My Piece on Sachin Tendulkar in New York Times India Ink


Here is the link. (Sachin Was Us, We Were Sachin)




The Sexual Violence National Outrage Playbook


1. Not every rape can shock-spark the starter-circuit of the national outrage factory. No sir it cannot. The act has to be egregious in its sexual violence (shock and awe compulsory hain boss), must have occurred in a “decent” area of a Tier 1 metro (smaller cities, villages and metro slums—you are out of luck, the outrage factory cannot empathize with you folks) and the lady in question must have been “innocent” (i.e. no prostitutes please, we are Indians). Remember, if the crime does not pass the sansani test or make you feel that the victim could have been you, or your maa-behen, it will not make it to Step 2.

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Why No One Guns For The Guns


One of the many things that befuddle the rest of the world, and I presume some Americans too, is why a civilized nation like the US allows its citizens to own guns. Not just a hunting rifle or a pistol but military-grade weapons. And continues to do so despite the almost yearly litany of massacres, which is even the more ironic for a culture that otherwise puts great value on safety and the lives of its citizens in general.

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Talaash—The Review


If you are an alien from outer space and your idea of humanity is formed solely on watching mainstream commercial Hindi movies, you could not be blamed for thinking that human beings are defined by two primary emotions. Anger and love. And that’s about it. Even in this rather restricted palette, there exist little in terms of shades. Anger is typically Sunny Deol snarling “Balwant Rai ke Tattu” (or Taate I forget which) or Amitabh Bachchanian “Aaj Khush to bahoot honge tum” angst. Love fares even worse, that many splendored thing reduced to juvenile “oohing and aahing” of the Ishq-wala love variety, an over-the-top concoction of roses-and-chocolate hyper-romance which frequently requires multiple adjectives to (“Pyar Ishq Aur Mohabbat”) hammer in the “Kaheen na kaheen koi hai” lovey-loveiness. Other expressions of emotions, when and if they are shown, are almost always concomitants to love, “Pyar ke Side Effects”. Thus melancholia has to stem either from the pain of separation between mohabbateins or from unrequited puppy-love. Even lust (“jism ki bhookh”) is defanged and transformed into a pink syrupy love-goo (“pyar ka ehsaas), bypassed from the loins to the heart in a masterful feat of moral surgery.

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