Out beyond the ideas of right-doing or wrong-doing there is a field - I'll meet you there.


Friday, June 15, 2007

Bathtub musings

Yes, I know. Horribly crude. I might end up reworking this sometime. But I'll put it up here lest I lose it.


Hit the start button on the morning shower
A turbulent start to a turbulent day
Today though, I'm feeling lazy
Pull the plug on the schedule; fill up the tub

Imperfections, stress, broken promises
Swept under a glowing tranquil sheet
The ripples soothe, the tensions loosen
Ears throbbing; safe in the womb

Toy ducks, boats and action figures
Dinosaurs and bowls rich in nomenclature
Loch Ness, armadas, occasional maelstroms
The daring adventures of simpler days

Bottle the angst and pull the plug
The mirror is misted, can't see myself
Towel the rivulets from another time off
Back in the saddle, away we go


Epilogue

I have floated a long way in my little boat
Have struggled much to go my own way.
As time makes the futility of those battles clearer
Those moments of the journey turn ever dearer

Saturday, April 07, 2007

A minor wrangle

As a teenager, I was avidly fond of a book called "The Adventures of Captain Wrungel", which documents the fictional fictional (if you catch my drift) adventures of a boastful old sea-dog. In a telling sequence, his beloved boat called "Courage" is mistakenly christened "Rage" when the first three letters are knocked off by the shock of the launching.

At this point in his narrative, Wrungel digresses to expound upon the importance of names and the qualities that they appear to bestow upon their bearers. As a case in point, he recalls the sad case of a schooner called "Tub" that overturned and sank in a very moderate gale.

The reason I bring this up is that I am somewhat irritated by purported authorities on the Web suggesting that the name 'Nisheeth' derives its etymology from Nish + sheet, implying 'coolness of the night'. This unholy conjunction violates all known rules of sandhi AND the tranquility of my Ego. I wish to place a strong rebuttal on behalf of me and all my namesakes.

The name "Nishith" is derived from Nish + ith and means 'the end of the night', or, more precisely, dawn. "Nisheeth" may be considered a variant of the same, but I am reliably informed that this is quite possibly not so.

'Nisheeth', if my authorities, who trace their lineage in the Benarasi Hindi heartland, are to be believed, is a conjunction of Nish + eeth and implies 'the darkest part of the night'. This little nugget of etymological wisdom is my gift to all who bear the name of Nisheeth (I instinctively imagine them to be brilliant, socially inept geeks).

While Nature (and parental whimsy) might have ordained for you a name that simply begs to be rhymed with a scatological term that I will not explicate, the odds are evened here by virtue of the quite dashing metaphor you may associate with it. The next time you're out on a first date, the thing to do is to glower and brood and bring the conversation around to the point where you may break out the "It means MIDNIGHT" line and look properly deep and forbidding.

Peace be

Sunday, December 10, 2006

AI to Minnesota !!!





Dear all

There are very few things that can make me take off my lush beard and purportedly intellectual demeanor and jump up an down like a 10-year old. The most culturally sophisticated of these is the beautiful game of basketball. I will now acknowledge the stylistic influence of a woman whom I have grudgingly had to accept as being my superior in literary expression in the form of some italicized nostalgic meandering.

I have played basketball since I was 11, and have watched NBA games sporadically since I was 17. It would be easy for me to bring up myriad on-court memories - grade-school, high-school, college. But, I would rather choose to talk about a memory that I no longer remember for the event itself, but for the inner fountain of ecstasy that it unleashed on that memorable day.

Kings at Lakers, Western Conference Finals 2002.

The Lakers, like all Shaquille O'Neal led teams of the past decade, coasted through the regular season, and the Kings snapped up home-court advantage by winning the Pacific Division. Now, with the Lakers down 1-2 in the seven game series, losing this one at home would drop them into a 3-1 hole, with two visits to the notoriously partisan Arco Arena lined up.

In those days I used to be a great Shaq fan - there is something innately appealing in the idea of a dominant giant destroying all opposition, then going down fighting in a sea of flames that I instantly connect to. Shaq, of course, wimped out when it came to going down in flames, letting Dwyane Wade carry him to his fourth championship ring last season. However, back in 2002, he was still in his prime, an absolute monster. And his Lakers, supported by the league's officiating, were looking to win their third straight title.

So, my favorite basketball team is struggling, down by 15 to start the fourth quarter. Kobe has had an off game, and the Kings are doubling down on Shaq even off the ball. The only high point of the game, for a Lakers fan, is Samaki Walker's half court heave at the half-time buzzer.

So, I am sitting in bed and exhorting Kobe to get it going. And the Kings appear to be inexorably deep and well-coached. They have no weaknesses, and they are hanging tough with the Lakers. I can remember muttering, "Come on you b*****, give them some open looks". This, please remember, is when I was 18, and thought swearing was cool.

So, the Lakers start coming back. I don't remember how they did very well now, but I think they got a lot of help from the officials. Of course, nothing like the scam they pulled in this year's Finals, but, for those days, it set quite a precedent. What does a fan do when the refs are cheating in his favor? That has to be a tough one.

So, its the last two minutes of the game, and the Lakers are down by 4, and they get a questionable foul call or something, and they are within 2, and the Kings have possession. I am probably making this stuff up, to be honest, I am just building up to the big scene. The important thing to note is that I have steadily been muttering under my breath for half an hour, and the tension is building up.

The Kings run a bad play, go scoreless I think. That was their Achilles heel, those Kings. They were, by far, the better team. But they did not have a go-to superstar late in close games. Webber was an A grade choke artist, Peja struggled under pressure, and still does. Bibby had the gumption, but not the skills to make too much happen. The Lakers call time-out, they have about 10 seconds to get a basket to tie the game, and one of the game's best clutch performers in Kobe Bryant. This is looking special ...... in a humdrum kind of way.

Starting now, you may depend on a more accurate story - the events are seared into my memory. Kobe gets the ball off the inbounds pass from the near sideline. He has Christie on him, I think. He goes to work, ball fakes left, drives right. The limitations of my cheer-leading vocabulary become painfully obvious to me even as I am shouting awkward phrases like, "Yes! Do it, Kobe". What on earth is a man to say at times like these?

Kobe drives past, has an angle for a tricky layup, there are defenders waiting for him in the paint. He goes up, gets hacked on the arm, no foul called, layup clangs off the rim .... The breath is sucked out of me ..... 3 seconds left .....

SHAQ GETS THE REBOUND !!!!!! He has a simple putback from close range !!!! Shaquille O'Neal saves the DAYYYYY .........

He MISSES ........ I yell "WHAT", and the whole colony can probably hear me. There's a scrum for the loose ball, and Vlade Divac swats it away thinking time has run out ..... which it nearly has. By one chance in a million, it goes straight to the man they call Big Shot Rob, whose only basketball skill is his uncanny ability to be in the right place at the right time on the biggest of stages.

I remember the words, as in a dream, "Horry ....... for the win", interspersed with the sound of the buzzer. I can't remember seeing the shot actually fall, because I had gone crazy just a fraction of a second before it did.

YES!!!

For the next 10 minutes, I relapse into a state that has only one description, 'primal'. I was shrieking inarticulately, I was jumping about, then rolling about, then jumping about again. I hurt my hand hacking at the ceiling fan, under normal circumstances, I can just about touch it, we have an 11-foot roof.

YES!!!

I have had happy experiences before, and since - several of them of far more moment than a basketball game that I was enjoying vicariously. But none have come anywhere close, in the sheer intensity of response and delirium, as Robert Horry's serendipitous three that pretty much won the Lakers their 3rd straight championship. It knocked the wind out of the Kings' sails, and the Nets from the East never could have offered too much resistance to Shaq-zilla anyway.

The second part of this post details why I chose to torture my readership with this juvenile memory in the first place. It was occasioned by the fact that I have an offer to go to Minnesota to do my PhD. There are three reasons that are threatening to draw me away from my idyllic sanctuary at Max Planck to the Twin Cities.

One of them is Kevin Garnett of the Minnesota Timberwolves, the greatest warrior in the NBA. He is stuck on a bad team, the GM, Kevin McHale, deserves to be roasted over a slow fire. KG leaves it all out on the floor every game, and the result is that the Wolves are never bad enough to get knocked into the lottery too far, and come out with a young superstar from the Draft. At the same time, they are not good enough to contend for a title, in any realistic sense.

Also, with so many young superstars coming into the league in the last few years, it is likely that the window of opportunity for the older stars to win and cement their legacies is over. So, everyone wants KG to ask for a trade, so that he can go to a better team and win a championship before he is too old to be relevant. And he steadfastly refuses, holding loyalty to the franchise above everything else.

I was thinking of going to Minnesota and sharing in KG's battle with the windmills. However, there is change afoot. Suddenly, since this Tuesday, KG has perked up and is relishing his time on the court. I was somewhat surprised at this, until it was announced Friday night that Allen Iverson, the Philadelphia 76ers superstar, had asked to be traded.

If there is a greater warrior in the NBA than Garnett, it has to be the unbelievable AI. Garnett is seven feet tall and has the physical implements to succeed in the NBA. AI is a mite under six feet tall, and yet, is very likely going to go down as one of the greatest players to have played the game. He plays through injuries, he challenges people twice his size every time he drives into the lane. He has fought against his vertical disadvantage every step of his illustrious 11-year career in the NBA. He served as a role model for me, once I realized that I was not likely to grow to 6'6" and be like Mike.

Now, although there is no official pronouncement yet, I find Garnett's cheerfulness really suggestive. Wolves owner Glen Taylor has commented that AI coming to Minnesota is impossible, but I suspect that might be a diversionary tactic to help with negotiations. I think AI wants to play with KG, the two most quixotic figures in the NBA in the last two decades, and win a championship together.

If this trade does happen, you can stick a MN code to any letters you wish to send me for the next 3-4 years.

Fingers crossed .......

Monday, October 09, 2006

Tale of a midnight stroll



A meeting at midnight


Today in my usual midnight stroll,
I met a kitten shaped like a ball
Wandering, like me, in the chilly air
In the heather beside the sidewalk

She seemed glad to see me

Loneliness

briefly

banished

We fool around in the moonlight
And the old question pops up

Do I need her, does she need me?
Death, father of want and despair,
Casts His shadow upon the night


bemusement ...


The Spirit winks with three thousand eyes
Eternity lies above and beyond
I wave goodbye; she fluffs her tail


The laughter of aloneness is the purest of all
It gushes in peals down the dark hill-side

Saturday, September 23, 2006

All the way down .....

All the way down …

How do I know that I’m not mad?

By rights I should be broken

Raising my fury at circumstance

Or wallowing and cursing fate


No existence; save right now

No refuge except right here

Imbibing deep of the fount of life

It hurts from having to feel so much


And yet today I can feel glad

That I can feel glad for feeling glad

And if this is gladness all the way down

I’m either mad, or have found Love

Saturday, July 15, 2006

An year older, an year wiser?


Hi all,


There was a big question on my mind about this time last year, so I wrote a blues song about it, "Buddha's Twelve Bar Blues". I have had to confront it quite a bit in this past year, but feel that I finally do have an answer for it. I summarize it in a poem called 'Two Loves', that I wrote today. Be well, everyone.



The Question:

Buddha's Twelve Bar Blues

Clouds of peace all around me, rising up into the sky
Tinged a gloomy shade of black, can't you see the reason why
Can't find no peace in this world, till I call this world a lie

Can't find no things to rouse me, no matter howso hard I try
Want no more drink and grass, and their insalubrious high
Can't find no peace in this world, till I call this world a lie

Tried livin' with you people, with tuxedo and a tie
Tried running around naked, playing catcher in the rye
Can't find no peace in this world, till I call this world a lie

Take no truck in holy books, all say that the end is nigh
Do as we do, sinner, before you go to hell and fry
Can't find no peace in this world, till I call this world a lie

All the things I've ever loved, cast a brightness and then die
Love will always break my heart, so I let love pass me by
Can't find no peace in this world, till I call this world a lie

Don't know which way I'm going, or if I should even try
Don't know if I'm still living, or if I just wait to die
Can't find no peace in this world, till I call this world a lie

How can a flower bloom, if the poor old roots are dry
How can the spirit soar, if the mind and body cry
Can't find no peace in this world, till I call this world a lie

The world is such a crazy place, till I firmly close my eyes
Fold my legs and sit up straight, feel the sound of silence rise
Can't find no peace in this world, till I call this world a lie



The Answer:

Two Loves

Two loves I have, both far away
The love within and the one without
Two loves have I, and each alone
Would have devoured me inside out

The love without; with sun and storm
Cleaves two hearts in passion’s sway
The love within, a great ocean’s swell
Enfolds me; but never all the way

The love of my life is an ardent flame
Scouring every trace of moral chaff
The celestial love is a gentle breeze
That caressing; blows the cinders off

The love without is a tender stalk
Floating on currents of circumstance
The love within is the sea itself
Where all rivers end; given the chance

It burns, it calms; it claws, it heals
Her love is frank in its innocence
He listens, and ever keeps his counsel
Speaking with wordless eloquence

They’ll break my heart, time after time
They will stretch me, tax my vigor too
And every time will I rise stronger
And the music of my lute will sing anew

Ever harder they pull, one at each end
The slender strings of my heart’s desire
And yet sweeter does the music sound
As they raise the pitch still higher

The tree of Life’s Heart can only grow
In soil moistened by tears of love
In my garden, it will always thrive
Showering its flowers from above

Two loves I have, both far from me
Yet slowly, towards both, I make my way
I stumble at times, and lose my path
But know that I’ll be there one day

Sunday, April 09, 2006

Tolkien's grave is a gyroscope

Two hours of senseless writing; one click and a defenseless world is exposed to it. Ah the wonders of technology .... I apologise most profusely to the memory of the greatest writer the world has ever known, for attempting to analyse the one chink in his armor - poetry.

Introduction


When J R R Tolkien decided to create his legendarium of the history of Middle-Earth, he took on the gargantuan task of creating a mythology that would carry visceral appeal for any Anglo-Saxon littérateur. Towards this end, he created a veritable menagerie of mythical events and their memories.

If the Silmarillion be an account of the doings upon Middle Earth in the Elder Days, the narrative of the Hobbit as well as the three books in the Lord of the Rings trilogy refers to them as vaguely remembered mythical folklore. In many cases, for greater authenticity, his characters allude to such events through poetry.

While the competence of his poetic expression has been often debated, it cannot be gainsaid that an analysis of his poetry offers us the perfect opportunity to study the use of myths in poetry, with the poetry originating, with exquisite craft and great thought, from the same source as the myth.

Description

As may be expected, the first book of the trilogy, The Fellowship of the Ring, contains the greatest number of Tolkien’s poems, as the lead characters are gradually relieved of their naïveté regarding the history of Middle-Earth. The second book has fewer real poems, but still contains multitudes of quoted fragments; there are no complete poems in the third book.

The reader is gradually introduced to the ramifications of the events of the Second Age as the story progresses onwards from the House of Elendil in the first book. The ‘Hobbit’, being prequel to the trilogy, has poems related almost entirely to Nature, expressed in a rather clumsy archaic style.

The first book contains seven complete poems and numerous extracts from other works; these songs are chiefly used to acquaint the reader with the quaint familiarity of Middle-Earth, three are songs by the singular Tom Bombadil. The legend of the Ring, as indeed all the other legends, is mentioned only in small snatches of Elven verse recited by Gandalf and Bilbo.

The second book contains just two complete poems, one an almost Viking elegy to Boromir and the other a very battle-spirited description of Gondor. However, ‘the Two Towers’ is profusely packed with poetic quotations and allusions, and is indeed our primary source of reference for Hobbit and human non-mythic poetry for this essay.

In the third book, the action moves too fast to allow for much versification, and consequently, there are no complete poems in ‘the Return of the King’. Besides, the legend of the Ring is too well known at this stage of the story to require further elaboration. Small quotations of old legends, however, are quite numerous.

The Silmarillion, being the substantive account for the myth of Middle-Earth itself, is a treasure trove for Tolkien’s mythic poetry. However, a study of purely Silmarillion verse would not be able to explain the reasons for Tolkien’s idiosyncratic style-shifts. Such an analysis is only possible when the entire body of work – the Hobbit, the Lord of the Rings trilogy and the Silmarillion – is studied together.

Analysis

Syntactical innovation

A perfect example of Tolkien’s mastery of the intricacies of the epic poetry of the Middle Ages may be seen in the following passage from Earendil the Mariner

at last he came to Night of Naught,
and passed, and never sight he saw
of shining shore nor sight he sought.
The winds of wrath came driving him,
and blindly in the foam he fled
from west to east and errandless,
unheralded he homeward sped.

From the plethora of assonant syllables highlighted, it is evident that this is a highly alliterative passage, written in the style of 14th century ballads that also evinced a similar structural assonance. One hastens to add that this is by no means an isolated example. For a similar passage, let us examine an even more structured alliterative example from Turin’s Fostering

Then the fame of the fights on the far marches
was carried to the courts of the king of Doriath,
and tales of Túrin were told in his halls,
of the bond and brotherhood of Beleg the ageless
with the black-haired boy from the beaten people.

In this passage, it is remarkable that the pattern of alliteration follows a strict 3 to the line syntax. This subtle linguistic nuance, borrowed from Middle English works, is representative of Tolkien’s erudite efforts to imbue his poetry with an archaic feel that mythic poetry requires.

Stylistic differentiation

In Tolkien’s ballads of Middle-Earth, there appear to be three distinctive variations in poetic ‘ability’. On a separate plain, in terms of a heavy infusion of alliteration, impressionism and abstractedness is the poetry of the Elven folk – their myths and Galadriel’s songs. A relevant example would be the evocative “Winter comes to Nargothrond”

The summer slowly in the sad forest
waned and faded. In the west arose
winds that wandered over warring seas.
Leaves were loosened from laboring boughs:
fallow-gold they fell, and the feet buried
of trees standing tall and naked,
rustling restlessly down roofless aisles,
shifting and drifting. The shining vessel

Secondly, we have the folk-ballads of the men and hobbits. These are written in the rough flowery style of Middle Age troubadours, with a heavy stress on assonance and pedantry. A good example in this regard would be the elegy to Gil-Galad in the second book

Gil-Galad was an Elven-king.
Of him the harpers sadly sing:
the last whose realm was fair and free
between the Mountains and the Sea.

Finally, we have the compositions attributed to the characters themselves – the most celebrated instance being Bilbo’s Walking Song of course. These are extremely simple, almost bucolic, in their structure and tend towards an ‘abcb’ structure. Frodo’s lament for Gandalf is a good example in this regard

When evening in the Shire was grey
his footsteps on the Hill were heard;
before the dawn he went away
on journey long without a word.

It seems quite likely that this is a deliberate effort on Tolkien’s part to subtly distinguish between the intellectual capabilities of his characters. Thus, for instance, Gandalf’s brief verses, both composed and quoted, are usually in the first style, befitting his role as a link to the Elder Days. The hobbits’ repertoire is almost entirely described by the third classification. Their own compositions are markedly inferior to their memorized verses; as befits a non-intellectual people.

Elven verse is mellifluous in its cadence and is characterized by a love for trees and stars; their mythic poetry is extremely detailed and subtly haunted by a sense of futility in warding off the ravages of time on their pristine race. A sense of impermanence, fragility and lack of form is also evident in much of Elven mythic poetry.

The verse of the Dwarves, much like themselves, is crudely and roughly shaped, and is gruff in its cadence. While forced rhyming is a natural flaw in much of Tolkien’s poetry, its incidence is rather high in dwarf verse. This might be a coincidence, or it might argue a deliberate effort on the author’s part to suggest the dwarves’ ineptitude for artistic creation.

This suspicion is highlighted by the fact that most of Tolkien’s human (and Hobbit) characters, even the least portentous ones, while perhaps not attaining great heights of poetic creativity, manage to confirm to the basic rules of meter and cadence without too much discomfort.

Where there is an ambiguity in categorization of a particular poem in this regard, it is more often than not reflected in a corresponding ambiguity regarding the related characters in the text. Thus, for instance, Bilbo’s prophetic verse for Aragorn, while written in ‘abcb’ like his other rhymes, carries a tinge of Elven abstraction and presentiment. In the light of subsequent events, this is readily perceived as a device to create uncertainty regarding the Ranger’s identity

All that is gold does not glitter,
Not all those who wander are lost;
The old that is strong does not wither,
Deep roots are not reached by the frost.
From the ashes a fire shall be waken,
A light from the shadows shall spring;
Renewed shall be blade that was broken,
The crownless again shall be king.

Compositional differentiation

Setting aside the obvious distinction in the subject matter of the ballads of the different races; there are numerous idiomatic idiosyncrasies in the verse of the non-humans that distinguishes it from human verse. The most significant is the use of adjectives or adverbs to open a new sentence, a much maligned pseudo - device for developing rhetorical tension. Thus, “Dark are the waters ………” to Gimli the Dwarf and “Long are the waves on the Last Shore falling” to Legolas the Elf. The linguistic phrasing of human and hobbit verse is much less stilted, and tends to be more descriptive and in the first person.

Perhaps as a consequence of their numerous dislocations, the human memory in Middle-Earth is rather hazy, making epic poetry possible only for them. In comparison, the Elves seem to retain records of their ancient history, thereby negating the possibility of the development of an epic form of verse in their cultures. Whereas Dwarves, facing much adversary and exile throughout their history, arrive at the epic form of their own accord, the hobbits do so only through contact with humans.

Philosophical differentiation

At a higher level, we find that Tolkien’s characters express views entirely in conformance with their assigned personalities. Thus, while Gandalf the Grey exudes prescience and secret wisdom in his somewhat abstruse verse, Bilbo’s songs express an indomitable spirit matching a bright but simple mind. The other hobbits, with the exception of Frodo, who is changed by his encounter with the Ring, follow Bilbo’s lead in this regard.

The most interesting comparison here is between the Elven and human myth songs. Whereas the Elven singers subscribe to a very submissive Semitic view of existence being a delusional dream inching towards eventual dissolution, human poetry in Tolkien’s work, while brushing upon the Semitic aspects of Middle-Earth mythology – the destruction of Numenor, for example – expresses elements of joy in struggle against adversity and at times a masochistic glory in Valhalla-like destruction. In this sense, it is more influenced by Nordic myth than the rest of Tolkien’s compositions.

Summary

In our analysis of J R R Tolkien’s poetry with reference to his legendarium of Middle-Earth, we find that he uses mythology masterfully to provide a framework for his characters to express their views regarding questions very fundamental to the human spirit. In doing so, Tolkien shows very clearly that the greatest purpose of mythology is to provide a detailed sociological frame of reference for analyzing human activity.

The Road goes ever on and on
Down from the door where it began.
Now far ahead the road has gone,
And I must follow, if I can
Pursuing it with eager feet,
Until it joins some larger way
Where many paths and errands meet.
And whither then? I cannot say.



Monday, March 27, 2006

Calling Dylan ........

Well you know, if people are going to keep dropping in on me from space and telling me I am foolish / selfish / lazy / whatever to have given up writing, I suspect I shall have to offer a note of explanation. The fact of the matter is, I have made up my mind to not write if I have nothing to say. My daily experiences are purely empirical evidence; they need to be analysed in perspective before I can hope to make them useful to a reader, right?


I have been thinking about the Hindi Jazz idea for quite a while now; those of you at the Saarang OAT LM thingummy will know that I am trying to channel my composition and guitar work in the same direction. However, this would not have been written unless I wasn't required, (at 12 hours' notice, the sluggard!) to write this as a Humanities assignment for my good friend Condom. Nevertheless, I really believe this is an idea whose time has now come; you, gentle reader, are welcome to prove it either way.

Once upon a time, Einstein was pressed into making an after-dinner speech. He rose dutifully when he was called upon to do the honors and said, "Ladies and gentlemen, I am sorry. I have nothing to say." His host was horrified at his faux pax; Einstein assured him that he would amend matters one day. An year later, his erstwhile host got a telegram from Einstein, "Now I have something to say". He instantly threw a dinner party and Einstein delivered his after-dinner speech.

To quote the great man himself, "Now I have something to say"

Be well, all.


An anomaly in Indian musicology

Introduction

The theory and history of North Indian classical music has been the subject of copious documentation as part of its own tradition by virtue of its hereditary nature. With its assimilation into the hippie culture of the US in the 60s, it has been studied comprehensively by Western scholars as well.

With ‘raga’ rock becoming a sonic symbol of the 60s counterculture, it was only a matter of time before Indian masters would acquire fame for their ‘exotic’ scales and instruments among Western audiences. Unfortunately, this has led to a perception of Indian music as being mysterious and ‘exotic’. As evidence for the foregoing, one need only remember that the concept of ‘fusion’ instantly evokes images of sophistication and musical depth.

Fusion, as a blending of genres, has always been extant in the history of music. The exaltation of Indian classical music as an alien art form; aided and abetted by Indian musicians seeking to capitalize on this niche demand has caused us to lose sight of the evolution of Indian folk music and its integration into popular culture. In this essay, we document the phenomenon of ‘proto-fusion’, the genre that identifies what is popularly perceived as the Golden Age of Indian film music.

Studying pop music

As a rule of thumb, the study of different genres of music is fundamentally based on an analysis of the predominant scales used in its compositions. It is a generally held Western belief that the basis of classical music is the diatonic scale. However, crucially, it is now known that the diatonic scale has never played a role in Asian music. Any study of Asian music has to be arrived at through an analysis of the pentatonic scale.

It should come as no surprise then that the first Western musicians to take an interest in Indian music were pentatonic-based players, who found the tones of Indian music to resemble those of their own native and derived cultures – British blues-rock musicians.

Blues may, with some justification, be considered the universal language of world music. By incorporating the concept of tritone-shifted impure notes into the pentatonic scale, blues opened the doors for folk music to interact with classical concepts to form the vast creative musical universe of jazz.

The universal appeal of blues, it is posited here, bears a direct relation to the spread of Islam. Historically, the only musical culture to use tritones on a regular basis is the Arabic culture. With the Islamic conquest of Africa by the middle of the 11th century, blues music developed over a period of 500 years as the African diatonic scale interacted with the conquering pentatonic culture in an antagonistic manner to create a chaotic, noisy and extremely emotive genre of music.

The Golden Age of Indian music

History

It is this music that found its way across the Atlantic on the lips and banjos of slaves in the American South. And so, with the emergence of jazz in the first few decades of the 20th century, when Indian music finally found a stage for itself, following independence and the burgeoning of the film industry, it was to this culture that it looked for inspiration.

A Famous Example

If there is one musical phrase that summarizes the disregarded influences on Indian film music, it is the bebop tune, “My name is Anthony Gonsalves”. The music director, Laxmikant Pyarelal, in one of the many subliminal messages that litter the cinema of this era, pays tribute to his violin master – a Goanese named Anthony Gonsalves. Gonsalves is representative of the many Catholic musical preceptors who imbued the film music of the era with a distinctly Latin feel by drawing on their Goanese Portuguese musical roots.

Musical features

As Naresh Fernandes recounts, “By invoking the name of his violin teacher in that tune in Amar Akbar Anthony, the composer Pyarelal had finally validated the lives of scores of Goan Catholic musicians whose working years had been illuminated by the flicker of images dancing across white screens in airless sound studios, even as acknowledgement of their talent whizzed by in the flash of small-type credit titles.

The arc of their stories – determined by the intersection of passion and pragmatism, of empire and exigency – originated in church-run schools in Portuguese Goa and darted through royal courts in Rajasthan, jazz clubs in Calcutta and army cantonments in Muree. Those lines eventually converged on Bombay’s film studios, where the Goan Catholic arrangers worked with Hindu music composers and Muslim lyricists in an era of intense creativity that would soon come to be recognized as the golden age of Hindi film song.”

The decline

Intrinsic Causes

The Indian film industry (the music industry being a subset thereof) carried the seeds for its eventual decline into mediocrity within itself. The primary reason for this was the societal disapproval of the musical profession in India, as a result of orthodox Hindu and Muslim beliefs. As a result, Indian musicians never acquired the iconic notoriety that played such an important role in sustaining the creativity of American music past the swinging 60s.

Also the Goan involvement in music was also not heavily publicized before 1962 in consequence of the Indian insecurity vis-à-vis Portuguese occupation. As a result, the Goan innovators in the 1940-60 Indian film industry have remained unsung. By the law of diminishing returns, the Goan musicians, circa 1955, decided to subdue their distinctive style in order to survive in the competitive Bombay market.

Circumstantial Reasons

However, the precipitating factor in the emasculation of Indian film music was quite simply the expansion in its size. With a limited core of musicians and burgeoning studio demand, composers’ standards deteriorated; and with societal stigma preventing the rise of innovative successors, film music, save some honorable coruscations of creativity, had lapsed into tedium by the middle of the 70s.

In addition, the Western world in 1975 had entered the Golden Age of British Heavy metal; bands such as Led Zeppelin and Black Sabbath had taken the next step in musical evolution by using volume and distortion as a canvas for expressing the nihilistic aggression of the post-Beat generation.

Whereas music in the US had acquired a substantial countercultural market allowing it to experiment and innovate unaffected by market forces; Indian musicians, restricted in their options by the economic crises of 70s India, had to toe the mainstream line. As a result, three successive generations of indigenous musical innovation were lost to creating unimaginative pop music.

The current scene

The current generation marks a turning point in terms of the musical evolution of our culture, and hence, it is crucial for us to understand its musical proclivities in terms of the perspective we have acquired from the foregoing.

All over the country, particularly in the metropolitan cities, small communities of adherents to the Western classic and metal rock counterculture are making their presence felt. These young, upper middle-class Indians, disenchanted with the puerile fare served up to them in their childhood; or influenced by the rare survivors of the commercial era, have taken to the Western cultural ethos with such conviction that it is almost impossible to view them in terms of their natural culture. Their music, their lyrics and their collective attitude is governed by the perceptions of the Western world – the Western world of 20 years ago, to boot.

Now, it is evident that, should such a scenario continue to exist, Indian folk music would be condemned to an unsung extinction in the near future. When the market dictates terms to mainstream music and a foreign culture to the alternative sections, indigenous music is left without too many possible practitioners.

Reasons for optimism

However, there is sufficient reason to believe that, with increasing awareness of our indigenous folk music traditions, change is imminent. A small but growing number of New Age Indian musicians have risen above the dogmas of both economics and iconoclasm to create music natural to their psyche and culture.

Neo-fusion, if we may term it that, is characterized by an eclectic set of musical idioms that are beginning to gain credence in both the film and alternative music industry. While this is partly (and almost comically) a consequence of the counterculture attempting to imitate the West’s appropriation of Indian culture, there are genuine efforts underway to integrate Indian folk themes into music that is technically proficient enough to command respect from the counterculture.

Sufi pioneer Nusrat Fateh Ali Khan, vocalist Shankar Mahadevan and percussionist Trilok Gurtu were among the first of this breed of Indian musicians. The bands Euphoria, Indian Ocean and Junoon are contemporary examples in this regard. Since the turn of the century, Indian audiences are turning increasingly appreciative of music that they can appreciate both viscerally and intellectually, a phenomenon that seems to bear a strong correlation to the rise of the “India Shining” paradigm.

Suggestions

This new brand of music, while a commendable effort at promoting indigenous music, appears to have digressed somewhat into a commercial direction. With the film industry still borrowing liberally from the Western idioms of heavy percussive backgrounds and power chords, this new generation is also finding its experimentation confined within the realm of the commercially exploitable.

The only possible solution to this over-professionalism and artificiality that permeates our music culture is to understand the story of the three lost generations of Indian music, and begin to compensate for it by patronizing the most recent authentic brand of Indian music at the grass roots level.

We need musicians who can play music from the 60s film genre with the technical proficiency that would inspire young adherents of the Western rock counterculture to seek out the truth about their own colorful musical heritage instead of being disillusioned into blind imitation of foreign countercultures.

The Golden Age of Indian music is lost in the discussion of the combine between Indian classical music and avant jazz; and the plaudits that Indian virtuosos now habitually earn at international performances. It is extremely convenient to perceive music as a performing art and forget that, in its essence, it is a source of ego-less happiness and not adrenalin-pumped self-esteem.

The musician owes a responsibility to society – the responsibility to articulate its deep-seated hopes and fears; the responsibility to be a voice that speaks of things they cannot express; the responsibility to be a window through which an audience can experience familiar emotions in varyingly new perspectives.

It is incumbent upon members of the counterculture – in their roles as performers and members of the audience – to distinguish the Western culture of virtuosic exhibitionism and dexterous perfectionism from the Eastern penchant for rhythmic percussion and melodic improvisation; shed their insecurity regarding embracing their indigenous culture and encourage the resurgence of authentic India folk music – music that describes the Indian culture of today.

Or, in colloquial terms, we need a Dylan or two.

Friday, May 06, 2005

Life with the red guy

Hi all, I often irritate my friends and acquaintances with my idiosyncrasy of talking about THEM all the time and refusing to talk about myself at all. My reasoning is that the time we get together is too short for even one person's life to be spoken of in a global perspective, let alone two. And so, I defer any conversation about my own Ego and Self perpetually.

This post, therefore, will be an anomaly of sorts to my current weltanschauung. It is essentially, the red guy's last post. And so, I feel it fitting that this blog - which was one of his most prolific media of expression - should host his obituary, his eulogy and his biography.

I, of course, am Nisheeth. And unfortunately, my fate was inextricably linked with the red guy's in the same manner as Victor Frankenstein's was with his creation's. The red guy was a child of my boredom, depression and ennui. And the time has now arrived, for him to be allowed to move on. I don't know yet, if the Frankenstein parallel will play out to the same result yet.


It all started back in December 2002, I think. My first semester at IIT Madras had been almost obscenely rich in novel experiences. And I had been enjoying myself, playing basketball on the college team, writing plays and stories and publishing them in journals, playing rock music and working on setting up my own rock band, and very importantly, for the first time in my life, actually hanging out, and drinking and smoking up with my peers. This Bohemian, dissipated existence was the stuff my childhood fantasies had been made of. I was physically, mentally and spiritually happy and healthy.


December, the month-long winter break was, hence, a time to put things into perspective. And that is what I proceeded to do, when I was done reading a foot-thick, 5.3 kg weight edition of "The History of Classical Greece and Rome" and Freud's lectures at the University of Bonn., that is. And I realized that I was attempting to reconcile two entirely different paradigms.

On the one hand, I had my pre-IIT spiritual life of three years. A life where I controlled every emotion, phrase and action of my existence. I would lie in bed, switch the light off, command myself to sleep, and would sleep instantaneously. I would wake whenever I wanted, I would run and run for miles and not get tired if I did not choose to get tired. For three years, I carried my practice of ahimsa and love of life to the extent of not stepping on insects while walking - which is where I get my gaze-averted walking stance from - and allowing mosquitoes to suck my blood in peace. I possessed the ability to detach myself from my physical and mental faculties so very well that when my hand needed stitches once, the doctor could operate without any local anesthetic. I just KNEW that it was a hand with irritated nerve endings reporting to a mind, not I, that felt the pain.

On the other, I had my first semester existence in IIT to contend with. The joys of youth, uninhibitedness, of recklessness and fearlessness. My first year at IIT was a period when I could try anything, do anything and get away with anything. Fighting with policemen, giving the hostel warden the finger, playing basketball in pouring rain for three hours at a stretch to get rid of a fever, climbing every high place, diving into every pool, figuring out an algorithm that would eventually get me a patent and royalty from TCS - you name it.

The difference lay in the relative positioning of the Ego. Coming to IIT, it was 'I' who was accomplishing all that I did. Pre-IIT, 'I' was just an instrument that I could use to do whatever I wished to do. And so that December, I came to these metaphorical crossroads. Was it better to not feel, to exist in a blissful mental Bardo of sorts, at peace with the rest of the world, and be efficiently productive? Or was it better to live life on the edge perpetually, to let one's emotions and instincts guide one; to experience pleasure intensely at the risk of experiencing pain just as intensely?


And that was where the trouble began.


I could not decide. I loved my spiritual life, I was advancing reasonably well, could feel the second level of 'siddhis' beginning to set in. At the same time, this new life, with all its different clashing colors and sounds seemed such an interesting place to be in. A case could be made out, for that old life of mine to be nothing better than an escapist Utopia. And as my passions, reviving after months of control and discipline asserted themselves, subconsciously, I gradually started acceding to this point of view.

The transition was extremely gradual, but I was painfully aware of its occurrence. I stopped reciting my favorite mantra compilation - the "Shivatandavastotram" - daily as I had been accustomed to, I stopped controlling my body, training it with yoga, and conditioning it with basketball, I stopped playing or exerting myself physically, I relaxed my restriction on not having sex except on Saturday evenings, I stopped controlling my thoughts, allowing them to flit by without my understanding their import.

Thus it came about that, consciously unwillingly, I was being metamorphosed into a different personality. The truth became painfully evident the night before my PMT exam in the second semester. My first semester acquaintances - Fudu, Condom (both of whom are among the rare people whom I class 'friends' to date), LED, Bobo, Lallu and I were sitting and girding our loins to get down to the distasteful business of studying. LED, as was his wont, was trying some rough-house stuff on me; it was his avowed intention to see how far I could be pushed and how my physical prowess would manifest itself; I am afraid his curiosity was piqued by my arm-wrestling and bench-pressing exploits.


As he was twisting my arm around for the umpteenth time, I felt ANGRY. And I pushed him off rather violently. And then I went to my room and cried like my heart would break. I had not been angry since the 3rd of August 2001. I find my temper scary, it is prototypically Taurean. And then Fudu and LED tried to cajole me into good humor but I was about as responsive as a wet rag at that point of time, I remember them dragging me up from my floor to my bed. It was a good three hours before I could think rationally again.

That was when my consciousness finally caught up with the transformation that had been and was in the process of being effected. I was horrified when I realized how, almost imperceptibly, my 'siddhis' had all but vanished, how three years of effort had been nullified by nothing more than indecisiveness and mental lethargy. Also, I was depressed at the thought of what lay before me, a never-ending quest for keener and keener pleasures, as the older ones grew familiar, and exasperation at the 'ordinariness' and 'phoniness' of the outside world in contrast to my tumultuous inner life.

It was with this at the back of my mind that I came across a translation of the 'Bardo Thordol' - the Tibetan Book of the Dead. In my spiritual days, I had seen and had been told by seers I had conversed with, that all the profound texts of Indian spiritual teaching, all the greatest descriptions of experiences in the astral planes - had always had a way of gravitating towards Tibet.


Tibet -who knows anything about Tibet? Less than 3% of Tibet figures on official maps, less than 10% has been viewed by the most inquisitive of Occidental eyes, the scribes that followed in the wake of the Younghusband invasion in 1949. Even I, neophyte of the mountains and their lore, know of two monasteries hidden away a little beyond Badrinath that the Border patrols on either side are blissfully unaware of.


I read the "Bardo Thordol" thirstily, groping at archetypes in an effort to rejuvenate my ebbing spiritual fire. It turned out to be the last straw. Consider this, incessant exposure to rock, deepening clinical depression, an intrinsically saturnine personality and now, a comprehensive description of the various stages that the soul passes through in its journey between one death and another birth; the Tibetan book of the Dead is effectively a guide for the soul to find its way through Bardo, the state of non-Being that follows death - either to attain One-hood or to return to another mortal coil.


(An earnest entreaty here. If you are spiritually inclined, PLEASE, as you respect my judgment, as you love anything in this world, PLEASE DO NOT read it. It is a book that the guru must introduce, one must not read it oneself. If you are not, I would still advise you to keep away from it. There is a reason why these books are not publicly accessible.)


But to return to what I was saying, all these factors put together, were leading to one inevitable conclusion. As far back as December, I had told my parents that I thought I needed psychotherapy. My own analysis, though amateurish in skill at that point of time, compared to what it is now, set off warning bells in my head. By late April, when, thanks to a compressed semester, I got home, I had become somewhat of a vegetable, displaying the severest symptoms of grand mal chronic depression and psychosis. For two weeks I lay in bed, barely eating, barely moving, barely thinking.


Unfortunately, psychotherapy is frowned upon as a form of treatment in India. The general opinion is that, if you go to a general practitioner or a clinical psychiatrist and ask him to prescribe you pills for depression, you are just 'depressed'. But if you go to a psychoanalyst and ask him to treat you, your societal status will change to 'mentally unstable' thereby stigmatizing you for life.


It is also unfortunate that most clinical psychology students prefer to take up psychiatry as a career option right out of M.D. as they don't have to go on and do an M.Phil or PhD which a psychoanalyst needs. Psychoanalysts are, consequently, fewer in number and necessarily elitist in their fees and clientele. Psychoanalysis is therefore, in the court of public opinion, dismissed as a rich man's fad.


My Dad, for all his sterling qualities, is human. He is a neurosurgeon and has to look at lots of psychological cases just as well. He knows the taboo that the tag, "been treated for mental abnormality" can engender. And so, he scoffed at my persistent asseveration that I was clinically depressed and said, "Depression is just an attitude you have, get over it". At the same time, he talked to a psychiatrist friend of his in Jaipur and started giving me 'vitamin supplements' that, I learned this year, turned out to be tranquilizers and anti-depressants.

But as I have said before, psychiatry is a physiological treatment of a psychological response and hence, cannot work on its own. In my case, I was given sertraline to boost the serotonin production in my brain and render me enthusiastic, the theory being that the brain, when excited, generates larger amounts of serotonin than is usual.


That is sound as far as it goes. But the trouble is, popping pills is no treatment for the lifestyle problems or existential dilemmas that caused the drop in serotonin production in the first place. One may just as well envelop oneself in clouds of nicotine or marijuana or drown oneself in alcohol.


Be that as it may, I started drifting. I would lie in bed and be very happy about how it would all be over so very soon. I wrote out letters to everyone I knew, thanking them for everything they had done for me, I divided up my 'property' such as it was, in this juvenile little 'will' of mine. And I remember I started reading a lot about Cobain.


There was this pretty little intern, Paromita - her favorite music was Metallica's 'Unforgiven' - working at NCAER with me that summer on a psephology survey for 'Aaj Tak' and I remember once we were taking a break and talking of this and that and she said (she is a Piscean) "Why do you keep opening up Kurt Cobain's suicide note up on the web all the time?" And I said, "Do I?" And then I did a double take and saw that I had it opened up right before me.


Then, our band was making moves too. LED wanted us to do hard rock - Maiden et al, which I was not very comfortable with - blues-rock more my métier. But willy-nilly, we went to Palika Bazaar in Delhi and bought ourselves some of those black "band T-shirts". LED took Led Zep and Metallica I think, Condom took Nirvana and Metallica. I took one Nirvana thing. But it was the one Condom bought that attracted me a lot, it had fragments of Cobain's suicide note printed on the back in bluish-tint ink. I pestered him into lending it to me, and we swapped.


Back home, I started struggling against the ennui that was threatening to swallow me. I took to taking my car (MY car, yes MINE, entirely MINE ha ha) out for late night drives. I slowly got into this state when an onset of depression would cause me to reach for the car-keys and run out for a spin.


To cut a long story short, I was now but waiting for the right time. And one afternoon in late June, the 24th, I think (the week leading up to it is hazy in my memory through the increasing dosage of the increasingly futile 'vitamin supplements'), I pulled on my Cobain T, and took the car out. I am not sure if I wanted to end it all when I started out; as I recall it, I was merely depressed and went off. The fact that I stopped to change my T-shirt however, seems to indicate that I might have.


Be that as it may, I went out for a really long drive, not stopping until I was 30 odd kilometers from home at a river canal. I sat there for a while, watching the turgid water flow listlessly on, not knowing where it was supposed to go. I don't know how long I sat there, probably not long; I was rather restless at that point. I started back and it was a hot June afternoon and I started sweating profusely, what with the black, synthetic abomination I had on.


So I took it off. And I drove on. And then the steering wheel felt too hot for comfort so I put the T shirt on it front-on. So now, I could read the blue scrawl on the back, I could read Cobain's suicide note as I drove faster and faster.


If one is lucky enough (or unlucky enough, depending on the perspective), one may experience moments in one's life when time actually does slow down. I can recall, in vivid detail, every trivial thought process, every single sight I saw, the texture of my own thighs as I felt them, in what I sincerely believed would be my last sensation of my own body.


I was going at around 110 now, and my dear old '97 Maruti 800 was beginning to protest. I remember formulating the following in my head, "I am so very happy right now, with the world passing by me at this incredible rate. Nobody needs me any more, the best way I can help other people live their lives is by not being any more. I have been trying to wriggle out of this, but remorseless logic has brought me to this at last. There is no point to the universe, spiritualism has betrayed me, and there is no Ultimate Answer. And if there isn't, then why should I live a second longer."


These words I recall verbatim, I remember muttering them as they came to my head. I have never analyzed them and doubt if I ever will, just as I prefer to keep the Cobain note at a distance even two years down the line.


And then I accelerated, and went crazy. I just pushed the pedal down to the floor and took off, determined that the only thing that would stop me would be the Big Red Traffic Light up in the Sky. I shudder to think now, of all the accidents that I might have caused, lives even, that I may have taken with me, for no fault of theirs. But thankfully, my driving is reasonably good, even at high speeds, and I knew my baby inside out. Nothing untoward happened. Until, swerving and swinging back on the road having avoided a white Ambassador, my front suspension gave out. I remember the speedometer was way over on the right side of the dial, so I must have been going at about a 100.


She slewed about a bit; I could hear the grating sound up front. My survival instinct made me try to control her by pumping the steering wheel but matters had arrived at a fait accompli more or less. After 5 such undulations (yes, I counted), I think I turned the wheel just a tad too much, and the car spun around and skidded on its side for a split second.

This is where the Matrix part started. I remember being taken up as if on a roller-coaster ride; the world spun about me upside-down, sideways, every which way. It seemed to last an eternity, everything was happening so very slowly. And to top it all, I seem to have found time to analyze my life and what I had done with it. I remember feeling very serene and contented at having given away every buck I had on my return journey to the tramps that abound at New Delhi railway station. I remember I thought then, as my car was somersaulting across the road 4 times (as eyewitnesses later reported, I didn't have a clue), that I hadn't done too bad a job of this life after all.


I could go on and on about those moments and never exhaust my sense of amazement and wonder. For those few timeless instants, I like to think I saw something that I can find neither words to describe, nor Reason to circumscribe. But for now, I think I would be doing my long-suffering readers signal service by moving on to speak of my next rational experience.

It was a tree that broke my car's fall somewhat; I remember our landing on something that behaved much like a giant sponge and bouncing us off. When the world finally came to a standstill, I realized I was lying on the inside of my car roof and could put a hand out and feel the bushes that lay outside the shattered windscreen. Engine oil and radiator water were beginning to trickle down to where I was lying.


I would be guilty of subterfuge and deceit of the highest degree if I were to record that my thoughts at this life-defining moment were anything other than, "Oh SHIT!"


Well, I scrambled out and onlookers who were hurrying to the spot were rather taken aback to see me. I realized why later, when I saw the car after it had been turned back up and pulled out of the nallah it had fallen in. Basically, it had spun head over heels about 4 times, and then fallen off the road into a 14 foot deep trench. My poor car was utterly, absolutely smashed, it was a total wreck. And that is why it was considered miraculous that I had gotten off, literally without a scratch if we discount the scratches I got from the broken glass as I was struggling to work my way out of the shattered case.

It was a shattering blow to my Dad as well. He had been so very adamant about my not needing any treatment and 'just going through a phase' that this came as a big shock for him. Mum yelled at him a little and the very next day, I was taken to VIMHANS, under supervision all the way. I don't exactly remember what happened, everyone seemed to think if they tranquilized me enough, I'd forget everything about it and start off all full of vim and vigor anew.


The VIMHANS people said 'psychosis' which I think was stupid because they ran standard tests on me that I fudged a lot for the fun of it. Not very responsible of me, I know, but you might find your perspective altered if you were drugged as much as I was in those days. A diagnosis of psychosis however, means state internment and probation for ages by India medical jurisdiction standards, so it wasn't as iconoclastic and rebellious as it was silly of me to have fudged those tests. I told them the standard Gestalt things don't work for 150+ IQs anyway.

But Dad would have none of it. And since he is one of North India's pre-eminent neurosurgeons and runs his own hospital, he got them to see their way to letting me go in peace. I was however, prescribed a stronger anti-depressant - two a day for five years or something. We came back home, and I remember looking at Dad and thinking he had aged 10 years in that one day. It is no joke to find that your first-born son has psychological problems. A while ago, he told me he also felt guilty about consciously ignoring the possibility of my having clinical depression. He told me that with those symptoms in a third party, he would have prescribed psychological treatment in a flash.



The next thing was to decide if I was to continue in IIT. Chennai is such miles away, and my parents were really very scared, so scared that they still haven't really gotten over it. It was I who pressed them to let me come here again. You see, I had been looking at treating myself in my own way at that point of time.


And seeing that I was so full of chemicals and delusions at that point of time, it may be expected that my proposed solution to my woes was equally fantastic just as well. There was this beautiful girl who worked as a nurse in our hospital. And we were thrown together often because I liked volunteer work at orphanages and so did she and I would help around the hospital when she'd be on duty.


I've been around women a lot in my time. Back in DPS, I was the resident swimming stud, captain at all things aquatic and got a lot of opportunities. This was where the 'no sex except on Saturday nights' rule was established because I did not have swimming or basketball practice on Sundays. But I had never actually been in love, (short of the mandatory middle school crushes and a little flirtatious fling in 10th) and I doubted if I ever could be. But now, I made a conscious decision to fall in love, with Shaina.


The crossroads were behind me, I had made my choice. I would be of this world and measure my happiness with how happy I could make a certain person whom I loved. Oh yes, this was love, beyond a shadow of doubt. All I thought about, day and night, was Shaina. It helped that she was so very beautiful, model class. And that is how I spent my time for the next year, Shaina looming large over everything that I did.


I would write more upon Shaina and her beauty and the things that we did and the happiness that we shared and the pain that our intimacy brought. I would write more of how, before she would actually call, I'd know she would and pick up my cell phone. (Fudu can bear witness to that) I could talk for days about our love trysts when I'd go back home.



But Shaina is too recent and sacred a memory to be defiled by a distorted perspective. That tale shall remain untold for now. We move on to speak of the red guy. The red guy basically was a very bright, very perceptive, very cynical 'old' person. He came into being when Nisheeth went out after that car crash. Nisheeth - he of the analytical mind and the balanced perspective, and the overbearing compassion and the psychotherapy and the spiritualism. At those crossroads, we separated.


He walked on down the path of aestheticism and hedonism and intellectualism. He read what I read, but he read to assuage his ego of its self-sufficiency, not to learn. He listened to music, to affirm his possession of impeccable taste, not for its intrinsic merit. He wrote for people to read, not for himself. The good poetry on my blog, 'Palestine' in particular, was written before he came into being, his advent was marked by a distinct fall in our combined creativity. His forte was deploying our shared knowledge base to write newspaper articles and get paid money to buy booze with. And the booze was used primarily to shut me - Nisheeth - out.


The red guy was born out of Nisheeth's ennui. He was nurtured by his relationship with Shaina, where he/I/we thought it possible that the key to contentedness and happiness lay in being able to take someone for granted and to make her happy. He was nurtured by living in a socially dysfunctional environment sponging off Nisheeth's reputation. It is not surprising that he got as far as he did. Looking back, I feel I really did do a lot in my first year here.

The red guy's paradigm is logically sound and comprehensive, just as a one-dimensional study of quantum mechanics is logically sound and comprehensive. Insofar as it goes, you cannot find fault with it. Lots of people live with that paradigm for the whole of their lives. But those are the ones who are born to it, who innately tend to thoughtlessness.

In our case, it started coming apart last year, when my expenditure on 'beggars and wastrels' caused me to cut down on my phone budget. Basically, a certain old lady who works in the Physics Department office as a clerk had problems paying her house rent and I was putting up a 1000 bucks a month to help out. This was not received well at High Command and I was issued injunctions to be thrifty and focused and not waste money. About the same time, August 2004, one of my two favorite uncles, Pramod, came to visit me.

There are two people in this world whom I really consider wise and listen to - Pramod Chacha and Pradeep Mama. Both were drinking buddies at Yale and Harvard too, so the triangle is completed! Well anyway, he came here and gave dear old LED a bit of a complex. LED has been trying to grow his hair long and rather prides himself on how long he's managed to get it. My uncle's hair was about twice as long as his - a long ponytail, kurta and dhoti and a rudraksh necklace, that is how he goes and delivers lectures at UConn.

He gets royalties for all the Hepatitis B vaccines Dr. Reddy's lab sells, he was nominated for the Nobel in medicine in '95 for inventing 'heat shock protein' therapy, he is one of the 5 original inductees of the International Hall of Fame for Cancer Research and he is worth about $15 million being one of the three founders of Antigenics Inc., one of the US's largest immunology research and avant-garde pharmaceutical companies. All in all, a pretty awesome role model, I'd say.


I am proud to say that he looks forward to our conversations too, partly because it was in one such that I got my idea for protein secondary structure prediction and he got a slant on the longevity problem he's been working on that he reports is looking promising. This time, however, we spoke of non-technical, non-philosophical issues; we spoke of my growth pangs.


My parents haven't told my relatives (or anyone for that matter) about my VIMHANS episode fearing it might decrease my matrimonial eligibility etc. I would have thought my appearance would play a larger role. So it came as a surprise to him and we spoke long about it. We were in one of my favorite spots, on the steps of the institute stadium, and we spoke for hours on end. Finally, he left to catch his flight and I was left to ponder over his statements.


"The only reason to get married is to have children. Do NOT get married for any other considerations."

Look who's talking! Our man has been married thrice and divorced twice, his current wife, my Jasmine Chachi, lives separately in an ashram in Florida. As a youngster of 20, he went to study in Calcutta back in the staid 70s and got into a live-in relationship with a woman so he did not have to pay any rent.


Well, anyhow, his words left an impact, as did Gibran's when he speaks on 'Love' and 'Marriage' in that amazing labor of love - the Prophet. I read them, and I was convinced that they are true. And I quoted them to Shaina. Unfortunately, she happens to belong to the statistical majority that follows the famed Nisheeth's Law.


Nisheeth's Law states that, "In a woman's case, should there exist an accurate quantization method for both qualities, multiplying beauty and brain will give us a constant value." In layman terms, the prettier she is, the dumber she is. In all my experience of women, I have found but one honorable exception.


Shaina, on the other hand, is not an exception, being exceptionally beautiful physically and spiritually though cerebrally limited. Her response was to ask me to not bang my head over philosophy. "Our relationship works fine with me not being able to live without you, and vice versa."


But as time wore on, I found that I was beginning to find a way to manage without her. That was basically the end of our relationship. A need-based relationship cannot survive if the need goes away. And the need went away because gradually the red guy started sinking, and I was able to assert myself more often.


If you read my poem, "Drunkenness is the best policy", you can clearly perceive the situational unhappiness I was in - watching my own self debilitate through apathy. I wrote that directly upon waking up, drowsily scribbling it down on my notepad before the red guy could assert himself.


I think the trigger for my resuscitation was a realization that what people, ordinary people that I met and helped - batchmates, family, mess-workers, lab assistants, puppy dogs that bite at my beard and nearly nip a chunk off - expected from the red guy was a Nisheeth-like insouciance and optimism, not his misanthropic cynicism. Nisheeth can sense unhappiness, Nisheeth can empathize, Nisheeth hurts when ANYONE hurts; the red guy decided to use that as an excuse to be extremely officious and play Jesus. So, he would talk to people and tell them what was wrong with them, but he'd not do it because he cared for them, he did that to bolster his own Ego. He used Nisheeth's gift of compassion and turned it into an abhorrent monstrosity. There would be times when Nisheeth would have the upper hand, which I am really thankful for, considering the happiness that those would give me.


It was of an October night then last year that the red guy was mortally stricken down. His impregnable armor of nonchalance and cynicism was punctured when Nisheeth came across a person so very starved of love and affection, that all the red guys in the world could not hold him back from reasserting himself.


After that, the red guy was done; he started losing his life-force as Nisheeth started regaining his perspective. This December, I finally started meditating again, after a hiatus of 18 months. I started sleeping in the Peeliamman temple here on campus until someone complained and they sat a security guard down there whom I proceeded to ingratiate myself with by taking him bananas each time I'd go there at night.



Also, with the apathetic red guy increasingly out of the way, I finally got the incentive to build myself a frequency multiplier and study the psycho-acoustics of western Classical music as a build-up to my B. Tech project on field-matter interaction and with the results thereof, I convinced a professor to take it up as research for the next year. Not only did he do that, he's also called in two other professors, booked a room for setting up a lab (ulp! I am supposed to do that) and given me tons of reference material to read up before we start on the lab work. If I fail, or hit a theoretical dead-end, heads are going to roll, primarily mine.

In my new-found vigor, I finally decided I could do without Shaina. It started as a tiny whisper of doubt in my head in August, kept growing under the surface, and finally prompted me to give her the miss in the baulk. I told her on the 28th of January.


After that, I spent the entire month of February steeped in alcohol and grass. Memories are painful things to stamp out. As Neruda says, "Loving is so short, and oblivion is so long". But the good thing was that I fell out of love ages before we eventually broke up. The reason we were together so long was the fact that our relationship started at a time when I had been through a lot of trauma and that our intimacy was so very mutual and so very comforting that I felt unwilling to trade it for the freedom of being lonely.

But it had to be. A relationship contracted out of need, maintained out of insecurity and fear is not a relationship. Its a millstone around the neck, and the swiftest cut is the kindest. To fear starting over and to thereby hang on to baggage from the past makes a mockery of both our evolutionary instincts and our spiritual individuality. As I never tire of saying, "the assignment of individual consciousness to ONE body is not an arbitrary division."


But the red guy had some fight left in him yet. And his prompting made me fear loneliness and what with her calling almost everyday, "to talk just as friends" I almost gave in and went back. What held me back was alcohol, I started drinking almost everyday. What held me back was grass; I ended up going to classes doped out.

And then one day, I realized I was basically looking for pegs to hang my hat on, when actually, I ought to be wearing it myself. I was using women, booze and grass as ways of avoiding introspection. This of course, prompted me to examine the issue closer, and what I found is what I have detailed today in this post.


Had that not happened, the red guy would have lived on, perhaps to return another day when I feel spiritually barren all over again. But I now see the crossroads that I came to two years ago. And I see that, quirkily enough, I have come back to the same crossroads yet again. The same choices face me today as they did then. What do I choose?

I think I understand the spiritual path far better now than I understood then. That was bookish knowledge, acquired either through readings or through satsangs or through asking seers as I wandered in the hills above Rishikesh. Two years of living, two years of real people and real raw emotions brings it all into perspective.

The mistake I was making was in wanting to not get hurt. Spiritualism should never be an escape; it should be the culmination of joyful living. I think I have learned to appreciate the beauty in pain and sorrow, I have learned that to love is to seek pain, and that to live is to seek love. That is the most important lesson that all my wild times have taught me, to not fear pain and sorrow. They will come, and they will pass, and while they are with us they will teach us much.


I used to be scared of commitments, of wanting to love people. As late as this February, I tried to fob off a young friend of mine, "Do NOT call me Seymour!!" But I am slowly finding that all the pain is worth it, that I can help people much more if I show that I care too.

Yesterday, as I was walking to Sangeetha's for dinner, I passed by three beggars and gave them 10 bucks each. But I also gave them a pat on the back, a shoulder wrap and a smile respectively too. And I think that is the difference between the red guy and Nisheeth. The red guy would still give out money. But he would feel so very virtuous about having done so. He would pretend that he was doing it for his own satisfaction. He would not acknowledge the possibility of actually being able to love someone else. But he still would have, deep inside. He came from me, didn't he? I sympathize for him as Frankenstein did for his creature.


I've had this feeling for quite a bit now, that everyone, everything in this world is trying to make me happy, I said so two posts ago in the introduction. I find that I can look at the morning everyday and find something new to marvel at in the colors that all the clouds deck themselves out in, just for me. I can find pleasure now in watching ants scurry about in their little lines the way I used to. I have begun to enjoy doing Math again, brought out my good old linguistic symmetric cryptosystem and dusted it up and wrote some code for it a few days ago.


And of course, a big void in my life got filled up early this March. It would not do to speak of it here, but I really feel blessed thanks to my young sibling sitting in Beninganahalli. Plus, I got a comment on my blog inspired by Omar Khayyam suggesting that one of my greatest causes of unhappiness in the past year exists no more. Plus, I wrote letters to most of my friends telling them I love them a lot today, basically clearing out the old lumber.


It is time for some things to die, so that others may be born. And with me, these rejuvenations have almost always been where I found my preter-guru, Swami Devananda 10 years ago - the banks of the Ganga at Rishikesh. This time, however, I aim to go higher.

From Rishikesh, a tortuous bus trip gets one to Gangotri, the presumed origin of the Ganga. Actually, over the years, the glacier has pushed back to a spot 20 kms farther on to Gaumukh. Gaumukh is a day's trek away and hardy souls go there to actually see the mighty Ganga flow out of a crack no more than four feet wide and a foot high. The temperature, in the middle of June, is some degrees below zero.


Higher above Gaumukh, lies the plateau of Tapovanam, which only semi-pro climbers can get to. I have heard that its beauty defies description and that in the winters, the great Himalayan ‘rishis’ descend from their mountain fastnesses to meditate there. I think I can get there, they teach one well at the Nehru Climbing School, and I don't unlearn easily.


Onwards to the realms of actually wishful thinking, the local lore, supplemented by the wisdom of Swami Tapovanamji Maharaj(he lived most of his life there) in his book, "Wanderings in the Himalayas", suggests that Swargarohini, the site of the mythical final passage of the Pandavas, lies higher up beyond Tapovanam. The only map extant is a crude one I found in the above book but I desperately want to climb up to Swargarohini once in my lifetime. This might be the time I get there, should I actually make it to Tapovanam.


Which is why I am going around telling the people I love that I love them, and writing this gargantuan post. It is my avowed intention to lose the red guy somewhere amid the snow and ice. But that high up, what with the oxygen levels and the sudden crevasses and my pronounced tendency to be reckless in search of spiritual ecstasy and my going alone up there this time around, thanks to my regular pro-climbing partner getting his dates messed up, I just feel like tying up all my loose ends before I go off.


With this, I believe I shall conclude. Not for a dearth of things to say, I assure you. But because this particular vein of thought has exhausted its potential. This is the end of the road for the bearded red guy. With him, I believe, shall go his propensities towards alcohol and the green grass. With him, I hope, will go the pomposity and officiousness that often cloaked my empathy and compassion. With him shall also go, I trust, the apathy and the purposelessness and the iconoclastic ostensible atheism that was permeating insidiously the foundations of my psyche.


Crossroads galore on the paths I tread
"Whither?", I crane my neck to see
Can't see through these swirling mists
That work hard keeping tomorrow from today
Which road do I take, I sit and wonder
While the shadows grow longer and greyer
And I see others as they walk straight ahead
Frightened to look about either way
And others who walk clasping hands
As if the folly of two is half the folly of one
And still others like me just sit around
And forget that the road is made for walking
That it is our fate to be but rolling stones
All the moss in the world still makes a thorny bed
And so I get up and shake the moss off
And ask the Piper to play me His tune
And my feet start tapping to the music
And I set off down the rockiest road
Where those who see the farthest tread in pain
And I take them balm for their blisters
So we can walk and be happy together

I thank you all for being with me so far and bestowing your appreciation upon products of the mental constipation that ensued when two people were living in room for one. At least one of the inmates is not coming back any more. The other one will take this opportunity to tell you that he loves you all, that he is feeling so very close to Divinity, he can feel the beauty of God right now as he dreams of being in Tapovanam as soon as his feet can carry him there. And both of us, yes, even the cynical red guy, wish you all happiness and contentment and the Joy of knowing God and Beauty now and forever.

Be well.

About Me

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I is a place-holder to prevent perpetual infinite regress. I is a marker on the road that ends in I not being.