PIs and I.

Detective fiction is a genre I've enjoyed all my life. I remember my father buying me a hardbound copy of The Adventures of Sherlock Holmes, published by John Murray. This happened to be in one of my childhood summers at 233 Khetwadi Main Road http://digbig.com/4xyxy. I was recuperating then from a severe bout of tonsillitis. I used to suffer from this ailment not infrequently at that time and was a frequent user of glycerin acid tannic, "the throat 'paint' of choice". http://digbig.com/4yarg. Sorry for the digression. After devouring the first collection of short stories and getting well, I was hooked on Holmes. I rapidly ploughed through the entire "Canon": 4 novels and 56 short stories written by Sir Arthur Conon Doyle between 1887 and 1927 - a total of 660382 words according to Charles E Lauterbach's calculation in 1960. Holmes had a special appeal for me because, like me, he preferred to sit down and ratiocinate. http://digbig.com/4yaty. I'm not saying my deductive logical ability was a patch on his legendary though fictional one, of course. To continue the story, I made a logical progression to Agatha Christie's inimitable egghead, Hercule Poirot and, thence, to Miss Marple http://digbig.com/4yatm in the last year of school and, later, in college. Ellery Queen, reputedly the American heir to the Holmesian legacy, happened somewhere along the way. I remember being particularly impressed at that time with the way a challenge to the reader used to be thrown towards the end of the earlier EQ novels when the reader was supposed to have been given all the essential clues. I had even read and enjoyed the four Drury Lane novels written by Queen under the Barnby Ross nom de plume. These, I recall, belonged to the locked room mystery sub-genre, a format of which John Dickson Carr was a leading practitioner. For a while around then, I was a steady follower of Mike Shayne, the Miami PI, as well. Then, the focus of my attention shifted to Erle Stanley Gardner's Perry Mason. I began to think that thinking on one's feet and wisecracking in a trial court was the height of sophistication. Then I discovered his Donald Lam and Bertha Cool series written under his AA Fair pseudonym and found it far more witty and entertaining. My meeting with The Saint http://digbig.com/4yfre I recall, was fortuitous. I happened to browse through a Saint novel at the shop on Lamington Road http://digbig.com/4ybgc where I used to borrow comics and other reading material when I was in college. I was taken in by the flippant style and tone. I went on a pilgrimage of Saintly reading borrowing all the titles in the circulating library and even buying a few second-hand titles. Another source of my detective literature supply was the JB Petit Institute at Flora Fountain of which my father and I were members. I read quite a bit of Edgar Wallace http://digbig.com/4ybge there, including a book of hilarious short stories about a race course tout. I remember its red binding distinctly but have forgotten its name. I read, if memory serves, almost all Dorothy L Sayers (Lord Wimsey) mysteries and some by Georges Simenon (Maigret is no PI, mind!) and Rex Stout, all borrowed from the Institute as well. Dick Francis came later and became for a while quite an addiction. The Institute also gave me the opportunity to enjoy Ellery Queen's Mystery Magazine and Alfred Hitchcock's Mystery Magazine for several years. Although I have not read much of Patricia Highsmith and Nicolas Freeling, I hold them both in high esteem. I must confess that although I read some of Ross MacDonald, he didn't appeal to me much. Neither for that matter did Raymond Chandler who considered himself a mere pulp writer but was the toast of the British literary and intellectual circles including notably JB Priestley, WH Auden, Cyril Connolly and Edith Sitwell. Maybe, I ain't no mystery connoisseur in verity.

Pain and suffering.

Is Art always and without exception a child of pain and suffering and deprivation? Can an artist never be someone who has had a normal – even a “boring” – childhood as Alan Bennett has repeatedly pointed out? An artist as a tortured soul suffering in the Nether World is the fashionable take and a much touted figment of popular imagination as well as a conscious and deliberate media spin. A deprived background adds a dramatic edge to the story no doubt but need not be the fact of the case. Sunil and Nargis Dutt surely did their best to give Sanjay a happy childhood. He turned out the way he did despite it. Now there is a media conspiracy to whip up sympathy for him by projecting him as a tortured but noble soul loved by one and all. His recent Gandhigiri-spouting Munnabhai screen avatar is put forward as an additional proof of his being a good but misunderstood human being. Even if all this is taken at face value, does it condone his role in the Mumbai blast case? I no longer belong to the eye for an eye school. But the Indian State surely cannot afford to take a lenient view of the digression and make an exception for an individual citizen for the sake of its very existence. That’s the way the cookie crumbles as the saying goes. However, the point I’m making is that the art born out of suffering seems to be a false premise. Just as much as the rosy-hued portrayal of an artist as a rootless person, a born expat or émigré, an outsider – the other trendy self-delusion much favoured by Salman Rushdie – happens to be. Art can be a way of earning money like anything else people do for the same purpose. If you happen to be good at what you do, it may even turn out to be a fairly lucrative and comfortable way of doing so. And who knows Time may decide to forgive you all your trespasses and faults as it did Yeats in Auden’s view:

Time that is intolerant
Of the brave and innocent
And indifferent in a week
To a beautiful physique

Worships language and forgives
Everyone by whom it lives;
Pardons cowardice, conceit,
Lays its honours at their feet

Time that with this strange excuse
Pardoned Kipling and his views
And will pardon Paul Claudel,
Pardons him for writing well.
http://www.serve.com/Lucius/Auden.index.html.

Truth to tell, there was a time in my life when I too flirted with the artist-as-a-tortured-soul and artist-as-an-outsider self-delusion. I even affected what I thought of as an arty mode of dress, khadi kurta over denim jeans. (I was no stranger to jeans of course as I had adapted them as my favourite garment of comfort in my early youth. http://popgoestheslop.blogspot.com/2007/02/gruelling-test.html.) I also started frequenting art shows and craft stores regularly. I used to visit Contemporary Arts & Crafts when it was a first-floor walk up – with a wooden floor and down-to-earth prices – opposite the Bombay University near Kala Ghoda as well as the old Bombay Store on Phirozshah Mehta Road. I was a regular at Wayside Inn, another Kala Ghoda landmark that disappeared quite recently. Arun Kolhatkar and George Fernandes too used to frequent the moderately priced eatery. More truth to tell, I was attracted to copywriting because I thought it was a creative field. Along the way, I dabbled in writing for children and was successful at the very first try. The ditty book I did with Sanat Surti (I See, I Think, I Sing) published by Thomson Press as a Sunflower Books paperback in 1972 won the National Book Trust Award. The second book (The Cloud & the Kite) – we tried selling it to a Japanese publisher – never made it. I lost the comprehensive dummy of the book soon and along with it the children’s writing yen. I continued to do well at copywriting and won a few awards as well, though, fortunately having shed the copywriting = art notion. It’s just business writing – a fairly comfortable way of earning good money if you’re good at it. Experience shows that the Auden hypothesis applies to good copywriting too. Amen to that.

Wireless in Mumbai.

One thing has always foxed me. While we took to British spellings readily, why didn’t we adapt the favourite British nomenclature ‘wireless’ instead of sticking to ‘radio’? Could it be because our radio was not wireless in the good old days? For instance, our first radio at 233 Khetwadi Main Road http://popgoestheslop.blogspot.com/2006/07/morgue.html was a multi-band, valve-powered Bush, not the more popular Murphy. It was bought just after 1947 from a huge radio showroom at Opera House which is now no more. It had a green ‘magic eye’ to show whether the listener had fine-tuned the station. If memory serves, it was a gimmick, pure and simple. But the point to note is that it was by no means wireless. There used to be an aerial wire not quite stretched diagonally between two poles at the opposite corners of our terrace. The bottom end of it was inserted in a slot at the back of the radio set. The aerial used to be quite a nuisance especially in the kite-flying season snaring the guide thread whenever we flew kites from the front terrace rather than the one on top of the flat, next to the tiled roof. I remember consulting a weekly or fortnightly guide called (probably) The Listener after the eponymous BBC weekly http://en.wikipedia.org/wiki/The_Listener known for its literary content. The desi programme guide used to list systematically all the All India Radio stations in three columns on every page. The transmission would start around 6.30 a.m. and would close down at 11.00 p.m. There used to be a couple of breaks in the transmission along the way. I remember listening to Nehru’s famous eulogy at Gandhi’s funeral (“the light has gone out of our lives”) on our radio. http://www.eulogywriters.com/ghandi.htm. I wrote a moving section about it in my still unpublished novel on Gandhi and Hollywood, The Last Gandhi Movie http://www.addgandhi.com/original/. Our Bush radio also brought us endless hours of entertainment including Binaca Hit Parade on Monday evenings from Radio Ceylon and, later on, film songs on Vividh Bharati. In the fifties, the transistor radio debuted in the US. http://en.wikipedia.org/wiki/Transistor_radio. Our first transistor radio set was a Philips bought in 1967 after I started working on the Philips Radio account at Clarion-McCann. It had a built-in aerial as well as an extendable one and worked on battery cells. So, finally radio had turned wireless. The FM era was still far, far away, though.

All this brings to mind what WH Auden wrote:

Let all your last thinks be all thanks:
… … … … … … … … … In boyhood
you were permitted to meet
beautiful contraptions,
soon to be banished from the earth,
saddle-tanks loks, beam engines
and over-shot water wheels.
Yes, love, you have been lucky.

('A Lullaby', April 1972)

How very true.