If you can't beat 'em, Or the ubiquitous Twitter post

It all started with the United States Institute of Peace (USIP).

An online event titled "ONLINE DISCOURSE IN THE ARAB WORLD: Dispelling the Myths" was hosted by the US Institute of Peace Center of Innovation for Science, Technology and Peacebuilding, in partnership with Harvard University's Berkman Center for Internet & Society on June 17th.

The discussion began with a presentation of the Berkman's Center mapping report on the "arabic blogosphere".

Download the Berkman Center's report "Mapping the Arabic Blogosphere: Politics, Culture and Dissent" here, if you'd like. An interesting enough idea, but there were limitations on the study that were immediately apparent-- dialects of various arabic languages were not considered for one, and the use of labels such as "arab", "fundamentalist", "radical" and "terrorist", which despite being carefully coded by the Berkman Center, didn't sit well with a large number of the online participants as well as with some of the panelists. The study focused on blogs, leaving out more embedded forms of social media-based interaction such as Facebook, and the still popular use of listservs and mailing groups.

I first logged into the embedded chat applet on the event page, but soon discovered that the real action was on Twitter, with folk using the hashtag #arabblogs to discuss the Eventbrite-based goings on.

In about 3.5 minutes, http://twitter.com/Pjoseph85 was born.

Tweeting for the first time was a strangely nostalgic exercise. It reminded me of the good ol' days of downloading music and chatting on WinMx: less words used yes, but the same back-and-forth, the same endorsement, reaction and attribution cycle where multiple players share center stage for short bursts of time.

Those using the chat applet took time developing questions, forged temporary relationships with other users, made introductions and exchanged contact information at the end.

Those tweeting stuck to reacting to the panelists and each other much in the fashion of these lads, and rightly so. There wasn't enough time or a sufficient character limit to establish much more than disapproval or approval of a statement. There were a few points made by folk in their twitter feeds however, which ranged from the angle of the camera used to record and relay the panel discussion to the fact that it was an all-male discussion on blogging in the Arab world, when it is self-evident that a majority of arab bloggers are in fact female. Tweets added biographical information about the panelists and references they made for the edification of others, who then RTed this same information again, and again. The camera angle was righted, but no one got back to the point about the lack of female representation. Perhaps the 140 character limit made it impossible to explain.

On June 21st, Bruce Etling and John Palfrey of the Berkman Center-- speakers at the USIP event-- together with Robert Faris published a WaPo article on the role of twitter in the Iran election protests, stating the following:

... Twitter's own internal architecture puts limits on political activism. There are so many messages streaming through at any moment that any single entry is unlikely to break through the din, and the limit of 140 characters -- part of the service's charm and the secret of its success -- militates against sustained argument and nuance. (Yes, "Give me liberty or give me death" totals just 32 characters, but Patrick Henry's full speech exceeded 1,200 words.) What's most exciting is the aggregate effect of all this speech and what it reveals about the zeitgeist of the moment, but it still reflects a worldwide user population that skews wealthy, English-speaking and well-educated. The same is true of the blogosphere and social networks such as Facebook.

The authors then refer to the USIP event and say--

If dissent is channeled into cyberspace, it can keep protesters off the streets and help state security forces track political activism and new online voices. As Egyptian democracy activist Saad Ibrahim said last week during a discussion at the U.S. Institute of Peace in Washington, this appears to be part of a long tradition for governments in the Middle East, especially in Egypt, where dissent is channeled into universities and allowed to thrive there, as long as it does not escape the university walls.

It's not a particularly conclusive piece-- All that Etling, Palfrey and Faris say is that revolutions aren't fought online, though attempts at supporting or quelling it can be made online.

Fair enough.

It's interesting to note the roots for the word 'Twitter', etymologically speaking-

to reproach, blame; originally, to observe, see, hence, to observe what is wrong... To vex by bringing to notice, or reminding of, a fault, defect, misfortune, or the like; to revile; to reproach; to upbraid; to taunt; as, he twitted his friend of falsehood.

A whole cyber sky-full of those iconic little blue winged buggers then, worrying and picking at some large issue till even more folk take notice and some "real action" takes place, "on the ground".

Speech has allowed the communication of ideas, enabling human beings to work together to build the impossible. Mankind's greatest achievements have come about by talking, and its greatest failures by not talking. It doesn't have to be like this. Our greatest hopes could become reality in the future. With the technology at our disposal, the possibilities are unbounded. All we need to do is make sure we keep talking - Stephen Hawking. Who also, apparently, tweets.

The answer, Mr. Huntington, is blowin' in the wind

"I've had all I can stands and I can't stands no more"-- Popeye the Sailor-man.

Two articles caught my eye this morning-- the WaPo coverage of the anti-Taliban sentiment and fighting in Pakistan, by Griff Witte, and an op-ed in the NYT regarding the current elections in Iran.

The articles highlight two separate events that till recently, as recently as six months ago, no one saw coming.

No one in their right mind, not even the most sanctimonious or the most optimistic supporter of Islamic Democracy would have put money on Pakistanis rallying to fight and lose their lives in an effort to quell the efforts of the Taliban to "fundamentalize" outlier regions of their country.

Of course, the WaPo article highlights the fact that the Pakistanis in question are from low-income families and regions: is it because these people have more to lose if the Taliban do expand, and consequentially more to gain if the Taliban doesn't? Maybe. Which means that their current action, however lauded by the American government, is rooted more in desperation rather than any higher sense of right and wrong. In fact, Witte's article sheds light on the self-doubt that abounds within households in places like Patalian, where people are questioning who is the real enemy, this time around:

"We used to know who the enemy was, and where he is coming from," said Zulfikar Sajad, his eyes vacant and sad as he sat in a mud-brick hut on a desolate plain. "Now, we don't know from which direction the bullets will come."

The Op-Ed piece in the Times is a positive piece: Camelia Entekhabifard is a respected journalist and spokesperson, and has written from the NYT before (this piece particularly stood out-- I loved the mushroom analogy). Her Op-Ed speaks of the new hope on Iranian streets, where students and women have formed protest marches and lines, wearing green in support of Mousavi, the reformist candidate that an apparent majority in Iran is hoping will change the way the country is perceived globally.


(Photo credits: MAJID/Getty Images, for Preeti Aroon's article in FP)

Entekhabifard writes,

So what makes today’s activists different? First of all, a large swath of this “third wave” of voters includes young people who do not remember the Iran-Iraq war of the 1980s and its related traumas. The ordeals that we suffered immediately after the 1979 revolution are just history to them. Today’s voters probably never had to lie to schoolteachers trying to ferret out damaging information about their families. Iranians may be far from free, but they do not endure the fear we experienced daily.

I used to consider myself among the most outspoken critics in Iran. But I would have never dared to stage a loud protest against a sitting president, as Iranian students did in 2007... Now, Iranians form a 12-mile human chain in support of Mr. Moussavi, and women are seeking one million signatures for a petition for gender quality. Thanks to YouTube, Facebook and blogs, it’s easier for young people to organize, express their grievances and learn personal information about top officials.

This is all very interesting, because it provides additional basis for an argument that counters Samuel Huntington's Clash of Civilizations. It shows that even within a tightly knit culture, where complex intermingled structures of society and religion provide the general populace with a code of behavior and cognition, it is possible for new ideas to take root and cause a sea-change in how people react to one another. Not every old traditional fear or belief holds true forever. Not every tie binds just because it did for one's father and his father before him.

In short, the events referred to in these two articles give an elegant bird right in the face of every conservative and every nay-sayer who claim you can't teach an old culture or community new tricks.

Paaarrtaaaaayy!!

But hold up, son. Before you start poppin' them bottles, realize that it is impossible for any movement to be wholly self-sustained. Yes, the people of Patalian, the Swat Valley and nearby regions are fighting and dying for what they believe is a worthy cause. Yes, en masse, people are agreeing that there is more than one interpretation to the role of Islam in a country's political future. But what happens when the last body hits the floor? What happens when aid runs out, or if the Taliban cut a deal or threaten some big-shot in Islamabad?

And what happens if Mousavi doesn't win the Iran elections, or does win and ends up being strong-armed into a hardline stance? What happens if the government in Iran takes over all forms of communication, and controls the use of Youtube, Facebook and blogs?

Citizen groups, bloggers, individuals and media need to let people in Pakistan know that they are supported for their bravery in attempting to choose a better political fate for themselves. The efforts of the International Red Cross and Red Crescent need support. And we're the ones to give it to them.

According to the Charities Aid Foundation (CAF),

"A lack of funds is threatening the humanitarian aid effort in north-west Pakistan.

Save the Children reports that the organisation has received £2.6 million of the £6.6 million needed to assist 168,000 children and 112,000 adults in the region who have become victims of fighting in the Swat valley.

Carolyn Miller, chief executive of humanitarian charity Merlin, commented: "The only reason we haven't faced a massive humanitarian meltdown is the generosity of families and communities of modest means who've looked after the vast majority of those who've fled the fighting. The world's richest nations need to dig much deeper into their pockets to help.""

While this is true, it's not just the world's richest nations; it's the lot of us, and our "families and communities of modest means".

Multiple causes do act as a sort of check and balance on any human attempt at world peace, I suppose. Perhaps peace and development are meant to be elusive and eternally unattainable, like the perfect copper wire, or a responsible, accountable system of governance in India. Perhaps it is the holy grail of the modern age, only meant to be quested after by a rag-tag bunch of don quioxtes with different agendas.

Multiple causes mean that perhaps those who are passionate about a peaceful, thriving civic society in Sri Lanka may not be as passionate about the same in Pakistan. Or Colombia. Or Somalia. Or Nepal. Perhaps multiple causes mean that those who are passionate about open source software or free internet radio are not as concerned about containing the spread of HIV/AIDS. Perhaps those working for LGBT rights are not as concerned with autism, or primary education, or female nutrition in the developing world.

If Huntington was right, and conflicts do result from a number of causes, such as "... discrimination against people from a different civilization... different values and culture... particularly when one civilization attempts to impose its values on people of a different civilization" (2002*), then one way of sending his thesis--with all due respect-- ass over tea-kettle into oblivion, is to spread awareness about these different civilizations, till we learn from each others' conflicts and methods of disaster management, and in the process learn that our values and culture are not that different at all.

Thankfully, this has already begun: apart from the web tools named by Entekhabifard, sites like TED.com, New Ideas for Government, Peace X Peace, Social Edge and others have begun breaking down perceived and assumed differences between groups and social causes.

I only hope that this trend continues, and that Ol' Sammy, wherever he is, loses any bet he might have hedged on the world dividing into zones of civilizations reminiscent of pre- Silk Route days.

__________________________________________________________________

*Huntington, Samuel P. (2002) [1997]. "Chapter 9: The Global Politics of Civilizations". The Clash of Civilizations and the Remaking of World Order (The Free Press ed.). London: Simon $ Schuster. pp. p 207f

Opeth and the Dionysian Principle

It's a disgusting day outside. Dis-gust-ing.

Late Old French desgouster, to lose one's appetite : des-, dis- + gouster, to eat, taste (from Latin gustre; see geus- in Indo-European roots) [1]

It has been grey for three days, with that miasma of sky-piss and blanketed grey that serves to beat any latent depression into blazing life. So much for the first week of my summer break.

This is the perfect weather for listening to Opeth, though. Even better weather for putting on 'Deliverance' and 'Watershed', and reliving the show at the HOB in Boston on May 2nd.

Access the show's set-list here.

I had meant to review the show here post-haste, but that's the thing with an Opeth show: you're stuck in a sound reverie for about five days after it, every word you write to attempt describing it pales in comparison to the actual experience. It doesn't help that the sound system at the HOB owns. Screw stadium shows: there's nothing like catching a club tour if you are lucky enough to do so. I was standing with my back against the metal chain-links that protected the sound pit from the milling mob. One of the sound techs had on a well-worn crew shirt from a Queen tour-- you just *knew* that this guy was passionate about all the knobs, dials and buttons he was playing with, and had honed his skills to a fine point. The bass and treble played out beautifully, and all that the row of us acting as the sound pit's front guard could do was lean against the metal meshing and give in to the gorgeous onslaught of sonic power.

I personally consider myself lucky enough to have caught Enslaved live, as they opened for Opeth. Not going to go into an in-depth take on their music, when it is obvious this guy already has, and with great authenticity of feeling. Enslaved put on a great live act (the HOB has a no-click rule, but thankfully Jason Sheesley posted gorgeous pics from this tour here). They are not interested in the performance, they are there to play their face-melting Viking metal, with enough power to shake every Scandinavian squirrel out of the ash Yggdrasil. Hadn't heard them before. Have decided though, they sound better live than on myspace, and only dip into the prog metal work that Opeth likes to dive deep in.

Vertebrae is probably a good gateway album for folks like me who haven't heard the older, meaner Enslaved. One track (can't find the set-list anywhere, but will edit this post once I check the album over twice) in particular made me reminisce about the troll that the lads from Metalocalypse invoke: one of my top five favourite dethklok moments. Ever.

Some folks got into it, but you could tell most everyone was there for Åkerfeldt & Co.

N.B.-- Opeth is not limited by the death metal tag. Being at an Opeth show is like listening to King Crimson, Black Sabbath, King Diamond, and Floyd all at once. Being at an Opeth show is to require no other stimulant apart from the music itself. It is to merely stand there and let your body and mind be taken over by the sound. Nothing else matters, truly: Opeth isn't a band of personalities and stage antics. It's a band of ten-minute operatic masterpieces and beautiful, long Swedish man-hair.

There is no single demographic that listens to Opeth, either. There were grubby school boys, older biker chicks, retired insurance agents, genuine metal heads, a group of Assamese gents n' ladies and the few mandatory emo children present, all of 'em adorned in black, for the most part. There were the Opeth forum folk, who knew every lyric and referred to key Opeth tracks by their recognized acronym (TNATSW, for instance). Lots of women, some who began dancing mid-mosh, which was great. Nothing like a metal chick dancing to Opeth. Something about the band's music, or perhaps popped X adds grace to human bodies like nothing else. Opeth was the pied piper, and each one of us moved the way their playing told us to. It helped that Mike Åkerfeldt has a ridiculously good sense of humor. He might just end up being the godfather of heavy metal stand-up, one day.

And the moshing. By all that is powerful in heaven and hell, what moshing. Esp. during Lotus Eater.

Some enterprising dick actually recorded some of it, which is awesome.

Mashallah-- I'm not the first one to comment on the correlation between the Dionysian and Heavy Metal. Weinstein (2000) said it best:

Dionysian experience . . . is embodied in the unholy trinity of sex, drugs and rock and roll. The Dionysian is juxtaposed to a strong emotional involvement in all that challenges the order and hegemony of everyday life: monsters, the underworld and hell, the grotesque and horrifying, disasters, mayhem, carnage, injustice, death and rebellion. Both Dionysus (the Greek god of wine) and Chaos (the most ancient god, who precedes from itself) are empowered by the sonic values of the music to fight a never-ending battle for the soul of the genre and to join together in combat against the smug security and safety of respectable society (35).

[get your hands on Weinstein's 'Heavy metal: the music and its culture' if you can. All the ladies downing vodka bulls will think you infinitely more awesome than you really are, of course. *coughs* ]

Opeth is technically not what you would call a mosher band. But something special happened that night, as people collectively moved into a frenzied zone of interaction which was war/rite of passage/youth/magic/delirium all meshed into one. We could've raised the dead that night, or at least a troll or two. We could've slapped the world into a wide-awakening, without knowing we had done so, not caring that we had, so caught up were we in the beauty and olden-type ritual magic that pervaded the general admission area at the HOB.

---

[1]

The American Heritage® Dictionary of the English Language, Fourth Edition copyright ©2000 by Houghton Mifflin Company. Updated in 2003. Published by Houghton Mifflin Company. All rights reserved.

Ru-Ba-Ru: a Review

Disclaimer #1: I'm more of an independent movie fan, so if you're looking for in-depth pop references to older films, Hindi or otherwise, or cutesy tid-bits about the costume designer or choice of filming locations, you're at the wrong blog.

Disclaimer #2: I'm not a B-wood fangirl. I have watched exactly seven bollywood films in my 24 years of existence, the choice of which never depended on a particular artist's ability, but more on whose birthday treat was paying for what ticket. Of that list, Qayamat Se Qayamat Tak, is still my favourite.

Disclaimer #3: I know the director. As a writer and a friend, I count him among the select few who have a standing invitation to my funeral. However, this fact did not compel me to feverishly seek a torrent of his movie Ru-Ba-Ru when he told me about its release in September 2008. Nor did I ask mum to FedEx a copy over, or find a kind soul who would zip a .rar version and upload it on some massive oasis of server space at his/her disposal. In fact, it took me eight months and the collapse of a precariously balanced stack of discounted DVDs-- the one next to the discounted Parle-G biscuit stack-- at a local Indian grocery store to notice that a copy of Ru-Ba-Ru could be mine for what is essentially the cost of a large green tea and a sesame bagel at the Au Bon Pain in downtown Boston.

Things I love about this film?

1. It's run time. I know many folk who share at least 50% of my ethnicity enjoy the three hour song, dance and tears experience, but I for one would prefer to have my left eyeball dug out with a very blunt spoon (HT to Men in Tights) and eaten by a petulant Moroccan-trying-to-pass-for-French female shop assistant at the pastry wing of Harrods at Knightsbridge who was just told by her vicious little Japanese co-worker that Indian eyeballs were a great cure for the clap. In case you missed my point-- The movie held my attention right till the end.
   
2. A lack of item numbers. And item PYTs.
   
3. A fresh soundtrack. The track 'a beautiful day' needs special mention. Won't say more-- go read this guy's take for further details. He sounds like he gets paid for doing what he does.
   
4. The ballsiness with which it gives the finger to certain ingrained Bollywood tropes: the traditionalist parent is missing, as is the overly sympathetic one. Gone is the angry patriarch, the greater cast/community/family/clan/village to whose whims the lead actors usually give in or die in their attempt to protest. There is no cloyingly cute kid brother, no amusing side-kick, no the group identity portrayed through song, dance and bad costuming.
5. Corollary to # 4: fresh supporting characters. The mother and step-father of Nikhil are apologetic, understanding; they reach out to their prodigal son despite the distance he has maintained for so many years, and tell his girlfriend to forget about touching their feet-- a glorious eff-off to one of the most sacred cliches of family scenes in Bollywood. Tara's mother echoes the female Indian parent stereotype, but the fact that Tara controls their flow of communication (the mother is never seen, only heard as distant bleating over long distance phone calls) gives a realistic, modern slant to their dynamic.
6. No extended choreographed song/dance scenes. Though I will say, I don't believe the movie needed Tara's post-play "impromptu" performance-- Her ease with figuring out the intro chords/timing, and the spontaneous entry of costumed dancers (yet another revered trope) was a bit too.. err, promptu, for that particular scene. I would assume that someone integral to the film project must have declared that the life-affirming moment for the female lead had to come through a big finale in front of a 100% appreciative audience. Not sure, but hey, I've sat through worse. Really. I have.

The movie is very, very well made. The segues, the lighting (except for that final red filter in the cab), the establishing shots in the opening sequence... a lot about the camera work made me invest mentally and emotionally in this movie.

There were some things that threw me off-- like the camera treatment of the saxophone scene, and Tara's dialogues in the first half of the movie. Then again, the day I hear realistic female dialogue in a Hindi film of non-gritty subject matter, i.e. where the woman isn't fighting the ills of poverty, drug addiction, prostitution or an unmotivated husband given to arrack-guzzling, I shall spontaneously turn hermaphrodite and take Prince on in a UFC cage match.

I'm also not quite sure about Tara's motivation: until we are told that it's opening night, the character comes across as a poor little rich girl with one and a half daddy issues, striving to please her man. Her clumsy moments don't create comedy, but unease. They evoked in me painful memories of improv moments during Adzap on various inter-college cultural stages; perhaps if Tara's character was given a little more authenticity and grounding, I would have been able to relate to her in a happier light.

The radio bit in the opening scene didn't push my happy button, nor did the camera distance during the stage bits. But these are itty-bitty details, the stuff you come up with when you run a mind-comb through the things you like, such as best friends, favourite lovers and omelets ordered the same way at the same restaurant you've been going to for the past ten years, just because feeling that intimate with a person or thing, relating that closely tricks you into believing you have the delusionary right to do so.

I don't think Nikhil needed as many flash-back moments: those felt laboured, as did some of the foreshadowing bits. We all have a list of favourite movie scenes that have deja vu script treatments. My list for instance, includes (but is not limited to) memento, stranger than fiction, sliding doors, deja vu and of course, the black cat bit from The Matrix. Moments in the second half of Ru-Ba-Ru did stand out and create suspense, but I feel the scripting could have been more graceful here, & thusly could have added to the audience's building anxiety and Nikhil's desperation without necessarily turning it into a faux-action flick.

Googling to see what has been said about the film, I couldn't help but notice the repeatedly parroted statement that Ru-Ba-Ru is lifted from the Love-Hewitt flick, 'If Only'.

Um. So?

I'm sure some die-hard B-wood fan somewhere has blogged a list of Hindi movies that are "adaptations" or "homages" of existing movies, American and otherwise. Ladies n' gentlemen-- that list is long, and still growing. And it's not just scripts alone-- I've seen clips from Hindi films that pull from soundtracks, pop songs, mannerisms of various yank heroes and famous movie moments: the kaante/reservoir dogs walk scene, anyone?

The day I encounter a wholly original, non-derived Hindi movie... well, refer aforementioned statement regarding hermaphrodites and UFC cage matches. Like Jarmusch said, it's not about whether you derive or not-- It's how well you do it.

Additional Dialogue Quibble: The taxi driver's lines were predictable at times ("you already paid me yesterday" [paraphrase], for instance). Part of me did mourn Nikhil's final mini monologue but only because there is such anguish when you put yourself as a writer or person in that moment:

what can you tell the person you love most in the world about death, either yours or theirs? What can you tell them about dealing with a final absence, about all the time you are forced to give up spending with them, about the role of fate/god/chaos theory/luck? Perhaps the best thing to do is shuffle off one's mortal coil in silence-- think of that superb moment with Irfan Khan on the phone, towards the end of Nair's 'Namesake'.

I'm not sure.

What I do know is, the movie made me ask this question. It stirred emotions, and it made me impatient: I now want movies directed by Indians in India that are free of standard devices, every last frikkin bell & whistle of 'em. I want films that can be independently directed, free of any and all market forces. I want films that bitch-slap their marketing agents into telling the truth about a movie, for once, instead of pegging it to appeal to some established demographic. I want human stories: let them be melodramatic, colourful and accompanied by music for we are Indian after all, and some traits should never be changed, but in the name of all that has ever moved you, Ever, let these stories and their characters be real.

Go watch Ru-Ba-Ru. Fuck what the papers have told you, fuck what you heard, fuck your dependency on formulas and you just might allow yourself to be surprised by the degree of honesty in this film. It isn't perfect: it holds all the promise of what can be, instead.

Indie Magazines Unite!

Erm, actually folks, don't. Uniting is going to bring with it a tonne of bother, ranging from opposing political ideologies to disagreements over Chinese take-out.

(Pot stickers, you bastids, POT STICKERS!!)

Instead, leave it to folk like Stack.

Yes ma'am. I am the newest and biggest fan of Stack and its methods-- suitably illustrated in the following screen shot:


If you can afford the subscription fees and have bookshelf space, do it. For now, the website and its blog rich with links to free online editions of indie mags like Little White Lies are going into the top spot on my 'Take that, Andy Warhol' list (scroll down, right ==>)

American Splendour, or the Cognitive Dissonance of Place

Growing up in the Gulf and in India, comics meant Amar Chitra Katha, Tintin, Asterix and the occasional MAD magazine. The year I was born, neighbors who were moving back to the U.K sold my parents a stack of magazines, records and plateware-- this is how I discovered Beano, Buster and the Dandy in 1992, comics that were already old enough then that the paper had turned a fragrant, faded brown.

But that was the full extent of my knowledge of comics-- as far as I was concerned, they were stories and characters created to entertain, amuse and instruct; some were based in history or myth to varying degrees, while others taught me factoids about pop culture in the U.K and U.S-- the candy kids ate, what a soda fountain used to mean, the role of the ham burger.

And then there are comics like American Splendour.

Call it conditioning, misdirected Socialism, or anything you'd like-- growing up, I never imagined you could make a comic about life as you knew it. As a kid, I never imagined a comic could be anything but funny, or action-filled. Even the comic strips that came closest to real life like Chacha Chaudhary still told stories where the bad guys always lost.

I'm a bit of a reverse fan of American Splendour-- I saw the movie before I read the comics. Though I did read and own Persepolis, part 1 and 2 before hearing about the movie, if that's any redemption.

Fact remains, folk like Satrapi and Pekar changed my perception about what can be put between two covers. Whether as comics or as graphic novels, artists who revealed bits of their life for their readers impressed me with their courage more than documentaries on Nelson Mandela and Aung San Suu Kyi (May their tribe increase) ever could, mainly because as people, these artists and their characters aren't figureheads in historical situation, they aren't called upon to be leaders, saints or good examples. Instead, they are extraordinary in that they choose to put their story out there, however fraught with disillusionment or a sense of failure. And thus they are shining geniuses. Warriors in sweat pants with ink stained fingers.

Pekar created a title that would inflict as much irony as possible in two words. Cleveland, OH after all is not exactly a city that invokes a starry, let alone spangled American Dream, however post-modern. And yet, there is no better word for the entirety of his work, or the emotion the comics elicit other than Splendour. Because what makes Pekar's world remarkable is what makes the rest of America the Unsung, America the Unloved, America who's not on prime time worthy of a most secret joy--

Pekar's America is the America folk on the outside never see. It's Ginsberg's Sunflower. It's Stewart O' Nan's Night Country. It's the folk who trek to Burning Man. It's the people who drive in search of Highway 66. It's late night convenience stores. It's the surfers who ride tanker waves off the Galveston coast. It's parades and festivals and street performances. It's the America of small towns and mill towns, open country and highways, streets and avenues that the tourists and news channels always miss.



Maybe it's because I'm constantly trying to understand what home means to me. I can't live in a town or country without rationalizing why I'm here and not there. So maybe this is all just cognitive dissonance, an attempt to justify why I'm here and not in India, or Oman, or anywhere else I've previously been.

But there's something to be said for being msafiri. Wander long enough and you tend to start craving a common denominator, some artifact, expression, sound or food that helps you enter new communities, communicate with new people. We carry our perceptions of how ourselves and certain other things should be, such as sandwiches, or greeting people you really don't want to but have to, or when it's okay to ask for ketchup. All of this becomes our identity, a big, invisible radar that picks up on other people's stories and situations. Think of it as a whimsical form of high context communication.

Which is why while watching American Splendour earlier this morning for the nth time, I couldn't stop the empathy from flowing.

Yes! This is how I want it to be for myself, this is how it should be-- unapologetic, sometimes cowardly, filled with doubt, searching for the right thing to do and always opening life up and picking out threads that have appeared before, that will continue despite me, that means something to someone else. And perfect endings be damned.

I wonder whether such stories could ever happen in India. Probably not. The sense of community and carefully charted out social roles there, the carefully guarded circles in the artistic and political world, the threadbare laws that govern privacy, intellectual copyrights and collaboration, the lack of supporters for any sort of underground creative movement all comes together to mean one thing--There is no particular god in India that protects the loser, the underdog, the manic-depressive 9 to 7evener, the awkward comic book nerd with no social skills, the lone warrior who puts his or her ass out on the line without fear of censorship or criticism because she or he basically has nothing to lose, or doesn't care anymore.

Does this make living here, in this non-tourist, non-urban, non-indian immigrant part of the United States any more appetizing?

Nope.

But it does mean that by not creating art, despite being as free as I am right now of any sort of censorship, self-inflicted, group-inflicted or otherwise, I am an even bigger failure than I first imagined.

Ladies and Gentlemen, I believe we have a break-through.

Think I'll go finish editing that story now.

Where do Warheads Go When they Die?

Alternative Title: On Why I Am Ecstatic About Not Living in Amarillo, TX

I, to use the vernacular, <3 Foreign Policy Magazine. It's the one publication where government, policy and socio-economic issues in countries as diverse as Congo, Uzbekistan, Germany & East Timor are dealt with equally and objectively. And since material is contributed by academics and/or experts in their particular field, there is no stink of party politics either. Happily, no one has yet labeled FP with the doomsday preacher epithet.

Even when it publishes an article on the shelf-life and dismantling of nuclear weapons.

It's worth reading, in its entirety. Jeffrey Lewis has commendable credits, and Meri Lugo is one of those bright young intern types who I occasionally dream of becoming.

And for those of you curious about the safety measures undertaken by Pantex to ensure future generations of the good people of Amarillo aren't born with extra fingers and three purple tentacles, do pay a visit to the What to Do in Case of an Emergency at Pantex page. The instructions are a step-by-step approach to dealing with a nuclear apocalypse. What's most terrifying is, they aint kiddin'.

I bet OSHA pays them a bunch of visits. In 2000, reports were filed with the DOE regarding apparent ground water contamination at Pantex:

One report focusing on the plant's groundwater monitoring program confirms last year Pantex Plant operators did not follow DOE procedures, resulting in an approximate nine month delay in notifying senior managers and the public of newly discovered groundwater contamination at the site.

Yikes.

And for the conspiracy-theory enthusiasts, visit these good people for the whole scoop: they provide you with fun facts-- You'll be the life of a party!-- just like this one:

A 1996 study by the US Department of Health and the Texas Department of Health found higher than normal cancer rates in the counties surrounding Pantex. Although the report failed to link the high cancer rate to activities at Pantex, local citizens believe otherwise. One resident keeps a map of the nearby city of Panhandle with straight pins marking the cases of cancer in the town between 1975 and 1994. For a town with a population of only 2,300, over 400 people have been stricken with some sort of cancer.

It makes me wonder about similar facilities elsewhere in the world: where else is water being contaminated, and do those facilities have a contingency plan in case of a plant mishap?

More reasons why I am not fond of things that go boom.