Feb 6, 2013

Who is "A"?



I think A is Aria. 

Aria had a really strong motive to go after Alison given how much Alison had bullied her, not just with respect to her style but also with respect to her dad's secret. The texts began after Alison bullied Aria ruthlessly on Halloween. The texts stopped on the night of Alison's "death" while Aria slept. The texts began again when Aria was back in town a year after Alison's "death." And A hurt a lot of people, but for Aria, A only helped her romance with Ezra along and made it more public (which is what Aria wanted). 


Also, when Mona gains some control after going to the mental asylum, Aria has her first panic attack in the bathroom. So A's texts kept her stable, but Mona coming back strong really got to her. When Aria takes a flying lesson with the guy who used to give such lessons to the hiding Alison, you can almost see regret on Aria's face when this guy informs her of how troubled Alison had become from the various texts.

Aria has been playing with a lot of people quite openly. Whether it's lying to her parents about Ezra or manipulating them so she can hang out with him, flirting with Jason to get the scoop, or having some sort of control over her younger brother (though this control declines over time as her brother starts dating Mona), Aria has been almost as manipulative as A. In fact, the liars even said in an episode that Aria would be the most believable amongst them to be A, given how much she lies. I think Aria may have been blackmailing her brother in the beginning of the series to spy on other people - that's why her brother broke into so many houses - but once her brother got caught, she realized she needed to start using others, and do so anonymously. And that was the beginning of A's army.



PLL is also made by the makers of Gossip Girl [spoilers ahead!], so we can expect some parallels between A's and Gossip Girl's stature in the show. Dan, who was Gossip Girl, was a central character in that show, one who was part of the main cast and present in every episode from beginning to end. I think we can expect the same in Pretty Little Liars, and certainly any of the 4 liars + Alison would fit the bill. Secondly, Dan was shown on his laptop in the first few scenes of the show's pilot episode right after a character had wondered who gossip girl could be. Similarly, Aria is the one who shushes the viewers in the opening credit sequence for each episode. 



Lastly, Gossip Girl was about Dan's journey as the secret character - as one who struggles with making it to a prestigious college in the first couple seasons, one who is unable to integrate socially because of his financial background, and one who is viewed as an outsider by everyone. Gossip Girl was about how such a character was able to survive by starting an anonymous site and writing his way into elite society. Pretty Little Liars is not about the isolation that comes from being an outsider (which was Gossip Girl) - it is about the toll that bullying takes on the person being bullied. It is about the sense of shame that comes from having to hide your identity for fear that others will make fun of you. A is someone who has been forced to tell lies over and over again because she was afraid of the extreme bullying that Allie constantly put her through whenever A revealed her personality traits. One day, A woke up and realized that by hiding her identity completely (and not just lying about her unique personality), she could have an edge over Allie, and give Allie a taste of her own medicine. 

I think Aria fits this bill perfectly, because although Allie bullied all the 4 liars, her bullying of Aria was a little more ruthless - Allie loved Emily in a way, and thought Spencer's fighter spirit was fun competition, and treated Hanna like she were a doting fan and a fat, unconfident version of herself, but for Aria, Allie felt nothing. And the girls reacted to Allie's bullying differently - Emily was openly emotional about it and tried to make Allie understand her hurt feelings, Hanna felt insecure about her body image and concentrated her efforts inwards, and Spencer decided to fight openly. But what did Aria do? On the show, we see Aria doing nothing. Which is why it would make sense if Aria just made her battle anonymous as A.




A went too far, just as Dan went too far as Gossip Girl (Blair's and Chuck's accident). But Dan didn't kill anyone, and I'm fairly certain that A did not either. Just as Gossip Girl's negligence in sending out a message that others took too far caused Blair's and Chuck's accident, I think A may have sent out a particularly disturbing message to someone in the town, who took it too far and tried to kill Allie. And that may have caused A to feel too ashamed to come forward with her knowledge of the murderer. Or maybe A was afraid of the murderer's power - the coverup was quite substantial. Perhaps A thought that she could guide various people individually to solve the crime without revealing herself or her involvement in the process. After all, "never trust a pretty girl with an ugly secret."

Feb 1, 2013

Acrobatics dancers

There is something about shows like Dancing with the Stars/Jhalak Dikhlaja that really bothers me. On the one hand, I love seeing people dance! And I absolutely love seeing new forms of dances! When done well, these dances can really inspire one to learn dancing, explore cultures, and have fun with art.

But very too often, people come on these shows to do an extravagant dance with acrobatic lifts, jumps, and so forth. The audience feels a sense of wonder... the first time it happens. After a while, it just seems like one acrobatic trick after another. Great exercise, good circus, but is it dance?

Dance, like any other form of art, involves using a skill to express human emotion. A dance can be incredibly simple and yet express emotions wonderfully. Examples: 


And below 4:15 onwards:





Acrobatics can make a dance better, but only if it used sparingly to actually make the audience feel wonder towards some goal. When dancers use one acrobatic trick after another, the audience just feels desensitized to each subsequent trick. 

And at the end of the act, while one can concede that the dancers had good skills, there is no empathy or emotional connection formed between the dancer and the audience. Sometimes a simpler dance can be more effective!

Sep 24, 2007

Immigration and Nostalgia: A Conversation with Aciman, Hirsch and Spitzer

In the dry desert of Denver, I once discovered a small stretch of water in the middle of a suburban neighborhood. Surrounded by houses on almost all sides, this small lake hardly the size of a standard swimming pool was the world to me. The cool waves of the water set against the dark background of the lake reminded me of the Arabian Sea outside my apartment in Bombay. This lake was my “quiet, watery spot” (Aciman 156) for reflection, and like Andre Aciman’s fountain in Italy that reminded him of Egypt in his essay “Arbitrage” in the book Essays on Exile and Memory, this lake always revived the clear memories I had of Bombay and brought nostalgia of a home I left five years ago. The nostalgia created by these memories continues until a first generation immigrant returns to her homeland.

The Arabian Sea in Bombay is spectacular. As I remember the omnipresent sea that had become more than just a part of my life, Wordsworth’s poem written at the Tintern Abbey as remembered by Aciman comes to my mind:
“Five years have passed; five summers, with the length
Of five long winters! and again I hear
These waters, rolling from their mountain-springs
With a soft inland murmur…” (Aciman, 150-51)
In Bombay, not only did I have a life full of pleasure, but also in the moments I spent near the Sea, I stored memories for my future. Whenever I visit any body of water, these memories are instantly revived and nostalgia for my homeland returns. First generation immigrants carry a burden of memories of their homeland with them when they migrate. I did not know then that these memories would have such a strong impact on my present or future – that these memories would create a strong feeling of nostalgia in me for home that would continue until I returned. In Denver, like Aciman’s Egypt, Bombay had become “an entire world I longed to recover” (Aciman 156).

I am in a sense like Carl and Lotte Hirsch from Marianne Hirsch and Leo Spitzer’s article “We would Not Have Come Without You: Generations of Nostalgia.” Just as Czernowitz was “a core constituent of their identity,” (Hirsch & Spitzer 254) Bombay is ever-present in my memory, not as a vague idea but rather as a very concrete and clear memory that continually influences my present life. This memory of Bombay creates a feeling of nostalgia within me, similar to the feeling of anticipation Carl and Lotte felt on their journey home.

However, first year immigrants from countries like China, India, and Mexico feel a different kind of nostalgia for their homeland than do victims of the holocaust. In many ways, the nostalgia for victims of holocaust is much more complex, as their homeland is “home in a way, but… also hostile territory” (Hirsch & Spitzer 256). Many holocaust victims are exiles or refugees who fled from their land to escape persecution. Therefore, the positive memories they have of their childhoods and their homelands are stored in juxtaposition to the “very negative and bitter memories with them–traumatic memories of times when they had suffered virulent discrimination and oppression” (Hirsch & Spitzer 259). Most of the immigrants from China, India, or Mexico are not fleeing persecution or trauma of that sort at all. Many of them come to the United States as they look forward to a land of opportunity. Thus, they carry with them mainly positive memories of their land, which makes the nostalgia they have for their homeland much deeper and more intense.

Aciman discusses the idea of arbitrage with respect to memory; an idea of the world in which we make “purchases at the Exchange of Time what [we] sell… at the Exchange of Place, knowing that, at the end of the transaction, [we’ll]… borrow from Place to purchase from Time to sell back to Place all over again” (Aciman 151). Aciman believes in a form of world in which the places that remind of the homeland become as important to the immigrant as the homeland itself. Unlike Carl and Lotte Hirsch who have nostalgia for Czernowitz specifically, Aciman seems to have lesser nostalgia for any particular place; instead, he simply seems to long for his childhood or other memories associated with different places. His nostalgia, although potentially more complex, is weaker than the nostalgia experienced by first generation immigrants such as Carl and Lotte Hirsch.

Aciman’s weaker nostalgia stems from his having spent very little of his childhood in Egypt. His “nostalgia was rootless” (emphasis not added) (Hirsch & Spitzer 263) in a way, because he had few concrete memories of Egypt. The only memories of Egypt he really seems to remember are the idea of his being close to his brother, his tutors having taught him in Egypt and his leaving Egypt with his father. He casts doubt on most of his other memories, and admits to having mixed fiction with reality. He himself indicates doubt regarding the memory he has of Egypt as he states: “although it gave every indication of having been lost, there was scant evidence it had ever existed” (Aciman 160). He seems to be attached more to the idea of Egypt, and in a sense, to the idea of his childhood, than to his homeland Egypt itself. Thus, Aciman is in many ways more like a second-generation immigrant with a vague idea of his homeland, but with few memories that continually haunt him.

What joins Carl and Lotte Hirsch’s experiences to those of Aciman is their experience of being an exile. Aciman, despite having a royal background, was driven out of Egypt due to his Jewish religious beliefs. Therefore, although he does not discuss this subject much in “Arbitrage,” he shares having negative memories juxtaposed with the nausea for his homeland with Carl and Lotte Hirsch. Aciman’s, Carl Hirsch's and Lotte Hirsch’s exile-refugee experiences, albeit at different ages, differentiate them from the immigrants who come from China, India, or Mexico in search of economic opportunity to the United States.

The idea of arbitrage is consequently very different for first generation immigrants who came to the United States to simply gain economic opportunities. The memories are more entrenched and concrete than those of second-generation immigrants. They are also generally very positive, especially when compared to those of exiles or refugees. First generation immigrants consequently feel a much stronger nausea due to the strong positive memories associated with their homeland. Similar to the significance of Czernowitz for Carl and Lotte Hirsch, the homeland’s memories and their nausea for it becomes a core part of the identity of first generation immigrants. Thus, arbitrage for first generation immigrants becomes a form of borrowing from place at the exchange of time, and then being stuck in that time or memory until a return of place takes place. First generation immigrants migrate on credit and carry a heavy loan in holding on to the memories of their homeland and paying with nostalgia until a return to their homeland can set them free.

Nostalgia is in the very traditional manner a
“languishing for home… triggered… through sights, sounds, smells, tastes–any of a number of associations that might influence them to recall the homes and environments they had unwillingly left behind” (Hirsch & Spitzer 258).
Hirsch and Spitzer point out that in the older days, soldiers who had the disease of nostalgia were thought to be cured only by returning them to their homeland. For Carl and Lotte Hirsch, “a physical return [to the homeland] can thus facilitate the process of working through” (Hirsch & Spitzer 260) the nostalgia. Even Wordsworth needed to return to the Tintern Abbey to realize the power of memory and the impact it would have for his future years:
“While here I stand, not only with the sense
Of present pleasure, but with pleasing thoughts
That in this moment there is life and food
For future years…” (Aciman 150-51).
When Wordsworth returns to the Tintern Abbey, he realizes that his experiences and the memories he stores of them are powerful enough to create nostalgia for the past in future years. For first generation immigrants, the century-old cure of returning to the homeland due to the disease of nostalgia still applies; only by returning to the homeland can an immigrant truly recover from nostalgia. Until then, as Paul Celan said: “in the air your root remains, there in the air.” (Hirsch & Spitzer 253)

For first generation immigrants, it is necessary to return to home to reconcile with the powerful memories that create a sense of nostalgia for the homeland. Like Aciman, I often tried to write about Bombay over the past five years, but every time I began, I would only fill the pages with a series of memories of my homeland, and not be able to draw any conclusions from them. Like Aciman, “my inability to write this story mirrored my inability to return to” (Aciman 159) Bombay. However, as I entered college, I realized that I was in control of my destiny, and that I could return to Bombay after finishing my education. My nostalgia for Bombay became a source of motivation to succeed in college and then return to India to help my fellow citizens. As Hirsch & Spitzer define the more positive definition of nostalgic memory: “a resistant relationship to the present, [and yet] a ‘critical utopianism’ that imagines a better future” (Hirsch & Spitzer 258). When I now visit the Hudson River in New York, my heart fills with warmth as nostalgic memories from the past point me towards my future.

May 24, 2007

Statistics One-Liners

On the elevator news TV yesterday, I saw two opinion polls that really bothered me. They bothered me not because of what they they reflected, but rather because the media seemed to propagate stereotypes with such opinion polls.

The first poll stated basically that in the United States around 60% of men stayed in contact with their offices during vacation while around 40% of women did so (don't quote me on the figures for this one). On a light elevator reading of the poll, the impression given would be that men are more dedicated to their careers that women are. However, what the poll fails to mention is how in US, top executive positions are occupied primarily by men, and therefore they also have more of a responsibility to stay in contact with their offices. For example, according to an article from Perspectives journal quoted on Dartmouth University's website, "nearly half the thousand largest U.S. firms had no woman in their official listings of principal executives." The publishing of such a quote so casually presents a distorted image of reality to people, and in turn serves to propagate the stereotype that women are less dedicated to work, leading to in turn make it even more difficult for them to get promotions.

The second poll stated that 25% of the Muslims under 30 in the United States felt that suicide bombing is OK under certain circumstances (can quote me on this one; I'm pretty sure I got everything). Again, on the surface, an elevator-passenger would only be strengthening her or his stereotype of a Islamic war against the United States perpetrated by religion, and also believe that Muslims living in the US support terrorism. However, what the poll fails to mention is a) how few Muslims under 30 live in the US, b) how few of them must have been polled to get a nice round number like 25%, c) what is the definition of certain circumstances - even Christians believe in martyrdom; its all over the Bible, d) what did the other 75% of the Muslims believe? If 75% had believed that suicide bombing was outrageous, despite their better understanding of what is actually going on in the region, that would only show that Muslims living in the US were indeed way patriotic. Right after 9/11, Muslims and Sikhs living in the US had been attacked by other segments of the US population; such partial statistics that strengthen stereotypes only serve to propogate hatred.

The media needs to show a lot more responsibility in its publishing of statistics one-liners.

May 16, 2007

The Pressure to be Interesting

I just read an article on the Onion titled "New Billionaire tries to develop Eccentricities." The article talked about how this billionaire is otherwise a miser in many ways, and consequently somewhat uninteresting, but tries to become famous by spending loads on any expensive activity so that he can be labelled as the 'eccentric California billionaire.'

When people show their true natures, which in many cases can be a shy or relatively uninteresting personality, people say that the person is being reserved or "not coming out" or my personal favorite: "not being herself." So in order for a person to truly become herself according to societal norms, she often has to pretend to be a rowdy socialite in order to be accepted. This kind of advice (though I'm sure she doesn't realize it) is routinely given by people like Tyra Banks in America's Next Top Model: be yourself, aka be exactly like me, loud and obnoxious (I do admire Tyra Banks for her management and leadership skills though).

This kind of pressure to conform to a certain percentage of the population's personalities is not limited to the entertainment industry or to celebrities. One of my best friends used to routinely tell me to come out of my shell and talk to people more, except that I was not in a shell, but just preferred not to talk to people all the time, or to be the center of attraction in a group of people. I preferred speaking to people on a one-on-one basis, and to become the center of attraction by my good work. Why can't extroverts just accept people for being introverts, as bad as the term may sound due to societal stereotypes?? Even at work people assume that introverts don't have leadership skills or aren't fit for promotions, when I know plenty of introverts who can lead a project well; they just aren't a huge fan of socializing during the project!