5 July 2010

For those who came in late...

Jungle drumroll, please. This ghost walks again.

(A design update.)
For your amusement, some new book covers, some posters, an obituary, a wee bit of good news, and some unscheduled Grouchoness, will follow. First, the cute:



and it's corresponding paternal:



And then we have the not-so-cute (coming soon!):




Some posters (the fest is over, but the feeling remains):



A few pages of artwork from a project that died before it was born (story by Krishnamurthy Ramasubbu, the text of which has been obscured here for copyright reasons):



Good news, everyone! The guv'nor's scrumptious fantasy adventure, The Magic Store of Nu Cham Vu, has been shortlisted along with four other children's books, among the 16 total nominees, for this year's Crossword Book Award. I've been cited along with the nominated illustrators (in a discreet column next to the publisher info). Citing illustrators for a literary prize is unusual, and a first for the Crossword Award. It makes me feel a bit like Gary Busey at the Oscars. w00t! If the book wins, free drinks for all non-bots that comment on this post! ;)

All artwork presented above belongs to the owner of this blog. Reuse without permission will invite great vengeance and furious anger.
Copyright © Vinayak Varma 2010. All rights reserved.

Here's dessert:

27 March 2010

How to write a perfectly shite review

When Kulbhushan met Stockli: A comics collaboration between India & Switzerland
Edited by Anindya Roy
HarperCollins, 2009,
pp 272, Rs 699


I hate to complain about writing this review even before I’ve started it (and now that I’ve said “I hate to complain”, there’s no going back), but reviewing a collection of stories is no cakewalk. Keep still, because I’m going to tell you why. With an unnecessarily complicated musical analogy. Yes, please do sit down.

We’re well into the age of indiscriminate playlist shuffling now, so you’ve probably forgotten those stressful times of the mixed tape. The mixed CD was far simpler to make, so that history is deservedly ignored. It’s the tape recorder that really gave music a bit of dimension. Why? Because it was ridiculously difficult to create the perfect mixed tape. You had to think hard on the dominant mood of the tape, what artists to pick, which of their albums to choose what songs from and the order to put the songs in. Recording that mixed tape needed some serious planning. And hardcore editing skills, let’s not forget. You had to get the pauses between the songs right, decide whether putting Biddu and The Stone Roses on the same tape was justified (not!) — what if the prospective listener was potentially a fan of both artists? (not even then!) — and if the cover should bear amateur skulls-bullets-and-flowers-style artwork or just neat lettering (always the latter — ALWAYS!).

Making the tape was only half the bloodshed. Next came the listener reactions. The hugs, the shrieks of delight, the awkward silences, the polite thanks. These reactions, like the tape itself, had a gruesome conceptual history. Some listeners assessed each song on its separate merit, some looked at overall intent, some weighed the whole thing against the compiler’s personality. Each reaction came with severe personal biases, and each listener thought s/he was right.

Are you with me so far? Good. You must be wondering what happened to the much-publicised book review, now that this article’s half over. This is exceptionally bad form for a piece of journalism, but to be perfectly honest, this isn’t a review at all. It’s really a defense. Much of this rant has been a response to some negative press in one of our national dailies for the book under review here. I know I’m treading on dangerous ground by contextualizing my article with another review, but I’m stupid like that.

That other review dissected the anthology, comic by desperate comic, tearing into each teeny chunk, commenting derisively on panelling and layouts and other poorly understood technical doohickeys. No mention of ideas or styles or intent or overall execution. No mention of storytelling. Only the little nitties and sordid gritties. Nasty stuff. Little did Anindya Roy, the ambitious editor of the collection, know of this impending mauling when he began mixing his precious set. If he knew, he might not have brought all those great Swiss and Indian writers and illustrators together to collaborate on this singularly fun exercise of defining a place by not defining it at all.

Or maybe he would’ve just gone ahead with all of it anyway, as, well, he did. It takes blood and guts to make a good compilation, you know. Which brings me back to my original point. There is no easy reaction to an effort such as this (at least, not within our current space constraints), except a vague fusion of embarrassment and affection. The only decisive personal opinion I have is the thrill of having partaken of the first Indian effort I’ve seen at curating a graphic travel anthology. Oh yes, there’s the inevitable bad art and gormless writing that have been diplomatically included, but the total effort is a fine entertainment. And that's the best critique this space allows me, I'm afraid.

What, you demand a review of greater depth? I refuse. Instead, here’s a list of what I like most about mixed tapes: they require hard work to create, they showcase diversity, you can play them whenever you need a break from the delicious monotony of listening to entire albums, and they give you the Zeitgeist on a light, snacky platter. Enlighten me: what’s not to like?

In the Sunday Herald, The Deccan Herald, 21st March 2010

30 January 2010

Dear Sir, this is to inform you with regret that a small error has been made in our earlier calculations...

Today her man swung by her office

A new experience. Her man + her office. Equals?

But he had never before needed to enter -- swing by, yeah, swing on by -- that hallow domain, not in all of their months together, and so it was that that notion had never been considered, dissected, forbidden, despaired. But why dissect? Why despair? Because her office categorically was not a place that entertained romance of any kind. Her office: staid, traditional, religious, mute. 

Her office: it was the whirring of dot-matrix printers, it was the grime behind ears. Her office: famed in far corners of the state for crushing Intimacy under its pitiless marble boot; binary-cold with grey walls, white light and robot colleagues wearing ironed shirts, tucked-in shirts, pinstripe shirts, with spit-polished buttons; the Death of Newspaper Offices; suffering no raised voices, no strewn balls of press release, no pealing laughter, no unwarranted sarcasm; in it, them journalists, the hard-bitten ones, the young idealists, the flippant fashionistas, they all turned to clay and alabaster and steel. 

They functioned. They whispered, tapped at keyboards, side-stepped and made do. No fuss, no friction. 

Her office, oh it was no place for hand-holding and soft words, no, and in an odd way perhaps she preferred it that way. It seemed to make her outside world more potent. When she stepped into the street after 6, she felt like she'd been released from the long embrace of an old, old vampire. She felt like dropping to her knees and groaning. Every evening, a renewal of flesh and blood and guts.

But today, her man came by with a flowerpot that she'd bought from the nursery the day before, what she'd left behind at his house. Don't ask what she was doing at his house. Her office forbade such questions, so she preferred not to think about it... IT'S SEX, MAAAN! WILD MAD CRAZY SSSEX! UPSIDEDOWN INSIDEOUT SSSEX! SSSSSE... ohhh, shussshhhhh, won't you! Hush shush hushy wush! No, no, nonono, no nono-nonny-no, her office was no place for such questions, no. A place of propriety, this office. A tower of morality.

He came dressed in sweatpants and an FCUK t-shirt. Hair uncombed, beard untrimmed, manner unmade. A finger cracked through the eggshell walls of her daytime universe, cracked in and wiggled around. And so it was that the people of her universe turned and stared, its machinery squealed to a brief, annoyed halt. A portal opened up in the room, a new impossibility unleashed. A new universe of dishevelment, bringing with it a flowerpot. 

Was such a thing ever thought probable in this office? No! Not at all? NO! Such a thing exceeded expectation and ruffled purpose. This new universe, its left thumb sticking in the flowerpot's wet soil, walking up to her with a big grin. It placed the flowerpot on her desk, bent down and kissed her full on the lips. It tugged at the hair falling on the nape of her neck. Playful, evil. Those old eggshell walls, oh how easily they shattered, how quick they became dust.

New ideas, when released into the world, resonate in some people, thrill their visions and ease them of their histories. Others brush them off their coat lapels and sweep them under the rug, as they offend their ethics and rust their heavy load-bearing structures. There were some in her office who grinned when they saw that kiss. Inwardly, they cheered. They looked forward to an open future, to more of the same. Others looked away, scrunched up their eyebrows and lashed out at their keyboards. This just wouldn't do, they muttered and mumbled and squeaked.

She existed in both mindsets at once. She was simultaneously excited and apprehensive. She didn't know what to think. Her eyes spun around the room like gyros, scrambling to find a centre.

And they fell, randomly, upon Mr. D'Souza from the Business desk, off to the left of field. Mr. D'Souza, staring at her, digging into her, large-happy-smiling into her. Mr. D'Souza, clutching a coffee cup in one hand. In his other hand, holding his crotch. Not merely holding it, but holding it. Oh, Mr. D'Souza, that old daredevil! That old dirty bastard! For heaven's sake, Mr. D'Souza!

She turned away. The world ceased to spin. “Thanks for bringing the plant,” she said. “I'll see you later.” She turned back to her cold computer, her robot work.

Her man, bringer of chaos, he frowned, he wiped his grimy hands on his sweatpants. He shuffled from foot to foot. He stood around a while. And he walked away, angered away, muddled away, whispered away. It wouldn't do, no. No, it wouldn't do, no?

And as her man walked away, she turned around and stared back at Mr. D'Souza, stared long and hard, stared till he nervously dropped his coffee cup onto his lap. A sharp, offended, offensive howl, ripping the room in twain, bile and acid pouring in through the tear, sloshing at the feet, eating toes. A new chaos, with everyone turning to look. LOOK!

She sighed. Huhhhh. Sometimes it just wasn't worth the effort. No, sir.

16 January 2010

Maria's Room






Photography, illustration and design by your humble servants, I an' I.
Cover artwork © copyright Vinayak Varma 2010
Cover model: Divya Viswanathan