After hours, the city looks largely uniform in its
Flemishness, represented by buildings both old and new. On that overcast afternoon, for a glorious couple of hours, Antwerp
did become the city of my imagination. As I spied the old men sipping Sagres in Espigueiro, a corner bar in the heart of the Portuguese barrio in
Sint-Jansplein, the sun peeked out and the city-within-a-city project of
the immigrant didn't seem so misguided anymore. I might have been in
Lisbon. Like all great
cities of the world, there are more beginnings than ends here.
A Gallon Of Butterbeer
Wednesday, October 9, 2013
Monday, January 14, 2013
Why I Read - IV
"When a man rides a long time he feels the desire for a city. Finally, he comes to Isidora, a city where the buildings have spiral staircases encrusted with spiral seashells, where perfect telescopes and violins are made, where the foreigner hesitating between two women always encounters a third, where cockfights degenerate into bloody brawls among the bettors. He was thinking of all these things when he desired a city. Isidora, therefore, is the city of his dreams: with one difference. The dreamed-of city contained him as a young man; he arrives at Isidora in his old age. In the square there is the wall where the old men sit and watch the young go by; he is seated in a row with them. Desires are already memories."
- Italo Calvino (trans. William Weaver), Invisible Cities, at 7.
Why I Read - III
"To be treated with the respect you aren't due is the dream of every talentless sportsman."
- Marcus Berkmann, Rain Men, at 85.
- Marcus Berkmann, Rain Men, at 85.
Thursday, January 10, 2013
Chasing Little Prizes - Since 2009
Another final played today. Another evening spent staring at my computer screen and alternatively, the ceiling, not really noticing them. A rather perceptive person put it beautifully today - our private faces know no restraint. Our public faces, no liberties. 4 years now. Still only 15 games played. Still only 17 goals scored. Still no final. Still no title. Want to know how to do it? Dig yourself a basketball-court sized hole, jump-in (don't spend a moment pondering talent/ability - just dream, dream, dream), gift yourself a tear of the medial meniscus, and don't climb out. Simple.
Monday, December 31, 2012
Miss Green
You close your eyes when you feel its corrosive presence in
your gullet, the sides of which you imagine chipping away, when all you want to
do is retain some of it in your throat, feel the liquid accumulating around
your Adam's apple so that to anyone on the outside, it looks like a clear,
transparent patch that will stand out on your neck, making you the Shiva of
Saligao, the Destroyer who remained unpoisoned, the neelkanth, the fenikanth.
Feni and cunt. You open your eyes, and find yourself
chuckling, like a drunk in a taverna, which you are. Destroyer who remained
unpoisoned is far from the truth. Someone puts on a switch somewhere, and a
bulb half-heartedly illumines the figure in front of you: a dense haired,
wet-lipped apparition, but you notice only the freckles, which you have called
(will now call for the last time) stains on the face of the moon. The
Englishwoman is shaking gently, not yet undone by the liquid conductor of the
opera this evening, this First World Parvati of yours, and the professional
drunks of Saligao don't even look up as they go about their job with practiced
ease.
In this life at least, you're a bellboy at the Taj property
at Candolim. Too young to strut about like a fucking comprador, too old to
think that you've never going to get out of Goa. You're attractive in a wolfish
sort of way, the sort of way fellows like you are attractive to women like her.
In one swift motion, she has locked the door of her room and pulled you towards
her, attacking your lips with her own pink ones, even your teeth and an
unprepared tongue. There is no time for you to wonder whether she had caught
you staring at her heavy, dotted breasts, sticking out from under her summer
dress, when she was in the lobby. This was
audacious even by the standards of a washed-up English woman who gets on a
flight to this country within a country to get over a messy divorce.
You've never had an older woman before, and are still
reeling from the sex when she begins talking about herself. You see her hurtle
towards what you know she considers her redemption, her second chance, and you
say nothing even as you know that this deliverance might turn out to be her
biggest folly yet. Hypnotized by the sight of her breasts straining against her
t-shirts, and spoilt by the opportunity to free her of that yoke, at the very
least, you begin to listen. Pressing your wiry frame against a rear that eats
up, bit by bit, your capability for rational thought, you become her dumb assistant as she decodes her
sins, unhampered by red curtains and latticed windows. All the very well. Padre
Lucius would not be pleased.
It is monsoon. The only time of the year when Goa is for the
Goans. When it doesn't matter whether anyone has left for Lisbon yet. Quem vio
Goa excusa de ver Lisboa, they will say now. The awnings in Fontainhas drip
throughout the day, and the sullen Mandovi looks like she has finally had
enough of her reddish-brown burden. On the floor of the barge to Betim, you can
make out the brown imprints of the soles
of the cheap, black sandals that the middle-aged women of this state have made
a habit of wearing. Their black umbrellas tucked under their pudgy arms, they
gossip about other people's sons or if they are not in the mood for chatter,
try not to think about the day when their own boys will leave. While the
Englishwoman buys her smokes, you try to avoid the gazes of the gaunt, old men that
still carry the last dregs of a dream. In them, you see moth-eaten visions of
the Bombay docks and the bottle-green jerseys of football clubs.
You pick up Sabby's bike from his little dugout on what has
come to be known as the River Princess Street in Candolim, after the ghost-ship
that lies forgotten in the sea a few metres away, daring scrawny, enthusiastic
youths and pot-bellied men trying to spice up their marriages with a bit of
holiday machismo to swim upto its wreck, despite the warnings of the occasional
life-guards in garish red-and-yellow. You, in your local pride, hardly consider
the wreckage to be an ennui dispeller, until that night when the Englishwoman
drags you to the edge of the water at the witch hour, and you hear the waves
breaking against its ominous, ghastly silhouette, untempered by any sort of
illumination that the shacks on the shore provide when the sun makes an exit
after its cameo performance. In the silence that follows, you feel the manic
frothy foam accumulate around your ankles, tightening and loosening its grip
around them, fists of the vast, vast ocean clenching and unclenching, undecided
whether to take the fight to you or wait for you to forsake the shallows and
wade in further. For the first time, you notice that the Englishwoman, in the
four months she has been here, has gradually slayed the River Princesses of
her own past - the vacuity of an unhappy marriage, a job as a low-level
functionary in a firm managing hedge funds even as the creeping tendrils of the
recession were growing into unruly, self-strangling vines, her spectacular
failure as a writer in a previous avatar - not decapitating them with one
smooth stroke of her Exacalibur called Goa, instead chipping away at them with
it, eroding and discarding the past as only a change of air can. On the edge of
the water that night, you understand how one can fall in love with a place
through a person. Along with freshly-fried calamari, snatches of Konkani
drifting in from next door at the rented accommodation in Anjuna and the gentle
whistling of ancient, swaying palms in a ruined paradise, you have been
totemized. Love is nothing if not a totem for a new lease of life.
And so you ride with her on Sabby's bike to Morjim, as the
monsoon peters out and an assertive sun calls out to the denizens of countries
that colonized and liberated and re-colonized this place. This is it, you
think. The endgame. Let the season begin, let the hordes in oversized yellow
swimming shorts take over North Goa, and cause her to think of her admittedly
long vacation as just that - an admittedly long vacation. You're not too
worried about the people talking. Countless young men before you have tread
down the same path - fooling around with white women until it is time for them
to get on their flights to Riga or Birmingham or wherever it is they have to go
to next. Everyone knows how these things end, and such idle chatter is just a
way to fill up the hours, because a people need their intrigue, imagined or
otherwise, whether it is Goa or Gangtok. How else can we justify the tyranny of
never-ending afternoons and early evenings? The beginning of the tourist season
will mark the end of the courtship and the beginning of the marriage you think
will be her second failed one. But on that evening in the Greek's shack in
Morjim, as you watch her with her head bent down, rolling another joint, you
get the first signs that going back home is not very high on her list of things
to do. She sits back crossed-legged, seemingly unperturbed by the attention she
usually receives from the city-based adolescents
on their annual holidays, and imperiously inhales from the joint. Her eyelids
droop for a brief moment, like they do when you rub the day-old stubble on your
chin in her nether regions, before they open suddenly and she looks out on the
sea again.
You begin to feed off your own fear, revealing yourself to be
colonized by flesh. Not once do you
indicate that you are uninterested in emotional involvement, fearing that an
unequivocal rejection of her mind will cause an automatic relinquishment of
flesh, for she is now a woman in love. As she absent-mindedly circles your bare
chest while you smoke a cigarette, she whispers that she loves you. She does
not demand reciprocal declarations, and now you do not know how to deal with
the situation. The hunter has become the hunted.
And so you find yourself in this taverna in Saligao, when
you finally announce that you're getting engaged to Flavia next week, and
boarding a train to Bombay next month, where you'll begin a journey to Africa
that'll end with you posted as a cadet in an oil tanker off the Angolan coast.
This is your fate, you tell her. There is no question of wanting to leave. Like
generations of men before you, you have to. There seems to be no need to
explain. She has had a lot to drink, but she has nothing to worry about for she
is home. You ask her what she will do when you are engaged, and then gone. She
smiles, and as if to confirm your suspicion she says that she will wait for
monsoon to come again.
(I've entered this for the Saraang Writing Awards 2013 - http://www.facebook.com/swa2013).
Tuesday, December 4, 2012
Sailors When They Leave Land
One summer night, fingers came loose.
Like chess-pieces making unthinking moves.
In halogen shadow, it was our fin-de-siecle.
Our desire was pickled and put away
for its sour flavour to return when
things got too bland.
Our bodies speak a different language
They are totems of an age unlived.
There is economy in one pair of eyes
but our loins dream of excesses.
Like sailors when they leave land for
the sea again.
Again, we will drop anchor and walk our
walk down the pier to a place where they
will be able to tell that you think me a traitor
for filling you up with myself.
Sunday, November 4, 2012
You Bring Out The Bambaiyya In Me
(Inspired, of
course, by Sandra Cisneros' "You Bring Out The Mexican In Me" and the
equally delightful "You Bring Out The UP-waali In Me". This one was
written over the course of a couple of DPC classes more than six months
ago. I've been encouraged to take the dust off the jacket after reading
Spadika's beautiful Bengaluru version. Originally commissioned by Meghal
Mehta - New York, London she will keep saying, but who'll come back to
Bombay)
You bring out the Bambaiyya in me.
The October heat, the July downpour in me.
The rush of the 8:50 to Churchgate in me.
You are as spicy as bhel with extra theekha chutney,
As tangy as sev-puri with extra meetha chuntney.
You bring out the Bambaiyya in me.
On Juhu Beach, we will have gola made with mineral water,
We will eat vada-pav and you will say, "Boss, ek Coke dena."
You bring out the Bambaiyya in me.
The cricket at Shivaji Park in me,
The football at Azad Maidan in me.
Tonight, your dress is the red of a BEST,
Your necklace is nothing but the Queen's,
You light up like the screen at Metro,
You grumble like traffic jams on Link Road.
I hear you say, "Pude chala, maushi" as you enter the ladies compartment,
And I want to jump in, and get off only at VT,
Where we will take the subway and walk towards Fashion Street.
You bring out the Bambaiyya in me.
The bruch at the Trattoria in me.
The Pizza by the Bay in me.
Sandwich ice cream at Rustom in me.
You are my chavi, my item, my fataka,
I am you hero, your luchcha, your badmaash.
You bring out the Bambaiyya in me.
I will kiss you at the Gateway, and police uncle will run after us,
But we will slip into the streets of our Colaba,
Where your fresh lips will sip mosambi juice at Kailash Parbat,
And your friends will insist on brownies from Theo.
You bring out the Bambaiyya in me.
The 4 Ltd. to Fountain in me.
The itna paisa mein itnaich milenga in me.
The azaan echoing in Bhendi Bazaar in me.
Tonight, you are overwhelming my senses,
Like the phool bazaar under Dadar Flyover,
Like the swell of humanity on Mohammad Ali Road,
Like the madness of Crawford Market.
You shimmer and sizzle like pav on a tavaa.
Your eyes are shifting tonight, like the sands of the Aksa.
Yet, you hold my hand and take me to my peace.
Like the lanes of Bandra in me,
Like the softy at Matunga in me,
Like falooda at Badshah in me.
You bring out the Bambaiyya in me.
The Dalal Street in me,
The illusion of money in me,
The impossibility of love in me.
You are the flavour of ice-paan,
The taste of my growing up, the taste of my coming down.
You, chokri, are my latka, my matka, my jhatka,
Beacuse you bring out the Bambaiyya in me.
You bring out the Bambaiyya in me.
The October heat, the July downpour in me.
The rush of the 8:50 to Churchgate in me.
You are as spicy as bhel with extra theekha chutney,
As tangy as sev-puri with extra meetha chuntney.
You bring out the Bambaiyya in me.
On Juhu Beach, we will have gola made with mineral water,
We will eat vada-pav and you will say, "Boss, ek Coke dena."
You bring out the Bambaiyya in me.
The cricket at Shivaji Park in me,
The football at Azad Maidan in me.
Tonight, your dress is the red of a BEST,
Your necklace is nothing but the Queen's,
You light up like the screen at Metro,
You grumble like traffic jams on Link Road.
I hear you say, "Pude chala, maushi" as you enter the ladies compartment,
And I want to jump in, and get off only at VT,
Where we will take the subway and walk towards Fashion Street.
You bring out the Bambaiyya in me.
The bruch at the Trattoria in me.
The Pizza by the Bay in me.
Sandwich ice cream at Rustom in me.
You are my chavi, my item, my fataka,
I am you hero, your luchcha, your badmaash.
You bring out the Bambaiyya in me.
I will kiss you at the Gateway, and police uncle will run after us,
But we will slip into the streets of our Colaba,
Where your fresh lips will sip mosambi juice at Kailash Parbat,
And your friends will insist on brownies from Theo.
You bring out the Bambaiyya in me.
The 4 Ltd. to Fountain in me.
The itna paisa mein itnaich milenga in me.
The azaan echoing in Bhendi Bazaar in me.
Tonight, you are overwhelming my senses,
Like the phool bazaar under Dadar Flyover,
Like the swell of humanity on Mohammad Ali Road,
Like the madness of Crawford Market.
You shimmer and sizzle like pav on a tavaa.
Your eyes are shifting tonight, like the sands of the Aksa.
Yet, you hold my hand and take me to my peace.
Like the lanes of Bandra in me,
Like the softy at Matunga in me,
Like falooda at Badshah in me.
You bring out the Bambaiyya in me.
The Dalal Street in me,
The illusion of money in me,
The impossibility of love in me.
You are the flavour of ice-paan,
The taste of my growing up, the taste of my coming down.
You, chokri, are my latka, my matka, my jhatka,
Beacuse you bring out the Bambaiyya in me.
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