What To Do With A Cadaver: Our Relationship With The Dead

Have you ever seen a dead human body?  Some day, we will all become one.

What will your body look like when you are dead?  How will it feel?

Real dead bodies are all around us.  Everyone we know dies.  Everyone.  That face we see in the mirror, the hand we hold in the movies, the coworker we beat or who beats us for a promotion, the person serving your coffee as you read this – we will all die.  Our bodies will lie still and the energy systems of chemical bonds, electricity, gravity, heat, motion and momentum will no longer constitute themselves together as a person bearing our name.  It will all dissipate into other forms which themselves will be no more or less noble until they too give way to forms that follow.

Hiding from dead bodies is basically a luxury item (and a privileged one, at that).

Whether or not someone actually sees a corpse depends largely upon the society that person lives in.

In a society where people have no health care or hospitals, people die out in the open a lot more.  On the side of the road, in their home, waiting for a bus, in a store, out in the woods.  Poorer countries are often ravaged by war and brutality, which create corpses en masse.

All in a day’s work.

In affluent societies, we take great efforts to keep dying and dead bodies in the hospitals, away from public exposure.  If someone dies out in public, an emergency vehicle comes immediately to remove the body.  Any mess is cleaned up right away, leaving no trace or indication that someone – a person came to that place and died.  In our anonymous societies it is very difficult to leave any trace that we ever existed at all and our death is no exception.

Any bystanders who witness a public death in such societies are encouraged to move along, forget that we saw anything and pretend as if it never happened.  But we do not forget death.

There are no zombies.

The dead do not come back to life, seeking brains and bearing the disease of death.  For the most part, we humans do not like to think about ourselves as a lifeless mass of rotting cells.  People talk about an afterlife, ad nauseam but rare indeed is the conversation about our decomposing tissue, skin and bones.

But, we do have a fascination for death.  We read about it in the news, watch movies about it, romanticizing death by telling tales of loving vampires and fearful zombies.  Death registers in our minds and we do not soon forget it.  Whether one witnesses the wholesale slaughter of massacres, famine, starvation, cruelty and malicious death or the occasional glimpse of a home death or accident on the side of a road – we carry that experience of death with us through our lives.

In our deepest unconsciousness, we know of death.  We don’t tend to look it right in the eye – unless we are forced to.  In our affluent societies,  we romanticize it, fear it, cry about it, parade it as tool to manipulate others and sometimes even fuck it.  In the poor cultures where death is everywhere, we walk in it, play in it, eat, drink and work knee-deep in death, all the live long day.

Life with death.

My own experiences in encountering the dead have ranged from the curious to the clinical.  My father’s mother died in our house.  My 8 y/o sister found her lying on the hallway floor one morning.  I found a dead body once in a motel room.  A woman had committed suicide after being diagnosed with terminal cancer.  She took pills and died on the bathroom floor.  Her skin was blue-green.  I dissected cadavers while in medical training.  I have assisted in an autopsy of an MP who crashed his car into a brick wall.  The pathologist showed us how to find the injuries and determine the cause of death.  His heart had been crushed when his chest hit the steering wheel.

A friend of mine told me of another kind of death story – one that is much more traditional.  When his father died, the family chose to wash and prepare his body for burial.  They are not a religious family, but they looked to a traditional means for honoring, accepting and embracing a death.

They went to the funeral home with a clean set of his clothing.  The family then took to cleaning and dressing the body of this family member.  He described an experience of reverence, love, care, appreciation and bonding.  There they were, a whole family working away on the last moments that any of them would have him.  They shared laughter, tears, silence and conversation in the tasks of preparing this person for burial.  The funeral director told them that it was one of the most special things he had ever been part of and thanked them for choosing his funeral home for this event.

Oh, about that afterlife…

You may believe in an afterlife.  I don’t know if there is such a thing.  If I could earn money for my daughter’s college fund, I’d lay heavy cash against it though.  No one living knows and that’s just the way it is for now.

One thing I will comment on is how human fear tends to drive behavior.  We humans talk about the afterlife right and left.  The religion business is marketed around the idea.  But it strikes me as not just odd that people freely discuss the afterlife while simultaneously avoiding the topic of our own death.  Go ahead, sit someone down and ask them about the afterlife.   Ask them what they will look like and what they will be doing.  See how long you can stretch the conversation.  Stop after one hour.  Then, ask them about their own death.  Ask the same questions.  Send me an email if you make it past 10 minutes.

What does that say about our relationship to death? I cannot say for certain that this behavior is delusional and fearful – but the resemblance is uncanny.

So, what is available to us all if we look at death, accept it, understand it and allow ourselves to knowingly be identified by it?  Our human form and the lives we live are precious and special because of death.  We are beautiful in all our varieties of individuality and culture.  Each human being is amazing and living against all the odds of disease and hardship that make life so very fragile.  Birth, life and death are the sum total of our human experience.

Why not look at the dead forms of each of us as a last chance to appreciate the fading remains of a brilliant corner of the universe?  The eyes that once beamed.  The lips that once uttered the words of that will only issue from one person in this entire universe.  The heart that began in a mother’s womb and ran its race until the final day.  The muscles, sinew and bone that carried this mass of flesh as far as they could conspire to go.

What is so frightful about that?

The world’s best looking corpse for 86 consecutive years.  Only the Cubs have been this dead for longer.

P.S. This is Arvan’s weekly post. For some reason the author name isn’t showing, so I thought of making the distinction.

 

OutSourcing Dusty Bodies

Existing as a Dusty Third Worldling while being a Lady is a strange enough predicament on its own –whether it’s under Western or Oriental eyes — anyone who identifies as a Lady in this part of the world will tell you so. Before you can get your words out, she’ll tell you how unfair her life is simply because there is no Y-chromosome in her body, she will meet your stare and agree that it was too essentialist of her to fixate on that Y-chromosome but won’t let you make her feel guilty as she firmly asserts, “This is how things are here” and when you start to talk about enough trans*people in the world get discriminated over a few socially ‘unfit’ or ‘mismatched’ genes, she’ll observe wryly that it’s the System and Patriarchy that makes her so and this cold, scientific speech and facts aren’t her preferred mode of communication or discourse anyway; then she’ll go on to say how trans* bodies are policed in her community and you’ll squirm in your seat, wondering why did you ever challenge the notion that being a Dusty Third Worldling  is a hard position to occupy as she points out systematically the many viscerally real forces that oppress her while now you feel guilty for pitying her even as she talks which she sees right away and starts enumerating other factors that lead you deeper in the existential quagmire this conversation has long become and you further alarm yourself by thinking if she wants some donation money out of you as you try to keep your face expressionless. Meanwhile, the ‘economically-challenged’ Dusty Lady she employs sweeps the floor beneath your feet as the two of you further dis-sect the post of the post-colonial.

Leaving creative flippancy aside, many discussions and discourses coming out and around the Third World tend to not engage with the Subaltern — who knew the Third World had its own systems to squash and oppress? — they simply talk about this bottom tier as it were. Words keep floating by, and till people from the Subaltern are addressed by someone stepping in from caste or class privilege, the Subaltern is kept mute — raise your hand if you think this is too imperial to be true — and when the Subaltern does speak, these words are too exotic, even for its Dusty counterparts. So then this detongued bottom shelf is appropriated and fixed in as many ways as possible, quite akin to a laboratory animal positioned to be experimented on. One example of this Subaltern-animal is the burgeoning female surrogacy industry in India, where we speak of the people who give out away their Wombs as helpless, agency-less creatures who don’t understand the ‘importance’ or ‘boon’ that motherhood is as she ‘pawns’ her uterus away. Not only is this image of the benevolent Third World Woman perpetuated in urban and privileged echelons of India, but quite predictably in the West as well, with an even more sinister motive. When the image of the Dusty Goddess-Mother is created for Western audiences, it creates quite ostensibly a loophole that allows people to see it as a part of our chemical make-up, where we exist to serve you and just as easily over-writes the slavery it really is, leaving the Westerner free of guilt and ready to consume bodies, like microwaveable dinners. It comes as no surprise that Indian wombs come cheap for rent, as medical tourism is quick to remind us; too quick even. While I am not at all against surrogate mothers or people who choose to have babies through IVF, I am skeptical to what extent this transaction is consensual or non-exploitative for Dusty Ladies.

Thanks to India’s lax laws when it comes to adoption and surrogacy, we’re the perfect location for OutSourcing Bodies, both in reality and in metaphor; both locally and globally. One thing that irks this LadyBrain to no extent is how many people completely dismiss surrogacy as potential exploitation by saying “It’s paid for, like a womb-service if you will. Besides it’s not like the mother is made to do 16 hours of backbreaking labour each day” as if exploitation or exploitative spaces exist only if menial labour is factored in. As a Lady who has never given birth, I cannot possibly know what are the emotions associated with birth or the attachment a mother develops for her child, I do know however arguing that “the skin tone of the child will be different from that of the mother, so she wouldn’t feel very attached to this child” is too simplistic and an effort to erase Dusty Ladies off of the scale of sentient, autonomous graph. Such myths also obscure other forms of reproductive labour, such as contracted breastfeeding — like Mahashveta Devi’s text ‘Breast Giver‘ beautifully shows — and bonded child-rearing. More often than not, the Lady offering her mammary glands or other parts of her body associated with reproduction is of a lower caste background — somehow here we aren’t too concerned with casteism in such instances — and a backward socio-economic background; giving people with means a ‘Mother’ to purchase and use. Like Devi says, contracted motherhood isn’t as simple as an exchange of money as capitalism would have us believe, she even goes as far as to say, ‘Is a Mother so cheaply made?/Not just by dropping a babe!” bringing to our notice how the label of ‘mother’ can mean a plethora of violent meanings. Even mothers of ‘normal’ households are aware that they’re womb-machines, like Gehna of Balika Vadhu contests in one of TeeVee’s most popular shows, she even walks out on her husband and child initially keeping up with the implied transaction but she’s (predictably) brought back due to insistence of a large horde of fans. As Dusty Ladies, we know how important our wombs are in society and in determining our value as ‘useful resources’, which is precisely why Indian surrogate mothers are said to be ‘more compassionate‘ as we know how skin-deep the stigma of being barren goes.

In instances as hued as these, a traditional Marxist analysis of exploitation of labour doesn’t do as Marx never really accounted for the transaction of wombs or other reproductive services, certainly never thought about Dusty Reproductive labour. For instance, many surrogate mothers give up to some extent, domestic space and work post the first trimester and the Dude of the house resumes the domestic responsibility for a while. So, who is being exploited in the case, the domestic worker who doesn’t get paid or the person renting out her reproductive service? It’s important to see Dusty politics from our perspective and more importantly from the point of view of the Subaltern — I am after all a privileged lady class and castewise — to see how far OutSourcing reconciles the notion of ‘profit’ or even ‘just compensation’ back to people who need it the most. The Breast Giver’s milk is Dusty, she squats in the muddy soil while stepping in (un)knowingly in the shoes of the Earth Goddess, and to validate such a specific position we use tools and methods of analysis that were designed to leave her out of the bargain? Explain to me once again, how this isn’t exploitation; I admit, I’d love to see you at least try.

 

Dusty Women And Our Spaces

Yesterday I was cleaning my grandmum’s cupboard as I do every winter on her death anniversary. We’ve given most of her things away, all that is left of this amazing woman are a few clothes, a few letters and many photographs for which I cannot be thankful enough. Every year I see these frayed pictures, and she’s always standing in the kitchen, or the veranda. Some pictures show her in room where the temple is. And a few are with me, standing beside me in the balcony, pointing at something far off in the distance. I’ve seen these pictures many times, today I couldn’t help noticing how in all of her pictures she is in one corner or a room. There are just two pictures of her outside the home space, those are when she went to her native place with my grandfather. This isn’t to say she didn’t ever travel out of the house or that she was kept confined. In fact, my grandmum has visited most of India and a few countries of the Subcontinent as well. But if you just see these photographs, you’ll see a woman always in a room, in a corridor or in the veranda; never is she idly sitting either. She’s either cooking, praying or showing something to her grand-daughters. If I were to construct her life on the basis of these photographs alone, you’d see a Lady who never set foot outside the house, was preoccupied with many household chores as one would expect from any Lady of her generation — or this one too — a life that revolves around others while she is lost in one of the other corners of the house. The truth is, there are many women who didn’t enjoy the class and social privilege my grandmum had, who spent and continue to spend decades in their homes. I don’t mean to intone that this is in any way a negative thing or just blame The Evil Patriarchy for it — how I wish it were that easy! — but rather point out how some spaces are so heavily hued with this blemish called ‘gender; till even their representative counterparts share the same inscription.

These gendered spaces aren’t unique creations of this country or any specific community, rather it is a universal disease. White Women’s writing and even movement has been heavily censored and controlled by their spouses or other male-relatives — from Christina Rossetti to Sylvia Plath — isn’t exactly a secret or a revelation. However, if these women had been Dusty, this LadyBrain thinks their disembodiment would have been much more severe — here we can place responsibility on the Empire all we want! Squee! — as the idea of a Dusty Lady being anything other than an object to be gawked at is a threat to Whiteness. Earlier this year a movie called Eat Pray Love starring Julia Roberts came out and I can safely say I’ve never seen so much loosely packaged neo-colonisation since AVATAR came out. Spaces, people, cities, people all open to lead the Whitewashed tone of the film into giving us a ‘well-rounded’ spiritual journey of a woman who wants to ‘discover’ herself, predictably in adequately exotic countries. For the most part, indigenous people exist in the movie to lend insights to the Poor White Woman who is simply lost, who has lost her appetite for life and simply must appropriate other cultures ceaselessly to feel better about herself. At one point, the protagonist comes to India in search of ‘the spiritual’ — because White people come to Dusty Land for mainly two reasons leaving aside their fascination with Dusty Poor People: Either to feel closer to God in a language they don’t understand or to learn Kamasutra — and quite predictably, we see the protagonist provided with a Dusty Lady (Tulsi) who makes her realise how lucky she is, to not have parents who will marry her off like cattle. Liz enjoys the kind of mobility and agency only White people can in movies and spaces like these, where she says “Perhaps you and your husband will be happy after all” in her parting scene with Tulsi. Another similar example that comes to mind is Elizabeth Russell from Lagaan — yes Dusty films can perpetuate Whiteness too. Insert appropriate gasps here — who is allowed physical as well as social mobility because of her pearly exterior, whereas Gauri is laughed at when she talks about the power Elizabeth yields. In addition, Gauri has to contend being the Third World Earth Goddess, one who soothes the male protagonist’s wounded ego, Elizabeth can openly defy her brother’s imperial policies and is rewarded in the course of the narrative. Even in many books, Dusty or otherwise, the same claustrophobic policing of gendered spaces is upheld when it comes to further erasure of hued women. As readers we’re encouraged by the narrative to sympathise with Jane Eyre while Bertha burns in the attic, to not question when Tagore’s Dusty women remain within the home sphere while his Memsahib’s coo exotically over the ‘enchanting landscape’. Even in Amitav Ghosh’s Shadow Lines, women who identify as Western (though they may never be able to scrub off their hued epidermis) or who are Western are the one’s with any real complexity or nuances. Many Dusty Ladies are simply a litany of names, or are present in the scene just to make their lighter counterparts seem more ‘liberal’ or ‘emancipated’.

Even in literature that comes from pens of Dusty Ladies themselves, strangely we carry our confined spaces with us. In Nabneeta Dev Sen’s ‘Ami Anupam‘, as delightful and wickedly funny the prose is, women almost always speak from within rooms, from the kitchen or from the periphery of the garden; Kamla Das’s ‘LadyInsights’ in her autobiography center around her being completely still and passive — in and out of situations involving coitus even — where thoughts come to her the moment she goes catatonic; Jumpa Lahiri’s Ashima’s silences in the Namesake speak volumes at the dinner table or when she’s cooking food. The names, bodies and faces change, the voice still comes from somewhere within the structure. Like the jarokha Mughals kept their wives behind, Dusty Ladies see and perceive their realities through the gauze of the DudeCouncil’s pre-approved gendered spaces of the inner courtyard, of the back room and other places where silences each come heavily garbed in meanings, waiting to imprint or latch on to anyone who enters. Today, we still have gendered spaces, only now it seems like a unanimous ‘consensual’ action as yet again all Ladies flock in a corner at any social gathering or dinner.

What really perplexes me today is how easily many feminists or ‘gender-sensitive’ people talk about ‘Sisterhood’ without missing a beat, without pausing to consider how much privilege it takes to say “We’re all sisters in a struggle” when the ‘struggle’ we face as Dusty Ladies is more than just a fable of the Third World, it’s our lived reality. Instead of toting around Sisterhood as some kind of badge for identifying as a Lady, it would be wiser of said feminists and ’gender-sensitive people to make it a goal to aspire toward to: Sans appropriation or patronising  Dusty People. I know it will be hard — for where will all the well-meaning neo-colonising-Empire-hugging-people do now? Think of deconstruction as your new hobby and it will just come to you.

 

 

 

Musings From The Empire

So this Link Fest is two weeks late. In my defense, I was super busy, away on weekends and lazy the days I wasn’t away. But this means there are more links while I try to drag my lazyarse into writing more regularly. I’d like to remind you nice People from the Olde Interwebes that we have an open guest-posting policy here if that sort of thing interests you. Also, this time around in the link fest, why don’t you drop in a few links from your own blog or anyone else’s writing that you enjoyed reading? This way sharing becomes truly sexay!

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1. Kuzhali Manickavel in oh little flower. see you lover. see your chittu kannil pattu pattu sikki konda lover (which has got to be the best title for a post yet)  talks about povertyporn, Previlege Denying Dudes among other things:

 

I think we can all agree that orphans with AIDS have enough issues to deal with without having to also deal with multiple abandonment issues from wealthy temp caregivers from other countries who are hoping to do something exotic and charitable for their summer holidays. And so I nobly offer this alternative. Voluntourists, come take care of me. I live in third world country, hence the third world name of this third world blog. I don’t have any major diseases but almost all my acquaintances have had diseases like typhoid, malaria, dengue fever, jaundice, chikungunya, cholera and one person even has TB! So you can come down here and wash my clothes and cook for me and buy me stuff  (you can’t touch me though) and I won’t talk in English at all, we can communicate using sign language to make your experience more authentic. Then you can give me lots of money and you can go back home and tell everyone you were a caregiver for a third world ghetto vampire in India. That’s way haut, trust me because it’s like poverty porn and Twilight mixed together. Massive street cred.

2. The Indian Homemaker discusses how patriarchy percolates in women’s friendships and makes dichotomies between then in A Woman is Not A Woman’s Worst Enemy. Patriarchy is :

Traditionally women’s partners are discouraged from seeing their marriages and their wives as important parts of their lives. It’s common for men to be shamed and taunted for showing they care for their wives or marriages.Jokes like ‘Shadi ke laddu, jo khaye wo pachtaye‘, or taunts like Joru ka gulaam are common. And this when women must move in among near strangers and depend on the spouse’s support to feel at home in a new environment.

Traditionally men’s partners are brought up to believe that finding a partner and ‘keeping him’ is their only goal in life. The education they receive, how they talk (softly), walk, look , respond to questions (always respectfully), the careers they choose (no jobs that require traveling) – everything is permitted keeping the comfort and approval of a future husband and his family in mind. Women are brought up to seek approval.

3. Desi Girl talks poignantly and beautifully about the plight of Desi Parents when their children abandon them and how they are stuck between two lands effectively in Desi Mothers: Lost In Translation :

In two years the couple had a baby; MIL immediately took off from work to take care of the baby and the new mother. Once the new mother was out of childbed things started to change, MIL’s work load increased, she was the one responsible for the baby and gradually two more children followed along with new dramas. Once bahu had a baby she became edgy, she started having problems with everything MIL did and she would not let her husband be alone with his parents even for a minute. Their son started acting up, yelling and screaming at the mother and often times not talking to the parents at all for days. After second child bahu asked MIL to give up her job for good as she wanted to work. MIL took it as a retirement bonus to be with the grand kids. Managing two homes across the border and three children under five became a full time job for MIL. Gradually the quarrels became so frequent that MIL felt she was a prisoner in her own home. It is then she asked her husband to move out.

4. Sharanya Manivannan’s poem Parampara among others in Softblow :

I willed my bleeding to
coincide with full moons.
It’s easier for them to
attribute my lunacy that way.
Rumour has it that I do my
sprinkling at the stroke of
midnight. I do it in the late
afternoon, after the radio
switches to news. I don’t
care for news.

5. KJB rebuts an article by Rita Banerjee in Locating Gandhi where she smooths out more than a few factual mistakes :

One of the best quotes I ever read about Gandhiji and women came from his great grandson Tushar Gandhi -

“I would say that Bapu was a champion of gender equality. But the moral strength that he imputes to women has an almost inborn, genetic complexion to it, which bears little or no relation to the exploitation, humiliation and hardship that has been women’s lot, historically speaking. Bapu remained fixed on the symbolism of the Mother. His was a passive picture of womanhood, of a person who undoubtedly possessed freedom but functioned within narrow parametres [sic] and defined boundaries.”


Re-Presenting Absences

As a simple defense of the well-being of my lobes, I tend to not interact with people who believe Culture is one monolithic and omnipresent entity, that somehow it is the particular duty of the “youth” to uphold it and keep it intact, for reasons that sound eerily close to neo-colonisation and imperialism. However, there is only so much a DustyLady can do to avoid such people; especially if this person is the key-note speaker to one of her seminars, avoiding him becomes a tad difficult. This speaker spoke of ‘urban myths’ that the ‘young people of today’ perpetuate and one of them is Lesbianism, supposedly. Of course, he didn’t say it that bluntly; he slid it in as one wry statement and I almost missed it — by the time he got to this part, I was already sleeping — but my friend nudged me and whispered “This dude thinks Indian lesbians are a Western myth, like the moon landing or something” and I couldn’t help laughing and then sighing, because not only is this opinion too popular, it has some inkling of truth as well. Lesbianism is seen as a Disease Those White Hippy Buggers From The 80′s Left Behind In India though authors like Devdutt Patnaik have shown traces of queer identities and characters in Hindu, Jain and Buddhist folklore and mythology.  As I’ve discussed earlier, Indian lesbians are made invisible, consciously written off as non-existent to uphold patriarchy, despite a plethora of virtual and real spaces like Gaysi and other LGBTQI forums thrive with many people who identify as lesbian. We’re somehow relatively tolerant of gay men and ‘hijras exist on the fringes of gender and cities anyway’, so we don’t engage with them unless we absolutely have to. But the idea that the SariClad Ladies Of Our Traditional Country™ may have feelings for other people who identify as women, collective gasps and cries can be heard.

It’s interesting to see how such visible absences are re-presented in media and even in everyday conversations, however homophobic they may be, such re-presentations do exist. One of the most famous and early lesbian stories is Ismat Chughtai’s Lhiaf which remains shrouded in ambiguity and innuendos throughout, which still cost the author a court trial for obscenity. Today when we study the text, we try to see beyond the draconian control in the writing and see queer-relations within an airless patriarchal setting; we can almost tolerate it, as long as we contain the author and her work into walls of ‘fiction’ and ignore other contemporary queer artists. Amruta Patil‘s graphic novel ‘Kari’ that voices a lesbian protagonist is seen as an ‘experimental’ novel at best. The nuanced drawings and references in the book — she mentions reading Winterson’s Sexing The Cherry a few times, the Body is shown as a site of navigation of memories and events, exercising agency at all times — are obscured under readings like “look how angry her art is!” or “did you see the pretty colours?” and we deliberately unsee the presence of a queer protagonist. It gets to me when voices of people are rendered voiceless by religion or patriarchy, just because it doesn’t fit in the six by four-foot box that people are supposed to fit in, and those who don’t, we paint them invisible. This making invisible is done under the waving flag of religion, where we firmly state that “our scriptures do not depict such lifestyles ever!”, again ignoring a myth in the Mahabharata that talks of two lady priests who make a son out of the earth, mud and soil pouring life into him, modern re-readings show hints of a queer family model in function; however short the verses describing their life may have been.

Such visible absences become even more painful when we move away to more heteronormative narratives, or stories that fold under the ‘bigger’ causes — Uteruses aren’t big enough causes on their own, of course! — to other side-stories that we just never talk about. Every once in a while the word ‘Kashmir’, ‘Arundhati Roy’, ‘Separatist Movement’ peppers conversation as it is one of the most debated issues right now, passionately arguing for or against the ‘self-determination’ of India’s so-called pride, but when it comes to hearing voices from Kashmir, we turn to stone and pretend Kashmir is voiceless, open to be conquered and possessed. This is why it takes voices like the rapper MC Kash from Kashmir to make songs like ‘I Protest’ that reaches airwaves, ripe for ready consumption, the voice is a heavily hued with hip-hop traditions and sounds so far to what we can localise as ‘Kashmiri’ or even Indian¹, so that we can empathise and sympathise from a cultural distance, see the film before our eyes, nod and stop the song when we want to, without really engaging with the visceral nightmare Kashmir today is. Another recent re-presentation of absence is having Hrithik Roshan play a quadriplegic magician, despite being able-bodied in his real life; we applaud his role for ‘portraying disability’ while obscuring the disability, by prioritising a healthy able-bodied person over zie’s disabled or ‘broken’ counterpart.

And even the disease is made aesthetic as the trailer too shows, it’s a romanticised and a lofty notion — something viewers can only enjoy in theatre halls, not that different from Sanjay Leela Bhansali’s (the filmmaker of Guzzarish) earlier film ‘Black’ where he portrays blindness, autism and a few other disorders using the same formula of aestheticism and using able-bodies and able-bodied narratives to almost make ‘real’ disability a myth and a grotesque reality. Once again, we represent absences without ever completely engaging them — not that far away from Colonialism are we?

When these ‘absences’ are interrogated, what emerges out is a society or culture that painfully and willingly turns its head away from ‘pressing issues’; but we can’t use this Society as a scapegoat either — even though I may really want to — as even this ‘wilful’ apolitical bliss is political. It’s a choice we’ve somehow collectively taken in the past few years. We’d much rather ‘proceed forward’ to being one of the nations that are regarded as a part of the First World than interrupt and question these absences. Of course the ‘inconsequential’ muffles coming out of the Invisible — spaces and people alike — are further devoiced by keeping them firmly absent. But who cares about people Progress, Change and Development can’t see anyway?

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1. I don’t mean to intone MC Kash is any less ‘Indian’ because he doesn’t sound like one, in his song, or chooses to engage with a Western form of music, but rather that his accent is used to Other him. Also, he’d probably sound Dusty if there were any hip-hop songs that sounded like they haven’t come out of the same New York neighbourhood.

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