Thursday, February 05, 2015

Reviews: the Good, the Bad and the Ugly

Its always fun to find reviews of your work online. As I browsed the net on this beautiful morning with the Himalayas shining in the sunshine, I came upon these two. And thought I would share it with you.

PageTurners: Wonderfully Short Wednesdays found me "a bit" boring. It was slow. Nothing happened.

He/she also found the illustration of the meditating man to be unrelated to the story. I always wondered why they selected that image to illustrate this story, myself.



The Blockade by Sushma Joshi
I chose this short story this week because I really liked the picture used to advertised it. I can't help but look at that man meditating with a view like that and wish that I was him.
Unfortunately though, the story didn't really do it for me. It based around the blockade of the Nepalese capital by Maoist rebels. Hasta's family and village are starving, so he attempts to find a way of keeping them alive through the blockade. He attempts to find the secret of a man who claims not to have eaten for months, and he also has a request to make of the political leaders. He accomplishes neither of these missions, and returns to his village almost empty handed, to find that his family has passed away and his wife absconded with another man in the hopes of improving her situation.
Ultimately, it's a very depressing story, but to be honest I just found it a bit boring. Not much really seemed to happen. I know objectively that this is probably some of the point - this man was trying to hard to save his family, but there was nothing he could do. Perhaps the story seemed to move slowly because it would have moved slowly for him given the barriers he continued to meet along the way.
In any event, although I accept that this story has a valid political message, I just couldn't enjoy it.

The purpose of Wonderfully Short Wednesdays is to review short stories, it is as simple as that. Short stories are a very special medium of story telling that I feel I don't read enough of and I hope that this encourages me and others to read more of them.
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The Guttery felt like she found a gem in "The End of the World." Here's her thoughts on writing, below: 



I am certain that everyone has stories. I’m equally convinced that everyone is capable of writing these stories up into novels, short stories, articles, letters, notes, emails, blogs, texts, bumper stickers, billboards, songs, or graffiti. Writing is the legacy of our opposable thumbs and our ridiculously labyrinthed brains.
However, just as not all runners are equal, nor all athletes, all writing is certainly not equal. At some point during my college years I promised myself to never, ever waste my precious time reading junk. Never. Unless it’s a magazine. Then it’s all bets off.
For several years I only read the classics. Only the names bound in those Literary Anthologies you read in college: Hardy, Whitman, Woolf, Shakespeare. Under my definition of “classic”, Steinbeck was a bit of an upstart. Then after living in Nepal, I went through a long bout of only reading Indian writers—preferably ones who used magic realism. Do you know how difficult it was to make a steady diet of this writing? Salmon Rushdie hasn’t written that many things, nor has Gita Meeta, nor Tagore. It was like eating a very limited diet of only orange vegetables.  Yummy, but limiting.  My creativity, like a body on such a diet, was grinding to a halt.
Then I befriended someone who existed on a diet of everything, with a generous helping of sweet reading candy. Marianne read several books a week, reading them to sleep and waking to them before work. She read whatever was in front of her, whatever she found, whatever, whatever, and loved it. Marianne was a sweet novel addict and, as such, had the enviable ability to talk books with whomever she met. She called me a book snob and I called her a book whore. We were best friends. We parted—listen up Red and Blue voters—by mutually respecting one another’s views.
After meeting Marianne, I expanded my views. Here’s my adjusted creed: If for entertainment purposes only, and if (this is my caveat) the reader is intelligent enough to know the difference, and game enough to throw in superbly written novels, then the average reader may read crap.  The aspiring writer, though, is an exception.  To become exceptional, a writer must read more like an Olympic athlete in training.  A great writer must, like an Olympic athlete, read a well-balanced, varied diet. I know, I know: it works for Billy Bob Thornton to only eat orange food (okay, to set the record strait, he eats only raw food, not necessarily orange. Big difference), but not for the writer.  Sorry.  Even a straight genre writer should cross train.
With my new creed in mind, I joined a book group. It was kind of like the Nutrisystem for me. A prescribed diet of someone else’s food, just enough to pry me from my old habits, and get me on the road to a healthier diet. I’ll admit that I didn’t like all the books my group chose. I don’t care if he does write a pretty sentence; Jonathan Franzen struck me as a pubescent boy stuck with a nasty god complex. Mostly, though, I read wonderful books I never would have chosen with my own sensitive nose.  I was introduced by Mandy to Iris Murdock’s The Sea, The Sea, by Maureen to Peter Carey’s Parrot and Oliver in America, and by Tracy to Jennifer Vanderbe’s Easter Island.  The camaraderie of a group to gush over or trash a book is added fun I didn’t take into account when I joined.
Like many people who have kicked an eating disorders, I maintain my Nurtisystem support group, but I also go on my own hunts. These days I’m like a reformed meat-eater who now leads groups on urban mushroom foraging. I will spend my late hours on the Internet searching the Independent Publishing sites such as Dranzen Books, Algonquin Books, Other Press. This search has led down some strange paths, such as The Mullet: Hairstyles of the Gods, or Shitting Pretty. It has also put some gems in my hands.  On these excursions, I have found Galore by Michael Crummey and The End of the World by Sushma Joshi.
While most of my college promises to myself (big hair, stonewashed jeans, cheap beer, Nihilism) are better off dead, my promise to stay away from bad writing has solidified like cement beneath the post of my own writing.  I have many coaches.  Thomas Hardy and Virginia Woolf will always be there, but so, too, will Louise Erdrich, Orhan Pamuk, Gao Xingjian, and Cormac McCarthy.  I may not make great art yet, but with the help of these Olympic coaches, I can strive for more.  Who knows, with time, practice, and lots of good reading, I could break the record–or put a deep scratch down it so it won’t play on the record player any more.
- See more at: http://theguttery.com/?paged=2#sthash.gVwu2wte.dpuf
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Saturday, January 10, 2015

Turning the Page: Interview in the Kathmandu Post's end of the year edition

Here is the link to The Kathmandu Post, where this interview was  published.

1. As a woman writing in English in South Asia, how do you see the
future of female writers writing in English in the sub-continent,
including Nepal? Or is gender a non-issue?
I think the future holds lots of potential. India is the largest
English market for writers, and it is next door. China's also
upcoming. The problem in Nepal is piracy. Bookstores own their own
printing presses, and they don't want to pay writers. This means even
if your book sells very well, you are not going to get any royalties.
This is a disincentive for writers. It takes a lot of time to write
one book-if people don't get paid, they are not going to do it. This
is the major obstacle to publishing's growth inside Nepal.

2.  To be a writer writing in English in a nation whose primary
language is not English, do you struggle to answer at times who you
are writing for? Does this bother you?
I don't write for any specific audience in mind. I think there's going
to be an audience, no matter which language you write in, if the
writing is good and the stories have soul. It does bother me at times
when I look at the bookstores and the booksellers will proudly display
all the Western writers, but sell my book illegally under the counter.
I also get a lot of underhand abuse for the market because they see me
as someone causing trouble by raising the issue of royalty and
copyright-they are getting books for free, why should they pay this
pesky writer? This seems wrong to me. The government has to make book
piracy illegal by making it mandatory for bookshops to document and
record the number of books sold. People have to stop supporting the
culture of piracy, if we are to allow our new generation to express
themselves, and write our histories.

3. You are a writer, a filmmaker and a critique of art. How has the
multi-disciplinary approach in art worked for you?
I think its all connected. There were no genre boundaries during the
Renaissance in Europe-the same people were scientists, engineers,
inventors, healers, writers, poets, and alchemists!  Leonardo da Vinci
is a favorite of mine because he did so many things, and did them
well. He embodies these ideas of "sfumato"--without lines or borders.

 5. In your two short story collections, travel and movement appears be the central themes? 
You are also currently working on a book on
Nepali migrants in Thailand and Burma. Any particular reasons for this
obsession, to put it strongly, with migration?
Travel is a way to explore your own inner world, by moving out of
one's comfort zone and entering other worlds. Nepali people are great
world travelers: I have met them in every nook and cranny of the globe
where I've traveled. I wanted to document this, so that's why I
focused on the Nepali diaspora in Burma. I was also reading a book
called "A Fortune-Teller told me", by Tiziano Terzani. Terzani, an
Italian journalist, goes around Asia documenting the changes he sees
through the lenses of a prediction he received from a fortune-teller.
The fortune-teller tells him he may die that year if he travels by
air, so he spends the year traveling around Asia through land routes,
and by boat. It's a very good travel book. I wanted to write a similar
book, since I am obsessed with jyotish astrology, and I wanted to
bring together the cultural linkages between Nepal, Thailand and
Burma. Interestingly, despite different history, politics and
religions, South and South-East Asia are bridged by the same belief
and tradition in astrology.

What should we look forward to from you, particularly in fiction? Any
novel in the offing?
I have published my second collection of short stories. Its titled
"The Prediction," and it brings together 8 short stories I wrote at
various points in my life. I finished a novel in 2006--it was a love
story set in Nepal's civil conflict. I met people from literary
agencies and publishers in England, but that did not work out because
they wanted me to substantially revise my book to fit the market. It
appeared to me the editors were swayed by hype, and weren't as
well-read as I expected them to be. There is little knowledge of Nepal
and its history, so it is considered an unimportant part of the
subcontinent. It also appears to me the publishing industry equates
demographical strength with talent. India and Pakistan are bigger
markets, so publishers are willing to bet on authors from there. They
may even lift plots and ideas and recast them to be stories from these
big-market countries! I'm not sure where this leaves Nepal--either we
have to create our own domestic market, which is not possible in the
current moment where piracy reigns. Or we have to create our own
international online market, which is what I'm trying to do with my
company Sansar Media. Bypassing traditional bookstores and marketing
directly on the web will be one option to new writers. But ultimately
there has to be respect for the act of writing, and respect for the
act of creation, which I find is missing not just in Nepal but also
rapidly vanishing in the commercialized mass market ethos that runs
Western publishing at present.

Monday, November 03, 2014

Jyotish astrology looks at Brittany Maynard’s assisted death: was it suicide?




Brittany Maynard caught my astrological attention because she was 29—the year of Saturn’s Return, when Saturn’s influence is very powerful because he returns to where he was at birth—and because she died on the day (November 2nd) Saturn transited from Libra, his position of exaltation, to Scorpio. For astrologers, these are powerful indicators that something larger than an individual’s life was at work.  

Scorpio is the ruler of the natural Eighth House, or Mrityu Bhava, the house of death. Scorpio also rules transformation, especially going deep down to bring up issues of death and dying.

Saturn is the karaka of suffering, old age, death. Saturn, in Brittany Maynard’s chart, is also in her Second House, a maraka or killer house. Her Saturn is also combust, and exalted. For Brittany, Saturn becomes a very strong killer planet. She was also going through something astrologers called “sade sati”, which is the seven-and-a-half years when Saturn grinds through a person’s life to deliver life lessons. In her case, November 1st was the very last day when this period ended.  Interestingly, Brittany apparently postponed her death by one day-she was going to die on November 1st, then decided to die on November 2nd instead. 
You can read about this here:
http://hollywoodlife.com/2014/11/02/brittany-maynard-dead-terminal-brain-cancer-ends-life/

Critics opposed to her death felt that she had committed suicide, and that the media was giving this event unnecessary attention.  Interestingly, by the definitions of jyotish astrology, her death is not strictly a “suicide.” In general, astrologers look for the cause of death in the Eighth House. Her self, or lagna, is ruled by Virgo, whose depositor is Mercury. If Mercury was in Eighth House, astrologers would consider this a “suicide”—death by self. Her Mercury, however, is in the Third House of initiative, drive (and also friends.) In other words, the cause of her death is not “The Self.” 

So what is the cause of death? 

Saturn is a maraka planet, and its in her Second House. The Second House is also the house of childhood—meaning that her upbringing, and childhood suffering, could have made her decide not to go through with suffering till the end. Her  Second House is ruled by Libra, whose depositor is Venus, and Venus lies in her Fourth House of home and education. Venus is together with Jupiter, the sign of wisdom, in Jupiter’s own house. Where those two factors causes of her death? 

Her  Eighth House is ruled by Aries, whose lord is Mars. Mars lies in the Fifth House—of love and creativity. Her Eighth House is also at present getting an aspect from Exalted Jupiter in the Eleventh House of Gains. Could this have been an act of love—a creative act to allow people the option to choose their own death?

In Buddhist philosophical tradition, assisted death is not encouraged. Life brings many forms of sufferings, we have to live through those fully until the last breath because each of these sufferings teach us valuable karmic lessons. It is also thought that unfulfilled karma is going to return in some form or another in another life anyways, so terminating a life early  doesn’t end the suffering, because the reincarnated soul will have to live through the life lessons in another life.  This doesn’t mean however that Buddhists don’t use external aids to decrease the pain and suffering-medicine, herbs, incense, meditation, blessings from gurus, rites and rituals may all come into play to help a person at the end of their life, especially when great pain and suffering is indicated. 

Great spiritual souls in Hindu  and Buddhist traditions, however, have often chosen their time of death.  There are many documented stories of greatly enlightened practitioners who decide on their day of death—or more accurately, the day they allow their atmas, or souls, to leave their bodies. News reports report that Brittany chose her day to die, and she felt the time wasn’t quite right, and she was waiting for the right day.  Interestingly,  she chose a day when Saturn, the natural karaka of death (and a karaka of death for her in her individual chart) chose to move to Scorpio, which rules not just death, but also transformations.

Friday, October 10, 2014

"The Fourth Child" in Living Magazine



My short story "The Fourth Child" is now published in the October issue of Living Magazine. Buy the big fat copy! 

Check out the cover here: http://www.living.com.np/



Saturday, September 06, 2014

THE LITTLE GIRL WHO DIED

A version of this appeared in the World Literature Today in 2010. THIS IS A WORK OF FICTION. The story does not represent any moment that occurred during the real civil conflict in Nepal. Names, characters, places and incidents either are products of the author's imagination or are used fictitiously. The little girl is a metaphor for all the innocent people who died in the crossfire. 

THE LITTLE GIRL WHO DIED
SUSHMA JOSHI

Major Krishna Basnet jerked his bitten hand back, as if stung. Tooth marks, where the seven-year old girl had bitten him, left dark indentations in the hollow between his thumb and forefinger.

The Major stared at the tear-stained face of the little girl. Then he spat into her defiant eyes. “You should have learnt to respect your elders, you bitch.”

  A cold moon glittered in the black sky. No wind stirred the leaves. The Major’s voice carried upwards, towards where Ambika lay, hiding. Ambika could hear and see everything from where she was—a recessed ledge of rock embedded in a cliff above the village. Respect, spat out from the Major’s throat, floated up with a strange resonance.

Ambika felt like a little girl below, held hostage by the Major with his gun on that brilliant moonlit night. How many times had she been told to respect her elders? The rage rose in her with the same uncontrollable force as when she had been a child.

She closed her eyes and remembered the moment, years ago, when she had fallen from a cliff, hunting for wild honey, and almost broken her neck. A little keyhole to death had opened up in her mind as she lay on the ground. Then she had heard sounds of the next world, the atonal moans echoing through red, cloudy vision, the sighs of terror and despair from unseen beings. That’s when she had known, on a visceral level, the certainty of death. Ambika felt her finger tighten on her trigger. “Perhaps I’ll die today,” she thought.

Ambika looked through her viewfinder. Major Krishna Basnet’s head looked like a black blob from where she lay, about twenty meters away. It would be easy to put a bullet through his back. Would paralyzing him for the rest of his life be more fitting than death? Ambika would die in the return volley of gunfire. But death would be worth the price to rid the earth of this torturer. As her finger tightened around her gun’s trigger, she was jerked out of her single-minded intention to kill the Major by a sound. Gita, her youngest cadre, sixteen, lay on the rocky ledge along with her. Gita shuddered as she breathed. This was her first battle. 

Ambika became aware of her five comrades—the clove-laden breath of Comrade Nepali, the warmth of an arm pressed close to hers, the huddle of bodies behind in the deep black corners. Shame took the place of the adrenaline that coursed through her body seconds ago. How could she have imagined putting her comrades in danger? Justice would have to wait. Ambika forced her tense finger to slacken.

As Ambika lowered her gun, a single shot rang out. Ambika could not have said whether the terrified scream of the little girl came before or after the gunshot. Or perhaps she screamed twice—once, seeing death hurtle towards her, and twice, when the bullet hit her between the eyes.

The gunshot, and the scream, appeared to richot around the enclosed valley where the small village nestled. A ghostly gunshot and a ghostly girl-scream magnified and echoed, then fragmented into a thousand pieces of broken sound. An eerie silence followed. Ambika put her forehead down on the cool limestone, and closed her eyes. She felt a wetness on her cheeks and realized she was crying.

* * *
 The little girl died one hour and thirty-two minutes after Ambika spied the soldiers running down to the village.

“They’re coming.” Ambika was terse as she looked through her binoculars. Blurry figures streaked downhill. They seem to carry heavy loads. The Royal Nepal Army, the guerillas had heard, now carried sophisticated weapons.

“How many?”

“Twenty-five soldiers. Maybe more.” Cold metal pressed around Ambika’s eyes as she strained to count.
“We have to…have to…kill them.” Gita, who’d joined the Maoist People’s War at the age of fifteen, was on the edge of hysteria.

“If you shoot now, you’ll reveal our location,” Ambika looked back and saw the young girl stand up. Her legs astride, she held her gun up, as if ready to shoot. “Sit,” Ambika commanded. Her voice was harsh, with the slightest hint of a tremble.

Comrade Nepali’s semi-automatic gun had served him well during Mangalsen battle. Ambika carried the same model. The two had killed a fair number of policemen with those two guns. But then the police in Mangalsen had just been armed with outdated .303 rifles. Today, it appeared, they would have to face a Royal Nepal Army force armed with sophisticated weapons. But what tipped the scales was the armament their comrades were carrying—the four new cadres, recent recruits, had homemade muskets. They had learnt to clean it, and shoot it, but the muskets did not fire well.

 “What do we do, comrade?” Fresh-faced, wide-eyed, Rama, the other female cadre, scared Ambika with her phlegmatic innocence. 

“I am ready to die.” Gita sounded combative. The command to sit infuriated her. With her childish face, and her red band she wore like a fashionable hair band, she was the youngest girl that Ambika had worked with. She appeared to be on the verge of a nervous breakdown.

“Up!” Ambika commanded. She did not need to deal with a nervous breakdown right now—the single most useful thing her cadres could do was to hide themselves. The rocky ledge they had scoped out earlier, carved into the cliff, was their hideout. “Wait for us.” The two girls, frightened, ran. The two boys, eighteen, followed close behind. All of them had been recruited two months ago. This was their first battle. 

“Why did they send these raw recruits?” Comrade Nepali muttered. “They’re useless.” Last week, seven cadres, experienced fighters of the People’s Army, had headed up to meet them. They slept at a widow’s house. At three am, a low whistle awakened them. They didn’t need to hear the knock on the door to know that a cordon of soldiers surrounded the house. Blindfolded and handcuffed, they were taken in a black jeep. The soldiers took them to the army barracks of the district headquarters, Ambika was certain.

Ambika thought about her seven comrades, the ones with whom she had shared many battles, and felt an impotent grief. The three women were almost certain to face rape, and the men would be tortured. Some, or all, could be killed. The precious cache of guns, bullets and bombs, meant for this crucial battle, had been seized, and would be paraded to the cameras of TV journalists, for all the world to see.

A teacher from a Ramechap village had informed the police, they heard. The teacher was now strung up in a tree, dead. His tongue had been ripped out as a warning to others.

Ambika followed her cadres up the rocky cliff, pulling at roots and clinging vines to pull herself to the shallow, recessed ledge. The entry was narrow, but inside it was cavernous, with enough room for the five to stretch out. Ambika laid herself flat on the ground, and raised her binoculars, to her eyes. The warm, rich smell of harvest rose around her. She inhaled – drying stalks, the glorious smell of seeds thrashed on the ground in the fields below rose to her nostrils. In her binoculars, she saw the soldiers running downhill, getting closer to the village.

* * *
Flat on their stomachs inside a rocky shelf inside the limestone cliffs, out of eye line of the settlement below, the six guerillas waited. Ambika, at the very edge, her navel pushing into rough ground, had a clear view of the village. More than a dozen soldiers, weighted down with arms, arrived soon after. They bashed the wooden doors down with the butt of their rifles. The sharp barks of dogs, howling at the intruders, rose to a crescendo. A couple of bullets flew past, lodging themselves on the wood of a porch near a howling dog. The dog ran off, hiding its tail between its legs. 

The yellow beam of the soldiers’ flashlights lit up the smoky corners of the cottages. Faded lamp-black walls. Sooty rafters. An uncleared cobweb. Here was a young mother, hoping a pile of firewood would hide her. There an old and toothless man, a resigned look on his face, on his bed. A soldier seized the mother by her hair and shoved her, infant cradled in her arms, on the ground.

“Shoot anything that moves!” a voice commanded.

A dog, snarling, appeared from beneath a bed. A swift and well-aimed kick from a soldier’s boot sent it fleeing out of the door and across the yard.

“Shoot!”

“Yes, Major.” A short burst of gunfire. The dog fell, and started to whimper. There was the sound of another gunshot. The dog’s body twitched, then became still. A dark pool started to collect around the body.

This voice, with its polished and modulated edge, belonged to Major Krishna Basnet. The Major was now posted to Ramechap. Ambika raised her head to catch a good look at his face. This was the man she had come to kill. And now, because of an informer in Ramechap, her goal remained unfulfilled tonight.

The Major was handsome, with fine bone structure, and regal poise. He grew a thin black moustache above his lips. Ambika caught a glimpse of him as he moved towards the door. Even in the darkness, she saw his grace, his commanding presence.

A seven-year-old with a dirty face and a wispy pigtail, frightened by the sudden invasion of men, clutched her mother. The move annoyed the Major. He grabbed the little girl’s hair. He pulled her head back and forth. Her head lolled on her head like a broken doll. Over the child’s sobs, he asked: “Where are the terrorists? Speak, you bastards. Where are the terrorists?”

Ambika felt bound, as if she were inside an airless room with hands and feet tied. Comrade Nepali was still, as if he had stopped breathing. The two girls huddled in terrified comradeship. 

“We don’t know. We don’t know!” The mother pressed her palms in plea.

“Please, let my daughter go!” Major Basnet let go. The child’s face was smeared with snot. She sniffled and wiped it with the back of a dirty hand. The sniffling annoyed the Major—he found the child dirty and repulsive. The Major looked up and around the village—the darkness of the surroundings warned him guerillas, as ugly and as repulsive, were lying in wait to ambush him. The moon was bright and cold, but he couldn’t see anything. This sense of helplessness, which he had felt many times in the past few months, infuriated him.

The Major bent down, and picked out a rubber band with a rose from the child’s hair. He held it up to his nostrils, close his eyes, and inhaled with exaggerated enjoyment. “Ah, a beautiful rose,” the Major said. The child stared at him with a dirty, tear-smeared face, petrified.

The mother’s face, pleading for mercy, angered him. Is this how I look when I am afraid?, he wondered. The Major cocked his revolver, aimed at the center of the mother’s forehead, and squeezed the trigger. The mother’s brains splattered the red sari of an old woman behind. The old woman crumpled to the ground in a faint.

Nobody moved.

“Hatyara!” The child’s shrill accusation echoed across the valley. The Major was surprised, for an instance. He hadn’t expected this snot-smeared girl to know such a complicated word. A murderer? He considered this verdict for a brief instance, then grabbed the girl’s chin. “What did you call me?”

“Hatyara, hatyara, hatyara!” The girl, overcome with rage and grief, lunged forward and bit the Major’s hand.
* * *

Saturday, August 16, 2014

The jyotish astrological analysis of Robin Williams' death


I took a look at Robin Williams birthchart through the jyotish system of astrology today (note this is NOT the same system as the horoscope people read in the newspapers, which is sun sign based astrology.) There is really nothing surprising about his suicide once you see the chart.

Williams has a formation that’s common for celebrities: His Moon is with Rahu, in lagna, or ascendant. Rahu signifies great fame, glamor, and also electrical lights and methods of communications. Together with Moon, it often signifies mental illness as well. Rahu matures, or shows its full strength, at age 42. Actress Catherina Zeta Jones, who came out saying she had bipolar manic-depression at 42, is one of many other celebrities who manifest this. In South Asia, actress Manisha Koirala came down with cancer at age 42—since lagna or First House is the house of the self and body, Rahu and Moon can also show itself through bodily illness.
When Rahu is placed in House 1, Ketu falls in House 7, the house of marriage and relationship (Rahu and Ketu are always 7 houses away from each other). Ketu is a signifier for detachment and separation. Often the spouse can be “different,” or the partners remain together but separated by one factor or another. Ketu can often lead to a feeling of separation and alienation from marriage partners but also other relationships. The only solution to Ketu’s isolation and alienation is spirituality. Ketu shows its peak power at 48 (and it continues to shows it effect from 48-54). This is for everyone, not just celebrities. Here you can see a post about the maturity of planets:

AGE WHEN PLANETS GIVE THEIR FULL EFFECTS
http://www.venoastrology.com/maturityplanetshouses.html

 Take Brad Pitt, who has a number of planets with his Ketu. At 48, when his Ketu matured, you could see him physically moving away from his marriage partner and children. But it appears he still took advice from his psychic (the spiritual life becomes heightened.) Johnny Depp, whose Moon is with Ketu, separated from Vanessa Paradis at age 48. Most painfully, Tom Cruise, who has the classic celebrity placement of Rahu in 1 and Ketu in 7, faced a painful divorce from Katie Holmes at age 48. Cruise had not just Ketu, but also Saturn, in the house of marriage-and Saturn commonly denotes grief. Cruise separated when Saturn was exalted, which only happens once every thirty years, so his grief was magnified to great extremes. 

Not all Rahu in 1, Ketu in 7 people kill themselves, of course. Other factors have to be at work. In Williams’ case:

11.  Maraka (killer) House Two, has Jupiter in it: In June, Jupiter, his killer planet, became exalted in Cancer, which rules his house of ill health.

22.  Maraka (killer) House Seven, has Ketu in it: On July 12, Ketu moved to Pisces, his second house, to align with natal Jupiter. 

33. Saturn, which was the depositor of his lagna or the  self, is in House Eight, mrityu bhava/house of death: jyotish astrologers commonly look for the cause of death in house 8th. In Williams’ case, the significator for the self lies in 8th house, meaning there was a high likelihood the self would become the cause of death. Saturn is not just getting an aspect from Mars, a violent planet, from House Five, but also an aspect from Jupiter, his functional killer. Saturn is also exalted, meaning its showing its fullest power in 30 years.

44.   To top it off, Rahu also moved to Virgo, his Mrityu Bhava, on June 12th. House Eight had Rahu conjunct natal Saturn when he died: Saturn/Rahu is thought to bring about suicide. Rahu brings the kind of sudden violent death that Williams experienced. 

Often after a high profile Hollywood death, there appears to be a lot of discourse around how selfish the actor was to kill themselves. Their addictions and mental illnesses are cited as causes of selfishness. But through the lenses of Jyotish astrology, you can often see the extreme fame and talent are often the same planets that can cause mental illness, addictions and the like at certain points in life. I should stress that not all people with these planetary influences end up dead from addictions and suicides. There has to be other factors at work to create that possibility. 

Often the only way to control Saturn’s grief, and Rahu/Ketu’s abrupt termination, is to focus on spirituality to bring the mind in balance. And the classic Hindu/Buddhist solution—do good deeds to clean up your karma. Often by detaching from the Self to the Other, the ego lessens and so does its pain. Take Pran, Bollywood’s beloved villain who lived to be 93. Pran had Moon, Rahu and Mars in lagna, in Libra. Mars signifies violence, but his was only on the screen. He apparently had people lining up outside his house  even till the end, and he would try to help all people. Nobody was turned away.  Social work can lengthen your life! His Saturn is retrograde in Eleventh House, which also signifies friends and networks. Saturn is very auspicious for Libra. 

Saturn in Eighth House, interestingly, could also have led to a long life. But then Williams would have had to have led a humdrum, ordinary life in order to escape the excitements of Rahu, which he lived to the full.

Saturday, May 17, 2014

Do you own a Nook, and read in Spanish? If so, download my play!

And in case you own a Nook, here's my play  Maté al padre de mi mejor amiga in the Barnes and Noble website for you to download.

Monday, April 28, 2014

Where does the magic realism come from?




After reading Francisco Goldman’s tribute to Gabriel Garcia Marquez, I wanted to know where the magical realism came from.

So I went to my trusty astrological chart calculator and plugged in: March 6, 1927, Aracataca, Colombia

And this is what I got. 

An Aries moon: Aries is the first sign in the zodiac. People born under Aries are fire. They embody  the start of new things, and they blaze new trails. They can often be great leaders. President Obama is born under an Aries moon as well.

Mars in second house: Second house is the house of speech (and also material wealth). Mars  is the planet of passion and energy. Those with Mars in second house often have powerful, almost militaristic abilities in speech. Mars and Saturn aspect each other. Saturn confers discipline and the ability for hard work to the fiery energy of Mars. Without this combination of Mars and Saturn, no great works come to fruition.

Rahu in third, in Gemini:  Rahu is the planet that rules worldwide fame. Right here, he’s sitting in Gabo’s house of communications. Rahu gets an aspect from Jupiter, the planet of wisdom. Rahu magnifies to extremes. If Jupiter, the planet of good fortune and material prosperity, and Rahu combined in 3rd house of communications, it also means he got filthy rich.

The fifth house of creativity again gets an aspect from Mars, Sun, and Jupiter. These three planets work well together as a trio, and also hint towards a great interest in truth and justice. And the fifth also gets an aspect from Saturn, ensuring discipline to the fiery rush of creativity.

Saturn in eighth in Scorpio: Those with Saturn in eighth house live a long time. Marquez died at 87. Saturn in eighth ends up delving into all the eighth house topics that nobody wants to talk about—death, despair, loneliness, alienation. The fourth from the fourth, ie; eighth house, is also the house of the maternal grandmother. This house obviously had deep impact on Marquez's entire chart--Saturn, as Jyotish astrology says, is the "planet that gives everything." And: "What Saturn gives, nobody can take away."

Exalted Venus and retrograde, "neechbhanga" Mercury in twelfth house in Pisces: And here are the planets that caused him to enter that space of magical realism. The twelfth is the house of dreams and fantasies. Pisces is the watery sign of liberation. In this house, all boundaries are dissolved, and the space of the real and the imagined lose their perceived separateness. Venus, the planet that rules the arts, is exalted in Pisces. The twelfth house is also the house of retreats and sanctuaries—bounded spaces, just like the house that Gabo grew up in. Mercury, the planet of quick wits, is debilitated in Pisces. Debilitation often signals that a planet is super powerful because  it is receiving a “neechbhanga,” or cancellation of debilitation, which leads to the extraordinary facility with words.  Einstein’s Mercury receives a cancellation of debilitation as well. The retrograde energy of Mercury may be what people seize on when they decide the magical realism is “not smart enough”—Mercury is the planet of smartness, and often people whose Mercury is going backwards can appear too simple, on casual encounter.  

 Sun and Jupiter in the eleventh house in Aquarius: Jupiter is the planet of wisdom. The Sun is its friend.  And the Sun confers fame. Both are in the eleventh house of gains (and incidentally, also thought to rule publishing.) Aquarius, ruled by Saturn, also imparts a strict disciplinarian ethos, as well as great interest towards humanitarian philosophy.

Ketu in ninth, in Sagittarius. Ketu is the final and most mysterious planetary force in Jyotish astrology. The ninth is the house of spirituality and philosophy—many philosophical writers have planets placed here. To have Ketu, that planet of ultimate spiritual dissolution, in ninth house of destiny, signals his readiness to enter the world beyond this one.