Indian Politics Is No Longer Humorous

Unlike other comic artists, Sanjay Ghosh was never fascinated with superheroes. In fact, it was only Marjane Satrapi’s work, especially that got him hooked to comics. “That book inspired me to take my work forward. In primary school, I would draw Spiderman and all, but I didn’t like any of the superheroes,” he recalls.

Long before creating stories, he tried to make a short film, which never saw the light of day. “I had done a story board for it too, but the project never started. Everybody can’t make films, but it’s not the same for comics, which is a format people can definitely attempt,” he explains.

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A known cartoonist, he has created artistic pieces in various mediums. In the comic anthology, PAO Collective, amidst well-known artists, newer names like his bring a fresh perspective. His debut, Print Screen, sketches out the details of a typical Indian household with a plethora of fights that start when the protagonist wants to make it big by choosing an alternative career. “Print Screen is a thought bubble. It’s a contrast between the mind and life. The comic started off four years ago when I submitted a rough draft of it. My situation was somewhat similar to Sofia Coppola’s. She had once pitched a story to Bill Murray and he had said that there is nothing in the film, but once you see that film, she has put together a larger-than-life narrative. I’m talking about Lost in Translation, of course,” he elaborates.

Ask him about the significance of the keyboard button ‘Print Screen’ and he replies, “That button is symbolic. I think we all need it. It takes a snapshot of anything as it is. Similarly, I’ve taken a screen grab of somebody’s life and that’s why I’ve called my comic that.” Simple doodles in black and white makes the comic look like a diary.

Though he’s tempted to elaborate on Print Screen with a complete series, he finds it’s a lot of hard work. So instead, he’s keen to make a book on cooking and the history of the kitchen. “There is a really interesting 1950s film called Kitchen Stories that forced me into this world, which men steer away from,” he says with a laugh. “And yes, I’m a very good cook,” he quickly adds.

While we’ve come a long way from how comics were perceived 30 years ago, serious comics have only come out over the past few years. According to Sanjay, very few people were making books that weren’t for kids. PAO, on the other hand, is one initiative in which artists can showcase their work, talk about serious topics and earn money. “Besides, I think comics are a more feasible format now, considering how life is moving, as it’s easier to connect with them than with novels.”

Ghosh’s cartoons have always highlighted current topics, but he says he can’t make a cartoon on Indian politics, “There’s no grey area anymore,” he cuts in. “Not only is politics disgusting, but they have no humour left either,” says the artist who apart from our leaders, also stays away from editors. “(Laughs) Editors can really butcher your work if they want,” he ends.

From the November 2012 issue of FHM India.