Tag Archives: sexuality

The Venus Flytrap: I Want To See People Kissing On The Streets

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I want to see people kissing in the streets.

Impulsively. Without stopping to check all sides for traffic. Without waiting for the light to change. Without nervousness. Without fear.

I want to see people kissing in the streets, kissing as slowly as dust motes in a slab of sunlight. As slowly as water leaking from an air-conditioner into a bucket on the side of a building with balconies on which other people also kiss (and kiss) – as though kisses, like plants, need bright light and open air and time to grow.

Languidly. Without wanting to be invisible. Kissing instead of speaking with the eyes.  Kissing without having to keep it briefer than a blink, so infinitesimal that even the kissers can’t be sure it happened later, licking their lips to try and remember. Kissing and disappearing into pedestrian crowds, only to turn around and come back for another one, to linger sweetly on the lips in a smile for the separate journeys home.

Kissing even though the breeze is immodest with their dresses, because no one will break stride to shame them, or stare too long, or try to destroy them. Kissing with their eyes closed tight, because there is no need to be vigilant. Kissing with their eyes wide open to the possibilities of a better world.

Kissing passionately. Or tenderly.

Kissing because they want to. Kissing because they can. Kissing because they forgot – even if only in the way that a kiss can contain and keep out the world at once – a time when they could not. When kisses had to be acts of subterfuge, when moments had to be stolen, when whole lives had to be operations of secrets and silences, and sometimes even lies.

There are rainbows everywhere – have you seen them? And we’ve no need to speak in codes anymore, but what would rambling through these streets be if we couldn’t pause to enjoy a metaphor? (And a kiss fills a pause like no words can).

There are still so many who cannot cross that street – let alone kiss there – without danger, even loss of life. Still so many loves that are not equal. Still so many who must draw the curtains, even though the walls are always thin – except when someone being battered is screaming. Still so many violations, upheld by the bed of the law or protected by the umbrella of society.

But let’s begin. I want to see them – whoever they are – be who they are. Kissing, with abandon, in the streets. I hope that one day we won’t be voyeurs anymore, won’t be stunned (even with joy) at the sight. Because love will be something we take pride in, and we’ll celebrate it by simply letting it be.

Because the human heart, homed in the hot-blooded human body, is ancient and dependable. The law, in comparison, is capricious. It speaks, sometimes poorly, only for a time. I want to see people kissing in the streets now, because here we are in an era – and may it last forever – when the language of the law has finally begun to speak with love’s own mouth, love’s own tongue.

An edited version appeared in The New Indian Express on September 13th 2018. “The Venus Flytrap” appears on Thursdays in Chennai’s City Express supplement.

 

The Venus Flytrap: Depression-Curing Boyfriends On Hire

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On Independence Day, Mumbai-based entrepreneur Kaushall Prakash launched an app called Rent A Boy|Friend, through which one can employ male company for brief periods. The line in their name between Boy and Friend is deliberate, suggesting the demarcation between physical engagement and what the app’s Instagram bio calls “Pure Friendship”. Physical intimacy and meeting in private locations are supposed to be prohibited on it. Intriguingly, the app states that its aim is to “eradicate depression”. The men whose company can be hired are expected to provide emotional support, not just attend functions or share meals with the customer.

Understandably but unfairly, this aim has been met with mockery in certain sections of the media. Reactions often fixate, in typically classist and conservative ways, on how the educational prerequisite for the gentlemen one can meet through the app is 10thor 12thstandard graduation. As though PhD holders are more likely to be thoughtful, sympathetic or have good listening and guidance skills (tell that to the erudite men on The List of Sexual Harassers in Academia).

While I’m in no hurry to give Rent A Boy|Friend a certificate of good intentions, there’s definitely something being added here to the conversation on depression, loneliness and the need for companionship. For the first time in India, an app connecting people on a personal level explicitly forefronts these issues instead of using oblique terminology about marriage or relationships. The app’s concept is not new abroad: in China, hundreds of services provide “fake boyfriends” whose time can be bought to take home to meet the family on holidays, or even for just a couple of hours to hang out with at the mall; a website called Invisible Boyfriend lets you co-create text message conversations as though you’re in a relationship; Japan’s kyabakura culture offers non-sexual, romantic company at clubs.

Rent A Boy|Friend only provides the company of men (for men and women alike). While the founder’s reason for this – “Rent-a-girlfriend sounds weird in India but it’s okay abroad.” – is a bit insubstantial, if the service’s condition that sexual contact is not allowed is true, it doesn’t in itself sound sexist to me. There’s an argument to be made that neither dating nor sex work are guaranteed to be safe or respectful for women in India at this time. As one of many women who downloaded then deleted Tinder, an app meant unambiguously for dating and hookups, I can only imagine how much worse the harassment, entitlement and abuse would be when the power dynamic involves a financial transaction.

As gimmicky or even shady as it may seem at first glance, tell any honest person who dates men in India about such an app and she’ll be curious – not interested enough to try it, probably, but certainly interested in the concept. Obviously, a “rented” boyfriend isn’t going to fix one’s mental health or loneliness. But naming the issues puts emotions, not only life goals or sexual availability, at the centre. No matter what our gender or orientation, and regardless of whether we think an app can fulfil our longings, that’s a change in perspective that would benefit us all.

An edited version appeared in The New Indian Express on August 30th 2018. “The Venus Flytrap” appears on Thursdays in Chennai’s City Express supplement.

The Venus Flytrap: When The Goddess Menstruates

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While so many are galvanizing resources for flood-wrecked Kerala, Kodagu and other parts of South India, a leisurely lot have been spending time and energy spreading the information that the natural disaster (even if not, technically speaking, a national disaster) has been because of the wrath of God. Specifically, that the Supreme Court case on permitting women of menstruating age into the Sabarimala temple in the Western Ghats of Kerala has invited the deluge.

For some reason, this often gets conflated into “menstruating women”, as though the Supreme Court has specifically opened the temple to women who are literally having their periods. It’s worth remembering that the exclusion of women was brought into law by the Kerala High Court only in 1991. Prior to that, women generally did not participate due to tradition, enforced by conditioning but not by law.

Does Ayyappan forbid the presence of fertile women? That isn’t for me to decide. But the misnomer “menstruating women” calls to mind exactly that image, and myths around the same. We could begin with Parvati of Chengannur in Alappuzha district, one of the worst hit in these floods. Originally built in 300 AD, the clothes of the goddess here are checked every morning for blood stains. When they are found, the idol is shifted to private quarters for the duration of her period, during which the temple also remains closed. Menstrual seclusion is a part of this temple’s ethos, as it is in most (but not all, though of this I will not speak indiscreetly). Can ritual observation be read as honouring the feminine body, or only as disdain?

Cultures around the world have traditionally regarded menstrual blood as either polluting, or possessing a power that can be used for any means and therefore best avoided, an idea so nuanced that it unfortunately creates taboos. The elaborate and beautiful, though equally violent, Mayan myth of the lunar goddess Po is one example: discovered by her father to have taken a lover, Po is killed, her menstrual blood stored in thirteen jars that contain both evil and healing. The last one contains her essence, and she is reborn.

Myths of unequivocal celebration are rare, like the one about the Sumerian mother goddess Ninhursag, who created humankind through loam and her own menses. Surely, in the rich folklores of the world, far more tales have been created: whispered in menstrual huts, at the thresholds of forbidden kitchens, in factories where women without union benefits pack unaffordable hygiene products for other women. There are no experiences that don’t find themselves woven into stories.

Which brings us finally to the most legendary of them all: the temple in Guwahati where Kamakhya is worshipped in the form of a stone yoni that is kept perennially moistened by a natural spring. Each year, she is said to menstruate during the Ambubachi Mela, coinciding with the June monsoon. Is this celebration? Of the feminine principle, certainly. But I’ve still not heard even one menstruation story that’s simply about normalization. “And then the goddess paused for a while, and drank some tea, and pondered the merits of banana fibre pads over moon cups…”

An edited version appeared in The New Indian Express on August 23rd 2018. “The Venus Flytrap” appears on Thursdays in Chennai’s City Express supplement.

The Venus Flytrap: Imaginary Women, Imaginary Villains

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Neha Gnanavel, who is married to film producer Gnanavel Raja, obviously wants us to forget the objectionable things she posted about women in the cinema industry last week. Which is why she deleted the Tweets in which she threatened to name those who she believes have had consensual affairs with married men, referring to them as being “worse” than sex workers (she used less polite language). As yet undeleted, however, is her long defense of her views. Fair enough. There’s no need to scapegoat Ms. Gnanavel. She was only expressing the same sentiments that many in our deeply misogynistic society hold. Let’s talk about those sentiments, two in particular: that women – rather than the men who chose to be with them – are to be blamed for destroying families, and that sex workers are contemptible.

Infidelity is complicated, just as human desires, emotions and decisions are. Of course we want to simplify it, if only so that it becomes less painful. That doesn’t have to be done by painting women as villains by default. A recent meme I saw went so far as to hold culpable the woman who raised the woman who became involved with a married man – that’s two generations of woman-blaming! Anything to protect a man from taking responsibility for his choices. Whether blaming a married man’s lover, her mother, or his own wife – any culprit will do. As long as the only one who behaved dishonourably, the one who did the cheating, is absolved.

In heterosexual contexts, when the gender roles are reversed, the partnered woman who has an extramarital affair is still the one who is condemned. I cannot think of even one instance, anecdotal or celebrity-related, where the other man in the picture had his name forever tarnished by his involvement in what is called “home-wrecking”.

This is where the second of Ms. Gnanavel’s expressed sentiments comes into play. Why is calling someone a sex worker (using less respectful words, or not) a slur? This prejudice is premised on the idea that sex workers have agency and own their bodies entirely – something which it’s worth noting that most other women in patriarchal societies are not allowed to. Just as the imagined sex worker has control over her sexuality, so does the imagined mistress and the imagined adultress. Their imagined autonomy challenges the status quo. They choose (while married men do not – ha!). So consumed is the average, often incognisant, patriarchal agent with these hypotheticals that they don’t stop to ask themselves what they find so frightening.

Aside from a fundamental lack of understanding about capitalism, the idea doesn’t even hold water against that other favourite bugaboo – that girls and women will be kidnapped and trafficked (thanks, Mahanadhi). So which is it – that sex workers have volition, or are forced? How does the muddled misogynist mind hold these contradictions at once?

I wouldn’t know, but it’s a contradiction that the feminist mind also manages to hold, and engages with through the concepts of consent and desire. And there’s space in this discourse for even the heartbreak of betrayal, without resorting to either the assumption of villainy or the presumption of victimhood.

An edited version appeared in The New Indian Express on March 29th 2018. “The Venus Flytrap” appears on Thursdays in Chennai’s City Express supplement.

The Venus Flytrap: The Opposite Of Rape

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What is the opposite of “rape”? Most will say it’s “sex”, with the understanding that rape is an abuse of power and sex is something that happens with consent. But what if the opposite of “rape” was not just “sex”, but “pleasure”? Sex does not automatically mean pleasure, after all. But does that make “bad sex” tantamount to rape?

These contemplations emerge in the wake of the published account of “Grace”, the pseudonym of a woman who briefly dated comedian Aziz Ansari some months ago. I opened the link hoping its headline was merely clickbait, wanting to believe that Ansari was the feminist he publicly seemed to want to be. But as I read, I saw that his guilt or innocence were not what was at stake. The larger stakes are about what people, women especially, experience while dating within a rape culture.

Even taking the position that what happened between Grace and Ansari may not meet the legal criteria for sexual assault, the profound unease of the situation and the distinct coercion and mounting disgust that Grace described cannot be dismissed as a lousy date. “Bad sex” is when you wanted to sleep with someone but you lacked chemistry or one or both of you was unsatisfied (this can still be respectful). Performing sexual acts under pressure due to shock, fear of violence and imbalanced dynamics is not “just bad sex”. So what’s the correct term for it?

Again, I will say that I’m less interested in Ansari’s situation than in the big picture. Are unpleasant sexual encounters, with undercurrents of manipulation, common? Absolutely. But their prevalence does not make them acceptable. Let’s forget the celebrity angle, and the starstruck (and the other thing that rhymes with “starstruck”) angle. Take gender and orientation out of it, too. What’s left is a nebulous space in which a discomfiting number of memories lurk. Affirmative, enthusiastic consent is not a grey area. This is.

It’s from this space that many women’s confusion about how to react to Grace’s narrative comes from (this does not include backlash that is purely rape apologia). It can be very painful to acknowledge that some of one’s past experiences were damaging, or simply wrong. We do not know who Grace is, and cannot attribute personality traits to her, so our responses may be projections. These projections cannot simply be classified as internalised misogyny. I truly believe that if the story was more explicitly violent, for example, most would lose their doubts. But it’s not a violent story like that. It’s a story in which a woman could have called the police from the bathroom, or screamed, or just left.

And it’s a story in which she didn’t, but you’re certain that you would have. Or more accurately, you would now. Why? The truth is that it’s a familiar account, and to hear it told this way complicates, then unravels, certain precious memories or padlocked narratives. And that’s why it’s so very upsetting. Because if this is wrong, then what else is too?

Let’s create the right language, the in-between words, for what is neither rape nor pleasure. It will help us heal.

An edited version appeared in The New Indian Express on January 18th 2018. “The Venus Flytrap” appears on Thursdays in Chennai’s City Express supplement.

The Venus Flytrap: Desires Unmet

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In Balli Kaur Jaswal’s novel, Erotic Stories For Punjabi Widows, a group of mostly illiterate older women share and write down sexual fantasies and revelations with one another in a gurudwara classroom, while those in charge believe the old ladies are actually learning English. In Alankrita Shrivastava’s film, Lipstick Under My Burqa, four neighbours with significantly varied lifestyles conduct the shine-and-subterfuge that so many women in conservative places like India do. In secret, they work, party, sing, join protests, read erotica, conduct affairs – slipping on and off masks (or more literally, articles of clothing, be they burqas or swimsuits) that allow them to move between their true and ordained selves.

In both cases – the book, set in suburban London, and the film, set in Bhopal – the women’s solidarity with one another is a natural falling-together, an effect of proximity and circumstance. They have not been influenced by rhetoric, or raised with exposure to it; they have been moved only by logic and desire, despite how incompatible the two may seem. Indeed, I can see both groups together, crossover-style: among them, the resourceful Shireen who climbs the ladder of a sales career without her husband’s knowledge, the elderly Arvinder who reveals a memory disguised as a story, the wilful student Rehana who articulates rebellion in front of the sudden spotlight of a camera, the grieving Kulwinder who finds that life can still hold pleasure.

It was by coincidence that I watched Lipstick Under My Burqa on one of the days when I was also reading Erotic Stories For Punjabi Widows. They complemented each other so well, such that the middle-aged, widowed character of Usha in the film, played by Ratna Pathak, would have found herself at ease in the English gurudwara. Like the migrant widows, she is regarded as a non-sexual being. In truth, they are anything but – something which is routinely unacknowledged, either in fiction or in life. It was only extraordinary to see her portrayed in Indian cinema, for the many Ushas around us are dismissed daily, their desire seen alternately as non-existent, humourous or shameful.

Lipstick Under My Burqa left me saddened for hours afterwards. Was this the movie that had caused such a controversy with the censor board (not to mention the creation of that odd little phrase – “lady-oriented”)? There’s a little bit of sex, sure – but more vividly, there’s rape. Marital rape, to be precise, which does not legally exist in India. And humiliation, heartache and helplessness. It’s a film about women’s fantasies, yes – but more pertinently, it’s a film about women’s realities. About need and nature and how both are crushed by force. Nothing titillating about that.

It’s a film about fulfilled desire only as a matter of luck, and sexual repression or frustration as demands. I won’t say more, because I shouldn’t give away what happens in this poignant and disturbing film. But I will say this: if, like me, you are filled with sorrow afterward, turn to the surprisingly uplifting Erotic Stories For Punjabi Widows as a chaser. I’m grateful I was consuming both pieces of art at once. Book and film, too, fell together in quiet solidarity.

An edited version appeared in The New Indian Express on September 7th 2017. “The Venus Flytrap” appears on Thursdays in Chennai’s City Express supplement.

The Venus Flytrap: Women Infantilised By Society And Law

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A young Indian woman named Hadiyah, moved and perhaps given meaning by a faith other than the one she was born into, decided to convert. She eventually signed up on a matrimonial website that would allow her to find a like-minded partner. Despite Hadiyah being 24 years old, and despite the fact that Kerala high courts had rejected two petitions filed by her father claiming she had been forcibly converted, a third such petition resulted in her marriage being annulled – and her being sent into parental custody with this infantilising statement: “A girl aged 24 years is weak and vulnerable, capable of being exploited…”. The Supreme Court has since ordered an investigation into the marriages of formerly Hindu women to Muslim men as a potential terrorist conspiracy.

The concept of “love jihad” is not only Islamophobic, it is also a clear insult to all women. And with violent overtones: recent reportage has revealed some truly terrifying tactics including kidnapping, coercion and even drugging women (at an Ernakulam hospital) so that they comply with their parents’ wishes. In every such scenario, the freedom of an adult woman to make her own choices is either questioned or curtailed. It is also worth iterating that marital rape is not criminalised in India. Marital rape cannot exist in this worldview because women’s autonomy – the right to reject or consent – does not exist. She is her family’s, community’s, state’s – or in a panchayat-style redressal, her rapist’s – property. A woman in India can’t assuredly choose or refuse a partner, but a man can rape his wife under protection of law.

Another recent case involved Irom Sharmila, who ran for election in Manipur after a 16-year hunger strike. After defeat at the polls, she retreated from public life and reportedly found solace in Kodaikanal. But when she announced her engagement to her long-term partner, the welcome proved to have been short-lived. A Tamil Nadu-based Hindu group filed a petition to keep her from marrying there, alleging that the city’s security would be at stake. Oddly, it was marriage – the antiquated notion of “settling” – that had roused the petitioners.

To these two high-profile cases relating to marriage, mobility and the denial of adult women’s agency, here’s a third one that suggests how such a societal milieu comes about and is maintained. Earlier this year, the Supreme Court denied an abortion to a 10 year old who had been raped by her uncle, ignoring medical experts’ caution that the risks presented by a late-term termination were outweighed by the risks of carrying the foetus to term and undergoing childbirth. (Abortion is legal up to the 20th week, after which special permission must be given). She gave birth via caesarean section last week. According to reports released after the delivery, the survivor was never told that she was pregnant, but that she had a “stone” in her stomach. This can only mean that despite having undergone the horrors of rape, she continues to be denied basic sex education, or the right to information. Neither her body nor her mind have been treated with respect.

She gave birth to another girl. And so the cycle continues.

An edited version appeared in The New Indian Express on August 24th 2017. “The Venus Flytrap” appears on Thursdays in Chennai’s City Express supplement.

The Venus Flytrap: Paan Or Peen?

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Two old ladies were smoking outside their nursing home when it started to rain. One of them immediately pulled out a condom, snipped off the end, rolled it over her cigarette and continued to smoke. (Don’t ask me about the logistics: let’s just say it wasn’t really a cigarette but a cigar, or maybe a fat roll of medicinal herbs). “This way it doesn’t get wet,” she says coolly between puffs. Her friend, impressed by this jugaad, asks where she can get her own, and is informed that any drugstore will have it. So when the rain abates, the little old lady pops down to the nearest local one and asks for a box of condoms. The pharmacist is embarrassed (again, don’t ask me why – maybe this story is set in Chennai), but tries to be professional. He asks her which brand she prefers. “Anything will do,” she shrugs. “As long as it fits a Camel.”

I came across this joke on the same day that an Indian condom company announced its new pickle-flavoured launch, and so I laughed extra hard (that pun was so unintentional that I’m going to keep it). At first, I thought “For the Parantha and Achaar lovers!” was just too bad a tagline to be real, and refused to believe this product could exist. After all, a global competitor had punked us a year ago by announcing an eggplant-flavoured one, which turned out to be a publicity stunt to spark more discussions about safer sex. Then I remembered that the less easily impressed you are, the more difficult it is to get laid. Clearly, I wasn’t their target market.

In fact, a little research told me that betelnut-flavoured condoms were supposed to be made available to the Indian market ten years ago, developed specifically after taste tests with Mumbai sex workers, who preferred it to common ones like chocolate, banana and strawberry. I can imagine why – wouldn’t you rather have some paan in your mouth than some random man’s peen? I also learned that in addition to the usual ice cream flavours, bacon, durian, and even garlic condoms have been manufactured around the world. (Don’t worry, there are mint ones too). And sure, you could say they’re all more likely to be party favours or novelty items, but I guarantee you that in the heat of the moment, many people have been glad to have some latex lying around. (PSA: Flavoured condoms are meant only for oral sex, and may cause allergies if used otherwise).

Then there’s everything from cannabis flavours (not to be confused with cannabis lube, which can actually get you high), a limited edition caipirinha one that was sold at the 2014 World Cup in Brazil, and even vegan liquorice ones. Manforce, the company behind the achaar one, already has the synthetic tastes, or at least scents, of jasmine, butterscotch and banana (also known as the original eggplant emoji) in its range.

So is Manforce going to, erm, withdraw instead and claim the pickle condoms are just a conversation-starter campaign? Or are things going to get ooruga-smic (yes, I had to go there, and I’m not sorry!)?

An edited version appeared in The New Indian Express on August 10th 2017. “The Venus Flytrap” appears on Thursdays in Chennai’s City Express supplement.

The Venus Flytrap: Fire-Trampoline Marriages

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We need to talk about those fire-trampoline marriages. You know: the kind where after a grand time running around town setting other people’s hearts on fire, someone takes a leap off a ledge, bounces right into the waiting arms of the patriarchy, and looks back up (still bouncing, not a toenail singed) and shouts: “I always told you I’d marry someone of my parents’ choosing!”.

If only real life was as comic panel-perfect as this analogy. Because what happens next largely happens out of sight. While the man or the woman with the trampoline conducts their socially-sanctioned conjugal bliss in full public view, cheesy captions and all, there is also a person trapped in that metaphorical burning building. The ashes of charred dreams and the mess left for them to clean up are not metaphorical at all. (The jumper’s spouse is a contemplation for another time).

It should be no surprise that in an India where only 5% of marriages are inter-caste (i.e. actually based on something other than upholding the system), there are a whole lot of fire-trampolines. This applies especially among those who are more educated, more affluent and for the most part, urbanites. There’s a profound disconnect between the veneer of liberal values and sexual mores that are enjoyed superficially and one’s actual beliefs.

But more so than a question of ideologies, this is really an issue of accountability. To mislead and treat someone badly then write it off as something you needed to do for the sake of family, culture, religion, money or general appearances is not “the right thing to do”. There’s nothing honourable about it. The most devious version of all is when the jumper pleads their cowardice, and claims they wish they were strong like you. Don’t believe it for a second.

I hear many stories from the people left holding the broom, the bucket and the bad end of the stick. Here’s what I told the last woman who cried to me about a man who suddenly got engaged to someone else while almost simultaneously declaring his love for her for the first time. (Yes, men do seem to jump into fire-trampolines more than women because the system is essentially designed to serve them better). This is what I told her: “It’s not that he doesn’t know what he wants, despite what some will tell you, including him. It is that he knows what he can have. He can have the convenience of his marriage, and by leaving this door ajar, he can also have emotional intensity – and more – from you.”

Because anyone who keeps a fire-trampoline handy has got other tricks up their sleeve. It’s no leap (pun intended) from “I told you I’d marry someone of my parents’ choosing” to “You knew I was married.”

At first it’s horrific, the aftermath among the embers. But eventually, you see distinctively what happens to the two survivors. The one who jumped continues to keep jumping, through more and more hoops of their own making. As for the one who was trapped in the inferno, the one who walked through flames? You already know what resurrects from ash.

An edited version appeared in The New Indian Express on July 27th 2017. “The Venus Flytrap” appears on Thursdays in Chennai’s City Express supplement.

Book Review: Girls Are Coming Out Of The Woods, Blind Screens, The Sun And Her Flowers, Wild Embers

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Even when Tishani Doshi writes of the strange gratitude of “not being in the nicer hotel”, for the inspiration that comes “Because if it weren’t for this mouse-spiced/ air, this particular desire to be anywhere/ but here, how else to turn the howl/ into song?”, or when Ranjani Murali takes a recording-assisted tour of Alcatraz, the blood and body of their new books of poetry is quite literally just that. No matter what their other preoccupations or locations, both poets circle around and back to the subject of female fear. Doshi’s Girls Are Coming out of the Woods is underpinned by macabre newspaper headlines that cut close to home, manifesting in brutal crimes, and memories and dread that breathe down one’s own neck at all hours. In Murali’s debut, Blind Screens, she often employs as her canvas the cinematic screen, and in technicolour or off-camera, she situates several of her most politically loaded poems from a tangential gaze, always framing as her subjects women in relation to morality and society.

This is the most visceral of Doshi’s three books of poetry, reaching into the wounded places of the feminine psyche in ways that ache with how universally they are experienced. Some of the poems have direct triggers, cases that make the headlines, and the triggers open out onto traumas. Take this powerful description in the poem “Disco Biscuits”: “… most of us have known a man/ who arrived like Bill [Cosby] – sleek and proud as a July/ thunderstorm. How so many of us gave in to that sleekness/ because when you’re young you don’t know that your bones/ have been giving way the second you were born. So you give/ and your giving’s large and uncalculated. But then/ there’s the haunting.”

Throbbing through the collection are many hauntings, among them murdered women unknown or beloved. In “Everyone Loves A Dead Girl”, the poet says frankly, in the voice of such a ghost: “I would like to talk about what it means to suffocate on pillow/ feathers, to have your neck held like a cup of wine,/ all delicate/ and beloved, before it is crushed.” The poet does exactly this, pinning down images of death and decay unflinchingly. Even musings on aging relatives and crematoriums don’t come from nowhere: at the centre of them is something beyond idle morbidity. In “The Leather Of Love”, she writes: “And when we lie in bed and talk/ of the body’s failings, of the petulant dead, of / disenchantment and insufficient passion,/ we’re chewing through fears so thick our/ teeth are beginning to rust.” An army of girls – girls “with panties tied around their lips”, “girls “found naked in ditches and wells”, girls who didn’t survive or maybe did – emerges in the collection’s eponymous poem, dedicated posthumously to a murdered friend of the author’s. Rather than rouse, it chills. “Girls are coming/ out of the woods, clearing the ground/ to scatter their stories” she writes. You can almost hear her breathlessness in the last line – the poet passing the baton to the voices coming through her: “Girls are coming out of the woods./ They’re coming. They’re coming.”

In Blind Screens, Murali slips a cast of heroine characters, female actors and women in celluloid-stronghold cities like Bombay and Madras into poems in several registers, and just like all subtext cinematic and otherwise, they bind the collection together. Sometimes, we see them through the dehumanization of the male gaze, as in “Circa 1970’s Tamil Film Stalker’s Ghazal”, which escalates quickly from admiration to physical violence. Murali’s voice changes deftly; in the very next poem, “Mangaatha, or The Case of the Former Circus Artiste Now Distracted”, she takes on the persona of a performer as she flees a gang of men, all whom have handled her, literally, in less that professional ways. She holds tightly to her trapeze bars and swings away – but straight into the gaze of “the young policeman…. his mouth blackening/ at the sight of my pooling silk”.

This deft interplay between stage illusion, misogynist delusion and the literal difficulty of being female in a society trained to perceive itself as entitled to putting its hands on all it rests its eyes on comes together most forcefully in “Historical Movie Scene”, in which a male audience member heckles the narrator as she gets up to leave a theatre. Onscreen, a woman dances, “a glitter-filled belly button zooming into our faces”, while the man screams, “Ey, figure da, looking, going”. She stumbles and keeps walking, while “The same heckler calls out, “Wait, ma, watch/ where you’re going!” to me as the actress dances a stream of blood/ into an unfenced balcony, where a throng of snarling,/ cotton-stuffed, cross-eyed vultures claw into her mouth.”

This accomplished collection contains many variegations that fill and colour its pages with all the elaborate textures of Indian cinema: among them, “Beggars”, with a fortune telling parrot electrified with terror by a feline scent, which morphs beautifully through Murali’s phrasing into predators of another kind: “the director who recently/ celebrated the hundredth day jubilee,/ the local minister, the mayor, and even/ the child-star who likes to play with/ cheetah cubs in his spare time.”

In “Female Lead Waits For The Kurinji”, she juxtaposes two tropes: that of the flower that blooms once every twelve years, archetypal since ancient Tamil literature, and that of the modern heroine for whom a flower is but a metaphor. In the poem’s final lines, the narrator says to the kurinji, with or without self-consciousness: “Your own curse/ is not that of lack, but of being watched as you bloom.”

One imagines that the girl who becomes a woman – who “blooms” under watch – may often speak to herself in the rudimentary voice of Rupi Kaur’s poems. The Sun And Her Flowers is a book that surprises: nothing of Kaur’s work online suggests it will be anything but craftless, but placed in context, in page after page rather than in pithy cropped Instagram lines, a different effect accrues. Not quite beautiful or original, but together, the poems carry a clarity that is convincing, a soft voice that soothingly intones the familiar. A few pages in, one is reminded of a specific multi-genre work of art, discussed below, and understands that a slow-release impact is intended. What is not achieved in craft is compensated for in fine emotional control, the tenor in which Kaur writes about topics as personal as rape and the poignance of knowing how little time she has left with the mother who she has finally begun to understand. Some of Doshi’s girls, too, along with Murali’s women, must have had these thoughts.

But this is not to suggest ingenuity. In interviews, Kaur deliberately presents the image of being a non-reader. A recent article on her sardonically points out her interest in a book of Kafka’s – not for the contents but for the cover design. It’s an image that those who love to loathe all writers of her ilk, and the Instapoetry fad itself, enjoy. But it is patently false. As even just the first pages of The Sun And Her Flowers turn, there’s a clear debt to Beyonce’s Lemonade – which was scripted by the poet Warsan Shire. Again, in the sections that speak of immigrants and refugees, Kaur transparently aspires to resonate like Shire does. It would be remiss to not bring up Nayyirah Waheed’s allegation that Kaur plagiarised her work, an allegation layered with an undertone of anti-blackness. So the poem “legacy”, which goes “i stand/ on the sacrifices/ of a million women before me/ thinking/ what can i do/ to make this mountain taller/ so the women after me/ can see farther” begs the question: whose shoulders has Kaur chosen to stand on, unacknowledged? It is not enough that she labels two illustrations as homages to two Punjabi visual artists, Amrita Sher-Gil and Sobha Singh – more problematic is how she devises the image of herself as a literary pioneer in her lineage, without credit to the many pools from which she sourced her syntax.

But here, another poet similar in background – female, Punjabi, raised in the West, famous through social media – bears mention. Read side by side with Nikita Gill’s new book, Wild Embers: Poems of Rebellion, Fire and Beauty – which attempts to revise fairytales without ever moving past the Disney versions and is replete with confusion about its emotional and political core – The Sun And Its Flowers appears all the more sincere in its naïveté. It’s an uncanny contradiction: Kaur is clearly winning for she has studied how to be accessible, but the work somehow comes across as true. Which is why we can’t dismiss her on the basis of craft alone – not only is she better than her contemporaries who attempt depth, but the struggle and sentiment conveyed in her work is also the very pathos that moves stronger poets like Shire, Waheed, Murali and Doshi. Whatever their calibre, the girls are certainly coming out of the woods – bearing words, accusatory and revelatory.

An edited version appeared in OPEN Magazine.

The Venus Flytrap: Creature Coupling

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If you look up moorland hawkers, a species of dragonfly, you’ll find that their conservation status is a cool “Least Concern”. They’re thriving just fine with or without human intervention, but a new study has drawn our attention to them. The females of this species have been observed doing something the females of our species may find familiar: finding resourceful ways to avoid unwanted sexual advances. While we give out fake numbers, plaster on fake smiles in discomfort, and finally namedrop fake boyfriends (the worst one – because an imaginary man’s claim is given more respect than your right to refuse), pregnant female moorland hawkers are simply dropping out of the sky and faking death. Like I said, least concern. Literally no ‘F’s given.

The researcher who observed this phenomenon, Rassim Khelifa of the University of Zurich, hadn’t seen this behaviour in ten years of studying the dragonflies, but further investigation revealed that 27 out of 31 dragonflies were noted making this risky plummet to get away from an aggressive male. I can just imagine the first dragonfly who decided that a predator isn’t just one who wants to consume you, but also one who wants to have sex with you, performing a freefall then telling her friends about her dramatic escape.

The animal queendom is full of extremes when it comes to courtship, and for every example of brutality by one sex, there’s one of brutality by another sex. The black widow spider is famous of course, but you’ve got to appreciate her frankness as compared to the males of the nursery web spider species. They keep food in their mouths and play dead, then begin to copulate when the female comes to inspect these gifts. Then again, a Darwin’s bark spider is forced to perform oral sex up to 100 times in one session; so that his partner won’t eat him. Enough of spiders and their seriously kinky but totally unsexy mating. Take the hermaphroditic banana slug, some of which are pretty much all penis (that’s eight inches for you). They must take care to choose mates that are able to accommodate their size; otherwise, the slug in the female role may find the phallus stuck inside itself – and have to chew it off to live. Drones break their penises off inside the queen bee. And you thought your sex life was interesting.

These are known behaviours in species propagation, and evolutions in the same, such as the moorland hawker dragonfly’s death plunge, are fascinating. Consider more innovations in the world of creature coupling. Two species of the African queen butterfly can no longer produce male hatchlings owing to bacteria; they mate with migrant males, but create only female lineages in a newly evolving subspecies. Oh yeah, and the female caterpillars eat their dead brothers. Last year, a female shark in a Seoul aquarium got so annoyed by the brat who kept bumping into her that she ate him (the brat was another shark; she just another man-eater like you and I). The unicorn is passé (and according to legend, can only be touched by virgins) – maybe your spirit animal is one of these.

An edited version appeared in The New Indian Express on May 4th 2017. “The Venus Flytrap” appears on Thursdays in Chennai’s City Express supplement.

The Venus Flytrap: Sexlessness And The Single Woman

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In the 5th century BC, the Athenian empire waged the Peloponnesian War against a league of city-states headed by Sparta. This inspired the playwright Aristophanes’ 413 BC classic, Lysistrata, in which the women of Greece decree a sex strike as a means to end the war. Actor Janelle Monae recently referenced this concept when she told a magazine: “until every man is fighting for [women’s] rights, we should consider stopping having sex.”

Obviously, we know that not only men desire sex. So the premise of the Lysistrata strike bears pondering. When you withhold sex, you withhold it from yourself too. The truth is that long periods without sexual contact are common among highly independent women. Being outspoken or open-minded comes with its own set of barbs.

If you refuse to play by the rules of heteronormative engagement, you are denied respect, just as women who do play by those rules are. But there, the lack of respect occurs within certain comfortable scaffolds, such as the assurance of monogamy, convenience or protection. Here, because you are more adept at identifying small-scale manipulations and refusing to react accordingly, the disrespect is even more insidious, designed to ultimately convince you of your undesirability. What most people accept as a courtship dance feels like a fencing match to you. Over time, poorly-thought politics, rudeness and other such personality markers become real turn-offs, cuteness be damned. And if you practise ethical principles, you don’t see people uni-dimensionally, making casual disengagement difficult. You can’t sleep with people who treat you badly; but you can’t do the objectifying, either. The result: less sex than everyone thinks you’re having.

A friend shared a page from Heather Havrilesky’s book of advice, How To Be A Person In The World, that resonated for me. “We have to be self-protective but vulnerable… You don’t put yourself in situations where you’re going to cycle through bluster and neediness. That means you really can’t hook up with random men. Even if you never let your guard down in those situations, they still hurt you. They [expletive] your sense of self. They lead you to believe you’re only good for sex, and you can’t EVER settle for feeling that way.”

Reading these sentences made me realise how rarely we discuss this outside personal conversations. There aren’t enough sentences in the world about this aspect of the sexuality of singlehood because they are confidential sharings, never set down. With our confidantes, we move beyond limiting, self-deprecating complaints like “haven’t been laid since Obama’s first term” to deeper revelations about need, validation, boundaries, instincts, ennui, inadequacy and sublimation.

All this applies especially if you have “trouble” compartmentalising. But why idealise compartmentalising in the first place, instead of a more holistic approach to self and other? Not compartmentalising, not assigning people functional roles and not demarcating yourself all sound pretty healthy to me. Similarly with “not being able to tell the difference between sex and love”. Why is the person who decides this difference never the one whose emotions are involved? To fully embrace ourselves as sexual beings, we cannot stop at simply shifting the shame from our bodies to our hearts.

An edited version appeared in The New Indian Express on April 20th 2017. “The Venus Flytrap” appears on Thursdays in Chennai’s City Express supplement.

The Venus Flytrap: The Gaze Of The Pervert

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No one wants to be woken by a trembling loved one in the wee hours of the morning. My mother was shaking, confused, apologetic.  Turning on her phone at dawn, she had been confronted with a web-link and an aggressive message: “shocking to see her exposed like this.”

A young friend of hers, a man of my age, a doctor, a bachelor (that’s right, when women are reduced to their marital statuses, why not charge the discussion this way too?), had attacked her through that most quintessentially patriarchal of manoeuvres: by slutshaming me.

The photo in question has me seated on the floor, a foot stretched out to reveal beautiful anklets. My hair is loose, my expression is soft. I am in fading black jeans and a long sleeved blouse, cut low, my cleavage visible. I look like I am dreaming of important things.

The photo in question had appeared only on a single indie magazine, accompanying an interview, not a television channel or mainstream media. There was no chance he had come across it unless he had actively stalked me, or belongs to any of those hideous groups that sources images of women for public shaming and private pleasure. And in any event, that he had not contacted me directly dispels any lingering doubts. Neither the infantilising of an adult in her 30s nor the harassment of a senior citizen are acceptable.

I had that photo taken. I had control over its publication. I look like myself in that photo. My best self, even. A soft, strong woman at ease in her own skin.

The only obscenity in all this was that man’s gaze, and his sinister confidence that my mother would privilege his perverted morality over my autonomy. He used me to hurt her, and used her to further an ancient agenda of oppressing and punishing women. Unforgivable.

Yet how utterly common it is, the policing of women’s bodies. The great patriarchal paradox is that the female body is annexed as the repository of culture and honour, but is also continuously desecrated by word, deed and gaze. So those who entrust a woman to safeguard those civilisational concepts within the site of her body are the same ones who routinely violate them. And her.

Lately, the historical Nangeli, because of whom 19th century Kerala’s casteist, sexist breast tax was lifted, has come back into discussion owing to the erasure of her story from school textbooks. Infuriated at a system that required lower caste women to first uncover – expose – for appraisal, then pay to cover their breasts publicly (itself a colonial influence; traditionally, we were more comfortable with the fact of breasts), she cut hers off and presented them to the tax collector.

Nangeli’s breasts bloodying a plantain leaf. My breasts in a plunging neckline. Kannagi’s grenade-breast, cindering the city of Madurai, dominion of Meenakshi who was born with three breasts. I – the “slut” – dare to link myself to these emblems of “chastity”. Because both words are constructs, designed to eliminate personal agency and misattribute power. Effectively, there’s no difference between severing and showing. If you see a difference, it’s your gaze that needs checking.

An edited version appeared in The New Indian Express on January 19th 2017. “The Venus Flytrap” appears on Thursdays in Chennai’s City Express supplement.