Categories
Musings of a Copywriter

Witches and Crafts: A Spook’s Tale

By Devraj Singh Kalsi

Getting the opportunity to interact with witches in real life is a bigger privilege than meeting celebrities from the world of fashion and entertainment. The paranormal world remains full of mysteries to unravel and the element of human interest in spooky affairs never dips.

I must say I have known and heard a lot about their cauldron – pot, potions, and potency – ever since the school days when I read Shakespearean plays. From Macbeth came the supreme knowledge that fair is foul, and foul is fair as they hover through the fog and filthy air. While there remains the possibility of classifying them as good or evil, my template was I would prefer not to label them without having a first-hand encounter.

Their culinary delights are unsavoury for most of us as the menu list, as mentioned in Macbeth, includes blood, carcass and animal parts considered unfit for human consumption in the civilised society. While these items are possibly sources of good nutrition for them, we feel like puking whenever there is a mention of these being cooked.

Frankly speaking, I did not have a whit of an idea that witches would make such a swift entry and grand entry into my life that would leave me rattled and throw me into a dizzy state of disarray. Like a gentle knock on the door announces the likelihood of a visitor, they should have first tried the sleep, dream route instead of barging into the dilapidated house to lay siege and hold me hostage.

I confess not being a casual or avid reader of eerie, ghostly tales. I do not have the voracious appetite to watch horror flicks even if they are the sophisticated types without blood dripping through the corner of the mouth like saliva or through the eyes like tears. So, this rules out of the possibility of my sending across any signal or invitation to visit my abode.

That the evil forces were living with me was brought to my notice by a tarot-reading relative during her visit this winter. Probably, they had tagged along with her, but she specified that the spirit was a single, permanent resident living in my home for several years. It was surprising that I had never had any alarming encounter in the past during the phase of co-existence. I asked her particular questions about eviction but she refused to answer them except clarifying that the spirit was living in the rear portion of the house. Since I do not often venture to that side, probably I missed bumping into the evil power that had turned benevolent inside the house, influenced by my benevolent company that must have reformed her even if she had arrived with malicious intent.

My probing mind concluded that the spooky, invisible witch’s visit must be an act of mischief by the relative who lived in a matchbox-size apartment while I have an old, dilapidated but sprawling house with branches sprouting from parapets. To draw my attention to the possibility of the residence being a haunted one, she appeared to have concocted a weird potpourri to seek retribution of sorts. That she enjoyed the stay and only at the time of departure chose to reveal the big secret made me suspect that it was something to be taken with a pinch of salt. The presence of evil spirits was confirmed by the senior lady guest who also added a twist by saying this could be the handiwork of an envious neighbour who performed some black magic and despatched a witch to my place to cause harm. Almost immediately I was ready with a roster of queries that seemed to put her in a fix. The wide-open spaces were dubbed as haunted, but no clue was provided so I suspected she wanted to scare me and make me join her by living in a flat next to her complex and this was an effective strategy to attain that goal.

Since this information had been registered in my brain, the fear of a sudden encounter with the spirit of the witch inside the house has unnerved me and compelled me to sleep with lights on. The slightest sound woke me up with a jolt. I had no idea how the witch sneaked in, through which open or closed door or window or ventilator. I had no idea how the witch found me a suitable resident without focusing on my bad habits. Assuming for a moment that there was indeed a vampire shaking my empire, with a special fixation for sucking blood, I decided to buy a one litre of lamb’s blood from the nearby butcher’s shop and keep it in a bowl in a desolate corner where the witch could quench her thirst without any disturbance. I decided to wear proper clothes at home all the time so that my attire never appeared offensive or inviting to the resident witch for a seductive encounter. I had no idea about her age but I visualised her to be an eternal, graceful beauty with an effervescent smile.

Coming back to facts, the bowl of blood remained in place even after a week. It meant that the witch preferred other drinks. When I checked my refrigerator, I found juice cans missing and a rose sherbet bottle almost empty. This confirmed there was indeed a witch who enjoyed the stuff in the fridge and never complained or agitated because the diet was healthy and nutritious even though completely vegetarian, non-alcoholic, and milk-based.

Still not fully convinced that my haemoglobin was not gobbled up by a goblin during my sleep hours using a straw pipe penetrated through the nostrils or ears, I decided to undergo a blood test to confirm the level had not plummeted to an anemic level. To remain on the safer side, I asked the doctor to pump more blood in my body through transfusion and clear my confusion. He had a hearty laugh when he heard the reason. I invited him to my place to have an experience of sorts, which he declined with a grin. His scientific temperament did not revolt, and he did not prescribe anything for my safety but suggested I use this material to write more fanciful stories.   

Perhaps he spread this news to other retired folks in the locality, who visited his clinic for regular check-ups. They landed up at my entrance gate with curiosity and suggested a fresh coat of lime wash on the building to ward off evil spirits as it looked haunted to them. The logic that freshly painted homes do not attract witches was anything but convincing.  

In terms of palpable changes, my urge to write was at an all-time high as I felt I could finish off a novel within a fortnight. My writing picked up pace and clarity and I began to think the witch was probably a literary heavyweight trying to express her ideas through my pen. This comforting thought buoyed me and I felt assured that it was sending cosmic powers to support my fledgling writing career.  Perhaps the witch had a failed literary past and did not want another aspirant to hit the nadir.

The witch had improved my craft as my writing began to be livelier. I wanted to entertain more through incredible stories. I must share the credit for this transformation with the appealing witch working secretly in my favour and acknowledge the contribution in the foreword of my next novel. 

Waking up in the middle of the night after hearing weird noises sent a shiver down the spine – as if the spirit was dining in the hall, with the sound of cutlery and mastication. When the pastry or ice-cream tub went missing from the fridge, I did not remember if I had polished it off but suspected the witch had a sweet tooth. Despite all negativity evil powers bring in wherever they go, this one ushered in a splash of positive vibes. During the prayer session, I could hear some other person mumbling. The act of worship liberates and cleanses spirits as well and brings more goodness to their invisible lives. I do not worry much now as I find the witch to have a cordial rapport with me – more generous than what wily relatives have with me.

Several months had passed and the earlier fear has subsided a lot, replaced by a strange friendly feeling towards the witch even though I have not seen her. I look around for signs of any spooky activity to add spice to life, but I find none. Empty beer cans lying scattered in the backyard do not belong to the witch but the bachelors living in the next apartment, who throw these including cigarette and contraceptive packs in my compound.

To bring this matter to a close and ensure my sanity, I was advised to consult a magician with rich occult experience. Driven by the urge to see how he managed to unfold the truth and the strategy he chalked out to exterminate the spirit from my premises, I opted for a budget-friendly professional wearing black robes.

He came and sniffed and some stray dogs standing on the boundary wall started barking loudly. He silenced them all with a finger on the lips like a school headmaster. The obedient dogs surprised me with their submissive behaviour though he was a stranger in the locality. He explained that dogs and cats have innate powers to feel the presence of spirits around if a magician can generate those in canine creatures though I had only read about sniffer dogs trained to track gangsters and detect hidden explosives.

He picked up some ash mixed with talcum powder from the staircase and suggested the spirit was living there. He walked ahead of me while I followed him with a torch and stick. When he reached the landing area and the loft beside it, he stopped in his tracks as he said there was a struggle and heckling going on which I could not witness with my naked eyes. He was being stopped to climb further so he opened his tool box and read out some mumbo jumbo and gave a stern warning in English that surprised me. He explained to me the witch was not of Indian origin but someone from abroad who came in search of her sailor lover from the Orient, travelling thousands of miles and finally found the right address.

I said I was no sailor. But the professional occultist said the previous owner of the house from whom I had purchased this old, haunted house at a cheap price was her lover. Since his family died here, the witch from Scotland also chose to follow the Indian tradition of true love and united with her lover here. He said she was communicating with him in the house and their love affair was still ongoing.

So where did I fit in here? And what was I supposed to do? Was there any risk of her falling in love with me? These questions rushed to my mind, but instead of answering me, he asked her when she would leave this house and she grumbled and replied she would never leave this place. I told the magician to remind her that true love is never fulfilled, never fully reciprocated but the witch was in no mood to listen to his command. I said the backlog of love stories, failed and unrequited, was heavy in India and there was no hope of quick clearance for some more centuries at least.  

The occult practitioner said the witch would definitely leave the house if I was ready to pay extra for some special rituals.  When he quoted the premium price, I felt the pinch in the pocket. As the witch had not caused any harm to me, I gave in to her continuing in the house and I retrieved a framed photograph of her sailor lover from the storeroom and placed it on the staircase wall for emotional comfort. The occult expert tried to scare me by saying she might change her mind or accidentally bite you out of love, and the oozing blood from my arterial nerve in the neck could suspend blood supply to my brain and cause sudden death. I said I was confident she would not prove to be a treacherous lover, unlike the ones today and remain loyal to the dead sailor lover smiling in the portrait.  

Sometimes, books in the library could be found open those days. Most of them were British classics. I was proud of an avid reader of classic literature residing in the house of another writer who was yet to finish reading those books. Her literary thirst was quenched in the house full of books and that is why there was no sucking up of blood. Maybe, she was a writer herself and she wrote novels, poems, and stories. So I asked the magician to disclose her name during the session. I was ready to continue the live-in relationship with a bewitching witch even though I had not seen her. I asked the magician to give me an idea of how she looked and he said she was nothing less than a film heroine in terms of complexion and looks.

Now, I am living in a different city and the haunted house remains locked. I strongly believe the witch still remains there. But while I am crafting this tale, I hear a flush in the pan and the digestive biscuits have gone missing from the glass jar along with the bottle of mixed pickle, making me suspect the witch has joined me here or my hyperactive brain is conjuring up images to feed a nutritious diet to my imagination. Or perhaps, I want to derive consolation by thinking that I have finally succeeded in driving a wedge between those lovers and made her fall madly in love with me now!

Devraj Singh Kalsi works as a senior copywriter in Kolkata. His short stories and essays have been published in Deccan Herald, Tehelka, Kitaab, Earthen Lamp Journal, Assam Tribune, and The Statesman. Pal Motors is his first novel.  


PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Kindle Amazon International

Categories
Poetry

Flowering in the Rain & More Poems

Poetry by Ahmad Al-Khatat

FLOWERING IN THE RAIN 

Are you going to bloom in the rain tonight?
I hear your footsteps in the darkness,
I smell your scent on the budding seeds,
and wonder whether you are among the stars.

This life can only be lived due to your existence.
I feel like I am losing myself more than usual.
After losing everything I cared about,
I considered migrating to a different country.

Regrets have shattered some of my aspirations,
and I miss giving my all to love someone like you.
Why does tonight’s rain sound so sad?
I've cried for ages, and you haven't flowered yet.

Thousands of breaths push me towards your sweet lips.
Allow our sorrows to touch the drenched grass in the park,
and follow the moonlight to
find me waiting with a rainbow umbrella…

TWO FINGERS CROSSED

I'm wondering if my depression stems
from my past or what I'll become in the future.
Is it because I speak your language with an accent?
I'm sorry, but my accent represents who I am.

I wish I could erase children's memories
of everyday genocide with a pencil and eraser.
My phone isn't charging. My cousin is wearing
my face mask. I lie dead in my blood-soaked bath.

Does the moonlight still brighten your melancholy heart?
What arouses your emotions?
Can you dream about kissing me the way you usually do?
Who wouldn't love a walk under the twinkling stars?

I miss the way you hold my frigid hands behind my back,
with at least two fingers crossed.
When I inhale your breath, I trust my senses completely.
Your amazing voice is the music that brings me joy.

PACK OF CIGARETTES AND LIQUOR

I'd swap my rusty flesh and chilly blood
for a pack of smokes and a drink.

I am willing to sacrifice my emotions and peace
for a pack of smokes and alcohol.

I'm willing to surrender my citizenship and foreign passport
for smokes and whisky.

I am willing to compromise my values and ethics
for a pack of smokes and alcohol.

I'd swap my wounded heart and warm hands
for a pack of smokes and a drink.

I'd swap my youthful smile and tears
for a pack of smokes and a drink.

I'm willing to exchange my healthy organs and memories
for smokes and whisky.

I'd exchange my imprecise accent and colourless fantasies
for a pack of smokes and a bottle of vodka.

I will never give up my past and hometown
for a coffin which I tried to steal before my sentence
by hanging with death.

Ahmad Al-Khatat was born in Baghdad, Iraq. His work has appeared in print and online journals globally. He has poems translated into several languages such as Farsi, Chinese, Spanish, Albanian, Romanian. He has published some poetry chapbooks, and a collection of short stories.

.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Amazon International

Categories
Essay

Bengaliness and Recent Trends in Indian English Poetry: Some Random Thoughts

By Somdatta Mandal

It is clear that English is employed here not as a language on loan, but as the rich, spluttering resource of the marrow and the bloodstream.-- Arundhathi Subramaniam.

At the outset, let me make a candid statement. I am a very prosaic person, someone who in her long teaching career and academic writing as well as translation, has never ventured to write poetry myself. I might seem like the odd woman out, but somehow, I have been closely following the recent trends in which Indian Poetry in English has been rapidly spreading its wings and with new volumes being published every other day, it is now a force to be reckoned with.

Tomb of Henry Louis Vivian Derozio at the South Park Street Cemetery, Kolkata.

Recapitulating literary history briefly, it is well known that Indian English Poetry (or often called Anglophone poetry in India) is the oldest form of Indian English literature. Beginning roughly from 1850 to 1900, it went through the ‘imitative’ phase when Indian poets were primarily ‘romantic’ and tried to imitate the British masters. Beginning with Derozio[1], many poets of the time — namely Rabindranath Tagore, Sri Aurobindo, Sarojini Naidu, Michael Madhusudan Dutt, Toru Dutt — were also Bengalis by birth. The poetry written between 1900 to 1947 belonged to the ‘assimilative’ period and often questions were asked why the poets didn’t write in their ‘own’ languages. Post-independence poetry was primarily experimental, and when we come to contemporary Indian English poetry, we find it becoming wholly urban and middle-class. The poets are realistic and intellectually critical in the expression of their individualised experience. They go in for precision at all levels and do not stick to one genre but experiment with multiple poetic forms.

Interestingly, I realised that a whole host of Indian English poets writing at present (some have several volumes of poetry published already, whereas others have just given birth to one or two), but coincidentally many of them happen to be Bengalis — Bashabi Fraser, Sudeep Sen, Kiriti Sengupta, Sanjukta Dasgupta, Mitali Chakravarty, Angshuman Kar, Shyamasri Maji, Basudhara Roy, Radha Chakravarty, and others. It is not a complete list at all, and what makes this study more interesting is that except for a couple of them, all these poets come from an English literature background. It is also not a coincidence that most of them teach English as their profession. So, whether it be personal lyrics, free verse, memories, experiences, observations, or even translation, the English muse therefore gives them the impetus to experiment with all forms, and at the same time helps them to move away from themes like nationalism, nature, Indian culture, love etc. that dominated Indian English Poetry in earlier times.

Bashabi Fraser receiving her CBE (2021 The Queen’s New Year Honours) from Prince Charles, now King Charles III.

Bashabi Fraser is an Indian-born Bengali and a Scottish academic, editor, translator, and writer. She is a Professor Emerita of English and Creative Writing at Edinburgh Napier University. Fraser’s work traverse continents in bridge-building literary projects. She was appointed a Commander of the Order of the British Empire (CBE) in the 2021 New Year  Honours for services to education, culture and cultural integration in Scotland, in particular for her projects linking Scotland and India. Among her several volumes of poetry the Bengal and Bengali connection comes out in volumes like From the Ganga to the Tay: a poetic conversation between the Ganges and the Tay (2009), Letters to My Mother and Other Mothers (2015), My Mum’s Sari (2019), and Lakshmi’s Footprints and Paisely Patterns: Perspectives on Scoto-Indian Literary and Cultural Interrelations (2023). Fraser has worked extensively on a project about the Bengal Partition and the angst resulting from this divide expresses itself in the following poem.

This Border
Can shadow lines on the earth’s surface divide language and literature, rituals and customs, rivers…and memories?

There was a time when you and I
Chased the same butterfly
Climbed the same stolid trees
With the fearless expertise
That children take for granted
Before their faith is daunted
Do you remember how we balanced a wheel
Down dusty paths with childish zeal
Do you remember the ripples that shivered
As we ducked and dived in our river
Do you remember what we shared
Of love and meals, and all we dared
Together – without fears
Because we were one
In all those years
Before we knew that butterflies
Were free to share our separate skies
That they could cross with graceful ease
To alight on stationary trees
On either side of this strange line
That separates yours from mine
For whose existence we rely
Entirely on our inward eye
This border by whose callous side
Our inert wheel lies stultified
This border that cuts like a knife
Through the waters of our life
Slicing fluid rivers with
The absurdity of a new myth
That denies centuries
Of friendships and families
This border that now decrees
One shared past with two histories
This border that now decides
The sky between us as two skies
This border born of blood spilt free
Makes you my friend, my enemy.

Another well-established poet is Sudeep Sen who studied in New Delhi and in the United States and is a global citizen, so to say. Sudeep’s literary output is enormous and some of the titles of his volumes of poetry have subtle references to Indianness and Bengaliness embedded in them as well. Mention may be made of volumes like Leaning Against the Lamp-Post (1983), The Man in the Hut (1986), Kali in Ottava Rima (1992), Postmarked India: New & Selected Poems (1997), and several others. Though he might not do it consciously, his Bengaliness remains embedded in his psyche.

Kiriti Sengupta who has been awarded the Rabindranath Tagore Literary Prize (2018) for his contribution to literature, is a poet, editor, translator, and publisher. What is more significant is that along with Bitan Chakraborty, he mans the publishing house Hawakal, which has already carved a niche for itself as the largest publisher of Indian Poetry in English. Several poets mentioned in this essay have seen their creations see the light of the day through Hawakal Publishers and they have done yeomen service in this regard. As an established poet, Sengupta has several volumes of poetry to his credit. His collection from 2019, called Rituals, is very different from the work readers usually read in that there is a narrative thread in many poems that is not there simply to tell a story but to ultimately present a meditation on an aspect of life and the modern world that they haven’t considered before. “Fleeing the house and leaving the doors ajar. Is it perversion or fallacy?”

In an earlier volume entitled Solitary Stillness (2018), Sengupta does not give away the traits that have pervaded his poetry, he has not forgotten his Bengali roots, and has once again drawn his poetry on the canvas of the time that has been rooted in Calcutta. As he elaborates upon this point in his professional website, here, he makes a reference to Lapierre, and indeed, the ‘city of joy’ tag sounds fake just as we read that particular poem, which is so natural, that it almost appears to have been spoken by a resident of a city, one who is not a poet. According to him, that person who complains about water logging or that person for whom any tag of romanticism about the city is bourgeois, it is nothing but a label that’s needed to promote consumerism.

Mitali Chakravarty, the indefatigable editor of Borderless Journal, wrote to me saying that she is happy I feel she belongs to Bengal, “I call myself a Bengali and a human”. Though a non-resident Bengali, her perception of her own work and Bengali cultural identity is clearly revealed in a poem published in The Daily Star (Bangladesh)[2].

Confused

I am mixed up – cannot help
English and Bengali under my belt

I can read a bit of Hindi
Cannot understand much of French
A little Chinese …low class, they said…
I am mixed up – cannot help
English and Bengali under my belt

I grew up thinking I will find a way
But now pidgin is all that I can say
I write in English – the language borrowed from the West
The language that taught us or brought us unrest
The language that through The Raj spread
Importing Nationalism in its tread
I am mixed-up – cannot help
English and Bengali under my belt

But my life is that of the non-English
A probashi Bengali at best

People say I am not typical, not quite the right type
A mixed-up Bengali – I said
Culture is something I dread at every tread
Because what Culture I have is mine
- Not of a Race, a Country or Religion –
Human Being is the only race to which I belong

Help protect my home, the Earth – its every drop, its every stone

In a world of 7.7 billion, can I be alone?
I am mixed up – cannot help
English and Bengali under my belt

Though she has been writing poetry for a long time, Mitali’s first poetry collection, Flight of the Angsana Oriole: Poems was published by Hawakal only in October 2023. In the ‘Introduction’ to this volume, she states that her random collection of poems “are sometimes of the past” as she knew it and “sometimes of the present. And sometimes in quest of a future or a dream that she hopes will go to create a more hopeful future than the world presents to us currently.” The poems in this volume are personal; some talk of her journey through life, the world as she sees it, some even influenced by her travels across the world. She further states: “Inherent in each line is not just the influence of my experiences in many countries but the nurturing I had in India, where I was born, educated and spent the first two decades of my earthly existence.” So, poems like ‘Death of Lalon’, ‘Shivratri’, ‘Kali Rise’, ‘Shraddha‘ [last respects] and a few others do convey the subconscious Bengaliness embedded in her psyche, irrespective of where she physically resides now.

Radha Chakravarty, a prolific writer and translator, Former Professor of Comparative Literature and Translation Studies at Ambedkar University, Delhi, has recently joined the bandwagon of Indian Poetry in English with her debut collection of poems Subliminal published by Hawakal Publishers in 2023. In a detailed interview given to Mitali Chakravarty for the March issue of Borderless Journal[3], she tells us about her aims and ambitions as a poet and how most of the poems in Subliminal are independent compositions, not planned for pre-conceived anthology.

My poetry actually delves beneath surfaces to tease out the hidden stories and submerged realities that drive our lives. And very often, those concealed
truths are startlingly different from outward appearances. I think much of my poetry derives its energy from the tensions between our illusory outer lives and the realities that lurk within.

Many of Radha Chakravarty’s poems express the feeling of Bengaliness in different perspectives. We read about the typically soft quilt called kantha in Bengali in the poem ‘Designs in Kantha‘ thus:

Sewn into soft, worn layers,
forgotten fabric of grandmother tales –
patterns of the past,
secret memories, hidden designs,
intriguing patterns in silk strands
dyed in delicate dreamy shades—
embroidered storylines
in exquisite, dainty kantha-stitch.

When Mitali Chakravarty asks her why she writes in English though it isn’t her mother tongue, she answers:

Having grown up outside Bengal, I have no formal training in Bengali. I was taught advanced Bengali at home by my grandfather and acquired my deep love for the language through my wide exposure to books, music, and performances in Bengali, from a very early age. I was educated in an English medium school. At University too, I studied English Literature. Hence, like many others who have grown up in Indian cities, I am habituated to writing in English. I translate from Bengali, but write and publish in English, the language of my education and professional experience. Bengali belongs more to my personal, more intimate domain, less to my field of public interactions….
Both Bengali and English are integral to my consciousness, and I guess this bilingual sensibility often surfaces in my poetry. In many poems, such as ‘The Casket of Secret Stories,’ ‘The Homecoming’ or ‘In Search of Shantiniketan’, Bengali words come in naturally because of the cultural matrix in which such poems are embedded.

 Of course, the poet also mentions that all her poetry is not steeped in Bengali. In fact, in most of her poems, Bengali expressions don’t feature at all, because the subjects have a much wider range of reference. As a globe trotter, Radha has written about different places and journeys between places.

Another debut book of poems that Hawakal Publishers brought to light in December 2023 entitled Forgive Me, Dear Papa and other poems is written by Shyamasri Maji, an Assistant Professor of English teaching at Durgapur Women’s College, West Bengal. Dedicating this collection of poems to her “incurably romantic self,” Maji feels that “being ‘romantic’ in this context is being imaginative, reflective, puerile, rebellious and emotional.” The poems are a mixed bag, belonging to different thematic issues. Some focus on a woman’s radical views on the gender hierarchies in our society, in some nature plays the role of mediator between the narrator and the world, the idea of loss of love, which is closely linked with thoughts of death, while a few poems also represent an interpersonal dialogue between the self and the other. Some of Maji’s poems focus on the role of memory whereas some are experimental in the sense that they portray a woman’s comprehension of a man’s thoughts. Stressing upon the fluidity of identities, she shows how love, pain, pandemic, separation and grief affect all human beings irrespective of an individual’s gender and sexual orientation.

Six books of published poems and twenty-five years of creative journey has been a consistent exploration by the poet Sanjukta Dasgupta as she tries to find the path of freedom from among the misleading mesmeric mazes that threaten and stifle both sense and sensibility. As a woman poet with a strong feminist stance, Dasgupta admits in an online interview given to Basudhara Roy[4]:

Though I read Bangla poetry since my schooldays, I wrote my poems in English. It was an unconscious choice. Much later I learnt that I should have been embarrassed about writing in English rather than in my home language, my mother tongue Bangla. The poems written in English kept on being born on the page with embarrassing regularity.

She further states in the same interview[5]:

Writing poetry is an irrepressible urge for me. It is, in a way, far more intense than the biological labour pain. This labour pain of creativity leaves me restless till the words are born on the page. But the creative process allows endless revisions; a biological production is largely about acceptance, neither revision nor deletion are considered ethical practices. In the case of poetry, it is not about choice, it is a compulsion which is intense and gratifying and multiple revisions often lead to the emergence of the perfect product.

The title of Dasgupta’s poetry book Lakshmi Unbound (Chitrangi, 2017) is very significant. Lakshmi being an intrinsic part of the fabric of Bengali culture, the radicality and dissidence of the idea of ‘Alakshmi[6]’ will require no explanation to a Bengali reader.

She thinks the core agenda in Lakshmi Unbound is a defiant, determined search for freedom.  So, it is not just deconstruction, it is an endeavour to call attention to the need to destabilize the deep-rooted stereotypes that have controlled the minds and mobility of women. In Sita’s Sisters (Hawakal, 2019), she crafts a revisionist feminist mythology by taking up familiar figures like Sita, Lakshmi, Kali, Mira and attempts to free these mythic figures from their claustrophobic space so that they can be re-invented in sync with the contemporary times. 

Residing in Jamshedpur, in the state of Jharkhand, Basudhara Roy is an established poet and has several books and publications to her credit. In her own website, is stated: “Committed to an undying affair with words, Basudhara finds in poetry an epistemological and existential skylight. She writes because she feels she must test words on her tongue, pulse, moods, agitation, abstraction and satire. She is convinced that words can change the world and hence, she works at them in her own culinary way – washing, peeling, grating, pounding, baking, sautéing, kneading, roasting, often flaming them for what they might yield.”

The following poem from Stitching a Home (Red River, 2021) considers the eternal problem of a woman that plagues women writers a lot.

The Right Kind of Woman

The right kind of woman will
inspire affection, regard, trust.
Not promiscuity, never lust.

Bred by a mother equally right,
she knows to avert her eyes to
innuendoes, telling smiles.

In crowded buses, shops, streets,
she knows to shut tight, bud-like,
relinquish space, circumscribe limbs.

Above all, she knows the prudence
of holding her tongue, of choosing
silence’s worth over wordy rebellion.

Schooled to surrender in dark
rooms, she knows, unasked, to
feign desire, moan, stifle, sigh on cue.

On her forehead, she had a
third eye to emit fire, take sides,
rake storms. Last night, its lid rusted

with disuse fell out, and the right kind
of woman laughed herself to death
over all she had left undone, unsaid.

“Writing poetry is an isolation exercise” says Angshuman Kar, an established Bengali poet who by profession is also an English Professor at a university in West Bengal. His book of poems Wound is the Shelter (Hawakal, June 2023) is unique and different from the other volumes discussed here because the poems are all translated by the poet himself from his original Bengali poems. In the ‘Introduction’, Kar tells us that authors who translate themselves often seem to be unhappy about the task of translating their own works. The Marathi poet Arun Kolkatkar likens it to incest, — “like making love to your own daughters.” Critics of translation studies have both supported and criticised self-translation. Those who support it argue that the author knows their work the best and hence s/he is the best translator of their own work. Those who oppose self-translation argue that the author-translator takes too much liberty while translating his/her own work; thus, the translation hardly remains faithful to the original. In such a situation Kar says, “Without being critical, I must say that I love self-translation. I enjoy translating my own work, I love committing incest. It makes me a better poet…. As a self-translator, I find incest healthy. It makes me a better poet – il miglior fabbro.

Coming to the individual poems in Wound is the Shelter, it need not be reiterated that most of them portray universal feelings but at the same time are seeped in Bengali culture as well. In “My Poems” Kar talks about Jungle Mahal, the three districts of West Bengal that are full of jungles; in “World,” he writes about blooms of a sal tree and shiuli flowers; in “Memory Card” he talks about a bus ride to reach his maternal uncle’s house in Bankura from where he went to the studio to take a family photograph — “Grandma in the middle/On either side we – three brothers, two sisters and a cousin”. In “Father” he mentions how his father’s bereavement fades with time and how his portrait adorns the wooden throne in which gods and goddesses are kept and he stands with Kali, Shiva and Durga. In “Neelkantha” he refers to Shiva; in “Park” he states how man forgets grief when he comes to a park, “That is why in a city as sad and lonely as Kolkata the number of parks is always high.” The five-part poem “Tiger” is also very powerful, “there is a tiger inside every human being” he states. Kar also mentions about the mask of a demon of Chhou dance of Purulia, the aal path in paddy fields, the Chandi mandap[7] of a small village, the man called Bhagaban Das who labours in a factory, and the man called Shubhasis Babu who rents him cars, whose voice he hears but has not seen him. Thus, even in his transcreated poems, Kar’s Bengaliness expresses itself overtly.

It is not possible to analyse the poems of each of the Bengali poets that I have mentioned above within the purview of this single essay, and so I have just selected a few of them (especially the poets who have one or two volumes to their credit at present). As mentioned earlier, though Bengali by birth, all the poets rendering their emotions in English, do often consciously or unconsciously express multicultural elements, Bengali cultural nuances, and idiomatic force in their poems. As the trend for providing glossary is passe now, much is left to the readers’ imagination, but still certain occasional Bengali words and phrases make their poems even more appealing.

After sharing my random thoughts about Indian Poetry in English in general and selectively mentioning a few Indian English poets who also happen to be Bengali and often unconsciously exude a sort of Bengaliness in some of their poems, without attempting to sound rather parochial, I wholeheartedly wish to see more volumes of their poetry being published in future. I conclude by quoting a very salient observation made by Arundhathi Subramaniam who is not wholly optimistic about the situation, but believes that despite hurdles in publishing, the voices of Indian poets writing in English would be heard [8]:

Despite the clunky discourse that continues to hover around it, however, Indian poetry in English endures, even flourishes, seventy years after Independence. Publishers may be few and far between, the royalties meagre, the critical climate thick with indifference or theoretical bluster, and the poets themselves bewildered by disputes over their identity, even their existence. But poetry, in its mysteriously resilient fashion, continues to be written, shared and discussed (if sometimes with more passion than discernment). … I am not ecstatic about the state of Indian poetry in English. (But then I am not ecstatic about poetry; only, at times, about poems.) What I do know is that Indian poetry in English is alive. And like all things alive, it engages, it annoys, it provokes, it excites. On several occasions, it has given me the jolt of wonder for which I turn to poetry in the first place.

Considering the slightly mellow tone in Subramaniam’s observation, I personally feel Indian English Poetry has become a significant force in the literary arena at present and will grow stronger with time. Seasoned poets who have several volumes of poetry published already, as well as the fresher ones whose debut volumes promise a lot more to come in future, can all look forward to seeing their ‘spontaneous overflow of powerful emotions’ in print and carry on the legacy of Indian Poetry in English to newer heights. And sure enough, the sub-genre of Bengali Indian English poetry can be researched in greater details in future.

.

[1] Henry Louis Vivian Derozio (1809–1831), poet and assistant headmaster of Hindu College, Calcutta, a radical thinker and started the Young Bengal Movement.

[2] Published in November, 2019. See http://www.thedailystar.net

[3] https://borderlessjournal.com/2024/03/14/the-subliminal-world-of-radha-chakravartys-poetry/

[4] https://lucywritersplatform.com/2022/05/12/sanjukta-dasgupta-in-conversation-with-basudhara-roy/

[5] Ibid.

[6] Alakshmi is one who is opposite of Lakshmi, a goddess who embodies prosperity and well being.

[7] Chandi Temple

[8] Subramaniam, Arundhathi. “Beyond the Hashtag: Exploring Contemporary Indian Poetry in English.” Indian Writing In English Online, 6 May 2022, https://indianwritinginenglish.uohyd.ac.in/beyond-the-hashtag-exploring-contemporary-indian-poetry-in-english-by-arundhathi-subramaniam/.

Somdatta Mandal, critic and translator, is a former Professor of English from Visva-Bharati University, Santiniketan, India.

.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Kindle Amazon International

Categories
Poetry

Poems by Stuart McFarlane

THE WAITING 

It's a thousand years now since I died.
I can't get used to it, though I've tried.
To some the silence may appeal
but to me it does not seem real.
Or all too real, perhaps. Who knows?
I remember a whispering of snow.
But here, beneath the frozen ground,
is always a hope of some small sound.
It is this, all this, I find so grating.
The stillness, silence; the waiting, waiting.


EVENING SONG

Now the evening sun has set,
time to leave empty rooms, and yet,
as last light strains between the trees
my mind is bathed in memories
of times long gone, yet still so real,
precious moments I brightly feel.
O, what happy days I have known
in this old house, in this our home.
Sparks of time I'll aye remember,
quenched in sunset's dying embers.
But yonder, see! A blue horizon,
it's early morn, the sun is rising.
In the east a soft light has grown
on our new house, on this, our home.

EARLY ONE MORNING

Now it is dawn and the new sun
tears through the sinews of night,
as the dissolving grey heralds the day,
where waves of the sea sparkle bright.
On the horizon, as the sun is rising,
a pale ship emerges, ghost-like,
on a sea, so serene, as if in a dream,
the deep silence concealing its might.
On the soft sands there a man stands,
a lone silhouette now come into sight;
and from sea to sky a seagull flies,
a lonesome cry of white.
Shadows swirl in an unreal world,
bathed in an emphatic light.

Stuart McFarlane is now semi-retired. He taught English for many years to asylum seekers in London. He has had poems published in a few online journals.                                                                                                                    

.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Kindle Amazon International

Categories
Review

Poetics of Belonging

Book Review by Basudhara Roy

Title: Out of Sri Lanka: Tamil, Sinhala and English Poetry from Sri Lanka and its Diasporas

Editors: Vidyan Ravinthiran, Seni Seneviratne, Shash Trevett

Publisher: Penguin India (Vintage)

What makes poems in a collection belong to each other? Their shared spirit, one believes, would be the foremost — the way they thematically and stylistically accentuate each other, enter into conversation, deliberate, disturb, demand, and defend. Another significant consideration would be the commitment with which they collectively lay bare a social concern — unpacking it for public attention and discussion, and offering myriad points of entry into its dense complexity. Good poetry, by nature, offers a kind of prescience that is based on empathy, understanding, and the possibility of communication. A good anthology, by its sound aesthetic and social vision, effectively multiplies these virtues by the number of poems it showcases and ensures that the sum is always greater than its parts.

At a time when anthologies of poetry, worldwide, are mushrooming and often questionable in their inarticulate raison d’etre, it is rejuvenating to come across an anthology that exactly knows what it is up to and proceeds to execute its vision with ideological clarity and ineluctable grace. Out of Sri Lanka: Tamil, Sinhala and English Poetry from Sri Lanka and its Diasporas edited by Vidyan Ravinthiran, Seni Seneviratne, and Shash Trevett is the most comprehensive and perhaps, one of the most representative anthology of post-independence poetry in English to emerge from Sri Lanka. Bringing together almost a hundred and forty poets and more than four hundred poems written originally in English or translated into English from Tamil and Sinhala, both from within the country and its scattered diaspora, the book articulates the rich and scarred multicultural heritage of Sri Lanka, what it means to claim belonging to this contested land, and the spirit of belonging itself.

The tiny waterdrop-shaped island of Sri Lanka located on the southern tip of India has always been historically significant. Colonized first by the Portuguese, then by the Dutch and finally by the British, it became an independent nation-state in 1948, the transfer of power there being peaceful and orderly, unlike the gory turbulence witnessed in the mainland of the Indian subcontinent. Ceylon, as it was known then and until 1972, showed every promise of securing a more stable statehood and better standards of socioeconomic development among the many new decolonized states across Asia and Africa. But the trajectory of Sri Lanka’s post-independence history, its fatal walk toward ethnic democracy and the violent consequences of such deep antagonisms are well-known.

The twenty-six-year civil war in the island between the Sinhalese-dominated government (mostly Buddhist) and the Liberation Tigers of Tamil Eelam (mostly Hindu) has been one of the most intense, brutal, and protracted ethnonational conflicts in global politics, the economic and human costs of which have been enormous. Acts of violence and ethnic cleansing by the LTTE against Muslims, Sri Lanka’s third-largest ethnic community have also occupied a significant place in its history. Added to these pogroms have been the ravages of nature in the tsunami of December 2004 which left the island totally uprooted and its severe economic crisis in recent times.

Waves of migration from the island, both voluntary and forced, have led to the creation of a group of expatriates and refugees who refuse to acknowledge their identity as Sri Lankans. How do a people find themselves under such circumstances? How do they lay claim to belonging and community? How do they resurrect for themselves a sense of tradition out of the debris? Out of Sri Lanka attempts a searching answer to all these questions and more as it brings to us, from all sections of its diverse society, voices that have, over the years, negotiated with all these crises in order to craft a narrative of resilience which, as the editors hope, will enable it to “take control of its destiny”.

The extremely articulate and well-researched introduction to the book is, in many ways, an intellectual treasure as it places poetry from the country and its diaspora within its seasoned and sensitive political and linguistic contexts, and offers an entry through it, into the fluid and dynamic nature of postcolonial poetry as a whole. The editors’ decision to not compartmentalise the poets in the collection on the basis of the languages they choose to write in but to showcase them in alphabetical order has been, by far, one of the most pertinent editorial decisions in keeping with the vision of this anthology. Given the linguistic grounds on which the political history of the island has been repeatedly fractured, the representation of poets as a cohesive group of witness-bearers regardless of their language and the ethno-ideological affiliations that a language is likely to connote, is a major step toward the envisioning of a more equitable and egalitarian society.

Again, as the editors observe, the traditions of Tamil, Sinhala, and English poetry on the island have rarely rubbed shoulders with one another with the result that their growth, development, and stylistic manifestations have remained rather insular. This book is an attempt to break that insularity by bringing poems from various linguistic heritages and frameworks in dialogue with one another and the results, as any conscientious reader will affirm, are spectacular. One confronts, here, a canvas of multiple arcs of intimacy, fear, insecurity, estrangement, acceptance, accusation, longing, loss, but above all, belonging. Resplendent throughout the book is the idea of identity – gender, territorial, ethnic, linguistic, national, transnational and human.

The editors tell us: “The explosiveness of Sri Lankan history, its cavalcade of events seeming to demand a response, produces a situation where deeply felt and meaningfully shaped poems are often not written by ‘poets’ as we understand that role as a profession supported by publishers, festivals and academic institutions. Instead, we find poems written by photographers, government workers, novelists, journalists – people for whom the luxury of considering themselves one of Shelley’s unacknowledged legislators of the world was never available, but who were pressed by extraordinary circumstances toward a lyric recognition of complexities otherwise beyond understanding.”

Here, in other words, is an urgent poetics, a rupturing into poetry by the incision of circumstance. For the editors, this anthology represents “a human rights intervention.” It is an act of commemoration, a historical acknowledgement of its tumultuous past, “a matter of putting things on record”. In ‘My Land [1981]’ by Cheran (translated from Tamil by Lakshmi Holmstrom) the pre-Civil War Sri Lanka is conjured with heartwarming admiration: “I stand on a hundred thousand shoulders/ and proclaim aloud: This is my land./ Across the seven seas,/ overcoming the rising waves,/ the wind shouts it everywhere:/ My land/ My land.” And yet, as the decades advance, pain bitterly takes over. “Like an unwritten poem/ you itch/ inside my head” goes the poem ‘No. 16’ by Mahagama Sekera (translated from Sinhala by Ranjini Obeyesekere) and the figurative density of the poem, as one would notice, travels from the personal to the political. In ‘Loose Change’, Ru Freeman writes: “…keep it keep/ the change keep the change keep/ all the noise-making metal  Give us the rest/ whatever that is  in this every man an island/ country of deceit  We are far from home”

“…the time is right – the moment is now – for the world to know Sri Lanka better: its beauty and its pain” assert the editors of Out of Sri Lanka and one cannot but agree with them. A monumental work of literary activism, rigorous and laborious archival, and passionate commitment, this is more than a collection of poems. It is an act of rehabilitation, an attempt toward community-building, an unforgiving appraisal of the past, and a clear-eyed gaze into the future. Every nation must, at some time, stop to listen to itself and to speak of itself. One is glad that for Sri Lanka that time is here.

Click on this link to access some of the poems.

Basudhara Roy teaches English at Karim City College affiliated to Kolhan University, Chaibasa. Author of three collections of poems, her latest work has been featured in EPW, The Pine Cone Review, Live Wire, Lucy Writers Platform, Setu and The Aleph Review among others. 

.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Kindle Amazon International

Categories
Poetry

Evolutions: Past & Future

Poetry by Michael Burch

OPTIONS UNDERWATER: THE SONG OF THE FIRST AMPHIBIAN 

“Evolution’s a Fishy Business!”

1.
Breathing underwater through antiquated gills,
I’m running out of options. I need to find fresh Air,
to seek some higher Purpose. No porpoise, I despair
to swim among anemones’ pink frills.

2.
My fins will make fine flippers, if only I can walk,
a little out of kilter, safe to the nearest rock’s
sweet, unmolested shelter. Each eye must grow a stalk,
to take in this green land on which it gawks.

3.
No predators have made it here, so I need not adapt.
Sun-sluggish, full, lethargic—I’ll take such nice long naps!
The highest form of life, that’s me! (Quite apt
to lie here chortling, calling fishes saps.)

4.
I woke to find life teeming all around—
mammals, insects, reptiles, loathsome birds.
And now I cringe at every sight and sound.
The water’s looking good! I look Absurd.

5.
The moral of my story’s this: don’t leap
wherever grass is greener. Backwards creep.
And never burn your bridges, till you’re sure
leapfrogging friends secures your Sinecure.

(Originally published by Lighten Up Online)

DAVENPORT TOMORROW

Davenport tomorrow ...
all the trees stand stark-naked in the sun.

Now it is always summer
and the bees buzz in cesspools,
adapted to a new life.

There are no flowers,
but the weeds, being hardier,
have survived.

The small town has become
a city of millions;
there is no longer a sea,
only a huge sewer,
but the children don't mind.

They still study
rocks and stars,
but biology is a forgotten science ...
after all, what is life?

Davenport tomorrow ...
all the children murmur through vein-streaked gills
whispered wonders of long-ago
Baby with gills, Courtesy: Waterord News

Michael R. Burch’s poems have been published by hundreds of literary journals, taught in high schools and colleges, translated into fourteen languages, incorporated into three plays and two operas, and set to music by seventeen composers.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Kindle Amazon International

Categories
Essay

The Lyric Temper

By Jared Carter

In the last section of that book with the most beautiful of titles, Per Amica Silentia Lunae,[1] the Irish poet Yeats, addressing Iseult Gonne, refers to those moments when he becomes happy – when poetry over brims on the page, and things turn luminous, and time seems to “burn up” in the sense of no longer mattering, no longer having the power to detract or diminish.

He is writing about lyric poetry, of course, and about those special moments that may come upon us at any age or at any time, but which become more recognisable to the poet as he or she grows older, and more experienced and knowledgeable – although they are also becoming, in actuarial terms, more rare.

But perhaps not. Perhaps, with wisdom and insight and acceptance, they actually increase in frequency. Recently I told an old friend, a visitor to my home, that after all these years I have finally begun to understand how to write poems. Put simply, I have gotten better at being patient, and at waiting until they appear. I have learned the necessity of silencing my own thoughts in order to hear the brushing of their wings as they pass overhead.

Or, to change the metaphor – only when the wind dies down can the bee or the butterfly land on the blossom. Genuine lyricism comes only after the self has been quieted. Not put to sleep, or – least of all – “put on hold,” in that ugly modern phrase.

Rather, shifted into neutral. Allowed to drift, and possibly to become something rich and strange.

“It may be an hour before the mood passes,” Yeats writes, in a completely disarming, unexpected passage, “but latterly I seem to understand that I enter upon it the moment I cease to hate.” He goes on to say, “I think the common condition of our life is hatred – I know that this is so with me – irritation with public or private events or persons.”

He attempts to define what he means by not hating, and it is not necessarily loving. Rather, “in those brief intense visions of sleep, I have something about me that, though it makes me love, is more like innocence. I am in the place where the Daimon is, but I do not think he is with me until I begin to make a new personality.”

This new personality is a paradox. Recognisably human – fragile, perishable, transient – it lacks the negative aspects of selfhood. It is no longer selfish or greedy or hateful. It has accepted its present state of being and its eventual death and dissolution.

We are speaking, then, of neither comedy or tragedy, nor their dramatic manifestations in verse, but of the lyric temper in poetry, and of the manner in which the poem is its abode – just as the moth or butterfly, as it seeks to gather up the pollen, finds its momentary resting place in the flower. But there is a dark side to this metaphor, and in any such discussion it cannot be avoided. Even the purest lyric voice is, by its very nature, transitory and perishable.

Honeybees, too, gather up pollen, but these are worker bees, who venture far from the hive, and who overcome all manner of risk in doing so. Within the hive itself, the drones partake of the bounty, but they do nothing to earn their keep. Only one of them will bed the queen. The others, whether they know it or not, are doomed. By autumn, as part of the very nature of things, the workers, understanding that only a finite amount of food is available to see them through the winter, push the drones out of the hive, where they perish amid the thorns and brambles.

Sappho

The works of many a lyric poet, who has dined the summer long on the ambrosia of the imagination, will eventually be subject to sheer circumstance, and drop away from the hive. Sappho[2]’s main works are lost; Keats[3]’s productive years were pitiably few. Madness overtook Smart[4], Hölderlin[5], Clare[6], and dozens more. We know this, and thus each lyric poem we have managed to preserve from past centuries speaks to us in an especially poignant way. However lovely, however evocative, we know it will not last.

The philosopher and poet George Santayana[7] has summed up the situation: “Even the most inspired verse, which boasts not without a relative justification to be immortal, becomes in the course of ages a scarcely legible hieroglyphic; the language it was written in dies, a learned education and an imaginative effort are requisite to catch even a vestige of its original force. Nothing is so irrevocable as mind.”

This is why lyric poetry retains its power to speak to us, down through the ages: because it is perishing before our very eyes, even as our own eyes are perishing. And yet it does not matter. “I am in the place,” Yeats explains, “where the Daimon is.”

And what might that be – the presence of “the Daimon”? Such a term can mystify, but surely this refers to some fundamental antinomy of human existence, some intuition of paradox that lies at the heart of being. Keats called it “negative capability”; F. Scott Fitzgerald[8] praised “that ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function.”

The two ideas? The notion that art itself, in all its fragility, strives to endure. Perhaps another poet, Edwin Arlington Robinson[9], best described the paradox, in his tribute to Walt Whitman[10]: “When we write / Men’s letters on proud marble or on sand,/ We write them there forever.”

To be with the Daimon, to participate in timeless awareness, is why we write lyric poems, why we return to them – and why we revere the great periods of lyric achievement. Undoubtedly there have been many, in different cultures around the world, but we have managed to record only a few.

We treasure the lyric writings of the Sufis and the Elizabethans. We hark back to the time of Wordsworth and Hölderlin, to the T’ang Dynasty [618-906] and to that amazing stretch from Baudelaire to Mallarmé in the second half of the nineteenth century, a time that included Tennyson, Dickinson, Verlaine, Hopkins, Housman, Hardy, and Yeats himself.

Eventually, in the course of time, all these will slip away and be forgotten, which is why they now seem so lovely and memorable. They are that which has managed to survive and come down to us in spite of everything. Wang Wei knew this quite well. As the glories of the T’ang began to crumble and fall away, he paid tribute to that bittersweet awareness that we have come to know as the lyric temper:


Be not disquieted either by kindness or by insult –
          empty joy or sorrow.
Do not count on good or evil – you will only
          waste your time . . .
And why seek advice from the Yellow Emperor
          or Confucius?
Who knows but that we all live out our lives
          in the maze of a dream?


“Per amica silentia lunae” is a line from the Virgil[11]‘s Aeneid. Yeats translates it as “Through the friendly silences of the moon”. It is a most pregnant line. The moon never speaks; its very essence is change. And yet each of us considers it a friend, and we invariably greet it with our innermost being, each time we see it in the night sky. We have carried on this friendship since childhood. Lyric poetry deals with such verities.

The following is by Witter Bynner[12], taken from his masterful introduction to The Jade Mountain: A Chinese Anthology: “. . . if we will be honest with ourselves and with our appreciation of what is lastingly important, we shall find these very same poems to be momentous details in the immense patience of beauty. They are the heart of an intimate letter. They bring the true, the beautiful, the everlasting, into simple, easy touch with the human, the homely, and the immediate.”

A key phrase in this passage is worth repeating and remembering: “The immense patience of beauty.” Surely it is to this that the poet must surrender if the lyric temper is to be made manifest.

[1] Translates to ‘Through the Friendly Silences of Moon’, was written by Yeats (1865-1939) between January and May of 1917, and consists of a Prologue and an Epilogue for Iseult Gonne

[2] Greek poet (630 – 570 BCE)

[3] English poet (1795-1821)

[4] English poet (1722-1771)

[5] German poet and philosopher (1770-1843)

[6] English poet (1793-1864)

[7] American poet and philosopher (1863-1954)

[8] American novelist, essayist, and short story writer (1896-1940)

[9] American poet and playwright (1869-1935)

[10] American poet, essayist, and journalist (1819-1892)

[11] Roman Poet (29-19BCE)

[12] American poet and translator (1881-1968)

Jared Carter’s most recent collection, The Land Itself, is from Monongahela Books in West Virginia. His Darkened Rooms of Summer: New and Selected Poems, with an introduction by Ted Kooser, was published by the University of Nebraska Press in 2014. A recipient of several literary awards and fellowships, Carter is from the state of Indiana in the U.S.

.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Amazon International

Categories
Poetry

Sunrise from Tiger Hill

By Shamik Banerjee

Sunrise at Kanchenjunga from Tiger Hills, Darjeeling.
Blue Sunbirds haunt this region. They
Convert this hill into an odeum.
At five a.m, tree branches sway
When dawn winds blow, making a constant hum.
By six, a gradual colour change
Occurs above the distant mountain range.

The sky, once lazuli and white,
Gets flooded by the hue of orange-gold
From Heaven's massive source of light.
The tourists, standing cheek by jowl, behold
This incandescent spectacle
Like witnessing a one-time miracle.

The children are moon-eyed and thrilled,
Adults and elders bow in adoration
(As if to God Himself), all stilled,
When Kangchenjunga gets its coronation,
And youngsters click and store this view
Until that light has fully bathed them too.

Shamik Banerjee is a poet from India. He resides in Assam with his parents and works for a local firm. His poems have appeared in Fevers of the Mind, Lothlorien Poetry Journal, and Westward Quarterly, among others, and some of his poems are forthcoming in Willow Review and Ekstasis, to name a few.

.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Kindle Amazon International

Categories
Tagore Translations

A Trip to the Himalayas by Rabindranath Tagore

‘Himalaya Jatra’ (A trip to the Himalayas) has been excerpted from Jibon Smriti[1] and translated by Somdatta Mandal.

Jibon Smriti by Rabindranath Tagore (1861-1941)

After my head was shaved for the upanayan (sacred thread) ceremony, I was seriously troubled thinking how I would go to school. However serious attraction the European boys had towards the bovine race; they did not have that much respect for the Brahmins. So even if they did not throw anything over the shaven head, they would surely make fun of it.

While I was worried with such thoughts, I got a call one day from the room on the second floor. Father asked me whether I would like to go with him to the Himalayas. If I could shout the words “Yes I do” at a sky-rendering tone, then the feelings of my heart would have been suitably expressed. Where was the Bengal Academy and where the Himalayas!

Before leaving, Father assembled everyone in the house and according to his tradition did the upasana – the traditional prayers. After paying obeisance to all the elders I entered the coach along with Father. At my age, this was the first time that clothes had been tailored for me. Father had personally ordered the colour and the quality of the fabric. A round velvet cap with design in zari [2] was also made for me. I held that in my hand because I felt reluctant to wear it on my shaven head. As soon as I entered the coach, Father ordered, “Wear it on the head.” He did not leave any scope for untidiness and so I had to wear that cap over my shameful head. In the train, I would take it off whenever I got an opportunity to do so but that did not escape Father’s notice. So, I had to keep it in its right place.

Right from youth to maturity, all the ideas and work of my father were always perfect. He could not leave anything hazy in his mind and could not do any work in a haphazard manner. For him his duty towards others and the duty of others towards him were defined very clearly. By nature, we are an easy-going people and not concerned when we deviate a little here and there. So, we were always very scared and alert about our behaviour towards him. Though it did not cause any serious damage, he felt hurt if there was any deviation from his agenda. Before making any resolution, he would mentally visualise everything clearly in all its details. So, for any occasion he would plan where each object should be placed, who would be placed in which position, who would be entrusted with which responsibility and to what extent there would be no deviation from that on any account. After the work was complete, he would gather reports from different people. Then he would compare each description and by putting them together in his mind, tried to see everything clearly. In this respect he did not possess our national character at all. There was no chance for the minutest deviation in his resolutions, thoughts, behaviour and performance. For this reason, for all the days I was with him on this trip to the Himalayas, I had plenty of freedom on the one hand but on the other, all my behaviour was determined in such a manner that it could not be transgressed. When he declared a holiday then he would not prevent one doing anything for any reason whatsoever; when he fixed some rules then he didn’t leave any scope for minute lapses.

Before our journey to the Himalayas commenced, we were supposed to stay for some days at Bolpur. Satya had gone there some time back with his parents. No nineteenth century child from any respectable household would ever believe his travel accounts. But we had not yet learnt to decipher the demarcating line between possible and impossible acts. Even Krittibas or Kashiram Das could not help us in this matter. The colourful children’s books and magazines with pictures in them did not warn us beforehand about the difference between fact and fiction. We had to learn the hard way that there was strict discipline in the world.

Satya[3] had told me that boarding the train was a dangerous act and one could not do it if one did not have special abilities for it. There was no way to save oneself if one slipped and fell. Also, when the train would start moving after that, they would need to assemble all the strength in the body and force themselves to sit down otherwise they would be pushed in such a strong manner that everyone would just get thrown out, scattered, and lost. So, I was quite scared when I reached the station. But when I got onto the train so easily, I started doubting whether the actual part of the boarding was yet to take place. After that when the train started to move very smoothly then I became demoralized that there was no sign of danger.

As the train kept on moving rows of green trees, blue bordered fields and shady villages ran past on both sides like a flood of mirages. We reached Bolpur in the evening. As soon as I got inside the palanquin, I closed my eyes. I wanted to discover all the surprises that Bolpur had in store for me only the next morning when I would open my eyes again. If I got a hint of it in this hazy unclear evening, then I would miss the charm of total happiness the next morning.

Early next morning, I came and stood outside with a tremble in my heart. The erstwhile traveller had told me that Bolpur was different from all other places in the world because though there was no roof over the pathway leading from the main house to the kitchen one would not have to face any rain or sunshine. So, I started looking for that strange path. Readers please do not be surprised to know that I have not found that path to date.

Being a city-bred boy, I had never seen paddy fields before and had painted rosy pictures about shepherd boys in my imagination after reading about them in books. Satya had told me that the fields around Bolpur were full of paddy and playing every day with the shepherd boys was a daily affair. The main aspect of this game was to collect rice from the fields, cook it and sit down with them to share that meal.

I looked desperately on all sides. Where were the paddy fields in this desert land? There might be a few shepherd boys in some field somewhere but there was no way to identify them. It did not take long to regret what I could not see because what I saw was enough for me. There was no control by the servants here. The only line of control was the blue line on the horizon which nature had demarcated and so there was no deterrent for me to roam about freely.

Even though I was quite small, Father did not prevent me from moving about freely on my own. At some places in the meadows of Bolpur the sandy topsoil on the ground had eroded in the monsoon rain and below that level created small caves, rivers, streams, and tiny hillocks full of red gravel and different kinds of stones. It was a complete geographical world for young children. The hillocks and pits here were known as the Khoai. From here I collected different kinds of stones in my pockets and took them to Father. He never made fun of this childish effort even for a single day. He would express interest and say, “How nice! From where did you get them?” I would reply, “There are thousands of stones like this. I can bring them for you every day.” He would then say, “That would be nice. Why don’t you decorate this hill with those stones?”

Earlier an attempt had been made to dig a pond but was left midway because the soil was very hard. Part of the soil from that incomplete hole was heaped up on the southern side like a hill. Father would sit there on a wooden stool early every morning for his upasana. The sun would rise from the eastern horizon in front of him. He would encourage me to decorate that hill with those stones. When I left Bolpur I felt very sad because I could not carry that huge collection of stones along with me. I had not realised then that there was a responsibility and cost for carrying any sort of burden. I could not even claim the ownership and maintain relationship with them just because I had saved them. Even today I sometimes fail to realise it. If God then listened to my sincerest prayers and blessed me with a boon, “From now on you will go on bearing the weight of these stones forever,” I would not be able to laugh and make fun of it as I am doing now.

There was a place in the Khoai where water had seeped through the soil and accumulated in a deep hole. This water would sometimes overflow and trickle very slowly through the sand. Near the mouth of that hole, I found many small fish that dared to swim against the flow of that water. I went and told Father, “I have seen a very beautiful stream, and it would be nice if we could get our drinking and bathing water from there.” He added to the excitement by saying, “Is that so? It will be good then.” and then decided to bring water from there just to award a prize to the discoverer.

I would roam around the hillocks and pits of Khoai at any time of the day and would look for discovering something extraordinary. I was Livingstone in this tiny unknown land. It seemed like land on the opposite side of a binocular. The rivers and the hillocks were so small, the scattered wild berry and wild date palm trees were equally stunted. The fish that I had discovered in that tiny river were equally small and of course there was no need to mention that the discoverer was small as well.

To develop my alertness, Father would give me two or four annas to keep and I had to account for it. He also entrusted me with winding his expensive gold watch regularly. He did not think that there was a possibility of damage; his mission was to teach me a sense of responsibility. When he went out for a walk in the morning he used to take me along. If he met a beggar on the way he would instruct me to give him alms. At the end when it was time to submit the accounts, I could never tally the amount received and spent. One day when my funds extended, he said, “I think I will have to appoint you as cashier; money grows in your hands.” I would take great care to wind his watch regularly. But the amount of care was perhaps a little more than required because very soon the watch had to be sent to Calcutta for repair.

When I grew up later, I remembered those days when I had to submit all accounts to him. At that time, he used to live on Park Street.  I had to read the accounts to him every second or third day of the month. He could not read anything by himself then. I had to compare the accounts of last month and last year and place them in front of him. First, he heard the big figures and calculated them mentally. If he had any doubts in his mind, I would have to read out the smaller expenses. Sometimes it had also happened that I had evaded some sections of the accounts which did not tally so that he would not get annoyed but somehow it could never be suppressed. He would sketch the complete accounts in his mind and could detect wherever there were lapses. For this reason, those two days were full of anxiety for me. I have already mentioned how it was his habit to frame a clear picture in his mind – whether it was accounts or any natural scenery or arranging for any celebration. He had not seen the new mandir (prayer hall) and many other things at Santiniketan, but he got the details from different people who went there and then collated the picture in his mind. He had an extraordinary memory and power of assessment. So, once he had something in his mind it could never be erased.

Father had identified certain slokas[4] he liked from the Bhagavad Gita and asked me to copy them along with their Bengali translations. I was an ordinary boy at home, so I basked in the glory of that very serious task assigned to me. In the meantime, I had done away with that tattered blue exercise book and collected a bound Lett’s Diary. To maintain the prestige of a poet my attention was now focused on keeping proper notebooks and other external manifestations. Apart from writing poetry, in my own imagination I tried to establish myself as a poet. For this reason, whenever I wrote poems in Bolpur I would stretch my legs and sit below the small coconut palm tree at the end of the garden and love to fill up my notebooks. This felt quite poetic. Sitting on that grassless stony bed in the heat of the sun I had composed a heroic poem called ‘Prithvirajer Parajoy’ (The Defeat of Prithviraj). Despite having such heroic rasas, that poem could not be saved from destruction. Like its elder sister, the blue notebook, that bound Lett’s Diary also got lost in oblivion.

 Starting from Bolpur we went to Sahebgunj, Danapur, Allahabad, Kanpur, and other places. After halting at some of them, we finally reached Amritsar. On the way one incident remains clearly etched in my mind. The train had halted at some big station. A ticket checker came to verify our tickets and after looking at me once he suspected something but did not dare to mention it. After some time, another checker arrived, and both stood uneasy for some time near the door and then left. The third time probably the station master himself arrived. He checked my half-ticket and asked Father, “Isn’t this boy above twelve years?” Father replied, “No.” I was eleven years old then but had more intelligence compared to my age. Then the station master said, “You will have to pay full fare for him.” My father’s eyes glowed in rage. He took out some notes from his box and gave them. When they deducted the fare and returned the change, Father took the money and threw it on the platform which made a jingling sound on the stone and was scattered everywhere. The station master was ashamed and left immediately. That Father would be lying for such a petty thing just to save money was something that made him bow his head in shame.

I remember the gurdwara[5] in Amritsar like a dream. On several mornings I would walk along with Father to that Sikh temple in the middle of the lake. There worship would go on throughout the day. My father went and sat among the Sikh worshippers and would suddenly start singing the hymns along with them. Listening to this song of praise being sung by an outsider, they got excited and got up to welcome him. On our way back we were given pieces of sugar candy and halwa.

Once, Father invited one of the singers of the gurdwara to our house just to listen to his bhajans[6]. The singer would probably be happy even with the lesser amount of money that was given to him. As a result, there were so many enthusiasts willing to come and sing at our house that a strict arrangement had to be made to prevent their entry. Unable to enter the house, they started attacking us on the street. Every morning, Father would take me along with him for his morning walk. During that time singers with tambourines on their shoulders would suddenly appear from nowhere. Just as a bird gets startled when it sees someone with a gun on his shoulders and thinks he is a hunter, so we would also get scared whenever we saw the tip of a tambourine at a distance. But the prey had become so clever that the sound of the tambourine was merely an empty one; it would chase us far away and couldn’t capture us.

In the evening Father would sit in the verandah in front of the garden. I was then called to sing Brahmasangeet[7] for him. The moon would rise, and moonlight infiltrated through the leaves of the trees and fell on the verandah while I sang a song in the raga Behag:

Without you Lord who is our saviour
Who is our support in this dark world?

I can still recollect that picture – Father sitting quietly in the evening with his head bent low, listening to the song with his palms folded on his lap.

I had mentioned before how Father had heard from Srikantha babu and laughed at the two spiritual poems which I had composed. I could take revenge for that much later when I grew older. Let me mention it here. Once I had composed several songs to be sung at the Maghotsav celebrations in the morning and evening. One song among them was worded, “I cannot see you, but you are there in all our eyes.” Father was then staying at Chinsurah and Jyoti dada and I were summoned there. He asked Jyoti dada to sit at the harmonium and asked me to sing all the new songs one by one. He even asked me to repeat some songs. After that he said, “If the king of this land knew the language of this country and could appreciate her literature, he would reward the poet. Since there is no such possibility for the king to do so, I will have to perform that duty.” Saying these words, he handed me a cheque for five hundred rupees.

Father wanted to teach me English and had carried with him several volumes of the series called Peter Parley’s Tales. Among them he selected for me the biography of Benjamin Franklin. He had thought that the biography could be read like a story, and I would benefit from it. But he realised his mistake soon. Benjamin Franklin was surely an intelligent man, but his religious worldview pained Father. At times while reading the text, he would become very annoyed with the extremely materialistic knowledge and advice of Franklin and could not stop without protesting it. 

Except for learning Mugdhabodh by heart, I had not learnt any Sanskrit before this. Father started teaching me directly from the second volume of Rijupath and along with it asked me to memorize the word formation from Upakramanika. The way we had been taught Bengali helped us in our learning of Sanskrit. He encouraged me to learn Sanskrit right from the beginning. I would reverse all the words I had learnt and created complex sentences on my own by adding grammatical notes wherever I felt like. In this manner I transformed the language of the gods to the language of the demons. But Father did not make fun of my weird boldness even for a day. Besides that, he would explain to me many things about astronomy verbally from the simplified English text of Proctor. I would write them down in Bengali.

Among the books Father carried with him for his own reading I noticed one book in particular. This was Gibbon’s Rome bound in ten or twelve volumes. From their appearance, they did not seem to have any entertainment value. I used to think that since I was a child I had no choice and was forced to read many things but if Father wished he could easily avoid reading this book. Then why this sorrow?

We stayed in Amritsar for about a month. Towards the end of Chaitra [mid-April], we started our journey from there towards the hills of Dalhousie. In Amritsar, time did not seem to pass, and the call of the Himalayas was making me restless. While we were climbing the mountains in a sort of litter used in the hills, the entire region was full of different kinds of seasonal crops which grew in layers on the mountain slopes and looked very beautiful. We would have milk and bread and then leave early in the morning and take a rest at dak bungalows in the afternoon. My eyes did not rest for the whole day; I feared that I might miss noticing something. When we reached a corner of the mountain at the turn of the road, the bearers would put down our basket carriage and take rest under the dense shade of the trees that bent down with the weight of their leaves; a place where one or two streams leapt down over the mossy black stones that resembled playful daughters of the sages sitting at the feet of old meditating ascetics. I would covetously keep on thinking why they did not leave us there as it would be nice to stay at such a place.

Getting acquainted with something new always has its advantages. Till then the mind does not know that there are many more places like that. Once you get to know it, the mind starts saving its attentive powers but when it sees that everything is very rare then it does away with its stinginess and pays full attention to it. Now on some days when I walk on the streets of Calcutta, I imagine that I am a foreigner. Then I can imagine that there are plenty of things to see, but we don’t see them because we don’t have a mind to value them. That is the reason why people go abroad to satiate their visual hunger.

Father had entrusted me with his small cash box for safekeeping. There was no reason to think that I was the most suitable person for that job. A lot of money was kept there to be spent during our travels. He could have been more assured if he gave it to Kishori Chatterjee, but he had a special reason for handing it over to me. One day after reaching a dak bungalow, I had left that box on the table in the room and Father had chided me for that. After reaching the dak bungalow Father would sit on a bench outside. When it was evening and the stars shone brightly in the clear mountain sky, Father would teach me how to identify the planets and the stars and would discuss astronomy.

Our house in Bakrota was on the highest peak of a mountain. Though it was the month of Baisakh, it was very cold. The snow had not melted at many places on the road, especially where the sunlight did not fall directly. Father did not apprehend any danger here and so did not prevent me from wandering in the mountains at my own free will. There was a big pine forest in the valley near our house. I went alone to that forest quite frequently along with my metal-headed stick. The trees along with their shadows stood like giants and were many hundred years old. But they could not even speak a word when a small human child roamed among them. I would get a special touch from those trees as soon as I entered the shadow of the forest. It seemed to have the coldness of a reptile. The light and shade that fell on the dry leaves seemed like various lines drawn on the body of a huge prehistoric reptile.

Sketch of the house ‘The Snow Dawn’ at Bakrota. Photo provided by Somdatta Mandal

My bedroom was right at the end of the house. Lying on my bed at night I could see the faint light of the planets and the brightness of the snow on the mountain peaks through the windows. I don’t know at what hour of the night it was when I saw Father in a red shawl walking silently with a candle in his hand. He was going to the glass-enclosed verandah outside to sit and pray. After another bout of sleep Father shook me and asked me to wake up. The darkness of the night had not gone away completely. That time was fixed for me to learn by heart the “naroh, narou, narah” grammar from the Upakramanika. Getting out of the warm blankets in that cold weather was indeed a sad beginning.

At sunrise, Father finished drinking a bowl of milk after his morning prayers and then made me sit beside him. He would pray once more by chanting mantras from the Upanishads. After that he took me out for a walk. I could not compete with him. I would stop somewhere in the middle of the path and climb up through a short cut to go back to our house.

After Father came back, I had to study English for about an hour. After that a cold-water bath was scheduled at ten o’clock and there was no respite from this. The servants did not dare to mix some hot water against his orders. Father encouraged me by telling me stories about how he used to bathe in intolerably cold water in his younger days.

Drinking milk was another trial for me. Father drank plenty of milk. I wasn’t sure whether I inherited this strength of drinking milk from him or not, but I have mentioned earlier the reason why my eating and drinking habits went in a completely opposite direction. But I had to drink the milk along with him. I had to beg the servants and they took pity on me by filling up the bowl with less milk and more froth.

After lunch Father sat down once again to teach me but it was impossible to keep my eyes open as the spoilt morning sleep would take its revenge now. I would just doze off to sleep. Seeing my condition, Father would let me go but then the sleep would instantly run away. After that it was the turn of the mountains. On some afternoons I would take my stick and walk alone from one mountain to another. Father never expressed his anxiety over it. Till the end of my life, I have seen that he never wanted to restrain our independence. I did a lot of things that were against his taste or will, and if he so wished he could have scolded and prevented me from doing it. But he never did that. He would wait and see whether I performed all my duties from the core of my heart. He did not accept that we followed truth and beauty only as external manifestations; he knew that if we moved away from truth, we could return to it once again but if we were forced to accept truth through false discipline then it would block the path of our return.

At the beginning of my youth, I had the fancy that I would travel by bullock cart on the Grand Trunk Road and go up to Peshawar. No one approved of my proposal and cited various reasons against it. But when I went and told Father about it, he said, “This is a very good idea. Travelling by train is not real travel at all.” Then he narrated tales of how he travelled to different places on foot or in a horse carriage. He never for once mentioned that it would be difficult or dangerous for me to travel in that way.

On another occasion when I was newly appointed as the secretary of the Adi Samaj, I went to his house at Park Street and told him, “I do not like this idea that only Brahmins can become Acharyas at the Adi Brahmo Samaj and non-Brahmins cannot do so.” He then told me, “All right try and bring a remedy to this if you can.” After I received his permission, I realised that I did not have the power to do so. I could only see the deficiency but was unable to create something wholeheartedly. Where was my strength to do so? Where was the ingredient with which I could break something and rebuild something else? He knew that until the right person came forward, it was better to follow the old rules, but he did not discourage me by mentioning any such problem. Just as he had given me the freedom to roam around in the mountains alone, in a similar way he gave me the freedom to find the right path on my own. He was not scared that I would commit mistakes, did not express his doubts so that I would suffer. He just held the ideals of life in front of us but did not use the rod of discipline.

I would often spend time with Father talking about things at home. As soon as I received any letter from home I would go and show it to him. I am sure he got a lot of information from me about things that he did not have the possibility of getting from anyone else. He would also let me read the letters he received from Baro dada and Mejo dada, my elder brothers. In this manner I also learnt the art of writing letters and he knew that I also needed to learn all these external ways and manners as well.

I still remember that in one of Mejo dada’s letters he had used a phrase which meant that he was slogging at his workplace with a rope tied around his neck. Father repeated a few of those words and asked me the meaning of it. He did not approve of my explanation and offered a different meaning to it. But I had such impertinence that I was unwilling to accept it and argued with him for a long time. If it was anyone else, he would surely have scolded me and asked me to stop, but Father listened to all my protests with patience and then tried to make me understand.

Father even told me many funny stories which included stories about the whims of the rich people in those days. Since the border of the sari or dhoti would hurt their delicate skin, some of these fanciful people would tear the border off and then wear the cloth. Since the milkman used to mix water with the milk, a servant was appointed to look after it. Then another inspector was appointed to keep an eye on that servant. In this way the number of inspectors went on increasing while the colour of the milk turned paler and gradually became as crystal clear as water. When asked for an explanation the milkman replied that if the number of inspectors went on increasing then there would be no other way but to add snails, mussels, and prawns in the milk. I really enjoyed listening to this story when I heard it from him for the first time.

After several months passed by in this manner, Father sent me back to Calcutta along with his assistant Kishori Chatterjee.

.

[1] An early translation of Tagore’s Jibonsmriti (1911, Memories of Life), entitled My Reminiscences, had been done by Surendranath Tagore in 1916 and was reprinted in 1990 by Mitra and Ghosh Publishers, Calcutta. The translation of this particular section has been done by Somdatta Mandal from the original Bengali text.

[2] Gold or silver embroidery

[3] Satyaprasad Gangopadhyay was the son of his eldest sister, Soudamini Devi, and was a sincere student and brilliant in academics.

[4] Chants

[5] A Sikh temple

[6] Hymns

[7] The songs sung by the people of the Brahmo faith and popularised by Tagore’s father, Debendranath Tagore.

Rabindranath Tagore (1861 to 1941) was a brilliant poet, writer, musician, artist, educator – a polymath. He was the first Nobel Laureate from Asia. His writing spanned across genres, across global issues and across the world. His works remains relevant to this day.

Somdatta Mandal is a critic and translator and a former Professor of English at Visva-Bharati, Santiniketan, India.

.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Amazon International

Categories
Poetry

Poetry by Snigdha Agrawal

CLOSE TO HER CHEST

amma's hands
were permanently
stained bright red
as the colour of Lifebuoy cake
smelling
of freshly ground spices
distinctive aromas
caraway seeds, cummin, fennel
chillies, asafoetida, cinnamon
attacking the senses

on the rooftop
under the midday sun
chopped green mangoes
freshly plucked, washed, sun-dried
on muslin cloth
always watchful of the monkeys around
out to destroy her labour of love

this love
found its way into the pickle jars
sold out on Thursdays at the village 'haat'*
unbranded
mango, lemon, gooseberry stuffed chillies
gave fierce competition to the branded

amma's gnarly hands
last seen folded on her chest
stiffened with rigour mortis
locking the recipes never shared

*Amma translates to mother.
*Haat is market

Snigdha Agrawal (nee Banerjee) is a spontaneous writer, writing in all genres, covering poetry, prose, short stories and travelogues.  A non-conformist septuagenarian, she took up writing as a hobby post-retirement and continues to learn and experiment with the out-of-the-box style.


.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Kindle Amazon International