Showing posts with label sajit. Show all posts
Showing posts with label sajit. Show all posts

Wednesday, May 05, 2010

Déjà vu

—:{ To: Sajit+MMRHS }:—

_And to Raphael, for a reason_

She sensed his discomfort quite readily: he had travelled a bit but he didn’t like to see places. She put him at ease by handing him a little doll she’d made out of a toffee wrapper. The doll was an afterthought—deft fingers, and she rolled it between her fingertips. They exchanged pleasantries. Then again he fell silent.

‘It seems like the storm has broken land. Brrr...it’s cold.’

He smiled, and then he turned, ‘Do you remember Lin?’

‘Vaguely...but he was so oddly named. In fact, the name’s all I recall of him...was fair, though, very girlish, curved eyebrows. Shouldn't you know?— He spoke with an accent. He must’ve been raised thereabouts.’

‘Oh, I didn’t know him at all...spoke to him once or twice, that’s all...you know, when we force it open, it’s those odd things which get stuck that come back at once.’

‘Hmm... like a dreadful jingle. Stays all day and drives you crazy.’

‘Like monkeys we hop from place to place to meet up here. Quite...locally, that is.’

‘Well, I'm not a local—not yet!’

‘Me neither...but the joke’s on, innit?’

‘Come on inside...it’s chilly...Can I offer you something? Coffee perhaps? Well, might as well be best, we're still learning and looking aren't we.’

Her place was nice; there was no hint of someone struggling to make ends meet. I was accustomed to the idea; she had struggled so long for so little. It was bound to stay. Single bedroom apartment. I recalled her telling me there was a spare room bare. For an occasional visitor. Parents, perhaps... ah, the things you grow accustomed to. In my mind's eye...she was still the little woman who made a lot of noise for so little. Unacknowledged favours, unreturned promises.

The balcony opened into a spacious living room—spacious, but sparse, and an antiquated bookshelf that held a couple of hundred books of the driest kind, technical books. Chemistry books.

‘I haven't seen your form lately with the word. May I consign you to a few minutes of crystalline boredom all alone, or in the company of these deafmute creatures (she motioned the library) while I shed the leavings of a hectic workday spent in the company of dandified fossils? Will you—’

‘It's okay, go and change.’

Does it change things, do things ever change...? But anything, anything...to gain time, to really know if nothing has changed.

She vanished without waiting for an answer. A spouting kettle announced an end to waiting.

‘How did you get into all of...this?’

‘Ah, yes, I'm glad you asked. I’m with a team of transcriptionists. Unfortunately it's the best I have on offer. I mean, I'm practically jobless without it. School's on a bizarre rent-a-week sort of economising.’

‘Which means—?'

‘Oh, nothing. I edit textbooks—for want of a better word—which require some homely rephrasing, but mainly it’s about wholesale cutting. Indian students still aren’t game for that sort of detail, not in my subject, they still think it's petrified history. I got a lucky break... Pays some bills anyhow.’

Quite impressive; it wasn't a bad collection by any reckoning. It was astonishing even to find a bookshelf in this place and time, but she had always been a good reader and an exemplary teacher. His eyes rested on a long row of shiny white-covered journals, possibly IEEE publications. It touched a chord...but far removed, far more recent, than her time. At school he didn't even knew these journals existed... There were memories too, bitter ones, but unrelated to her or to school. He turned his gaze and found that she was amused. Her progression seemed to have been linear.

'Lucky break, you say...'

‘Well, it was an acquaintance. I was seeing him for a year or so...and when he left, he set me up as a token. Does that satisfy your pipe dream chutes, Pinocchio?'

‘You are in good shape.’

‘You're a tasty morsel yourself. How come so blessed? Strychnine?’

‘The very idea! Why so retrograde in 2007? Selective amnesia?'

‘Well, something like that. I was counting on my memory being true. Was I so badly off—’

‘No no no... but you trod on me little toe.’

‘Nosey parker...as if you cared!’

‘The heady fragrance. Of romance. You can tell.’

‘Ah...yes. The odour of glossies must still turn you on or what?’

‘...Takes you back a long way...in time. Those wreckages, those magnificent ruins.’

Stung—he suddenly shrouded up, bottled. Her remark was reflective and supremely detached and its point—not to be missed. He had quipped without knowing, but now he stood at the precipice. He had been thinking of her immense effort in the classroom, working up such a pitch that she literally steamed out of every pore and beads lined her upper lips and brows. This was what his ardour found irresistible. And yet, it made her so very homely, natural, and vulnerable. This was precisely what she obliterated, then and there, in that cool Bangalore living room. He was wondering about layers of warpaint, wondering how she’d gotten to this, but she'd taken it off a while before and spared him. But she'd dealt it out, and for a cringing split-second he found it oppressive, that she was dealing out the context and policing his mind. In the soaked roots adolescence stuck fast like a white dress, pale and dark, blotchy but saintly, covering all but revealing, shredding your nerves—

‘Oh, I am so sorry...but you do live nearby, should've given you a bad turn often.’

My! If only she knew, if only she knew how it wrings the life out of poor love!

‘You can be cruel.’

She smiled a broken smile which opened out quickly and just then he became aware of a curious panel hung on the door of what appeared to be her bedroom. Four square white blotches stuck 2x2 in an enormous A2 size frame. He froze. If only—

Once more, she leaves me with no hole to escape. And this time...well, I shall face up to it.

‘If you only knew, if you only knew.’

‘Come, we needn’t draw circles again, need we. I was young and you were tiny. That was all.’

‘Oh, was it? I still used to moon a lot, and I never had the courage to go back there...not until after I had had my degree...and then I guess I fooled around, and, truth be told, you were never there for many days on end, never even in the back of my mind. But last week, I went back.’

‘Oh, so you did manage to break your pretty little heart...after twenty years?’

I turned up and our eyes locked. She was unflinching; there was no emotion in those eyes. My own, glassy, yielding. In those depths I recalled a wild girl, frantic, staring down a pit soggy with the scent of fresh mud and first rain. The sky went out like light, and the clouds announced her tragedy in no uncertain terms: a strong breeze sent spikes of fright, she was cut to the core. She waited and waited, with quivering, tight-shut eyes—but there was no thunder.

She trembled and swayed. She was too afraid even to move. She was not even aware if the place was deserted or whether anybody was listening nearby.

It didn't rain. To this day she has no recollection of what happened that evening, or whether it had turned night after that. She knew nothing, felt nothing. But she was there. She had stayed.



[1400; 20 edits; inching close to final]

I have added the second dedication to one who so really deserves it for having saved it from a (still sticky) premature end in the reader's bit-bucket; for him I have deleted the references to the coffee and altered its ending somewhat, choosing instead to leave it on its head, enigmatic, open to everything, just like the terrified girl we leave on the shore of the sickening ditch.

As I said, I have made changes. To someone who is keeping track of this `Kindling' series, the changes might give a possible alternative setting for the original `Kindling' post. This is perhaps where the boy (now adult) meets girl again?

What I recall of the place is essentially driving these changes, as the person in question is, sadly, not available for comment. If not the corpse, then the ghost.


Dedicated originally to Mr S, as I have the journey to school entirely to thank for this...though he played no other part other than that of a very significant pillion rider, weighing in at a ton of kilos.

I don't know how he refuses to believe the fact that I have the ride to thank for this piece...and nothing else. In fact, this never occurred to me until much later...which somehow also supports his theory that 'I had it all with me.' It's just a way of seeing things differently. But I never had this story in my mind until I sat down to write.

I'm taking a big break, so this 'edit' should suffice for some more days.

[264]

Wednesday, January 27, 2010

Three Songs, Reprise I

Song 1: Ariyathe ariyathe
Raavanaprabhu, 2001
Suresh Peters/Girish Puthencheri/P Jayachandran/KS Chithra

The song is the saving grace of an inane movie featuring a tubby, middle-aged superstar reprising his role in a series which started off admirably with Devaasuram. His love interest is the supergrown, supertubby singer-turned actor Vasundhara Das (heave!). Both are thoroughly unsuitable for the roles, but we leave it at that, we know how 'politically charged' these selections are. The song is a rare gem in an otherwise foundering genre (Malayalam OST, which now requires a polyglot to really tell which language is being used). It is a meticulously crafted song, and easily the best from Suresh Peters. No amount of analysis will give you an idea of utter conformance it demands from the audience which it keeps captive throughout. (While, filling the screen, we have nauseaous machinations and gesticulations from the two ponderous protagonists. We don't notice them, unless 'we' happen to be excessively sick. Or fond of getting sick.)

I should forewarn those who know the language that the lyric (typical Puthencheri) is crap. These are just words which Jayachandran renders a bit acceptable. Chithra only amplifies the comic effect.

Intro features a phenomenal flute ouverture with two performers: one is leading while the other, recurring throughout, is the beautiful 'rhythm' flute. This is stellar in its own right, and sets the tune for the rest of the fare.

Around the half-minute mark,the song is hijacked, as it were, by the excellent muted lead-guitar note, which is the main rhythm track of the song. This is nicely "filled up" by the rich, deep tone of a very well-executed bass line, which remains punchy right through. This complex note serves as its own counterpoint, which suddenly elevates it to another plane. This 'note' sets a strict tempo, and the ambience is rather taut, and the lead vocalist is also similarly tight-lipped. The song unravels with the falling cadence of the mridangam, which simulatenously unwinds the lyrics, spilling over to bawdy, with an open invitation to a public display of affection.

It should also be noted here that Chithra ruins the opening by "hurriyathe" the song, which she corrects in the iteration. The gaping quality of diction of the individual vocalists is a big disappointment of the song. It is the only flaw of a perfect song which no music composer/arranger could ever guard against (bad raw material).

The intro is followed by a relaxing veena-flute passage, and followed up by a hectic exchange of impassioned words between the proagonists.

The interlude ends with a notable grace (a simple triple note) performed with the mridangam. (In a typical performance this is a "hooray" after a long passage, but used here out-of-the-context to good effect, affording considerable musical compression.)

The final section reiterates the first lines, which Chithra's flawed diction and overindulgent rendition make revolting, even as one catches a glimpse of two stuffed, gluttonous fugures lazily reclining on a lavishly appointed velvet bed (memory fails me). The hero tumbles into bed with the quiescent female. Dunlop(s) on Dunlop(?)

The highlights of the song are the excellent solo performances on the flute, the incredible contrapuntal guitar rhythm track, and the perfect musical arrangement. Jayachandran supplements with his perfect diction and nuanced delivery, while Chithra detracts and disappoints.

Instruments: ~
  • Flute (x2, one lead and another rhythm—a very curious and novel arrangement, one of the highlights of the song)
  • Lead guitar and Bass guitar. The bass is where a lot of the action takes place, and is kept alive throughout using the most ingenious of melodies. I have seldom listened to a better bass-line track in Malayalam
  • Mridangam (x2, yes there are two), giving rise to split-beat-notes where accent is needed
  • Veena, which supports, and later takes up, the theme from the flute
  • Muted contrapuntal notes on the lead guitar providing the main beat, which is the highlight of the song, and a stylistic 'first'

Other notables: ~
Jayachandran's immaculate diction, and KS Chitra's second-rate intonation of "vaartthinkal", "kas'thoori", and the initial "harriyathe" disfigure the perfect Malayalam song. Even Jayachandran seems to get tired of Chitra's diction which strays way off the mark, and he finally admonishes: "nee vanavalaakayay padunnu." (Note the finality of his ending. It's almost a chiding. He sounds ironical. He's known to chide co-singers in this fashion while singing; he's a most stoic and professional singer but sometimes even he cannot help noticing what a hash the co-singer is making of the song.) Apart from that, the lyrics itself is particularly cruel on the female: a vana valaaka is probably a wild crane (forgive my scanty knowledge of Kalidasa), a bird whose cry is not sweet by any reckoning. Puthencheri nets an own goal here, as he has done on so many occasions elsewhere.

[850]
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To Sajit: I'll add the lyrics and the rest of the article and clean this up a bit, just posted this as an 'Interim.'

Since you already made sense, I don't think I have to strain myself with the lyrics.