books

Everywhere.

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A year or so after Saagar, one Saturday morning we were driving on the M4 to see Simon’s mum. As we tuned into BBC Radio 4, my ears were assaulted by the prefix, ’committed’. Neither the BBC, nor the psychiatrists knew better. They hadn’t learnt that crimes are ‘committed’. Not suicides. Suicides came from a desire to end insufferable emotional pain. Either these people didn’t know or they didn’t care enough to modify the words that habitually barfed out of their mouths. That prefix is so firmly embedded in the English language that it thoughtlessly rolls off our tongues. Suicide was a crime in the UK before 1961. It is still a ‘sin’ according to some good men and women of God. Hence, the default prefix, “committed”. That has to change. Like people who sadly die of cancer, people die of Depression and Schizophrenia and the like. They do not “commit” a crime.
Part of me was grateful they were talking about it, even if their language was wrong. I tried not to get too put off by that. I had not heard so many conversations about it before. Had something changed or had I not been listening all this time?
My mind could no longer handle long complicated, rambling books. It forgot names, lost plot lines and wandered off, out the window within minutes. Short and gentle texts, it could deal with but nothing that puts too much cognitive load. I asked a helpful librarian to recommend a couple of small books. She pulled out ‘The sense of an Ending’ by Julian Barnes and ‘The French Exit’ by Patrick deWitt. Both the stories had suicide at the center of it. I have read many books but couldn’t remember this theme arising so often.
I joined a short-story writing course at the Himalayan Writing Retreat. The award-winning author, Kritika Pandey, our teacher asked us to read ‘Why I decide to kill myself and other jokes’ by Douglas Glover beforehand. My heart pounded right through those sixteen pages. I was asked to pay attention to the technical details – the elliptical way in which the word ‘blue’ appears at periodic intervals, the sub-plot involving the dogs, the side-story of Hugo’s mum, the symbolism of the car – all of these were lost on me. I was inside the protagonist’s head, feeling her dread, her quandary and her hopelessness. It was in my face again.
The e-mail from the V&A was advertising an Alexander McQueen exhibition.
The film on TV tonight was ‘The Hours’.
The book that fell off the shelf and broke its spine today was ‘The First Forty-Nine stories’ by Earnest Hemingway.
This blasted thing that came out of nowhere, is now, everywhere.
Had my eyes and ears been shut for all these years?

Or, I wonder if, like many others I was not aware of my belief – this kind of thing only happens to others?

PS: The author, Earnest Hemingway and the fashion designer Alexander McQueen, both ended their own lives. ‘The Hours’ is a film based on a book by Michael Cunnigham with Virginia Woolf’s suicide at the center of it.

Vincent and James.

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2017 – 16. Male. RIP.

2024 – 19. Male. RIP.

Brothers. Second generation Chinese immigrants in USA. Their mother, a writer who lost both of them to suicide.

Where Reasons End (2019) by Yiyun Li, after Vincent’s death.

I read this book when it was first published. An imagined conversation between her and her older son, Vincent who lived ‘feelingly’. Sixteen chapters, one for each year of his life. It has a witty and mischievous tone. Nicholai, a name he gave himself, chides his mother’s new embrace of cliches and adjectives. “If you’re protesting by becoming a bad writer, I would say it’s highly unnecessary,” he says. (“Dying is highly unnecessary too,” she shoots back.)

Things In Nature Merely Grow – Pulitzer Prize Finalist 2025, by Yiyun Li, a memoir. She wrote it within two months of her younger son, James’ death. I feel deeply for her and with her but I am not sure I want to read that book right now. A few lines from it sing true:

“I am in an abyss. If an abyss is where I shall be for the rest of my life, the abyss is my habitat.”

“My children were not my burden. My sadness is not my burden.”

“I am very realistic in that I would always acknowledge that I am limited as their mother. I was limited, and I am still limited as a mother, so I can only do my best.”

When people hold an expectation that her grief must have an end date, she retorts, “How lonely the dead would feel, if the living were to stand up from death’s shadow, clap their hands, dust their pants, and say to themselves and to the world, I am done with my grieving; from this point on its life as usual, business as usual.”

“This is a very sad fact of our lives, they took their own lives knowing we would accept and respect their decision.”

Could I accept and respect Saagar’s decision one hundred percent? I believe it was not his decision. It was his utter helplessness and desperation in the face of his illness, his unsuitable antidepressants, lack of medical care, his isolation, his inability to recommence his education, our inability to talk about it and so much more. He was driven to it. It was not by choice. Anyone who knew him, knows that. I do understand though.

I understand, my darling.

References:

https://www.theguardian.com/books/2019/feb/05/where-reasons-end-yiyun-li-review#

https://www.theguardian.com/books/2025/may/17/author-yiyun-li-on-the-suicide-of-both-her-sons

The older I grow, the lesser I know.

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A book with frayed edges sat tucked inside the pocket behind the driver’s seat. After an overnight train journey from Sakleshpur to Goa, we were going home in a taxi. No coffee yet. I was not quite switched on. Bleary eyed, I pulled the book out of the elasticated edge. It was Walden by Henry David Thoreau. Some poor tourist had mistakenly left it behind while traveling to the airport to fly back home.

Thoreau wrote this book while he lived in a cabin he built near Walden Pond, hundred and eighty years ago. He was testing the idea that divinity was present in nature and the human soul. He stripped his life down to the barest of essentials and secluded himself as much as he could, living off the land as much as possible. He wanted to find out just what in life is necessary and what is superfluous.

(Picture, courtesy Maria Popova )

Having chosen to live in a place where, for hundreds of miles very few people speak our language, with no cinema halls, restaurants, therapists or book shops, where the food is of one particular kind, but nature is abundant, that question has arisen for me too.

A few weeks back, a quote by Thoreau had whistled right into my heart:

“Life! who knows what it is, what it does?”

Such a beautiful sentiment. I had wished for more of his writings. After learning some more about him and his love of birds, streams, woodlands and meadows, I got busy with other things.

When I brought this question to CORe, it generated a rich discussion.

“What is our relationship with not knowing? What feelings does it provoke?”

Some excerpts from our conversations:

  • It is a real test of oneself, dropping how things should be and taking each day as it comes. It took me a long time to realise how much my mind was tied to certainty. In Africa, the relationship with death is very different. They have many ways to remember a loved one. They believe they’re still here and it gives them great joy.
  • Anxiety of the need to know at work. I have to change my mind set to curiosity. Some things we’re not meant to know, such as, where is he? It would spoil it. I must accept that I’m not meant to know.
  • When he went, I didn’t want to be here. Now I do. I have a life that I want to have. I have lots of godchildren who have promised to take care of me. I have a vision of him and his dad, which I hope will come through in my own death. Maybe when it’s my time they’ll be there, and their peace will be shattered.

Yes. The older I grow, the lesser I know. There is a freedom in that, to be with whatever is happening. It allows for the mystery of life to unfold as it will and it allows me to witness it without conditions, with an open heart. The smallest things. The book that I had wished for a month ago, appears right in front of me after I had forgotten all about it.

Life. Who knows what it is, what it does?

Dad, boys and crow.

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“Once upon a time there were two boys who purposefully misremembered things about their father. It made them feel better if they ever forgot things about their mother.

There were a lot of equations and transactions in their small family. One boy dreamed he had murdered his mother. He checked it wasn’t true, then a put a valuable silver serving spoon that his father had inherited in the bin. It was missed. He felt better.

One boy lost the treasured lunchbox note from his mother saying ‘good luck’. He cried alone in his room, then threw a toy car at his father’s framed Coltrane poster. It smashed. He felt better. The father dutifully swept up all the glass and understood.

There were a lot of punishments and anticipations in their small family.“

Eight years ago it was hard work and I could remember it only vaguely.

I read it for the second time this morning. It felt brand new, easy, fun and hearbreaking. Part memoir, part sound-poem. A bit more than 100 pages long. No more than 18 thousand words. The ‘missing’ in the life of a young family after the mother dies suddenly is palpable. In the background rings the sound of a crow flapping its wings. One big black feather has dropped on the ground. It lies near my right foot.  

PS: Losing a parent or a close relative or friend at a young age puts the young at a high risk of suicide.

Joyland

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Islam forbids suicide. It calls it a grave sin or ‘haraam’. It is viewed as taking away the gifts of life given by God. The Qu’ran says, trust God, have faith in the mercy of God and do not destroy life.

Joyland is a bold film, the first Pakistani feature to be premiered at Cannes in 2022.

It is about being alone in a crowd of expectations, being punished for having secret desires and accidentally making them seen. It is about someone else having to pay the price for our impulsive indiscretions, about how the bucket of shame topples itself on our heads as soon as we allow our innermost wants to be visible. It talks about how others can forcibly live their dreams through us, how our roles in society hold us firmly in one place and make us invisible as individuals, how we don’t have permission to be confused and are not allowed the time and space to think and talk things through, how life can be cluttered and noisy.  It’s about knowing you want to ‘run away’ but not knowing what that means or looks like. It’s about having to figure all this out, all by yourself.

It’s about treasuring moments of joy when they arise.

They could be hidden in the kitchen, on the Ferris wheel or inside the pages of an old book.