not a racist. Oh wait, no it doesn’t: http://www.youtube.com/watch?v=o21JkAid4Gc. How does this guy have a job again? Anyway, here are my thoughts:
If you have’t watched the video, here it is below. It’s 28 minutes long. If you can’t be bothered to watch the whole thing, watch the bit starting from 9:00 where the filmmaker tries to explain to his son who Joseph Kony is and why he needs to be stopped.
The whole thing is one massive emotionally manipulative argument about white man’s burden to save Africa. There are misleading figures and facts, and most critics have focused on the public finances of this N.G.O. Not for Profit Organization, which apparently spends more to pay their members and promote themselves than on the causes they are bringing to light. Some have claimed the organization is extremely shady. But, an important message is being conveyed, and that is why I am sort of on board with the movement . . . with a slight crinkle of the nose. And no bracelet.
I think any organisation or person who is able to bring this message to the people and have it be “trending,” whether the audience it garners are hipsters, hippies, or republicans, deserves credit for a job well done in marketing, and marketing a good cause. But, I am not clear on how we are going to “stop Kony.” The whole thing reminds me of Indira Gandhi’s campaign to get rid of poverty. The slogan for her political campaign: “Garibi Hatao.” Yep, “Eliminate Poverty.” Fantastic. How’d that turn out?

Results of a Catchy Slogan and No Plan
There are many facts and figures that don’t add up. And most of the critical arguments I’ve been reading haven’t really addressed them. The three biggest pieces of misinformation being presented are:
1) Kony operates in Uganda
No. He does not. And hasn’t for over a decade.
2) Its members are in the thousands (60,000 and growing).
Also incorrect. This figure was drawn from the entire 25 years Kony has been in power. The numbers now are in the hundreds.
3) Putting pressure on Washington D.C. will keep U.S. military in Uganda to help find Kony (again, Kony is NOT in Uganda. He is Sudan).
There is no indication that the U.S. has any intention of removing military presence. And even if they did, they’re doing bugger all to help bring Kony to justice. Wouldn’t it make more sense to bring the movement to Africa? To put pressure on members of the government in countries in Africa, human rights organizations (yes, they do exist in Africa)? Will that be a goal?
Another overlooked aspect is that Joseph Kony is in power because of all the children he has brainwashed and whose lives he has utterly destroyed by forcing them to mutilate, kill, maim, rape, and other horrific things to their own people, and their own parents (these things were also mentioned in the video). So, not only do we have the civillians who were obviously victims, but we have the perpetrators of these vicious acts, who are also victims. In order to even get to Kony, are we willing to murder the children he surrounds himself with?
So while I applaud the What being conveyed and the interest level it has generated, I am concerned about the How of their campaign. If they want to make a profit, quite frankly I don’t have a problem with it, although many do. I don’t hear anybody putting up such a fuss about how unethical Chevron, McDonalds, Ford, or Haliburton is, and we support them everyday. And the folks over at “Invisible Children” are not exactly making all that much money for the amount of effort they’re putting into it. They could have been making a lot more money by sticking some google ads on their video or on their site. So no, I don’t mind paying $30 for a bracelet if it goes to supporting a cause that has an actual goal for solving a complex problem that isn’t as easy as “let’s get rid of Kony and Africa will be saved.” I’m not seeing a well thought out plan yet, so no bracelet. For now.
“Beyond the Slushpile: A Magazine Roundtable” Panel At McNally Jackson

Salman Rushdie and Tishan Doshi
One of the most exciting things about living near NYC are not the bars, clubs, restaurants, or the museums. It’s nice that they’re there, and I enjoy going to them here and there, but what I really love are the events. I’ll go ahead and say it: the FREE events. The Brooklyn Book Festival draws some of the most interesting speakers and panels (I saw Salman Rushdie one year and Amitav Ghosh the next). There’s the PEN Festival that hosts a very international affair, where I saw Deborah Treisman (New Yorker Fiction Editor) for the first time in person where she moderated a panel on the modern short-story. And then there’s the Asian Writer’s Workshop, as well as a handful of great independent bookshops that host free events with a wide variety of authors, and panels that could only take place in New York.
On Wednesdays, I am absolutely knackered: I teach from 9 in the morning until 2pm with a short break in-between, add a few hours for grading, and the commute back and forth, and you have one worn out bloke. Yesterday, however, my lovely wife, Sona Charaipotra, had no sympathy for me when I just wanted to lie in bed and watch a little telly that evening. She insisted I attend an event I hadn’t even heard about at a bookshop I’d never been to before: “Beyond the Slushpile: A Magazine Roundtable” at McNally Jackson Books on 52 Prince Street. And appropriately enough, it was raining.
At first, I was a bit hesitant to go because I had all but abandoned my short-stories and was slowing plodding away at my novel. But then Sona told me about a one year writing program at CUNY, called the Writer’s Institute, that prides itself on being the “Un-M.F.A.” program, and is taught entirely by editors, including Nathaniel Rich (Paris Review), who sent me a lovely rejection letter years ago, John Freeman, and Deborah Treisman. But after I read the description, I was excited about the panel and at the prospect of returning to my short-stories and about the potential of what the program might offer me. So, I dashed off to the PATH station, caught the downtown F train to Lafayette/Broadway, and walked the three blocks to Prince street, without an umbrella. Here is the description:
“Join Ellah Allfrey, James Marcus and Deborah Treisman – editors from Granta, Harper’s and The New Yorker – as they discuss how and why and what they publish. The proverbial slush pile; the writers they’re loving; the ones that got away. Tonight they’ll talk about what goes on behind the curtain. Granta editor John Freeman will moderate.”
I’ve always loved the concept of an Independent Bookshop and McNally Jackson was utterly charming, although I whizzed through the entrance and shot straight downstairs, where it was immediately packed. There were people standing, not just in the aisles, but on the stairs. I got a dodgy seat adjacent to where the panel was speaking, so I got to see Deborah Treisman’s face, John’s legs, and that was about it. I didn’t even know what Ellah Allfrey (Granta) and James Marcus (Harper’s) looked like until after the panel when we got to chat.
I was expecting the panel to be a bit stuffy, but was very surprised at how informal it was, and definitely didn’t expect the f bomb to be thrown quite so often. “Those fuckers don’t write short-stories,” was the first of many, when John Freeman (Granta) contextualized his question on why England has so few short-story writers. Deborah immediately jumped in and said it was because of the lack of outlets. “There’s Granta, the occasional Guardian commissioned piece, and that’s about it.” She also mentioned one other journal I don’t remember the name of, and contrasted it to America, where it is still not a great market, but there is more opportunity to be published and paid than in England, or any other country. She was much less scary than the interviews I’d read of hers had led me to believe. It was very relaxing atmosphere and felt very much like a conversation taking place.
A woman from the bookshop announced some upcoming events, including one on Thursday with Patrick deWitt, author of “The Sisters Brothers,” where there would be free brandy. That immediately got my attention.
One of the first questions John Freeman (Granta) posed was on a study that showed the divide in statistics between women and men writers, and asked the editors to comment on this. Deborah Treisman (New Yorker) put it very well and said there were a variety of factors, but in the fiction section of the New Yorker, it was pretty even. The pitches she receives from writers over 45 are mainly male, but under 45, it’s pretty even. She also said that it was a cultural factor. “I think women today are much more likely to put themselves and their egos out there, before they get married and have children,” which of course, dictates the kinds of stories they write.
James Marcus (Harpers) echoed Deborah’s thoughts and said that “the stats are pretty rotten, but the fiction section is probably evenly divided.”
John Freeman then moved the conversations towards their process and everyone was pussyfooting around the fact that there was a pile of unsolicited manuscripts known as the slush-pile, and that interns read through this and decided whether it even came onto the desk of an editor. John very skillfully coaxed the term out of James, who quickly added that the work was done by “our essential team of interns,” which elicited quiet laughter amongst the audience.
But the bombshell was when Ellah Allfrey shared the fact that Granta recently changed its policy on the slushpile, thereby “democratizing the process.” Ready for it? They no longer have interns reading through it! An actual editor will read through each and every manuscript. John Freeman (Granta) added that the reason for this change was that an intern had turned down several really great stories.
Deborah Treisman (New Yorker) said that because her magazine has over 1 million readers, she is acutely aware of her audience, so wouldn’t choose an experimental piece to publish. This would explain why a lot of the stories are so similar in the subjects they cover and to a certain degree, even how the stories are written. A story she was particularly excited about didn’t sound that different from most of the stories they publish was written by Jim Gavin (an established writer) called “Costello” about a middle aged plumbing salesman and widower who lives in the suburbs in California.
She also told us that it is rare for something to go from the slushpile directly into the magazine, but it starts the relationship, and it might be the 5th story the writer submits that ends up in publication.

Granta Magazine: Pakistan Issue
During the Q&A, there was a question posed by a tall, lanky bloke with curly hair who stood all the way in the back, and it was by far the best question anyone asked. He referenced the Pakistan themed issue of Granta, which contained stories all on Pakistan, and he talked about a Pakistani writer, who was highly critical of American fiction. And she made the accusation that American fiction writers aren’t diverse or won’t step out of their comfort zone in depicting characters or subjects other than what they are firmly rooted in.
John Freeman summed up the question quite astutely: is there a creeping parochial in American fiction,” and both James and Deborah disagreed and had a great counter-point, although I don’t agree that a diverse America is being represented in the publishing world: “it’s ridiculous,” she said. “What Pakistani writers step out of their comfort zone to talk about American subjects or American characters?” I can’t think of any either. But then again, I can’t think of very many Pakistani writers who have been published in America.
Patrick Ryan, associate editor of Granta (and also a widely published author), ended the official panel discussion with a story about how a manuscript by an unknown writer was picked out of the slushpile and made it to publication, something neither James (Harper) or Deborah Treisman (New Yorker) could talk about in specifics because it’s probably never happened. The essay began with “Dear Editor/Reader” and was about his 3 friends who all inch out of the closet, but one of them decides to go back in, and gets married, etc. Everyone thought it was wonderfully written and made the decision to publish it. So Patrick is about to email the writer when he notices a number at the bottom, so he calls it, and hears a lot of background noise. When he tells him that he’s being published by Granta, there’s a lot of hysterical shouts in the back, and it is revealed that the writer is with his 3 friends and they are pulling in to Las Vegas to start their vacation!
After the conference, it was also very informal with the editors walking around and chatting with people, allowing them to ask some more questions. Most of the questions I had were answered during the panel, but I talked to John Freeman about the CUNY Writer’s Institute, and was even able to chat with Deborah Treisman at some length outside the bookshop as she was leaving.
All in all, a fantastic panel. The deadline for the upcoming semester is in less than 2 weeks: March 15, which means I have plenty of work cut out for me, including polishing up two short-stories I wrote ages ago, and refining my novel excerpt. I better get moving!
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.
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 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!).
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: 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.
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.
Project 1984: Some Resources
I have scoured the internet, bookstores, scholastic journals and databases for exhaustive information to try and understand the reality of the events of 1984, as well as the unique nature of this kind of oppression at the hands of the state. The following is a glimpse of what I deem to be useful, as far as my research is concerned. I am sure I have skipped many books and articles, so please leave a comment or contact me if you feel there are any sources or areas that are amiss:
Bits and pieces of everything: Wikipedia
While I sternly warn my students never to use this source for any of their papers, it has some surprisingly good cursory information. For an overview of the timeline of bluestar, the delhi pogroms, bios of many of the people involved, and it even has information on fake encounter killings. Again, use this to gain a very BASIC idea. It is not a reputable source because anyone can write an article on wikipedia and there is no system of accountability.
Bhindranwale and the rise of militancy in Punjab
Identity and Survival: Sikh Militancy in India 1978-1993 by Kirpal Dhillon
Before you ask, no I am not related to Kirpal. Nor do I get a cut in the profits. Now living in Bhopal, Kirpal was the Director General of Punjab Police within weeks of Operation Blue Star. It is very eloquently written and discusses the roles of K.P.S. Gill and Lt. Gen. K.S. Brar. Both men, incidentally, have produced memoirs of their own, which I have read, but cannot in good conscience provide as a resource for people to go out and buy. I would recommend reading it for the active researcher though.
Literary New Year’s Resolutions for 2011
Every year I make vague and overarching resolutions – “exercise more,” “write more”- and end up getting bugger-all done. Last year was no exception, although I did get one solid thing accomplished that I’d like to say was on my list of resolutions, but I’m not that organized: becoming a dad. With the same stroke of luck, my wife also became a mum (it wasn’t on her list of things to do in 2010 either).
So this has been a very special year for me watching our daughter, Kavya, grow from bhurkanvaalee (Punjabi word loosely translating to “something that jumps”) to a living, breathing, mostly sleeping entity, and now a very real little person with a rebellious personality who genuinely laughs when anyone tries to exert their authority. Sternly saying, “No,” to anything she’s doing (eating tissue, pulling wires, beating us, results in hilarious belly laughs from her.
We have quickly realized that being parents means we have to be much more organized with everything.
Project 1984: Bringing it Home
In 1985, I was about seven years old and living in Crawley, a small town 40 minutes by tube from London. I can’t remember exactly what we were all watching. We were all very particular about what we watched as a family: Black Adder, Only Fools and Horses, Monty Python, or Lenny Henry. The phone rang and my mum picked it up. She said very little, which is very unlike her. She loves to gab. My dad got up from the sofa and went over to give my mum a cuddle. Definitely very unlike him.
Earlier that day, my dad had been upset and livid as he heard a news story on the radio about militants gunning down a middle-aged woman and her two pre-teen daughters, one of them handicapped. “What kind of people are these?” he had said. It turned out, the woman was Minder Massi, my mum’s sister, a fiercely independent large framed woman in her 40s, who loved to gossip and could spend hours telling low-brow Punjabi jokes involving bodily functions.
Her first daughter had died of pneumonia when very young and as a result my mother had gone to live with her for several years. So their relationship was more like a mother and daughter. The mentally handicapped girl was named Jippan – she had Down Syndrome – and we used to get on incredibly well. She taught me how to play gend-gita, a game a little bit like Jacks, but played with pebbles, and a healthy dose of aggression.
With my father’s arms around her, my mother listened to the speaker at the other end of the phone give her the news. My mother’s sister and her two children were gunned down by militants for a perceived slight committed by her son-in-law. He was later hacked to pieces by a childhood friend, one of the militants, his body placed in several paper bags -the kind used by butchers – and delivered to his parent’s home in a narrow alley in Kharu, a small village near Tarn-taran. The reverberations of these deaths on the dynamic of their family are so gut-wrenching and far reaching that, over 26 years later, neither the year nor any of the events are ever mentioned.
My Favourite Fiction of 2010
As the curtain draws on 2010, I thought I’d give you a list of my favourite books of the year . The way I chose these books is a very scientific methodology; sometimes I pick up a book because I like the font, other times because I’ve heard something about the author or the subject, but most of the time I’ve chosen books at random from one of many bookstore dates me, Sona, and our now ten month old daughter –Kavya – routinely go to in New York, New Jersey, or California. In no particular order:
1. Serious Men by Manu Joseph
This highly underrated story explores caste issues using humor. Think of him as a funny Rohinton Mistry. The main character, Ayyan Mani, is a middle-aged member of the “untouchable” Dalit Community, working as an assistant to a brilliant Brahmin astronomer in Bombay. Discouraged by his position in society and in his career, he concocts a small lie at first – that his ten-year-old son is a genius. The lies start piling up and reach epic, but utterly hilarious, proportions.
2. The Sea by John Banville
The writing in any of John Banville’s books is just breathtaking, but “the sea” is my all time favourite that I just picked up a week ago in Fresno, California. It feels almost like poetry, rather than fiction. Here are two examples taken from the first paragraph: “The seabirds mewled and swooped, unnerved, it seemed, by the spectcle of that vast bowl of water bulging like a blister, lead-blue and malignantly agleam.” And “Someone has just walked over my grave. Someone.”
A Christmas Present: Time
This winter, while visiting my parents in California, I had big plans to put a dent in my novel. Or at the very least finish my short-story that has been on the backburner since the beginning of Fall. We’ve only arrived here four days ago, but already I feel an aire of complete unproductivity looming. So far, I have done bugger-all related to the actual writing of my novel. Although I did manage to skim through “Points of View” and refine my handwritten notes. But there is a seemingly valid excuse for me not writing: our baby is teething. For those of you without little bundles of wobbling, energetic, laughing, crying, screaming, adorable, irritating, frustrating, little versions of yourselves, let me translate what teething means: Life is hell.
Our 10-month old daughter has two half-teeth protruding from the top and bottom of her largely gum filled mouth, which she shows us in one of two inexplicable ways: 1) With zero warning, she unhinges her jaw to a 180 degree angle so she can laugh hysterically at random things: the fridge, a person’s face, Sona dancing to my melodious rendition of “brown girl in the ring.” 2) Almost as abruptly, but with about a two second warning, her upper lip starts to quiver like jelly on a plate, and then she takes a deep breath. This brings a false sense of calm, and is immediately followed by huge wails of shrieking like I’ve just told her I shot the Easter Bunny. In the head. And am making her rabbit stew for dinner.
Teething biscuits don’t work. Neither does medicine, unless the goal is simply to knock your baby out, or the teething has induced fever (as if just the teething wasn’t enough). So, essentially, I’m in the “on” position the entire day.
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.

































