The POMO man or the Post-Modern Man in the Indian context is not unlike the POMO chick
. He comes from an upwardly mobile family, has spent some time in foreign
lands and has returned to the motherland in search of meaning, identity and love. He is sexually restless as he dreams of exotic ferang
women he could have slept with had he not come back to India but secretly wants to settle down with a good Indian girl (see traditional with modern outlook
). He cares deeply about seeming interesting. Therefore he does not authentically engage with any one thing and is trapped in the shallow and superficial existence of a dilettante. He douses his existential angst with lots of black label
and thanni sessions
at the Bangalore Club
where he might wax eloquent on a topics of no consequence. His biggest fear is that despite his Ivy League education and strong opinions about French New Wave Cinema, he is now developing a small pot-belly and is becoming exactly like his father - mediocre and fat. At times he feels he is not "Indian" enough and might go out of his way to embrace the "real India." However, these efforts are futile and short-lived.
And God Forbid he accosts the POMO chick. When they meet, only one of two things can happen. Either they are overcome by complete derision for each other and internally combust or they briefly put kai to satiate their loneliness ultimately leading to lau failure of epic proportions. This lau failure might become the subject of bad poetry or might propel the POMO Man to 'find himself' by engaging in trite forms of self-discovery like sending home his ayah and learning how to cook and clean because "there is nothing like working with your hands."
: I love that the chicken was given a dignified death and that organic farming practices were used to make my chicken tikka.
POMO MAN: I just got back form the Berlin film festival where there was a cool documentary about that.