Excerpts from the diary of the first bipedal

Following are some excerpts taken from the diary of the Australopithecus primate who is now widely considered to be the first to make bipedalism fashionable. His diary incidentally happens to be the first known written work in history as all his ancestors who walked on four feet could never handle paper and pen and those who walked on three could manage only one of the two at one time. Literary work dating before this diary, therefore, only consists of either blank pages or unused pens. It is evident that the author of this diary, unnamed as he is, suffered rejection at the hands of his contemporaries who found his bipedalistic leanings extremely postmodern. They also did not like the fact that when winter came while their hands would get cold, he would just slip both his hands into his pockets and whistle to the tune of 'what a wonderful world.' This, combined with the author's smugness on his ability to count till 10 using his fingers while the tripedals barely managed 5 and the quadripedals only reached as far as zero, meant that he led a life of social isolation.

Jan-4, 4.32 M.Y B.C.

'Those are 7 children you've got,' I told my brother today, only to be met with yet another stare of disbelief and suspicion. He stopped counting after five and refuses to admit that the food he manages is not sufficient for his family. I've told him time and again that I won't always be around to count for him and that he should try to stand on his own feet but sadly enough his attitude is steeped knee deep in orthodoxy. He refuses to see what I see but that's primarily because he doesn't get up as high as I do. And that's precisely the problem. That's the problem with him. That's the problem with his wife. In fact, that's the problem with our entire specie. Sometimes I'm afraid that if we don't try to free up our hands now, we won't have enough time to learn how to eat with knives and forks once they are invented. The best we would ever manage to do is to use chopsticks but how does one eat steak with them? Forget eating, how would one apply soap on his back? There are many issues that one worries about, not least of them being the utter hostility with which my suggestions are met. I think I have mentioned before that I'm not exactly a blast at parties and social gatherings. Oh yes I do manage a conversation every now and then but I just have to pick up the plate in order for everyone to remember errands they need to complete. They have instilled fear about me in the minds of the young ones and those little cretins try to throw rocks at me when I'm not looking - for once I'm happy that their motor abilities are impaired by this institutionalized quadripedalism.

What the world needs now is a bit of a revolution. We have to join hands and rise up to the challenges. Sure our hands are tied now with conservative orthodoxy but this ambivalence has to go if we intend to handle the opportunity which is provided by our increasing reach. Our future, I believe, can be in our own hands. Right now it's merely in our own feet. The world, I hope, would be at our feet someday. Right now it's also at our hands.

A little stopmotion

I was watching Coraline the other day and decided to do a bit of stopmotion animation myself. This is where you take a lot of photos, moving things little by little, and after a hell lot of time and a severe backache, run them quickly one after each other and watch your 3 hours getting condensed to 40 seconds. So here is my table cleaning itself (original photos taken with my phone):

I wanted to add some sound and some text but my propensity for slack seems to have gotten the better of myself at this point.

Oh Wilde!

I figure that lately I have been reading far too much literature which makes little sense to my limited understanding. Joyce's 'Portrait of the artist as a young man' and Woolf's 'To the lighthouse' left me fumbling for coherence and made me wish for sentences to be shorter, intentions to be clearer, and flights of imaginations to be slightly more constrained. Since the next book on this list is Ulysses, I thought that it's better to take a break and read something which I would actually understand. So I picked up Wilde's 'Picture of Dorian Gray.' This is the second time I read it because like all great pieces of writings there is much to be discovered in the book by multiple visitations. And I wasn't disappointed.

For those who have never read Wilde, I would introduce him to be a bit like that socially awkward person who doesn't want to talk much and doesn't want to join in your social gatherings, but you know that it's not because he cannot but because life to him is one solid block of glass, its mysteries, its trivialities, its splendor and its hypocrisy are transparent to him, neatly organized in alphabetized folders in his highly competent mind. He has figured out life's vagaries to an extent which most people, with their prejudices and contempt for new knowledge, will never even approach - and this is the chief basis of his reticence and his attraction. We who spurn new knowledge because it often demands stretching the social mores at their seam cannot help but be sinfully drawn to someone who has the courage which we lack.

Wilde's world is one of paradoxes. In his world every concept that one is taught, every idea which is essential to society's survival is turned on its head and presented anew. Presented thus, it has the power to shock one into a state of contemplation and induce in one a better appreciation for the very vague, very gray, and very subjective natures of all the institutions which comprise life. It is possible to view Wilde as a mere smartass who was in a perpetual quest to demonstrate his mental superiority but as Wilde probably would have said, 'it's only smartasses who ever have interesting things to say.' It's futile trying to argue his logic because he speaks to a very select audience, the very people whom he knows would not argue his points. Everyone else, in his eyes, would never get what he's trying to say and hence, by definition, is not worthy of having an argument with. This is not to say that Wilde's ideas are baseless and arbitrary. In fact they are exceedingly precise but Wilde leaves the onus of finding the precise conditions under which his crazy observations hold to the reader. The fact is that almost everything that anyone has ever said has some trace of truth in it. In the craziest of philosophies and the most juvenile of assertions, some part of reality, at some level of approximation, is always present (just like this generalization which I just made). But it isn't worth anything if the existence of this truth is merely an artifact of chance. I have long maintained that intent is more important than action. It's often the only difference between juvenile and brilliant art. While the end forms might be exactly the same, juvenile art creates itself whereas great art is a well thought out and precise expression. And this is why Wilde is special. He manages to say things like 'Those who are faithful know only the trivial side of love; it is the faithless who know love's tragedies,' or 'I love acting. It is so much more real than life.' or 'Faithfulness is to the emotional life what consistency is to the life of the intellect; simply a confession of failure,' and one is left wondering under which conditions these statements might be true, and in doing so realizes that in some corner of his world view, there lay lingering a little thought which, after years of social conditioning, had become invulnerable to questioning. Another support upon which one has built up his shaky understanding crumbles, a few more cracks develop elsewhere, and in some sense, this destruction leaves one more alive than before.

Excerpts from Heisenberg's 'Science and Religion'

It's instructive to see how nuanced the thinking of some of the greatest minds at the turn of the last century was. There is no incriminating bashing of religion (except by Dirac perhaps), no overconfidence in science, none of the polemic which is so much a part of modern day evangelists of atheism like Dr. Dawkins or Hitchins.

"One evening during the Solvay Conference, some of the younger members stayed behind in the lounge of the hotel. This group included Wolfgang Pauli and myself, and was soon afterward joined by Paul Dirac. One of us said: "Einstein keeps talking about God: what are we to make of that? It is extremely difficult to imagine that a scientist like Einstein should have such strong ties with a religious tradition."

"Not so much Einstein as Max Planck," someone objected. "From some of Planck's utterances it would seem that he sees no contradiction between religion and science, indeed that he believes the two are perfectly compatible."

I was asked what I knew of Planck's views on the subject, and what I thought myself. I had spoken to Planck on only a few occasions, mostly about physics and not about general questions, but I was acquainted with some of Planck's close friends, who had told me a great deal about his attitude.

"I assume," I must have replied, "that Planck considers religion and science compatible because, in his view, they refer to quite distinct facets of reality. Science deals with the objective, material world. It invites us to make accurate statements about objective reality and to grasp its interconnections. Religion, on the other hand, deals with the world of values. It considers what ought to be or what we ought to do, not what is. In science we are concerned to discover what is true or false; in religion with what is good or evil, noble or base. Science is the basis of technology, religion the basis of ethics. In short, the conflict between the two, which has been raging since the eighteenth century, seems founded on a misunderstanding, or, more precisely, on a confusion of the images and parables of religion with scientific statements. Needless to say, the result makes no sense at all. This view, which I know so well from my parents, associates the two realms with the objective and subjective aspects of the world respectively. Science is, so to speak, the manner in which we confront, in which we argue about, the objective side of reality. Religious faith, on the other hand, is the expression of the subjective decisions that help us choose the standards by which we propose to act and live. Admittedly, we generally make these decisions in accordance with the attitudes of the group to which we belong, be it our family, nation, or culture. Our decisions are strongly influenced by educational and environmental factors, but in the final analysis they are subjective and hence not governed by the 'true or false' criterion. Max Planck, if I understand him rightly, has used this freedom and come down squarely on the side of the Christian tradition. His thoughts and actions, particularly as they affect his personal relationships, fit perfectly into the framework of this tradition, and no one will respect him the less for it. As far as he is concerned, therefore, the two realms—the objective and the subjective facets of the world—are quite separate, but I must confess that I myself do not feel altogether happy about this separation. I doubt whether human societies can live with so sharp a distinction between knowledge and faith."

Wolfgang shared my concern. "It's all bound to end in tears," he said. "At the dawn of religion, all the knowledge of a particular community fitted into a spiritual framework, based largely on religious values and ideas. The spiritual framework itself had to be within the grasp of the simplest member of the community, even if its parables and images conveyed no more than the vaguest hint as to their underlying values and ideas. But if he himself is to live by these values, the average man has to be convinced that the spiritual framework embraces the entire wisdom of his society. For 'believing' does not to him mean 'taking for granted,' but rather 'trusting in the guidance' of accepted values. That is why society is in such danger whenever fresh knowledge threatens to explode the old spiritual forms. The complete separation of knowledge and faith can at best be an emergency measure, afford some temporary relief. In western culture, for instance, we may well reach the point in the not too distant future where the parables and images of the old religions will have lost their persuasive force even for the average person; when that happens, I am afraid that all the old ethics will collapse like a house of cards and that unimaginable horrors will be perpetrated. In brief, I cannot really endorse Planck's philosophy, even if it is logically valid and even though I respect the human attitudes to which it gives rise.

"Einstein's conception is closer to mine. His God is somehow involved in the immutable laws of nature. Einstein has a feeling for the central order of things. He can detect it in the simplicity of natural laws. We may take it that he felt this simplicity very strongly and directly during his discovery of the theory of relativity. Admittedly, this is a far cry from the contents of religion. I don't believe Einstein is tied to any religious tradition, and I rather think the idea of a personal God is entirely foreign to him. But as far as [Einstein] he is concerned there is no split between science and religion: the central order is part of the subjective as well as the objective realm, and this strikes me as being a far better starting point.

"A starting point for what?" I asked. "If you consider man's attitude to the central order a purely personal matter, then you may agree with Einstein's view, but then you must also concede that nothing at all follows from this view."

"Perhaps it does," Wolfgang replied. "The development of science during the past two centuries has certainly changed man's thinking, even outside the Christian West. Hence it matters quite a bit what physicists think. And it was precisely the idea of an objective world running its course in time and space according to strict causal laws that produced a sharp clash between science and the spiritual formulations of the various religions. If science goes beyond this strict view—and it has done just that with relativity theory and is likely to go even further with quantum theory—then the relationship between science and the contents religions try to express must change once again. Perhaps science, by revealing the existence of new relationships during the past thirty years, may have lent our thought much greater depth. The concept of complementarity, for instance, which Niels Bohr considers so crucial to the interpretation of quantum theory, was by no means unknown to philosophers, even if they did not express it so succinctly. However, its very appearance in the exact sciences has constituted a decisive change: the idea of material objects that are completely independent of the manner in which we observe them proved to be nothing but an abstract extrapolation, something that has no counterpart in nature. In Asiatic philosophy and Eastern religions we find the complementary idea of a pure subject of knowledge, one that confronts no object. This idea, too, will prove an abstract extrapolation, corresponding to no spiritual or mental reality. If we think about the wider context, we may in the future be forced to keep a middle course between these extremes, perhaps the one charted by Bohr's complementarity concept. Any science that adapts itself to this form of thinking will not only be more tolerant of the different forms of religion, but, having a wider overall view, may also contribute to the world of values."

Paul Dirac had joined us in the meantime. He [Paul Dirac] had only just turned twenty-five, and had little time for tolerance. "I don't know why we are talking about religion," he objected. "If we are honest—and scientists have to be—we must admit that religion is a jumble of false assertions, with no basis in reality. The very idea of God is a product of the human imagination. It is quite understandable why primitive people, who were so much more exposed to the overpowering forces of nature than we are today, should have personified these forces in fear and trembling. But nowadays, when we understand so many natural processes, we have no need for such solutions. I can't for the life of me see how the postulate of an Almighty God helps us in any way. What I do see is that this assumption leads to such unproductive questions as why God allows so much misery and injustice, the exploitation of the poor by the rich and all the other horrors He might have prevented. If religion is still being taught, it is by no means because its ideas still convince us, but simply because some of us want to keep the lower classes quiet. Quiet people are much easier to govern than clamorous and dissatisfied ones. They are also much easier to exploit. Religion is a kind of opium that allows a nation to lull itself into wishful dreams and so forget the injustices that are being perpetrated against the people. Hence the close alliance between those two great political forces, the State and the Church. Both need the illusion that a kindly God rewards—in heaven if not on earth—all those who have not risen up against injustice, who have done their duty quietly and uncomplainingly. That is precisely why the honest assertion that God is a mere product of the human imagination is branded as the worst of all mortal sins."

"You are simply judging religion by its political abuses," I objected, "and since most things in this world can be abused—even the Communist ideology which you recently propounded—all such judgments are inadmissible. After all, there will always be human societies, and these must find a common language in which they can speak about life and death, and about the wider context in which their lives are set. The spiritual forms that have developed historically out of this search for a common language must have had a great persuasive force—how else could so many people have lived by them for so many centuries? Religion can't be dismissed so simply as all that. But perhaps you are drawn to another religion, such as the old Chinese, in which the idea of a personal God does not occur?"

"I dislike religious myths on principle," Dirac replied, "if only because the myths of the different religions contradict one another. After all, it was purely by chance that I was born in Europe and not in Asia, and that is surely no criterion for judging what is true or what I ought to believe. And I can only believe what is true. As for right action, I can deduce it by reason alone from the situation in which I find myself: I live in society with others, to whom, in principle, I must grant the same rights I claim for myself. I must simply try to strike a fair balance; no more can be asked of me. All this talk about God's will, about sin and repentance, about a world beyond by which we must direct our lives, only serves to disguise the sober truth. Belief in God merely encourages us to think that God wills us to submit to a higher force, and it is this idea which helps to preserve social structures that may have been perfectly good in their day but no longer fit the modern world. All your talk of a wider context and the like strikes me as quite unacceptable. Life, when all is said and done, is just like science: we come up against difficulties and have to solve them. And we can never solve more than one difficulty at a time; your wider context is nothing but a mental superstructure added a posteriori."

And so the discussion continued, and we were all of us surprised to notice that Wolfgang was keeping so silent. He would pull a long face or smile rather maliciously from time to time, but he said nothing. In the end, we had to ask him to tell us what he thought. He seemed a little surprised and then said: "Well, our friend Dirac, too, has a religion, and its guiding principle is: 'There is no God and Dirac is His prophet.'" We all laughed, including Dirac, and this brought our evening in the hotel lounge to a close."

तीर पर कैसे रुकूँ मैं

तीर पर कैसे रुकू मैं आज लहरों में निमंत्रण!

रात का अंतिम प्रहर है, झिलमिलतें हैं सितारे
वक्ष पर युग बाहु बाँधे, मैं खड़ा सागर किनारे,
वेग से बहता प्रभंजन केश पट मेरा उड़ाता,
शून्य में भरता उदधि-उर की रहस्यमयी पुकारें;
इन पुकरों की प्रतिध्वनि हो रही मेरे ह्रदय में,
है प्रतिच्छायित जहाँ पर सिंधू का हिल्लोल कम्पन
तीर पर कैसे रुकू मैं आज लहरों में निमंत्रण!

जड़ जगत में वास कर भी जड़ नहीं व्यवहार कवि का,
भावनाओं से विनर्मित और ही संसार कवि का,
बूँद के उच्छ्वास को भी अनसुनी करता नहीं वह,
किस तरह होता उपेक्षा पात्र पारावार कवि का;
विश्व पीड़ा से, सुपरिचित हो तरल बनने, पिघलने,
त्यागकर आया यहाँ कवि स्वप्न लोकों के प्रलोभन;
तीर पर कैसे रुकू मैं आज लहरों में निमंत्रण!

जिस तरह मरु के ह्रदय में है कहीं लहरा रहा सर,
जिस तरह पावस पवन में है पपीहे का छिपा स्वर,
जिस तरह से अश्रु-आहों से भरी कवि की निशा में
नींद की परियाँ बनाती कल्पना का लोक सुखकर,
सिन्धु के इस तीव्र हाहाकार ने, विश्वास मेरा,
है छुपा रखा कहीं पर एक रस-परिपूर्ण गायन;
तीर पर कैसे रुकू मैं आज लहरों में निमंत्रण!

आ रहीं प्राची क्षितिज से खींचने वाली सदाएँ,
मानवों के भाग्य-निर्णायक सितारों! दो दुआएँ,
नाव, नाविक, फेर ले जा, है नहीं कुछ काम इसका,
आज लहरों से उलझने को फड़कती है भुजाएँ;
प्राप्त हो उस भी इस पार सा चाहे अंधेरा,
प्रप्त हो युग की उषा चाहे लुटाती नव किरण धन;
तीर पर कैसे रुकूँ मैं, आज लहरों में निमन्त्रण!

-हरिवंशराय बच्चन

Genealogy

I have been wanting to trace my family history for a long long time now. The reason for this is as follows: I am perfectly aware that there is no such thing as the golden age of humanity, and neither was there ever an innocent generation devoid of all malice and hardship. Human struggle and trepidation is one uniting factor which bridges people across decades and centuries. Looking back through the glasses of nostalgia we run the risk of painting a very untrue picture of the past. A picture where people were more honest, families were stronger and nobler, individuals were wiser - a picture which is untrue because it ignores the fact that humans have always been and will always be just that, merely human. They will be dissatisfied as they have been through the centuries. They will have struggles as they have always had. The form of these struggles change but the essence remains intact. I get a rush when I can give relatable names to these individuals who lived hundreds of years ago, who probably lived a very ordinary, very uphill, and very human life but who hold a special position in my life by virtue of being my ancestors. I can then move up my chain and witness generations after generations of names I have heard occupying their own little 60 years of sunshine withering away against the onslaught of time. Their legacy is merely the gift of the next generation - only to vanish in another 60 years. And every single one of those hundreds upon thousands of individuals probably thought their child was the chosen one and that they themselves had a special understanding of life. Every single one of them probably had staunch religious, casteist, and national loyalties, a whole edifice of moral beliefs, a little house where they started a family, an income avenue, people they disliked, individuals they loved, stupid, unflinching ideas, ideas they were probably right about and ideas they were completely wrong and shortsighted at, a whole system of cuisine, a language which was perhaps very different from what I speak now. Some of them might have stood in the courts of nawabs or princes, most of them probably had dark lingering secrets, all of them contributed to this vast pulsating sea of drama which is life and upon whose surface ebb and flow the waves of human emotions. It's simply fascinating.

So I finally made a site, Genealogy, through which I hope I will be able to trace my family's ancestry through time and space. While I am stuck here in India at the whims and fancies of the US department of state, I am trying to make use of this time by gleaning as much information as I can. In so doing I came across the diary of my maternal grandfather. Now he was a special person, the kind of person which, I am afraid, doesn't exist in my family anymore and is very rare to come across even outside of the family. My memories of him consist of him sitting me by his side in a cozily lit room on a cold December evening at my uncle's Dairy colony house in Gorakhpur and telling me stories from sources as varied as Mahabharata and Tolstoy. His formal education consisted merely of matriculation (it might have been a lot in 1940s) and all his life was spent in the Railways but that did not prevent him from harboring an immense respect for knowledge. It seemed to me that he managed to do something which only occurs sparingly: he managed to save the primal curiosity which everyone is blessed with from the eroding winds of life. And I see it in his diary. Little episodic entries, quite disconnected, completely useless to a man of the world, but how I love them for their utter futility. I think I understand how happy and fascinated he must have felt when he learned that our star is one in a hundred billion stars in the Milky Way, how satisfied it must have made him to list down the Aaroh and Avroh of Darbari, how happy he must have become while roaming alone on the streets of old Lucknow amidst the Nawabi ruins and the cultural landscape. There is no pretense, no malice, and no regret, just a childlike curiosity and a desire to know more. How I wish I could talk to him now so that I could ask him the one question I want to ask all the old people, 'How has it been?', and get a special answer.

to Be or Not to Be

? That is the question - as Hamlet soliloquizes in one of the deepest, most biting reflections on the absurdity of life. His father has been murdered, his mother is married to the killer - which is the slain king's own brother, and Hamlet, writhing under the agony of inaction and helplessness, ponders lyrically over whether he should end his own ridiculous existence. He is wary of the uncertainty of death and attributes it to the only reason why a man who,

...would bear the whips and scorns of time,
The oppressor's wrong, the proud man's contumely,
The pangs of despis'd love, the law's delay,
The insolence of office...

can still not gather courage enough to end it all. He concludes with the brilliant observation,

Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought;

And just like that, we have another of those absolute gems with which Shakespeare's Hamlet is replete.

Reading Shakespeare is a tricky deal - and not just because his language, by virtue of its chronological distance from the present and its own eloquence, is quite removed from our current comprehension. Reading Shakespeare is tricky because one always feels enormously burdened by the weight of his reputation. It almost feels like an insult to one's own intelligence if the 'expected' awe and respect for his work is not automatically generated. Because let's face it, 500 years of literature after his time and enormous giants of the field since him cite inspiration from his pen. Therefore, I was quite dismayed when I read 'Midsummer Night's dream.' The language was brilliant, needless to say, but I found the plot, the story, the characters - almost everything except the language to be quite pedestrian. The primary emotion that I felt after reading the play was 'Why even bother writing something this mediocre?' And then I decided to read his most famous work and I am not disappointed at all.

Hamlet reminds me of a line from the movie Fight Club. Brad Pitt says to Edward Norton, 'We are God's middle children... with no special place in history and no special attention.' He indicates how our generation has not really had any great wars, any great challenges, and how our concerns and our tragedies dwarf when compared to what history had to face. Since art reflects life, (If, for a moment, I take the liberty of going against the great Oscar Wilde) the greatest challenges our heroes have to face today are merely contemporary. I'm not denigrating the efforts of one who tries to survive the tough life of a call center, or one who is trying to make sense of the quagmire of love, but I think we can agree that what our current stories have gained in realism and subtlety, they have lost in magnificence and grandeur. Which is why Hamlet was such a joy to read.

It is an eternal mirror to life inasmuch that life's core issues of revenge, conceit, disloyalty, anger, treachery, moral corruption, and individual conflict remain ever present. But that mirror reflects a particularly radiant gleam and is set in a beautifully adorned, intricate and larger than life frame. In much the same way that our current literature might slyly reference pop culture, Hamlet harks back to the Greek gods. The canvas on which Shakespeare has painted Hamlet's tragedy is a palimpsest from which nothing less than divinity itself has been erased. And just like the Greek gods which, quite refreshingly, were great and mighty and mean and capricious, characters in Hamlet are all in shades of gray. Only writers who have their own axe to grind paint characters which are either good or bad. Such writers are not only mediocre themselves, but they only appeal to a simple minded reader (Ms. Ayn Rand for example). I quite loved the fact that Shakespeare, in this epic tragedy, gave us characters which left me quite unsure as to where my loyalties lay.

I would have recommended reading the play but I can very easily understand how a lot of people might find it dreary. I have a special fascination with language and I like when things are unnecessarily beautiful and complex. Every line of Hamlet (indeed any other play by Shakespeare, I'm guessing) requires effort to disentangle and I understand how most people would consider it not worth the effort. But regardless of this fact, it would not be out of place for me to recommend watching the play. I myself am looking forward to it the first opportunity I get.

Haircut et. al.

Haircut is one of those things which never seems to have been done well. It's like a photograph which inadvertently makes you wonder what the reason was for your dumb expression. You always feel that something in the photo is not quite right and things could have been a whole lot better if only you had tilted your head slightly to the right or restrained that retarded smile by a smidgen. You subconsciously blame the harsh light, the heartless, uncultured flash, the amateur framing, the colors of your clothes which seem to stand out like a sore thumb, and the rest of the humanity in general which has made your day a little less enjoyable just by existing in  a way which falls short of your exacting measures. You fidget, you shuffle, you empty out your pockets and scrape the bottom of the barrel looking for excuses as to why, oh why, the photo doesn't look quite right. And amongst all this deliberation the elephant in the room is just you, with your features which were never really selected by nature by the yardstick of how well they frame within a 4 by 6. Even if your features do not look as if they have been picked straight out from an Evil Dead sequence, the humbled 'creation' has never really been so good so as to make a specimen which is satisfied in its own eyes.

I mentioned all this because I wanted to connect it to the dilemma of the bad haircut. While sitting in the barber's chair with him snipping away at my locks with the nonchalance of a 'mere job', I often wonder which exactly is the point where he botches it all up. Because it seems to me that I have never really had a good haircut (Burrito Barber excluded out of kinship.) Not only have I not had a good haircut, I always have a feeling that while I am sitting there in that 'execution chair', my throat restrained by piece of cloth which never seems to perform its purpose of preventing hair from sneaking under my shirt, the guy with the scissors doesn't know what he is doing. It's a huge charade all over the place really. I sit there pretending that I feel that he knows what he is doing. He senses that I am not being honest but he has a reputation to protect and a bread to win and goes on pretending that he knows what he is doing. And bound in this little knot of mutual suspicion, the two of us embark on a journey which has a vague beginning, an unsure progression, and a muted, disastrous end. I pay up not because he did a good job but because he didn't break the charade and made it uncomfortable all over the place. I think we both understand that we are related. We are both related by ineptitude and cowardice. We understand that we are both puppets in a show where society expects hair to be trimmed periodically. Nature has played a vile trick in Keratine which likes to grow and society has decided that it's unacceptable. And the barber and I are hopelessly stuck in this battle of titans.

But maybe I am just making excuses. Maybe, like the photograph, I was never meant to have a good haircut. Some people can never become mathematicians, some can never balance things on their heads, some people can never have a good haircut. I remember when I was young my mother had me part my hair from the side. I never really liked it, having associated it with the kind of boys who sit on the first bench and raise their hands to answer questions - the kind I hate to this day. So when my turn came for rebellion, as it comes for everyone, I rebelled by shifting the location of my parting a few inches to the right. That was pretty much the most violent gesture I can ever be accused of committing. But the flip side of this transgression, as I have come to suspect, is eternal damnation. I have come to believe that my hair was meant to be parted from the side and nature never really intended it to have a center parting. Therefore, whenever I go to a barber with my very affected center parting, he looks at me with a confused stare, goes around trying to figure out what's there with my hair which is not quite right, gives up, becomes self conscious, pretends that he knows what he is doing, induces an uncomfortable silence, and begins snipping away. If only I could give him the historical account of side parting, maybe he'll do a better job.

But I say that I have never had a good haircut with a few qualifications. One is obviously burrito barber but that is more because I have not yet bought the promised burrito, and the other is the barber I had today. This girl was what Van Gogh would have been had he decided to cut hair. I am not saying that I had a good hair cut. I am just saying that I was completely mesmerized by her craft. She didn't care a damn how to suit my hair to my needs. I entered the saloon, she pursed her lips and squinted her eyes as if she did not at all approve of my existence, inquired if I had been living in a cave, decided that my hair was too long - objectively too long - and after 10 minutes of pure 'barbaric' mastery, said that this was just better - objectively better. And through the process I could only be completely enthralled by here sure scissor, her deft hand movements, her elegant, measured, actions. I think I am not conveying my total amazement properly. And I cannot because it's impossible to convey how one truly feels at reading Nabokov, or listening to Beethoven, or watching Federer play. It's impossible to convey how much of a pleasure it was to be sitting there watching her convert a vague lump of clay to a vase she thought was at least presentable. Oh what a joy!

Steppenwolf

I read the book Steppenwolf by Hermann Hesse over the weekend and here is an effort to glean some coherence out of its brilliantly ambitious and seemingly inchoate mass of ideas. I am glad to say that despite the back cover of the book containing phrases like 'blend of eastern mysticism and western culture', 'soul's journey to liberation', and 'vital spiritual force' this book has much more to offer in terms of imagination and depth than so many treatises on all kinds of philosophy do. There is no doubt that my contempt for philosophizing, especially the sort which gives you the idea that there is something higher worth aspiring for, results from my own belief in the ridiculousness and accidental nature of life. Yet, I cannot deny that life has a beautiful intricacy to it - the sort of complexity which gives rise to our best artistic creations, our desperations, our flights of imaginations, happinesses, insecurities and so many other interesting concepts. As someone who stands in awe at the magnificent variety of life, I find it a worthy occupation trying to dissect this complexity without falling into the trap of moralizing or teaching. Steppenwolf is an enjoyable attempt at this. Barring some questionable references to the 'wisdom of the east', the 'immortality of the soul', and a few other nuggets of bullshit thrown here and there (Mr. Hesse was a spiritualist so I did expect some unbearable passages.) Steppenwolf is a good book.

It is contemporary in the sense of concerning with the isolation of a man in the modern society. It deals with the sort of isolation which on a superficial level is afforded only by the modern society and is seen to be increasing as technology allows us to be more and more disconnected yet connected. On a deeper level, though, this book is about the kind of isolation which is very much independent of time and age. The isolation of the man who has refused to buy into the common ideals of society. The man who has spent considerable effort trying to hone his intellectual side and, thus, has developed a highly biting sense of contempt towards the mass of humanity who do not appreciate the 'finer way of living.' This mass of humanity, quite understandably, finds such a man unbearable and is only too happy to leave him to his own devices. The desperation that follows this isolation, however, is compounded by the fact that man is, in essence, merely an animal. His animal instincts (represented by the wolf in this book) often clash with his desire to be civilized. The desire to kill, to be unlawful, for sex, and for aggression are in direct odds with his desire to be swept away in the gay abandon of Mozart, Handel, Bach, and the intellectual thoughts of Nietzsche, Novalis, and Goethe. Our protagonist (Harry), therefore, decides that suicide is the only resolution to such a deep seated conflict.

This is where he comes across a girl who seems to be able to read his thoughts and make more sense out of them than Harry himself can. She empathizes with him and gives him an immediate reason to live for. The essence of the book from here on is Harry's reintroduction to the 'indulgences of the bourgeoisie.' Dancing, jazz, sex, drugs - all those activities of the common man which Harry had so much contempt for. The wolf rears its head against the cultural snob every now and then and the inevitable question is raised - 'What is right?' And thankfully the question is left more or less unanswered; or at least open to interpretation.

The book ends with Harry's foray into the very imaginative 'theater of magic.' It raises topics like the profligacy and the simultaneous necessity (even inevitability) of war, the ridiculous duality of our civilized existence in a world which is hopelessly burning, the triviality and the simultaneous magic of 'human emotions' like love,  the chanced nature of our birth and existence, and the ultimate folly of taking oneself too seriously. To my liking, none of these topics are explicitly stated or preached upon but a reader with sufficient intelligence should be able to sniff them out in the brilliant and surrealistic theater of magic. I, with my very limited intelligence, could decipher some broad themes but I am quite flummoxed by the way the book ends. At this point, it appears to me that some characters and ideas of the book have been modeled upon the Bhagwad Gita but my ignorance of Gita prevents me from being able to verify my suspicions.

All in all, it's a very good book. Highly recommended.

Boston

I spent this past weekend roaming around the streets of that beautiful city Boston. Pavan, Ravi, Tanmay, and Amitesh wanted to meet as part of our now annual ritual and the general consensus was about meeting up for some outdoorsy activity. But I had never seen Boston and had heard so much about it from here and there. So I ended up forcing everyone to meet up in Boston and what a great trip it turned out to be. Suffice to say, I found Boston to be as likable as San Francisco. It has the same culturally eclectic and artistically rich feel that SF has. In addition, it has a history which most American cities lack. Being home to at least half a dozen major colleges ensures that it has a consistently upbeat rhythm to it. Its architecture is indulgent and the city seems to have been made with beauty and intricacy in mind. I do not have a camera but ended up taking some photos from my iPhone.

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