Out of Station

We're going on vacation. Whee!

Mohini, by Raja Ravi Varma, 1895
(Via tiffinbox) Southern Exposure: Highlighting the work of photographers from the majority world. Terrific photographs from the Subcontinent and elsewhere, with commentary by the photographers.

(Via An Agoraphobic's Brown Study) 75 Degrees South - a blog by someone who is sailing for Antarctica, where he will spend the next two and a half years. I love this kind of thing - reading about different worlds. That's what I wanted this blog to be about. And if you're sweating in the tropics, 75 Degrees South has the additional benefit of allowing you to imagine that you're really, really cold.

(via selective amnesia) an interesting-looking new website, Living in India
Living in India is a new community 'blogzine' produced by a cooperative of bloggers and writers with a focus on India. It is being developed in conjunction with the teams behind Living in China and India Economy Watch...

Bloggers provide alternative voices to mainstream media. This site aims to showcase the wide variety of opinions and experiences of people living in—and writing about—this large and important nation....

We invite all bloggers from India and beyond to participate.
Ecotone's group blogging topic this time is Mythic Place. For my contribution I've linked to my earlier piece about the Shri Marundeeswarar Temple in the suburb of Thiruvanmiyur.


Here are three poems from A. K. Ramanujan's Hymns for the Drowning: Poems for Vishnu by Nammalvar. Nammalvar (approx. AD 880-930) was one of the twelve Alvars, Tamil saint-poets devoted to Vishnu. They wrote the earliest devotional poetry in any Indian language. (I have already posted a couple of poems from this book here.)

beware, your life is in danger:

the lord of gardens is a thief,
a cheat,
master of illusions;

he came to me,
a wizard with words,
sneaked into my body,
my breath,

with bystanders looking on
but seeing nothing,
he consumed me
life and limb,

and filled me,
made me over
into himself.


My lord
who lives in the city
of names
came here today

said he'd never leave
entered me
filled my heart

I've caught him
the big-bellied one
not content yet
with all that guzzling
on the sevenfold clouds
the seven seas
the seven mountains
and the world that holds them all

I've caught him
I contain him now.


Instead of getting his praises
sung by the great poets

comes here today,

makes me over into himself
and gets me to sing of him,

my lord of paradise.


On the Balcony

We had coffee on the balcony. Wicker chairs, a wicker table, potted plants. The balcony wall is solid and high. Above our heads were palm fronds from the neighbour's tree, and all we could see were the tops of our feathery casuarinas and gul mohurs, and eucalyptus.

Because everything was reduced to this small space, I sensed the texture of things more strongly than elsewhere - the incised design on the pottery mugs, the teapot's bamboo handle. The multi-layered paint on the white wicker furniture, the chip on the rim of the pot which holds a small fir tree. The palm fronds which bobbed just above me and seemed about to brush my face.

Beyond the balcony is the compound wall and the road. Beyond that is a construction site which used to be a marshy backwater, which stank once in a while in the dry season. Beyond that is a small cemetery. I went there one day, and asked the caretaker to open the gate. He stood with his dog barking beside him, and shook his head.

Beyond the cemetery is another narrow body of water, which stinks more than our backwater did, and beyond that is Foreshore Estates and the beginning of Santhome High Road, which is narrow and congested, full of shops and houses, churches and schools.

I took an American visitor to Santhome Cathedral once, to see the tomb of Saint Thomas the Apostle. It's probably not really his tomb, and the church is not very interesting, but this man crossed himself repeatedly, and touched the feet of a crucifix hanging on the wall, and put his fingers to his lips.

Camp elephants get a warm adieu -- Tamil Nadu's month-long R&R for elephants comes to an end.

Hinglish and Miniatures

Metafilter has a link to Walrus, a new Canadian magazine. I found there an article, Lingua Franchise, about the way Asian languages are mixing with English. This is something that, at least in advertising, is very fashionable here right now. So I take the opportunity to post my favourite example of Hinglish, an advertising jingle -- with a very catchy tune -- promoting the drinking of milk (and one of the first to use a Hindi-English mix in this playful way -- I wrote it down in 1996):
Doodh doodh doodh doodh doodh hai wonderful
Pi sakte ho roz a glassful

Doodh doodh doodh doodh doodh, wonderful doodh,

Garmi me dalo doodh me ice
Doodh ban gaya very nice
Piyo daily once or twice
Mil jayega tasty surprise

Doodh doodh doodh doodh doodh, wonderful doodh,

Doodh hai must in every season
Piyo doodh for healthy reason
Rahoge phir fit and fine
Jiyoge past ninety-nine

Doodh doodh doodh doodh doodh, wonderful doodh,

Charon aur, mach gaya shor
Give me more, give me more!

Gimme gimme gimme gimme gimme gimme wonderful doodh
glassful doodh

In the same magazine, I also found an article, Small Worlds, about Pakistani miniature artist Saira Wasim. Wasim uses the ancient art of miniature painting to comment on issues of importance to her: the Musharraf regime in Pakistan, "honour" killing, the mullahs. She must therefore live in exile

More on Saira Wasim:

Saira Wasim's Free Artist Portfolio

Playing with a Loaded Gun: Contemporary Art in Pakistan

American Effect = Death Threat: The Art of Saira Wasim

Saira Wasim's Waterlilies, from the series 'Honour Killings'

Miniatures in another vein

Contemporary Miniature Paintings From Pakistan (Saira Wasim and others)

Manouvering Miniatures: Contemporary Art from Pakistan (Saira Wasim and others)

Yes, and also in Walrus, Margaret Atwood reviews a number of books about Iran: Resisting the Veil
Digital technology displacing signboard artists


Hoarding painters mourn the loss of their livelihood
with vinyl signs gaining popularity



I am a green goddess.
My name means Fish-eye:
like a fish-mother, whose eyes never close,
I'm always watching over my children.

Yes, fish eat their young - I do that too.
I protect the city, I destroy it.
Even I don't know what I'm going to do next.
It's safest to keep me confined.
My priests let me out once a year
for my wedding.

Each year I marry Shiva,
an invader from the north.
He smears himself with ashes,
wears snakes around his neck.
My parents find him disgusting,
which only increases my ardour.

Soon we'll do battle, just like last year:
I'll defeat him, emerge from my sanctum,
the people will celebrate our union.
Then they'll lock me up again.

Sometimes I want to be plain Meen,
to swim away from husband and city,
from the heavy garlands that weigh on my neck,
from the chanting priests' oil lamps and flowers,
from my worshippers' fears and expectations,
to lose myself in the teeming ocean,
get a day job, cut my hair,
go shopping, sit in a bar alone,
and once a year, perhaps, remember.


L: T found an old silver hammer, and he put it over his shoulder like an axe and said he was Parasuram, and walked up and down the house like that! It was so funny! (begins to laugh.)

T: (takes the hammer, which he has gone to his house to fetch, and holds it against his right shoulder - in a false, booming voice) I am Parasuram! I'll use my axe to tear out everybody's entrails! (waves the hammer.) Ow! My hand! (wincing and making a terrible face. He has pulled a muscle in his shoulder. Rubbing it, he resumes his normal voice.) In the morning I was Parasuram, and at night I decided to call myself T Nayak, because I saw a very nice Telugu movie yesterday, about the Vijayanagar kings. My family are Nayaks, and we may have royal blood.

My necklace is made of tiger claws. My mother made it for me when I finished my law. (Removes it from his neck, wipes it with his handkerchief and hands it to me. I see two curved objects that look as if made of toenails, surrounded by a thin gold case, with a bar across the top with his name etched on one side, and a flower design with six good-sized diamonds on the other.) There was an emerald hanging down from the centre here, but L took it, because she wanted to make it into a ring with two diamonds. Then she decided to use the diamonds for something else, and she forgot about the emerald, and our jeweller, he's a very honest fellow, he called up and said, 'Don't you want to take your emerald?' It's very valuable, old-fashioned, very dark green. I have a pair of cufflinks, each one has one tiger claw.

L: (proudly) It has the claw on one side, and an arrow on the other.

T: I also had a big tiger skin, with the head, for a rug, with teeth and all, and I took the skull and kept it for a while, and it had the claws, and I kept them, and I kept the teeth. I have them, too. They make jewellry with tiger's teeth, a row of teeth set in gold.

In Bangalore a man wanted to sell a baby tiger paw. He wanted Rs. 500 for it, then he came down, and finally we paid Rs. 35. L wanted it for the claws, but I said, 'It's not a tiger's paw, it's a baby bear's paw, that they've chopped off,' so she threw it away.

Hanuman: the Logo

I took this picture, from the side of a truck, because it illustrates the way Hindu gods are so proximate, so intimately known, that you can even use them as business logos, or for advertising slogans.

This transport company, now a courier, has been around for a long time. The picture of Hanuman which is its logo illustrates a story from the epic Ramayana. According to the website of a Hanuman temple here in Chennai:
During the war between Lord Rama and Raavana, an arrow of Meghnad hit the Laxman and he became unconscious. The army of Lord Rama sunk in the ocean of sadness and grief. Lord Rama himself was too much sad. Then Sushen Vaidya told that only `Sanjivani Booty' (A herb only found on Sumeru Hill) could save Laxman. Hanuman went on Sumeru hill, which was far away from the battlefield. There were many herbs like `Sanjivani Booty'. Confused Hanuman immediately lifted Sumeru Hill in his right hand and flew back to Lanka battlefield. Laxman was saved.
Here is more about Hanuman, from the temple's website.

And here is a joke, which refers to the end of the Ramayana, when Hanuman rescues Sita. (For the purposes of Indian humour, Sardarjis - Sikhs - are considered to be extremely stupid.):
Q: How do you know Hanuman was a Sardarji?

A: Only a Sardarji would be so stupid, to set his tail on fire to burn down a city in order to rescue another man's wife.

(update: Ramnath adds:
I had recently been to Trichy and there is a Sanjeevini hill about 100 kms from there, in Nilakottai. It is supposed to be having hundreds of medicinal herbs. ... a range of hills in Rayalseema region in Andhra Pradesh is believed to be 'coloured' by the ashes from his tail, as he flew back from Sri Lanka. If you look at those hills, you will find the upper part dark brown in colour, and the rest light brown.
I love the way there are stories everywhere -- it's one of my favourite things about India. And they are endless.)

Aniket Prakash Jadhan, 9, shows a painted hand of approval
after making his mark on a mural by JJSchool of Arts students
at the banyan Tree Centre in Dharavi, Mumbai
-- AFP

Kitschmass is Coming

(via Mirabilis) 12 days of Kitschmass - "for the best bad taste religious gifts." Don't miss the Mother Teresa With Child figurine, for only $42.00.

As 12 days of Kitschmass says,
...we bring you the Mother Teresa and White Baby Figurine. Blessed Ma T may have sacrificed all to live among the starving in India, but surely her real soft spot was for gleaming white babies of the West. It warms your heart to see hers go out to this child, condemned to a life of junk food obesity, student debt and congestion charges.

Bombay Bazaar

Dublog is back. Here's one from there, with good photographs of Bombay, and an entertaining text:

Bombay Bazaar

Photography and text by Catherine Karnow, with quotes from Pico Iyer.

In the fall of 1996 I traveled to Bombay to work with Pico Iyer on a story for Islands magazine. The piece would be published in 1997, the year of the Golden Jubilee, the fiftieth anniversary of India's independence from Britain. Pico's family were from Bombay. The city was for him his "step-motherland." Pico went before me, and I followed to make my pictures.

Since I had grown up in the sixties in British Hong Kong, Bombay was at once familiar. As soon as I stepped out of the airport there was that same musty humid smell. It felt old, like sixties Asia: faded posters, smudged paint, life on the streets, a slow pace. At the airport curb were a line of tiny toy taxis painted yellow and black...

At Film City, Bollywood's largest film studio, actors in a T.V. series,
"The Life of Shiva," get ready for their scene.

Newspaper Stuff

No Woman, No Bride
What happens to society if women become extinct? This is the subject of "Matrubhoomi". GOWRI RAMNARAYAN talks to filmmaker Manish Jha.

A NEWSPAPER reported that a village in Gujarat had no women left; it had to seek brides in neighbouring villages. It disturbed young Manish Jha so much that he had to come to terms with it by making a film on the subject. But as the ironically named "Matrubhoomi" took shape on mind, paper and screen, the location shifted to the northern belt and the time to the future. Meanwhile statistics continued to record alarming falls in the population of women in many Indian States, indicating that the future was imminent. Infanticide and abortion after sex determination tests during pregnancy were the cited as major causes. UNESCO reported that 50 million women were missing from the population of India due to gender discrimination. Not surprising in a society where getting a daughter married often spelt financial disaster for the family. ...

A cookbook review -- one that I'm certainly going to buy: The Holy Food
Prasadam: Food of the Hindu Gods
By Nalini Rajan

... Prasadam is ... made up of lucidly written recipes of festive dishes we hold sacred, particularly because they are what we offer to domestic deities, and consume as ‘prasad’...

If this was a mere recipe book however, it could hardly have had the impact it does. What makes Prasadam of more long-standing interest is the manner in which it looks at the themes and motifs of Hindu worship and practice, and connects them to the social and historical developments that took place alongside. This makes for a layered narration which does not dismiss the myths and beliefs that buttress our festivals, but provides ways of looking at these myths that enrich our understanding of the context that gave birth to them. There is a charming, digressionary quality to the text that saves the book from being too structured or unappealing...

Whether it is Moon worship and milk-rich recipes, the Laxmi theme being celebrated with grain and pulse, our food staples, the profusion of tasty fare around the Harvest theme of Pongal, and the dry, storable sweets and savouries around Divali and Kartikkai Deepam, the food and the myths that serve to give it meaning and significance have been convincingly presented to the reader...

Metrowater seeks divine intervention _ with yagna at Puzhal lake
CHENNAI: With the North East monsoon playing hide and seek with the City and nearing its withdrawal stage, Metrowater, the primary water supplier here, now has nothing else to bank on but divine intervention.

With experts forecasting a dry summer for City residents and the water level at the reservoirs around the metropolis decreasing very fast, the Metrowater officials have gone ahead with their plans to appease `Varuna', the god of rains, to bring the much-needed showers to the City and enable them to maintain the minimum water supply to residents.

According to sources, they performed a five-hour `yagna', a special form of worship, at the Puzhal lake, one of the main sources of drinking water to the city....

A very scary article from the New York Times: Pakistan Is...

For a liberal and thoughtful Pakistani view, see the weekly Friday Times (free registration required) and its sister newspaper, The Daily Times.

(Today's issue of The Daily Times includes an excerpt from Barbara Tuchman's The March of Folly: From Troy to Vietnam, a book that I am frequently reminded of these days.)

In Beulah Land

I'm a memsahib now. But when I lived in Washington, D.C., I tuned in every Sunday morning to a radio program called Stained Glass Bluegrass, on WAMU. When the Bluegrass Cardinals played in Lahore (yes! really! -- brought there by the now-defunct USIA), I stood up and requested 'There is a Fountain Filled With Blood.'

How it happened is, I started with folk music as a teenager, and moved on to folklore, and thence to comparative religion and from there to here -- it's all connected.

The point being that I just saw a link on Zellar: Open All Night to this links page, which connected me to a bluegrass gospel lyrics index, and two links for Sacred Harp, which is wonderful to sing -- very austere harmonies, and meant for participation, not for listening apart: Fasola and The Sacred Harp Online Index.

Lovely stuff.

(Update: Thanks to Bill of Prairie Point, who sent me another Sacred Harp link -- an NPR program, Preserving the Sacred Harp Tradition. Be sure to listen to it, if you've never heard Sacred Harp before.)


There are more than a billion people in India. (There are more than four million people in Chennai, of whom more than one million live in slums.) Who can grasp such numbers? For the most part, the people whom one knows or finds familiar float like an island on a sea of undifferentiated bodies. Then one reads something like this:

Violence forces Indian job recruitment campaign off the rails

When the Indian railways, one of the world's biggest non-military employers, advertised for 20,000 unskilled jobs recently, 5 million men applied.

The jobs were for "gangmen", whose work involves patrolling the tracks to check the conditions of the rails.

The monthly wage is about 6,000 rupees (£80) and no school-leaving certificate is required. But among the applicants were hundreds of graduates, postgraduates, MBAs and engineers. ...

At two recruitment centres, Mumbai, and the capital of Assam state in the north-east, Guwahati, local people stopped job-seekers from other states from appearing for the tests. They wanted the jobs reserved for candidates from their own states. More than 50 people died in the ensuing violence and railway offices were ransacked.

The recruitment drive was suspended last week. Competition for the jobs was too fierce, for even Indian railways - which employs more than 1.5 million people - to handle. ...
Five million people! It's as if the entire population of the city were struggling to get one of those 20,000 jobs.

Chennai is fairly fortunate: it's one of the IT centres, and has some industry (Ford makes cars here, for example). But even here there aren't enough jobs. According to the article 30% of the Indians who do have jobs -- about 50% of the population -- are casual labourers, working for day wages.

I watched some of these day labourers in Mahabalipuram. The hotel wasn't yet open to the general public. The hundreds of granite paving stones for the walkways were carried from the central unloading point by hand:

Earth and fertilizer and sand were carried by the headload:

There were certainly more high-tech solutions available -- from wheelbarrows on up. And yet this was the most economically efficient way to proceed, because nothing is cheaper than human labour.

These workers make about Rs. 150 a day. If they were fully employed, that wouldn't be a bad salary -- but when this hotel is finished, the workers will have to look for work somewhere else. When they are too old to work, they will have to depend on their children, since there is no government safety net waiting to catch them -- one of the reasons why the poor have larger families, and why they value sons more than daughters.

I don't have anything profound to say. I usually do quirky, or poignant, or lyrical - weak and equivocating. Then something smites me, as this article did.

Moving Here

Moving Here: 200 Years of Migration to England (via Special Places) tells the stories of the people who migrated to England from all over the world.
Moving Here is the biggest database of digitised photographs, maps, objects, documents and audio items from 30 local and national archives, museums and libraries which record migration experiences of the last 200 years.
Here's the culture and festivals section for South Asia. There's a lot more.

Cinema on the Streets

(An AP article, published in The Hindu, but not available on its website)
Kolkata - Just about every night, when the workday ends and this crowded, crumbling city comes alive with evening shoppers, two boys push a battered metal cart through the streets, looking for a place to set up their century-old machine.

And every night, when they start turning the crank, the children come.

Because hidden inside the cart is a tiny movie screen, no more than 25cm high, where a 19th-century projector throws up haphazard clips from Indian musicals.

 Muhammed Salim at work on his bioscope in Kolkata - AP

The scenes are blurry, the sound quality worse, and the plot, if that's the right word, is nothing but random slices of random musicals.

But in a neighbourhood where poverty is the norm and most homes are moulding concrete shacks, the Salim family's mobile movie theatre - technically, it's called a bioscope, though they simply call it "the machine" - can bring 10 minutes of joy for a few cents. Even around here, it's affordable.

"Once I put on the music, the children come and they have to watch," said Muhammed Salim (50) a greying potbellied man whose father began showing movies on Kolkata's pavements decades ago, and whose adolescent sons now work the machine most nights. "It doesn't really matter what's on."

The audience, most of them 8- to 10-year-olds, agree.

They could see much of the same on television, but that would miss the point: the bioscope is a novelty; it's watching gears rattle; it's the freedom of spending a little - and around here only a little - money.

"I love this thing," said Zeeshan Farouq, who spends nearly an hour a night at the bioscope.

In action, it's a bizarre sight, a clattering, shrieking crate that seems to be spilling children from its sides.

About 150cm long, it has a hand-cranked projector, marked 1898, that beams images into a rectangular metal box.

Up to a dozen children can crouch along the sides, watching through a slot. A blanket hangs over their heads, blocking out stray light, and a cheap speaker plays soundtracks at screechingly high volumes. Half a rupee brings 10 minutes of screen time.

Salim's movies are cobbled together from movies shown over the past decade. Fishing through bins at film recyclers, he simply searches for dance scenes and splices them into one film.

"The kids don't care (about quality), as long as people are moving on the screen," he said.

For three generations, the Salims have brought movies to the streets of Kolkata (the new name for Calcutta), beginning long before World War 2, when India was a British colony and thousands of bioscopes played silent black-and-white films.

These days, Salim's movies reflect a dramatically changed movie world, complete with buxom actresses, luxuriously swaying hips and plenty of scenes of clinging wet saris.

"It has been 70 or 80 years we've been showing movies," said Salim, whose father depended on the bioscope for his entire income.

These days, Salim says, there are just two bioscopes in Kolkata, a city of 10-million people. A handful of others are thought to be scattered across India.

The owner of a small tea stand, Salim runs his machine to earn a little extra money - he makes about 100 rupees (R14) on a decent movie night - and, in no small part, out of nostalgia.

"It reminds me of my childhood," said Salim.

His children are less romantic. "When I grow up I'll do this," said 12-year-old Jasin, who hopes to become an embroiderer. "If there's no work, I'll have to do it."

Salim is, by his own admission, a fairly simple man. His tattered button-down shirt is stained. His needs are few. His children are barely educated.

His love of the bioscope reflects a nation obsessed with movies.

Bollywood, the Mumbai-based movie world, cranks out more than 800 films a year, making it the most prolific film industry in the world.

Most are musicals that follow a strict boy-meets-then-loses-then-gets-girl formula. Unhappy endings are rare. Actors suddenly burst into elaborate song-and-dance numbers.

Urban cinemas are often packed, and across rural India, movies are shown on portable screens trucked to small towns and powered by generators. AP
Vaishnavite Temples in Tamil Nadu

Saivite Temples in Tamil Nadu

Preserving Place - the Ecotone group blogging topic for December 1.

How beautiful this is! Stonehenge 360 (via Caterina).

And so is this: Mr. Picassohead. Create your own Picasso. (Where did I find it?)

Since someone asked: I didn't even come close to finishing my NaNoWriMo novel. The minute we decided to go away for a week I knew I was doomed. I tried to write in Mahabalipuram, but mainly I thought about what a dull piece of work I was labouring over, and wishing I had a little more pizzazz in my soul. Khair, tomorrow is another day.

(I like that word, pizzazz! It just popped into my head, it's not one that I use. Do people use it any more? There's something about words with 'z' in them, like 'zing.' -- they seem to have energy -- 'sizzle' -- that's why I like the Urdu word 'zilzilla' - earthquake. It sounds to me like a thunderbolt, striking the earth and cleaving it open.)

In the Garden

I went outside to inspect the garden. It's the most pleasant time of year, which means that the temperature varies between 70 to 87 degrees Fahrenheit. The sea breeze, which is almost constant during the monsoon season, keeps every branch and stem in delicate motion.

The garden is attractive but untidy -- we didn't want manicured shrubs and neat rows of flowers. Good thing, in fact, since none of our succession of gardeners has known anything about gardening. The closest we came was one farm boy, who mutilated the casuarina trees by trimming them as one would if one were growing them for timber, removing the lower branches with their sprays of segmented needles. We could hardly bear to look out the window; but now shrubs, and the eucalyptus trees which alternate with the casuarinas, have hidden the damage.

I took a picture of a spiky plant that has unexpectedly (unexpected by me) put forth long stalks of orange berries.

I told Chinnaraj, who was sweeping, to put one of the aloe plants in a pot for a friend who has a skin allergy, and feels that only aloe can help her.

I pulled a couple of weeds and Chinnaraj hurried over to me. "No, no! That's good for jaundice!" I didn't understand him at first, because he used the Tamil word for 'yellow,' but then he gestured at his eyes, so I said, "Oh, you mean it's medicine?" He nodded. Everybody here, literate or not, has a store of home remedies. I said heartlessly, "No one has jaundice here. Pull it out."

My friend came for the aloe, and said that she had planned to bring her grand-daughter as well. But the grand-daughter, who grew up in England and is spending part of her gap year working at an AIDS-related NGO here, got a call that Richard Gere was visiting the NGO today. So she put on her new kurta and rushed off.


Waiting like a morning-garden spider
spinning daydreams, hoping for a dragonfly,
fearing something hardly fit to eat.

Waiting to be an expat in a sunhat
and dark glasses, sipping something tall
and as cool as I am
at a Paris cafe.

Waiting to be thin, waiting for a facelift,
waiting for a lift like Audrey Hepburn
in Two for the Road, waiting for Albert Finney.

Waiting to be famous so I can be modest.
Counting my blessings and waiting for some more.
Waiting to tire of waiting.


The Bitter and the Sweet of Temporary Things

Back in March, Time Magazine's Asia edition had an article about a Bhutanese film-maker, Khyentse Norbu -- The God of Small Films. I suddenly remembered it, and hunted it up. The part that came back to me was this:
...Another character Dondup comes across along the highway is an 81-year-old apple-seller, played appropriately by an 81-year-old apple-seller whom Khyentse Norbu found in a market in Thimpu. The apple man in the film-and on the set-is a perfect representative of the innocence of old Bhutan that Dondup initially finds so unattractive. Despite the crew's genuine efforts to make him understand that he's an actor, the apple-seller thinks everything about the shoot is real. For three weeks, each time he is asked to board a vehicle bound in the story for Thimpu, he believes he's actually going home. When a scene calls for him to fall asleep by a campfire, he does just that. When he's offered a cup of butter tea with the cameras rolling, he complains that it's not salty enough. By his last day of shooting he's thoroughly confused. He's just played a scene in which he cheerfully bids farewell to the other travellers and steps onto a bus. When it stops seconds later and backs up to let him off for the next take, he stomps his foot in bewildered frustration. "It only took me four hours to get here from Thimpu," he says to Khyentse Norbu with a slight hint of reproach. "I can't figure out why it's taking me so many days to get back."....

Rain ... Elsewhere

As Chennai continues to be dry, with only a couple of weeks to go before the end of the monsoon season, the rest of the South is getting a lot of rain. Here's a picture that caught my eye, taken in Pondicherry, about 4 hours' drive south of here -- from today's New Indian Express:

A family in Rainbow Nagar braves it out during the rain on Sunday

How docilely these people have lined up to be photographed! I got the feeling that they would have done the same even if the water were higher.

The main thing about this photograph - for me - is that they have posed for it. But since my previous post was about some very ordinary buildings: This shows another level of domestic architecture. It represents an income level higher than the palm-leaf hut, but several steps below the other houses mentioned in my post.


I wanted to photograph this scene, just off of Haddows Road, because it represents a) the range of architecture here; and b) the way things are all jumbled together.

The hut in the foreground, made of coconut palm fronds woven into mats, is a watchman's hut for a construction site. You can put one up in any empty space -- a river or canal bank, space left over at the end of a cul-de-sac, on the side of a road. Slums composed of these huts can spring up almost overnight.

The plastered-brick or cement block buildings in the middle are also very common, and represent most of what you actually see here.

There are lots of modern buildings like the one in the back -- Chennai has been undergoing a building boom in the last few years. But they still seem somewhat incongruous, or at least noticeable, because they are not the norm.

Here's an article with pictures of three houses which have been used as locations for popular local TV serials: a wealthy person's beach house, a traditional town house (very charming to me, though I don't know how it would be to live in it), and a prosperous middle-class house.