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Parineeti Chopra was clicked by the paparazzi at her gym in Khar, Mumbai. The Kesari actress was looking fab in burgundy active-wear, and this oversized t-shirt, paired with yoga pants which are a must-have for your wardrobe. She chose a perfect fit gym clothing to enhance curves, and we totally loved it.
Parineeti Chopra/All pictures/Yogen Shah
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Janhvi Kapoor was also snapped at her gym in Khar, Mumbai. The actress sported a blue coloured tank-top, which she paired with black yoga shorts for her workout session.
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Poets possess keys to aspects of the world that are often hidden from our collective view. It is why I turn to them as often as I do whenever I find myself treading water, trying to make sense of things that make me question everything I think I have known. Like our global pandemic, for instance. Nothing prepared us for the weeks of forced isolation, the overwhelming insecurities that bubbled up from within, or the creeping doubt that nothing we really did for a living was of any actual significance. And so, I turned to poetry.
I began with Ilya Kaminsky, whose work I have spent many hours over, grateful for their existence and troubled by how they came into being. Kaminsky's latest collection, Deaf Republic — and only his second in 15 years — seemed to come from a place of startling familiarity, despite the poems being set in a fictional city called Vasenka. They seemed recognisable because of what they described: citizens who lived happily during a war. 'And when they bombed other people's houses,' he writes, 'we protested / but not enough, we opposed them but not / enough.' It moved and angered me, as he spoke of people living 'in the street of money in the city of money in the country of money, our great country of money…' because so much of it resonated with what we have been living through.
The impact of reading this while in isolation was powerful because Kaminsky lost his hearing at the age of four in Ukraine. He lived in silence until he turned 16 in America and was fitted with hearing aids. I thought about what he had once referred to as 'seeing in a language of images,' and what it meant for me, as a reader, to look at his world from that prism. As cities outside my window began shutting down, his poems set me free.
I was given access to another worldview by the English poet Fiona Benson and her (coincidental) second collection, Vertigo & Ghost.
This one was dark too, relying on Greek myth to somehow shine a light on the sexual violence that women have always had to contend with. Benson did this by portraying
the god Zeus as a sexual predator, a man 'who shoved a sawn-off shotgun / through the letterbox calling softly /like he was calling to the cat / that terrible croon, / SWEETHEART, / I'M HOME.' It was unsettling because it forced me to unlearn everything I thought I knew about a divine figure we had been trained to respect, a god of lightning and thunder who was married to goddesses and somehow given a pass to violate them.
Benson's Zeus has no morals, stalking his victims, praising Presidents who live in shiny gold towers, a flawed deity who would fit into India's current Parliament like a glove.
Another collection, an older one by American poet Claudia Rankine titled Citizen, forced me to look at the thorny subject of race, which, as any residential society's WhatsApp group can show, is alive and well in modern India. On the surface, Rankine's exploration of the covert and overt ways in which bigotry rears its head in America shouldn't find parallels in the country we call home. And yet, the minute we replace skin colour with caste, cracks start to appear in our carefully constructed façade of a tolerant, peaceful civilization.
What Rankine does is focus on microaggression — the thousands of minor, daily acts of prejudice, intentional or unintentional, that people of colour must grow accustomed to and accept as they go about the simple business of living. It compelled me to think of our own responses to the COVID-19 lockdown and the hypocrisy with which so many of us chose to vilify poor Indians whose only fault was walking home to meet a primal need for safety.
I recognise that the act of reading poetry is not only a private one, it is also one of privilege, given the implication that I need not worryabout shelter or where my next meal must come from. I believe it is important though because isolation creates an atmosphere of extreme scrutiny, allowing us to make changes to who we are and what we believe in.
No one doubts that the world emerging blinking into the daylight at the end of this pandemic will be a new one; all one can hope for is that the changes we must wakeup to will be for the better.
When he isn't ranting about all things Mumbai, Lindsay Pereira can be almost sweet. He tweets @lindsaypereira
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The views expressed in this column are the individual's and don't represent those of the paper
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Hollywood actress Blake Lively will be soon seen in a post-apocalyptic thriller about a woman fighting for the survival of her family. For the film, Lively teams up with director Shawn Levy. Titled Dark Days At The Magna Carta, it will stream on Netflix, reports hollywoodreporter.com.
Netflix is working on the project with an aim to create a trilogy. Michael Paisley is on board to write the screenplay. Lively will also back the movie through her B For Effort banner along with Kate Vorhoff. Levy will produce via his 21 Laps banner with partner Dan Cohen.
While the details are being kept a secret, it is being described as "a character-driven thriller set against a catastrophic event and centres on a woman going to extreme lengths to survive and save her family".
Paisley was the one who came up with the story. She started conceptualising the story last year, but the ideas took form when the pandemic began around the world, including the US. The story is not related to a contagion, but "a world-altering event is a key foil and themes of isolation and strength of family emerge".
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The Policy Framework for Investment (PFI) is a comprehensive and systematic tool for improving investment conditions. The pocket edition of the PFI contains the full text of the 2015 update minus the supplemental questions and reference lists. Find the integral text and other tools online at www.oecd.org/investment/pfi.htm
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