Becoming a Woman: Revenge, Ethics, Law and The Wounded in a Hindi Film

13.10.16

Is it wrong to desire revenge? Some people suggest that it is. My own research into the Victorian period has shown that not only is the desire for revenge seen as irrational, being emotional, and unreasonable, but that it is also feminised. The desire for revenge is a transgressive desire which attacks the very foundations of Western rationality, the rationality and reasonableness of (white, middle-class) men. Perhaps the most famous example of this feminisation is Miss Haversham in Great Expectations which I read as a schoolboy, but it is also in other famous novels like Vanity Fair, where Miss Sharp favours revenge too.

It is with some surprise that I noted that revenge was also feminised in my favourite Hindi film, starring my favourite actor, Sunny Deol. The name of the film is Ghayal, which means, literally, “wounded”, although I believe the correct translation into English should be “The Wounded”, which would make a significant difference to the overall meaning of the film. Ghayal is not just a film, it is an entire philosophy, some of which I will try to make clear in this little piece. I return to the film when I begin to forget who I am and where I come from. The film is a revenge story. The villain kills the hero’s brother. He is framed for the murder and then an accusation that he killed his brother because he was having an affair with his sister-in-law leads her to suicide. The hero triumphs and has his revenge outside of the law. The film is divided into a number of sections, but the obvious structuring is to contrast everything that follows with a first happy period.

Female revenge is present even in the first happy period, which is full of comedy. One day, the heroine of the film travels to see the boxer hero at his training camp. Because he is scared that he might get sent home, he says to her that he doesn’t know her and tells her to go away. The hero is the only person in the world that the heroine loves and who loves her back. She has no family as her mother and father are dead. When the hero tells her to go away and pretends that he doesn’t recognise her, he is refuting his love for her and treating her as a non-person with no identity. He is excluding her and returning hate and apathy for her love. He hurts her badly, he wounds her absolute trust in him and herself, in other and self.

The heroine does go away. But then, the hero has to apologise. He finds her in a restaurant and tries to speak the words of love to her. But now, the heroine’s mind is concentrated on revenge. She tries to provoke the other customers in the restaurant by turning all of the hero’s words against him to insult them, saying that he has called people bald or fat, etc. She wants the hero to be beaten by the mob, she opportunistically manipulates them to give the hurt and the satisfaction that she will feel. The customers are equated with India – this is an explicit comparison that is made. But Mahabharat (Great India, or ancient India) is also invoked when the hero actually touches the heroine.

As soon as the woman is touched, she opportunistically uses the status of victim to further manipulate the mob. She pretends that she is a damsel in distress, she mimics completely passivity and helplessness. She calls out that the hero, who she pretends is a stranger, mirroring his refutation of her identity, has touched her and rhetorically questions the crowd: Is there no man among you (to protect me, to have the courage to protect me, to protect not only me but all women, the women that are your sisters and mothers)? Here is when the Mahabharat comes to the rescue in the form of Bhima. Bhima is perhaps most famous in the epic saga because of his relationship to women, law and revenge. Draupadi, the wife of five men, was dishonoured by Dushasana who vowed to keep her hair unkempt and unmanaged until they were washed with the blood of her oppressor. Bhima was one of her husbands and he vows not only to bring his wife the blood, but also to drink it. Their vows and laws are based on their revenge. The beginning of legality is based on revenge, the revenge of a woman.

The heroine only forgives the hero when he falls from an elephant in trying to win her over. It is only when the hero is hurt that the heroine is able to forgive him. He has now shared her hurt. He has felt what it has been like to have been in pain. He has hurt himself for her. This is love.

The main revenge story is also marked by its relationship to the law and feminisation. First of all, the hero is clearly “the wounded”. I was discussing wounds and their relationship to femininity with one of my supervisors – someone had questioned my tying together of the wound with femininity in a poem by Robert Browning at a postgraduate reading session – and she told me that the wound has indeed been historically been associated with women, which a number of commentators have noted. He has been hurt badly. The hurt is that his loved ones have been taken from him. But the hurt is not just the loss of his brother, who is murdered, but also his sister-in-law who is like his mother that commits suicide. She is murdered just as much as his brother because she is dishonoured and shamed by what the world has been led to believe about her and her brother-in-law. However, the main hurt has been from the law. The law rejects the hero’ hunt for his missing brother and then he is subjected to brutal torture when he is framed for his brother’s murder. It is in the courtroom that the accusation of the incestuous relationship with his sister-in-law is made that leads to her suicide and extinction, her non-identity. The entire legal system fails him. What he should have been able to trust does not help him, it takes away his love, what he loved most. It takes away that which gives him his identity – his family, the brother and sister-in-law that are like his father and his mother.

Thus, the hero’s quest for revenge is a quest for revenge against the law. It is explicitly stated that his campaign of revenge is a campaign against the law since it is a direct challenge to law and the rule of the law. Of course, this law is only there to protect the villain, the rich man who plays Western music on his piano. Yet every time the hero pulls the gun against the villain, he is impotent. The crisis of impotence reaches its head towards the end of the film. Yet, in the most beautiful scene of the film, when the hero’s campaign of revenge is about to fail and he is pounded by a group of policemen and the law which forms a tight circle around him, the heroine sees him as the victim. She remembers what it is like to be the victim. She knows its reality. She knows what it is to be the wounded. And it is woman and the wounded that help the wounded. They see the place of woman in the wounded. She gives him the loaded gun and he is no longer impotent. He shoots and he does not miss. He hands himself over to the police with a smile on his face and a child that he rescued from the villain, the child that was separated from his mother by the villain and snatched from her, separated from the one he loves the most, applauds. The crowd of the people applaud too. The hero walks beside the heroine who gave him back his potency, both towards the law.

On ethics and law. There is a structuring of five. Draupadi had five husbands. There are five in the family: the hero, his brother, his sister-in-law, the heroine and the evil uncle who is a lawyer, the one that makes the suggestion of the incestuous affair. The brother, before he dies, says that five fingers of the hand are not all the same. The hero has four associates in his desire for revenge (five in total), each of which fall, leaving only him. This is because in revenge, the only one concerned and interested and self-serving can carry out their revenge for themselves. The hero kills the evil uncle, the lawyer: the identity of lawyer, liar, must be eliminated. Law itself is a prostitute: it is said to sleep on the bed of those such as the villain, the rich man. It is not the sacred prostitute, it is the one that only serves the rich. Law is there to be hated. It destroys love and unity. It is the insertion of law and the lawyer into the family which leads to the dishonour of woman and her extinction. It is law that stops a woman becoming a woman and which threatens her integrity and existence.

There is a lot to learn from “The Wounded”. Hurt is only appeased by hurt. Because when the oppressor is hurt, it is then and only then that they learn what it means to be hurt. It is only then that they learn the disintegration of self and integrity. It is only then that they learn what it is to be a victim, to be woman. And all of the negative stereotypes associated with an angry and revengeful women are the very things that we need to be: touchy, sensitive. When we want to hurt the law, we have to attack the places that hurt most. We must take everything from the law and give nothing. We must be merciless and relentless. For it is only the execution of revenge that teaches empathy. It is there to eliminate the ego. The oppressor must be humiliated in a contest, in a duel. In the film, the hero kills the villain, but the real defeat of the villain is in knowing that the law which protected his vicious self cannot save him because he has hurt others. Either no-one must be hurt or all must hurt. This is the lesson of empathy. Hurt only desires further hurt. Hurt can only be satisfied by further hurt, by being placed in the exact same place and position that you place another through hurt. Revenge is the teaching of empathy and the production of emphatic persons, learning empathy with woman. This is what is law.

Waiting for Justice

03.06.2018 –

Christianity, Islam and Judaism share similar features as religions. In particular, they are all based on similar ideas of justice. In each religion, an all-powerful god occupies the position of a judge and there is a day of final judgement when good actions are rewarded and there is punishment for bad actions. The idea that the god of these religions is a judge is said to derive from the political and cultural context of the time when the bible was first written, where it was the prerogative of royalty to mete out judgement. Since god was likened to a king, it was natural that he should also be seen as a judge. The idea of a final day of judgement that comes in the afterlife is possibly derived from the ancient Egyptian beliefs where there is a similar concept.

Because their god is a judge, justice is therefore considered to be a foundation for Christianity, Islam and Judaism and notions of divine justice inform and influence ways of living for believers. But what is interesting in each religion is the fact that the believer has to wait an entire lifetime in order to receive their just desserts. Justice can only be achieved upon death in another time and space, not in the earthly realm and earthly time and space. It is apparent that waiting for justice is really what informs the believer’s actions and choices. Why is the wait for justice so important to these religions and their philosophies? Why is it necessary for their conceptualisation of justice?

From an atheist’s point of view, the requirement that justice can only be meted out by a god in the afterlife and one has to wait for it forever is a convenient mystification that disguises that fact that god doesn’t actually exist and can’t intervene in earthly affairs. However, let us consider the wait for justice in the believer’s own terms. How can each believer wait their entire existence for justice?

Science tells us that human beings are driven by reward-seeking behaviour. We do something because we get a reward out of it. The reason why we hunt for food is so that we can enjoy eating it. The reason why we have children is because we enjoy the process of making children and derive pleasure from it. The religions mentioned above, however, all defer the concept of reward. There is no immediate reward (or punishment) for action in this world. There is only a divine reward or punishment, not an earthly one. One reason why a believer has to wait for justice is therefore to destroy the reward-seeking motivations and behaviour of the individual. The believer is prevented from following human impulse and the instinctual drives of the body. They sacrifice such impulses and drives for a belief. Hence, the human body is being repressed in each religion in order to foster and support an imaginary belief. The human body is being sacrificed for a thought. One component of the wait for justice is therefore an illusion. My speculation is that this illusion is pleasure-inducing, since the reward system relies on pleasure (the pleasure of food or sex). The pleasure derived from this illusion that there is an absolute and final justice which transcends earthly considerations and the desires of the body occupies a prime place in the reward-seeking and reward-inducing components of the believer’s mind (I believe one can say that this would exist in the dopamine system in the brain).

What kind of a pleasure is induced by a wait? There are two things that one thinks of here, each with a sexual component. First of all, one thinks of frustration. Frustration can be enjoyed if one is a masochist. The pleasure in frustration relies on a simple idea, that the reality of a fantasy will not match the pleasure contained within the fantasy. If justice is considered important and foundational to each religion, it is because the fantasy of justice is considered to be more pleasure inducing than the reality of earthly justice. The second thing that one thinks about is foreplay. The prolonging of the beginning of the act can induce pleasure as a specific type of frustration and inform action. The wait for justice in each religion can therefore be conceptualised as a type of foreplay.

I think there is one further component of the wait for justice. Divine justice is seen as final, absolute and perfect and true in each religion. One can therefore wait for it patiently and hopefully. On the other hand, earthly justice is messy, limited, imperfect and frequently based on falsity and mistake. The ones that wait for justice can therefore be likened to a single person that keeps on waiting for the perfect mate to come along even though he or she knows that perfection does not exist. Such a person will not go on dates or consider any substitute or alternative.

The ideas of divine justice have been interpreted in radically different ways by different groups in each religion. I remember reading a pamphlet from the Jehovah’s Witnesses which stated that the devil owned the world and there was no such thing as earthly justice. What is interesting and perhaps most important about the wait for justice in each religion is the case of the Protestant. In Western countries, those people that are most likely to support the earthly system of justice and the laws of the land are conservative Christians. These people appear to believe that the divine system of justice has been translated into earthly form in the mundane and banal form of the English judge. There is therefore a big strand in Western thought in which divine conceptions of justice still play a big role in the conception of what justice is.

What are my own thoughts about the wait for justice? I believe that one should never wait for justice. I believe that the wait for justice is a mystification that favours the powerful in society. If one keeps on waiting for this justice, then one no longer takes affairs in one’s own hands to change and transform this unjust world of ours. I do not believe in any perfect, absolute and unlimited form of justice that is out there waiting for humankind. The very concept of justice is an illusion. I do not understand how people in this world of ours can believe in this illusion. There is merely the self-interest of the powerful which governs all things in this world of ours, including our laws and conceptions of law. And this self-interest forces those with little power to lose their voices and their will, to forsake their self-interest. There is no justice. Yet, even though there is not justice, there is still self-interest. I do not believe we should wait for justice. I believe that we should fight for our own self-interest and our own truths. That is what the idea of “justice”, to use the outdated and misleading term, means to me.

Shakespeare and the Justice of the Oppressed

23.04.2018 –

Abstract: Violence and justice are linked. Our culture teaches oppressed groups in our society that violence is the only viable means available to them to resist injustice. These lessons are evident in Shakespeare’s plays in which oppressed characters always demand justice in bodily terms and in horrific acts against the bodies of oppressors. Hamlet is just one example.

Keywords: Violence, Justice, Law, Shakespeare, Hamlet, Nasim Aghdam, Cultural Brainwashing

A recent news item that caught my eye was the case of the YouTube Killer, Nasim Aghdam. The woman in question, now known as a killer, was someone that cared passionately about justice. As the Guardian stated, she “used social media to fight for justice on a planet ‘full of diseases’” (https://www.theguardian.com/us-news/2018/apr/04/youtube-shooting-suspect-nasim-aghdam-profile). Nasim had been a gentle person from her childhood. In an interview, her father reflected on how out of character her crime was. He told the Bay Area News Group that “his daughter was a vegan activist and animal lover who as a youngster would not even kill ants in the family home, instead using paper to move them to the back yard” (https://www.theguardian.com/us-news/2018/apr/04/youtube-shooting-suspect-nasim-aghdam-profile). What led a gentle woman that was committed to justice to such a violent conclusion?

Violence and justice. Violence and justice. Are these two things intimately connected? Or was Nasim’s final act just a random event? For the armchair theorist, a theorist who moreover has no time to pursue his many and diverse interests, everything has to remain at the level of speculation. My speculation is that Nasim was one of the oppressed. She was an Iranian immigrant in a country that is thoroughly and systematically afflicted with racism. She had seen how the human race treated our animal brothers and sisters who she felt an honest kinship with. What the immigrant suffers, what the lover of nature must suffer in this world of iniquity and injustice. Have you ever stayed up all night wondering where your justice is? Have you ever cried in your heart of hearts for justice, knowing that it will never come? As Nasim wrote, “I live on a planet that is full of injustice”. The justice that she was led to, in the form of violence, was the justice of the oppressed. Already, the reader is enraged. How can one call a random killing an act of justice, like the killer framed it? How can one speak of the justice of the oppressed as a form of justice, hence giving it some sort of validity and legitimacy? What evidence do I base this seemingly bizarre and arbitrary claim upon, that Nasim’s act was an act of the justice of the oppressed? The evidence is in Shakespeare’s plays.

There is a stock type character in the Shakespeare play, a Nasim, one of the oppressed that demands justice in the form of terrible violence. In the Merchant of Venice, the stock type is a Jew called Shylock. Because of the indignities and hate he has to face in a Christian country, Shylock demands his pound of flesh from one of his oppressors. Shylock is not alone. Tamora, the Queen of the Goths, who is captured in war as a trophy, also demands justice and exacts a systematic plan of revenge against her oppressors. Her wrath is terrible indeed and involves murder, rape and mutilation. This stock type, the immigrant, the oppressed that is out for a violent justice exists in the Western imagination even today. I have written at length about one such character in the recent Black Panther movie, who is called “Killmonger’ to emphasise his link with violence. The Killmonger, an immigrant, wishes to arm the oppressed against the oppressors and is therefore treated like a supervillain.

Why does the oppressed victim pursue a campaign of horrific violence against their oppressors? It may seem natural to link violence and revenge in ideas about “instincts” and “natural aggression” but this would be to obscure the cultural link of meaning between them. Moreover, such ideas obscure the fact that the oppressed have had to endure horrific suffering themselves to become what they have become. The reader of this piece has never seen the illusion of justice torn to pieces before their eyes and realized their awful impotency in this world of injustice. That illusion of justice, which gives meaning to the life of those that live in a thoroughly unjust world is what makes life bearable. When it is gone and replaced by harsh and punishing truth, how does one bear life? What illusion can give meaning and value to life again?

What gives meaning and value to the life of the oppressed is to be revenged. The brutal mental wounds that they have to bear are to be resolved in an act against the body of the oppressor. The oppressed know that they cannot attack the mind of the oppressor. The mind of the oppressor is blind to the justice of the oppressed and to their fury. This mind, the mind of the oppressor, is moreover, a mind shared by the entirety of culture and society. It sits there like an all-powerful Christian god at the heart of everything. It is in the so-called laws and justice of the time, the art of the time, in the literature of the time, in the music of the time, in the commercial transactions and economy of the time, in the international relations of the time and in every act and thought in this culture and society. For the oppressed, there is only one method to attack the oppressor. It is the body. And this is why the justice of the oppressed is inextricably tied to the body.

The greatest play of Shakespeare is about this same idea. Hamlet is one of the oppressed. He has to live as subject to someone who has killed his father. Hamlet knows that the only way that he can achieve justice is to kill his oppressor in a violent act. There is no other alternative. Hamlet doesn’t use poison or any subtle method against his oppressor, although he thinks of it. He doesn’t raise a revolution against Claudius, his uncle and usurper. The justice of the oppressed can only be expressed in violent form against the body of the oppressed. This is the ultimate lesson and finale of the play. Shakespeare has taught us that the justice of the oppressed can only take a certain form which allows no exceptions.

When the people judge someone like Nasim then, a woman who loved justice, and write their biased accounts about what led her to her act, when the culture that claims that Shakespeare is some sort of human god, I will always say the same thing. The oppressed have only acted according to the rules which this culture and society has put in place. They have aimed for the only justice which we have accorded them, which is the justice of the oppressed. These people are acting in a framework of thought and action which this culture and society have given them, a framework which is specially intended for them and which has been taught to them even before they were born. As immigrants and oppressed people, they have been taught that they can only express their rage in terms of the body and against bodies. They have not been allowed into the rules that govern thought, only the rules that govern the body and violence. It is this culture and this society that is ultimately at fault. It is Shakespeare that it is at fault. It is the oppressor that is at fault, not the oppressed. A woman that could not hurt an ant can become a cold blooded murderer because of a lifetime of suggestion and brainwashing in Western culture. And then, this victim, this same woman, can be shown as an example of what immigrants are like in this same culture, as just another example of the same thing. Such is the hypocrisy, malice and deviousness of the culture that we live in, and its ultimate injustice.

The Mask of the Superhero and the Nakedness of Kali

08.03.17

On this International Woman’s Day, I, a bad person, will talk about a woman that has inspired me. To me, she is a fictional woman, although Hindus revere her as a real person. I want to contrast her with the masked superhero. I want to show how she is both more valiant and powerful than the masked superhero. I will first set out my ideas about the mask of the superhero. I will then talk about Kali and her wonderful nakedness. I want to contrast two forms of power. The first power is masculine. In this power, identity is concealed. That is the strength of this power. The second power, that of Kali, is feminine. In this power, identity and the body are apparent. That is the strength of this power.

Let us start with the superhero. The superhero is typically male and typically masked. One notes the pattern not just in comics, but also in the recent superhero films which have been made and which have been popular. Why is the superhero masked? The mask conceals the identity of a man and the concealment of identity protects the superhero. The mask allows the superhero to live a “normal” life outside of the battlefield in incognito. The mask of the superhero is also said to protect his loved ones. The mask is therefore related to the making of the normal and normalcy. The mask is said to protect love and loved ones. It is presented as social rather than anti-social. The mask as seen as necessary in the make-up of society and social organisation. The mask separates the field of action from the field of normalcy.

The mask is also associated with law and the separation of the public sphere and the private sphere. The mask allows the superhero to move out of the identity of a single man and fight for a supposedly abstract and universal justice. The mask and the concealment of identity is the way that the individual man can move out of his own limited perspective and life into a field of battle which is much bigger than himself. The mask allows a man to fight as the champion of justice against injustice and evil.

The mask is therefore crucial to the concealment of identity and the fight for justice. It enables the fight for justice as it conceals identity and only as it conceals identity. It is only then that the hero can become an abstract and supposedly universal figure outside the limitations of what is human. If the mask is a symbol of power, it is of a power which attempts to divest itself of identity. If the power of the mask is associated with anything, it is associated with the justice of the West.

The mask of the superhero can be contrasted with the nakedness of Kali. Kali is the supreme Woman and the supreme Warrior. She is the Mother of the whole Universe and the supreme form of power. She is also the destroyer of evil. She is the protector and the liberator. Kali stands for a justice envisioned as female, not male. Her female body is emphasised, as is her nakedness. As Wikipedia states, Kali “is often shown naked or just wearing a skirt made of human arms and a garland of human heads”. Kali wears no disguise when she steps into battle, nor any armour. She is fearless. She assumes no other identity than her own. Indeed, it is not even possible for Kali to be clothed. As Wikipedia states, “[s]he is often depicted naked which symbolizes her being beyond the covering of Maya since she is pure (nirguna) being-consciousness-bliss and far above prakriti.” The explanation of a Hindu is more telling: “She is shown nude because no finite clothes can cover the infinite” (http://hinduism.stackexchange.com/questions/3412/why-is-goddess-kali-shown-topless).

If the bloodthirsty and invincible Kali is a fighter for justice, then she never stoops to conceal her identity. She betrays no weakness. She does not fear that others will know her or her loved ones. She does not need a mask to give her power. She is power herself. Her power is naked. Her power derives from her femininity and her association with nature. For where the male superhero needs clothes which are produced by humans, Kali stands at one with nature in her nakedness. She is nature herself and the mother of all. She is the supreme power of femininity and the female form. She is the beauty of the body.

These are the two opposed forms of the fighters for justice. The masked superhero and the naked Kali. The mask of the superhero hides his face, his features, his human expressions and his eyes. He stays in a state of calm repose, as no one can see or feel his emotions. He acts outside of vision and the limits of vision. The nakedness of Kali is an assault on the senses. She is a vision herself. One sees emotion and anger in her face. One feels her through sight as total fury and devastation. As Wikipedia states, “[h]er eyes are described as red with intoxication, and in absolute rage, her hair is shown disheveled, small fangs sometimes protrude out of her mouth, and her tongue is lolling.” Emotion, femininity, animalism, nature. These are all attributes of the vision of Kali. Her body highlights the bodily senses which are attuned to the material world: her eyes which see are red and more evidently visible and her tongue also to be seen, that tongue which tastes food and which is out to taste blood. Kali is beautiful because she is aggression and anger itself. Her hair is disordered and she is outside of any conventional depictions of beauty. Her power is her beauty, the power of fury unleashed.

Such is the mask of the superhero and the nakedness of Kali. This is the character of two fighters for justice. The masked superhero is Western and male. The naked Kali is from an ancient India and she is the supreme embodiment of Woman as the Mother of us all. The masked superhero hides his face and his emotions and expressions. He wears what is really a uniform for one person. Kali wears nothing. She is without shame and supremely confident in herself and her body. The masked superhero has a split personality: the unlimited fighter for a seemingly abstract and universal justice and the limited man. The masked superhero is a recent invention. Kali is beyond splitting. Kali is beyond the contemporary. Kali is beyond the limits of all: she is infinite. She is supreme form. She never dies. She comes in every age. She fights for justice in every historical period. This is why Kali is inspiration and the masked superhero is contemptible.