Author: borderlesssg1

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Interview

A Renaissance Poet in the Twenty-First Century?

Dustin Pickering in conversation with Mitali Chakravarty

He talks of love and religion and writes poetry that is often critiqued by some as similar to verses from the past. And his role model is from the Renaissance — Michelangelo. To some, he is a loyal friend in need, a person who whips up essays and articles on demand. He is often published within India, which could well be his second literary home. He is prolific with his writing and publishing. He also does paintings and sings songs with a guitar on you tube. Some might have guessed by now — he is Dustin Pickering.

Pickering is the founder of Transcendent Zero Press. This year one of their books, Neon Apolcalypse by Jake Tringali, has been nominated for the Elgin Award 2020 along with names like Ilya Kaminsky, Marge Simon and Brian Dietrich. Pickering is also the founding editor of Harbinger Asylum, which  was nominated for best poetry journal by the National Poetry Awards in 2013. That same year, Pickering participated in Houston’s Public Poetry reading series and was interviewed on 88.7 KUHF. He has been a featured poet for Ethos Literary Journal, a contributor to Huffington Post, and has published essays in Cafe Dissensus, Countercurrents, Borderless, Journal of Liberty and International Affairs, as well as reviews in The Statesman (India), Tuck Magazine, Lost Coast Review, World Literature Today, and Inverse Journal. He placed as a finalist in Adelaide Literary Journal‘s 2018 short story contest, and was a Pushcart nominee in 2019.

His books include The Daunting Ephemeral, The Future of Poetry is NOW: bones picking at death’s howl, Salt and Sorrow, A Matter of Degrees, Knows No End, Frenetic/No Contest, The Alderman: spurious conversations with Jim Morrison, O’Riordan: spurious conversations with Dolores, The Madman and Fu, Be Not Afraid of What You May Find, The Red Velvet Robe, The Forever Abode, and a collaboration with Dory Williams called Imitations of Love Poems. He recently attended New York City Poetry Festival, and has been a reader at Austin International Poetry Festival many times. He hosts the interview and oddities for authors site thedailypoetsite.com. He co-edited the anthology Selfhood: Varieties of Experience, and published its companion Epiphanies and Late Realizations of Love. He has written introductions for books by Amit Saha Sankar, Kiriti Sengupta, Bitan Chakraborty, and Jagari Mukhergee. He was given a Jury Prize at Friendswood Library’s Ekphrastic reading in 2019, and was awarded with honourable mention by The Friends of Guido Gozzano in 2019. He lives in Houston, Texas, USA. In this exclusive, Pickering reflects on his journey as a writer.

Why do you write?

Within me, there seems to be a deep passion and yearning for something inexplicable. I also write to combat doubts, leave a record of my thoughts for myself, and to tell the world whatever interior mysteries I uncover within my own mind and studies.

When and why did you start writing?

Very young. One boring day at home in 1st grade, I asked my grandmother what sort of activity I should do. She suggested I write a story about something I wanted but didn’t have. I wrote a children’s book called The Little Red Wagon about a child who loses a wheel on his wagon. He looks everywhere for it and finds it behind a tree where he least expected to find it.

What form came to you before — poetry or prose?

Prose, but poetry is always more natural to me.

Lots of your essays and poetry have to do with God or spirituality. What makes you weave these into your lore?

I was raised Catholic, and as they say, “Once a Catholic, always a Catholic.” I model myself after an early hero of my teen years, Michelangelo. I consider myself a person of Renaissance nature. I also believe we are in a pivotal moment in human history where the guidance of God and Spirit is needed. I think poets are the best people to bring this message to the world, that science and faith are compatible.

You have a whole book dedicated on God, I believe, which did rather well — Salt and Sorrow. Do you believe in God or are you an atheist? Do you believe in any religion? If you are an atheist why do you write on God?

I counted myself an atheist for many years, beginning at age 13. I was probably led there by the punk band Bad Religion and may have inherited it from my mother whose father was also an atheist. Yet some part of me felt connected to the mysteries of Spirit I could not apprehend and did not want to. Something moves the world and the universe, but I believe that is something I am inclined to believe is sentient, not merely pure accidental motion. I believe this because my life has always felt purposeful to me. I also borrow from Christian humanists such as Erasmus, the Renaissance artists, Shakespeare, many others who share a love for humanity and a sense of purpose for our existence. Although Macbeth did say:

“Life’s but a walking shadow, a poor player

That struts and frets his hour upon the stage

And then is heard no more: it is a tale

Told by an idiot, full of sound and fury,

Signifying nothing.”

The use of the word “signifying” is mysterious to me. It seems to designate a sense of randomness or entropy — perhaps humankind is the idiot? Yet life is a tale told, passionately!

You have published Salt and Sorrow in India. Was there a reason for that?

I connected with publisher Kiriti Sengupta a few years ago after publishing the acclaimed Indian poet Usha Akella’s masterful work The Rosary of Latitudes. He saw a lot of my Facebook posts at the time concerning spirituality and asked me to write a collection that brought out “the God of the Bible.” For some reason, perhaps my sensibilities, I have developed a strong presence in India. I have never visited, but I hope to someday!

You often refer to fossil in your poetry, especially in your upcoming collection, The Skin of Reality, you have a poem that says, “I stare but see an empty fossil:/ what is final is never the end.” To what purport do you see the fossil? Is it a relic from the past? Why do you use the image of fossil?

The simple answer is I am fascinated by rocks, fossils, embodiments of history. What came before. It is still present in the very earth we walk on. I believe the human genome is a record of where we have been, and it also records where we are individually and contains a lot of animal history. Jung’s archetypes and collective consciousness seem to indicate this as well. As a child age 5, I used to sit on the playground where there were a lot of rocks. I picked them up, observed them. I kept some but the teacher told me I could not take them home. I told her they were fossils. She examined them herself and agreed, surprised. She allowed me to take one home. I still have it. That line seeks to illumine the truth I see that death is not final—who we are leaves an impression on the world irrevocably.

Where will you be bringing out this collection? In India or US?

I don’t have a publication plan right now. It is still in its infancy.

Where do you find/seek your inspiration?

Most of my ideas come from a lot of readings and thought. I don’t even entirely understand a lot of what I read, but it shapes my creative impulse in an extraordinary way. I am very forgetful too, so I have to continuously reinvent myself and how I choose to express my ideas. A lot of my imagery comes from life, including my long battle with mental health struggles.

Which writers fascinate you the most? Have any of them influenced your writing?

I cite as my primary influences in thought and writing the German philosopher Friedrich Nietzsche and The Holy Bible, particularly The Old Testament. I also am intrigued by mystical writings from the Kabbalah, St. John of the Cross, sacred Hindu texts such as The Upanishads and Bhagavad Gita, St. Francis of Assisi, and the endless list of mystics. I also found metaphysical poetry interesting in my college years. I accidentally stumbled upon John Donne and found him interesting. Milton influenced me in my teen years as well. My senior yearbook quote was, “The mind is its own place and in itself can make a hell of heaven, a heaven of hell.”

I love the surrealist poetry of David Gascoyne. I read all of William Blake, W H Auden, and a long list of others, but those seemed to have left the strongest impression. I’m also interested in psychoanalysis and have read a lot of Anthony Storr, Freud, Jung, Kay Redfield Jamison, and several others.

I appreciate philosophy too, and enjoy works by Plato and Aristotle, Heidegger, Sartre, Emerson, Burton, and many others. Among fiction writers, I enjoy Henry James, Tennessee Williams, James Joyce, Samuel Beckett, Hermann Melville, Dostoevsky, and many others. I especially love Dostoevsky’s psychological acumen in The Double. I tend to prefer short fiction but have read all of Joyce. Nietzsche has invaluable insights into the art of writing, but you have to mine them.

You bring out a popular quarterly, Harbinger Asylum. Did you start that? When and why?

I founded the journal in 2010 with my longtime friend Alex Maass who sometimes writes the “Not Quite a Political Column” and suggests themes. I started it after a poetry gathering at University of Houston-Clear Lake. I was invited by my new friend at the time Dru Watkins, who was an early contributor, and after coming home I thought about how I could better serve the literary community. The journal started with an anarchist bent and I published a lot of libertarian writing. I also included writing by friends. Over the years, we’ve had submissions from highly regarded poets such as Simon Perchik, Joseph Bottone, and others whose names I ran across before getting their submissions. Later on, we acquired two new editors Z. M. Wise and Stuti Shree. Z. M. is my good friend and business partner, and Stuti is a university student in India.

You run a blog that belongs to Transcendent Zero Press. It is a strange name. Any reason for calling it as such?

Transcendent Zero Press is the company through which I publish Harbinger Asylum, as well as other books. It’s the name of my publishing company. Years ago, it was my punk band that never happened. I liked the concept. So, I re-made it into the publishing company.

It began with a word I read in the dictionary combined with the popular song “Zero” by Smashing Pumpkins. I thought it had a distinct conceptual flavor. Ultimately, I also designed the logo to be conceptual. On one side of the zero, there is a dark crescent. The other side has a bright crescent. This symbolizes Ultimate Nothingness, the idea that all is in harmony. Essentially my own mystical concept. Then a “T” crosses it, symbolizing the axis of the universe. I also conceived of God as having the qualities the Tao ascribes to great leaders. A person who does nothing yet let’s all happen. Lao Tzu wrote, “A leader is best when people barely know he exists, when his work is done, his aim fulfilled, they will say, we did it ourselves.” Zero signifies such an approach to life.

What are your future plans as a writer, editor and publisher?

We recently expanded into publishing literary criticism. So far, the books have dealt with Indian works in English. I would like to publish more literary criticism but about literature in other countries. We will soon have an anthology of Albanian poetry released. I’m interested in Southeast European literature as well. I may publish a broad collection of Edgar Lee Masters’ lesser known work. I have a friend, Dr. Ryan Guth, who plans to work that out for us.

Any message for aspiring writers?

My English teacher in high school Mrs. Teltschik used to say, “Write because you have to.” Something in you must answer a call. Write to contribute but write for yourself. It is hard to break in at all. Don’t shoot high if you are young unless you have exceptional talent, connections, or both. Work your way through. Don’t be afraid to learn. Be thankful and mindful of all your successes, and consider failure and rejection an instructor, not an obstacle. Don’t fear revision. Stay focused. Write a lot. Read a lot. Find what makes you spin rapturously and write about it. Keep a journal, especially if you are young. Don’t throw away your writing. Mine old material or edit when you are dry on inspiration. Most of all, learn to enjoy! Live as well as write. Travel!

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

Categories
Review

Pearls of a Strawberry Moon: Mystic Journey of an Awakened Self

Book review by Keshab Sigdel

Title: Pearls of a Strawberry Moon

Author: Monalisa Dash Dwibedy
 

Monalisa Dash Dwibedy’s Pearls of a Strawberry Moon is not an ordinary collection of poems that only records the mundane realities of our times, our successes and failures, or our memories and hopes for the future. The poet meditates on the world around her, grows, and allows her awakened self to introspect objectively. She provides us with a yogic view of the world; not renunciation but an evaluation of the self and makes herself a witness to the demolition of her own ego.

In the times when poetry has been reduced to mere narratives of our own experiences, Monalisa has made it a vehicle for a serious purpose: search for wisdom

Everyone is subject to the pain and pleasure of their own life experiences. But they are not poetry in themselves. Churning those experiences for the realization of the ‘truth’ is what makes poetry. Monalisa has demonstrated herself as a meticulous observer of both the outer and the inner world. 

She has divided her poems into three thematic sections: ‘Life’, ‘Lament’ and ‘Miracles’. The poems in the life category describe the human endeavour to seek happiness. They portray life in its totality. Verses in the second category ‘Laments’ include the ones of sufferings, regrets and failures. The last category, ‘Miracles’, covers the future, an alternate reality as perceived by the poet. All these poems are woven by a single thread of reflexivity of an awakened self.

The first poem in the collection,’My Life in Two blue Suitcases’ is a testimony of the poet’s divided self between the promises of the far-off lands and the warmth back home:

When the distant tracks call me,

Opening their arms,

I walk out of my comfort zone,

To embrace red-dusted earth and blue skies.

….. 

Staring far along the open roads,

As long as the sun shines upon me,

I try not to look back,

So many lives,

So many places,

Unseen.

There are millions of people who have left their birthplaces for better opportunities, but they have never been sure if that was really what they wanted. A perpetual desire to belong to the past continues to haunt their existence.

In ‘Soul of a Forest’, the poet tries to observe what is forgotten and neglected, the unseen. It is that unseen that has protected the seed of our life; that has nurtured the fragrance and the light we crave for. When she roams in the wilderness of the jungle, she finds darkness all around. But darkness is not the end. She reveals she knew that “the forest had a soul”.

In ‘A Butterfly’, the poet tries to find an answer to the question: what is the ultimate truth? The butterfly showcases an analogy of transformation from a caterpillar to flying wings! Change is the essence of existence. Being is not remaining static but transforming—probably for a higher goal. She writes:

A caterpillar to a butterfly,

Evolve through the dark,

I will gift my wings,

Kiss the sun.

Human beings are the slaves of their own ego. Our conscience is dictated by our ego. It is only when a great inspiration drenches us with all its compassionate blessing, we forget the ego. The real bliss is in surrendering the ego. ‘In Presence of the Master’, the poet creates an oxymoron to present this difficult passage of spiritual growth where the “surrendering of ego” becomes the most “ego-satisfying”:

Time stands still,

I melt in his presence.

Surrendering remnants of ego,

Was never so ego-satisfying.

The poet has tried to expose the limitations of human beings in ‘To the Atlantic’. In the poem, man’s vulnerability to nature is described in this way:

To the mighty ocean! We raised a toast

Roaring afternoon waves

Silenced our chorus,

The sea mocked and waves laughed

Watching us lose our thunder.

 ‘Let Me Unlock’ appears to be a romantic poem on the surface. But diving deep, we find out that it echoes the importance of independence and freedom of expression.

My love is locked,

In the vast vacuum of your heart,

Unable to find expressions.

The poems in the thematic section ‘Miracle’ resonate the poet’s expectations. In ‘A Thousand Love Affairs’, the poet expresses her unconditional love to the human and non-human. She loves them without purpose, with no expectations for any return: “My heart blossoms as it does not know heartbreak, despair or dark abyss.”

‘The World Goes Blind’ has the poet imagining that the universe has stopped and the world’s reverses from darkness to light. This reflects the poet’s sensitivity towards the darkness of inhumanity that prevails in the world. And she sincerely wishes to reverse it. Another poem, ‘A Speck of Dust’, is a meditation on how a seemingly insignificant dust speck is the source of magic for nature’s worldly manifestation.  

‘Strawberry Moon’, the titular poem shows that the moon is eternal but is hung on its axis and man is transient and craves for the eternal. This incongruous juxtaposition of the moon and man provides us an opportunity to contemplate our lives – our desires and the reality we are destined for.

‘Fall’ tells the story of a season that undoes nature’s artistry. Everything has a limit; even creativity and construction. The old has to be demolished so that it makes place for the new. Everything has its time.

 ‘Niagara’ is a mystic poem where the poet imagines transforming herself into water droplets to immerse with the vastness of water:

How I can become one with the magnificent, majestic nature

Until I transform myself into a drop of water?

 ‘Goodbye’ brings forth the eternal struggle between the worldly ego and the awakened self. The first is merely a role player without knowing that she is a role player. The awakened self is a conscious witness. The poet wishes to bid goodbye to the unconscious self.

The last poem in the anthology, ‘I Set My Soul Free’ is, if not a declaration, at least a reflection, on the inner desire of the poet. The poet continues to live in her bodily form. Free soul is a metaphor of liberation — not only her personal social freedom, but freedom from desires.

A sincere delving into Monalisa’s poems clearly suggests the range of her imaginative horizon and poetic craftsmanship. I feel privileged to write my feelings for her poems. I invite the readers to have a go at them.

Keshab Sigdel is a poet, translator and critic based in Kathmandu. He is also the International Coordinating Committee Member of World Poetry Movement (www.wpm2011.org). He teaches poetry at Central Department of English, Tribhuvan University.

Categories
Stories

Litmus

By Revathi Ganeshsundaram

He did not like animals. Or so he said. In any case, the children were discouraged from harbouring dreams of ever having a pet.

He was an asthmatic. Viewed from that perspective, it made sense. “Father’s allergy will be triggered by pet fur,” they were told.

He was also a stickler for hygiene. He disapproved of children playing with animals, even the pets of friends and relatives. “Wash your hands!” he would say. “Don’t let them jump onto the bed! They must be harbouring all kinds of germs and parasites… And they’ll shed their fur all over the place!”

And so on, for years.

It was a rainy day. The family was away visiting the maternal grandmother, but he had come home for lunch as he always did. He had flexible timings and he wasn’t planning to go back this afternoon. He could work on the research paper he was writing, from home.

He had his lunch, then listened to songs on the radio until he drifted off into afternoon siesta. When he woke, the downpour had increased. It was only 4 p.m. but the overcast skies made the world look dark and gloomy.

He rose slowly, put on his slippers and listened to the sound of the rain increasing in volume. He went around the house, shutting the windows that were still open. Then it was time for his coffee.

He brewed fresh decoction and heated milk in a pan, all the while watching the rain through the kitchen window. After he mixed himself a cup of strong coffee, there was still some warm milk left. Covering the pan with a lid, he took his cup out into the living room to have it in the comfort of his favourite armchair.

The room was now quite dark. He switched on the light and as he did so, he thought he heard something on the verandah and paused to listen.

The sound was very faint, but then he coughed involuntarily, and he could now hear it again, loud and clear. It was a cat! No doubt seeking shelter from the rain in the safety of the verandah, and having heard him cough, responding to him.

“As long as you stay there!” he muttered to himself as he went to sit down. But the mournful mewing only grew louder.

He tried ignoring it for a while, but the incessant wailing soon began to get on his nerves. In addition, the creature was now moving backwards and forwards outside the verandah door, and each time it passed, would thump against it.

He could not enjoy his coffee.

“Shoo!” he called out loudly. “Go away or be quiet!” But this only made the cat more persistent in its clamour to get his attention.

He took another sip of his rapidly cooling beverage and as he did so, there was a difference in the sound of the rain as it seemed to change direction. He could see from the window that it was now pouring in a slanting fashion, at about forty-five degrees to the ground.

The verandah must be completely wet, he found himself thinking. He listened carefully but couldn’t hear anything now. Hope it’s gone away.

He needed some more coffee, a piping-hot cup this time. But when he rose to go back into the kitchen, he paused for a moment, then changed his mind and moved towards the verandah. He walked softly, making as little noise as his slippers would allow him, and pressed his ear against the door. Just the steady, monotonous sound of the rain.

Still, he could not turn away. Curiosity — or perhaps, something more — compelled him to linger a moment longer. He thought he heard something now, very faintly.

He had to know.

Very, very gently, he turned the doorknob and using his knee, carefully nudged the door open a crack.

He was greeted by a loud and pitiful yowling and at the same time caught sight of what looked like a damp black rag, which immediately unfurled itself and started pacing frantically, barely keeping an inch away from the door.

He hesitated. He could hear the rain, smell the fresh, damp earth, and feel the chill through the sliver of gap between the door and the jamb. He could also see that the entire verandah was drenched, right up to the door.

He wrestled with something within himself, then made a sudden decision. “Move aside,” he said. “I’m going to open the door now, move…!”

As he carefully pushed the door open still further, the cat’s yowling hit his ears like a blast of wind, even as the elements themselves tried to pour into the room. He stepped back a little, and emboldened by his moving away, the little bundle of fur slunk towards the door, then shot quickly past him and into the warmth.

He shut the door again.

They eyed each other warily for a moment, and when he did not make any threatening movements, his unwelcome guest started mewing pitifully again, all the while looking up at his face.

“Stop that now!” he said sternly. “I’ve let you in, haven’t I? Now sit still and leave me in peace!”

But it wouldn’t.

It stepped closer to him and before he could realise what it was doing, started rubbing its wet little body against his legs. It took a moment for him to recover from the shock, and then he gave a yell and stamped his feet to chase it away.

“Stay away from me!” he ordered crossly. “Go, go!”

He went back to his armchair and sat down, keeping a stern eye on the cat all the while. When it found that he had no intention of moving again for the time being, it jumped onto another chair nearby and settled into a snoozing position, intermittently making faint mewing sounds which gradually tapered off.

He watched it like an eagle until he felt fairly certain that it had finally dozed off. Its eyes were shut and its paws were tucked snugly beneath its little body, and its breathing was soft but sounded — as if it were wheezing…

It sounded just like him. 

He listened for some time, lost in thought, and when he finally looked down at his coffee cup, he was almost surprised that it was empty; he had forgotten.

Well, it was time for a refill!

But as he stood up, the feline sprang to life, jumping off the chair and running to him with loud, hungry mews. Once again, he stamped his feet and ordered it to keep away, but though it moved away from him, it continued to yowl and tried to approach him from a different direction.

Scolding, stomping, slapping his free hand on the surfaces of furniture, he managed to make his tortuous way into the kitchen and shut himself in. “I better stay in here if I want to have my coffee in peace!” he muttered to himself.

As he lit the stove to warm the milk again, the mewing and yowling continued outside the kitchen. The periodic thumping against the door too resumed. 

He switched off the stove and tried to peer through the window. The visibility was so low he could barely see the trees outside, and the rain showed no signs of abating.

He sighed.

***

He found a soft slice in the bread box. Rummaging in the cupboard turned up a shallow unused dish. He tore the bread into small pieces and put them in the dish.

Then he reached for the warm pan, and as he poured, the dish filled with the milk of human kindness.

***

Revathi Ganeshsundaram taught in a Business School in South India for several years until she recently decided to take a break to study Counseling Psychology. A self-professed introvert, she is comfortable in the company of family, books, and herself  — not necessarily in the same order. She finds the written word therapeutic and, hence, loves reading and writing fiction, sometimes dabbling a little in poetry. 

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

Categories
Poetry

Karma

By Bibek Adhikari

Words dribble down from the corners
of your mouth. From within the temple, 

gods tremble with your frosty voice —
they now need a glass of moonshine.

The night is paused on LED screens.

The quietness of eating alone
in this rented room is too loud to bear.

Someone screeches—
a staccato bark of madness.
Is it your heartbeat?

There is pain that seeks its way out
through the crack in your heart.

This too shall pass as time goes by.

The overhead yellow light is on —
you are by yourself at the dinner table.

Pick up the pen, bleed poetry.

Bibek Adhikari is a poet and critic based in Kathmandu. A full-time technical writer for Deerwalk Inc., he divides his time between poetry and ‘unpoetic’ documentation. His poems and narratives have been published in some prints and online publications, including The Kathmandu Post, República Daily, and Annapurna Express. Currently, he’s working on his manuscript of poems.

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

Categories
Musings

Grace in the Times of COVID 19

By Promila Chitkara

The roads were clear of people and machines, covered with fallen leaves on both sides, leaving the centre untouched. The contrast of yellow leaves and black tar was striking, soft and fragile leaves against tough and durable tar. After decades one could delight in bird song, crystal clear, not buried under the noise of incessant traffic. Feast for eyes, feast for ears, heart’s delight. My feet walked me to the first grocery store.

“Stay outside, we will bring what you need.”

“Black chickpeas,” I requested. But of course, the stocks had been emptied weeks ago; I’d woken up late to the emergency.

“Sorry, ma’am. No chickpeas.”

***

Eating chickpeas soaked overnight has proved a healthy diet for my chronically troubled stomach. And how easy it is to prepare. Black chickpeas, the pebble-like ugly ducklings of the world of lentils and pulses, are high in dietary fiber, rich in vitamins and minerals, good for digestive disorders, diabetes, and cardiovascular health. And I was left with a few grams at home. I didn’t want to break this new diet regime – the latest and healthiest start to my day.

The before-noon sun on the last Saturday of March in Delhi was lovely and lukewarm. It brightened the outside world and removed the darkness within me, so what if it were only temporarily. I walked to another store, only to get the same response. I checked out a few more grocery shops in the vicinity but none had the black diamond! One has to try her best…

Before I set out, my father had asked me to go to another small store, but it was in the opposite direction from all the others. He had sounded sure that I would find a few packets there. I was neutral, leaning toward ‘no luck.’ I knew I wouldn’t find them but I went and checked anyway. My Organic India jute thaila (bag) was heavy with other things I’d found (four bars of soap, one hand wash, five or six packets of cookies, etc). My right shoulder hurt, but I couldn’t dare shift the thaila to my left arm – no physiotherapy has persuaded my tenacious tennis elbow to go gently into the good night.  

“Lord, it’s not something I should ask you for. So, if I find chickpeas, it will be your wish/prasad. If I don’t, it would still be your will.”

 The store was only a few yards away now. I wondered how my father, who has been confined to the house for several years, knew about it when I did not. Had a neighbour told him about it?

“Uncle, do you have black chickpeas?”

“Yes, beti (daughter),” he replied warmly.

“Give me two kilos if you can, please.”

“I only opened my store to collect my own rations. I was going to close the shutter in a few minutes. My wife has asked me to stay home for the next couple of weeks. Why should one risk one’s life and health for money?”

“Oh, so the store will remain closed for weeks! Please give me one more kilo if you have the stock.”

“Yes, I do, beti.” And I also found matchboxes that other stores had run out of.

A man wearing the uniform of a security guard arrived and asked the shopkeeper for a bar of Lifebuoy soup. “No stock!” he was told. I had four bars of another brand of soap. Soap is soap. In the times of lockdown one can’t be choosy.

We are bereft of essentials and have things of little use in abundance. During wars, natural disasters, pandemics, humanity is reminded of what we really need to survive: food, water, shelter. All other accumulations, to collect which we waste away our lives, become a source of misery in these times. Recently, someone posted a status on WhatsApp: ‘Ghar utna hi bada hona chahiye jitni jhado lagane ke aukaat ho. (The house should be only be as big enough to meet one’s needs)’. I have known my needs for decades, and that’s why I have been wanting to downsize my home to a one-bedroom studio apartment.       

I offered the security guard a bar of soap. He took it. But he didn’t pull back the hand in which he held a tenner. A tenner was not what I needed. I had received chickpeas prasadam (blessings) from the lord. The security guard needed a bar of soap, by His grace he found it. These small blessings are what make life a beautiful journey.

What happened on the last Saturday of March has stayed in my consciousness. It has brought me a sublime joy that no big things have brought. One has to experience something like this to be able to understand that what we need is little things at the right time, not luxuries in a future perfect never-never land.

Promila Chitkara is a technical writer by profession but a seeker of the Truth at heart. Working with an MNC, she lives in New Delhi. Her inner search has led her to allied interests such as astrology, tarot, past life regression, Pranic and crystal healings. She knows she has a long journey ahead.

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

Categories
Essay

One Life, One Love, 300 Children

Keith Lyons writes of Tendol Gyalzur, a COVID 19 victim, a refugee and an orphan who found new lives for many other orphans with love and an ability to connect.

Tendol Gyalzur: “My religion is wiping children’s noses.”

This story is about how one person found joy and happiness, not in accumulating material possessions or going viral on social media, but in finding her purpose through doing service, and making a difference to many, many lives.

Yet it might have turned out differently for Tendol Gyalzur. Her parents and brother were killed as they fled Tibet. As an orphaned refugee she was adopted in Europe. She had every reason to be bitter, every reason to hold a grudge, every reason to hate. It took great courage for her to return to her childhood homeland which had been invaded by China. It took huge sacrifice for her to work with those occupiers who’d orphaned her. And it took a deep love for her to admit that sworn enemies were actually capable of love.

I first met Tendol nearly 20 years ago while I was travelling in the Tibetan borderlands of north-west Yunnan province, in a place which later changed its name to Shangrila in a shrewd move to attract tourists in search of the fictional place of James Hilton’s Lost Horizon (1933). In Zhongdian, a predominantly-Tibetan town which sits at a literally breath-taking 3,300m above sea level, the owner of my guesthouse drew me a rough hand-drawn map on a blank back page of Lonely Planet China showing the route from the Old Town to the ‘Gū’ér yuàn’ (solitary nursery).

I made my way through the rough cobblestone lane maze of the Old Town, past steamy yak hotpot restaurants and karaoke bars where red-robed monks drank beers and barley spirits, to the much-larger New Town with its wide boulevards, guarded bank buildings and muddy construction sites.

After turning right at a new 4-star hotel, skirting alongside a placid lake, and halting just before the town’s new traffic-light junction, I spotted a sign for the orphanage. The arrows took me behind a primary school into a residential area, and up to a walled compound. I knocked on the gate metal door, a couple of guard dogs inside started barking, and eventually, the door was opened by someone in a cook’s apron and sporting the trademark Tibetan alpine rosy cheeks. “Welcome,” she said, and I presented my offering of a bag of warm winter hats, scarves and gloves. “Come in, and I will get Tendol.”

I’ve watched enough television and late-night charity ads in my life to assume that any orphanage will have poor, sad, bedraggled kids confined in drab quarters, but I was not expecting the light, spacious and clean courtyard, with a basketball court and stable with horses. Bright Tibetan motifs of the sun and moon and swirly cloud patterns decorated the trim of buildings, while in small gardens orange and yellow flowers reached for the clear blue skies above.

From one of the buildings out came a woman who, after stopping to tie up the shoelaces of a small child and send them off to play with a hug, introduced herself to me as Tendol. She ushered me into a small reception area where I was given tea, and after explaining about her work, she showed me around the facility, which had spartan but well-maintained tidy dormitories, classrooms for after-school study, and a cosy kitchen.

I was surprised not just at the uplifting environment and its positive vibe, but also at just how content the dozens of children seemed. As a deliberate policy, two aspects of the orphanage’s operation were aimed at mainstreaming and protecting the children. Rather than become a closed institution like most other orphanages in China, the children went to school at the nearby school next to the orphanage, so they could integrate with their peers. To give greater security and remove the fear of being further displaced, Tendol committed to keeping all the children in her care safe from being put up for adoption.

It was one big family, and the children regarded each other as brothers and sister, with the house-parents and Tendol and her husband Losang referred to as parents, aunty or uncle. While most of the children were Tibetan, some were from seven other ethnic minorities including Naxi, Yi, Lisu, and Han Chinese. With orphans found abandoned on the street, or having lost parents, she said how Children’s Charity Tendol Gyalzur doesn’t discriminate on the ethnic origin, the colour of skin, or religion. “Instead we accept those who are most in need of our help and protection.”

While most Tibetans practice Tibetan Buddhism, Tendol was brought up in Europe with Christian values, but her mission was never religious and the orphanages were non-denominational. In an interview she once said her work was practical and pragmatic rather than religious, “My religion is wiping children’s noses.”

“I am the happiest person on Earth,” Tendol would often tell me when I visited her bringing donated clothes and food, or guests. “Really, I am the happiest person,” she would declare, wrinkles appearing around her deep dark twinkling eyes as she smiled, while outside youngsters playing tag, improvised soccer and hopscotch shrieked and chortled. “You can write that down.”

I did take note of her genuine proclamation and was curious to learn about her story, not just of her tangible ‘bricks and mortar’ achievements, but also of her personal transformation which made her in my books more saintly and less dogmatic than the likes of Mother Teresa (now known as Saint Teresa of Calcutta).

So how did an exiled orphan return from Switzerland to establish orphanages and nomadic schools across Tibetan areas during the last three decades? That journey, going full circle, from being an orphan herself to caring for hundreds of orphans, is Tendol’s story. The short answer is that was obviously very hard work, requiring dedication, perseverance, and boundless love. Tendol was supported by her family, especially her husband Losang Gyalzur and two sons, as well as donors throughout the world.

Given Tendol’s tough, turbulent childhood as an exile, refugee and orphan, you might expect her to hold a grudge against those who orphaned her. Yet she was possibly the kindest-hearted person you might ever meet.

I wanted to know about her life and struggles, and how she overcame the obstacles. When I stayed in Shangrila for 18 months, and later lived in the nearby town of Lijiang for a dozen years, I came to appreciate the difficulties for outsiders to live and work in China. For me and many other foreigners, the cost of visas and frequent visa-runs were higher than the actual cost of living.

Every year or so, someone I knew would be fined and deported. Several Tibetan-focused NGOs operating in Lhasa were kicked out, re-establishing in Yunnan, only to face more scrutiny and barriers. Tendol no doubt had to make some compromises in her work, but her continued ‘licence to operate’ seemed to come from her outstanding reputation, key connections and ultimately, from her record of success: she provided a social service for those most in need.

Tendol fled Tibet in 1959 during the suppression of the uprising against Chinese rule, escaping across the Himalayas with her parents and brother. Along the way, during the treacherous journey, her parents and brother died, and at one stage the group of refugees she travelled with left her behind in a remote village. She realised her plight, and ran after the caravan, making it through Bhutan to India, where she was placed in a refugee camp. She didn’t know the names of her parents or brother, nor did she know the date or year of her birth. Her age was only estimated based on the number of baby teeth.

The events of 1959 left tens of thousands dead and saw over 80,000 Tibetans, including the 14th Dalai Lama, flee to India. Tendol was transferred to an orphanage in Dharamsala run by the Dalai Lama’s sister and was chosen to be part of a group of a dozen children to go to Europe in 1963. Before departing to Munich, the Dalai Lama spoke to the children, hoping that one day they would be able to return to help rebuild Tibet and spread happiness, as ‘flowers that would later bloom in Tibet’.

She was adopted by a young German couple, both doctors, and grew up near Konstanz. As well as suffering culture shock and racial abuse for the darker colour of her skin, her less traumatic early memories include being invited to lunch with the mayor of Munich only to be served a bland meal of hominy grits, and being sick from eating too much chocolate at Easter.

In Germany, she met her husband, Losang, a fellow Tibetan refugee who had fled to Switzerland in 1972. They moved to near Zurich in Switzerland (the country with one of the largest populations of Tibetans) and started a family.

When her sons were still young, and when Tendol was 36 years old, she returned to Tibet for the first time in 1990, this time bearing the distinctive bright red Swiss passport with its bold white cross. While other visitors in the capital Lhasa were marvelling at the enchanting Tibetan Buddhist architecture and magnificent high-altitude scenery, she came across two dishevelled children rummaging through trash. She took them to a nearby place to eat, but at first, the manager refused to let them in.

“It was then, for the first time in my life, I realised that the only thing I wanted to do was fight for the rights of these abandoned children,” she said. “I know there are orphans all over the world, but I am Tibetan, and I wanted to help the orphans of Tibet.”

When she described her vision of establishing an orphanage in Tibet to her family and friends back in Switzerland and Germany, many argued it was an impossible dream. After all, she was just a surgical nurse, with little money, up against seemingly insurmountable obstacles to set up a private institution in bureaucratic and xenophobic Communist China.

Haunted by the images of the scavenging Tibetan street-children, which triggered her own memories of being an orphan, she took out her savings and some of her husband’s pension, sought donations and loans from family and friends, and secured some financial support from the Tibet Development Fund. Within three years of that pivotal moment in Lhasa, she returned in 1993 to open Tibet’s first private orphanage at Toelung just outside Lhasa. It started with just six children.

She opened a second orphanage in her husband’s hometown of Shangri-la in 1997, and five years later established a centre in western Sichuan for the children of nomadic herders.

Back in Europe, particularly in Switzerland, Germany, Austria and France, she gained more support from those inspired by her work. After dividing her time between both worlds she eventually moved to Shangri-la, spending time at the two other facilities and returning to Europe to report on progress and fundraise.

Although the authorities appreciated her work, and would often find or refer children to her care, the local government didn’t provide much in the way of resources. I remember one time Tendol showing me a large screen television gifted to the orphanage by officials, and lamenting the lack of government support for her humanitarian work. In later years, the government was more supportive, offering to fund teachers’ salaries and helping with clothing, food, housing and transportation. Chinese have been among the sponsors and volunteers, though the vast majority of the funds to maintain the operation have always come from abroad.

While some children’s charities gain sympathy and support by showing emotive images of deprived downtrodden children, Tendol didn’t rely on this tactic to attract donors. Instead, the charity showed the children doing activities, playing, and having fun, with some before and after photos showing the transformative for some of the orphans found abandoned on the streets.

Her husband joined her in Shangrila, and one of her sons, who had been a professional ice hockey player in Switzerland, relocated to establish a craft brewery, one of the highest in the world, which also employs adult orphans as part of a training and apprenticeship scheme. Songtsen’s two restaurants also give skills to youngsters in the tourism-oriented economy.

As the children in the orphanage grew older, some went on to tertiary study, vocational training and jobs. One of the former orphans from her Lhasa home became house parent in Shangrila. Tendol once confessed to me the challenges of seeing the children grow into adults. “It was a big change for me, from looking after them as children, to seeing them start careers, get married and have families.”

She hoped that in the family-atmosphere of the homes the children would not only strengthen their identity and independence but also live and work peacefully together. Each child had daily and weekly duties including keeping the premises clean, with teenagers, often seen hanging out laundry, helping the cooks prepare meals or playing for younger residents.

Volunteers were enlisted to help teach the Tibetan language, which was in danger of dying out, and as well as completing homework the residents were given lessons in Tibetan and English. When I lived in Shangrila I often visited, bringing other travellers to play with the kids. Teachers would devise fun games, musicians would teach new songs, and a juggler would entertain the children. When a new performance hall was completed, the interaction could take place indoors, with the children sometimes welcoming visitors with traditional songs and dances. The openness of the orphanage and its standing in the community meant you were as likely to see Tibetan monks or government officials come to study the innovative model as you were overseas sponsor groups or student volunteers.

After Songtsen joined his parents in 2008, an additional grassland property gave the children more space to run around in. The father of the orphanage, Losang, was an accomplished horseman, and a number of the children learned the skills of Tibetan horse riding, with several winning prizes at Shangri-la’s annual horse-riding festival.

Later when I moved to Lijiang, four hour’s drive away, I would still visit, sometimes taking small groups and families. If Tendol was in town and not away at the other orphanages or back in Europe, she was more often than not in a meeting or doing necessary paperwork. But she always made time, getting up from her desk to give me a big hug, sometimes lapsing into German (she admitted to mistaking me for a German-speaker as this was her main working language in liaising with sponsors and donors).

She was proud of all of her children. Around the walls of her office, certificates and prizes awarded her children joined photographs of her Swiss family and birth sons. Tendol had a big family that went beyond her own and her homes. She was also quick to point out that her endeavours weren’t just a one-way exchange, saying she’d learned a lot from the children, and that others might learn how to live in peace from them.

She said at the start she saw the Chinese as enemies. Her children would throw stones at any Chinese. But she was able to turn those enemies into friends and allies, and Chinese have been among those supporting her work.

As she passed retirement age, and Losang turned 70, they gradually closed the orphanages, with the remaining children now under the care of well-run government orphanages, and the couple returned to Switzerland. The Shangri-La Brewery and Soyala restaurant still remain in Shangrila.

Last year Tendol’s achievements were outlined in the German-language book Children of Tibet: The Unbelievable Story of Tendol Gyalzur, published in Switzerland. Publishers Woerterseh would like to release an English translation.

However, the last chapter of Tendol’s life of service in helping 300 children came earlier this month, when she succumbed to coronavirus, and died in Switzerland. The New York Times was one of the media offering a tribute to her life, in its new ‘Those We’ve Lost’ section highlighting the lives of those who have died from COVID-19. In Shangrila, one media outlet praised her inspirational life overcoming many obstacles, poetically declaring, “Love is boundless, and able to turn dry lands into a lush pasture.”

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Keith Lyons (keithlyons.net) is an award-winning writer, author and creative writing mentor, with a background in psychology and social sciences. He has been published in newspapers, magazines, websites and journals around the world, and his work was nominated for the Pushcart prize. Keith was featured as one of the top 10 travel journalists in Roy Stevenson’s ‘Rock Star Travel Writers’ (2018). He has undertaken writer residencies in Antarctica and on an isolated Australian island, and in 2020 plans to finally work out how to add posts to his site Wandering in the World (http://wanderingintheworld.com).

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Categories
Poetry

No Warplane Has Ever Flown Like A Bird

(Translation of Karunakaran‘s Pakshi Pole Parannittilla Oru Yuddhavimanavum by Aditya Shankar)

Karunakaran
No Warplane Has Ever Flown Like A Bird No warplane has ever flown like a bird, has lost way like a bird, has halted mid-flight reminiscing a bygone aroma. A warplane has flown evoking a rage, beside a war-goddess-shaped cloud grunting in the memory of a rage, like an animal. Not that, a warplane has ever flown like a bird.

Karunakaran is a novelist, poet and story writer hailing from Pattambi, Kerala. Published works: Makarathil Paranjath(Stories, Pathabedham), Kochiyile Nalla Sthree(Stories, Sign Books), Paayakkappal (Stories, DC Books), Ekanthathayekkurich Paranj Kettittalle Ulloo (Stories, DC Books), Athikupithanaaya Kuttanveshakanum Mattu Kadhakalum (Stories, DC Books), Parasyajeevitham (Novella, DC Books), Bicycle Thief (Novel, Mathrubhumi Books), Yuddhakalathe Nunakalum Marakkombile Kaakkayum (Novel, DC Books), Yuvaavayirunna Onpathu Varsham (DC Books), Yakshiyum Cycle Yathrakkaranum (Poems, Green Books), Udal Enna Moham (Essays, Logos Books.

Aditya Shankar is a Pushcart and Best of the Net nominated Indian poet, flash fiction author, and translator. His work has appeared in international journals and anthologies of repute and translated into Malayalam and Arabic. Books: After Seeing (2006), Party Poopers (2014), and XXL (Dhauli Books, 2018). He lives in Bangalore, India.

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Categories
Essay

Can Humanism Survive the Onslaught of Hate

By Dr Ram Puniyani

Lately when India has been undergoing the massive crisis of the Corona epidemic and the offshoots of its mishandling, we have also seen the pandemic being used to demonise a particular community in India. These hate mongers, operating through powerful medium of TV, and widespread social media which also has resorted to Fake news has intensified the Hate against religious minority. In this vast phenomenon, it seemed that all is lost as far as amity between people of different religions is concerned. Despite this broad generalisation one feels happy when one comes to know of few incidents where religious communities come forward to help each other.

The most touching such incidence of amity came forward in the form of story of Amrit and Farooq. They were travelling in a truck from Surat to UP. On way Amrit, a worker, fell sick and most other travellers, asked him to leave the truck in the middle of the night. As he was offloaded, he was not alone. His friend Farooq, another worker, also came down with him. Farooq put the sick Amrit in his lap and cried for help which caught the attention of others and an ambulance landed up to take Amrit to hospital!

In another incidence one worker, who had a differently able child, took the bicycle of another person, leaving a touching letter of apology, saying that he was helpless as he has to travel with his children and there is no other means. Many a people reported it as a theft of the bicycle while the owner of the bicycle, Prabhu Dayal took it in a stride. The one who took away the bicycle was Mohammad Iqbal Khan.

In Sewri Mumbai, Pandurang Ubale, a senior citizen died due to age related and other problems. Due to lock down his immediate relative’s could not organize the funeral. His Muslim neighbours came forward and did his last rites as per the Hindu customs. Similar cases are reported from Bangalore and Rajasthan.

In Tihar jail, the Hindu inmates joined the Muslim in keeping the Roza (fasting). While mosque in Pune, (Azam Campus) and a Church in Manipur has been offered as a place for quarantine. In another lovely incident a Muslim girl takes shelter in a Hindu home and the host gets up early in morning to prepare and give her food for Sehri, a pre morning meal before Rosa begins.

One can go on and on. Surely what is reported must be a tip of the iceberg as many such incidents must be going on unnoticed and un reported. The feeling one was getting after the section of media jumped to communalise spread of Corona, coined words like Corona bomb, Corona jihad, one felt the efforts to break the mutual trust between Hindus and Muslims may succeed totally after all. The deeper inherent humanism of communities has ensured that despite the Hate being manufactured and propagated by communal forces for their political agenda, the centuries old amity and the fraternity promoted by freedom movement will sustain itself somewhere, though it is suffering deep wounds due to the religious nationalists.

India’s culture has been inherently syncretic, synthesising the diversity in various forms. The medieval period which is most demonized, and as many of the sectarian ideologues are presenting it as a period of suffering of Hindus, the fact is that it is during this period that Bhakti tradition flourished and literature in Indian languages progressed during this period.

Even Persian, which was used in the court of kings interacted with Awadhi and produced the Urdu, which is an Indian language. It is in this period when the most popular story of Lord Ram was written by Goswami Tulsidas. Tulsidas himself in his autobiography Kavaitavali writes that he sleeps in a mosque. As far literature is concerned many outstanding Muslim poets wrote wonderful poetry in praise of Hindu Gods, one can remember Rahim and Raskhan’s brilliant outpourings in praise of Lord Shri Krishna.

The food habits, the dress habits and social life emerged with components from these two major religions. The sprinkling of Christianity in different aspects of Indian life is as much visible. It was the symbol of deep interaction of Hindus and Muslims that Muslims followed the Bhakti saints like Kabir and many a Hindus visit the Sufi Saint Dargahs (Shrines). This interactive element is vibrantly visible in Hindi films. Here one can see the outstanding devotional songs in praise of Hindu gods composed by Muslims. One of my favourite’s remains, ‘Man Tarpat hari Darshan ko Aaj’ (My soul is longing to see Hari). This song was written by Shakil Badayuni, composed by Naushad Ali and sung by Mohammad Rafi. The latter must have sung innumerable devotional songs.

Our freedom movement, despite the divisive role of British, the Muslim communalists and Hindu communalists, brought together people of all religions, in the struggle against colonial powers. Many a literary people painted the beautiful interaction of diverse communities. During freedom movement, and in the aftermath as communal violence flared up, the likes of Ganesh Shankar Vidyarthi, and towering above all Mahatma Gandhi tried to douse the fire of violence through exemplary efforts, efforts in which Muslims and Hindus both reciprocated despite the hate spread by the communal forces.

One recalls here the efforts of those friends, who laid down their lives to combat the fire of Hate. In Gujarat the names of Vasant Rao Hegiste and Rajab Ali will always be remembered as they laid down their lives, as a team, to restore sanity. This interaction is very deep and the present Government cannot tolerate the impact of Islamic-Muslim component in our culture. That’s precisely the reason that attempts are on to change the names of cities (Faizabad-Ayodhya, Mughal Sarai-Deen dayal Upadhyay etc).

The deeper interaction of communities is present in all facets of our society. The examples during Corona crisis have again brought to fore the fact that Indian culture is essentially a product of synthesis of different aspects of many religions prevalent here.

Dr Ram Puniyani was a professor in biomedical engineering at the Indian Institute of Technology Bombay, and took voluntary retirement in December 2004 to work full time for communal harmony in India. Email: ram.puniyani@gmail.com

This article was first published in Countercurrents.

Categories
Poetry

Love Poems

By Dr Rumpa Das

Love 2020

Nowadays,
I don’t go anywhere near where you live –
Spring is elsewhere.
The flowers in your garden have wilted,
Creepers seek out fresh pastures,
They want to live and foster
Away from the putrefying aura
Your late love spreads.
My hesitant plant-heart
Fearful of renewed assault,
However, has shown grit.
Out of heaps of deep damp memories
It has blossomed forth
Into confident young greenery.
Fresh wafts of breeze blow
In my mind, and show —
How old love and betrayal
Can be great fodder for a brave new life.

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Love beyond 2020

So you love me?
Just as the blue-green hillside
Loves the northern breeze
That smells of wild lilacs, rhododendrons
And the tales of throttled  lives
Which rolled over the precipice?
So you love me –
Because once upon a time
Your arms entwined mine
In a tepid moist embrace?
In a room that smelled of wine, cologne and deceit,
Even as a thousand flowers blossomed
To consecrate our love,
And a thousand incense sticks  burned themselves,
In solidarity with fruitless passion.
So, you love me still?
Even as I adjust a strand of unruly silver-grey hair
Behind  my  rimless glasses
And you look deep into
My eyes that smoked still
Of kohl , tears and long-lost promises.

Love isn’t love that alters, when it alteration finds.

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Dr Rumpa Das, an alumnus of Dept of English, Jadavpur University, is Principal,  Maheshtala College, Kolkata. She has taught English for over two decades. She was former Deputy Secretary (Academic) at the West Bengal Board of Secondary Education. She has published widely in India & abroad, and spoken in more than thirty international, national & state-level seminars and conferences. Her areas of interest are Gender, Media and Culture Studies. She is  a poet, creative writer  and a reviewer.

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Categories
Musings

The Key to Wonderland

By Suvasree Karanjai

I am not a prolific writer at all. A lazy academic, I procrastinate at the very idea of sitting on my laptop or tablet to pen down a few lines every day as most writers do religiously. But, lockdown has eventually left me with little option but to find a way of filling twenty-four long hours over twenty-one days, which has now extended much beyond. And hence, I am here on my table.

This seems to me the ultimate gift of this quarantine and the pandemic which many of us are facing for the first time in our lifetime.

Before I write at length, I must give this disclaimer that the write up is entirely based on what and how I see the pandemic and the consequent lockdown sitting in a small town by the foothills of Himalayas, called Siliguri (West Bengal, India). The beautiful place is fondly called the Chicken’s Neck as it connects India’s north-eastern states to the rest of the nation.

Initially, the lockdown shook us with not only the dread of the contagious virus afflicting lives across the globe, but also with the eerie news of suspension of all domestic help and our jobs. Taking a break from workplaces and the rigorous routine life was a great relief indeed. But the very thought that there would be no domestic help gave most Indians a cold shiver, I am pretty sure. And, therefore, immediately from the status of glossy working women, we were donning the shoes of pale, feeble and incompetent housewives. Yes, incompetent because, in most cases, neither could we imagine nor did we have the scope of doing housework for such a long stretch. This felt like was an imposition. We were left with no choice at all. In other words, it was a drastic flip of life.

I must add, the men were more alarmed. They could feel the shudder at the anticipation of their spouses’ mood swings over the coming weeks. Oh! How scary!

For the first few days, being a working woman, I really felt great to have leave and stay at home as a gharwali (a homemaker). I was longing for such a break, seriously. However, it really felt bad to have such holidays at the cost of innumerable lives. First two days most of us spent hours sleeping, working out routines and planning self care and personal growth.

Many portals extended help to all sorts of working people to deal with this frightening lockdown and to prevent a tragic breakdown. While for some the declaration was creepy from day one, others took the less-travelled and optimistic road.

As an academic, I felt I had won an unimagined prize. One always complains of dearth of time to read and write, or even rest, after loads of professional-academic work. Now, that I was ‘gifted’ (for others it might have been an imposition though)  with all this time to explore beyond all boundaries, the depressing fact of escalating fear of the virus found no room for minimal shelter. The nights were long and vibrant, and the days aglow with brainstorming feed from diverse sources.

A creative and intellectual person always has his unique way to deal with any kind of crisis. The lockdown meant, for the academics, the best time for self-education. A thinker is never on leave anywhere and anytime. Self-isolation and self-confinement, which can be equalled with solitary living to a certain extent, is undeniably an essential criterion for any creative venture. For, if one is alone, one is completely with oneself with one’s strengths and weaknesses. Without knowing oneself well, an artist (in all fields, from literary to music and painting) can never create his/her original piece.

Quarantine is the occasion to give oneself to time and time to oneself. The outer world is suddenly shut off. There is no rush to office and no visitors drop in without notice; no horns blow on roads and no wedding drums turn one stone deaf. Though quarantine is not complete solitariness, as one might have to live with one’s partner or family, it does give ample time to pursue new and greater horizons of research and study. Time in quarantine is actually a boon for a bibliophile or academic.

When the lockdown began, the terror of death had not yet gripped the soul.  But the gradual explosion in the number of premature deaths all over the globe suddenly gave way to anxiety. What if I die tomorrow? Will I be able to finish my dream work? I felt a threat standing before my bookshelves and the study table. And then, I heard an inner voice mewing, “I have so much to read and write.” I cannot quit before I reach that serene height of growth without giving this world the best of me.

Time is limited. The death-fear triggered my long withdrawn passion to spur on. Who knows who would fail to escape the gamble of this life-threatening virus?

While this might have been the case with few, the intellectual populace in general took the occasion to enlighten themselves and the world on diverse issues. A thinker always sees with a difference, and hence, makes a difference to the world too. The pandemic has created space for thought, introspection and retrospection. Across the globe, there is input of best intellectual ideas and perceptions which the world history demands now.

The pandemic is not an isolated event. It has deep roots in widespread world politics, history, economy and culture. It’s a major global accident in recent times that has created an unexpected opportunity to study the dynamics of human civilization and psyche. The Slovenian Marxist Slavoj Žižek has already come up with his new short book, Pandemic! COVID-19 Shakes the World. He gives a groundbreaking comprehension of capitalism in the face of this global epidemic. And hence, the cult of pandemic literature is on. It is the peak moment for philosophy to accelerate and unfold a new venture.

The virtual book lovers’ clubs and meetings are now all the more replete with shares of bibliophilic impulses to read different genres. A large literary populace is reading those pandemic literatures which they somehow missed reading in regular busy life. Many have taken this opportunity to get engaged in online courses which are again proliferating in this lockdown. This is not just self-education but a manifestation of a vast community feeling among the academics and bookworms in the times of strict self-isolation. Various portals are now in roll with eye-opening articles to nourish our grey-matter. That itself says that intellectuals are on their feet. Alices are now enjoying their respective wonderlands.

As I had posted on my Facebook news feed: I am finally getting the opportunity to read the unread books , ones that Amazon and Flipkart push bibliophiles like me to buy and stow on overburdened bookshelves. In response to my post, a friend of mine commented that he could still not resist his impulses. Under the cloak of helping the small bookstores survive, he had indulged in buying new books. So there is actually no trick to stop thinkers, academics and bibliophiles. They always see the tunnel aglow, no matter how dark it might seem to the world around.

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Suvasree Karanjai is a PhD candidate at Department of English, University of North Bengal, India. She has reviewed books in Wasafiri: International Contemporary Writing and Kitaab a couple of times. She has also interviewed eminent creative writers like Saikat Majumdar and Rajat Chaudhuri in Caesurae: Poetics of Cultural Translation.

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