Monday, July 25, 2016

Indian Women Are Never Taught How To Be Alone, And That’s A Problem

In January of 2012, I woke up alone. For a host of reasons involving children in higher education, looming eldercare, and an uncertain job market, my husband now worked in a different country. He would visit every few months. This arrangement was supposed to last a year. Owing to a series of unforeseen circumstances, as I write this it’s been nearly four.
I learned that I wasn’t alone in my aloneness.
After a brief period of adjustment, I learned that I wasn’t alone in my aloneness. Never before have there been so many “single” women in India, unmarried, divorced, widowed, separated or in long distance relationships. A recent survey showed that there are now 71 million single women in India, a 39 % increase over the past decade.
And yet nothing about our culture, or the way we live, teaches us to be alone. Bollywood’s heroines rarely have characters or conversations beyond their relationships with men – Bechdel test super fails. They so seldom have professional ambition that when they do, it’s considered subversive. Queen was revolutionary for having a female protagonist who embraced being alone. TV ads show us men purchasing insurance and cars and homes, while women are marketed oils for their husband’s health, detergents for their kids’ clothes, and chai for the family. Everywhere, domestic couplehood is emphasised as the happy way for women to live. Indeed, the only way to live.
I had to find a different way.
I didn’t have to look far for role models. I come from a line of women who lived well into their late nineties, outliving husbands by decades. My mother was 64 when my father passed away six years ago. She is contemplating, very possibly, 30 years on her own.
She fills her days to the brim with gardening, music, family, charity and, recently, the internet. Every few months, she travels across India, often with other single women, to remote places like Ladakh and Arunachal Pradesh. She took a tragedy and turned it into an opportunity. I know there are days she misses my father deeply. I also know that this is what it means to seize life by its throat, with or without a companion.
This, then, was what I wanted to do.
The initial stages of being alone were much like the stages of grief. 
The initial stages of being alone were much like the stages of grief. First, there was denial. I simply refused to accept my dependencies, refused to learn the household tasks that had fallen in my husband’s domain. Then there was anger. Why do I have to go to a goddamn PTA meet on my own? Then bargaining. If the job market looks up, I will donate thousands to charity. Then Bridget Jones-style sadness, singing “All By Myself” with a bottle of wine. And finally, painfully, acceptance: I am alone, and you know what, there are worse things.
First, I had to concede that I was far less independent than I’d imagined. I knew nothing about car insurance, was baffled by printer cartridges, and had no idea which TV service man to call. There was a whole list of chores I had dismissed as “computer stuff” and never bothered to learn.
For a year, I was distressed. “Nothing works!” my children shrieked. By the second year, I had begun to accept that there would always be something in my house that needed fixing – a leaky tap, a defunct printer, a loose TV connection – but I was learning. “Deal with it,” I told the kids. They did.
Around me, I saw several women struggling with the effects of having gone straight from their father’s homes to their husband’s. My elderly neighbour had to borrow money from me when her husband was away; having spent 40 years taking money from her husband’s wallet, she didn’t know how to get cash from a bank. Another friend confessed that she had never travelled alone. “First my father, then my husband won’t let me,” she said. At the bank, a young student away from her family asked me how to fill out a cheque deposit form. “Usually my father does it,” she said. I came to realise that men and women are taught select skills, bound into codependence with shackles called “love” and “family” and “culture”.
I saw other women struggling with the effects of having gone straight from their father’s homes to their husband’s
In your forties, friends your age have less time for you. It’s nothing personal. People are hemmed in by PTA meetings, jobs, elderly parents, traffic, doctor’s appointments, weekend brunches. You can feel resentful about this, or you can learn to enjoy your time with yourself.
Still, even when I learned to be alone, it seemed to disconcert other people. Relatives began to drop worried hints about how married couples should be together. “Separating the family is not good… Not a good idea at all.”
There were whole weeks I would go without talking to an adult.
Bank managers were most bemused. “Madam, you have husband?” they’d ask, and look horrified when I responded that I do, but I handle my own finances. What sort of man leaves his wife to manage the finances? It has taken me four years to get them to email me, and not just my husband, on important financial communications.
There were whole weeks I would go without talking to an adult. Three is not company when two of those are sulky teens. I discovered Twitter. Here were my people: wise-cracking, cynical, sarcastic, so different from the sugary sentimentality of Facebook. After a brief dalliance with outraged political Twitter, I found folks who tweet on books, music, food, travel – the solaces of singlehood.
Now, I enjoy solo-eating. Initially, I would put up with being seated at a noisy table near the kitchen. Now I don’t. I demand a decent table, and stare down waiters who stare at me. Rather than try to bolt down my food as quickly as possible and leave, I make an occasion out of it. When you think about it, a lovely, languorous afternoon meal is a luxury. I discovered the pleasure of cheap mid-morning movies in completely empty theatres. No screaming kids, no rustling packets of popcorn.
Of course, there were times when I would really, really, have liked company. When staying in a budget Delhi hotel (mistake), I was alarmed by the leering manager’s constant enquiries. “You are alone, madam?” He looked like he might turn up in the middle of the night. It was too late to find another hotel, so I dragged a chair across the door and spent a fitful night with one eye open. Nothing happened, of course. But I now travel with pepper spray and a padlock.
You can do all this, of course, and still have the long evenings to fill with the children fast asleep.
At other times, solo travel opened me up to huge discoveries. Travelling alone in Sri Lanka, I decided at the last minute to strike out for hill country on my own. In my former life, I would have waited until the man in my life was free. Or at least consulted him about itineraries. Now, there was no man and I began to find that freeing. I did things my husband would probably have not enjoyed, exploring back streets, visiting temples, eating dubious and grimy food from street vendors.
You can do all this, of course, and still have the long evenings to fill with the children fast asleep. It frightened me. Was there enough trashy TV and wine to fill them all? It took a while for me to realise that time and silence were gifts to cherish.
I read more than ever. I finished nearly 120 books last year.
December, 2015: I wrote a non-fiction book (with a co-author) in six months. When it was published, I began a novel. For years I had been telling myself I had no time to write one. Now I was tired of that lame excuse. Thinking about what my protagonists would do or say felt like having other people in the room. I finished my novel in a little over 18 months. Through it all, I read more than ever. I finished nearly 120 books last year.
I expect my long-distance marriage to end next year. I will be glad to be with my husband again, but I am also grateful to have had an opportunity to learn how to be alone – to overcome it, to love it. I know these lessons will stand me in good stead. When the children leave, when friends move away, if – the great unmentionable – my husband passes on. Then I shall be alone again, as we all must. I don’t imagine it’ll be easy. But at least I know I’ll be fine.

Sunday, July 3, 2016

If she says ‘no’, then leave her alone

Whenever we hear of a murder of a woman by a man, there are some among us who think ‘Kadhalichu Emathirupra’ (She would have cheated him after loving him) or ‘Love pannitu vera yarado vathu poi iruppa’ (She must have left him for someone else).

This is not restricted to just social media. Those who post such remarks on social media are also among our friends, colleagues and relatives in real life.

One such argument I have heard from people in my own social circle is: ‘Pathu siripalam, ketta love illanu solluvalam’ (She would smile at you but would say it’s not love).

There are three common scenarios which could possibly lead to ‘crimes of passion’ against women

1) Girl would have been in love with a guy but would have later changed her mind about it.

2) The girl would have been friendly, would have said ‘hi’ here and there, asked him about his health and smiled casually as she went around doing her work. If you have been brainwashed by the movies (‘pathu siricha love dan’ – if she smiles at you then it’s love), then immediately these are all signs of everlasting love and she is the woman of your dreams.

The guy would have misinterpreted this friendliness as signs of eternal love and when she says no, the guy would have got angry.

3) Girl would have committed for marriage, would have promised to stand by him throughout his life but later would have had second thoughts or found someone better.

In all these three scenarios, there is a tendency to blame the woman for leaving the man or for not accepting his love. This is where many men and even some women tend to think ‘Oh Kadhalichu Emathita’ (she cheated him after loving him)

‘Kadhalichu Emathita’ sentiment has two aspects:

-> Kadhlichu: She could have loved him genuinely or he would think so (or she didn’t even know someone like you existed.)

-> Emathita: She ‘cheated’.

Now, saying no to a love proposal is not cheating. Changing our mind about someone at a later stage is not cheating. Re-thinking decisions on commitment or marriage and choosing someone else is not cheating.

If you look at the proponents of ‘kadhalichu emathirupa’ sentiment, they argue that one girl should love only one guy throughout her lifetime. They don’t highlight the man who did the crime but rather the ‘character’ of the woman who is killed or attacked. It projects the silent message of approval of violence against women who say ‘no’.

We cannot expect a woman to love us just because we love her. It is not our ‘right’, no matter how divine, eternal or genuine we think of our love as.

What we need to understand is that women (or members of any gender, for that matter) have the right to say ‘no’ and say ‘yes’ and change their mind later.

Rejected lovers have thrown acid on the faces of women who refused their advances. Rejected lovers have released personal images of women who have said ‘no’, women have been killed for making a choice.

Male members of any civilised society would take ‘no’ for an answer and would leave the woman. As men of our society, what makes us respond in a violent way? The problem largely lies with the cinema culture and movie scenes that has brainwashed us since our childhood and made us believe that as men we have the right to look at any woman and decide that she is to be our lover and wife. If she refuses, all that it takes is a couple of love songs, action scenes and a little bit of harassment here and there and she is yours. Our cinema has made us believe that love is the universal goal of every man and we can do anything in our power and imagination to attain it, even if the girl says ‘no’.

A girl I loved also changed her mind about me. I couldn’t marry her but she is still my best friend. We should learn to let go and forget the ways of our cinema heroes. In case you didn’t notice, many of our cinema heroes didn’t marry out of love in their real lives. It’s their personal choice, but again understand that they didn’t follow what they show on the reel. I cried when she said ‘no’ and pleaded with her. But later I slowly learned to see that she didn’t hate me. She just couldn’t see me as a potential life partner, for which she couldn’t be blamed even though the fault is not mine.

The C-word we are using whenever such crimes against women happen is installation of CCTV cameras. The right C-word is ‘consent’. CCTV cameras can only catch the criminal. Educating the society about consent and the right to choose and leave will prevent the crime from happening in the first place.

We should have modern value-based education that would teach our kids about respecting the rights of women, the value of consent and the right to choose based on one’s personal preference. Our children need to be educated that the right to change one’s mind is also a part of right to choose.

This is what I want to say to everyone who has a cinematic view of love: Oru ponnu no-nu sollita vittudunga, Ava pinadi povathinga. If a girl says no to you, let her go and don’t go behind her.

Our heroes don’t show self-respect on screen. At least we can show it in our real lives.

Glorifying stalking and violence, when will Kollywood end this Kolaveri?

The police has, after an intense manhunt that lasted for a week, arrested the prime suspect in the techie murder case that sent shockwaves across Chennai. Swathi, a 24-year-old woman, was hacked to death by a man (now identified as P.Ramkumar) at the Nungambakkam railway station at 6.45 am on the 24th of June. There are conflicting reports about what happened and why, with an eye-witness even claiming that Swathi was slapped by another man a few days prior to the murder. From what the police has said so far, it appears that the suspect was in love with Swathi but that he couldn’t take it when she did not reciprocate. He, therefore, decided to end her life. And they say hell hath no fury like a woman scorned.

Sounds cinematic? Because it certainly is. The storyline is the wet dream of any Tamil film-maker who is looking for a soul-stirring tragic love story, the sort that will have at least one song with the drunken hero and his bros abusing women for being such bitches or sluts or innocent heart-breakers. The drunken men are fondly called ‘soup boys’, a term popularized by Dhanush in ‘Why this Kolaveri di?’, the gaana that broke the internet five years ago. Wait, what was the song about? A white-skinned woman with a black heart who rejected our man and ruined his life. Right.

 In a society where there are so many rules for falling in love (No.1 being that you don’t), it is not surprising that our ideas about love are so warped. Good girls and good boys don’t talk to each other. They are strictly heterosexual and marry the person of their parents’ choice, carefully selected after matching caste, class, education, complexion, height, salary, and horoscope. In the movies, romance is the selective disruption of these factors. The hero is an aspirational figure, the go-getter who overcomes any number of obstacles to ‘win’ the girl. And many a time, the obstacle on his path is the girl herself who calls him a ‘porukki’ or tells him in no uncertain terms not to follow her around. By the end of the movie, however, all her nays magically turn into a coy yes and everyone goes home happy. True love has won, consent be damned.

It is amazing to take a cursory look at Tamil cinema and discover the sheer variety of ways in which stalking is celebrated as romance and violence against women is openly encouraged. By now, everyone agrees that songs like ‘Adidaa avala’ (Mayakkam Enna) are a bit much but the plot of the average Tamil movie is reluctant to move away from misogyny. In fact, in “Paayum Puli”, Vishal plays the role of a cop who stalks and threatens a woman (Kajal Aggarwal) to fall in love with him and never for a moment are we supposed to think that this is anything but romantic. Or unlawful. “Nanbenda”, starring Udhayanidhi Stalin, is yet another stalker-lover movie which, as an added bonus, also teaches the audience how to find out if a woman checking into a hotel with a man is his wife or a sex worker. And oh, this film is U-rated. In “24”, Suriya plays the role of a typical gas-lighter, playing games with the heroine’s mind, dressing her up to suit his tastes without her knowledge and so on. So cute ya.

But it’s not just this new crop of films that have done this. In “Sethu”, a critically acclaimed film that made Vikram’s career, the hero is a college goon of sorts who falls in love with a meek girl. When she rejects his advances, he kidnaps her and threatens to smash her head with a rock if she doesn’t accept his ‘love’. The hero’s long speech in this truly appalling scene is everything that is wrong with how romance is celebrated in celluloid. And of course, the template isn’t particularly original. Remember Kamal Haasan in “Guna”? His deranged ‘Abirami-Abirami’ chants ought to chill our spine but instead, we weep into our popcorn and hum ‘Kanmani anbodu kadhalan’ to our loved one with great emotion even now.

Actors like Dhanush and Silambarasan have turned stalking into an art – the loser boy who has nothing in life going for him but can still aspire for the fair-skinned girl. Who wouldn’t want to be like him, eh? But if you thought the problem was with only these men who play ‘low-class’ characters in their films, you’d be wrong. In “Vaaranam Aayiram”, Suriya follows his love, Sameera Reddy, all the way to the US! After she has said no. With his father’s blessings. Apparently, this isn’t in the least creepy…it’s romantic, bro! In “Minnale”, Madhavan goes one step further and impersonates another man altogether to win the heroine’s heart. Phew.

In a society like ours where a woman’s sexuality is tightly controlled, everyone’s consent but her own matters. This notion is repeatedly reiterated and magnified in cinema. I’ve lost count of the number of times a hero has proudly declared onscreen that his sister is not ‘that type’ and that she will marry anyone he asks her to. And if a woman is to express her desire openly, why, she becomes a Neelambari whose only way out is death! Or, of course, she may do an item number and gracefully disappear.

It is simplistic to blame everything on cinema but one cannot deny that movies transmit cultural codes and behaviours. For instance, right after Swathi’s murder, a Facebook user, who belongs  to a  star’s fan club posted a comment saying women like Swathi deserved to die – ‘…pasanga lyf ah spoil pandra girl evala irundhalum matta pannanum’. Any girl who ‘spoils’ a boy’s life by rejecting him deserves to die, is this noble man’s thought. In a land where romance is so fraught with difficulty and moral policing is routine, we often take our cues about how to make the next move from our favourite people onscreen. The college boy who lusts after the girl-next-door does not see himself as the lecherous villain who is assaulting her…he sees himself as the righteous hero who is giving her what she deserves. He has learnt it from the men we cheer for in the darkness of a cinema hall, with the background music manipulating our minds and telling us exactly how we’re supposed to feel about what’s happening.

Misogyny is not exclusive to Tamil cinema certainly. A while ago, a woman named Annapurna Sunkara had made a Youtube video about how women are portrayed in poor light in Telugu films. The backlash and abuse she faced from movie stars and their fans was unbelievable to say the least. So no, misogyny is not limited to Kollywood but I honestly cannot remember the last Tamil film I watched in which women were not called ‘figure’ repeatedly. This objectification and reduction of women to their bodies is so normalized that it doesn’t even make us uncomfortable any more. We sit passively in our seats, with our kids, watching the hero and his machans take a piss on the women in their lives and laugh at the comedy that this is supposed to be. But enough is enough, boys. It’s time we had this conversation. You may not be guilty of this particular crime but you are guilty of perpetuating a culture that condones it. We all are.

How, then, does one make a good romance movie, you ask? I’m not convinced alcohol would help but start by seeing women as real people with minds and opinions of their own. And I’m sure you will ‘figure’ it out. 

Also read:

If she says 'no', then leave her alone: Chennai boy's emotional blog