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This is a BOX SET collection of four short stories by Nikki Ravlani which appeared in ‘Rough Cut’, a series of tales about married women being taken by low-class males. All high-class Hindu women. All lowly Muslim men. All four hitherto published stories now come together as a collector’s set, and at an attractive price.

Nasty hindmoo coolies! Child molestation and rape is part of your culture. Hindus are the filthiest people in the world. Go have sex with a goat then rape a little child or woman who walks by herself.

An online Eid ‘auction’ of Muslim women, particularly those seen as critical of India’s ruling Bharatiya Janata Party government, was the latest in an organised tide of online sexual violence against such women by Hindu fundamentalists. Two women have vowed to fight back.

The widespread visual vocabulary and popular iconography in such propaganda conjoins two symbolically central figures: the ‘bestial’ Muslim male and the ‘victimised’ and ‘foolish’ Hindu woman. As also reflected in the UP law, the ‘enemy’ within and without is reconfigured and rendered visible as actor and subject.

Such negative representations were present in colonial India too. In the present context of global demonisation of Islam and Muslims, past images of Muslim men which emphasise their ‘lecherousness’ have acquired much more sinister colours. Such imaginaries have sharpened the Hindutva semiotics of ‘love jihad’ into more fearful forms, continuing the long lineage of mapping the Muslim male body as ‘evil’.

The use of roses and hearts in such images hints at Hindutva’s campaign against the ‘indecent’ Valentine’s day. The rhetoric of ‘love jihad’ gives the targets an explicit face, gender, and religion. It produces a master narrative of Muslim male aggression and Hindu woman’s seizure. Combined with the rhetoric of inclusion and exclusion, inside and outside, the imagined dangers and threats of the Muslim ‘peril’ mirror deep anxieties about the ‘infiltration’ of this ‘Other’ in domestic, intimate, sexual and social spaces, as well as anxieties of transgressions by women, thus endangering the domain of life cherished as most private and ‘pure’.

In the process, the centre of sexual violence moves from men in general and Hindu men in particular towards the Muslim male, invisiblising the hegemonic strategies of Hindu men’s regulation of Hindu women. Terming interfaith relationships as ‘love jihad’ allows the portrayal of the Muslim as the ‘evil incarnate’, shifting the registers of violence against women. The spectre of illegibility is marked as Muslim. This is of course, critically linked to the fictive demographic fear of Hindus being outnumbered by others, which is central to Hindutva politics and to ‘love jihad’ (Rao, 2011). By combining the lament against conversion with a simultaneous upholding of reconversion, even a demographic and dominant majority can portray itself as an ‘endangered’ minority.

The second image that has been central to both the UP law and the narrative of ‘love jihad’ is of the ‘foolish’ and ‘victimised’ Hindu woman, who is ‘lured’ and ‘brainwashed’ into a ‘trap’. A printed illustration that has particularly gone viral depicts a Muslim man in a green shirt riding an expensive motorcycle and thinking of conversion. A Hindu woman sits behind, hugging him and thinking of love. The two of them are riding away from a Hindu temple. This illustration has been used by the ‘Anti Love Jihad Front’ on its Facebook page and by the Hindu Janajagruti Samiti in its booklets on ‘Love Jihad’, which have been published in multiple languages including English, Hindi, and Marathi.

In convoluted ways as these, Hindu women are told that interfaith romance is not only undesirable, but stopping it is good for the women themselves. There are various websites, helplines and counselling sites for women who are purportedly ‘victims’ of ‘love jihadists’. It is repeatedly stressed that the mere act of marrying a Muslim or converting to Islam ensures unhappiness and a dreadful fate of the Hindu woman. There has been a flood of images which depict Hindu women married to Muslim men as behind bars or in a burqa

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