Mailing List


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 awoke bathed in perspiration, my teeth clenched Once again, as on countless previous nights, I had been hunted from pillar to post in a dream – shot at, tortured, scalped But on this night, of all nights, the thought occurred to me that I might not be the only one among thousands upon thousands to be condemned to such dreams by the dictatorship   Charlotte Beradt, ‘Dreams under Dictatorship’, Free World (1943)   Born in Berlin in 1907 into a Jewish merchant family, Charlotte Beradt was working as a journalist when the Nazis took power in Germany in 1933 Around this time, she began collecting dreams, slowly compiling a record of the ramifications of Nazi ideology on the unconscious minds of her local community, from doctors and civil servants to students and homemakers Over the course of 6 years, Beradt collected accounts of around 300 individuals’ dreams, a project which ended in 1939 when she fled Germany for the USA   I was reminded of Beradt’s extraordinary project whilst exploring Daria Martin’s Tonight the World, a multi-media installation made in response to a dream diary kept by Martin’s grandmother Susi Stiassni, currently on view at the Barbican Curve Gallery The family, prominent Jewish textile manufacturers, fled their home in Brno in 1938, when Czechoslovakia was on the brink of Nazi occupation Aged only 16 when they left the country, Stiassni went on to keep a dream diary for around 35 years, accumulating some 20,000 pages of material Hers is an acutely personal project: almost too private to engage with as an outsider, and impossibly monumental to comprehend as a whole   Martin’s Tonight the World opens with a videogame that simulates the Stiassni family home in Brno, a modernist villa which still stands today Watching the prerecorded play-through, we are granted a first-person perspective on a faithfully recreated 3D model of the house and garden In the course of the game, the player discovers several artefacts from Martin’s grandmother’s childhood, among them a toy soldier, a locket and a model robot As the player interacts with these objects, specific pages from the

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

poetry

September 2011

The Cinematographer, a 42-year-old man named Miyagawa, aimed his camera directly at the sun, which at first probably seemed like a bad idea

Michael Earl Craig

poetry

September 2011

Last night Kurosawa’s woodcutter strode through the forest, his axe on his shoulder. Intense sunlight stabbed and sparkled and...

poetry

March 2013

Fugitive

James Byrne

poetry

March 2013

I trace the stacked voices of shouters how they immingle fraternally on first hearing with the vaporous nick of...

poetry

May 2014

Rain on the Roof (to James Schuyler)

David Andrew

poetry

May 2014

Degrees of distance Who all died at different dates, known to each other: not just in the human race...

 

Get our newsletter

 

* indicates required