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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...

[Untitled] “if you close your eyes”   if you close your eyes you can hear the sea whether Black or Azov you can’t tell immediately   a triumph of sound the off season naked beaches we breathe it in hold it in our lungs without speaking afraid to sing out of key   unleashing note after note in perfect waves the poplars swim away a little further from heaven from poetry’s idyll   nuts falling to the ground smack their heads and cry bitterly     [breakfast]   the bread you broke in two speaks in a human voice one half in the voice of your mother affirming she loves you the dead love of a dead mother loves you the dead love you dead mothers love you   you sit silent and hiccup you find the corpse of Yuri Gagarin in your pocket you light a cigarette   the other half speaks in the voice of the girl you raped affirming she’ll never, no way, ever love you she wishes you dead and your mother your fucking mother the girl you fucked says hello to your fucking dead mother  every morning on the radio   you sit silent and hiccup you find the corpse of Gherman Titov in your pocket you light a cigarette   await the prosecutor’s summation     [Untitled] “you stand in the middle of a completely foreign city”   you stand in the middle of a completely foreign city in the middle of its most famous cemetery you read the inscriptions in Polish you hear the voices of Polish tourists tombstone tombstone tombstone they’re seeking someone’s death in Polish you’re seeking someone’s death in Ukrainian your relatives might’ve been buried here if they hadn’t been forced to become echoes to wander Donbas seeking death in Russian so that all the while on the other side of Ukraine a girl with long black hair moves her lips translating the language of death seeks inscriptions about your family in the cemetery     Ilya  (from “People of Donbas”)   Why did you orchestrate a war at home and run away to more normal cities— the neighbors’ sticky-fingered spoons clap their hands and pull hair after hair from my head   you’re guilty of everything—and I think—what if they come to kill me while I’m lying naked in the boat of this summer without water electricity any kind of connection   no one will know what she died of standing in the kitchen—and falling backwards like sugar in a cup of paper wrath   and the uproarious sea of love throbbing in my

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

feature

September 2013

A God In Spite of His Nose

Anna Della Subin

feature

September 2013

‘Paradise is a person. Come into this world.’ — Charles Olson   In the darkness of the temple, footsteps...

fiction

November 2013

Special School

Iphgenia Baal

fiction

November 2013

poetry

July 2014

Little Pistorius in a Sleevelet of Mirrors

Joyelle McSweeney

poetry

July 2014

INSERT: Little Pistorius in a Sleevelet of Mirrors A ballet performed by the corps du ballet of S——– to...

 

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