Sunday, November 10, 2013

Woman Wanted ; Woman Found - (Edited)

An Internet friend of mine sent me this poem for some laughs.. My reply follows below his poem :)


Woman wanted

I’m looking for
a pleasant female.
Looks and size,
don’t give two hoots;
more long than wide,
usual attributes;
two of them,
one of those,
tapering legs,
diminishing toes;
b-flat voice,
not f-sharp,
some hair on top,
no moustache;
mustn’t guffaw,
a normal laugh;
call me love,
rather than honey;
old,
poor health,
bedridden,
no benefactors,
is ok ...........


....accompanyed
with
lots of money.

- by my Friend


My Reply:



Woman found


I’m pleasant most times, except when I’m not

I’m long most times, except when I’m wide

I have diminishing those and tapering that

So their numerical counts do fit your needs

My voice is flat, except when it’s sharp

I have plenty of hair, but most of it not on top

I laugh normally, when I don’t guffaw

Honey, I’ll always call you love

Glad you don’t mind my dentures

And my crutches

A moustache I haven’t,

Except when I forget to shave

And I’ll get lots of money, honey

When I dig into your till


So, hon, come on over

And have a look,

And don’t forget that

cheque book.


- by Me :D

Strange Still Lifes



Every morning starts off with such great potential. The sun is shining, the birds singing and the sky seems to be waiting. Unless I’m in the middle of a painting that I’m engrossed in, every morning begins with the question ‘what am I going to paint today’, which fills me with great excitement and anticipation. By mid morning, I realize the day is moving on and I haven’t put a stroke of paint on my canvas. I wrack my brains – what is it that will excite me enough to actually motivate me to put it on canvas. You see, unless I get enthused about a subject, I just don’t feel like painting it. Some of my artist friends say they don’t break their heads about this – just take a flower or a bush or a mountain and paint it, they say. I can’t. I have to be in love with my subject, I need to find joy in it, to want to explore all its mysteries with my brush, paints and mind.

Anyway, desperate for something to paint, I decided I’ll just do some still lifes, you know, fruits, flowers, vases and jars sorts of things. And suddenly now I’m fascinated by them all, because, even though I begin with the idea of painting them as realistically as I can, they are ending up in these strange still lifes.

Oh, must tell you.. one of my non-artist (haha, he'll love that when he reads this) friends read the 'what's the point' post and chided me, saying, you artists are such spoilt brats, I wish I could draw/paint like you, I would have been the happiest person and never ever complain. To which I retorted, well, you can. Anyone can draw and paint. Children draw and paint instinctively. Only thing is most children don't get the opportunity to develop the inborn skill further - in our country because of the pressure of studying in order to get a job taking precedence. But, given a chance, it's a craft like any other craft or skill, which anyone can train herself/himself on. Look around you, practically everything you see can be reduced to their basic shapes; cylinder, sphere, cube, cone. Draw the basic shapes, getting the proportions as accurately as you can, which is also easy to learn, and put it on your paper or canvas. As for the colour, they're just basically various compositions of the three primary colours, red, blue and yellow. A little practice and you can create a huge variety of hues with these.

The question then of course is when does a drawing, a craft, become art. Will talk about that in my next post. I had wanted to upload another strange still life, but it's just taking too long today. I need to paint.





Well, I decided to add the background to this one and also coloured the flower pot. Still pondering whether I want to colour the flowers or not. Trying to upload a couple more still lifes I've done over the past couple of days - taking very long.. slow internet today :/

BTW, this has been painted on an unstretched canvas, hence it has been stuck on a drawing board to keep it in place. Once dry, it will be mounted and framed.

Thursday, November 7, 2013

Nirvana Moksha Paradise Peace


I live in my foul breath
I breathe in my fetid fumes
I walk on my stumbles
I bumble over my hidden treasures
I’m humbled by my wonders
I fall into my potholes
And break my bones
I deafen in my din
I’m enthralled by the intricacies
Of my soul’s ragas
I writhe in my aches
I ooze in my untended wounds
I rejoice in the gathering clouds
I drown in my monsoon tears
After I burn in my summer blaze
I shiver in my tattered winter blanket
While I warm my hands and feet
On the fires I build in my throbbing heart
I fling the colours of holi
Into the green leaves of my spring season
I pay obeisance to my Gods and Goddesses
Krishna Rama Durga Kali..too many to name
While I flow in the slime of my gutters
I choke in my clouds of dust
I wrap myself in my flies
My garbage my rags
My stray dogs my beggars
My famished children with
Their empty hands and empty eyes
Staring from my staring eyes
But I teach my children
To unshackle their hands and minds
I put wings on their feet to fly free
Even though my holy rivers flow with black refuse
Littered with leftovers from my venerating masses
Bits of flower petals mingling
With plastic bags industrial waste
And half burnt dead bobbing up and down
Refusing to leave my banks
Over which fat dogs snarl and snap
And yet my waters flow with life giving green
Where striving people dare to dream
My crowded streets are death traps
Yet flowing with smiling faces
Mixed with sweating people
Belching cars crapping crows pissing cows
Dogs trucks rats buses hovels
Brown bowel movements
Withered fornicating flesh
Left on broken sidewalks
Over which incessant
Unseeing feet walk by
Tossing me a few coins
Without even a sideways glance
Where I sit cross-legged
My eyes shut tight
My street crawling through
My grime encrusted eyelids
Into my gritty eyeballs
Erupting into leaking blisters
My crowded lanes swarming
All over my filth coated limbs
Festering with pus-filled sores
My flesh infested with
Living breathing biting things
Laying eggs in my knotted hair
Hatching out into tics lice worms
Maggots mosquitoes monkeys monks
Speaking the language of 
Sadhus saints corruption
Festivals funerals roadside
Cursings laughings bickerings
Squabbling human flotsam
Caressing killing kicking screaming
Whispering jostling gouging
Juggling shoving thrusting
Shopping malls street stalls
Their ware hanging out
To be fingered fondled fought over
Factories fortunetellers fundamentalists
Ecclesiasts eclectic non-conformists
Conforming conformists philosophers
Human traffickers women’s abusers and libbers
Rising concrete constructions
Lowly corrugated dwellings
Trading haggling buying selling
Human blood bank notes rice dal roti
Struggling stragglers warring waking dying
Me myself bursting
Into my gasping windows
In through my gagging doors
Right into my retching
Bleeding heaving room
The walls of which are painted
With the rainbow colours of
Hushed heavenly hibiscus hues
Burning incense wafting wispy perfumed smoke
Bird song papaya fruit jackfruit
The mangoes of my childhood
Narayana Allah Buddha Christ
All seeking --
Nirvana moksha paradise peace

-by Rita Putatunda

Tuesday, November 5, 2013

The "Guruji" (according to some)




(the other day that lump of lard, that fathead, who is paid obeisance to as “guruji” plonked himself into my favourite evening news show, thenewshour, and spouted his usual mindless inanities, which is regarded as great wisdom by some. He began with “this is surreal” – wonder if he actually knows the meaning of the word, but phonies like him like to impress their slavering acolytes with highfalutin sounding words. As he screeched “let me spik, let me spik” I composed this little gem.. heh heh heh! Sure had fun writing this one!)

As the sun sank into a dark horizon
The ants and the termites emerged
The centipedes and the millipedes
The roaches and the crawling maggots
Creeping worms and flurries of fleas
All with deadbeat brains as large as a pea
The crawling denizens of the dimwitted world
Lead by their leader 
An ugly flabby ignorant vile creature 
Also referred to as "Guruji" by some
Who thought he had the wisdom of the sages
Little did he know that with every word he uttered
All he displayed was the vast emptiness of his tawdry fat head
Filled with rudimentary inanities and boorish bullshit
He was the one who held aloft the flag of their realm
The kingdom of fawning flatterers
And lead the way to gorge on the squished butterfly
Tearing her delicate diaphanous wings to shreds
Like flies converging on putrid flesh
They engulfed the gasping dying butterfly
And after crushing her to death
Went back to their kingdom of Foolsland
Deep in some dank dark daft interiors of a cave  
Rejoicing over their conquered bounty

-by Rita Putatunda

Monday, November 4, 2013

brown flowers in a brown vase






Oh God.. what a dilemma this is! Here I am, have been working on this painting for a while now. I put that reddish brown background base and the base blocking colours of the vase, the flowers and the stem. And then I painted that patterned table cloth... and now am struck with this dilemma - I like it as it is. I don't feel like putting the layers of colours that I need to, to finish the painting. This feeling strikes me often. For some reason, the incompleteness seems complete to me.


Without a backward glance





(a little something from something I’m working on, in fits and bits, about me, my life, sort of)

The first class compartment of the Southern Indian Railways in the early sixties consisted of a whole bogey – that was how the Brits used to travel, and changes hadn’t begun creeping in quite yet. The same carriage today, with an increase in the length – if it’s the first class, is divided into several cubicles which have upper and lower berths. They are still far more comfy and certainly far roomier than the second class sleepers, but nothing compared to those bogeys of the sixties.

The two seats were long, stretched lengthwise along the two windows on either side which had maroon painted bars, a glass drop-down window on the outside, and a slatted wooden one inside, for privacy. The seats had cushioned upholstery covered with dark green leather which had leather covered button things stitched on it all over with I.R. (Indian Railways) embossed on them. The two seats had a couple of berths on top of them. At one end of the bogey was the fairly roomy little bathroom (enormous by today’s standards) with a mirror over a stainless steel wash basin, and an English style (as it was called) commode – white with a black seat. A nice, comfortable room on wheels for a family of four to travel in.

The best thing I liked about that bogey was the little reading lamp that was provided, fixed to the compartment wall at the head of each long seat – which of course became a bed at night. These days they’ve simply done away with that feature in the sleepers I usually travel in. In the night, when the other occupants slept – we used the train to travel often to Calcutta – you could turn it on without waking anyone, and get engrossed in the convoluted intrigues in your favourite mystery book, engulfed in a cocoon of velvet, yellow light, as the train rocked and swayed through the night outside, lulling you in its snug, steady clickety-clack clickety-clack.

There was no direct line those days from Bellampalli to Hyderabad. The train, therefore after a four hour leg of the journey reached a junction at a place called Kazipet, from where we had to switch trains that would take us to Hyderabad, which took another four to five hours in those days of steam engines. A few years later that condition was improved somewhat, after the Singareni Collieries’ officers got after the railways to rectify the situation (the officers too needed to travel often to Hyderabad where they had their head office). The bogey we travelled in was thenceforth delinked from the train, fixed to an engine which pulled it – puff-puffing and choo-chooing – to a siding to wait for the train that went to Hyderabad to which it would be attached. Complicated? Yes. Fun? Oh, yes indeedy!

When the bogey was put in the siding, which was away from the main lines of course, it seemed like a microscopic little world marooned in the darkness, beaming out its feeble little yellow lights from its windows. The silence, if you stepped out, was profound. The stars shone like blue saffires in the night sky. And a midnight picnic was always spread out for us kids while we waited for the train – which could be a wait of anything between ½ an hour to a couple of hours – train timings those days being invariably erratic. But did we kids complain? Never. We loved every minute of it.

Not the boring oldies that accompanied us though – the parents. They complained and complained to the railways until finally by the time I was in the fifth or sixth class the main express trains that went to Hyderabad were routed through our small town to the city. By then diesel engines had also begun replacing those old steam engines – which of course cut the journey time down considerably. But somehow, losing that special magic too in the bargain.

When we reached Hyderabad station, we usually went first to the Taj Mahal hotel – a tacky South Indian hotel – despite its romantic, lofty name – which served the most delicious south Indian food, to wash off the layers of soot that covered us by the belching steam engine. That first time too my father must have taken me there. I don’t remember my first train journey to Hyderabad – to my boarding school – very well; I was just six years old. What I do remember vividly though was my first meeting with Sister Adele. My father and I must have spent a day resting in the hotel, for I remember like it was yesterday that dusk was falling when we entered the school precincts, my hand held in the warm comfort of his hand.

You entered the school through an arched wrought iron gate with the name ‘St. Ann’s High School’ moulded on the arch overhead. There was an expanse of paved ground inside the gate which led to a stretch of long steps which led to the church with its great arched doors. Which, when they were open, gave you a direct glimpse of the big Christ on his cross, his head encircled with thorns, his pierced chest, nailed outstretched hands and feet, dripping blood, at the end of the large church room down the aisle, with the pews on either side.

A narrow granite paved path by the church led to the parlour after turning right, where visitors had to wait to meet someone from the boarding after giving the nun who manned the little gate that you entered through, the name of the person you wanted to meet. The nun then proceeded to vigorously ring a round, thick metallic plate that hung by a thick rope just outside the parlour, with a short, stout wooden stick – which produced a dull, yet surprisingly loud, CLANG-CLANG-CLANG. Which, the girl, who had the duty to keep a sharp ear out for that sound, heard, and came running down the long narrow granite stretch from the boarding house proper to the parlour, to go back again and give the message to whoever the visitor was for. My father of course, that first time, asked for Sister Adele, the boarding mistress.

As the evening deepened, we waited outside the parlour, my hand still in my father’s hand. And soon enough, from the distance, we saw a nun approaching with brisk, no-nonsense steps towards us. As she drew closer I saw a white skinned, kindly face – her skin, I observed, was wrinkled like crushed fine wrapping paper, the kind that sweets came wrapped in – framed in a white nun’s veil, with a pair of smiling, bluest of blue eyes that looked down into mine. When she bent down and said “Hello” to me, I thought she spoke strangely – she was Italian, I came to know later. Without a second thought, I slipped my hand out of my father’s grasp, reached out and took hold of the bony white hand she stretched out to me, and without a backward glance, I walked away with her to the boarding house.

When we got inside the large hall, where a large gathering of girls sat at long desks with books opened in front of them, Sister Adele told them, “This is Rita. What a good girl she is, she didn’t cry at all!” At that moment I didn’t know why I was supposed to cry. It was later, when I climbed into the bed allotted to me in the long dormitory, with rows of beds, and realized that my mother and father would not be there with me, that I cried.

-by Rita Putatunda