Categories
Humour Poetry

Sticky Myths

Rhys Hughes takes us through Greek mythology with his own brand of humour blending the past and the present

  
         1
 When Bellerophon
      saw a unicorn
 upon his lawn
 he was somewhat
      disappointed.
 “I have no wish
 to make a fuss,”
 is what he said, “but this
 is the day appointed
     for me to receive
       a visit from
 Pegasus instead.”
  
         2
 Hydras are bad
 in Hyderabad
      or so
 Hercules has heard.
    Needless to say
 he therefore
       plans
       to go there
              gladly
 on Pegasus Airlines
       but not before
 he goes to Goa
 because he badly
     needs a holiday.
 What a legendary chap!
  
        3
 In order to earn
 money as well as learn
 something, while
 writing her thesis on Theseus,
 Ariadne works  
     as a guide
     to sightseers
     and gives them
 a Minotaur of the famous
      labyrinth.
  
         4
 Sovereign of dolphins,
 king of the waves,
 the god of the sea
       makes bubbles
 without any trouble
 when he plays the flute
       as he bathes.
 And jazz in the oceanic
 jacuzzi is cosy
      and groovy
      but the melody
 is unfamiliar to you.
 Yet I can name
     Neptune in one.
  
        5
 There’s a Zeus
 loose about this house,
 his thunderbolts
 will cook your goose,
 assuming that
     you are unlucky
 enough to have one.
 But even if you don’t,
 when you hear
    him stir,
    it’s better to duck!
  
         6
 Simple arithmetic
 ought to be taught
     in the schools
 that heroes go to,
 so they will know,
 without any doubt,
 that one minus one
      equals nought.
 The stealing of
 the Golden Fleece
    celebrated with
     a premature feast
 in the near vicinity
 of the daring theft
 adds up only to trouble.
      Sail away first
 before slaking your thirst,
 sail far from the
      hostile nation.
 But enraptured by wine
 and more potent brews
 Jason plus crew
      (that fiery few)
 are captured and thrown
      into jail. 
 While serving time,
 forget the blue sea,
 remember instead
 all that you learned
 about subtraction
 and count down the years,
       one minus one
 equals nought, a free
       Argonaut…
 and that is the sum
      of this tale.
  
          7
 Atlas, holding up the sky,
 looks and sees
 aeroplanes flying by
 around his head
 and through his legs,
 the passengers
 respectful to his
 massive thighs
 but oblivious
 of his giant sighs.
  
          8
 Pan in the kitchen
 clattering pots
 and chopping boards.
 What’s the god
 of nature doing
 indoors? He’s frying
 so hard to be
 a domesticated chap,
 that’s what!
 A non-stick goatish
 do gooder with
 a skillet skill set.
  
         9
 Prometheus on
     the promenade
 walking in
     the shade of trees
 no longer gives
     away anything
 to humanity
    for free, not even
 lemonade: those
     days are over.
 Now he hopes
     to make money
 and only offers
    his fire for hire.
  
          10
 Socrates was such a tease
 in the market square.
    He doubted this
 and questioned that
     until some people
 had had enough.
 They felt he mocked
     their authority
     and in a cup
 of hemlock they turned
 a key, the skeleton
      key of his mortality.
  
         11
 While the rock
 goes up his socks
 fall down. Poor
    Sisyphus!
 When the rock
 rolls down his socks
 are quite forgot.
 Mighty but mild
    Sisyphus!
 As the moon goes up
 his efforts are
 with moonlight
 flooded thus. Don’t
 make a fuss, old
     Sisyphus!
  
        12
 A cyclops is like
 a bicycle headlamp
 coming the other
 way. We meet them
 on country roads
 at night when we
 are cycling far away.
 “How do you do?”
 we always ask
 as we zoom past
 very fast, but they
 never deign to reply.
 They just hiss
 and wink darkness
 back to life and
 softened by gloom
 or the glow of
 the moon they
 become rather more
 beautiful. Now
 there’s a cyclops for
     sore eyes!
  
          13
 Icarus upstairs
 on the omnibus.
      His wings
      were things
 that fell apart.
 Some people fly
 for business,
 others for sport:
 But since his
 accident Icarus finds
 that he prefers
      public transport.
  

  
   

Rhys Hughes has lived in many countries. He graduated as an engineer but currently works as a tutor of mathematics. Since his first book was published in 1995 he has had fifty other books published and his work has been translated into ten languages.

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Categories
Poetry

The Plough is Beaten

By Sabreen Ahmed

The Plough is beaten

They till the barren Earth.

They sow the seeds of green.

They reap the fruit of gold.

Yet all they hold is

 a meagre gain—

Undaunted they

move on even if

the plough is beaten or

the soil is smitten

with their blood and sweat.

Others nonchalantly devour

their harvest.

We stand hands tied

with not enough solidarity

with not enough gratitude

with not enough empathy

for the cause they fight

in cold, dust and hunger

with solid acumen of faith

for rightful justice.

Across Bhupen Hazarika Setu at Dhola

The long bridge on

the luminous waters

of the ancient river

erected between

the hills of

 heart and home

is the distance of a hidden

thousand leagues both seen

and unseen in the

car’s speedometer

with race, brakes and starts

like the speed of

many marathons across

the lovers heartbeats.

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 Sabreen Ahmed has received her PhD from Jawaharlal Nehru University, New Delhi in Feb 2013. She writes for various webzines and newspapers and has published an anthology of poems entitled Soliloquies(2016). Currently she teaches in the Dept of English, Nowgong College, Nagaon, Assam as an Assistant Professor.

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Categories
Ghumi Stories

The New Year’s Gift

By Nabanita Sengupta

Ghumi was in an uproar! The small township was suddenly awake with whisperings in every nook and corner and accompanying giggle or exclamations. The rumour mills had started running overtime, churning out spicy tidbits at small intervals. In the freezing winters of this green plateau, people relished those piping hot juicy nuggets of gossip with their steaming cups of evening tea or under the weekend sun. The quiet and sleepy region had suddenly turned chirpy and each gatherings of its inhabitants were spiced up with perky speculations and tangy bits of news. It was not everyday that some scandal of this magnitude shook Ghumi.

For the routine bound life of the Ghumians, unshaken by any happenings more interesting than the Sunday bazaar or a community movie night, elopement was a scandal that had the capacity to take the town by storm. And that’s what it did. It took the area by storm — a storm that literally brewed in teacups and coffee mugs.

Even the winds of the place whispered — Mrs Aggarwal had eloped with Mr. Ghosh!

The club corners, pool sides, badminton court, card tables were humming loud. Even dinner tables with couples who otherwise had got used to the everyday silence struck up conversation. Well, that was a positive side of rumour. It often rejuvenated the dead river of communication between people who had nothing new to say to each other.

Mr Agarwal was a senior manager in the company. Quite innocuous in his commonness, he had an amazing capability to blend in any kind of gathering. So plain he was that no one ever noticed his presence or felt his absence. His usefulness was felt at gatherings whenever there was a member less than the required number. So, he could easily pass on as the fourth hand at card game or as a partner for a round of badminton or to fill the gap at the pool table. But no one had ever associated anything drastic with this non-confrontational, calm and quiet person. He was indispensable to Ghumi in his own ways. No one could challenge his efficiency at his workplace, and none could barbecue chicken as succulently as him. So naturally none of their club parties could be complete without him. There was not another hassle-free soul like him in the whole of Ghumi. His wife, on the other hand, was a different story altogether. The young, chirpy, stylish woman of fifty could easily be the centre of any gathering. At the same time her quick tongue could easily lash out at any moment, making her quite a bundle of opposites.

That fateful day, Mr. Agarwal had gone to his neighbour’s house in the evening, looking for Vineeta, his wife. They had had a spat in the morning before he left for office, a continuation of a difference of opinion that had cropped up a few days back. Now, on his return, he had to enter the house using his set of duplicate keys as no one answered the doorbell. He had thought initially that Vineeta must have gone to some friend’s place but when even the mobile phone responded switched off, he was a bit worried. In Ghumi, words travelled faster than wind and by late evening all of the township, knew the tale of the missing wife. This was the second time that such an event had occurred. Though the first time the gossip mongers had been proved woefully wrong, it did not dampen their spirit. This time once again they kept adding fuel to fire.

Only Raya and her family did not join the bandwagon. They maintained an uneasy silence, distancing themselves from the whole brouhaha. Being on the receiver’s end once, they could feel for the person concerned. Such gossips were always associated with public disgrace. But that’s a story for some other time.

There was a crisis brewing at Ghumi club house. Every year Mr Agarwal would oversee the arrangement for the New Year party. No one was as perfect as him when it came to estimation for the feast. Hence, he was the one who decided upon the quantities of mutton or rice or other ingredients required for the New Year’s party. But this year, with the racy gossip doing the rounds, none knew how to ask him about it. There was of course still a couple of days left before the New Year. The shopping for the party was generally done on the morning of that day itself. Still the panic button had been pressed and no one knew how the crisis would unfold. Added to rumours about the elopement, were the speculations of a spoilt feast. Both these stories kept the Ghumians quite busy.

*

The moment she stepped out of her house, Vineeta felt lighter. An oppressive thought was weighing on her mind since the day she had seen Phuli. She had seen the girl being beaten black and blue by her mother for not cleaning the utensils properly. There were a few jhuggis* huddled together in one corner of the estate where the Agarwals and other families of the management executives lived. The jhuggi dwellers catered domestic help required by the residents of the estate. Vineeta had to cross the jhuggies quite often on her way to meet friends or to go to the temple or club. Whenever she walked along that area alone, she stopped to talk to the little boys and girls who played bare feet and were raggedly clad. She loved the innocent bantering with them, at times even gave them some toffees or biscuits that she would be carrying from home. Over the years, she had grown to know each of them by name and any addition to the brood did not pass unnoticed.

She had also seen children, especially girls being ill-treated by the mothers. Though she had tried to intervene at times, it didn’t yield much result. Slowly she learnt to accept it as a part of their lifestyle. Just as she had accepted the club, the kitty parties, as a part of hers. At times, remembrances of scenes from the past did upset her. But she had learnt to cope with it. Overall, she was a happy woman. Her nature did not allow her the leisure to crib over her past. She knew she was quite admired, and she did enjoy the harmless attention that was bestowed upon her. Yet somewhere lurked a thorn of dissatisfaction, a yearning for a space that was her own, a self-created identity. Despite that nagging she had moulded herself to this life of sedentary existence, soaking herself in the natural beauty of Ghumi.

And she would have continued to live so had she not seen Phuli that day, shivering and still being beaten by her mother. That sight snapped something within Vineeta, pulled her out of a dormant existence she was slipping into. She rescued the girl from her mother’s mad wrath and took her home. Once stopped, the mother also realised the extreme to which she had gone. Vineeta knew these girls had to bear the brunt of their mothers’ frustrations. Women in these shanties lived a life much harder than she could ever envisage. Defeated by life, their menfolk took out their disappointments by keeping their women terrified and these women in turn let out their steam on the children, particularly girls. The boys here were still slightly better off by virtue of their gender. Bringing Phuli home had led to the most bitter spat of words.

It was only at certain times that the otherwise calm and benevolent Mr. Agarwal erupted in anger and one of those times was when he felt that his authority was being challenged at home. The master of the house had always let Vineeta do things her own way, till it came in his. Phuli stood for all that he hated or perhaps feared. The deprivation, the squalor, and above all, the disruption of a system that he had closed himself in. it was the first time too that Vineeta felt the need to stand her own ground. Phuli was fed and soothed and sent home as soon as Vineeta felt the storm brewing. And she prepared herself for the impending outburst. It was still a mystery to her how a publicly affable person like Agarwal could be so venomous during his occasional outbursts at home! Anyway, being experienced in the ways of her husband, she was already prepared with her answers and this time she too did not mince words. She had decided on her course of action and needed a few days to organise everything. That new year she wanted to begin with a new chapter, the old had to give way to new.

Vineeta kept thinking all these as she sat in the car with Sushrut Ghosh taking the wheels. Monty, the neighbour’s son, had seen her carry the bag and get into the car. She immediately knew that Ghumi will have a story for their evening tea. She smiled to herself, with a fondness of the matured for the inane. She loved the place but was aware of its faults too. She was also confident of the inherent goodness of the inhabitants. It had been a difficult task convincing Mr. Ghosh to her plan. She had to use all her arguments and persuasive skills to embark on this journey. She had not said anything to her husband; serve the old man right she thought to herself. And as the car moved ahead, she felt strangely liberated.

Their first step was going to be the most difficult one. They drove to the block development office to seek the required permission. The officer was a middle-aged person and quite positive in his approach. He was more than willing to cooperate with Vineeta and Sushrut. He also gave them relevant papers and explained the process, which though a bit tedious, as all government affairs were, was not impossible. Once out of the office, the magnitude of the project they were about to undertake stuck them. And both remained in silence for a long while, sitting quietly inside the car, each one deep in contemplation of the future, before they had the courage to utter a single word. Neither of them wanted to return home immediately for reasons of their own. Vineeta wanted to give herself some space before confronting her husband and Sushrut did not want to return to the loneliness of his apartment.

It was only then that Vineeta suggested that they drive down to her parents’ place, some 3-4 hours’ drive from there. Sushrut could spend the evening and drive back by night. His work as a security officer in the explosives’ factory at Ghumi had familiarised him with the area and driving back at night would not be a problem at all. The next day being a weekend, he would laze in the house. This would help them maintain the secrecy they wanted to till the New Year just in two days’ time.

Meanwhile in Ghumi the rumour mills worked even on the following day. Mr. Agarwal was aware of his wife being at her parents’ place and whatever emotions that might have evoked in him, he would not get a chance to talk about it anytime soon, not at least till she returned. So, he decided that he must go on with life and strolled into the club house, to look into the New Year feast preparation that had been his passion for a long time. He loved the meticulousness that was required in planning a feast. It allowed him to work in peace, alone. Not that he did not like gatherings, but he was happiest being with himself. So, completely oblivious to the gossips around him, he went to the club that morning and busied himself in the preparations for the feast to be held the next day. People were looking at him with sympathy which he did not realise as he did not even know that Vineeta’s going away from the Ghumi had become the talk of the town; that Monty had already reported yesterday’s sight to everyone at Ghumi, which, added to his own enquiries about her whereabouts had formed quite an interesting story! In fact he was blissfully unaware of the entire thing, comforted in the knowledge that Vineeta had left for her parents’ place after that day’s quarrel, something he considered typically feminine and did not consider to be worth his notice..

On the New Year day as people started gathering in the club for the feast, there was suddenly a hush. The missing lady had arrived, right from her hideout, and she was accompanied by the Block Development officer or BDO sahab as he was popularly known as. He asked everyone to pay attention for a while. Vineeta took the centrestage.

Dear friends,

I apologise for my absence from Ghumi for a couple of days. It was high time that something was done for the children of the jhuggis, those kids whose parents work to make our lives comfortable. Using my previous experience as one of the co-founders of an NGO before we had to move to Ghumi, I have drawn a plan for the education of these children. I propose the formation of a similar organisation here, run by the ladies who would volunteer. 

Mr. Ghosh has been of immense help in this regard, as he was the one from whom I sought help first. Being in the security department he had an intimate knowledge of this place and I had often seen him play with the shanty kids in the evenings. BDO sahab has given his consent and we have also completed the initial level of formalities required for setting up such a voluntary organisation.

This is my new year gift to Ghumi. Now let us all enjoy the feast and discuss this idea further over food.

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Nabanita Sengupta is an Assistant Professor of English by profession and creative writer by passion. Translation remains one of her chief areas of work and interest. Her works can be read in various journals, anthologies and e-zines.

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Categories
Review

Unraveling Odisha

Book Review by Bijaya Kumar Mohanty

Title: No Strings Attached: Writings on Odisha

Author: Bhaskar Parichha

In No Strings Attached: Writings on Odisha, Bhaskar Parichha brings together some of his earlier published essays, primarily written for The Political and Business Daily and other newspapers. The well-known journalist and author begins with a preface in which he quotes Oscar Wilde: “Journalism is unreadable and literature is not read.” I would rather begin by inserting a slight modification to Wilde’s quotation, ‘Journalism is certainly readable and literature is not widely read’. I have inserted this modification, keeping Philip L. Graham’s quote in mind. He states: “Journalism is the first rough draft of history”.

Parichcha’s book ably presents the author’s long bilingual career in the field of journalism. He primarily writes in Odia and English. The wide variety of essays in the book is intended to create a yearning to know more on the subject. This book would attract all those who are interested in a brief understanding of modern Odisha in general and post-millennial political narratives in particular. It fills a void in the field of political economy of contemporary Odisha.

The book is divided into four parts: ‘Portraits’, ‘Politics and Beyond’, ‘Conflict Zone’ and ‘Odds and Ends’. And concludes with a postscript on “what to expect from Naveen Patnaik’s fifth term as Odisha Chief Minister”.

‘Portraits’ consists of six essays. It starts with Madhusudan das aka Madhubabu, the architect of modern Odisha as ‘the global Indian’.  In Odisha, when children are first introduced to the world of education, they get to learn a widely popular Odia rhyme:

Patha Padhibi, Okila Hebi,

Kalia Ghoda re Chadhibi,

Madhu Babu sange Ladhibi…

A rough translation of the popular memory is: ‘I will study with all the commitment, will achieve all the success and will fight for the nation like Madhubabu’. Madhubabu was one of the earlier institutional builders in the context of colonial inter-region specific cultural and economic conflicts. As rightly concluded by the author, Madhubabu “had a practical sense of realism and fought fearlessly against the ‘mental’ darkness of early twentieth century Odisha”. 

The other five essays are on the maverick Biju Patnaik; the legendary Harish Chandra Bakshipatra; the arrival of astute Naveen Patniak along with two cultural icons of post-colonial Odisha, Pandit Raghunath Panigrahi and the noted film scholar/maker Nirad Mohapatra and his world of Maya Miriga.

This section concluded with Nirad Mohaptra’s Maya Miriga (The Mirage). This was one of the few new wave regional films ever produced in India, as observed by C.S. Venkiteswaran, the noted Kerala based film critic, academic, documentary film-maker, who contended: “There are two kinds of film-makers — those who create an oeuvre of their own and leave a personal imprint on their field, and those who not only want to explore the medium and create a body of work, but also want to communicate and connect with society of their time”. Nirad Mohapatra belonged to the latter kind, by quoting Mohapatra’s words, the author argues that “the making of Maya Miriga was an exciting experience of improvisation within the broad framework of a written story”.

The beauty of Maya Miriga lay in shooting almost the entire film in a single house, which was renovated beforehand by the filmmaker to portray the characters as realistically as possible. To Parichha, Nirad Mohapatra’s kind of cinema truly “sought after truth, didn’t obey convention, and certainly didn’t become subservient to common notions of what was good and palatable”.

The second part, is called ‘Politics and Beyond’. This part accommodates sixteen essays written on issues related to the rise of BJD ( Biju Janata Dal). The strength of these essays revolves around the BJD’s immediate rivalry with parties in context of everyday governance and its electoral prospects in the state.

The third part of the book has some exciting pieces on the issues titled under the sub-section name: ‘Conflict Zone’. Essays written in the context of ‘Polavaram Tangle’ and ‘Make in Odisha Conclave 2016’ are impressive. These have comparative analysis with neighbouring states, like Andhra Pradesh and Chhattisgarh, or with richer states, like Gujarat, for attracting foreign direct investments. They even address issues of rehabilitating displaced people as a result of Andhra Pradesh’s unilateral actions with regard to Polavaram Project.

Finally, the last part of the book, has 16 essays titled ‘Odds and Ends’. This section hosts governance issues that range from chit fund scams to a news item on the terror attack in the state capital, Puri; safety issues in the world of Odisha’s industrial corridors; the big confusion around the so-called – India’s single-largest foreign direct investment by the POSCO (Korea) and the aftermath issues of Phailin (a book on Odisha without touching the issues of natural disasters is indeed an incomplete one).

 In ‘Is Odisha a litigant State’, Parichha justifiably contends: “It is high time the Odisha government comes up with a litigation policy on the lines of the Haryana government in order to bring about a visible, qualitative and quantitative improvement in the manner in which litigations are pursued and managed by the state.” ‘How healthy is Odisha?’ brings out the dismal state of public health care as well as private health sector. He urges for an increase in the outlay for public health expenditure from the annual budget.

In ‘Baina, Itishree and Nirbhayas’, Parichha highlights the issues of widespread domestic violence, discrimination against women at the workplace etc. Towards end of the essay, he mentions the introduction of Gender Inequality index (GII) in 2010 as a result of the UNDP (United Nations Development Programme) report. The quality of having such an index, according to the author, can be put to use by the public sectors to address the existing anomalies of “poor distribution of resources and opportunities amongst male and female”. He rightly says, “Acknowledging the presence of a problem will lead to solutions sooner or later”.

Parichha’s book is an open ended one. The author’s wide array of interest on the issues related to Odisha would be of interest to both lay persons and researchers.

 

Mr. Bijaya Kumar Mohanty, teaches Development Process and Social Movements. He is an Assistant Professor in Political Science, Ramjas College, University of Delhi. Email Id: bijaya@ramjas.du.ac.in

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Categories
Humour Poetry

Let Old Acquaintance Not be Forgot

By Tom Merrill

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I remember Vergaza and Diddlyweed,

who drove me to Tina and then Flambé;

there were numerous others along the way:

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Mere Ois and Reptile, Genghis and Pogo,

Martha and Mother Superior,

Majestique, Weenciepoo, Skew the hobo.

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Pinocchio’s gone, like RH and Daisy;

Leena is driving old Boblett crazy;

Twinkle and Juliet got the heave-ho.

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Troisieme’s zoo lacked the esoteric:

just whoozit, what’s-his-face, so-and-so.

Mine tends to be more nongeneric.

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Poems by Tom Merrill have recently appeared in two novels as epigraphs.He is Poet in Residuum at The Hypertexts and Advisory Editor at Better Than Starbucks.

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Categories
Stories

Deja-vu

By Aminath Neena

I look at those lush green trees.

The hills beyond the pavilion danced with the silky breeze. Their outline of azure blue hue beckons me to come closer as they whisper my name huskily.

“Come and give us a hug!” they start chanting clearly in a language that I can understand too well.

On my right, the lake shimmered in stark silver like that of a bride smiling in her nuptial glory waiting for her groom…and then my thoughts reach out to you, the one closest to my heart. The one whose aura consumes most of my lucid dreams. The one whose face remains etched in my mind’s eye, since forever.

The sweet chanting was getting louder by the moment.

“Sheeeeeeseeeeeeeeeeh… Shhhhhhhhhhhhhhhhheeesh! Come, come!”

I gazed longingly at those inviting contours. The greens, the blues and the whites all mixed together as if in a surreal painting and they pulled at my heartstrings.

I started missing you more than ever and there is a noticeable pain in my heart now.

My feet started moving willfully on their own as if in complete control of the feat ahead. Closer and closer I moved but although I felt a strong need to be there among the hills, I had an intense burning desire to have you beside me, right there holding my hands.

And then the thought struck me. It hurled at me like a whirlwind.

It was so sudden that I almost lost my balance. Slowly, I bent down and crouched on my knees on the wet grass. I put my hands on my head in an attempt to excogitate the answers to the raging questions in my mind.

Why did this place feel so familiar when in reality it was the first time, I had consciously visited it anyway? What made me feel that I have known you all along and that I have known you all my life when in reality I could not recall just how or where we had met before?

Why did I feel this way every time I saw these hills and the greenery close to me? And most importantly, why did it all remind me of you; of us when in the real sense, there is no us at all?

Why? Why? Why?

Is it possible that you and I, we had lived among those luscious hills, perhaps in another lifetime? But my strict sense of religion clearly forbade me to think along these lines. Or, could it be possible that souls met in heaven before they were destined to start life on Earth here? In that case, it did make sense to me.

What I did know for sure is that it was not just my imagination or a hallucination but a real feeling I had. There was no mistake about that! And, at least, that itself is a relief.

With that dwelt a certainty. Just like a mathematical formula, if there was a me and an us, somewhere, at some point in time, then there definitely was and is a you. The mere notion that you existed somewhere out there just like I had felt all along, was enough motivation for me to suppress all my Earthly desires, till the point in time in our entwined destinies, when we would meet each other. The thought made my heart smile.

Slowly, I walked back to my dorm.

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Aminath Neena is an English lecturer from the picturesque archipelago nation of the Maldives. An avid lover of words, she writes both poetry and short fiction. Her writings explore themes like love, relationships, spirituality, society, and global issues.

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Categories
Poetry

Twenty-One Days Later

By Sanket Mhatre

At the airport 

The ban has been lifted

Doors open. The first travellers are ushered 

The click of check-ins. 

Trolleys scramble, without any distance.  

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I am waiting for you.

There’s one voice. Then another. Followed by many. Till there’s cacophony. 

Sign: The world has returned to normal. 

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Counters fly open. Smiles flutter. Scarves swing into action. 

Luggage belts start with a thud. Leather rubs against leather. 

Gucci against Desi* against plastic without the fear of isolating. 

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I am waiting for you. 

Food stalls open. There are complimentary desserts for the first travellers.

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Air is sprayed with lavender fresheners. I think of you. Lavender is closer to mauve. Mauve is you. 

Outside, a plane takes off.   

I think of your eyes. What will your eyes think of this? 

Would they search and find me? Would I have to find them?   

Another thought surfaces: where are we flying? Where? 

I am still waiting for you.  

I have kept my face unshaven. Messy hair.  

I have removed the extra grey. Just because it’s grey. 

The world has passed through enough grey. No more grey now. 

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You arrive at a distance. And stop. 

 Our eyes don’t have to search for too long. We placed ourselves well within our sight. 

 Your bags drop. A corner of your lip quivers with truth and remembrance. 

 You are wearing mauve. 

  I greet you as several planes take off in the distance. 

 “Where to?” I ask.

 “To each other,” You say. 

  Twenty One Days dissolve in an embrace. 

  And countless poems. 

  .

Here, I am still waiting for you.  

It’s Day One. 

At the airport.

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*Desi — of Indian origin

Sanket Mhatre is a well-known bilingual poet writing in English & Marathi. He has curated Crossover Poems. Apart from this, Sanket Mhatre has been invited to read at Kala Ghoda Arts Festival, Poets Translating Poets, Goa Arts & Literature Festival, Jaipur Literature Festival and Vagdevi Litfest. 

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Categories
Poetry

Hope in Nostalgia

By Gauri Mishra

Childhood memories of many hues

Playing in groups of threes and twos…

The spacious house, the beautiful well

Which world we lived in, no one could tell.

      The dark inner room with all its mysteries —

      Mud jars and pots had their own histories.

      Our abode of two summer months

      It is hard to erase the fun-filled remembrances.

The outside world with all its novelties,

The narrow river, the vast fields and the family deities.

        The jamun tree with its low swinging perch,

         Tastes and smells, flavours and hues —

         What brought this abundance, no one had a clue

The refinement of the baithaka*, had us in awe —

The only sign of grandeur without a flaw.

       The incessant card-games, sultry summer,

       The Awadhi dialect which had its own candour.

Our Grandmother’s small frame had amazing strength,

Her frail body belied its own health.

      Her education, her words of wisdom, and her affection

      Mingled with her devotion.

The village was her whole sphere —

Never did she wish to be elsewhere.

         We fought and we cried: we roamed, we lied.

          We led a life of abundance and freedom.

It has all seeped somewhere.

 Today while checking my email,

The memories gushed out…

So much has changed.

The abundance has given way to depravity.

The house looks desolate and not what it used to be.

Even the faces in the photographs seem remote

      It is best to cherish the memories.

      That world was my childhood… I must hold it tight

       Lest it slip away.

* baithaka — A formal drawing room

Dr Gauri Mishra is teaching as Associate Professor in the department of English at College of Vocational Studies, University of Delhi. She likes to dabble in poetry and short fiction from time to time. She is very passionate about teaching and also heads the placement cell of her college.

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Categories
Essay

The Worshipper of Mother Earth: A Nostalgic journey

Ratnottama Sengupta journeys to show how past and present are interlinked in art and pays tribute to a polyglot

I must have been six or seven years old then. I had already developed the habit of looking attentively at visual images even before I could discern the letters of the alphabet. For, even as a child I would leaf through Baba’s* books that were everywhere in our house — in the bookshelves, on the table, on the beds and even under the beds. So, when I loitered out of our home into those of our neighbours, I was drawn by the ‘Merry Christmas’ cards overflowing the mantel shelves of some and the ‘Diwali Greetings’ lining the walls of others. Later I started collecting them, and some years down, when my elder brother went off to medical school, I inherited his stamp collection. In all of these, I would involuntarily seek out Indian scenes: women plaiting hair, farmer ploughing his field, Koli* fisherfolks with their nets, boatman in the river, cow and calf, lady lighting a diya*, an itinerant sadhu, a Baul* singer…

Why was I drawn to these ‘Indian’ stories? I was, after all, growing up in Bombay of 1960s, where the citizens were commuting by train to eke out a livelihood in the mills and factories, in the corporate offices and film studios churning out tinsel dreams. I never posed these questions then but almost six decades later I have the answer:

In the rapidly industrialising country, people coming out of a glorious past were forging a new identity for another tomorrow. But even an India of new dreams could not be divorced from the lived reality of the forefathers, right?

This realisation came to me after I visited Santiniketan, had the good fortune to interact with pathbreaking artists like Sankho Chaudhuri, K Subramanian, Ramananda Bandopadhyay, Debabrata Mukherjee  — and when I penned Krishna’s Cosmos on the art and life of pioneer printmaker Krishna Reddy. Through them all, I understood that the need for a self-perception of a ‘Bengal’ identity — both biographical and cultural — was very much alive post Partition.

Although Krishna Reddy had a divergent journey in Art, Maniklal Chatterjee, was also moulded in the same crucible as the printmaker, under the watchful eyes of the iconic Nandalal Bose. And, in a certain way, Maniklal carried on the famed Master Moshai’s* Haripura Congress tradition of capturing the everyday life of farmers and labourers, artisans and housewives. It came out of his innate love for nature and the pastoral world in the lap of mother earth. In other words, it was rooted in Life as it was lived in erstwhile East Bengal, that end of the land which was lopped off by the Radcliffe Line, forcing Maniklal to seek a new roof to shelter his homestead — and a new haven through lines and tints.

Krishna Reddy, moving in 1950 to post World War II London and Paris, realised that while Europe was seeking as escape from the horrifying memory of the holocaust, by negating human figures and going into Abstract art, Cubism, Op art and Pop art, India was looking back to its pre-colonial heritage in art: the Mughal miniatures, the folk traditions of Bengal, the bazaar art of Kalighat, the Patachitra of Puri and the homely Madhubani. It was this fount of inspiration that Maniklal Chatterjee appears to have made his own. He did not use his inborn skill to counter the influence of Academic training, nor was he being Progressive by adapting Modernism. Born of a different history and rooted in a different culture, he compulsively looked back to the home he had left behind in Barishal and drew upon the wash technique, the tempera and water colour of Santiniketan that has welded diverse art inheritances in its quest for an Oriental universality. 

In short, it was this artist’s way of retaining an identity that was as much him as his Bangal accent and his commitment to Communism. Yes, he committed his grasp over the formal and technical basics of the Santiniketan/ Bengal School of painting to talk about Everyman. His imprint of life of his suffering countrymen bore the aesthetic sophistication of the hallowed School but was charged by the love for an idyllic India. A withering workman’s India. An unspoilt India now relegated to memories.

But though he dipped his brush in the colour of nostalgia, Maniklal’s art was imbued with serenity and joy. The women and men, the kids and calf pulsated with lived energy. The ‘sarbohara‘ who has lost his all — the uprooted refugee as much as the man who has nothing to lose but his chain, these were the heroes for Maniklal Chatterjee. 

Those were the glorious days of IPTA (Indian People’s Theatre Association). Remember the film, Do Bigha Zamin (Two Acres of Land)? The rickshawala on foot racing with his cart against a horse drawn carriage, not just to reach his human brethren to his destination but also to earn two square meals and — more urgently — to save his two acre land, back in the country’s hinterland, came to signify the rapidly industrialising India of 1950s. It was this set of lives that Maniklal Chatterjee chose to iconise. His art sang of those deprived, but not downtrodden. Not for nothing were these celebrated as ‘Postcards from Bengal’. The poet within the artist wrote,  “Tomar kaachhe aajanma wrini aami —  tumi je basundhara (I am beholden to you Mother – you are the Earth).”Age cannot wither nor time stale this luminous face of Mother India — be it for Maniklal Chatterjee or for you and me. Because art for him is the expression of a deeply rooted emotion. It is as personal a portrait of his life and times as the photograph of my parents taken in a studio after their marriage: It is a time wrap, but one we will always be grateful for.

*Baba: Father. Her father was the late Nabendu Ghosh, an eminent  writer in Bengali and a personality in film scripting and directing.

*Koli: Fisherfolk in Mumbai.

*diyas: oil lamp

*Baul: mystic minstrels or bards in Bengal

*Master Moshai: Teacher or Maestro in Bengali

Ratnottama Senguptaformerly Arts Editor of The Times of India, teaches mass communication and film appreciation, curates film festivals and art exhibitions, and write books. Daughter of Nabendu Ghosh, she has authored Krishna’s Cosmos, a biography of the pioneering printmaker Krishna Reddy, among many other books She has been a member of CBFC, served on the National Film Awards jury and has herself won a National Award.

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Categories
Poetry

God is dangerous

 Poetry from Korea by Ihlwha Choi

God is dangerous.


The man committing theft,
The man committing adultery,
The man committing murder,
Each keeps his secret.


Man takes His name in vain.
God is tired and worn out.

Distinguishing the crimes one by one,
Forgiving, consoling and loving again,
He is in pain — sorrowful and lonely.

He is not joyful at the sound of the psalms —

Plumbing the dark sides of people’s minds, 
Looking into their enmities, hatred and greed. 

God is rather intolerant
When people try to execute you.


God is very dangerous.

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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. 

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