Living Through India’s Pandemic Disaster in the Age of Instagram

I woke up to a steady, dull pain. I saw that the time on my phone. 11.30 am. I had overslept after staying up too late last night, watching with relentless horror, scenes from what looked like something straight out of an apocalyptic movie unfolding in real time in India, as I lay in my bed in a student room in the north-east of Scotland.

I checked my phone. A WhatsApp group called ‘Health Updates’ had streams of concerned messages, prayers and voice notes about my aunt who is hospitalized with COVID. She is doing better. We are worried but still thanking our lucky stars that we managed to find a bed for her in a hospital. I opened my social media to see calls from friends and acquaintances asking for leads with admitting people to the hospital, remdesivir injections, plasma donations, oxygen cylinders, ventilators. I draw the curtains of my window, a bright sun rises over St Andrews—the weather reflects the mood of a nation that is coming out of a long and desolate lockdown.

Spring blooms are bursting with colour all over Britain, as people are thronging pubs, restaurants, parks. Yes, British weather sucks balls. However, I have always maintained that the dreariness of the rest of the year is made up for by the summer; I have never in my life experienced something as joyous as an English summer. I remember telling my friends, after experiencing my first summer here, that I now understood why the Romantics wrote endlessly about nature! I finally saw what the pale golden petals of a daffodil looked like, even though I, like almost every school going child in the subcontinent, had spent hours memorising Wordsworth’s praises to the humble flower. I could finally see why Blake saw ‘Heaven in a wild flower’ or why Keats wanted to write verses for daisies, bees and sweet peas. Yet, this year, neither the prospect of a return to normalcy, nor the myriad delights of the season, bring me much joy. My mind is clogged with images of choked hospitals, mass funerals and tear-stained faces back home. The cognitive dissonance is overwhelming. Perhaps this emotion is familiar to most members of the Indians living in the UK.

India has seen almost 15 million cases of COVID-19 over this past year and has recently seen a deadly surge in cases with its second wave of the disease, registering over 2,17, 353 new cases in a single day. Two months ago, international press was wondering if India had somehow beaten the pandemic. I found myself trapped in self-isolation with the rest of the UK, when the new variant hit the hit the country. Christmas plans cancelled. No trips home. No eagerly awaited reunions with loved ones for me (and many others). My solitude extended for months on end. I saw Instagram stories of friends and acquaintances meeting indoors, taking holidays to beach resorts, partying in clubs while I, living alone and starved for company, conversed with walls to feel whole again. I was initially skeptical of this new-found lack of caution and eventually, just desperately jealous of everyone’s freedom back in India. In this period, United Kingdom, after dragging their feet with the new strains circulating in the country, steadily vaccinated over half its population. The vaccination drive in India, which started in January, had only vaccinated 3% of the population since then, despite the fact that it is one of the largest vaccine suppliers to the rest of world.

Today, instead of boomerangs of friends partying in Goa or grabbing lunches in crowded malls, I see only calls for help on my feed. I see bizarre visuals of the biggest hospital in Ahmedabad, the capital of Prime Minister Modi’s home state, Gujarat, choc-a-bloc with patients to such an extent that 40 ambulances lie waiting outside the building. I refresh my Instagram, corpses are being cremated on the footpaths of major Indian cities. I check my DMs, it is a friend asking if I know of any resources she can forward to someone’s parents trying to access medical help in Lucknow or Ranchi. I see tweets of people trying to process their trauma of losing a loved one they have lost to this pandemic.

It is 4 pm. I attend the funeral of a relative on Zoom, a great aunt, my mother’s. She lost her life to the disease, despite having received the first dose of the vaccine. Grieving members of my mother’s vast family meet online, solemnly attending a funeral from behind a screen. The maulvi tells us that every death is a reminder to live a more pious life. Unlike those who have departed, we still have the time to change our ways. Allah is Forgiving. Allah is Merciful.

Someone’s mic is on—a female voice is having a full conversation on the phone that everyone can hear embarrassingly clearly, while the maulvi carries on talking about the struggles of Husayn and his family’s indomitable strength in the face of all odds during the battle of Karbala. We can overhear that she is comforting someone for what sounded like another loss on that call. The maulvi just removes his earphones and wraps up his sermon—he does not ask this person to mute herself. He is forgiving, too.

I have a PhD deadline that I need to meet and yet here I am, writing this article with the fervent dedication my thesis rarely invites. I keep endlessly scrolling through my feed, consuming each terrifying statistic in the news, amplifying resources, messaging friends and family members who are affected by the devastation brought about this disease in big and small ways. Finally, I come across a post by the comic Prashasti Singh called Notes from Zombieland. She describes the scene at a hospital in Lucknow, where her mother is battling COVID; she writes, in chilling detail, of people running and grabbing the available oxygen cylinders to provide to their loved ones. I cannot take it anymore—it has been an exhausting day. I break down in tears, not even for myself or my family, but for the friends, the vague acquaintances, the nameless, faceless people of my country who are in so much pain.

xxx

All this, while the democratically elected emperor of India, Narendra Modi, oversees the destruction of his country—he continues to carry out political rallies (much like his opponents) for the upcoming state elections in West Bengal, one of the states worst hit by the pandemic. Some culturally informed netizens have made witty comparisons to another emperor in history, with a similar name, who burned down Rome in his nihilistic thirst for power. While this second wave is being portrayed by most of India’s sycophantic media channels as solely a result of the laxity on the part of individuals, it is, in reality, very much a state-sponsored pogrom. The government actively encouraged pilgrimage to the Kumbh Mela, a massive Hindu festival, which saw around 3.5 million devotees make a beeline to Haridwar, an ancient, holy city in the foothills of the mighty Himalayas. This approach is in glaring contrast to the events from last year, when the government and the press blamed Muslims for trying to spread the virus by committing ‘corona jihad’, in the light of a religious meeting held by Jamaat-e-Islami that was held in Delhi in early March, 2020. The government had officially described COVID-19 on 13th March, 2020 as ‘not a health emergency in India’. Modi’s Hindu nationalist vote bank would not usually appreciate this comparison and yet, even many of them cannot help but note the blatant double standards. Memes, the collective coping mechanism of the internet age, joke about Modi fans repeating there oft-repeated phrase in response to any of his previous failures, ‘If Modi has done this, it must be for a good reason.’ Vaccines are being distributed unequally across states, disadvantaging those ruled by opposing parties. BJP (Bhartiya Janta Party, Modi’s party holds power in the center) ruled states have been revealed to have been actively covering up real numbers of deaths. Modi, and his party, have a long and dark history of persecuting Muslims and other minorities; his strongman image as the vanguard of Hindutva (Hindu supremacist political ideology) going back to the pogrom that saw 2000 Muslims dead in Gujarat, the state he was the Chief Minister of for over a decade after the riots. The notoriety and subsequent popularity, combined with his business-friendly approach, catapulted him into the forefront of national politics.

Perhaps, it is too much to expect empathy from a government that directly traces its roots to genocide, but what I find strange about this new set of disastrous events that have happened under this current government, is the ambivalence of the ruling dispensation seems to hold towards the havoc which is being wreaked by the virus, even though it does not discriminate between Hindu or Muslim, rich or poor, Brahmin or Dalit lives. Business as usual for parties on their election trail— Modi is as unperturbed now, as he was about the hundreds of migrant labourers who died last year when sent to death marches out of hunger and starvation, after he announced the implementation of a nationwide lockdown in a matter of four hours. Visuals of desperately poor, visibly exhausted people walking for 18 hours straight in the unforgiving summer heat of India or thronging bus stops and railway stations to find a way back home flooded the internet. Most heartbreaking of all, was the clip of a crying baby lying next to his dead mother, who succumbed to exhaustion from the journey. After much delay, trains that were specially introduced by the government in the midst of this lockdown to ferry these labourers back home, bizarrely enough, seemed to have lost their way before reaching their final destination days later, with nearly 100 dead bodies in them. Many of these migrant labourers in Indian cities come from the poor state of Bihar; journalists and intellectuals wondered if the BJP’s poor handling of the crisis would earn them the ire of the residents of the state.

The BJP won by a comfortable majority in the state elections, held six months later, in November 2020.

I had moved to the UK again for my PhD by this time. I decided I wouldn’t despair. I would instead try and actively immerse myself in my new life now. There is no justice in the world.

xxx

I rant angrily about the situation back home to anyone who would bother to hear. My new friends in the UK offer me a patient hearing, suggest ice creams to cheer me up. The ice creams, the clear skies, the shimmering blue sea do cheer me up, albeit temporarily. My phone notifications are still buzzing. I keep an eye on the ‘Health Updates’ group chat for any further details about my aunt.

The masochist that I am, I cannot resist the urge to check my phone constantly, to stay updated, to see if everyone is doing okay, to share my anger. ‘There is no justice in this world!’, I text a friend after returning home. Here I was, having a breakdown on a Sunday afternoon because I saw something sad on Instagram. Again. I tell people how sad I am, how I can do nothing but despair and friends can say nothing to console me. I cannot function, I tell my friend, who has tested positive, is immunosuppressed, stuck in self-isolation and is monitoring her vitals thrice a day. It is ironic, I realize, that I am complaining about my COVID induced anxiety to someone who has got the virus, and is significantly more at risk than others her age, as someone with an already compromised immune system. I want her to therapize me. Now.

She texted back, ‘Shut the news, Zehra. It is a gutter, but people are managing. This government doesn’t give a fuck, but people do. Frontline staff are working day and night, people are compiling resource lists to help those in need. Knowing it won’t change a thing. I know it sounds naive but that’s the only way to keep sanity. Focus on what you can do instead of thinking about what they who are supposed to be doing aren’t doing. The government will not—they don’t care. Better to accept. Take action and spread joy, the world needs that.’

Spread joy. Trite as the sentiment seems to be, maybe that’s all I have.

The implementation of restrictions, if any, has been left mostly to state governments and local authorities, who are woefully unprepared for the crisis and scrambling about managing the political considerations of the powers that be in the center with the urgent demands for support by locals constituents. Faced by an uncaring government, Indian citizens have taken to providing support in their own hands. The internet is now flooding with resource lists compiled by ordinary citizens, providing people with numbers, plasma donation lists, supply for life-saving drugs, amplified by journalists, activists, academics, influencers and regular people on the internet. Case in point, Kusha Kapila. An Instagram comedian and actress, she, like many others, is using the power of her 1.6 million followers to provide COVID relief. Her stories wherein she is connecting plasma donors to patients, are interspersed with reels of her comedy sketches, the antics of her puppy Maya and shout outs to glamorous model/influencer friends. Jarring as the dissonance is to some, it is also important work. She is saving lives; even spreading some smiles. Some would say that this is more than what the Prime Minister is currently doing.

If India comes out of this pandemic, it will be due to the efforts of individuals who went above and beyond to do far more than expected, with no thanks to the government.

It is Ramzan, the holy month of Muslims all over the world. Overwhelmed by an uncharacteristic connection to the divine, I find myself taking pulling out my prayer mat to offer namaaz—praying for my country. Allah is Forgiving. Allah is Merciful.

Update: I lost my aunt to the virus a few days after writing this article. She was a single parent, raising her college-going daughter and selflessly caring for an ageing mother-in-law. Mumaani was a warm and affectionate woman of quiet fortitude, who taught it me it was possible to smile through adversity without ever letting that pain define who you are. A teacher, a mother, a daughter, a daughter-in-law, an aunt, a sister. A human being can have so many roles, exists in such a complex web of relations—so many people for whom that individual provides some indispensible, irreplaceable function.

Of all her nieces and nephews, her love for Bollywood films rubbed off on me the most. While the rest of the family was mildly alarmed by my penchant of being clued into all the latest Bollywood gossip and hours of filmy discussions, Mumaani indulged me. She would spoil us with presents and food, impromptu trips to Aligarh’s noisy markets and cinema halls. It was only after her death that it registered in me that she wasn’t related to me by blood, there was no expectation on her to pamper us so. She just did. My school vacations were spent in our family home, ‘Aiman’, built lovingly, brick-by-brick by my grandfather. She was the person who made that building a home. As a result of her passing, that house, which saw so much, now stands mostly empty.

Why the hell did I ‘hate-watch’ Indian Matchmaking in one night? : Notes on South Asian Cringe

I cringe as I write this. I can’t believe I am contributing another piece to the most over-discussed phenomenon on the internet –Netflix’s Indian Matchmaking. It is not particularly good television, but remains widely watched and hotly debated. It has been covered by not just almost all major and minor national publications of varying repute, but also by the international press in The New York Times, BBC Culture, The Atlantic, and The Baffler.

The show has been rightfully criticized as patriarchal, casteist, colourist and orientalist. In fact, many viewers have argued that Netflix has committed irreparable damage by producing a series which largely glosses over the foundations at the heart of arranged marriages, namely, caste endogamy and patriarchy. However, despite the in-depth critique the show has attracted, Indian Matchmaking is strictly low-brow. While watching it, I was incredibly aware that not only was it problematic, it was also mediocre and predictable. But I still found the series inexplicably entertaining. What did an international audience see that was so watchable in the show and why have we been consuming it with such relentless fury? Yours truly finished a season in one night of non-stop, breathless hate-watching.

I decided to write this piece because I wanted to investigate why I subjected myself to this. The endless flurry of memes and think pieces are a mild reassurance that, at least, I am not the only one who indulges in some occasional cultural masochism (no to kink shaming!). Clearly, there is a quality to the show which makes it entertaining, in the same way I would be stimulated by a somewhat funny meme or three-minute viral content on the internet. It would be unremarkable if it wasn’t so deliciously…cringe. Indian Matchmaking is top quality cringe content. But what makes it cringe and why do we watch it?

An illuminating study of cringe as an affect and genre has been provided to us by the brilliant YouTuber, philosopher and activist, ContraPoints aka Natalie Wynn. She believes that cringe, when it is aimed at someone else can carry multiple connotations, but a consistent pattern seems to be the audience’s shame on behalf of the person because of their lack of self-awareness. Multiple commentators describe watching the show while half covering their eyes or being unable to keep looking at the screen because of the vicarious embarassment they felt for someone else.

Indian Matchmaking, to my mind, is a prime example of cringe comedy and how the genre’s conventions both, emphasise and ellide, the questions of patriarchy, caste and class. Humour is a remarkably ambiguous emotion, as it automatically elicits multiple meanings. Susan Sontag wrote almost 60 years ago that ‘To talk about Camp is therefore to betray it’; the process involves drawing our attention to its excesses. Similarly, to talk about cringe is, in many ways, to betray it; I write this to explain the joke. After all, what makes something cringeworthy is in its reception, not its essence. 

For something to be cringey, content and audience are inseparable.

In an episode discussing the show in their podcast, State of Theory, Anindya Raychaudhuri and Hannah Fitzpatrick wonder, who are the kind of people who decide to appear on a dating reality show/documentary? 

Well, let’s analyse some of them.

For instance, let’s consider the meme-able moment where the nouveau riche jeweller, Pradhyuman, serves liquid nitrogen makhana or fox nuts as amuse bouche to Sima Aunty (more on her later) and his seemingly ecstatic mother, who enjoys the dish in gastronomic rapture. Are we laughing at Pradhyuman’s failed attempt at coming across as tasteful or at the bizarre things rich people do? Perhaps, a little bit of both. 

Another participant in the documentary who became a source of the internet’s collective fascination and horror was Akshaye’s mother, Preeti. Preeti claimed to have developed a high BP problem as her son remained unmarried at the ripe age of 25.  Preeti says multiple times that she wants the girl to be ‘flexible’ and follow her rules if she is choosing to live under Preeti’s roof. This could have been downright obnoxious and terrifying to hear for a prospective daughter in law, but for the well-heeled audience watching this moment on their 500 rupees a month Netflix subscription, this is hilarious. Her use of the word flexible conjures up a variety of images –from acrobatic to sexual. The moment she demands that her elder son and daughter-in-law have their first child only after Akshaye is married doesn’t strike as a chilling example of a mother-in-law exercising patriarchal control over the elder daughter-in-law’s reproductive agency but instead makes us laugh because of her complete lack of self-awareness. ‘Cringe is failed seriousness’, remarks Wynn. What are these moments if not that?

Even a participant like the successful lawyer, Aparna (who is, somewhat confusingly, both reviled and seen as a woke feminist icon by sections of Twitter), is constructed to seem completely missing any sense of self-awareness by the producers. She doesn’t seem to know (or mind?) that she comes off as, for the lack of a better word, deeply un-chill, when she cannot fathom why her date could want to take a relaxing 10-day vacation. Unlike the awkward and shy men on the show like Pradhyuman and Akshaye, Aparna is impressively confident but absolutely unconscious of how her judgmental approach maybe off-putting to her dates or the audience. 

‘There is something shrill and desperate about Aparna,’ I think. She makes me cringe so much that I cannot bear looking at the screen sometimes when I see her on that date with Srini. Is it because I worry that I see some of myself in her? ‘But I am not THAT chatty and not THAT aggressive.’, I tell myself.

One could argue that Aparna doesn’t want to be liked, but she clearly does, because why else would she be using the services of a match-maker to find a suitable partner among a sea of men? While the men (and us) may have mixed opinions, it is clear that Sima, the matchmaker in question and the protagonist of this series, doesn’t like her. In fact, Sima specifically doesn’t like her because Aparna is too ‘finnicky’, ‘negative’ and needs to learn to ‘compromise’.

Sima’s highlighted hair and jet-setting career never take away from the fact that she is a deeply traditional woman who, by her own job description in Episode 1, matches men and women of the same caste and keeps their rich parents happy in ensuring a smooth transfer of generational wealth. Her now trademark introduction (“Hello! I am Sima from Mumbaaai”) to her meme-able, trite advice on compromise, kundlis and the alignment of stars, everything about Sima screams ‘AUNTY!’. Aunties are, as a trope in South Asian millennial culture, an endless source of comic fodder. The trope about aunties is that they are regressive, petty and gossipy. Sima is regressive by our standards, her concerns with domestic bliss seem inane and petty in a world with dangerously rising COVID cases, temperatures and right-wing authoritarianism, and her one-on-one chats with the camera, where she dwells on the participants personalities, feel like she might as well be gossiping with us in the intimacy of our drawing rooms. 

The makers of the show are hyper-aware of this reception and their audience. Films like The Room or Gunda are pioneers of the ‘so bad that it’s so good’ genre, but as a connoisseur of trash, I can confirm that Indian Matchmaking is a noteworthy experimentation. It employs a layer of meta-theatricality to the proceedings on screen. The camera captures the joke. The participants don’t know the joke. The audience laughs AT this ironic asymmetry. The camera pans for a few extra seconds every time something eye-rollingly awful happens on screen; I want to both dig a deep hole and hide in it forever but am also unable to take my eyes off the screen lest I miss the next display of human terribleness. Even the seemingly progressive arc in the series with Ankita, the young entrepreneur, is steeped in artifice. We are told every few seconds that she is ‘modern’ and ‘aaj ke zamaane ki ladki’ (girl of today’s age). ‘Modern’ girls don’t find it easy to get matches and Ankita abandons her search for a suitable boy in the most predictable fashion. The lesson here is that Ankita partnered with herself. Lol, okay.

In the closing moments of the show’s final episode, we are introduced to Richa, who is ‘slim, trim, fair, beautiful and from a good family’. Sima guesses that Richa should have the upper hand when it comes to choosing boys. Richa, however, has a lengthy list of criteria that her future partner should fulfil, ensuring that the matchmaking task will be a cumbersome one for Sima Aunty. The list starts innocently enough (a love of cooking, travel etc.). It rapidly transforms to the hilarious (‘basically he should just be like me,’ Richa exclaims) to becoming downright sinister. Richa wants a ‘fair-skinned’ boy, ‘not too dark’ and then she adds ‘any caste is okay as long as they’re…’, and the camera cuts to Sima’s exasperated but polite expression. The sentence never gets completed, but the implication is that Richa doesn’t want to marry into a lower caste family. Again, we see a character completely unaware of how she is being perceived by Sima and the audience, which is the key element of humour here. We are invited to laugh, but should we be laughing at this? 

Who is watching Indian Matchmaking?

Lets circle back now to the people who are laughing at this. Young South Asians and their non-desi friends overwhelmingly constitute its audience and have catapulted Indian Matchmaking into becoming an international sensation. The makers, very carefully, use diasporic and Indian participants to draw in a whole variety of viewers (This doesn’t take away from the fact that everyone is Hindu, except one Sikh woman, Rupam). Reetika Kalita tweeted: ‘It would be amiss of us to believe that this ironic obsession with the show has only emerged as an unintended consequence. This product was designed very carefully keeping in mind an audience that would necessarily reject it but in finding so much material in it to reject would in fact become consumed in it as a culture. On the surface, it represents everything we (should) love to hate: patriarchy, casteism, classism, heteronormativity. But consumed as we are in this hating, we forget where we actually are: in a consumer capitalist society.’ This phenomenon, where the producers of such content bank on their success by predicting the audience’s contempt, is rare in Indian pop culture. But they are deviously aware of how obsessive hate can become. It is not that hard to comprehend why some people become full-time professional social media trolls. I mean, here I am, writing this piece!

Even though the show initially seems like it, Indian Matchmaking is not satire. Satire’s role is instructive; if Indian Matchmaking were a satire on arranged marriage, it would mock the institution, but instead it mocks the culture we live in and the people who participate in it. Do we need a glossy series that will probably give 10x more business to the likes of Taparia, and starts with sweet video interviews of oldies still in love with their partners, to tell us that arranged marriages are not as regressive as one might think? Probably not. The narrative logic behind the inclusion of story lines like those of Nadia and Vyassar is that the audience is supposed to see that matchmaking process doesn’t differ that much from navigating the modern dating pool. While that insight is useful in recognizing how matrices of privilege shape our ‘liberal’ worlds, it doesn’t acknowledge that arranged marriages are uniquely intertwined with the family, which is inseparable from institutionalized caste endogamy and patriarchal subjugation. Satire is on a subject, we cringe at an object. Thus, cringe is an ambivalent cultural mood exemplified in the banal –a comedy of manners.

The moment I started watching this show, I agonised over the fact that this flagrant display of casteism, gross Indian masculinity and overall trash desi behaviour was now worldwide. ‘Ugh don’t let white people see this, it confirms everything bad about this country.’, I thought to myself. I felt something similar when I watched Never Have I Ever and its flawed representation of Indian culture, whatever the hell that even means. It is only as I write this that I wonder why that bothers me so much. I am reminded of a moment three years ago, when I am sure my cheeks turned some shade of pink (well, as much as my significant melanin levels would allow) to betray my mortification and mild horror when I realized that my British friends were aware of Baahubali and Makkhi, thanks to Reddit. They gleefully showed me compilations of the most over the top action scene cuts from Indian cinema and while I tried to sheepishly laugh, I felt only burning embarrassment. The worst of Indian popular culture is out there on the internet for EVERYONE to consume. So, this incredible cult of angry men on Tik Tok are not just for me and my Indian friends to laugh at, but they are out there for the whole world to make fun of. Cringeeeee.

Hopefully, no Western viewers in their right minds will view this show as an accurate portrait of middle-class Indian culture. Except when it comes to how uniquely troubling our version of patriarchy is, how normalised classism and casteism are, how completely inept the average Indian male seems to be at talking to or relating with women. Sorry, forgot about that part.

But what is this second-hand embarrassment that we are experiencing while we try to intellectualize our obsession with this bizarre phenomenon called Indian Matchmaking? Wynn opines that this is a kind of in-group cringe called the ‘A-log Theory of Morbid Cringe’ wherein we ‘form obsessive and addictive contempt for people who have traits in common with us; people who make us uncomfortable because we see something of ourselves in them.’ We can unabashedly laugh at the people who populate the world of online South Asian meme-able and cringey content (from Pakalu Papito to the lady who begins each video of herself with an affable ‘Hello friends! Chai peelo?!‘) and be protected by our class privilege from ever being seen as one them. But now, with Indian Matchmaking’s international viewership, the moment we realize that someone could perhaps club us as identifying with this representation of our culture, we shudder. A thoughtful piece by Vanya Lochan asks us to ‘chuck the cringe and notice the nuance’ in the show’s representation of patriarchy, class and caste privilege. I propose an alternative –the cringe is the nuance you need.

Rage/Rape

I am sitting in the calm, pristine Peterhouse Library at the University of Cambridge, shaking with rage; a sentiment that is completely at odds with my serene environment. I have been reading about the Kathua rape and murder case for the past hour, obsessively apprising myself of each gory detail that makes what happened to an unfortunate eight year old emblematic of EVERY single thing that is wrong with India. Let’s look at the levels of administrative and structural complicity which allowed this to happen:

Two police officers are among the accused. Two state ministers have openly supported the accused. These criminals were emboldened by the Hindutva agenda of the ruling party, the BJP. The BJP’s silence on the issue/refusal to acknowledge it’s Frankenstein moment. The Prime Minister’s generic, evasive condemnation after days of mounting pressure to speak up.

It’s hard to forget the deeply disturbing nature of this crime and these facts continue to haunt me:

That the victim was a mere eight year old child. That she was kidnapped, beaten, raped and murdered in a place of worship. That the rape and murder was a symbolic gesture meant to scare and threaten Muslims of the area. That a solidarity march was carried out in support of the accused. That despite widespread condemnation and protests, there is a vocal section of the population that refuses to acknowledge the gravity of the situation, questions the “politicisation” of an inherently political crime. That India is a country where law and order flagrantly violated with pride. That India is a country where rape is a political tool, where women’s bodies are repositories of communal honour. That the value of human life is so cheap in my country that every day in its dark corners minorities are brutalised, killed, forgotten and life goes on because what else can even be done?

I am reading Ismat Chughtai for my dissertation. She describes the dying vestiges of North Indian Muslim culture with so much affection, a painstaking love for detail that transcends the limits of the written word and carries me somewhere else; far away from sedate, picture perfect Cambridge to my messy, beautiful homeland. I didn’t think of myself as particularly Indian before I arrived in the UK. Yet, in conversations, I can’t help but explain with a burst of enthusiasm the eccentricities that make my country the weird, wonderful place it is. Suddenly, there is a whole new facet to my identity that has revealed itself. Friends and acquaintances remark on how Indian I am, as though overwhelmed by my tropical exoticism. Almost every other day I shake my head in amusement at the whiteness (and I use this word with a fair bit of fondness here) of my fellow students, at how my life here seems something out of some sitcom on the international channel I would watch in the comfort of my living room in Ranchi, a small town in eastern India. Sometimes, I want to turn around and tell them that, “I am Indian. Because obviously, I am. What else would you expect me to be?” and if that is somehow unsettling maybe they should investigate why they feel that way.

I have been away from India for a little over six months, and have on occasion, experienced what homesickness truly feels like. I spent three years of undergraduate study in a city far away from my hometown with relative ease. Why was master’s so different? Perhaps because the yearning I felt this time around was not just for the people who make home what it is, but for a country. I sound trite, but how does one forget the madness of India’s streets, the disarming informality of its people or the smell of the wet earth after the monsoon’s first showers?

How does one reconcile the love they harbour for India’s warmth with the fundamental rot that plagues its moral conscience? Societal apathy, political vitriol, abhorrent law and order situation, poverty, corruption…the list doesn’t end. Where does my responsibility lie as a privileged, educated Indian with some semblance of values and empathy? Fight or flight? Should minorities just bow out gracefully and realise our time is up in India?

And where exactly do Indian Muslims actually belong? Does a new India now hope to relegate our existence to history books? Does the political establishment care about us anymore? As recent trends in electoral politics have shown, the political class has realised that the Muslim vote is rudimentary to power. Modi’s Hindutva agenda has united Hindus despite caste divisions at an unprecedented scale and mobilised rabid religious polarisation. In this narrative, the existence of Muslims is tokenism at best, a testament to the benevolence of Modi ji and his compatriots. At its worst, Muslims are vermin who must be stamped out, driven away from this pure land and taught a lesson. It doesn’t matter if they are grown men or eight year old girls.

A friend and I recently visited the Topography of Terror Museum in Berlin. We came across photographic exhibitions showcasing the lynchings of Jewish people on the streets of Germany during Nazi rule. The glee evident on those people’s faces in the photographs shows just how utterly drunk they were on genocide. It all felt terrifyingly familiar.

Falling

Why we use the phrase “fall in love”? Why is love associated with falling? As if one drops from a height, secure with a birds’ eye view of his/her world into a deep, vast abyss. Unmapped territory, riddled with complexities but marked with promises of untold joys, immense riches. You are a brave explorer, ready to “fall”, fascinated by these seductive possibilities.

So who is this elusive creature we call Love? How do we spot him or her? How does Love slowly, but surely invade your being? This process of falling was in many ways a colonisation of the heart. Love changes forms. Sometimes its arrival is an event. Like a big, red bus it hits you in the face and you have no time to brace yourself for impact. However, that’s not always the case. This time, Love entered so slowly, so inconspicuously that I wondered for the longest time if it really was Love, even though the signs were all there. He arrived unremarkably enough, pleasant but not overpowering. With kindness, patience and good old fashioned charm, he slowly nudged his way through. Then, drunk on passion, bit by bit he chipped away the wall I had built. Granted, the walls were weak and my soldiers untrained in the sophisticated techniques of advanced, modern day warfare. Long before I knew all lines of defence had been breached. Slowly at first and then all at once, I had been encroached. I was exposed, at Love’s mercy. Surely Love felt what I felt too? Surely Love couldn’t be blind to the unique appeal of falling, getting rid of that constant, overbearing weight- the pressure of being on your toes, of guarding one’s heart?

Falling in love is indeed about letting go, of exploring emotional intimacy without boundaries. But what does one do when Love himself doesn’t want to fall? When Love isn’t ready to plunge, to jump into whatever this feeling is? Do you stop? Do you run into a corner and cry? Do you wait? Or do you hope against hope Love will stop fearing this moment and trust you? What if Love doesn’t love you, and you were only a moment of indiscretion, a harmless dalliance that snowballed into this somewhat unpleasant, intense, emotionally charged encounter?

Maybe you should just wait for Love. Be patient with Love. Perhaps, he will come back, the same Love you once knew. Maybe he will return, unrecognisable in form but not in essence; following the same beaten track and manage to surprise you, still.