And old paddy area on the edge of town. Now suburban housing. Naturally, low-lying and vulnerable. But they all said "no danger".
At night, as the rains kept up, pond and drain and surrounding wetlands all merged into one big ocean.
Mother, tending to father alone, was mindful but not yet worried. They slept, secure in the thought of neighbours.
Next door, the man sat on the stairs leading to his first floor with a torch, watching the waters seep in and gradually rise. The lights had gone off.
At some point, he called code red. His family, and the one on the left, both Hindu...they evacuated in panic.
No one thought to alert this old couple in the house at the back.
Mother woke to ankle-deep water. Rushed out. It's a sea out there. Screamed everyone's name. No one.
Mother, 72 then, and just 4'10" or so. With my paralysed father.
And practically, the sea at the door.
Mustafa's umma, a fine old matriarch from two houses down the lane, is the only one who remembers them, and sends the son back.
He walks two miles INTO the flood to get them out.
With another to help.
And wades out with old man on shoulders, and small old lady trailing with a small bag with clothes for a day and his medicines.
Have never been able to meet him and thank him for touching my life thus.
And yes, since you asked, the biriyani Mustafa's umma sent for Id the other day was "delicious". I missed it by a few days.
Now we are all looking marooned. In this flood of toxicity. Like those coastal fisherfolk who sailed upstream into the flood to save people, looks like Kerala may yet rescue India.
For me, he reinvented speech itself for Indian cinema. Taking it away from the distant theatrical orations of the likes of Sohrab Modi. Down to ordinary human speech, intimate whispers, mumbles, bringing a sense of nearness and interiority.
The classic clash of styles came in Mughal-e-Azam, where his soft, sensitive Salim faced off against the thunderous Prithviraj Kapoor with...yes, words...but also silences, and speaking eyes.
The scene that framed this the best is his very entry....
All the grandiose pageantry of the Mughal court comes to us first, nobles, palace maids and eunuchs running about, orchestras heralding his arrival....
All that magniloquence comes to a halt in anticipation of his first words.
Free #StanSwamy before it becomes judicial homicide.
// Before his arrest nine months ago, he was physically independent and could eat, walk and take a bath on his own, but since his judicial custody, “all that is disappearing one after the other". //
"Why must a veteran tribal rights activist with multiple ailments be compelled to suffer in this manner at his age on CHARGES THAT ARE YET TO STAND SCRUTINY IN COURT?"
He is 84, has Parkinson's and lumbar sponsylosis...and has been brought by the "system" to ventilator stage.
If we wish to keep calling ourselves a democracy, we simply must take a good look at UAPA.
A bouquet of powerful essays by #Dalit women writers. All of them wrote from the trenches, from an embattled zone. A whole experiential domain opening up, always enlightening, disturbing the received opinion, challenging the old discourse, enriching, humbling.
That striking cover art, deeply personal, contemporary, yet adorned by the old nature motifs, is by Dalit artist Malvika Raj. She works with, breaks and extends the Madhubani idiom, giving us powerful art. Some iconic images -- Savitribai, Ambedkar, Buddha -- partner the essays.
Malvika's art offers a perfect visual realisation of the world the essays weave: bustling with moral urgency, coping with trauma with a deeply introspective wisdom, and most off all a desire and commitment to write an as-yet unwritten history. @caselchris1 writes the lead essay.
@TIinExile@neha_aks Yes, but it finally does, does it not, somewhere during what can be called the classical phase, leaving not much of a trace in the post phase. What we see is clearly a very interesting transition to total patronymy.
@TIinExile@neha_aks Yes, there's clearly a widespread tendency attestable -- often the figure of the father is more fleeting, and it's also matrilocal. In this case, you also marry that against the overall tendency and attitudes from the devas, despite being kin.
@TIinExile@neha_aks There are two separate strands here. One is the higher degree of variety before codification, which is general. In this specific case, one sees a kind of classing on that basis, and conflict, which the higher deities try to adjudicate over.