Looking back at The Husband Stitch

Picture courtesy - Granta

I have always been a teller of stories.

~Carmen Maria Machado

The first time I read The Husband Stitch, I wished I hadn’t read it. Because I knew that the many times after I’d reread it, I would continue to ask myself what it was like the first time -like asking someone who likes sex about their first time.

Reading it the first time was difficult. I had to pause every now and then and do something else. It was early November and I had a whole day yawning at my disposal. AM sent me the link and as I began to read it, I had the vague discomfort that only someone who is tragically falling in love can have.

Then there was this laziness that occasionally comes even when you have found a great piece of writing, and sometimes, especially after you have found a great piece of writing. This happens because the mind bookmarks it for a moment in the future where the reading will happen and where the energy to be left smitten and ravaged can be found in plenty, and- guiltlessly.

But I pushed — because I knew that the preliminary pleasure to be derived from The Husband Stitch was going to be like no other.

The moral of that story, I think, is that being poor will kill you. Or
perhaps the moral is that brides never fare well in stories, and one
should avoid either being a bride, or being in a story. After all, stories can
sense happiness and snuff it out like a candle.

Every time I had read a great line, I’d put my phone away, sigh, and dig deeper into the folds of my rug. I would shut my eyes for not more than three minutes before straightening up and starting over again.

Scoffing is the first mistake a woman can make

Pride is the second mistake

And being right is the third and worst mistake.

The Husband Stitch was and still is the most haunting story I have ever read – the kind that makes you want to impose it on all the people you know and love. The kind that allows you to grow a little, no matter how overshadowed you are by it, and want to be.

As a teacher, here was another tiring thing I felt compelled to do – which was to take it to class after class and make students read it, with the hope that they will fall in love with it, like I had.

But – as I have come to learn – This is the worst mistake a teacher can make — especially if you are an Avarna woman teacher. And if like me, your language is questionable, if you falter over difficult words and don’t have answers to questions – then it doesn’t matter how much you love something, you will never be good enough. Not as good as someone Savarna or someone male or someone both.

I used to think I wasn’t good enough. Or rather, I was made to think I wasn’t good enough.

But I don’t let myself think that anymore.

Not because I have suddenly found confidence but because I recognise now how power works. Because centuries of Savarna assholes have gotten away by making a lot of people feel that they aren’t good enough, that they will never be good enough.

So now even if I’m not good enough, I tell myself it is okay. As long as I have stories to take cover under, and learn from – then everything will be okay. From Ambedkar, to Vaidehi, to Marquez, and Machado – I must keep trying. It’s what my father did, it’s what my mother does, and it’s what I must do.

Stories have this way of running together like raindrops in a pond. They are each borne from the clouds separately, but once they have come together, there is no way to tell them apart.

How did I do The Husband Stitch in class then?

I tried.

That’s all.

Today, I do that story in the classroom as though I own it – as though it came from my body after days and nights of sacrifices. But always remembering and painfully knowing that i did not write it. Maybe that’s how one must do stories in classrooms. As though something of value was sacrificed for it. As though without you, they would just burst into tiny puffs of smoke and disappear.

(If you are reading this story out loud, move aside the curtain to illustrate this final point to your listeners. It’ll be raining, I promise.)

Soon, I had found another reason to drag The Husband Stitch to other classes; I had to undo the memory of doing it the previous time. And so each time I do it, I am simultaneously undoing it. As a result – as of this moment, I know a couple of lines, and two paragraphs by heart. That’s the great thing about loving the same story everyday– that it can liberate vulnerable people who carry what they love proudly.

I did the story again, today. And loved it –again. And I felt the same wave of possibility that makes writing seem all at once doable and at once monstrous.

It’s what makes teaching enjoyable – I can fall in love everyday, shamelessly – with the same story – again and again and no one can take this away from me – no matter how good they are.

I’m sorry. I’ve forgotten the rest of the story.

*** All the sections that appear within quotes are from Carmen Maria Machado’s short-story – The Husband Stitch ***

*** Featured Image Credits – Granta

Heee Hawww!

Before I left to Goa, I was in a bit of a lull. I couldn’t write nor read. I was exhausted by the endless inspiration consumed from watching YouTube interviews of my favourite women. I needed newer, more productive ways of stalking them. So I tweeted to Carmen Maria Machado (haw) and asked her if she’d mind answering some questions about writing. She replied immediately – said she wouldn’t mind. After I recovered from jumping up and down 400 times, I sat down and messaged all the students I know who loved her writing. They sent in questions and I put them together and mailed it over to her.

And then I was quite kicked, I wrote about Ferrante, went to Goa and felt more powerful than I have in years, got back and felt like a queen. I forgot all about the mail sometime during the trip because it suddenly hit me that she’s getting married. But then yesterday, I saw that she had replied. My day immediately took off and I haven’t stopped smiling since 🙂

This is my favourite bit from the interview:

Do you sometimes find it hard to continue after you’ve heard something unpleasant about your writing? How do you deal with it?

I used to, but I don’t anymore. Eventually you learn to let that stuff roll off you. You just have to remember that you don’t–and you can’t–write for everyone. Some people won’t like your work, and that’s fine. Write for yourself.

You can read the rest of the interview here.

On Elena Ferrante

Finally, finally, finally. Sat down and wrote about reading Elena Ferrante. This is my first piece for The Open Dosa and I’m thrilled that it’s about Ferrante. My students and I were just dying to talk about her at Meta this year. The following picture is from the day of the panel.

TransFerrante-2017-1024x674.png
For Drishti, Ila, and Vismaya. With Louu.

This is my favourite picture from Meta. These girls and I have bonded over many other things – struggling with writing, reading, life, classes, clothes, and shoes. Now that we have Ferrante in common, these peeps will always be a part of me.

Read the piece here.

Goosebumps

This is an extension of something I’d mentioned in an earlier post.

When I was in school, if there was anything I dreaded more than exams, it was the all too familiar Sunday evening feel – the dull panic of a joyous, empty day coming to an end and the mouth of a Monday opening wider and wider. Hair properly coconut- oiled, eyes aching slightly from the back to back films watched on Sony Max, books still packed heavily and tightly in a bag last opened on a Saturday afternoon and the inevitably depressing ‘show time over’ feeling. Dinner would be a lazy affair and in order to prolong the holiday, I’d stay up as late as possible only to wake up sad and grumpy the next morning.

This is what I like to call the Sunday Evening feel. Even though I was convinced that I wasn’t the only student feeling this, I couldn’t help wondering why so many of my classmates didn’t seem at all upset on Monday mornings. Was it just because they’d done their homework?

But in college, this Sunday feel became a threat. I’d taken science even though I had no interest in it and every day seemed like the end of Sunday. I grew anxious. Maybe this was permanent and my life after this would just be filled with Sunday evening feels.

But when I made the switch to Humanities, a part of this anxiety died and it’s only now that I realise that I must hug myself every day for making that switch. Because that switch has made sure that I have Sunday evening feels only on a Sunday evening, and sometimes not even then.

There are very few things that make me feel alive. And as I grow older, this list seems to get shorter. As of now this list includes, a very good sentence and floating in the pool. Now and then Mango Melba and a tall glass of rum make the cut. But when I am reading, I become an insufferable admirer of great sentences. When I come across a line that is going to change my life, I usually stop reading and celebrate life. And when I read a book that is filled with such a celebration, I find it extremely hard to remain neutral about the book and the writer.

I don’t know if students get worn out by a teacher who is excited by everything, and if they’d really rather like to listen to a teacher who hates everything. There is a certain charm about people who hate everything and then one day when they declare that they like something, everybody shuts up and listens to him. Note that it’s usually a ‘him’.

But I must say this, after having escaped a long life of Sunday Evening feels, I am not going to apologise for the things that make me feel alive.

I take what I read to all my classes. This semester, it has been quite the task – Siddalingaiah, Marquez, and Ferrante. At Meta this year, I was happy to be on a panel about reading Ferrante. All the panellists, much to everybody’s dismay, were Ferrante fans and to make it worse, we cared very little about our audience and enjoyed talking to each other. Many said that the point of a panel didn’t actually come through but maybe sometimes panels can just be about conversations. For the first time in my life I was talking about something shamelessly, without having a nervous breakdown. And to do that with students who are more like friends was just as thrilling.

I can’t be neutral or placid about writers who have given me goosebumps while reading them. They have made me feel more alive than an orgasm. And for this I’ll always always be grateful to them.

*Featured Image Credits: Popsugar

Telltale Tingles

I must slow down.  I’m afraid I am running very fast. When free time rolls around, I begin to compete with the time lost in my painfully absent youth. There is an embarrassed yet unashamed burning in my chest when I see younger women going at it with all the energy in the world. I think about their slender, unripe bodies and all the time they have ahead of them. These are the women that my 16 year old self wanted to be at 20, 21, 22.

I must slow down because I’m in a hurry to get somewhere. I caught hold of Marquez after Siddalingiah. Took weeks to finish Living to Tell the Tale and never got around to writing about it. I don’t know what to say. I have exhausted my enthusiasm for the man after dragging him to all my classes and inflicting him on all my students. There’s only so much I can say about him. That I know now why I read or write – it’s because it is only in these moments that I feel unapologetically alive.

For some time now I have been wondering if it’s a bad thing to show passions to other people – the joy of reading a beautiful line, the emptiness after watching a brilliant film, the glory in talking to an interesting person. Because people stop trusting us when we don’t struggle to like something. I find that as a teacher, it is far easier to confess hatred than it is to admit passions. I wonder if students are annoyed by teachers who fall in love with everything that they read. But then I have come to learn that I must not apologize for feeling alive. Atleast not publicly.

I couldn’t bear to fill the void that Marquez left, with my own sordid writing. So I ran to other books – To Alison Bechdel, to Philip Pullman and this morning I stopped with Ambai. After three short stories, I just had to stop because I had run out of places in my body to feel full. Reading Ambai makes my body swell and I become afraid of what I see when I read her. The three stories I read today were each about women and their growing passions and how they struggled and went on to keep these passions. The women in her stories are what the women in my family would have been, if only they had run after their stories.

A couple of days ago, I watched ‘The Hours’ and found it strange that in Woolf’s death, I found an excuse to remain alive. I wish I could explain what that means. Nabokov said, ‘A wise reader reads the book of genius not with his heart, not so much with his brain, but with his spine. It is there that occurs the telltale tingle…’

I feel a tingle in the small of my neck when I read something nice, yes. And also in my stomach – where something of a warm pool begins to collect. And that’s why now I have to slow down.

On & Off

After a devastating performance in class yesterday, I walked back to the department feeling unfamiliar pangs of guiltless-ness. A year ago, a bad class would have destroyed my inner peace and haunted the rest of my week. I’d find it very difficult to forgive myself. I am only now learning to let go. And this is very liberating because I know I will soon go back to the class and reclaim what I think I lost.

I am missing Delhi. I tell myself that I’d be restless there after three days. I tell myself that sometimes cities can show you their face only for two days and after that, they have nothing more to offer. Even so, when I was at the airport, boarding my flight back to Bangalore, there was a large Delhi-shaped emptiness that kept growing.

Delhi has always been scary. I still can’t bring myself to believe that on my first day there, I took myself out and plunged into the heart of the city with a rebellion I assumed only my parents could inspire in me. I took the metro and got lost, took the cycle-rickshaw and nearly died, walked from Daryaganj to Chawri Bazaar and didn’t have to punch anybody in the face.

On my last day there, a woman asked for my help with directions, and another woman asked me if I took the metro everyday. When I shamelessly said yes, she told me she was lost and I gave her the right directions. I can see myself living there and working there. This is enough imagination to sustain me for weeks.

Every time I explore a city alone, I find a piece of myself that I didn’t know was lost. This has been both gratifying and confusing to deal with.

In class today, we talked about Chaucer and writing. All the shattered selves from yesterday came back in silent prayer. With every passing day, my capacity to read is becoming increasingly demanding. One evening last week, I had a quiet affair with Habibi and got lost in its illustrations and story. We all had a lot to say about it at The Reading Room. Current read is Siddalingaiah’s ‘A Word With You, World’, which has been tempting me to return to my half-finished caste piece.

It is comforting to read Siddalingaiah. I wish I’d read the book last year, which may have been a time when I needed it the most. His stories remind me of my father’s childhood – they loom in the background and are told in a soothing voice. Never preachy nor patronizing, they reveal more than what I assume they can hold.

This has been my week – Habibi, Delhi, Metro, Chaucer, and Siddalingaiah.

Beat

I am slowing down. I like it. There is no hurry. The beating in my throat, the itch in my mind, the knot in my stomach is softer now, like the slow ebbing away of a cramp and then there is nothing but silence left in the hollow of my abdomen, to celebrate and nurture.