Art, Books

One Thing Leads to Another

While The Last Bookstore is my favorite Los Angeles bookstore, Stuart Ng Books has the better signal-to-noise ratio when it comes to shelf-space. This small bookshop in Torrance specializes in subjects of particular import to me, namely illustration, comics, and animation, and particularly known for having the biggest collection of European graphic novels and sketchbooks in the US.

I spent a glorious few hours there last Saturday, poking through well-arranged shelves of bandes dessinées, pinup art collections, artist’s monographs, and various out-of-print paraphernalia that had me hyperventilating. One corner had a section of signed Hellboy graphic novels from Mike Mignola‘s personal collection – Mignola lives a few miles from the store, after all. It is not everyday that one sees a book signed by Jackie Chan a few paces away from a signed and numbered collection of Moebius graphic novels. Above the shelf are two framed illustrations by Fortunino Matania, and a giant pen-and-ink work by James Montgomery Flagg, and other illustrations that my brain refuses to process because sensory overload. Out in front you see multiple editions of posters from this year’s Angouleme, drawn by Katsuhiro Otomo; previous years’ posters are around too, what catches my eye is Bill Watterson’s version from last year. Stuart Ng is also known for having a great relationship with animation studios, so you have books like The Art of Inside Out, signed by part of the creative team on the movie, and also Sanjay Patel‘s beautiful books on the Ramayana and his very own animated short Sanjay’s Super Team. Signed, of course.

What I ended up buying that day was an art book by Dean Cornwell, an illustrator from the time when photography had not taken over the fields of advertising and magazine and book illustration yet. Cornwell’s art makes me gasp every single time I see them online, and when I heard of this new edition that collects the best of his work, I had to pick it up. It also helped that I saw a preview of the complete book online, made available by the publisher Illustrated Press, though in low resolution. Their books have extremely limited runs, and I have had my eyes on the volumes of Golden Age Illustration that they keep bringing out. Unfortunately volume 1 has gone out of print, but hey, you never know.

What you hear is the sound of neurons sizzling.

But it was while wading through the print bins at Stuart Ng that Baader-Meinhof played its role again in my life. There it was, a beautiful limited-edition poster from Under The Skin, drawn by (as I found out later) Yorkshire-based artist Tula Lotay, known to me for her work on comics like Supreme: Blue Rose and Swords of Sorrow. I picked it up, marveled at it and put it back, because I am completely out of wall space.

UNDERTHESKINsmall

Tula Lotay – Under the Skin, signed and numbered edition

Another connection that amuses me: William got me the DVD of Under The Skin from the Los Angeles Public Library, and I have not been a library person in quite some time now. I keep intending to go visit the Central Branch downtown, and now I have an added impetus to do so. You see, I found out that Dean Cornwell painted a mural in one of the rooms there, and it’s considered one of the finest works of his career.

Standard
Movies, Music

On watching and listening to Under The Skin

Pal William handed me a DVD of Under The Skin last week, a movie that we had talked about before and which he recommended with such enthusiasm that I bumped it up my queue. Took me a while to finally pop the disc in, but glad I did. The movie is bizarre and unsettling and wonderful, and Scarlett Johansson’s character makes me afraid and aroused at the same time. In the beginning, it is a strange mix of what feels like candid, unscripted moments of Ms Johansson driving around a strange land and picking up strangers. Scenes of seduction that make you hold your breath while waiting for the pay-off. When it ended, two-odd hours later, I found myself tingling with excitement, the kind  that comes from consuming something that is beyond what you expected. [ref]I have yet to watch Her and Lucy – two very unlike films, I know, but part of ScaJo’s recent filmography that convinces me that this lady is one of the finest actors in the business today both in terms of skills and the choices she makes. I loved the short appearance in Chef, for example, and her New York Jewish girl in Don Jon. [/ref]

Nowadays, I prefer to go into movies without the burden of expectations that the publicity machine brings along. Oh, I am not talking about the big-budget franchises. That’s an infinite hype train subway where the exit doors lead to yet another platform and yet another ride. But it’s films like this, that come sans trailing numbers or colon-separated sub-phrase in the title, that bring me the most joy. Not just the way they play with the monotony of the three-act structure, but the way they give an actor like Johansson a role beyond the mundane.

But therein lies the problem – not boarding the hype train also makes it hard to pick a journey, and sometimes the ones you pick prove unworthy of your time. My criteria for this is simple – if I pause or get distracted while watching a 2-hour movie, I rethink whether it’s really worth my time. One of the ways to get around that is to watch movies only in someone else’s company, but that brings down the opportunity to watch a film at home by a large degree. I realized, after having finished Under the Skin in one non-stop sitting, how rare it had become for me to switch on my TV after I get home.

What also got me about that movie was the judicious use of music throughout the nearly-wordless sequences. Violins that play like cancerous lungs gasping for breath; creepy pitch-bends that make me feel as if there are glitches in my audio-spatial perception; the steady thump of a muted drum. This is music that truly lives up to the idea of the movie, the musical accompaniment to an anomalous entity exploring herself (itself?). The composer is a British lady named Mica Levi, stage name Micachu, and this is the first time she has worked on a soundtrack, can you believe that?

Parts of the music reminds me of both classic horror scores – mostly Bernard Hermann’s flamboyant use of the violin and Morricone’s intense giallo works. But the album that I had to go revisit, after the movie, was Wojkiech Kilar’s Bram Stoker’s Dracula; at first glance, there isn’t much of a similarity between Skin and Dracula, but my brain somehow established a connection between Levi’s keening violin scrapes and Kilar’s old-school orchestral maneuvers. In case you are wondering, there isn’t much of a resemblance. It was probably a resonance of the feeling in my gut when I watched Dracula for the first time as a kid.

 

Standard
History

The Age of Wrath

Abraham Eraly has written some of my favorite books on Indian history, specifically his works on the Mughal Empire (‘Emperors of the Peacock Throne’ and The Mughal World). I picked up The Age of Wrath recently, which is about the period of medieval Indian history that begins with the onset of the first Muslim rulers of Northern India, referred to as the Delhi Sultanate. The book however goes beyond merely talking about the rulers of Delhi – it also covers the Bahmani Sultanate in the Deccan, as well as the Hindu rulers of the Vijayanagar empire down South.

Like always, a good history book informs one about the present by defogging the past. Reading this book, in particular, was an eye-opening exercise because the facts that Eraly presents are at complete odds with the gilded, agenda-oriented history that I had been fed about that time period through textbooks and popular fiction.

One would have expected that the Turkish invasion would awaken India from its slumber and stimulate it to transform itself to meet the Turkish challenge. But what happened was the opposite of this: instead of responding to the challenge of Islam, Hindu society curled up tighter into itself. The aggressive presence of Turks in India made virtually no difference in the life and culture of most Indians. Nor did the contact with Hindus make any notable difference in the life and culture of most Muslims. Their civilisations were totally unlike each other in every respect to have any major influence on each other.

Hindu Civilization was in an awful state of degeneration in early medieval times, especially when compared with its marvellous effulgence in the preceding age. This decline affected all facets of Indian civilisation. Culture putrefied. The caste system straitjacketed society, thereby hampering human enterprise and thwarting social progress. Commercial economy collapsed, and India gradually subsided into a stagnant, barely self-sustaining agrarian economy. Towns decayed; many of them were deserted, and they turned into crumbling relics. Instead of the urban sophistication that had characterised the classical Indian civilisation, now, in the early medieval period, crude rusticity characterised it. There was no more any creative energy in Indian civilisation. ‘I can only compare their mathematical and astronomical literature, as far as I know it, to a mixture … of pearls and dung, or of costly crystals and common pebbles,’ comments Al-Biruni.

Besides all this, Turks, as aggressors swooping down from the cool Afghan mountains, had irresistible kinetic energy, while Indians were mostly plains people leading a sedentary life in an enervating climate, and their posture, as defenders, was generally static. Psychologically too Indians were at a disadvantage, as they suffered from the victim syndrome, and were often sluggish in battle, unlike the spirited Turks. Moreover, the fatalistic value system of Indians inculcated in them a generally defeatist attitude. In some cases Indians were also demoralised by astrological predictions that the Turkish conquest of India was inevitable. In contrast, Turks were energised by religious fervour, confident in their faith that they were invincible as the soldiers of their god.

Among my favorite chapters is the one on Ala-ud-din Khilji. This particular sultan is known in Indian history textbooks for one thing and one thing alone – his lust for a Hindu man’s wife. The lady in question is a queen named Padmini, a lady renowned for her beauty and kept in a zenana away from prying eyes by her husband, the Rajput ruler Ratan Singh, who ruled Chittor. Apparently the sultan made a formal request to her husband to allow him a glimpse of her face. This was a breach of propriety that could lead to war, but the mutually amicable solution was that Khilji was allowed to see Padmini indirectly, her face reflected in a mirror. The story goes that the sultan was so taken aback by Padmini’s beauty that he fainted outright. Upon returning to his camp, he put Ratan Singh under arrest, demanding that the queen be delivered to him, and it was only due to the bravery of two of the raja’s chieftains (and a bit of cross-dressing trickery that spices up every good story of abduction and deceit) that the captive made his escape. The story ends badly for the people of Chittor, including the beautiful queen. Ala-ud-din’s army attacked the fort, and the men rushed forth to kill or be killed, presumably to the tune of Mo’s Kamikaze, while the women preferred to kill themselves by jumping into a sacrificial fire.

This story has been the cornerstone of a lot of assumptions about the motivations of the Muslim rulers of the time. But as Eraly writes, this particular anecdote is a work of fiction.

This story is told with many colourful frills in the bardic lore of Rajasthan, but there is no record of it at all in any contemporary chronicle. All that Barani says about Ala-ud-din’s Chitor campaign is that ‘the sultan then led forth an army and laid siege to Chitor, which he took in a short time and returned home.’ In fact, Amir Khusrav’s statement that after taking Chitor, the sultan ordered the ‘massacre of 30,000 Hindus,’ specifically excludes the possibility of jauhar having been performed there on this occasion.

The earliest textual reference to the Padmini episode is in Malik Muhammad Jaisi’s epic Hindi poem Padmavat. This was written in the mid-sixteenth century, nearly two and a half centuries after Ala-ud-din’s conquest of Chitor, and is therefore of doubtful credibility. Moreover, Padmavat is a romance and not a historical work. The story is also mentioned by a few later chroniclers, such as Abul Fazl and Ferishta, but they were obviously just repeating popular legends.

Instead, Eraly goes on to make a statement about Alauddin Khilji that startled me, because I had never expected such a thing.

Ala-ud-din was one of the most extraordinary rulers in Indian history, indeed in world history. He was a radical reformer, and was exceptionally successful in all that he did, though many of his reforms were several centuries ahead of his time.

He bases his theses on the works of historian Al-Barani, who lists ten major achievements of Ala-ud-din’s reign[ref]1/ Cheapness of all the necessities of life; 2/ invariable success in military campaigns; 3/ rout of the Mongols; 4/ maintenance of a large army at a small cost; 5/ political stability resulting from the suppression and prevention of rebellions; 6/ safety on roads in all directions; 7/ honest dealings of the bazaar people; 8/ erection and repair of mosques, minarets, and forts, and the excavation of tanks; 9/ the prevalence of ‘rectitude, truth, honesty, justice, and temperance in the hearts of Muslims in general during the last ten years of his reign’; and 10/ the flourishing of many learned and great men ‘without the patronage of the sultan.’ [/ref], brought about a strange combination of both luck and determination. Because this king –  like the other Muslim ruler who would rule from Delhi a few centuries later and be proclaimed ‘The Great’ – was possessed of a particular self-awareness and open-minded outlook that seemed to come of being illiterate.

For example, this was how the sultan dealt with insurgency in his territories. After several days of discussions with his councilors, he concluded that there were four basic causes that lead to rebellions: A sultan’s neglect of public affairs, wine parties held by nobles, alliances among military personnel and noblemen, and an excess of money. He also came up with solutions for each of these causes, the first being off the table because he was a compulsive workaholic. He started with an elaborate intelligence network across the empire to ensure that nothing transpired without the sultan knowing about it, especially in the houses of the emirs and the maliks. He prohibited wine-drinking and selling and prostitution, setting taverns on fire and confining prohibition violators first into prisons and then open pits. [ref]As was to be expected, these rules just increased clandestine consumption of alcohol, making people travel to the suburbs of Delhi to enjoy their drinks or smuggle in their spirits by a hundred different tricks and devices. Ala-ud-din had to eventually modify the rules to prohibit public drinking and parties only. Oh, India and its obsession with alcohol regulation![/ref]He increased taxes, but also paid attention to the corruption prevalent among the hereditary revenue collectors working under him; his solution was to withdraw their privileges and perks, and to punish violators harshly.[ref]This is what Eraly has to say about the state of corruption in medieval India.

One of the most disturbing aspects of the medieval Indian kingdoms was the universality of corruption in them, from the highest to the lowest level. Taking bribes was not a secret, devious act in India at this time, but was done openly, and was widely accepted as the normal and natural state of affairs by everyone. Provincial governors and other high government officials, even the sultan himself, were not above seeking recompense for doing favours, the only difference being that in their case the offerings they received were treated as presents, not bribes. And just as subordinates gave bribes to their superiors to win favours from them, superiors often gave bribes to their subordinates to secure their loyalty, except that these offerings were also called presents, not bribes. Loyalty was invariably on sale in medieval India.[/ref]

But make no mistake, Ala-ud-din was equally as bloodthirsty as any of his contemporaries, maybe even more. “He shed more innocent blood than ever any Pharaoh was guilty of,” in Barani’s own words. The reforms were rooted not in altruism, but in consolidating the power of his government. His market reforms to regulate prices of provisions – considered well ahead of their time – came about because of his goal of maintaining a standing army, as did his maintenance of food reserves, ensuring that his subjects never suffered on account of an unkind rainy season. His rule was a peculiar contradiction of sorts, in that his attempt at improving his administration showed his genuinely concern about the well-being of the poorer of his subjects, and in earning and maintaining the cooperation and loyalty of talented officers; and at the same time, he lived up to the expectations of the age by being ruthless towards rule-breakers and insurgents. In Eraly’s words, people on the whole led a better life under Ala-ud-din than under any other king of the Delhi Sultanate.

And this was one of my favorite experiences of reading this book – or indeed, any of Eraly’s books. He casts new light over a historical subject that I had a limited perspective about, and paints this picture of a complex ruler that managed to change things for the better in a relatively short span of time – 18 years or thereabouts.  A lucky man who was bad-tempered, obstinate, arrogant, and a complete disregard for brotherhood, religion or the rights of other men. I think about Ala-ud-din Khilji tonight, as I sit down to watch Season 4 of House of Cards. 

Standard
Art, Television

Daredevil Season 2: The Posters, and a bit of optimism

Netflix’s Daredevil was one of my favorite TV shows last year. It may possibly have been one of my favorite comic-book adaptations ever, especially at a time when my tolerance towards comic-book adaptations is running pretty thin. I made the show last for a whole month, watching it as slowly as I could, loving nearly every minute of it. Netflix then followed it up with Jessica Jones in the later half of the year, and by then my forbearance was at an end. I binged on it over a weekend, and came up for air after with a grin on my face.

The next season of Daredevil is due middle of March, and I have to admit that despite my pop-culture-jaded exterior, I am pretty damn excited about it. But what is really making me giggly is noting the Renaissance art references in the season posters. Not just because I like the old masters, but because it takes a very special kind of marketing team to pay attention to a campaign like this. Daredevil is a series that draws from the character’s Catholic upbringing – hey, the first scene in the series begins at the confessional altar in a church – and it makes sense to use elements of paintings to advertise the series.

Up first were the cast posters, both of which were inspired by Michaelangelo paintings in the Sistine Chapel.

Michaelangelo – The ceiling of the Sistine Chapel

Michaelangelo – The Last Judgement

The next few posters have been character-oriented, and wear their baroque origins on their sleeves. Case in point, both Karen Page and The Punisher’s posters were inspired by Caravaggio paintings, while DD’s is influenced by Rubens’s St Sebastian.

But as fun as the referencing is, I will admit that the posters do look a little strangely-designed if you do not know the antecedents of each one. And that explains why fandom is screaming about Photoshop and bad design about each of these posters.

What do I think about the second season? Well, I am not a big fan of the HighlyVisibleNinja trope in American popular culture, in which ninjas are dumb fight-fodder a step above zombies. I liked the way the supernatural elements dripped slowly into the world established by the TV show, in the first season. It made sense that one of the most grueling fight scenes in the season was between Matt and Nobu, and that was a serious boss-fight. Now that the Hand has officially made their way into the story-line, it’s but inevitable that the fight-scenes become generic martial arts sequences. I am also concerned about the fact that Drew Goddard is no longer headlining the crew, and that Jeph Loeb is still around as head of Marvel’s TV division.

The other, more important reason why I am a little cautious about the show is what I like to call the natural entropy of a superhero story based on an existing property. Where there’s the urge to throw every knuckle-headed reference to events related or unrelated to the main story-line, just to acknowledge to the viewership that hey, yeah, we know, and you know, and we know that you know, and isn’t life dandy. The creative team in Daredevil has been remarkable in their restraint so far; the first reference to Elektra last year was part of a long conversation about learning Punjabi that nearly got me belly-laughing, and the use of the line “give me a red” came out of nowhere, not only establishing a secondary character’s future reappearance, but also the eventuality that Born Again is in the cards. I like subtle references that way. It will get annoying though – yes, “will” because I am asking to be contradicted – when there is the necessity to shoehorn the Defenders universe eventually, and fit it into the bigger Marvel Cinematic Universe. What bothers me about this is the fact that it robs a story of an ending. The best stories are the ones that end. Always.

Standard
Books, Movies

Beasts of No Nation – the book and the film

beasts

I read Beasts of No Nation after watching the movie. Written by a Nigerian author named Uzodinma Iweala in 2005, it came about as a continuation of Iweala’s award-winning thesis in a creative writing course in Harvard, way back in 2004. It is a work of fiction based on true stories, and was an attempt to capture the life of a child soldier in an unnamed West African country. But really, Agu, the protagonist could have been any orphan in any war-zone in the world, brainwashed, abused and thrown into circumstances that are too horrible to comprehend for someone like me.

An excerpt from the book, the description of a child slaughtering a grown human being as a rite of passage. Enough to turn your stomach and make you want to curl up in a corner and cry. The narration and dialogue in the film follows the tone of this passage very closely, but is more linear than the book.

He is squeezing my hand around the handle of the machete and I am feeling the wood in my finger and in my palm. It is just like killing goat. Just bring this hand up and knock him well well. He is taking my hand and bringing it down so hard on top of the enemy’s head and I am feeling like electricity is running through my whole body. The man is screaming, AYEEEIII, louder than the sound of bullet whistling and then he is bringing his hand to his head, but it is not helping because his head is cracking and the blood is spilling out like milk from coconut. I am hearing laughing all around me even as I am watching him trying to hold his head together. He is annoying me and I am bringing the machete up and down and up and down hearing KPWUDA KPWUDA every time and seeing just pink while I am hearing the laughing KEHI, KEHI, KEHI all around me. Then I am hitting his shoulder and then his chest and looking at how Commandant is smiling each time my knife is hitting the man. Strika is joining me and we are just beating him and cutting him while everybody is laughing. It is like the world is moving so slowly and I am seeing each drop of blood and each drop of sweat flying here and there. I am hearing the bird flapping their wing as they are leaving all the tree. It is sounding like thunder. I am hearing the mosquito buzzing in my ear so loud and I am feeling how the blood is just wetting on my leg and my face.

I thought the movie version was much more well-rounded. The cinematic experience is something you need a strong stomach to sit through, and not only because of graphic content. It is hard to not take it in as a guerilla documentary, shot among real people with a hidden camera, except that it is singularly gorgeous through and through. Some of my favorite scenes in the film involve Idris Elba and the photography. The kids, especially Strika and Agu are incredibly good, of course. Surprised to learn that the actors in the movie were former child soldiers and mercenaries who participated in actual warfare, and had problems shooting in Ghana because they were on a watch-list.

Standard