Love: Capitalism's Best Seller

Cover design by Hamda Al Kuwari and Fatima Al Salat

We hear songs, watch movies, and yes, read books about that most elusive of emotions: love. No matter if your culture practices arranged marriages (Indian/Arab) or not (the west). No matter if your parents are divorced (fell out of love) or not. No matter if you are married (harder to stay in love?) or not. I could tell you how at one point in human history marriage was thought of a business transaction, a way to consolidate wealth within families or across countries. Or that modern society has not eased up on women to have a man (and a baby or two) in order to think we have it all. You’re smart. You know these schemes around the world’s most sought after prize — finding one’s soul mate.

Love is at the core of contemporary culture. Despite your best efforts, there’s no way to avoid it. From Bollywood to Hollywood the themes are the ones passed to us by the Bard himself, William Shakespeare. Star crossed lovers; repudiated love; timid love; the plot lines are as familiar as the headlines for celebrity breakups. Were, for example, Tom Cruise and Katie Holmes ever in love? Or was it a career furthering scheme drafted in the cold light of day between agents? What will happen to Suri Curise, the tiny fashion maven?

Those are questions for a very different story than the one I wrote inspired by the dreams, wishes, and desires of young people living in Qatar.

Love Comes Later is my second novel, a meditation on how non-western people of this generation will find happiness. I’m excited to say the book is now available for purchase on Amazon.com.

As a writer I’m not immune to the questions of the commercial love machine. After all romance readers account for a large portion of book sales year round. Romance writers are like country singers; they come out with albums on a yearly basis and their fans make them best sellers. I’m not sure if I’m going to become what’s called a genre writer and stick only to romance from now on. This story, of three protagonists, Abdulla, Hind, and Sangita, came to me as a love triangle.

I can tell you that based on the five books I’ve released this year, the novel is the one everyone gets excited about. Short stories and essays may get a passing look, but a novel still seems to inspire more wonder and likelihood of risk on a new author. This new project will help me further test my hypothesis… or you can share your thoughts on my theory and enlighten me.

If you like your romance more visual than textual, then have a look at the book’s YouTube trailer. As always, writers need readers, so please take a second and let me know what you think!

 

 

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From Dunes to Dior

 

Chennai in India
Chennai in India (Photo credit: Wikipedia)

July 2012 will mark seven years that I have lived in Qatar. Seven consecutive years is my record with only three other cities in the world. Doha joins a short list which includes Gainesville, Florida and Raleigh, North Carolina.

My formative years in American suburbia had erased most traces of my parents’ sub-continental pronunciation in my own speech. My “h” was “h”; not the “heche” of my parents.  I was American in sight and sound. However, on the inside, I was still Indian. By looking at me, you couldn’t sense there was a war being waged on the inside. To the outside world, identity was measured by clothing and speech—having an established Western orientation in both cases,  I was regarded as one of the crowd by my white, Southern classmates. On these counts I failed both tests and was eyed with suspicion by the other housewives at my mother’s parties. But blue jeans and flat vowels never hinted at  the inner world of my family or what happened when the front door closed on our home.
Inside life was governed by the same principles that had ruled my mother’s teenage years in Chennai, India. No movies after seven p.m. In fact, no women outside the house after dark, not for football games, parties, or sleepovers.

Like so many of the “American Born Confused Desi generation,” referred amongst ourselves as the ABCD generation, I was a socially emaciated, well-behaved Indian daughter who railed at endless parental restrictions. The split identity meant non-relatives never saw all of me. They only knew “white” me. Meanwhile my immediate family thought they might lose me to the outside world, so they mounted an “it’s better in India” campaign to override my resistance and

North America
North America (Photo credit: Wikipedia)

suspicious of inferiority with reasons for our cultural superiority.

“A better maths education,” was one of my father’s favorite refrains as I remained confounded by geometry.

“No child shows an over-dependence on calculators,” he would say throwing up his hands on yet another weekend when I failed to solve one of his problem sets…

Respect for elders – children taking care of their aging parents – more of it in India.

“Marriage as a commitment.”

My mother wouldn’t  say more but implied where a boy and girl learn to love rather than fall into it is taken more seriously in India.

I didn’t ask the obvious question, although it hammered in my brain; If everything is better there, what are we doing here? I didn’t dare. Partly out of fear of my father, but also partly out of fear there would be no answer.

What if the secret behind our semi-nomadic life had no greater answer than my father’s wanderlust? What if a series of pharmacology grants was the single red line on the map leading us from a veterinary program in South India to a series of North American institutions?

I continued to play these two parts simultaneously; intensely outgoing and enthusiastic – “American” – and constantly communicating with my parents – “Indian.” I didn’t find the bridge that spanned the outside/inside gap until later, after college and graduate school, when my own desires for professional fulfillment and monetary rewards led me to move several times. This realization emerged slowly as pieces of a scattered puzzle – from Pittsburgh, Pennsylvania, to Washington, D.C. – as I met more of my generation, children of immigrant parents from all over the world, juggling these competing demands. Then, for the second time in my life, globalization entered stage left, having already taken me as a small child with my adventurous father and sheltered mother from Chennai, India onto and all over the North American continent.

This time I traveled alone, east, not west, ending up four hours from my birthplace. I landed in the Arabian Gulf, thousands of miles from my upbringing in North America, and in an ironic twist, closer to the extended family of aunts, uncles, and cousins, than any of my immediate family. Situated in Qatar, I found myself in a region often described as a human rights quagmire for migrant South Asian workers. The questions from my young adult years resurfaced within the minutiae of life in the Gulf. Their return disturbed my temporarily coalesced identity. Familiar, opposing pressures reappeared – the tension between an outside/public life and the inside/private one, the contradiction between physical appearance and personal affiliation – and my newly gathered reflection erupted like a cracked mirror, splintered pieces flying in all directions.

The splinters of being South Asian American in an Arab country and the echoes of my teenage angst are the stories I tell in From Dunes to Dior which will be soon be released as an e-book on Amazon.com. You’ll see some of the contrasts in Qatar in the book trailer.

In the meantime, enjoy one of my other four ebooks – on everything from modern motherhood to how to get started as a writer. The best part is they are ALL free to download until May 16, 2012. Drop me a line (or a review) and let me know what you thought about any or all of them. Happy reading!

 

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Why Stand Up Comedy Isn't My Worst Nightmare

Books about Humour and Stand Up Comedy 03
Books about Humour and Stand Up Comedy 03 (Photo credit: Julie70)

When people hear I perform standup comedy, they generally have the one reaction:   whether male or female, eyes wide, “I could never do that,” the speaker usually says, giving me the once over as if seeing me in my material form for the first time. Since fear of public speaking rates higher than fear of dying, I seems to have superhero powers when I say I regularly get up in front of people and try to make them laugh. “My worst nightmare,” someone said with a shudder last week when I mentioned I had a show.

For me standup comedy is a monthly reminder that as a creative person, I have to be willing to put myself out there, much the same way I do each time I publish a book. But since I’ve got quite a few titles to my name now, the vulnerability I might feel publishing has diminished (not to say that it ever entirely goes away). Creatives are kind of like thrill seekers: We have to keep searching for the next thing that will keep us creating in order not to fall into stale, repetitive patterns.

When I started keeping this blog, I of course began work on an expat memoir – that genre that is almost as ubiquitous as the Novel – about my experiences living in Qatar as a South Asian American woman. I contemplate a lot in the articles about race, class and gender through the everyday things that happen to me in a fairly serious tone. When it came time to stand up for my first routine (in support of the only other female comic in the city at the time) I stripped away the social commentary from these incidents and told them as they happened.

The audience’s reaction was electrifying to me: they laughed! They saw the irony from my perspective and I was hooked by the unsettling feeling of nervousness I felt in the moments before going on stage. I teach five classes a week to undergraduate students: in a way my life is standup comedy. You have to be quick on the uptake, lively, upbeat — if you want to keep them from outright doodling or texting during class.

See what you think of one of my sets during last week’s show, where I talk about being an Indian with an American accent.

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