Just watched Kandasamy (2009). I watched in when it first released when I was a wee lad and I guess some of the songs got stuck in my head randomly a decade later so I decided to watch it again.
What was the director/editor on? Like what the fuck is this movie? Each scene transitions to another with the ease and flow of a metal crate being dragged across sandpaper. I'm enthralled. I can follow it, I understand why things are happening the way they are, but at the same time.
With each progressive retelling, the hundreds became thousands, the thousands tended towards infinity, and the lice multiplied, becoming settlements and then townships and then cities and then nations. In my mother’s version of the story, these lice caused traffic disturbances on my hair, they took evening walks on my slender neck, they had civil war over territory, they recruited an enormous number of overenthusiastic child soldiers and then they engaged in out-and-out war with my mother. They mounted organized resistance, set up base camps in the soft area of the scalp above the ears and in the nape of the neck where it was always harder to reach, but they were being decimated slowly and surely by my mother’s indefatigable efforts. Every war strategy was deployed, Sun Tzu was invoked: appear weak when you are strong and appear strong when you are weak; when your opponent is of choleric temper, seek to irritate him with more chlorinated washes than he can handle; attack him when he is unprepared; force your enemy to reveal himself; be as rapid as the wind when you are wielding the paenseeppu (the merciless narrow-toothed lice comb that removed as many hairs as it removed lice and lice eggs and baby lice); make use of the sun and the strongest shampoo; above all, do not spend time bothering about lice rights and genocide tribunals when you are defending a liberated zone.
This is how my story of Young Woman as a Runaway Daughter became, in effect, the great battle of My Mother versus the Head Lice. And because my mother won this battle, the story was told endlessly, and it soon entered the canon of literature on domestic violence. The Americans had trigger warnings and graphic-content cautions attached to the course material, but otherwise it picked up a lot of traction elsewhere. It was taught in gender studies programmes, and women of colour discussed it in their reading groups (it was still a little too dirty and disorienting for white feminists, and it was perhaps considered a touch too environmentally unfriendly for the ecofeminists, and the postmodernists disregarded it because my mother’s telling ignored the crucial concept of my husband’s agency to beat me), and even those who forgot the original context of the story or the bad-marriage setting always remembered it as a fable about one mother’s unending, unconditional, over-conditioned love.
Why do I write so many poems about Dr. Meena Kandasamy (celebrated author, poetess, translator, academic, intersectional feminist and anti-caste activist)? Well, you will find out in this particular poem:
If I have not lost hope yet
To you, goes the credit
Because, you inspire thousands of people
Including those who consider themselves incapable
Of achieving anything noteworthy
For social…