The conversations around you. Brittle and brisk. Without meaning. Words hurriedly strung together. Shoved into a tin can. Shaken. Made to rattle in short bursts. Like gunfire at close quarters. Tweets of fate. And happenstance. Like firing squads. Immediate. Transient. Relentless and vicarious babel. Grab and shoot. Who has the time? To think? Or breathe normally. The normal? Now a different shade of pale. Like running a hundred meter dash in less than 9 seconds. On shards of glass. Breathless. And bleeding. Gladiator sport. The kind that seeks out language only to thrust a sword into it. While the mob brays. For more bloodletting.
Slow everything down. Let your fingers grind to a halt. The forty-five on your turntable. Your skin scraping the grooves. Slurring the song. As if strangling the words. Almost.
Start afresh. Begin a new sentence. A long one. One in which with extreme patience and a strong dose of diligence you once again lay down the ground rules for language with a past history of elegance and a turn of phrase that makes you gasp with admiration for the one who has penned it with such élan and taste and wit and a sense of literary tradition passed on from writer to writer through centuries of fine writing where the meaning of words as they combine and mingle with each other takes precedence over mere ornamentation and where the complexity and density of a thought is chiseled to succinct and purposeful perfection in a heady mixture of fine prose or poetry or drama or whatever be your particular calling.
Now punctuate it.
Show them how things work. Or at least strew the air with hints. Let them be razor sharp. The clues. And full of wit. And irony. And the chutzpah that says it like it is. Up in your face. Like truth. So that no one believes it. As the truth. As nature. Both yours. Mine. And Natures. The way things appear to work in Nature. In life. Or on stage. Like the web that the spider weaves. Against the light. Visible. A work of art. Or a trap. Depends on who is admiring the spring like strands that shine and glint in the sunlight or turn invisible as they snare a fly. The strings on stage that create the magic of a floating cloud. An entire flotilla of white that suspends belief even as it is suspended in the air above the stage floor. Look carefully and you will see the nylon threads that like the spider’s web hold the white bags of polyester filled with yesterday’s news. Crushed and torn into different fluffy shapes. Light as the air they are meant to simulate. Be something they are not. Sleight of hand. Or a trick that the eye missed. The ones that do not bear muster close up but in the right kind of light. And colour. Glowing with gold and red and silver white. With spotlights that make no attempt at being hidden. Hung and patched. In full view. On metal battens. With exposed wires. Process. The craft of magic made visible.
The truth is always other than what it appears to be.
Naveen Kishore is poet, writer, theatre lighting designer, photographer, publisher – Seagull Books [http://seagullindia.com/].
When I thought of inviting some of the writers (and lovers of the written word) I have come to be acquainted with to pen down a few lines for my blog, the first name that came to my mind was of Naveen Kishore – a writer, poet and person I tremendously admire and respect. Not to mention the publisher of some of the most beautiful books in existence today.
I admit I was skeptical – asking the one who publishes Nobel Laureates and their ilks to write for my humble blog sounded preposterous even to myself. But I did, eventually, and Naveen graciously obliged with a casual ‘See if these ‘jottings’ work. Call it whatever you wish to.’
Today is Seagull Books’ 35th anniversary, and I can’t think of a greater honour than to be able to host his words on my blog. And Sunandini Banerjee, whose magnificent collages are the lifeblood of Seagull Books, has allowed me to use ANY collage I’d like!
Could I have asked for more?