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Skye Arundhati Thomas
Skye Arundhati Thomas is co-editor of The White Review.

Articles Available Online


Interview with Bani Abidi

Interview

Issue No. 33

Skye Arundhati Thomas

Interview

Issue No. 33

In the three-minute short Mangoes (1999) by Berlin-based Pakistani artist Bani Abidi, two women sit next to each other on a white table, each with...

Art Review

February 2019

Simryn Gill, Soft Tissue

Skye Arundhati Thomas

Art Review

February 2019

I walked into Simryn Gill’s exhibition SOFT TISSUE at Jhaveri Contemporary on one of the worst days of an...

I   This spring, in cities and towns all over the United States, schools, churches and other organisations will hold daddy-daughter dances The daddies will dress up in suits and ties and the little girls will dress up in their finest Sunday dresses The mommies, presumably, will style their little girls’ hair, and patent leather shoes and pearls will be applied, and all of these scenes, playing out in kitchens, moving on to hotel ballrooms and school auditoriums and church cafeterias, will be adorable   They will also, even as they fly under the radar as being such, be profoundly heteronormative   We can put this heteronormativity through a prism that reflects two views One way of looking at it is according to the traditional definition of heteronormativity: a cultural bias in favour of opposite-gendered sexual and marital relationships, ‘a world view’, as the dictionary suggests, ‘that promotes heterosexuality as the normal or preferred sexual orientation’ Under this definition, these dances necessarily exclude families of two mommies They force families of two daddies to make a Styronian decision about which parent should attend   A more expansive understanding, however, accounts for the work of Michael Warner, the social theorist who coined the term According to his understanding, heteronormativity undergirds all sorts of social and economic structures with the pervasive and exclusionary belief that people fall into distinct yet complementary gender roles, an assumption which carries several implications for the nuclear family and for society at large These range from the tax structures that reward the married two-parent family to the idea that mothers, not fathers, should lead Girl Scout troops And under this definition, one can easily see the ways in which the daddy-daughter dances, and all those adorable scenes playing out in kitchens and church basements and school auditoriums, also exclude families led by single parents One could, of course, in the absence of an actual daddy, ask a male adult friend to fill in A single mother might ask her own father to accompany her child But excepting such arrangements, which often depend on forced and even staged interpretations, the scene of the daddy-daughter dance,

Contributor

February 2018

Skye Arundhati Thomas

Contributor

February 2018

Skye Arundhati Thomas is co-editor of The White Review.

Bani Abidi & Naeem Mohaiemen, I wish to let you fall out of my hands (Chapter 1)

Art Review

February 2018

Skye Arundhati Thomas

Art Review

February 2018

Loneliness is mostly narrative. It also has an aesthetic: an empty tableau in which the lonely act is performed. In Naeem Mohaiemen’s Tripoli Cancelled...
The characters in We That Are Young reside at ‘The Farm’ – a sprawling house in New Delhi complete with its own topiary of fat peacocks, bulbous pink flowers with English names, Fendi furniture, and a room in which it snows at the press of a button It’s not far removed from reality – Antilla, the world’s first billion-dollar residence for a single family of four, is a 40-storey building that towers over the suburbs of South Mumbai, replete with a staff of over 600 people, its own electrical power grid, ten-storey parking for a collection of unusable vintage cars, and a room, of course, where it snows on demand In dialogue with Shakespeare’s King Lear, Taneja’s debut novel explores the lives of a family that owns a multinational conglomerate, ‘The Company’, to which each character’s fate (and inheritance) is inextricably tied We have our patriarch, the Lear figure, Devraj; his three daughters Sita, Radha and Gargi; and his right-hand man Ranjit’s two sons, Jeet and Jivan The embarrassment of riches makes for an irresistible, if outlandish, setting; Taneja vividly indulges our intrigue in the way the rich conduct their daily lives, letting her words ooze out their luxury – filthy, yet so desirable After a particularly gruesome scene in which Radha administers the plucking out of a man’s eyes, she steps back into her suite and calls for a pot of first flush Assam, and rose macaroons   A reinterpretation of Shakespeare is the perfect postcolonial conquest: he remains the epitome of the Western canon, patriarchal, and repeatedly failing to include representations of the ‘other’ without recourse to parody Mainstream appropriations of Shakespeare in South Asia, such as Bollywood filmmaker Vishal Bharadwaj’s trilogy Maqbool (Macbeth), Omkara (Othello), and Haider (Hamlet), have generally taken us to rural settings, wherein tragedy is relegated to a matter of the lower castes Taneja, a Shakespearean academic and human rights activist, eschews such stereotypes, and goes straight for the jugular: the innate hypocrisy of the Indian class and caste system ‘It’s not about land, it’s about money,’ states the first line of the book, taking
Preti Taneja’s ‘We That Are Young’

Book Review

October 2017

Skye Arundhati Thomas


READ NEXT

fiction

November 2015

Three Days in Prague

Naja Marie Aidt

TR. Denise Newman

fiction

November 2015

A sparkling frost-clear landscape exists between them under a soft and smudged sky. Irises exist, blue and yellow, and...

fiction

August 2013

Foxy

Siân Melangell Dafydd

fiction

August 2013

If you don’t want to lose your eyes, grab them by the veins sticking out of their behinds and...

feature

October 2012

Film: Palestinian Airlines

Eddie Wrey

feature

October 2012

    Palestinian Airlines Produced and Directed by Eddie Wrey Co-produced and translated by Max Wrey Co-edited by Rye...

 

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