Thursday, 30 May 2013

A Dark Light: Part 2


I asked my mother if she remembers how her mother died, but she is blank. She is happy. All the stories of her childhood start from her teen years. She tells me how Dadima had brought her here and how she had never been back home since.

It was like some strange parable – Dadima had escaped a secluded village community to a big foreign city where her and Maya where alone. She’d kept her old clothes, because she couldn’t afford anything else, and left everything else behind her. She forced my mother into an education, working fourteen hour cleaning shifts at the airport to put her through school.

Maya went to all the afterschool clubs – she learnt French and Latin, and played girls basketball. She went on ski trips to the next city over and sang in the school choir. She wasn’t allowed to learn stitching, so she taught herself in secret while Dadima slept or was at work.

Dadima paid for her driving lessons, and moved into a room in a house so she could pay for Maya’s university housing. She was studying to be a doctor.

Dadima never married.

Maya told me about her summer breaks. After her end of year exams, Dadima would give her a little money – whatever she could afford – and send her away for a few days. She’d tell me these stories whilst I was still at school, telling me about the importance of education, and experiencing life, and about how Dadima’s parentage was so modern and how she hadn’t met many Asians until she had started medicine.

Dadima admitted in one of her shaky nights that she had tried to force Maya away from anything Indian, away from any of the traditions that led to the old practice that had murdered her sister. She wanted to give Maya the whitest life possible.

She married an Indian guy, and they had me. Dadima never spoke against the marriage, but I grew up with her switching the Indian TV shows to BBC news every time my father walked out of the room. My paternal grandparents spoke to me in the old language, but she never did. I loved my culture, my father submerging me in Asian-ness he grew up around, ensuring I wasn’t as much as a ‘coconut’ as my mother. She would laugh at this, and agree.

So did I.

Up until the age of eighteen, I never thought about why I spoke English with Dadima, and ate European food, and did things like go to theatre or festivals. It was just a right that came with being the offspring of two educated and successful doctors. It was normality.

At eighteen, I had my own medical school interview. At eighteen, I was told, A lot of Indians apply for medicine, so why should we offer you a spot?

At twenty, they made jokes about all the good doctors being either Indian or Jewish, so I would be okay, even though I was female. Ha ha, I said sarcastically, but secretly I knew this would give me an edge over the female competition.

At twenty-one, Dadima began to lose it, and I had to re-sit my exams.

Dadima went in to the college hospital, and they took blood and ran tests. The minimum was done to confirm her liver was shot. A forty-something doctor spoke to her in Hindi – privacy in a shared room perhaps – but it made me angry. And when said in her low, doctor-like tones, that at her age they don’t consider transplants, I said, She speaks English. So she said it again, this time for everyone to here.

She got worse, I got worse. Her eyes went jaundice, and I took the year away from university. Maya went ballistic. My father called in favours with his colleagues – Make her as comfortable as you can. I screamed at my mother, Why didn’t you do something? Why didn’t you try?!

I stayed away from home when Dadima was as hospital, and took a part-time job as a bank cashier to pay for rent along with the rest of my student grant.

There, they’d joke about women working, and about sexual violence. I would say nothing – don’t cause trouble; you will be back at university next year. They’d joke about colonies and slavery, and how it should be bought back. I said nothing and kept my head down. They would complain about customers with benefits, and how they were messing up our country. They’d look at me, and say, You’re okay though, ‘cause you were born here.

My head went up, Nothing to do with the thousands of Empire soldiers that made it so you’re not speaking German? They’d change the tone, joking again, about how Hitler had the right idea, and how all of us around that desk were out for the count – me the only ethnicity, but all of us, dark haired and dark eyed.

Dadima passed away, in pain. Maya had her cremated, and asked if I’d like to go back home to scatter her ashes. Yeah, I said, and went back to South London and left her to get on a plane to India.

***

Saturday, 18 May 2013

A Dark Light: Part 1


Walk out. The fluorescent lights warm the stage in green, blue, red, pink. A little roar, a little raucous. There’s a thing for Indian girls here. So I play the role well.

It was four years ago, I had used eyelash glue to stick bindi’s over my brow, slipped off my dress robe, and slipped on a Mata Hari bra. It was exotic enough. It was awkward, purposeful in the slow reveal. He’d once said to me that my face only glimpsed a different expression when I tried to take it off. He’d asked why. I answered money. He tried to steer the conversation back, psychoanalyse me. He told me, sometime after, that it had revealed the girl in me that needed saving – the girl in me that was ashamed of what was coming. I’d stared at him, pressed my lips together, and swallowed. My eyes glistened, and filled up as I got up and retreated to the bathroom. It was the power.

Dadima was my mother’s aunt. She started to lose it near the end. She’d begin to shake, grab me, cover my eyes, start talking fast in the old language. This was twelve years ago.

She was a small woman, with thin hair scraped back and tied into a long plait. You could see her skull. She wore sarees with trainers, and walked with a wooden walking stick. Still, people cut in front of her in the bus queue, and no-one ever helped her with her grocery bags.

She was fifteen when she picked up my mother in her arms, and covered her eyes and spoke to her in the old language. She was fifteen when her sister was burnt alive.

She had been living with the other Dadima – the one that burnt – and that one’s husband. He had never resented her, or hurt her. He loved her as if she was his own little sister. He was different, and she’d loved her new brother back. She’d fallen into tears with an old Hindi film playing in the background, when I was a teenager and spilt a lot.

The men had clothed his body in white out in the open village, and the women had invaded their home to rub off her sister’s tika. She had taken a five year old Maya and hidden in the closet. The women waited and ripped her sister’s clothes, and then they tried to take her outside. She resisted.

The women held the widow down, pulling her hair back, holding her nostrils closed, forcing her to swallow the thick drink they’d bought with them. She’d gotten delirious, and they had led her out with ease.

Dadima kept Maya’s head close to her chest as she left their home, smelling of the pressed cannabis juice, followed them discreetly out to the village and down to the river. The men had moved the body down already and enclosed it in a pyre of wood.

Her sister had begun to scream as the torch was passed along the men. The women held onto her tight. Dadima had begun to shake.

Thursday, 25 April 2013

Mishkin Fitzgerald

The stunning lead-singer of Birdeatsbaby who wowed us with her hauntingly beautiful voice, will now entrap us in a realm of mystery and eerily wonderful piano with her new album, Present Company, out May 1st. Produced by Forbes Coleman (Stereophonics, Clare Maguire), with Dead Round Eyes Records, the first single of the album is ready to listen below, or at:
Youtube (here)
and on Soundcloud (here)

The aptly named I Want This  marks Mishkin Fitzgerald's pursual of a solo album, breaking away from the Birdeatsbaby sound.

Listen, re-listen, and listen again, and share with all your wonderful music lover friends!

Follow Mishkin on twitter:  @mishkinbird

Tuesday, 26 March 2013

Jenna Kass: Illustrator

Being about appreciating all types of art, and promoting creative license, we have come across a wonderful New York illustrator, Jenna Kass.

First being attracted by Tristan and Isolde, a work building on the operatic drama of the same name by Richard Wagner, Kass' demonstrates a technique that allows her work to be reminiscent of pre-20th century art, with a modern twist: a focus on fantasy. She is, by all means, the embodiment of classic and neo-classic, as demonstrated in her work.

However, it was Kass' blog that really highlighted her skill, as she speaks about her six-month drawing-a-day project, her process, the progress she makes, her anger and frustrations, and drive. It is inspiring, and truthful, and a wonderful read for any young aspiring artist finding it hard to get going.

To browse, please see Arty Visual Stuff.

To learn more about Kass and her blog, read here.




Saturday, 16 March 2013

Dark Hearts and Sophie James

"The sun, as so often happens in the Congo, flicked a last orange sneer to the jungle it prepared to leave.

It was typical, thought Burton, glancing again at his watch in the gathering gloom, that a meeting which had taken months to plan, should go wrong in the last minutes. It was his master plan, his inspiration.

‘Come on…’ he muttered, checking the pygmy natives as they hovered in the dark bush murmuring a foreign chorus. Was he going mad after all?

And then suddenly they were there - his friends, bursting through the jungle into the clearing where the pygmies had promised all the action would be. Cornelius greeted him first, a slim man though never handsome, for years his skin pocked by eczema, soft spoken but a sting in every sentence.

‘You’re a crazy fucker Burton Alexander,’ he said, ‘I’ll shake your hand but I’m not staying long. I've been asking my own questions. It’s a myth, a legend, a tall story on legs. A lizard at best…’ "


Sophie James, documenting life in India
Travelling the world and penning articles for The Independent on Sunday, such as Wanton Seduction in Paradise and Love Among the Ruins, writer, Sophie James launches the much awaited website sophiejames.com, archiving her articles and allowing readers the chance to explore her novels and short stories. James - daughter of broadcaster and journalist, Walter James - calls on her experience travelling and living in India in her exotic shorts stories, and the magically wound words of her novels, Susan, Love Hate Jaipur, and The Tea Jungle.

The incredibly talented James also demonstrates her photography skills - the gallery online captures the colours, politics and life in India with a clarity that is somewhat lost in today's more easily accessible images.


Flick through the gallery here.

And, learn more about the writer through her biography and interviews here.

Thursday, 28 February 2013

A Band called Birdeatsbaby

Music and Musicians.


They've been called "dark, sexual, vulnerable yet strong..." (Ben Graham, The Quietus), their music labelled "hauntingly original and delicate..."

Well, I must say, I agree. Something about this rock-orchestral-quartet screams a dark kind of magic, whilst whispering in your ear at the same time - imagine red lips, red wine, and red bloodstains dripping down your mouth, down your chest, hitting the floor, slow. Imagine you are hand-in-hand with the person of your dreams, suited and dressed in black tulle, the both of you, running from an unknown terror, through some large stately home. Well, Birdeatsbaby make it extremely easy.

Their music is a unique blend of theatrical, extravagant, rock, classical, with a pinch of pop, amongst other styles, and one may find themselves playing certain songs in their minds as the soundtrack to their day, making a normal moment exciting and electrically charged.

Perhaps you would care to listen and create Tim Burton-esque scenes of your day by downloading the band's free two-track EP here.

Learn more about the Brighton quartet here.


Friday, 8 February 2013

A Conspiracy of Alchemists. A Review.

With a name like ‘Chance’ expect magic to happen. 

A Conspiracy of Alchemists: Chronicles of Light and Shadow marks the first of Liesel Schwarz’ steampunk trilogy, set to take the world by storm. Schwarz’ debut novel, set in 1903, as the very first line imposes, immediately transports the reader to the Victorian era. Yet, there is something magical in the air: that strange kind of uncanny that is both familiar and excitingly new. This isn’t just the turn of the century we read about in History, but a world that we wish existed, where supernatural creatures walk among us.

As the title suggests, there is a split between Light and Shadow, good and evil. Scientific and technological advance takes society into a new golden age through utilizing magical energy. However, this light threatens the supernatural, and, out of the dark rises the Alchemists and the Nightwalkers, preparing to take back control and submerge the world, once again, into darkness.

Original and refreshing, the story is a wonderful combination of the nineteenth century novel and quirky twenty-first century humour and language. The protagonist is a female lead to be admired: she is inventive, strong and intelligent, yet has a vulnerability about her – the perfect modern day woman who does not allow a male-dominated society to limit her potential or constrict her. Opposite her stands Marsh, and immediately women swoon. He is the Rochester-like male lead that every good novel should have: he is, at times, condescending and somewhat arrogant, but, like a force of nature, is irresistible and appealing. Like getting to know the love of your life, the more his character evolves, the more the readers take a shine to him. Inevitably, Marsh will be the first literary love of female readers of younger generations, just as Darcy and Rochester have been the first love of many female readers today.

Despite, two wonderfully created leads, the author does not fall into the trap of two-dimensional secondary characters. The ‘supporting cast’ are equally as thought-out, and original. Still, the author does not give away all secrets to supernatural creatures, but allows us to see they are something complex, and we will have to discover them the same way we do with other characters. However, many readers will be happy to know that Vampires are not portrayed in the same way as recent popular fiction/television/film would have us believe, and the author does not deviate back to the original Bram Stoker-style Vamp either. Instead, she creates, what seems natural and logical for Vampires to be. And faeries too.

Schwarz does not over-do the world she has created, but allows us to be pulled in, and excited by the opportunity of exploring. She is subtle in building up characters and the Shadow, but keeps something back to amaze us with as the series continues. The novel is accessible, and appealing. The use of language is good, and should be a pointer to some other popular writers: you can be original and compelling, without lowering standards of language. The author is humorous, and forces the reader to keep re-reading until the next installment is published.

Five stars.