Indian novelist, essayist, and activist
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May in Ayemenem is a hot, brooding month. The days are long and humid. The river shrinks and black crows gorge on bright mangoes in still, dust green trees. Red bananas ripen. Jackfruits burst. Dissolute bluebottles hum vacuously in the fruity air. Then they stun themselves against clear windowpanes and die, fatly baffled in the sun. The nights are clear, but suffused with sloth and sullen expectation. But by early June the southwest monsoon breaks and there are three months of wind and water with short spells of sharp, glittering sunshine that thrilled children snatch to play with. The countryside turns an immodest green. Boundaries blur as tapioca fences take root and bloom. Brick walls turn moss green. Pepper vines snake up electric poles. Wild creepers burst through laterite banks and spill across the flooded roads. (first lines)
Women from Kerala work throughout India and the world earning money to send back home. And yet they'll pay a dowry to get married, and they'll have the most bizarrely subservient relationships with their husbands. I grew up in a little village in Kerala. It was a nightmare for me. All I wanted to do was to escape, to get out, to never have to marry somebody there. Of course, they were not dying to marry me [laughs]. I was the worst thing a girl could be: thin, black, and clever.
These interviews were a flexible way of thinking aloud, of exploring idea, personal As well as political, without having to nail them down with an artificially structured cohesion and fit them into an unassailable grand thesis. This book was born and raised in that amorphous, luminal space – somewhere between the spoken and the written word. (Preface)
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The U.S. empire rests on a grisly foundation: the massacre of millions of indigenous people, the stealing of their lands, and following this, the kidnapping and en- slavement of millions of black people from Africa to work that land. Thousands died on the seas while they were being shipped like caged cattle between continents. "Stolen from Africa, brought to America"-Bob Marley's "Buffalo Soldier" contains a whole universe of unspeakable sadness.
To call someone 'anti-American', indeed, to be anti-American, (or for that matter anti-Indian, or anti-Timbuktuan) is not just racist, it's a failure of the imagination. An inability to see the world in terms other than those that the establishment has set out for you: If you're not a Bushie you're a Taliban. If you don't love us, you hate us. If you're not Good you're Evil. If you're not with us, you're with the terrorists.
I don’t know where to stop, or how to go on. I stop when I shouldn’t. I go on when I should stop. There is weariness. But there is also defiance. Together they define me these days. Together they steal my sleep, and together they restore my soul. There are plenty of problems with no solutions in sight. Friends turn into foes. If not vocal ones, then silent, reticent ones. But I’ve yet to see a foe turning into a friend. There seems to be no hope. But pretending to be hopeful is the only grace we have . . .
It didn't matter that the story had begun, because kathakali discovered long ago that the secrets of the Great Stories is that they have no secrets. The Great Stories are the ones that you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don't deceive you with thrills and trick endings. They don't surprise you with the unforeseen. They are as familiar as the house you live in. Or the smell of your lover's skin. You know how they end, yet you listen as though you don't. In the way that although you know that one day you will die, you live as though you won't. In the Great Stories you know who lives, who dies, who finds love, who doesn't. And yet you want to know again.
That is their mystery and their magic.