A New Yorker review of The Econ­omy of Pres­tige, a book by James Eng­lish where he argues that “the threat of scan­dal” is essen­tial to the via­bilty of a lit­er­ary award, and that it is “at least as impor­tant that the prize go to the wrong per­son as that it go to the right one.” That explains Banville. (sorry Lavanya).

When the first Nobel Prize in Lit­er­a­ture went to Sully Prud­homme, in 1901, the choice was regarded as a scan­dal, since Leo Tol­stoy hap­pened to be alive. The Swedish Acad­emy was so unnerved by the pub­lic crit­i­cism it received that its mem­bers made a point of pass­ing over Tol­stoy for the rest of his life—just to show, appar­ently, that they knew what they were doing the first time around—honoring instead such immor­tals as Bjørn­st­jerne Bjørn­son, José Echegaray, Hen­ryk Sienkiewicz, Gio­suè Car­ducci, Rudolf Eucken, and Selma Lagerlöf.

Eng­lish says that for prizes to “mat­ter” they need to be thought of as “fun­da­men­tally scan­dalous” by the pub­lic — scan­dalous in the sense that art should really have noth­ing to do with win­ning or losing.

In English’s view, there­fore, [Toni] Morrison’s friends and admir­ers vio­lated the pro­to­cols of prize-bashing not because they pub­licly crit­i­cized the choice of the National Book Award judges but because they acknowl­edged that the award really mat­ters, that it is (in their words) a “key­stone honor” that helps to val­i­date a book and estab­lish its author. Their state­ment pointed out, in the frank­est terms, that there is a lit­er­ary mar­ket­place, and that power and authority–“cultural cap­i­tal,” to use the term that Eng­lish bor­rows from the soci­ol­o­gist Pierre Bourdieu–accrue to those who suc­ceed in it. Art does not receive its reward in Heaven; it is one of the things that belong to Caesar.

Eng­lish spec­u­lates that this will­ing­ness to speak with­out embar­rass­ment about the sig­nif­i­cance of prizes and awards, and about the whole econ­omy of cul­tural pro­duc­tion and con­sump­tion, may, para­dox­i­cally, sig­nal the demise of the prize system.

The book also sounds a hope­ful note for wannabe creators:

There are now more movie awards given out every year–about nine thousand–than there are new movies, and the num­ber of lit­er­ary prizes is climb­ing much faster than the num­ber of books published.

Nice. I’ll remem­ber that for the next time I run into an award win­ning writer.

 

Update: I’ve assigned seven peo­ple to start work­ing on col­lat­ing posts, and they tell me they’ll be ready tomor­row. Pliss to bear with us until then.

This blog will host the Bhara­teeya Blog Mela this week, and all the under­lings that work for etcetera (Motto: We pay you after only 85 emails) join the boss man in invit­ing you to nom­i­nate posts, sub­ject to the fol­low­ing edicts:

  • Posts must be writ­ten by Indi­ans, or have an Indian con­nec­tion of some sort.
  • Posts must be dated between the 16th and the 22nd of Decem­ber 2005.
  • Only nom­i­na­tions received before mid­night on the 22nd will be con­sid­ered for the mela
  • Nom­i­na­tion does not guar­an­tee pub­li­ca­tion, non-nomination does not pre­clude pub­li­ca­tion. In other words, we will get one of the under­lings to scour the web for posts.
  • One post per writer, please.
Dec 102005
 

Our web­mas­ter took off for some­where, the jerk. Until he returns, you’ll be spared his bad humor.

PS: Our prouf­reader also not availabale.

 

I have been unable to sleep over the last few days. While mean peo­ple might think it is just jet­lag, the truth couldn’t be far­ther away. The truth is, I can’t sleep because I am wor­ried. Very worried.

Blog­ging seems to be an activ­ity with a very lim­ited life­time, and quite a few peo­ple are retir­ing rather early. Burnt out, bored, tired, what­ever. As I toss and turn, I know that some day in the future, I will have to call it a day. And when I do, what would I leave behind? What will I be remem­bered for?

You see, dear reader, I am wor­ried about my legacy. I am also slightly con­cerned about doz­ing off at work tomor­row, but let’s set that aside for a minute and talk about my legacy.

After giv­ing it a lot of thought (three nights, no sleep) I think I have fig­ured out what I need to do — I need to trans­fer my con­sid­er­able knowl­edge of almost every­thing under the sun (except Konkani clas­si­cal music) to peo­ple. After some more thought (one night, no sleep) I have decided that the best place for me to start this process would be movies.

Bad angle, no teardropAs I write this, visions of numero­log­i­cally cor­rect movie titles that say “Thanks to Stochhas­tic­cca” or “A Klas­sic Kon­cieved at Karthik’s Blag” cloud my mind. Maybe some­one from Hollywood’ll pick up these lessons, and when she wins an Oscar she’ll say “I owe it all to Karthik”, as tear drops roll down her cheeks, fall on her neck and con­tinue on down­wards. Nice. Why did I not think of this earlier?

I will sleep a lit­tle and then come back and start off with the first les­son in the Sto­chas­tica Sinema School Series.

__________________________________________________

Please, these are not the tears I meantI am up now, and visions of that lonely tear drop still linger. Tempt­ing as it is to start off with the act­ing school for women, I will self­lessly start off the first les­son with tips on writ­ing good punch lines for Indian movies.

But the truth is, if you don’t know how to write good punch lines, you will never make it big as a screen­writer in any lan­guage but Hindi. To be suc­cess­ful in Hindi, screen­writ­ers need to make it big in Hol­ly­wood first. And oh, before I for­get, the act­ing school for women will meet next week, soon after I get my haircut.

Let’s start with a question.

A fat man is beat­ing up fit peo­ple. Unable to bear the over­pow­er­ing strength of his flab, the fit guys have no option but to try and elec­tro­cute the fat man. But he is stronger than that, so the moment the wires touch him, the power sta­tion that gen­er­ated the elec­tric­ity that dared approach the fat man explodes. Spectacularly.

The fat man turns to the fit guys, and tells them, “Don’t be shocked! I can shock elec­tric­ity!” He then swishes his hands, turns around and walks away in slow motion — the cam­era focus­ing on his fat ass. [Navin, you know now.]

What did he just do?

Answer, stu­dents, is that he just mouthed a punch line.

A punch line, to start off with a for­mal def­i­n­i­tion is:

1. A pithy piece of gib­ber­ish.
2. Spo­ken by mostly fat men in lead roles, but there are excep­tions.
3. The point of which is to (appear to) high­light the virtues of the speaker.
4. The speaker of the line is the sub­ject. (In other words, fat man on himself).

Another exam­ple of a punch line would be:

If you try to touch a woman when George is around, George will turn into a man and turn you into a woman.”

Notice that George is the speaker, and the sub­text of the sen­tence is that George would cas­trate the toucher. This tech­nique of refer­ring to one­self by one’s first name is quite pop­u­lar and is employed in every other punch line. It is some­thing you should file away for future use.

We will close this part of the les­son with a few more exam­ples. Please try writ­ing some more at home, and test them out by say­ing them out loud in crowded places. If you get into trou­ble, sue me, please.

When­ever peo­ple are in need, I help them. I can’t help doing this.

God might for­give you for this sin, but I will never for­give you. May God for­give me.

A type of punch line that is less fre­quently used is the pithy sen­tence about noth­ing. These are mostly spo­ken by the hero to a skimpily clad girl. After this sen­tence is spo­ken, the girl usu­ally falls in love with the hero.

For a woman, not wear­ing mini-skirts is the only way to skirt trouble.

If you wear a dress with a plung­ing neck­line
On you bad men will want to recline.
On them lies no blame,
for you have no shame.

.

The amount of trou­ble you invite is inversely pro­por­tional to the amount of clothes you wear.

This is only for classy movies, I think. Will work in A centers.

If your blouse is always cut high
and you act shy (by low­er­ing your eye)
no man will open his fly
this is not a lie.

This one is poetic, so please email me before using this in your movie.

After the girl falls in love, she will pro­ceed to dance with the hero on the alps, clad in a bikini. It is quite impor­tant to not have your lead­ing man speak any punch lines now.

We are almost at the end of our les­son, folks. The last type of punch line is sim­i­lar to the first type, except that some lead­ing men don’t feel com­fort­able talk­ing about them­selves all the time. In such cases, we have a come­dian mouth the line and this gives us the lat­i­tude to make it even more outrageous.

Lo and Behold!
Brother will turn sand into gold;
the young into old;
He will never be sold.

If you make women cry,
Brother will take a pan
put you in there and fry
you until you turn tan.

Nice obser­va­tion, stu­dent num­ber 1. Yes, indeed, a come­dian should always call the hero brother.

And that, ladies and gen­tle­men, is the end of Sto­chas­tica Sinema School Les­son #1.

__________________________________________________

Before you leave, remem­ber this: I am an elec­tri­cal fire. Even water can­not touch me. Let me go back to sleep now.

 

Wake up, will ya?”

I am not sleeping.”

Oh yeah? That’s good to know. So are you dead then?”

Do I look dead to you?”

I see that sar­casm goes right over your head. Let me ask you this then: what the heck have you been up to? Am I not in your scheme of things anymore?”

Hmm… I trav­eled half way around the world, and saw my home­town rav­aged by a freak storm. Trees down. Traf­fic lights out. Peo­ple with­out power, homes with­out roofs. The trees espe­cially, what a waste.”

Oh, I see. Very sad. But how come you’re grin­ning now?”

Coz I called my den­tist, and his voice mail said some­thing funny.”

What?”

Due to the hur­ri­cane last week (it said) our voice mail sys­tem was down, so we didn’t get all of your mes­sages. We all know how hard this can be. But stay strong, and together we’ll get through this adver­sity. Thank you for calling.”

Why is that funny again?”

God, you are worse than me. But then that’s why you are in my scheme of things, you make me feel good.”

 

Here’s wish­ing every­one much fun today.

 

Talk­ing about Foucault’s Pen­du­lum, there is a sense in which you did the Da Vinci Code before Dan Brown did. Of course, you did it as a myth that takes on a strange real­ity and he did it as it was his­tor­i­cal truth.

I told Dan Brown’s story. My char­ac­ters are his. I gave the broad pic­ture of this kind of literature.


Umberto Eco
, in The Hindu. I don’t know about you, but it seems to me that Mr. Eco is claim­ing he is Dan Brown’s inspi­ra­tion. Oh, well, Christ­mas is approach­ing and I guess peo­ple want to con­fess to their crimes. Good Lord, please spare Umberto. He is just a pro­fes­sor who writes books on Sundays.

 

A few months abroad. Fun, but still, home being what it is, we want to come back. Just walk around, check the yard, read junk mail, clean the AC fil­ter, etc. (if I listed out sev­en­teen more things, this could be my to-do list).

After sev­eral phone calls to travel agents, we finally work out the most com­pli­cated itin­er­ary ever that involves (among other things) a quick one week trip back home.

One week.

And guess who decides to greet us on arrival? This unpleas­ant woman. Sigh.

 

Banville doesn’t always help his own case. A few hours before the cer­e­mony he con­fided to an Amer­i­can jour­nal­ist that The Sea was “a bad book”. [Link]

It is nice,” said John Banville on Mon­day night, “to see a work of art win the Booker prize.“[Link]

 

Lord William[1] was the British Col­lec­tor of Salem some­time in the nine­teenth cen­tury, and he didn’t par­tic­u­larly care for the job. He gov­erned with cal­lous arbi­trari­ness, car­ing and kind one day, cold and heart­less the next; mix­ing up bizarre admin­is­tra­tive deci­sions with incred­i­bly smart ones.

He was in a par­tic­u­larly foul mood that Octo­ber after­noon — he had already walked a cou­ple of miles, and had 3 more miles to go to get to his car. There were no roads in this god­for­saken clus­ter of vil­lages west of Salem, and it is not clear why Lord William was there in the first place. But he was there, and he was tired and hun­gry. The smell of food com­ing from a house nearby was not helping.

And then, in a typ­i­cally brash ges­ture, Lord William decided to step into the house. The peo­ple that lived in the house were cooks, and on that day the fam­ily was mak­ing Adhi­rasams. There must have been a hun­dred of them in the enor­mous drum-like con­tainer: Lit­tle brown discs; a glossy, satiny brown, glow­ing from the ghee. The fat man was mak­ing more, paus­ing only to wipe the sweat off his face with his veshti. His son, no less cor­pu­lent, no less sweaty, was nap­ping at the front door.

Lord William nudged the son gen­tly with the roll of paper in his hand. When he didn’t respond, the Lord walked into the kitchen, shoes still on, and after a friendly glance at the dad, picked up an adhi­rasam from the con­tainer and bit into it. Oh, the plea­sure! Later, he would tell his wife, the Doraisani, that as the thing melted in his mouth, he could feel his tired­ness melt­ing away. She would think he was nuts.

But now, he was eat­ing his third adhi­rasam, obliv­i­ous to the anger of the fat man. The poor fel­low was mak­ing these for someone’s dhevasam[2] and he wasn’t at all sure the dead guy would appre­ci­ate this hea­then man eat­ing stuff meant for him. Espe­cially if the hea­then had licked his fin­gers after fin­ish­ing one adhi­rasam, and used the exact same fin­gers to pick up another one from the drum. This batch of adhi­rasams was doomed.

After three, Lord William stopped eat­ing. He was stuffed. He took a few more and put them into his pock­ets. He then told the dad he didn’t have any cash on him at the moment, but he was the col­lec­tor and all, and that he should come meet him tomor­row at Salem and col­lect money for the Adhi­rasams. He added as an after­thought, “And bring a few of these with you when you come meet me tomorrow.”

The next day, the fat man woke his son up early in the morn­ing and asked him to go to the city with the (defiled) drum full of sweets and get some dough from the col­lec­tor. After a sump­tu­ous break­fast, the son started for Salem, drum on his head, a thirty mile walk.

He walked and walked and walked, and in about an hour, he was very tired. Another hour, and the sump­tu­ous break­fast had worn off. He decided that he needed some seri­ous R&R, so he sat under a tree and ate a few adhi­rasams. And then he walked and walked, and took another break.

If his progress were to be plot­ted against time, one would have noticed that for higher val­ues of t, the dis­tance cov­ered had decreased con­sid­er­ably. If one were to look for rea­sons for this alarm­ing decline, one would have to look no fur­ther than another graph of time vs breaks. It might also be per­ti­nent to note that with each break he took, the con­sump­tion of adhi­rasams increased at an alarm­ing rate.

By the time the fat son arrived at the Collector’s office that evening, he had eaten all the adhi­rasams. Not one left. After some lay­ers of low level bureau­crats, he is ush­ered into the room of Lord William. Lord William pays the guy a few rupees, and looks cov­etously at the drum.

Got more?”

The fat son grins sheep­ishly and tells the Col­lec­tor that he did bring a few, but he ate them all, long walk sir, sorry. Dis­ap­pointed, Lord William asks, “Why not bring more man? Your dad had a lot in there yes­ter­day.” The fat son grins even more sheep­ishly and tells the good Lord that he brought the whole lot, and ate the whole lot.

Get out of here man,” the Lord says and as the son starts walk­ing away, he tells him that the phrase is an expres­sion of dis­be­lief and that he shouldn’t really get out of here. The Lord is sure the son is mess­ing with him, given that he only ate three the other day and had to skip din­ner. About an hour of intense ques­tion­ing fol­lows, and the son keeps insist­ing that he did indeed eat the entire batch of adhi­rasams. Finally, the exas­per­ated Lord William sends the son home, with an omi­nous warn­ing: “I’ll find out sometime.”

A few months passed, and the good Lord William has to take a trip to Mamundi again. The rea­sons for his trip are unclear, but it has been sug­gested he was con­sumed by the thought that some­one could eat so much food, and wanted to go back and find out. The evi­dence for this the­ory is strength­ened by the fact that he headed straight for the house of the fat cooks. And in an inter­est­ing stroke of luck, it was lunchtime and the fam­ily was get­ting ready to eat.

You,” Lord William says, pulling up a stool in front of the fat son, “I want to see you eat.” Then he gets up and walks to a char­coal stove, a pot of rice sim­mer­ing on top of it. “How much rice in here?” he asks the fat dad. “Six kilo­grams, Durai,” is the reply. Six kilo­grams of rice, in case you are won­der­ing, could feed a large fam­ily for a large num­ber of days. The Lord takes the entire pot, places it in front of the son and tells him, “If you eat all of this, I’ll make you a rich man.”

Over the next hour, the fat son ate all of it.

Lord William couldn’t believe his eyes. It is his turn to be a lit­tle sheep­ish, for hav­ing ques­tioned the integrity of this remark­ably tal­ented young man. “Come with me,” he says, and takes the fat son on his horse drawn car­riage to a secluded spot near the village.

Run, young man. Start here and run as far as you can. Stop only when you tire. Run.”

But why sir?”

I wronged you. I ques­tioned your integrity. So run now.”

I am not sure that makes it any clearer, sir.”

Run as far as you can, and I will give you all the land you cover. That’s my way of mak­ing up things to you.”

The fat son believes this is rea­son­able evi­dence that the Lord is slightly off his rocker. He stays put. Then the Lord bran­dishes an off­i­cal let­ter­head, and writes down what he just said and hands it to the son. The young man can­not believe his luck. A lot of land would mean a lot of food for the rest of his life.

So he runs and runs and runs, and in a few min­utes he is tired. But he won’t stop to rest. He runs some more, and gets tired some more. No stop­ping now. He thinks he could use an Adhi­rasam though. That thought pro­pels him for a few min­utes more, and then he stops to rest under a tree. He then pro­ceeds to die right there.

The good Lord is apalled, and his sheep­ish­ness is now replaced by remorse. But true to his word, he draws an imag­i­nary cir­cle using an imag­i­nary com­pass and gives all the land that the young man cov­ered to his family.

If you ever go to a vil­lage called Mamundi, and see a big piece of farm­land called the “Six Kilo­gram Brah­min Farm,[3]” do tell the peo­ple around you that you know the his­tory of the land. If they ask you how you know the story, tell them you read it on the blog of the great nephew of the fat son. Cluck your tongue in sym­pa­thy when they tell you that most of the land is now res­i­den­tial. And get some­one to make you an Adhirasam.

[1] My dad, who nar­rates sto­ries much bet­ter, wasn’t sure what the Lord was called. He kept call­ing him Dorai, but I told him it was very unlikely a British fam­ily would name their son that.

[2] A Dhevasam is an yearly rit­ual to honor dead peo­ple. The food is usu­ally very good.

[3] Aaru Padi Pap­pan Kadu is the name of the farm. It passed through a cou­ple of gen­er­a­tions, and today, the orig­i­nal own­ers have sold most of it.

[4] The son may not have been fat. Or even the dad. But some­how, that’s always the way I think of them.

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