I remember seeing this poem on Instagram soon after the inauguration of President Donald Trump. Like many women, particularly women of color, I was exhausted after the election and began to doubt the strength of my own voice. However, Elizabeth Jaikaran’s words shook me to my core. They were powerful words and reminded me of the power that I, too, possessed, no matter how weak I was feeling in that moment. “Trauma,” Jaikaran’s debut short story collection, shows that her words are equally, if not more, powerful in prose.
Jaikaran’s collection of short stories details the lives and the trauma of real Guyanese women, most of whom are her direct ancestors. The stories are told in first-person with an honesty that makes every story seem relatable. Her compelling prose, sometimes breaking into poetry, is defined by her attention to detail, from using Guyanese Creole in dialogue to including lyrics from Bollywood songs and beautifully describing the bustling streets of Richmond Hill, New York. Her imagery makes the reader feel like they are living and breathing the stories of these women. In between each narrative, Jaikaran provides an informational chapter for additional context and depth to the stories of these women. These chapters include information on the Indo-Muslim heritage of Guyana, the indigenous peoples of Guyana, and on mental health within the Guyanese community.
“I was drawn to Elizabeth [Jaikaran’s] book because of the honesty and intensity of the stories,” Christine Cote, a publisher at Shanti Arts, said. “Then, once I understood that these ‘stories’ are not fiction, I realized that these stories needed to be seen and read.”
Cote notes that these are very personal stories for Jaikaran; she writes about her family and the issues facing the cultural community she comes from. Her passion for these issues and the impact these women have had on her is apparent in the raw words of “Trauma.”
“Her book has everything I look for,” Cote said. “Compelling content, creative presentation, beautiful writing, and it just might make the world a better place.”
Six months after Trump’s inauguration, I picked up “Trauma.” I came to this collection broken, exhausted and disillusioned. The news cycle was peppered with a new wave of atrocities – the lack of justice for Philando Castile, the murders of Nabra Hassanen and Charleena Lyles, the terrorist attacks in London. My heart was aching and my spirit felt weak, and I was almost nervous about reading a book where the title seemed to exemplify all of the horrors I was seeing unfold around me.
However, “Trauma,” despite its title, provided me with powerful words to mend my broken spirit – the spirit of a woman of color who is often exhausted, tired and overwhelmed by the injustice in the world. By retelling the real lives of the women before her, Jaikaran provided me with catharsis and healing. All too often, the stories of women and culture are either static, one-dimensional and incomplete – focusing only on stereotypes or the victimization of women. Nevertheless, Jaikaran does the lives of the women in these stories justice through multi-dimensional, raw, realistic and human narratives. The women in these stories are whole, they are human, and they are more than their traumas.
These narratives remind us that beyond the trauma there is family, faith, hope and love. Jaikaran’s stories remind us that women of color aren’t victims of our past – we are survivors, we are heroes, we are strong, and our stories and our voices matter.
The author has a gift. Her words breathe life into others, no matter how heavy their hearts or how big the burdens they carry on their backs. Whether it’s through poetry or prose, she is able to lift the spirits of others around her and help them find the strength in their own voices. This gift and the power of Jaikaran’s voice is the heart and soul of “Trauma,” it’s what makes it one of the best and most important books I’ve read this year.
“Trauma” shows that, despite the question she poses in her poetry, Jaikaran is both a woman and a storm. She rips apart the cages that have kept the women who came before her silent and allows their stories to wash over you, to drown you, and to heal you. The words of Trauma are wild, raw, and passionate, and it’s through the power of Jaikaran’s words and the stories she raises up that she provides what women of color need now more than ever – hope.
“Trauma” is the debut short story collection of Elizabeth Jaikaran. It will be published by Shanti Arts Publishing Company on August 1, 2017. Purchase your copy here.
In celebration of Kirthana Ramisetthi’s second novel “Advika and the Hollywood Wives,” BGM literary editor Nimarta Narang is publishing this short story by the acclaimed author. This piece chronicles the evolution of a writer’s life through their ever-changing author’s bio. In the details, from the change in last name to the new address, we observe how Gigi grows into Genevieve and the life events that make her into the writer she becomes.
“My Picnic,” published in the Oakwood Elementary Storytime Scrapbook
Gigi Maguire loves strawberries, “Smurfs,” and being a first grader. Her favorite word is ‘hooray.’ This is her first short story.
“Sunshine Day,”published in Oakwood Elementary KidTale
Gigi Maguire is a fifth grader in Ms. Troll’s class. She loves writing stories more than anything in the whole world, except for peanut butter.
“What Rhymes with Witch?,” published in BeezKneez.com
Gigi Maguire is a high school junior living in the Bay Area. Her favorite writers are Sylvia Plath and J.K. Rowling. If she can’t attend Hogwarts, she’ll settle for Sarah Lawrence or NYU.
“On Her 21st Birthday,” published in LitEnds
Gigi Laurene Maguire is a writer and recent graduate from Sarah Lawrence College. Her favorite writers are Sylvia Plath, Alice Munro, and Mahatma Gandhi. She is making her big move to New York City in the fall.
“Valentine’s Day in a Can,” published in Writerly
Gigi Laurene Maguire is a freelance writer who loves the written word, Ireland in springtime, and “La Vie En Rose.” She lives in Hoboken, New Jersey.
“Unspoken Ballads of Literal Heartbreak,” published in Weau Dunque Review
Gigi Laurene Maguire is an assistant editor at ScienceLife.com. Her work has appeared in Writerly and is forthcoming in Pancake House and Schooner’s Weekly. She lives in Hoboken, New Jersey.
“The Mistress of Self-Loathing,” published in Story Day
Gigi L. Maguire is the editor-in-chief of Small Business Weekly. Her work has appeared Writerly, Story Day, Pancake House, and Schooner’s Weekly. She’s currently working on a novel about witches. She lives in Hoboken, New Jersey, with her tabby cat Sabrina.
“The Distance in Your Eyes,” published in The Canton Review
Gigi L. Maguire is a freelance writer and digital marketing specialist. Her work has appeared in Writerly, Story Day, and is forthcoming in Idaho Centennial. She’s working on a novel and a short story collection. She lives in Hoboken, New Jersey.
“Auspicious,” published in BookWorks
Genevieve L. Maguire’s work appears or will appear in The Canton Review, Mark’s End, Bishop Quarterly, and Idaho Centennial. A second runner-up for the Imelda Granteaux Award for Fiction, she is writing a novel and a memoir. Genevieve lives in Brooklyn.
“Meditate, Mediate,” published in Ripcord
Genevieve L. Maguire’s fiction appears or will appear in BookWorks, The Canton Review, Berkeley Standard, and elsewhere. A graduate of Sarah Lawrence College, she is an MFA candidate at New York University. She lives in Brooklyn with her boyfriend and their two cats.
“Chaat & Chew,” published in The Carnegie Review
Genevieve L. Maguire’s fiction appears in Ploughshares, Ripcord, The Cambridge Review, and elsewhere. She received her master’s in creative writing from New York University. Her short story “Meditate, Mediate” has been optioned by Academy Award nominee Janet De La Mer’s production company, Femme! Productions. She lives in Brooklyn with her fiancé, their three cats, and a non-singing canary.
“Urdhva Hastasana Under a Banyan Tree” published in The Paris Review
Genevieve Maguire-Mehta’s fiction has been hailed as “breathtakingly lyrical” by Margaret Atwood. She is the recipient of the Whiting Prize for Short Fiction and an Ivy Fellow. Her fiction has appeared in The Carnegie Review, Ploughshares, and elsewhere. She lives with her husband Manoj in Park Slope, Brooklyn.
“Reaching New (Jackson) Heights,” performed by Lana Del Rey on NPR’s “Shorts” series
Genevieve Maguire-Mehta’s fiction has been hailed as “effervescent” by Alice Munro and “breathtakingly lyrical” by Margaret Atwood. She is the recipient of the Whiting Prize for Short Fiction and an Ivy Fellow. Her work appears or has appeared in The Paris Review,Elle, The Carnegie Review, and elsewhere. She lives with her husband in Park Slope, Brooklyn with their feisty menagerie of animals.
“The Bhagavad Gina,” published in The New Yorker
Genevieve Maguire-Mehta is the recipient of the Whiting Prize of Short Fiction and is a McClennen Arts Colony scholar. Her work appears or has appeared in The Paris Review,Elle, and elsewhere. She is currently working on a novel. She lives with her husband and daughter in Park Slope, Brooklyn.
“When Two Becomes None,” published in American Quarterly
Genevieve Maguire’s writing has received dozens of accolades, most recently the Luciana Vowel Prize for Female Fiction. Praised by Alice Munro as “effervescent,” her work has appeared in more than twenty publications, including The New Yorker, and The Paris Review. She lives with her daughter Priyanka in Park Slope, Brooklyn.
“The Day We Learned Desire is a Winding Path,” published by Capricorn Rising Press
Genevieve Maguire is an award-winning writer whose work has appeared in more than thirty publications, including The New Yorker and The Paris Review. She lives with her daughter in a 100-year-old farmhouse in Woodstock, New York. “The Day We Learned Desire is a Winding Path” is her first novel. Visit her website at genevievemagauthor.com.
“Hairy Arms and Coconut Oil,” published in MotherReader
Genevieve MaguireDunblatt is a novelist, homeopath, and part-time yoga instructor. She has seen her critically-acclaimed short stories published in The New Yorker, The Paris Review, and elsewhere. She lives with her husband Benji and daughter Priyanka in Jacksonville, Florida.
“Priya Pinker’s Mother Gets a Life,” published by Capricorn Rising Press
Genevieve M.Dunblatt is the author of two novels, including “The Day We Learned Desire is a Winding Path.” An aura reader, faith healer, and yoga instructor, she has seen her critically-acclaimed short stories published in The New Yorker, The Paris Review, and elsewhere. She lives with her husband in Jacksonville, Florida. Visit genevieveauthormag.com to learn more about her writing, and genevieveauthormag.com/hearthappy for her wellness services.
“Comma, Coma,” published in Read-A-Day Journal
Genevieve Maguire is the author of “The Day We Learned Desire is a Winding Path” and “Priya Pinker’s Mother Gets a Life.” She has seen her critically-acclaimed short stories published in The New Yorker, The Paris Review, and elsewhere. Alice Munro has called her writing “effervescent.” She lives in Jacksonville, Florida.
“Next Stop New York,” published in The Lunar Reader
Genevieve Maguire is the author of “The Day We Learned Desire is a Winding Path” and “Priya Pinker’s Mother Gets a Life.” She lives in New Jersey.
For BGM Literary’s third short story of the year, editor Nimarta Narang is excited to share Ankita Saxena’s short story titled “Date Night.” Chronicling Anapurna’s dates with Oscar, the story delves deeper into Anapurna’s relationship, well, relationships, as we learn more about her family and her parents. Saxena, a British Indian poet and performer, has also recently launched her debut called Mother / Line.
It is Saturday night. The drizzle has left Anapurna’s hair a little wet. She walks in and scans the room. The waiter at the entrance pauses before speaking, as if also unsure what she is doing here. At that moment, she remembers she has left her umbrella on the tube. Fuck.
The booking is under Annie, she says — and the waiter pauses again, as if unsure how such a light name could belong to such a dark girl. She remembers then, that whatever happens, the clocks will change overnight. Tomorrow, daylight will squeeze into a smaller dress size, diet all the way through winter.
Follow me, he says, suddenly in a rush, grabbing two laminated menus from his podium. He reminds Annie of the black cat that crossed her path earlier — its back slightly arched. She did not know then, or now, whether to feel scared or lucky.
He places the menus on a round table for two in the back of the restaurant.
Oscar arrives like a train, leaving only a breath of silence before opening with the customary: Hi, sorry I’m late. It is nice to finally meet you. By the time he arrives, Annie has already read through the menu in Italian and English. She is deciding between the prawn and the spaghetti, but of course — it is never down to the best option.
In the next moment, she is standing, smiling, extending her right hand, and then her left arm, for a sideways embrace. He smells like cologne, of course, and as their cheeks bristle, he feels like rain.
So, how has your week been? She starts, adding Did the curry turn out well last night? A mark of familiarity, a gesture that this is something more than small talk. Yeah, it was suitably spicy. My flatmates were very impressed. He pauses, and takes a sip of the tap water that has by now appeared on his left-hand side. I like your look, a polite way of expressing surprise at her low-cut body, blazer and culottes.
Annie orders the prawn in the end. Better conversation starter.
They talk of holidays to Spanish seaside resorts, getting piss drunk and spilling onto the streets from one bar to the next, with the same light thrum of English pop songs playing in each. They talk of his work trips to Belgium and Buenos Aires, the time he was nearly mugged in Lagos after taking one too many unknown pills from strangers. These are extravagances Annie has never known.
Would you take a random pill from a stranger? he asks, and she thinks of her mother, which she hoped would not happen this early in the conversation. Her mother, who gets ‘drunk’ from half a glass of wine, her austere façade crumbling to a giggling mess. Her mother, asks time and time again what people mean by kissing strangers on the lips in nightclubs: how do they trust them like that?
No, she says, I like being in control.
Oscar shifts his weight forward on his chair and lays down his cutlery like a declaration. They have had a glass of wine each by this point, and something about her caution makes him bold.
So, what’s your story?
My story? – the last prawn hung on a fork like a question mark.
Annie does not know which version to tell. Oscar is both familiar and from a different world. In one breath, he talks about his immigrant grandmother; in another, of Yacht Week with his university friends and the time he trashed his parents’ house when they were ‘away’ for the weekend.
Annie cannot imagine trashing her parents’ house. At the age of 11, when she got into her first-choice secondary school, she realised how easy it was to please them. She got good grades, did not cause any chaos, and in return, they left her alone. All her friends would envy her for her harmonious relationship with her family. But it was not difficult with a little pragmatism. She was never too deliberate about being ‘good’ — she just had no desire to be ‘bad’. In return, she had her own set of keys from the age of 14 and returned home often well after they went to bed.
More than this, Annie cannot imagine her parents being ‘away,’ that too, with just each other for company. Their marriage, and everything that came with it — discussion over discounted items in the supermarket, loud Saturday morning calls to old relatives, their hands joined in monthly prayer — always seemed more ritualistic than love. On family drives, Annie would sit in the back seat with headphones plugged in, watching for signs of love. Maybe a casual hand on a thigh? A sideways look in the mirror. A laugh over an in-joke. But every time the music quietened, all she could hear was her mother cursing at her father’s driving, her father demanding directions, or, more often than not, the silence of people who have nothing more to say to each other.
One Valentine’s Day, she sent them on a dinner date to the new Chinese restaurant on their local high street. She and her brother put on a movie at home, and they returned well after the credits, faces giddy like new lovers. But the next morning, they were back to their usual selves — her father complaining about the bill, her mother complaining about the way he treated her family.
Annie and Oscar talk of hobbies then. She mentions dancing at university. He mentions winter sports and cooking. She cannot imagine anything worse than falling on ice.
She notices the restaurant has thinned behind them, all the old-fashioned wall hangings suddenly visible, like shells in low tide. Everything alright Sir? Ma’am? the waiter asks, and they request the bill, going Dutch as she has been trained to do by now.
Outside, the rain has stilled, leaving large puddles reflecting the streetlights. Annie slips inside her coat, imagining slipping into his — the baggy weight of it, the cliché. He places his hand instinctively on her lower back, laughing as the splash of a puddle makes a small smudge on his suede shoes.
As they near the station, he extends the hand to an arm again, and this time she lets her body bend in the fold of his, noticing suddenly how thin her jacket is, how little fabric and skin separate their bones.
She does not say, I do not know how to be more intimate than this. Instead, she rubs her palms against his spine, and then draws back quickly taking her and her shadow into the darkness.
What’s your story? The question plays back in her head. They have come to see an exhibition. It is precisely six days and 15 hours after their first meeting. They walk side by side, Oscar slightly behind, Annie’s shoulder occasionally and intentionally pressing into his chest.
They glide through the gallery like a pair of ducks. She has never observed still objects so close to someone else. She is fascinated by how long he looks at the sculpture, and how he takes her around them like a waltz. She notices how well-dressed he is for the gallery in his light blue chinos and black coat. She notices, once again, his cologne.
She had come to this gallery last with Zeina and Chrissie — Zeina in a rush to get out the door and get some food, Chrissie taking pictures of every painting to send to her boyfriend. Annie always felt peaceful around her friends — each of their habits etched into her like a chant from childhood. Zeina started adding flat peaches to their shopping list in the second year. By the time they graduated, the kitchen cupboard was stocked with Molasses, Sumac, heaps of chickpeas. Annie imagined growing up with Zeina and her sisters, and when Zeina facetimed her mother in the middle of their flat dinners, Annie almost felt she had.
And Chrissie — who stuck to Annie from the first day of uni, later introducing her to all her theatre friends, saying: this girl is an angel. Once, before a black-tie ball, she had shown Annie how to read her eyes: your eyes are long, not wide, so you should draw your liner thick on the lid ratherthan with wings. That night, she felt like Beyoncé. When Annie was shaking uncontrollably the morning she was expecting her university results, they both gathered around her. She nearly asked them to open the email — don’t be dramatic, Zeina said, Chrissie on the other side smoothing out Annie’s hair out like a bed.
What do you think of this one? Oscar asks, looking at an abstract piece. She cocks her head, It looks like a city.
Really? To me, it looks like the peaks of mountains.
Annie remembers stories of the college ski trip — the hot tub with the whole milky way in view, the excessive drinking, reckless life-changing accidents. What would she do with a world like Oscar’s? What new perspective could he offer?
Oscar takes that moment to put his hand around her shoulder — her skin tingles unexpectedly under the layers.
Or a face, maybe. See, that jagged streak of red could be a smile.
She relaxes. He starts pointing out the chin and the eyebrows. They laugh. It is a chaotic old woman, they decide. It is always easy to find faces in abstracts.
Later, they go for a walk by the river. He asks her about her job. She says all the buzzwords. Product manager. Start-up. Incubator. He asks her what she loves about her job.
She remembers getting the offer in April of her third year. She was at home, in her bedroom. She had been juggling applications and interviews with finals preparations for three months. The phone call comes as a shock. She is expecting an email. She starts screaming at the top of her voice. Guys! Guys, I got the offer!
What? What? Her mother, always the first to listen, appearing from nowhere in a sudden gust of elation, jumping with her until their feet are sore. Her brother bolting up the stairs: What? How much are they paying you? Her father pausing the football downstairs, What? What?
Later that evening, the family meal — spicy chicken,a rare bottle of wine. Her heart is full. Her parents laughing across the table. This is better than any grade she has received.
I like the stimulation. She says. How each day is a new challenge.
Annie has learnt the art of sculling through bar queues — how you must pick a corner edge and gradually navigate inwards diagonally, shoulders guiding you through like oars.
I’ll get this round.
You paid for the gallery tickets. Only fair.
Once a group of bulky, beer-breathed men appeared behind her, laughing loudly over her head. Excuse me, two G+Ts please, she yelled over their grunts. You alright, love? one of them slurred into her hair, his T-shirt exposing muscles like hedges lining his arms. We’ll get her those, he said, one bulbous hand on her waist, another extending his card to the slobbery bar top. She let him pay. Grabbed both G+Ts shiny on the counters, drained half of one by the time reached Chrissie, pristine at the back of the queue. Some old creeps in this bar. Let’s go find your boyfriend.
When he drove her to university the first time, her father switched off the radio halfway through the journey. You know, Beta — you must be careful in the nightclubs. Men can be mad. Don’t drink, shink there. They can put things in them.
I know Papa. Relax.
Just be careful.
Months after, she found Zeina at the corner of a club, pulled her up by the elbows, hair matted with sweat, eyes dilated. Annie — what is happening to me? Nee, am I drunk? Anapurna — don’t tell my mother about this. Zeina, who had never had a sip of alcohol. Never intentionally.
She orders two Espresso Martinis — Oscar had posed with some in his dating profile, and it’s time she made an effort.
When she returns, he is on his phone, smiling.
Sorry, those were my friends. They’re getting wasted tonight. A party? Yeah. Rob’s flatmate’s 25th. You should go! No, no. I’m here now. We could go together. Really? You’d be up for that? Yeah.
The Uber drops them off by a semi-detached house on a dark street lined with lamplights. Just before they enter, Oscar touches Annie on the waist turning her around. She is conscious of the thick layer of faux fur between them.
You sure about this? His breath leaving a cigarette trail in the November air. My friends can be intimidating. She lets her chin fall on his chest, Come on, I’m cold.
Inside, there are fewer people than she anticipated. It is less a party, more a circle of friends passing around pringles and tin cans — lights on, the vague attempt at bunting, the bass of speakers filtering from another room.
In the presence of friends, Oscar is louder; more sarcastic. He introduces Annie by her job description — Annie works in tech, by Southwark — the first time she realises he cares. They meet Johnny, who is doing a Ph.D. in Literature, and Elisa, who has just come back from six months abroad. Annie scans the circle, realises she is at least three foundation shades darker than the rest of them. In her fur jacket, heeled boots and red lip, she is also the best dressed.
She posts a dancing girl emoji in her WhatsApp chat with Zeina and Chrissie. Guess where I am?
Oscar takes off his coat. I’ll be back soon, he says, slipping through an arch underneath the stairs. Annie makes small talk with Elisa — So where did you travel? They talk of backpacking in Cambodia and Vietnam, You know how it is on a budget? I need to go back there sometime, spend a few months in each place. Annie pretends to understand. Other friends float over — Michael who has beautiful long hair, and Lucy, who is a newly-qualified lawyer.
She walks over to the window — if she squints, she can make out train tracks buried beneath the room’s bright reflections. She watches the quick passage of tubes rubbing bodies for a few loud seconds, before going their separate ways.
Behind her, Oscar comes over with two plastic cups. Punch he says, gesturing to a large bowl on the TV stand. Annie remembers the housewarming party she and Zeina threw after university, both their mothers calling them to ask about the food arrangements. Ma, it’s fine – you don’t need to feed people here, she said, still impulse-buying a few boxes of Tesco-branded samosas and tortilla chips for nachos. What kind of people will they think you are if you don’t even give them food?
Annie’s mother would begin a cooking operation each time her friends came over for the weekend: chili chicken and noodles, pasta with an onion-fried tomato sauce, vegetables baked in cheese sauce. Get the nice stuff, not discounted, she would say, pushing her daughter to make a last-minute trip to the supermarket, returning to a dry-cleaned house, each unnecessary item hidden like lightbulbs inside drawers.
Zeina was the only friend who was not considered a guest. In the absence of any relatives outside the Middle East other than an uncle in Canada, she adopted Annie’s as her own. She would arrive on Friday evenings and eat what the family ate, not leaving until Sunday morning, when she needed to get back to study for her Monday morning seminar.
They would stay up until two or three in the morning, lying on Annie’s beige carpet, drawing pictures and coded messages with colouring pencils in the cork underside of her desk. These are for our eyes only — Annie would say — write whatever you want, no one will see them.
Once, Annie’s parents were fighting downstairs, the odd word occasionally slipping into focus like letters in the last row of an opticians’ screen.
You have no bloody right to – Why do you always have to bring my mother into – I don’t care if the kids are – Oh, so I’m – am I?
Zeina got up early the next morning as if nothing has happened. You know me, Annie, I can sleep through anything, between toothpaste gargles.
What you looking at? Oscar asks, following Annie’s eye-line. She is reminded of the art gallery — how they learnt to observe minutiae side by side, read the other person’s gaze. She wonders at what point her parents forgot to do this.
Annie tells him about Zeina and Chrissie, about her family — how her mother was the one who pushed her to start dating at the age of 24. You have to live your life Anapurna. You cannot use me as an excuse for everything.
She talks and talks until the drinks evaporate, and she reaches for him with the abandon of prayer, nerves racing to her toes, chest aching, neck pulsing.
What’s your story? Oscar had asked barely half an hour into their first conversation. And what could she say?
Liberal Londoner in trendy tech job OR Second-generation immigrant with traditional family values
As they walk in the bright sunlight, three weeks after their first date, Oscar squeezes Annie’s right earlobe in his index and thumb.
Are you always this cautious?
The park’s molten brown foliage shimmers in a large, grey lake, where a dog has plunged into the cold water, creating ripples that land within metres of their feet.
Only when I am worried I might slip.
The hours after she hears of her parents’ separation, Annie does not tell anyone. Annie, come look at this. The girls are watching Zeina’s cousin’s wedding videos. How unfair is this? She curls up with them, comforted by the lack of questioning. They remind her of her father — always there to pick her up, never bothered about the details.
Chrissie is trying to explain the situation to the co-director of her play. He gaslighted me. Are you even listening?
That evening, her mother calls her, cool and blabbering. It’s only been a couple of months. We didn’t want to tell anyone until it was official. We didn’t want to distract you. The words months and official repeating in her head for weeks to come. She remembers the night she got her job offer — how could her mother have laughed like that on the verge of separation? How could she have lied for so long?
When Zeina finally finds out, she moves into Annie’s bed. Don’t worry. I won’t let you down. Later, Annie slips away to the sofa and lies there all night, ghost-like in the green of her WhatsApp screen, trying to memorise the timelines, her thighs rubbing against each other, sweaty in the August heat.
She does not answer her mother’s calls for another two months, until the day before she starts her job, and her mother, as usual, makes up for it: I have so much faith in you, Anapurna. You have nothing to worry about. Call me in your lunch break. Or whenever. I love you.
What’s your story? Oscar will ask again. And what will she say now, three weeks into knowing him? And what will she say to all those who ask after him?
Afraid of ending up like her parents OR Afraid of not ending up like them.
Experienced in heartbreak, in friendshipOR Hugely inexperienced in intimacy, in love.
In the winter sun, the birds are creating raucous in the trees. The dog is shaking off lake water, more alive for having taken the dive.
January 16, 2023January 16, 2023 6min readBy Sejal Sehmi
I was a mere 14-year old on the fateful night of 22 April 1993. The night that witnessed black teenager Stephen Lawrence brutally murdered in a racially motivated attack as he waited for a bus. The night that cemented my fear, that the colour of my skin does matter. The same night that confirmed my indifference as a British Asian in the United Kingdom — were we really united? Fast forward to May 25 2020, the murder of African-American George Floyd by a white policeman was the turning point for British Asian author and my lovely friend, Shweta Aggarwal to finally break her silence and narrate her story of colourism, in her new book, “The Black Rose.”
Aggarwal’s gripping memoir emits so many emotions; that of an awakening, a voice that has been suppressed for years, filled with anger, mistrust and guilt. But most importantly, “The Black Rose” successfully disrupts the narrative that consistently allows society to box someone as indifferent based on a visibility factor. For Shweta, this factor was the colour of her skin. The injustices she consistently endured via some family members and fellow South Asian peers throughout her life, was as a result of her skin tone failing to qualify as ‘acceptable’, or as she often quotes in her book, not ranking high enough on the ‘fairometer.’ Whether she was in India, Japan or London, the scale was never too far behind.
Within the first chapter, she recalls as a child in India, the distinct lack of subtlety displayed by certain family members through direct taunts of her duskier appearance in comparison to her parents. She realised that she wasn’t in complete isolation from this prejudice, as her maternal aunt and uncle were also harshly nicknamed on the basis of their skin colour — Kaali (black) and Savla (wheatish). Aggarwal was left mortified by what many South Asians sadly still continue to casually exercise. Echoing similar incidents within my social proximity, it’s infuriating witnessing the recipients of such remarks surrender to laughing at themselves too.
Except it isn’t funny. Born into a culture where conversations on religion, caste and hierarchy in India are still so prominent, the comparison of Aggarwal’s skin colour being as dark as that of the domestic help (often from poorer families), prematurely planted seeds in her mind that she simply didn’t belong with her family, especially when she was sent to boarding school. Her lack of self-worth coupled with these taunts, gave her a whole new vocabulary for the letter B, that grew in parallel with the ongoing prejudice and anxiety. B for blackie, beggar’s child, bedwetter! Not funny, but derogatory. Post her book launch that Brown Girl Magazine attended, she tells me,
I personally feel we are way behind when it comes to understanding the importance of mental health. Name-calling was normalised and if you objected, you were ridiculed further with remarks such as ‘So sensitive! Can’t you take a joke?’ Body and colour shaming can lead to a feeling of inadequacy in the victim, which can further lead to depression and much worse mental illnesses.
During the 1984 Hindu Sikh riots in India, where over 3000 Sikhs lost their lives, Aggarwal recollects the frightening moment when she and her classmates fled into hiding to escape the violence during a school trip. As a means to save all the students from harm, the Sikh boys were forced to remove their turbans and long hair — their visible identities stripped to keep them alive. Yet, ironically, even in this horrifying situation, Aggarwal felt least at risk, attributing this self-assurance to her darker appearance.
The crux of her self-loathe was the love-hate relationship she formed with skin whitening creams. The birth of Fair and Lovely, India’s most renown brand (now known as Glow and Lovely following a backlash) was notorious for selling the damaging message that fairer skin equated to a happier and fulfilling life. For it was fairer skin women that would qualify for marriage — clearly their only sole purpose!
Tactfully using famous fair-skinned Bollywood actresses in television ads and posters, their so-called perfection would scream out to vulnerable young girls. (Men were targeted much later on, but the importance seemed less). Akin to the wretched beach body posters plastered on every corner in January — because apparently bikinis only look good on a certain body type — the damaging message remains the same. Social acceptance comes at a cost, and that cost is to look a certain way.
It’s an extension of the dated methods imposed on women from the womb, where mothers are lectured on drinking milk with saffron to ensure the baby is fair, traditional matrimonial sites asking women to specify skin colour, and women being told to stay out of the sun. These socially ingrained views are eventually developed into modern day methods in the form of cleverly marketed consumables. Aggarwal admits,
Most people only use the cream on their face just as I did. At that time, I didn’t even think about the rest of the body. I felt that if the face becomes fairer, that will be enough for acceptance. My mum noticed the difference for sure and I was lighter by the time I met my husband, Amit. I must admit the addiction is a combination of three factors: the justification in your own head, the strong marketing message that ONLY fair is beautiful, and the ‘compliments’ from those around you.
I admired Shweta’s honesty on admitting what essentially was a dangerous obsession that she remained faithful to throughout her teenage and adult life. A ritual that, whilst prompted gradual results in her appearance, was never going to eliminate the insecurities she felt within herself. Moments of joy with her husband and children on holidays abroad, would be broken up by the need to ‘fix’ any damage the sun may have inflicted i.e. reverse her tan. The booming tanning industry in U.K., her now home, and admiration of her ‘sun-kissed’ look by Brits initially surprised Aggarwal — as if her colour had now gained acceptance.
But who are we seeking acceptance from? A society that is still deep rooted in patriarchy forcing women even now to adhere to dated rites of passage that holds no relevance? Or a society that seeks to point out one’s indifference because of how they look — their skin, their religious attire, their weight? Or a society that passes judgement on a woman’s self-worth, and continues to abuse that same woman behind closed doors under the eyes of Goddess Kali? Aggarwarl goes on to explain,
The more damaging perceptions of colourism, are that ‘fair is rich’, ‘fair is successful’ and ‘fair is better educated’. Essentially, ‘fair is supreme’ in every sense. And if that’s the case, where does that leave dark-skinned people? In Ukraine, for example black and brown people were discriminated against and not given a fair chance to save their lives. Is it fair to be denied a basic human right — survival — based on your colour?
I personally was curious to know from my family what the definition of prejudice in the Hindi vocabulary is and how it is/was applied to in India. “Pakshappat” (taking sides) or “poorva dhaarna”, were the closest pure Hindi definitions known to my cousin, yet rarely used. However, my dad stated that “hum bedh bhau nahin hai” was the common term used to state amongst family and friends when someone was not biased and believed in equality. Somehow, colourism never really came under that category. A sentiment echoed by some of my Chinese and black friends . Even in parts of China and Africa, the belief that darker skin is perceived as inferior, is accredited to stereotyping certain groups of people as manual labourers working under the sun, and therefore of a lower class or caste. Does Shweta believe we can change this attitude?
A couple of my aunts are still reluctant to help me with my mission. One even said ‘it’s pointless fighting it’, while one said, ‘everyone has the right to define beauty for themselves and being fairer is what beauty is for some.’ The problem with this is that people then start to look down on people who aren’t. Colourism, casteism and classism divide people, creating more unrest in society. If we continue to aspire to be fairer, we’re still encouraging white skin privilege, and encouraging colonial values. The more we allow ourselves to succumb to these social constructs, the more enslaved we feel internally. Melanin is crucial for protecting our skin against the harmful radiation of the sun. Feel blessed that you have it and wear it with pride!
I wonder how we can dare to walk shoulder to shoulder with our black friends in the Black Lives Matter movement, if we refuse to face up to our own biases against colour? We seek equality in the U.K., but deny our deep-rooted prejudice, whilst a white privileged man lectures the world on the difference between racism and unconscious bias (yes Prince Harry, I’m looking at you!). “The Black Rose” has paved a way for many more voices to speak out against the damaging impact of colourism, and in my view, rightly belongs under the definition of prejudice in the collective South Asian vocabulary.
“The Black Rose” is available to purchase on Amazon.