Monday 9 November 2015

You’ve got mail

Furtive glances
Rewarded with a flicker

Bated breath
Rewarded with release

Unexpected sender
Rewarded with a curse

Desired sender
Rewarded with a curse

The moment of hope
Stays unrewarded

Goes
Unrewarded


First published in Muse India, Nov-Dec 2015.

On your way

Who's to say
If you're coming up
Or climbing down
As long as you can impress upon them
That you're well on your way


First published in Muse India, Nov-Dec 2015.

Bargain?

Every day I lose a little bit of you from me.
Is this really better
Than losing myself in you a little bit
Every day?


First published in Muse India, Nov-Dec 2015.




McLeodganj

Same same? Sure
But different, yes, learn to spot the difference
Indo. Tibetan. Chinese. 

Before becoming the beatific Buddha, try being the laughing lama.

A meal in a bowl
Why fuss
About laying the table?

Keep a light head about your shoulders, find it in the clouds 
Queer coloured umbrella rainbows all around, when you can see through the clouds

Cars learn patience
Stomping mountain bulls and goats unite
Some incorrigible neighbour will get his just deserts today
Get out of the way.

Tease the schoolboy playing in his mother's shop and he'll spit at you
No, they don't have the miniature buddha you wanted.

Don't be fooled into thinking that the road you went down will be the same one you go up 

And watch out for the hairpin bend.


First published in Muse India, Nov-Dec 2015.


Saturday 7 November 2015

सौ (मन की) बात की एक बात

भाड़ में गई तुम्हारी निरपेक्षता 
और तेल लेने जाए तुम्हारी कट्टरता.

मैं तो बस दुनिया देखना चाहता हूँ.

चाय का प्याला हाथ में लिए,
गीली पलकों से 
माँ को याद करते हुए,  
तुम सबको भूल जाना चाहता हूँ.


First published in Jankipul, 2 Nov 2015.




Thursday 5 November 2015

मैनेज्मेंट

कुछ लोगों को बात हजम नहीं होती.
चिढ़ते फिरते हैं,
"जिसे देखो मैनेज्मेंट करने चला है."

इनके घरों की बत्ती गुल करके 
हाथ में ढिबरी थमा दीजिये,
ये ले मशालें चल पड़ेंगे.

अहमक समझते नहीं कि कितनी ज़्यादा ज़रुरत है इस देश में,
एक लोकतंत्र में,
मैनेज्मेंट की,

कितनी ज़रुरत है 
यूनियन लीडर को मैनेज करने की,
कारखाने में मरे मजदूर के परिवार को मैनेज करने की,
अत्यधिक जानकारी से कुलबुलाते पत्रकार को मैनेज करने की,
एफ.आई.आर दर्ज करने वाले पुलिस अफसर को मैनेज करने की,
कोर्ट के मुंशी को मैनेज करने की,
जज को  . . . 

सौरी, सौरी, गलती से  . . . 


First published in Jankipul, 2 Nov 2015.








द्विविवाह

मैं तुम्हारे प्रेम में वफ़ादार नहीं 
तुम अकेले नहीं हो 
हर क्षण मेरे मन में 
अपनी उपस्थिति दर्ज़ कराने वाले।

वैसे हमने बात तो कर ही रखी थी इस बारे में 
कि ऐसा कुछ हुआ 
तो हम शांतिपूर्वक अपनी अलग-अलग राह चुन लेंगे।

पर अब तुम मुझसे दोनों में से चुनने को कहो 
तो ये भी संभव नहीं।

तुम दोनों को अलग नहीं कर सकती। 
मेरे उतने ही करीब हो तुम दोनों,
तुम 
और तुम्हारे ना होने का भय

सो उस दूसरे के साथ जीने की आदत डाल लेना चाहती हूँ
नहीं चाहती कि उससे पीछा छुड़ाने के चक्कर में 
तुम मुझसे छूट जाओ.


First published in Jankipul, 2 Nov 2015.











अनुत्तरित

पिछली गर्मियों में 
अगर तुमने मेरे पसंदीदा प्रेम-गीत ध्यान से सुन लिए होते 
तो इस बारिश मेरे ज़हन में 
उन किरदारों के चेहरे खाली नहीं जाते। 


First published in Jankipul, 2 Nov 2015.








अंतर पहचानें

समाज में रहना है तो शादी करनी होगी। 
हाँ, शादी के अन्दर होने वाले बलात्कार, मार-पिटाई, आदि, ज़़ाती मामले हैं। 

बच्चे पैदा नहीं करोगे तो समाज आगे कैसे बढ़ेगा?
बच्चे अगर माँ-बाप को घर से निकालें, ये भले ही उनका निजी मसला है। 

श्राद्ध-कर्म समाज का नियम है। 
उसका खर्च वहन करने के लिए पैसे नहीं? ये तुम्हारी अपनी दिक्कत है। 

इज्ज़त कमानी है तो समाज की समझ में आनेवाली कामयाबी हासिल करनी होगी। 
उससे तुम खुश हो या नहीं, इस माथापच्ची का वक्त समाज के पास नहीं। 
व्यक्तिगत और सामाजिक में फ़र्क है, क्या इतना भी नहीं समझती?


First published in Jankipul, 2 Nov 2015.

































Tuesday 3 November 2015

कलम और कूटनीति

पत्रकारिता की डिग्री ले ज्योंही हमने पद पर मोर्चा संभाला,
संपादक ने एक नेताजी की वर्षगाँठ पर लिखने का भार डाला.


भोजस्थल पर पहुंच हमने चारों ओर दृष्टि दौड़ाई,
तो लगा मानो पूरी की पूरी इन्द्रसभा हो धरती पर उतर आई.


बाहर कतारबद्ध खड़ी थीं नाना प्रकार की देशी-विदेशी गाड़ियाँ,
व मखमली दूब के उद्यान में कहकहे लगातीं, लाल-चम्पई चंदेरी-कोटा में महिमामयी नारियाँ.

और एक दृश्य का अवलोकन कर तो मैं हुआ विशेष रुप से क्षुब्ध,
जब एक सज्जन ने मदिरा-पात्र ऐसे रिक्त किया, जैसे तप्त धरणी पर जलबिंदु हो गयी हो लुप्त.


इतने में साक्षात् नेताजी पधारे, “आपकी प्रतीक्षा में तो हम बूढ़े हो गए,”
यूँ कहकर अपने कर-कमल जोड़ वे दुहरे हो गए.


कभी हम आपको, कभी अपने घर को देखते हैं,” इस पंक्ति को स्वरचित सा दुहरा कुछ खिंच सा गया उनके अधरों का बाँया कोना,
और सचमुच, जो साहस बटोर उनके शीश महल की ओर दृष्टि फेरी, तो हमें भी आ गया अपने स्टूडियो अपार्टमेंट की स्थिति पर रोना.


तभी नेताजी के अनुभवी चक्षुओं को अपने मुख के भावों की समीक्षा करते देख मैं झेंपा,
व अपनी अपदस्थ्ता को छिपाने हेतु उनकी और प्रश्न का एक तीर फेंका.


सुना है आपने असामाजिक तत्वों को शरण दी है?”
वे बोले, “अजी, हमने तो आजीवन गांधीजी कि स्तुति की है.


पाप से घृणा करो, पापी से नहीं’, बापू ने तो यही संदेश दिया है।
तभी तो इन पापियों के शुद्धिकरण का जिम्मा हमने अपने सर लिया है.”


लोग यह भी कहते हैं कि . . .”, पिछली बार का प्रत्युत्तर सुन मेरी आवाज़ थी अब तक लड़खड़ाई.
अब छोड़िए भी लोगों की," एक निश्छल स्मित बिखेर उन्होंने हाथ में सुनहरी कलम थमाई.


अपनी ग्रीवा के भीतर सोमरस डालते हुए, एक प्रसिद्ध  चलचित्र की स्मृति उन्हें विभोर कर गई,
“‘क’ से कलम होती है, ‘क’ से ही कूटनीति, क’ से कभी तो हमें सेवा का अवसर दीजिएभई.”


अपनी इस व्यंग्योक्ति पर लगाया उन्होंने ऐसा ठहाका,
मानो सीधे चंद्रमा पर फहरा आऐं हो अपनी विजय पताका.


बोले, “आइए, भीतर चलें, आप कलमकारों की हम ही कर सकते हैं सच्ची कद्र,
और इस बार मुझे भी उनका आमंत्रण ठुकराना प्रतीत हुआ कुछ अभद्र.


अतः बढ़ चला उनके घर की और कुछ सहमते, ठिठकते हुए,
कभी उनको, कभी उनके घर को, कभी स्वयं को देखते हुए.


(शिवानी [गौरा पंतजी की स्मृति में)

First published in Jankipul, 2 Nov 2015.



















Monday 2 November 2015

अब मेरी बारी

जब तुमने हमेशा मुझे टुकड़ों में ही देखा है,
जब तुम्हारे लिए मैं कभी संपूर्ण रही ही नहीं,

तो ये लो,
संभालो मेरा ये टुकड़ा,
मेरा स्तन
जिसे मैं हवा में उछाल रही हूँ.

फिर देखते हैं 
अगर आसमान से गिरती लपटों में झुलसे तुम्हारे हाथ 
कुछ और टटोलते हुए 
वापस आते हैं.


First published in Jankipul, 2 Nov 2015.












Sunday 1 November 2015

प्रतिकार

जब अपने डर से पनपी नफरत में तुम मुझे कुछ भी कहोगे, मेरे साथ कुछ भी करोगे
जब मुझे मलिन करने की अन्धाधुन्ध कोशिश में
तुम्हारे भीतर स्थित काजल कोठरी के लिचलिचेपन की कलई खुलेगी
तब तुम्हारी कुत्सित मजाल देख मेरे क्रोध की पाश्विक चीखें आसमान को चीर के रख देंगी 
और मेरी भिंची मुट्ठियों में होगी तुम्हारे पैरों के नीचे की ज़मी

तुम हमेशा मुझे याद दिलाते थे कि मुझमें और तुममें कितना फ़र्क है.  
मैं हमेशा खुद को याद दिलाती थी कि ख़ुद में और तुममें फ़र्क बनाए रखूँ  . . . 

कम से कम इतना फ़र्क,
कि ख़ुद को बिगाड़ न बैठूँ.  

याद रहे,
इस बार मैं वो फ़र्क भूल जाऊँगी.

क्योंकि अगर अब तक तुमने मुझे बनने नहीं दिया 
तो अब शायद इस बिगड़ने में ही मेरा बनना हो.


First published in Jankipul, 2 Nov 2015.


























Monday 12 October 2015

India's Daughter is proof: Not every film on rape fulfills feminist ideals

In late 2012, the deadly gang rape of 23-year-old Jyoti Singh Pandey on a moving Delhi bus set off a firestorm of widespread protests in India. Her brutal assault and subsequent death exposed a culture of victim-blaming and lack of state and law enforcement protections for violence against women. Director Leslee Udwin's documentary “India's Daughter” explores the case and its aftermath, and was quickly banned by the Indian government after its release this year. While the debates around this measure are important in the context of freedom of expression and legal concerns, it’s also worth exploring whether the film actually brought any of the change it aimed for.
In “India’s Daughter,” Jyoti’s parents share their memories of her with fondness and pride. In a culture where girls are undervalued, they celebrated her birth and spent what little they had to educate her. She was on her way to fulfilling her dream of becoming a doctor, something virtually unheard of in the village her parents left to raise their family in Delhi. These accounts humanize Jyoti, rather than seeing her merely as a rape 'victim.’ But as her parents and her tutor recount her virtues, I can’t help but wonder if the narrative would have evoked less support if it would have been any other 'kind' of girl.
Jyoti had reportedly told her parents she wanted to go and watch a movie because she wouldn't get the chance once her internship began. But what if she had been more like rape survivor Suzette Jordan, who passed away this year – a woman who enjoyed going to night clubs without feeling the need to justify her right to pleasure?
Like Suzette, Jyoti had reported her rape, defying the culture of shame that 'good girls' are supposed to be a part of. One of the rapists, Mukesh Singh, said in his interview that they expected she would be too ashamed to tell anyone about the attack.
It may not have been Udwin’s intention, but “India’s Daughter” fails to look beyond how society and her family perceived Jyoti, painting a sadly one-dimensional picture of her.
The director said she regretted that Jyoti's friends did not agree to talk and share more about her on camera. Still, she could have brought in the voices of other rape survivors in India who have been publicly asserting their individuality beyond being someone’s daughter, sister, mother.
Udwin claims the title “India’s Daughter” was simply a term used by the Indian press, not a patriarchal statement. But just before the end credits roll, the film once again uses the term 'the rape of India's daughter.' If Udwin intended for that to be sarcastic in any way, I didn’t detect it.
Her attempts at humanizing Jyoti instead give way to victimization by the cinematography of an eerie night, blood on the roads and a funeral pyre. These images – reminiscent of news reports of sexual violence, illustrated with stricken, crying women hiding their faces – only add to the notion of women as weak creatures to be either exploited or pitied. In one scene, the tutor seems to commend that Jyoti chose to watch “Life of Pi” instead of an average action movie. But even that is followed by the visual of a snarling tiger from the film, a warning saying, perhaps, that Jyoti's choices were immaterial in the face of circumstances.
 Together with the background score, all this emphasizes the predator-prey relationship, which, once again places men and women in the doer and done-upon hierarchy. The dramatic reconstruction “India’s Daughter” provides of an already devastating incident takes away from the seriousness of the issue and encourages vicarious interest in the film.
The film is replete with misogynist statements from the rapists and their defence lawyers. Socio-political figures like Delhi chief minister Sheila Dixit and NGO founder Amod Kanth discuss, respectively, how girls are undervalued and the circumstances in which juvenile delinquents often grow up. But in light of past instances (of which Udwin probably knew about and was critical of) when they resorted to victim blaming (Dixit) and opposed decriminalising homosexuality (Kanth), their credibility as people with an understanding of gender-based violence seems compromised. The intention of 'holding a mirror to society’ to show that the criminals’ thoughts are commonplace may backfire here. India’s progressive community is already well aware of the prevalence of such misogyny. But it’s those misogynists who consider themselves members of 'civilized' society that won’t see the coincidence of their own views and the rapist’s. And since “India’s Daughter” does not provide a strong and timely counterpoint, so many are likely to miss the condemnation inherent in the film.
 The rapist sounds dangerously 'logical' when saying he had the right to ask Jyoti why she was out with a boy, that they won't have assaulted her like they did if she had not resisted. The audience isn’t stupid, but it has its biases. And if anyone intends to challenge those, they’ll need a hard shaking.
India’s Daughter” takes its viewer to the time before the rape, when the rapist says he and his friends wanted to party, to enjoy. When he says that they may not have money like the rich folk, but they have 'courage,' I can see the frustration of being born in an underprivileged class. I can see how their sense of superiority is restored by committing violence against women. I can see the ‘logic’, however twisted, of shifting the inferiority they feel to a group they consider to be even lower in status: women. These men feel it’s only by curtailing women's rights to enjoyment that they can exercise their own. But this need to establish masculine power over women and the anger against women – who dare to express their desires and are ready to face the 'risks' presented by the existence of such men –  isn't restricted to men of a certain class, as shown in the film.
When the camera goes into the slums and meets the rapists' families, there is no clear line drawn to say that what might be one explanation of their crime is not the same as being justification, as not all people in the same situation would behave similarly. Zooming in on their poverty, too, makes it appear like just the poor commit such crimes.
One activist speaks for a short duration and there is no voice at all belonging to other young women in the city. Both the Oxford historian's analysis and the Indian activist's statements are recorded in English, which renders them even more ineffective as staunch opposition to the chauvinism expressed in Hindi. There is no introspection on how these views came to be in the lawyers' case; and in the case of the rapists, it stops at linking their crime to growing up in poverty and witnessing everyday violence.
To be sure, films have their inherent limitations - of time, resources and the need to stick to focus areas - but then “India’s Daughter” cannot become the premise for a global campaign that wants to end gender inequality. Its 'exclusive' feature may be the rapist's interview, but the film gives no new information, insight or inspiration. It’s just another reminder to keep the fight against sexual violence going on.
But by not looking deeper into how a traditionally patriarchal culture perpetuates misogyny, the film leaves viewers feeling like this is less of a global crisis and more about one family’s daughter or one country's problem.

First published in The Tempest, 9 Oct 2015.







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