Categories
Stories

The Trial of Veg Biryani

By Anagha Narasimha

A cloud of dust erupted as the grand hall with chandeliers and decorated wall paintings was opened for the first time in a decade. The Council of Biryanis last gathered when they uncovered the advent of Biryani Ice-Cream and passed a unanimous resolution against it. Alas, if only the current controversy were as simple as that one! Biryanis have reigned over the entire region of India for the past one and a half centuries by adapting to the various cultures and traditions in this vast country. As the cliché goes, they have exhibited unity in diversity in the way they have stood the onslaught of noodles, momos, sushis, pizzas, burgers, etc. Yet, it is only now, in the era of social media, that their unity is truly being tested. Finally, they are faced with a bunch of conflicting views that have forced them to resolve it amicably before it takes the form of a full-fledged war.

The reason for the conflict was a simple tweet and the comments that ensued. One of the stand-up comedians, letting go of their fear of being jailed, took a dig at vegetable biryani. Their post read: The world now has 8 billion people and 0 veg (or vegetarian) biryanis”. Nowadays, a tweet is mightier than a tabloid front cover, and that stand-up comedian learnt it the hard way. Meat lovers cheered, vegetarians/vegans booed, and some even claimed their religious sentiments were hurt (stand-up comics keep finding new ways to get behind bars!). Out of nowhere, self-designated linguistic experts showed up in the comments section to provide gyaan[1] on the etymology of the word “Biryani”. There was no dearth of prime-time news hour debates and they all debated the existence of Veg Biryani as that’s what the Nation wanted to know. A combined effect of all these pushed Biryanis to an existential crisis, and they gathered in the grand hall to settle it once and for all by putting the Veg Biryani through trial.  

Mutton Biryani, the proud recipient of the “Most Popular Biryani Award”, sat at the centre of the table, displaying its aristocratic demeanour. Next to it, Beef Biryani sat thinking about the bleak future that lay ahead of it. It held a firm footing in certain parts; Whereas, had no existence, or even shunned because of its existence in other parts. Chicken Biryani sat opposite the Mutton Biryani, eyeing to replace the Mutton Biryani from being the most popular Biryani. Next to it, Fish Biryani sat with a smirk on its face, whose dominance in the coastal region was unparalleled (probably the reason behind the smirk).

While they were growing tired of the awkward silence, our central character, Veg Biryani, who does not command the same loyalty as that of his contemporaries, but manages to be in the good books of all, made its entrance.

“Do not tell me we are here because of the tweet of a buffoon!” Veg Biryani’s frustration knew no bounds.

Mutton Biryani, was ready with a reply in a sonorous voice, “We are afraid that is indeed the case.”

To which, Fish Biryani added, “We have entered the era of social media trial,” which elicited laughter from everyone.

Mutton Biryani quickly brought everyone back to the issue with its question, “So tell us why we should consider you a Biryani?”

For every “Why?” out there, the most convenient answer would be “Why not?” Veg Biryani started with the same. A few minutes of silence ensued, which forced Veg Biryani to elaborate. “The essence of Biryani is in the process of making it in layers. As long as you stick to the process, what you add to it is of no consequence.”

Chicken Biryani intervened: “That’s just one of the ways of cooking Biryani. You have the popular Biryanis originating from Tamil Nadu that aren’t layered.”

Beef Biryani added: “The Bengaluru’s beloved Donne Biryani isn’t layered.”

“So, put them on trial.” Veg Biryani ejaculated.

Mutton Biryani responded: “We are aware of the intersectionality and how different attributes such as place of origin, the type of rice, the spices, the aroma, and various other markers of difference intersect and reflect large social structures of gastronomic preference; However, our current issue is to decide whether meat is an essential and necessary requirement of Biryani?”

Veg Biryani wasted no time replying, “Well, in that case, you should answer that in the negative.”

Chicken Biryani responded, “We would be glad to do that once you present your argument.”

Veg Biryani tried everything at its disposal to not get furious and said, “What arguments are you asking for? This is a classic case of petitio principii[2]– your premises presume the very conclusion that you ask me to demonstrate. You define what amounts to a Biryani. You exclude me from the said definition. Then you ask me to prove why I must be considered a Biryani. This is preposterous.”

Beef Biryani, who was a mute spectator, could not resist its growing frustration at the fact that it had to lose out on a holiday to listen to this and muttered, “At the end of the day we all rely on some preposition which can neither be proved nor be disproved. Why can’t you skip to the part where you actually help us in deciding the issue at hand?”

Veg Biryani sighed and started, what seemed to be a long elaborated speech, “Traditionally…”

Which was cut short by Fish Biryani’s jape, “Traditionally there was no such thing as Veg Biryani.”

Ignoring the intended joke, Veg Biryani continued, “Traditionally, Biryani is supposed to be cooked with the bottom layer containing marinated meat, or any substitute, and the next layer consisting of rice along with all the spices. Remember what it means to be a Biryani. We always stood up to the grand ideals of inclusivity. Biryani finds a place in every household and on all occasions. It can embellish a royal feast, at the same time, satisfy the appetite of a common working human, yearning for comfort food. It can feature in the scintillating menu of a five-star restaurant, and at the same time, be the crowd puller in a small low-key food joint on the corner of a street. It is perhaps the only dish that can be served as breakfast, lunch, and dinner. Demographers refer to it as Omnipresent. It’s preferred all over India – North, South, East, West, and across all castes and religions. Secular in its letter and spirit. I beg you not to limit it to one particular strand of society by snatching away their Veg Biryani from them. Stay true to our vision – ‘Ghar Ghar Biryani Har Ghar Biryani[3].’

“Moreover, seventy per cent of Indians become vegetarians on Mondays or Thursdays or Saturdays. Some on all three days. And then there is Navratri, Shravana, Karthika[4], etc. etc. Don’t they deserve their Biryani during these long arduous days of staying a vegetarian? Do you want to further their suffering by making them feel like they are eating Pulao[5]?

“Now they are coming up with plant-based meat Biryani. How would you classify them? We are living in the era of neo-liberalisation. If you want to be truly global and compete with Pizzas and Burgers, you got to have Veg Biryani just like they have Veg Pizzas and Burgers. Especially when the whole world is going bonkers over veganism…”

Mutton Biryani interjected saying, “But the majoritarian sentiments are against it.”

Veg Biryani continued, “Since when did we start acting as per the majority?”

Fish Biryani said, “Ah, I’m not sure. But, my bet would be, when we accepted democracy.”

Veg Biryani replied, “Oh come out of the fantasy. When has the majority ever taken the right decision? That’s the reason we have this counsel. That is the reason why we have gathered here today.”

Mutton Biryani interjected, “All right. We have had enough. Let’s take a time out and get back in fifteen minutes with a decision.” Mutton Biryani walked out lighting a cigarette.

Veg Biryani, although, made an elaborate argument for inclusivity, somewhere felt it wasn’t convincing. That’s usually the case with ethos. You don’t let lengthy arguments cluttered with jargon cloud your judgment. It is the guiding principle differentiating truth from justification, which is embedded in all of us, where logic or reason holds little or no relevance. Veg Biryani was no different and was aware that the way to win the trial was not through sophisticated arguments. It was shrewd enough to know the politics that led to the trial and decided to play the same game as others in the trial. Chicken Biryani’s ambition to replace Mutton Biryani as the Most Popular Biryani was a piece of common knowledge and all that Chicken Biryani had to do was to push the right buttons to convert that ambition into animosity.

Veg Biryani, through highly reliable sources, got hold of a video clipping where Mutton Biryani displayed its contempt for Chicken Biryani openly. Mutton Biryani was heard saying, “Chicken Biryani was invented out of an accident. They invented it when one fine day there were more guests and they ran out of Mutton. Now this bugger wants to replace me. Biryani is synonymous with Mutton Biryani, and Chicken Biryani exists only because everyone can’t afford Mutton Biryani.” Veg Biryani made sure that the said video clipping reached Chicken Biryani’s mobile and they could hear Mutton Biryani and Chicken Biryani fighting over it outside. Fish Biryani, who was scrolling through social media, and Beef Biryani, who was going through account statements, were surprised that Mutton Biryani and Chicken Biryani were fighting over something as trivial as the result of this trial. Only Veg Biryani knew better and the fight reassured that its status as a Biryani continued un-besmirched. It had made a pact with Chicken Biryani and knew that Mutton Biryani would accede to Chicken Biryani’s demand to avoid a civil war.

Both, Mutton Biryani and Chicken Biryani entered the hall holding each other’s hand, with a hideous grin carved onto their countenance. Although Mutton Biryani wielded authority, it had no option but to pronounce Chicken Biryani’s verdict.

“It’s now time to put this squabble, masquerading as a trial, to rest. Whatever may be the dissensions, the practical needs and the ramification of denouncing the Veg Biryani from our closely-knit community, outweighs the trivial speculation as to the essential attributes of a Biryani; Wherefore, I declare that Veg Biryani…. remains a Biryani.”

Chicken Biryani was proud, Veg Biryani was relieved, and Mutton Biryani was dejected. As they all started to walk out, Fish Biryani proposed to make the concluding remarks. “Well, what I would like to say, gathering all the humility at my disposal, without an iota of intention to hurt anyone’s sentiment, while remaining steadfast to the ideals of truth and justice, upholding the true essence of Biryani, is… Crap! I forgot what I wanted to say…” None even waited to hear what Fish Biryani had to say as they were already at the door.

[1] knowledge

[2] Begging the question

[3] Translates to ‘Every home should have Biryani’.

[4] Festivals where some turn vegetarian

[5] The primary difference between a pulao and biryani is the method of preparation. Biryani is normally more spiced than a pulao.

.

Anagha Narasimha C N, an advocate by profession, is also a poet and writer. His poems in Kannada and English are published in various online journals and he is actively involved in playwriting and theatre production. 

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

Poetry by Michael Lee Johnson

SUMMER IS DYING 
 
Outside, summer is dying into fall,
and blue daddy petunias sprout ears—
hear the beginning of night chills.
In their yellow window box,
they cuddle up and fear death together.
The balcony sliding door
is poorly insulated, and a cold draft
creeps into all the spare rooms. 
 
BOWL OF BLACK PETUNIAS 

If you must leave me, please
leave me for something special,
like a beautiful bowl of black petunias—
for when memories leak
and cracks appear
and old memories fade,
flowers rebuff bloom,
sidewalks fester weeds
and we both lie down
separately from each other 
for the very last time.
 
MEMORIES PAST
(Hillbilly Daddy)
 
I settle into my thoughts
zigzagging between tears
my fathers’ grave—
Tippecanoe River 
Indiana 1982.
Over now,
a hillbilly country
like the flow 
catfish memories 
raccoons in trees
coon dogs tracking
on the river bank,
the hunt.
Snapping turtles
in the boat
offline—
river flakes
to ice—
now covered
thick snow.

Michael Lee Johnson lived ten years in Canada during the Vietnam era. Today he is a poet in the greater Chicagoland area, IL.  He has 284 YouTube poetry videos. He is aa published poet in 44 countries, a song lyricist, has several published poetry books. He is editor-in-chief of 3 poetry anthologies, all available on Amazon, and has several poetry books and chapbooks. He has over 453 published poems. 

.

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

Shadows

Poetry & translation from Korean by Ihlwha Choi

Courtesy: Creative Commons
Many shadows must surround a child for them to grow well.
They should have the shadow of their mother and father,
The shadows of their grandparents should be drawn like the sky's shadow,
The shadows of their aunts, uncles, and cousins,
The shadows of their elder and younger brothers,
All these shadows should be abundant like a harvest,
If there are shadows of their older sisters, older brothers,
It's like a cherry on top.

They should push, pull, turn them upside down,
Step on them, crumple them, and embrace them while playing.
They should fight, argue, dislike the shadows,
Then reconcile, shake hands again, and sit side by side to eat
While saying, "When did that happen?"
They should separate and come out,
And happily, grow alone, enduring solitude once again.

They must have the shadow of their mother and father,
But there are children without the shadow of their mother and father.
Some children lack their mother's shadow,
While others lack their father's shadow.
Without shadows, some children may experience fear.

Growing amidst various shadows, children seek another shadow.
Some seek the shadow of Einstein,
While others blend in with the shadow of Park Soo-geun.*
When essential shadows like the shadows of mother and father are absent,
Who should replace those shadows?
When I didn't have my father's shadow,
My grandfather's shadow stepped in and averted the crisis.
Even children without a grandfather's shadow
Could have their teacher as a substitute.
But there are children without even the shadow of their teacher.

Sometimes, it's difficult to find shadows no matter where you look.
In such cases, you can turn to books,
Because they are filled with shadows of love.
If you grow within those shadows, you will flourish.

*Park Soo-geun: Famous Korean painter

Ihlwha Choi is a South Korean poet. He has published multiple poetry collections, such as Until the Time When Our Love will Flourish, The Color of Time, His Song and The Last Rehearsal.

.

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

Saudade for Sale?

Book Review by Rakhi Dalal

Title: The Wistful Wanderings of Perceval Pitthelm

Author: Rhys Hughes

Publisher: Telos Publishing

The cover image of this book, depicting kangaroo like feet fitted to a patch of land and carrying homes, hopping through what it seems like a desert is as incredible an image as the story that the book proceeds to tell. At first glance one wonders what kind of imaginative world the author has invented and given life to in these pages and where is this thing hopping to and why.

It doesn’t help that the subtitle line reads “The Absurdity of Existence and The Futility of Human Desire”. For as the book begins, we are flung into the realms of a fantastical world swathed up in saudade and encountering bizarre events. Incidents triggered by the bittersweet longings of human heart, which makes the absurdity seem plausible amidst the ludicrous.

Such is the allure of the words crafted by Rhys Hughes. Nimbly, he makes use of the elements of the fantastic, comic and absurd in a highly imaginative setting while focusing on the human condition brought about by an intense yearning for something unattainable or saudade. An English writer of speculative fiction, much like the narrator of this book is, Hughes employs inconceivable ingredients, making this book a fun riot in every sense. Having written nearly fifty books, more than nine hundred short stories and innumerable articles, his style assumes certain effortlessness, turning the reading experience of this book into a marvellous excursion.

The book begins with Perceval Pitthelm, the narrator, arriving in Portugal in the quest of finding a quiet place to live and write. He rents a most peculiar house which arouses his curiosity to know about its history. His search leads him to the former owner old Rogerio, a seller of saudade, who goes on to tell him the tale of the house, originally situated in the town of Kionga in Africa and transported along with the town to Portugal on big hopping legs coursing a journey through the deserts. And thus begins the fantastical tale which not only captivates the narrator but also suffuses his heart with a passionate desire to taste saudade.

The events that succeed set in motion an adventure, taking us onto a journey through sea and desert, by boat employing huge hands, submarines battling giant squidmills and rafters sliding across desert. We witness cheek trees whose petals flush furiously and are accompanied by sweet and painful strains of Fado singing. We behold the play of a cheek tree guitar by giant Django hands and ripping open of Fado singer Cristina into a mist. We bump into a Don Quixote like Captain of the submarine followed by his own Pancho Sanza, on their mission to free the human existence from giant squidmills. We meet Mustapha, the inventor of hopping legs; a cast away on the desert who wishes to have a revenge on the world but instead finds love and goes onto find a quiet place to settle. Towards the end, our narrator, now free from saudade, is left with a bottle of song and the tale he is left with to recount.  

The roller coaster of the ride that this book turns out to be is every bit delightful. In a subtle way, it does lead to contemplation upon the absurdity of human struggle to achieve the impossible whilst all that is needed is a little love and peace.

The book wraps up with a review of the works of Perceval Pitthelm by a reviewer who turns in a ruthless critique, a reviewer who is a large orange gargoyle with three eyes (invented of course by old Mustapha) and who has to write reviews for a living. This critique appears to be echoing Hughes’ own oeuvre of work and a quip on reviewers who put an eternal curse on the readers! A curse, if I may add, from which there is no respite for the readers who stand on the shore of his writing, intoxicated by the desire to delve into the unbelievable world conjured by him. 

Rakhi Dalal is an educator by profession. When not working, she can usually be found reading books or writing about reading them. She writes at https://rakhidalal.blogspot.com/ .

.

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

Wafting in the Breeze

By Ananya Sarkar

A Question I Caught in the Air

What happens when an ordinary person falls in love
with an extraordinary person?
No, wait!
What happens when an extraordinary person falls in love
with an ordinary person?
Does the absurdity of the situation become reason enough
to make it incompletely complete?
Or completely incomplete?

Ananya Sarkar is a creative writer from Kolkata. Her work has been published in various ezines. She loves to go on long walks, cloud gaze and ponder upon miracles. She can be found on Instagram @just_1ananya and reached at ananya7891@gmail.com

.

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
Stories

Am I Enough?

By Sarpreet Kaur

The Call

“Hello”

“Hello, beta[1]. How are you?” a gentle voice of my mother came from the other end.

I started crying.

“Why are you crying? Everything alright na?”

“Maa, you know. Nothing is right. I can’t live like this anymore.” I answered through muffled sobs.

“Don’t you dare to say that word again. If your father hears, you know what will happen. Give it time. It is going to be alright.” she answered with an air of finality.

“How is Ajay?” she asked starting the ‘so-called normal conversation’.

“He is well.” I played along.

“Had your food?” she asked genuinely concerned.

“Yes.”

“How’s the weather nowadays?” she was out of things to talk about now.

“It’s better.” I replied

She concluded the call.

“Never even think about it and take care there is a viral fever around.”

Diary

Hey Diary. My name is Rumi. I am 29 years old. I work with a software company. I am married to a software engineer for the last three years. And I am sad. I have been sad for so long that I think I was born this way but I know that can’t be. I used to be happy. Every weekend I get a call from my mother. It is strictly weekends only as she doesn’t want to be an intrusion in her daughter’s happy married life. After every phone call, my heart shatters into million pieces and the shackles around my wrists tighten a little more. I thought my mother would be the one to have the key to these locks but ironically she pleaded with me to hide the shackles and even forced me to promise never to talk about it.

I know I am too old to be writing in a diary but I don’t have anyone to talk to. No one listens to me anymore. And a few people who listen, they judge me. They judge me at that very instant when I say ‘the word’. The same word that my mother asked me to never mention.

Divorce

I want to shout “I hate my life. I don’t want to live with him anymore. I want a divorce.”

But the voice never comes out. It trails off somewhere. Somewhere dark. Somewhere deep. Somewhere within me.

The Call

“Don’t take it to heart. Stop finding meaning in everything. You have a job. You have a house. You have a husband,” my mother continued the next weekend when she heard a weak hello from my side.

Then came the questions

“Does Ajay ever hit you?”

“No.”

“Does he stops you from working?”

“No.”

“Does he ask you to do something that you don’t want to?”

“No.”

“Then Rumi I don’t understand what is the problem?”

Silence from my side. She reiterated

“Tell me. What do you want?”

“Respect Maa. I want respect.” I answered surprising even myself.

“Huh.” She coughed a sly laughter.

And the line went dead…..

I guess my father must have come in the room.

Diary

“Is this the only way to live?” Tell me diary Is it? I will tell you what happened at lunch today.

Ajay came for lunch.

“Please set the table.” he said while washing his hands.

“The table is already set. I am just coming.” I replied from the kitchen.

When I came back, I saw that he had already started eating. I just stood there with empty plate in my hand. He was too busy on his phone to notice me.

Today is Friday and my mother is going to call again in a short while. The time of call is always between lunch and evening tea. My father is sleeping then you see. And she is going to ask, “Had good lunch? How is he?”

I want to tell her the truth but how will I? How will I tell her that he started eating without waiting for me? How can I explain it to her that he should have waited for me? How can I explain this to my mother? That mother who thinks that first the husband should eat. That mother who takes pride in waiting for her husband to finish the food before picking up her own plate. How can I explain to her when she thinks this is normal? How can I tell her that her normal is not my normal? I want to shout at her and ask her why was she so keen on giving me education? Education that put funny ideas like gender equality in my mind. That evil education that taught me that husband and wife should eat together. Why mother? Why? I also want to tell her about all other moments. All those moments that she thinks is normal and is not a big deal. But mother it is. It is a big deal when he forgets to introduce me to his colleagues. It is a big deal when he cancels movie plans without checking with me. It is a big deal when he is broodingly sitting on the bed by my side but when his friend calls he laughs, shares and smiles.

The Call

“You are still thinking about it and ruining your day. Why can’t you talk happily?” she was disappointed after listening to the same sad daughter voice.

“I am not happy. What part of it are you not able to understand?” I shouted and immediately realised it was impolite and mean. She doesn’t deserve this.

“I am sorry Maa. I really am.”

“It’s okay beta. Just talk to him once. Sometimes the most complex problems have the simplest solutions.”

“Yes Maa.”

Diary

I liked my mother’s advice. So I thought of giving it a go. I made tea. Gave one cup to him and took a sip from mine.

“How was your day?” I initiated

“It was good. How was your day?” he asked

“It was good.” I replied

A long silence.…….

Was it few second or few minutes. I can’t tell. But I can tell that it felt like a very, very, long time.

He made an effort this time —

“How is your new project coming along at work?”

“It’s going great. How are your new clients?”

“They are good.”

A long silence again………..

“We have to go to a wedding this weekend at your aunt’s place.” I informed

“Yes we have to.”

At last we picked our phones, took a sigh of relief and scrolled our evening away.

Diary today I realised something unusual. It is not only him. It’s me too. I also didn’t have anything to ask him. I tried to think. I tried to make a conversation. But my mind was blank. We don’t have anything in common nowadays. I wonder did he also rack his brains to find something to talk about? Was he also as tongue tied as I was?

The Call

“Beta divorcees are given no respect in society. You want respect na? Do you think divorcing will give you respect?” My mother replied in a hushed tone when I again committed the big mistake of saying the forbidden word.

“I know Maa.”

“Food done?”

“Yes Maa.”

“How’s health?”

“Good Maa.”

“Take care. Your father just came.”

“Bye maa.”

Diary

We went for dinner with our friends tonight. It was a good dinner — a fancy restaurant, soft lighting and calm ambience. We dressed up putting in all the efforts we could. We laughed with our friends reminiscing old times, had a good feast but I still came back with a heavy heart. Diary is there some problem with me? Is my mother right? Do I expect too much? I wanted him to complement me on my dress. I wanted him to hold my hand when we entered the restaurant. I wanted him to steal a few glances of my sweet neckline. I wanted a bigger connection diary.

Should I be happy and a little contented that we at least went for dinner?

Is it me?

Will it never be enough for me?

Do I want too much?

The Call

“Maa Is everything alright? Is papa fine?” It was unusual of her to call during a weekday and that too after 8 pm.

“Yes. Yes all good. My sister, your maasi, came today and she gave a wonderful solution to your problem.”

“What Maa?” I asked and instantly regretted.

“Have a kid and everything will be alright beta. Just have a kid. The relationship will improve and you will have a happy family then. Being a mother is the most rewarding thing. You will get all the happiness and respect that you seek from your kid then.”

“Like you are getting from me Maa.” I snapped and then realised that Ajay was looking directly at me. I was so startled when I saw my mother’s call at this hour that I forgot to get up and go out in the balcony like I usually do. I guess, he must have heard what she just said. My phone’s volume is always on blast and clearly audible to the person sitting next to me.

“Shit!” I muttered.

“Okay Maa. Good night now.”

No Mother No Diary Just Us

He looked at me. I looked at him. For the first time I could see that he wanted to talk. For the first time I was eager to talk to him. And we did. We talked. He talked keeping his ego aside and I talked keeping my self-respect at bay.

“Let’s get divorce.” he blurted out.

After a brief pause, he continued —

“I don’t want to bring a new life in this world. It’s a sad world. We made it sad. I. Sorry. I made you sad. You deserve happiness. I am not a bad person.”

He produced these bits and pieces. His eyes cast down, he played nervously with his ring finger.

“I am sorry. Really. You deserve all the happiness too. I am also not bad. We are…,”

I choked

“We are just different.” he completed.

That day he gave me the key to my shackles. Then he stretched his own arms in front of me and for the very first time in our whole married life I saw a big chain around his wrists holding on to an even bigger lock. Was I too blind till date to see his shackles? And then I felt something in my back pocket. It was the key to his lock. I smiled and handed it over.

Diary

Sometimes it just doesn’t work. There isn’t always a ‘Victim’ and a ‘Devil’ in a marriage. Sometimes it’s just a bad marriage. Sometimes it just doesn’t work. Today I give priority to happiness rather than some worldly opinions. If that makes me selfish then – Yes! I am selfish. I am selfishly happy. 

[1] Child

Sarpeet Kaur is a writer based out of Mayabunder, Andaman and Nicobar Islands. She has worked on many projects dealing with the islands. She likes to capture the colourful cultures of India, enigmatic human emotions and flawless nature in her words and lock them forever into bundles of pages.

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

Naïve are the Phosphenes

By Saranyan BV

Naïve are the phosphenes

Asleep, when our eyes close,
It is not darkness as we imagine --
A night of timelessness and of starry wisdom unfolds,
In whose halcyon ambience,
Eyes link to ears to
Compose lilt-lyre music of intriguing feathers.
The mind is more alert than when we are awake.
The kind breeze throws up phantasmagorias.
The swank phosphenes,
Unlimited by and native to parameters of the iris’s womb,
Rove with infinite images,
Roving the planet and roving the universe,
Chariots of legitimacy, more beautiful than the colours of rain --
Naïve are the phosphenes, that we have seen, known and never embraced. 

Saranyan BV is poet and short-story writer, now based out of Bangalore. He came into the realm of literature by mistake, but he loves being there. His works have been published in many Indian and Asian journals. He loves the works of Raymond Carver.

.

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
Stories

Muhammad Ali’s Signature

By S. Ramakrishnan, translated from Tamil by Dr B. Chandramouli

The man was around 30. He had sleepless eyes, unkempt hair, and pale lips. He had on a grey half sleeve shirt and blue pants which did not match. Wearing rubber slippers with frayed edges, he was carrying a cloth bag, which he guarded closely on his lap, as if it contained a rare object. Because persons like him were a common sight at the taluka[1] office, no one paid him any attention. He had the hesitant look of someone about to request a loan. He was sitting in a slanted position leaning on his right leg.

The taluka office assumes a relaxed atmosphere during lunchtime. Losing its stiffness, it becomes more like a public library. Workers smile; you can talk to them easily. Maybe he was waiting for that stretch of time. They had built this new office with three floors on a side street near the end of the overhead bridge. When you think of a taluka office, you get the picture of a dusty neem tree, dirty steps and semi-dark rooms; this building was not like that. But there was a jeep blocking the entrance and abandoned bikes that reminded of the old office.

Most government offices did not have lifts; even if they did, they did not work. This office also had only a big staircase. While climbing the stairs, you could see a big government poster pasted on the opposite wall. The office had big windows, like in wedding halls. One worker who did not like too much light had opened only half of the window near his seat. During lunchtime, there was big traffic of vendors: Bagyathammal who sells hot murukku in a silver bucket; Muthu, who sells sweets and snacks; Kasim, who sells towels and lungis, and Kalaivani, who sells nighties and cotton sarees. The workers at the office were their favourite customers.

They continued to visit, even though the office had moved. Especially, Kesavan who sells the hot coconut sweet ‘boli’,  had a free run of this office; he would enter regardless of who was there. He will place two bolis wrapped in newspaper on the Tahsildar’s table.

Bagyathammal  could climb the stairs slowly only because she was overweight  and also had a corn on her foot. They would know of her arrival just by the noise the silver bucket made on the steps. Many workers would be satiated only after munching on her murukku after lunch. They had a water cooler for cold water, which the old office did not have. Kasim would always fill his green bottle with the cold water. He would relish drinking that cold water with a unique expression of bliss on his face. Except for the boy from the tea stall opposite, and Subbiah from the xerox store, most people who came to the office were there to get certificates for caste, income, residency or land ownership. You could easily identify them by their looks. Being nervous, they would drop and scatter their certificates; some could not even answer the questions.  Though all the wooden tables were similar, only the table where the officer received the petitions would appear huge to them. Even the leaders in the pictures hung on the wall were unsmiling.

After lunch, many of the workers would not return to their tables immediately. Some would go downstairs to smoke. Raghavan, who was going downstairs, noticed the man sitting aslant.

“What do you want?” he asked while passing.

When the man hesitantly said, “You see.., I.. well,…”

Raghavan told him, “Go inside and ask.”

Some workers had returned after the lunch break.  Jayanthi was keeping her washed tiffin box near the window. The man stood in front of Sabapathy’s table and called out — “Sir…”

.

Sabapathy was searching for a pin to use as a toothpick. Thinking that the man was selling some snacks, he asked, “What did you bring?”

The man produced an old photograph from his bag and said. “Muhammad Ali’s photo.”

Startled and uncomprehending, Sabapathy asked, “What is that?”

“Muhammad Ali Sir, the world famous boxer. My father is the one standing nearby; see here, it has Muhammad Ali’s  signature at the bottom.”

“OK, but why are you showing it to me?” asked Sabapathy, not understanding.

“They took it when Muhammad Ali came to Madras.”

“That is all fine. Are you here to give some petition?”

“I came to sell Muhammad Ali’s signature, Sir,” he said hesitantly.

Sabapathy did not understand what he said.

“Selling a signature?… But what can I do with it?” asked sarcastically.

The man hung his head and said, “It is a very valuable signature, Sir. I have money problems at home; that is why I came to sell.”

Sabapathy smiled sarcastically, as if he has found the right person to pass the time with and said, “I know nothing about boxing. See Sekhar in the corner seat? Show it to him.”

Sekhar was the one who can get a loan for anybody in the office. Nobody knew where he got the money from. But he would get a commission of Rs50 for every Rs1000.He had loaned many of his colleagues money during contingencies. He would strictly collect his share on payday.

The man went to Sekhar and showed him the old photograph.

Sekhar  looked up at it and asked thoughtfully, “Do you want a death certificate?”

“No, Sir; this is Muhammad Ali.”

“Muhammad Ali means?” Sekhar asked, confused.

“Famous boxing champion; he came to Madras in 1980. He boxed with Jimmy Ellis in front of MGR. My dad was a big boxer in those days; he lost one eye in boxing, but could still fight very well. Muhammad Ali himself had congratulated him. They took this photo when Muhammad Ali was staying  in Connemara hotel. There was a huge crowd to see him. My dad was waiting to get his signature on this photo. Muhammad Ali himself took him to his room and signed it for him. My father was thrilled.” he was narrating it like a story.

“Just tell me what you want now,” said Sekhar.

“Please buy this signature. All I want is Rs 500.”

Sekhar did not expect this.

“What am I going to do with this — clean my tongue?” Sekhar asked angrily.

“Do not say that Sir. Muhammad Ali’s signature has value.”

“Let us see how many people in this office know who Muhammad Ali is.” As if taking up a great challenge, Sekhar grabbed the photo from the man and gathered all the office staff in front of him.

Sekhar said in a mocking tone,

 “If anyone can correctly identify the man in this photo, I will give the person Rs100.”

One lady asked, “An actor?”

“There is a tailor in my street who looks just like him; his ears are exactly like his,” said Jayanthi.

“Isn’t he the football champion?” asked Mani.

Rangachari was the one who correctly said.

“That is Muhammad Ali, World heavyweight boxing champion. He was born Cassius Clay; he later changed his name to Muhammad Ali.”

“Correct Sir; and it is his signature. At least you can buy this.”

“I do not  even have enough time to box with my wife; what am I going to do this? If it was a foreign stamp, at least I could give it to my daughter,” said Rangachari in a mocking voice.

“Do not say that, Sir. I can cut off my father’s picture. Please give me Rs 500,” the man pleaded.

“Five hundred rupees is too much for a signature,” said Rangachari.

“You people demand like that too,” he thought. But he swallowed the thought and said, “If my dad were alive, he would not sell this.”

“It is alright if you want to sell, but where did you come to the taluka office?” asked Rangachari mockingly.

“You are all educated people. I thought you would know the value of this.”

“Forget the signature; you see, even if Muhammad Ali himself comes here, there is no value.” Rangachari laughed automatically, as if he has cracked a joke.

Meanwhile, hearing some footsteps on the stair, peon Munusamy announced that the Tahsildar[2] has arrived.

The safari suit clad Tahsildar Rathinasamy must have noticed the man as he went to his room. He rang the bell as soon as he sat down.

Peon Munusamy hurried into the room.

“Who is that guy standing outside? Is he selling perfume? I told you not to let people like that.”

Munusamy said, “He is not selling perfume, Sir; he came to sell some photo.”

“Ask him to come in,” the Tahsildar said angrily.

The peon told the man who was standing helplessly that the Tahsildar wanted to see him.

The man entered the room slowly.

The Tahsildar asked him with a stern face, “What is this, a marketplace where anyone can walk in and sell stuff? Who are you and why did you come here?”

The man was scared at his anger and hesitantly said, “Muhammad Ali’s signature…photo”

“Ask S1 to come in,” said the Tahsildar angrily.

Sabapathy came.

“Is this a government office or an exhibition? How did you let this man in?”

“We thought he came to give some petition. But he is spinning a yarn about a photograph.”

The Tahsildar said loudly “We should not leave it like this; you call the police. If we grab someone like this, the next one will be afraid to come.”

The man said with a troubled face, “Sorry, sir. I will leave,” he turned to walk out.

“What do you have in your hand? Show it to me.” the Tahsildar asked with the same anger.

The man showed him the photo with Muhammad Ali and his father.

“Did you come to get a donation?”

“No Sir; I came to sell Muhammad Ali’s signature,”  he said in a weak voice.

“Don’t you have some other place for that?” the Tahsildar threw the photograph on the table carelessly.

“It is alright  sir; just give me the photo; I will leave”

By this time, Rangachari had entered the room and described about Muhammad Ali in fluent English; the Tahsildar listened, only half understanding.

“Who will buy this?”

“There are collectors for this. You can get for 5000, or 10,000 rupees for that.”

“Is that right?”

“Severe money problems at home; that is why I came to sell.” the man repeated.

“What am I going to do if I buy this?  I do not even have a place to hang my picture at my home.” the Tahsildar expressed his sense of humour with that statement.

At his juncture, Sekhar  came to the office and said, “It is a new type of fraud, Sir. They print a picture off the internet and try to sell it.”

“No Sir. This is my father.”

“Do you have any certificate to prove it?” asked Sekhar.

“Why should I deceive you, Sir,” the man asked pitifully.

 “Sekhar is correct.  Nowadays, it is difficult to trust anyone; we should be cautious,” said Rangachari.

“Get rid of him and post a notice saying no outside persons are allowed here.” said Tahsildar.

The man took the photograph from the table and placed it in his bag, and  walked downstairs.

An old man waiting to submit some petition asked him if the Tahsildar has arrived. He answered yes and left.

It was after three. He felt like fainting because of extreme hunger. The street was hot in the scorching sun. There was no breeze. He walked towards  the bus stand to catch a bus to his suburban home.

 Suddenly the bag in his hand felt heavy. It sounded as though someone was laughing.

Was that Muhammad Ali laughing?

 It was as if his arm was  being dragged down by the heavy bag.

He took out the photo and looked at it. His father’s face standing near Muhammad Ali had a unique smile.

He was wondering what he is going to do by taking the photo back to his home.

There was a tar drum standing under the tamarind tree; it was leaking tar. He took out the photo and stuck it on the tar. Muhammad Ali was looking at the street baking in the scorching sun from the photograph stuck to the tar tin.

As if to express his anger, he shrugged off his slippers and started walking barefoot at a fast pace.

 The road stretched like the tongue of a strange beast.

.

[1] regional

[2] Collector

S. Ramakrishnan is an eminent Tamil writer who has won the Sahitya Akademi Award in the Tamil Language category in 2018. He has published 10 novels, 20 collections of short stories, 75 collections of essays, 15 books for children, 3 books of translation and 9 plays. He also has a collection of interviews to his credit. His short stories are noted for their modern story-telling style in Tamil and have been translated and published in English, Malayalam, Hindi, Bengali, Telugu, Kannada and French.  

Dr.Chandramouli is a retired physician.. He is fluent in English and Tamil. He has done several English to Tamil, and Tamil to English. He has published some of them.

.

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

Born To Be Me

By Rachel Jayan


Let no one tell me I'm falling short 
From expectations I so fiercely fought! 

Let no one tell me who I am 
Only me and the great 'I-am' --

Free from my chains, 
And free from pain.
Free to love my skin,
And free from so called sin.
Free from creed and colour
And free to find my Anchor!! 

I was born to be free! 
I was born to be me! 
I'm all of the above
And more than your eyes can see! 

I am my Father’s Daughter
And I just can't fall short! 
I don't want to measure up! 
And I don't want to match up!
I was born to be free!
I was born to be me!

Free from expectations I so fiercely fought --
Let no one tell me I'm falling short!! 

Rachel Jayan is the head of the primary school at Indus International School, Bangalore. She is a passionate educator who wishes to see a transformational change in her students. She believes it is important that each individual makes time to reflect, introspect, apply, express and inspire others to make, and be the change they wish to see in the world today.

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

The Seduction of Words

Book Review by Basudhara Roy

Title: Meanwhile

Author: Prerna Gill

Publisher: HarperCollins India

There are many places that poetry comes from — desire, death, dream, memory, sharp sensuous apprehension, the wrist-grip of language’s freedom and magic, the joys and fractures of the world that we engage in everyday, the necessity to commit to paper (or to posterity) what weighs upon the heart or head, the existential imperative to express, or the naïve hope of making the world a better place.

In general, the act of poetic creation draws its sap simultaneously from several of these sources. Many a time, however, one of these inspirations is bound to tower over all the rest. In the case of Prerna Gill’s Meanwhile (HarperCollins, 2023), the mysterious seduction of words combined with an urge to dress the world in impenetrable veils of meaning by conscientiously shuffling the charted signifiers and signifieds of language, seem to offer the veritable will-to-poetry.

One is drawn to the studied casualness of the title which, with its quiet, meditated understatement, purports poetry to be a by-the-way affair, a random afterthought. Nothing could be farther from the truth. In the title as well as in the book as a whole, there is a skilled juxtaposition of two contiguous temporal frames — the physical and the psychic. The physical frame is the one in which the seemingly significant events of life take place. The psychic frame constitutes the ‘meanwhile’ of poetry.

This ‘meanwhile’ is not to be treated lightly for it is in these pockets of found time that the actual business of confronting the self for survival takes place. Here is a drawn-out negotiation with history, experience, emotions, pain, and trauma, and a poignant reconciliation with each of them. The psychological explorations of the ‘meanwhile’ in this collection are all-absorbing and have the potency to completely obstruct, offset and vanquish the eventful flow of physical time — “it’s always hungry in here” (‘An Hour Stays’). Nevertheless, this is not allowed to happen and both frames persist together, their density often overlapping.

If one pays sufficient aural attention, there is to be heard a silent ticking within Prerna’s poems, a tense balance between the physical or material and the psychic or mental, that threatens at any moment to collapse – “I sink through deep green waters/ To a cement floor buried/ Under boxes, old chairs, a pantheon in a funk” (‘Visit’). The fifty-nine poems in Meanwhile, then, manifest themselves as an acknowledgement of this essential fragility of time, balance, and life — a realisation that if the mind’s playhouse is affected or darkened, the lights in life’s theatre will inevitably be extinguished.

In the author’s words, the book is “an attempt to understand the less-than-shiny things that I can’t quite ignore any longer. The everyday things. The things that let the shadows in.” The paradoxical nature of time, emotional spontaneity and polyphony, the weaving/unweaving of the self, its fragile alignment/dealignment with the world, and the conglomeration of being constitute the thematic canvas of these poems. The cover image of a huge butterfly replacing the forehead and eyes of a human (woman’s) face looms to significance here. The symbolic suggestion of an alternative (inward or non-human) vision is hard to rule out (for animals occupy an enviable space in many poems of this collection) even as one is brought to mind of the butterfly effect of causation that operates, perhaps, most relentlessly in the headspace.

The acuteness of experience, the intensity of its processing, and its configuration through terse but often abrupt and abstruse images constitute the three essential prismatic walls of Meanwhile. Here is a carefully constructed theatre of the mind where lights and sounds radically transform in meaning through connotative and symbolic suggestions. In much of Prerna’s poetry is a semantic and narrative inscrutability that seems to operate as conscious poetic strategy. In the noumenon of these poems is both illumination and construction. Language is both torch and subterfuge, revelation and concealment, statement and retraction so that travelling through these poems is to traverse an experiential space that is deliberately half-lit.

In ‘Unmasked’, the poet writes:

Glaucous moon shivering inches of glass 
She cuts her shape, cuts at it in echo 
Grows it asking after her sons and rent 
The possibility of rain and grandchildren 
And if they glimpsed her first body 
In birthmark, headline, running stitch 

Here, as in many of her pieces, the real and the surreal walk together, undistinguished. In ‘Chedipe’, for instance – “Never could tell if she first saw him/ From behind green bottles or tall grass” – the atmosphere often turns disturbing and sometimes, singularly acherontic. In ‘Tributary’, the witnessing of the phenomenon of death opens a startling avenue of perception:

Until his splintering close enough to see 
How easily a tributary is made: 
A young man slipping from the course of the day 
His hours held close as cards

In these poems’ handling of the self as subject, one finds little narcissism. The mind that is sculpted by particularity of experience, memory and upheaval of feeling is, to be sure, intensely subjective and yet, the distillation of these experiences in poetry makes way for a rich reading. What animates these poems and renders them more than abstract musings of an idiosyncratic mind is their keen and devout understanding of life’s complexity, its essential sense of injustice, and its brief but significant redemptions – “days pressed to currants between/ Pages folded for the edge of winter/And winters still” (‘Ant, Grasshopper’) or “Things of a hard blue sky yearn/ For the only light they do not share” (‘Before This Summer’) The use of short, clipped, often dramatic sentences; the frequent avoidance of punctuation; a polished, urban vocabulary; and an essential belief in the lability of time chisel these poems into pieces reflective of a deeper and highly nuanced reality of the mind as of the world.

The collection has several memorable poems. ‘Bucketsful’, for instance, brilliantly conjures childhood memory, loss, diminishing, and incommunicability through the bulbous image of frogs “Leaping to the rim/ Like it knew a boiling hurry” and ends with words that “balloon my throat and the only ones who would understand them/ Have long skipped town”. In ‘Trees’, the “verdant announcements” of foliage are capable of sustaining life despite its monotony – “Allergies, dry cleaning, soup” so that “in one glance/ The world becomes/ Leaves”. ‘Autopsy’ builds itself around a single cinematic image – “The naked bulb above the table/ Flickered too much” and as a verb, can symbolically extend itself from a person to a situation to life itself. ‘The Dollmaker’, one of those poems that makes the act of reading this collection inseparable from the recognition of the author’s experiences as a woman in the world, skilfully builds up the automated rhythms of a woman’s being in a sexist universe.

Meanwhile, thus, offers a whole new world for our absorption, intriguing in its opacity, and plumbing a depth that is accessible only to those who are prepared to lose themselves in the sharp silhouettes of its images. Here is the gradual but steady eclipsing of material geography to throw light upon the imperialism of the psyche and in this, there is a fine and fluid celluloid effect at work. On the wide screen of language, Prerna’s images travel with a terse celluloid confidence – aware, both, of being and non-being, of leading the reader through a range of signification that can never be pinned down to conclusion, of living a lie and yet upholding the truth.

As a debut collection of poems, Meanwhile stands out for its innovative experimentation with language which borders, often, on the existential, as if sanity and survival depended upon these elaborate linguistic disguises — the trickery of words, the enticement as well as the connotative distance of images, and the impossibility of locating a referential kernel to crack. In the measured pace of Prerna’s poems is a chromatic adventure that navigates the complex terrain of human emotions via a symbolism of shape, feeling and colour illuminating the little-known multiverse of the subconscious – “Square fingers running a pen/ Over prescription or continent” (‘Maps’) or “You, with nights under your fingernails/ Tell no one how it happened” (‘Black’).

In the excavated or found space of ‘meanwhile’ flows a continuous and consistent dialogue between the various selves – the past and the present, the mentor and the mentee, the seeing and the knowing, the forgetful and the cautious, and so on and so forth. When this space transforms itself into the intersubjective bond of poetry it becomes therapeutic, healing both the speaker and the listener from a pain that is deeply shared as inhabitants of a difficult world — “Some mornings I think of a rabbit with orchid ears/ The stray toms left her in a pit in my stomach/ Filled with lettuce and sweet straw (‘Keeping’) or “In this way, we are brittle femur/ And like this, we are sky” (‘White’).

The world will, perhaps, continue to be what it is. Meanwhile, here is a book that promises to be a friend.

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