Sewn into soft, worn layers, forgotten fabric of grandmother tales – patterns of the past, secret memories, hidden designs, intriguing patterns in silk strands dyed in delicate dreamy shades— embroidered story-lines in exquisite, dainty kantha-stitch.
Years of laughter, heartache, bliss, tears and yearning, rage, despair— worked by artful needle into guileless fictions of innocence, pure and tender baby love.
Fleet fingers, fashioning silent fables, designed to swaddle innocent infant dreams, shielding silk-soft folds of newborn skin from reality’s needle-pricks, abrasive touch of life in the raw.
(Previously published in Journal of the Poetry Society of India. Vol. 31 & 32, 2020-2021)
UPROOTED
Fallen tree on concrete sidewalk – thirsty roots clawing the air, screaming silently for the succour of your own familiar soil, where all these years I saw you live and grow, blossom and bear fruit, and spread your shade while, in your green branches, joyous songbirds nested—
Fallen tree, forgotten forbear, uprooted to make way for the merciless coldness of concrete— your plight robs me of my breath. I remember now my human ancestors, uprooted, like you, from native soil, by the concrete-hard harshness of a land divided, under foreign rule, displaced persons forced to find new homes, on alien, unfamiliar soil— in a different world, indifferent to the fate of trees or men who stand in the way of progress, the high road of history— dispensable, left to live or die, in a world where the climate has changed.
Fallen tree, your exposed roots lay bare the callousness of our world, which destroys trees, fish, birds, people, and our own ancestral roots, to build in steel, concrete and plastic its developing story of growth, even as it blindly digs its own grave.
[From Subliminal: Poems, Hawakal, 2023]
Radha Chakravarty is a poet, critic and translator based in Delhi, India. Her new book of poetry, Subliminal: Poems, has recently been published by Hawakal. Her poems also appear in numerous journals and anthologies, including Journal of the Poetry Society of India, Contemporary Major Indian Women Poets, Narrow Road Journal, Soul Spaces, Culture Cult, The Poet (Lockdown 2020), Krishna in Indian Thought, Literature and Music and Indian Poetry through the Passage of Time. She has published over 20 books, including translations of major Bengali writers such as Rabindranath Tagore, Bankimchandra Chatterjee and Kazi Nazrul Islam, anthologies of South Asian writing, and several critical monographs. She has co-edited The Essential Tagore (Harvard and Visva-Bharati), named Book of the Year 2011 by Martha Nussbaum. She contributed to Pandemic: A Worldwide Community Poem (Muse Pie Press, USA), nominated for the Pushcart Prize 2020. She was Professor of Comparative Literature and Translation Studies at Ambedkar University Delhi.
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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
A writer, a painter, an actor too? Which of these have I known in my friend, Bulbul Sharma? Ratnottama Sengupta ponders as she reverses the gear in the time machine
Bulbul Sharma
I have never formally ‘interviewed’ Bulbul Sharma. That’s because I was editing her writings even before I met her, became friends with her, with her brother Dr Ashok Mukherjee, her sister-in-law, Mandira, whose brother-in-law, Amulya Ganguli, was a much-respected political commentator including with The Statesman and The Times of India which I joined after I shifted to Delhi.
There were many journalists in her family. Bulbul herself was a columnist with The Telegraph when I joined the ‘handsome’ newspaper. Her columns on ‘Indian Birds’ would always come with her own illustrations. These later combined to become The Book of Indian Birds for Children – and now she’s penning stories for neo-literates. So I have never been able to separate the two souls of Bulbul – a writer whose books have been translated into French, German, Italian, Finnish, and an artist in the collection of National Gallery of Modern Art, Lalit Kala Akademi, UNICEF, Chandigarh Museum, Nehru Centre, London, National Institute of Health, Washington.
Bulbul, born in Delhi and raised in Bhilai, studied Russian and literature at Jawaharlal Nehru University before going to Moscow for further studies, in 1972. When she returned a year later, she decided to pursue her other love and made a career in art. So, in mid 1980s, once I shifted to Delhi, I got to know the artist Bulbul at close quarters. By then she was an active graphic artist who worked in the Garhi Artists’ Studio.
She would do papier mache items – sculptures, or of day-to-day usage. Then, she was teaching art to children of construction site workers left in the care of the Mobile Creche. Soon she was handholding me in creating monoprints in printmaking workshops, while my son started taking serious interest in art even as he keenly participated in her storytelling sessions.
Paper mache sculpture: BowlAubergines & Onions: Etching from Ratnottama Sengupta’s collectionArtwork by Bulbul Sharma: Photos provided by Ratnottama Sengupta
And then one day Bulbul invited me to join her and Dolly Narang of The Village Gallery in Hauz Khas, to do a workshop with the inmates of Tihar Central Jail, one of the toughest in Asia, which had started off on its reformation trail under the no-nonsense IPS officer, Kiran Bedi, who dreamt of giving convicts “the hope for a better future once they stepped out as free people.”
The other avtar of Bulbul is the one you are most likely to encounter online. A gifted narrator who depicts people and places she has known and seen in person, styled with little complication, to bring out the beauty in everyday life. Her first collection of short stories, My Sainted Aunts (1992) had bewitched me as much as my son, then in his pre-teen years. For, it etched with endearing affection the reality in a Bengali household that abounded — especially in my childhood — with pishimas[1]and mashimas[2] who were eccentric yet lovable. These aunts are easily identifiable and not easily forgettable though few aunts today are widows in white, eating out of stoneware, shunning onions, or an ‘outsider’: caste, creed, chicken and dog — all were barred.
A few years down, Bulbul, a naturalist who grows herbs in her orchard in the folds of Himalaya and often etches carrots and onions, came out with The Anger of Aubergines (1997) which had cuisine and recipes layering the text. It is a collection of stories about women for whom food is passion, or obsession. “For some it is a gift, for some a means of revenge, and for some it is a source of power,” as Bulbul herself might summarise. Once again, my gourmet family loved it.
Food is the most elementary aspect of human society and culture. And Bulbul has repeatedly capitalized on this multi-contextual significance of food. Not surprising, when I was editing an Encyclopedia of Culture, for the publishing house Ratna Sagar, I directly went to Bulbul for the chapter on ‘Cuisine’. In quite the same way, when a literature festival in Amritsar’s Majha House got Bulbul and me together on a panel, it was to talk about food as an expression of culture. “Learn everything you can, anytime you can, from anyone you can. There will always come a time when you will be grateful you did…” Bulbul once told a classful of students what she herself has practiced through life.
But with all this, I had virtually forgotten that Bulbul had acted in a film by Mrinal Sen[3]. Bulbul herself reminded me of this after reading my interview with Suhasini Mulay[4] occasioned by the ongoing birth centenary of the director of watersheds in Indian cinema like Bhuvan Shome[5]. I promptly wrote to her asking her to remember the salient ‘truths’ she had learnt by acting in the first of Sen’s Calcutta Trilogy[6].
Interview (1971) was a slim tale – a uni-linear storyline that unfolds on screen as a non-linear narrative. Stylistically it was the opposite of Calcutta 71 (1972), the second of Sen’s Calcutta trilogy, which built on stories by eminent authors like Manik Bandopadhyay, Prabodh Sanyal, and Samaresh Bose. Interview was about Ranjit, whose love interest Bulbul, was enacted by Bulbul Sharma.
The story went thus: A personable, smart but unemployed Ranjit is assured, in Calcutta of the post-Naxal years, of a lucrative job in a foreign firm by a family friend – if he shows up in a suit. It can’t be such a big ‘IF’, right? Wrong. He can’t get his suit back from the laundry because of a strike by the labour union. His father’s hand-me-down doesn’t fit him. He borrows from a friend but, on his way home, a fracas ensues in the bus and the net result is Ranjit is without a suit to appear in for the critical Interview. Will he, must he, go dressed in the hardcore Bengali attire of dhuti-panjabi?
Just the year before, Pratidwandi (1970) had been released, and it too had an interview at the core of the script. The first of Satyajit Ray’sCalcutta trilogy[7], it had cast newcomer Dhritiman Chatterjee, who would play the pivotal role in Padatik (1973), the clinching film in Sen’s trilogy. But Interview had cast another newcomer who was crowned the Best Actor at Karlovy Vary for playing Ranjit. In subsequent years, he became a megastar of the Bengali screen whom Ray too cast in his penultimate film, Shakha Prosakha (1990). And even as he was scoring a century in films, Ranjit Mallick’s daughter, Koel, was scaling heights as a lead actress.
Bulbul Sharma and Ranjit Mallick in Interview: Photo provided by Ratnottama Sengupta
Contrast this with Bulbul: She did not pursue a career in acting. So how had she come to play the Bulbul of Interview? Let’s hear the story in her own voice.
Bulbul Sharma: I was visiting my cousin sister Sunanda Devi — Banerjee who was a very renowned Bengali actress in the 1950s. She had featured in New Theatre’s Drishtidan[8] (1948), directed by Nitin Bose; Anjangarh[9](1948), directed by Bimal Roy; opposite Uttam Kumar in Ajay Kar’s Shuno Baranari[10](1960) and Chitta Basu’s Maya Mriga[11](1960).
Sunanda Didi and her husband[12], who was a film distributor, had produced Mrinal Sen’s first film, Raat Bhore[13](1957). Mrinalda had come to her house to discuss something with her husband and he saw me. He asked my cousin if I would like to act in a Bengali film. I was 18 years old and a student at JNU then. I was thrilled but my parents were not keen at all. However, though reluctantly, they agreed since it was Mrinal Sen. By this time he had won national and international awards with Bhuvan Shome.
Me:How did you prepare for the character? Did Mrinalda brief you? I don’t think he had a script in hand…
Bulbul: I did not do anything to prepare. My name in Interview is ‘Bulbul’, and Ranjit Mallick is ‘Ranjit’. Mrinalda said, “Be your natural self. Don’t try to act.” In fact I am an art student in the film. The only problem was that since I had lived all my life in Delhi, my Bengali accent was not very good. He often teased me about it. “Keep that smile for my camera,” he would say to me.
Me:Tell me about your co-actors Bulbul. Do you recall any incident that stays on in memory?
Bulbul: I remember my co-actor, Ranjit Mallick, was a serious, very quiet person. I think he got fed up of my constant chatter. He asked me once if everyone in Delhi talked so much. I was not surprised that he became one of the biggest stars in Bengali cinema but we did not keep in touch, alas.
Me:Why did you not think of pursuing acting as a career?
Bulbul: Acting was not something I had ever thought of doing. This film just happened by chance. Painting and creative writing was my passion and still is. But don’t lose hope! Recently I was offered a role of a grandmother. I might just do it!
Me:How did you respond to Interview when it released more than 50 years ago? And how do you respond to it now?
Bulbul: When I saw the film almost fifty years ago I don’t think I really understood what a brilliant film it was. I was 18 and just happy to see myself on the big screen.
Now when I saw Interview again, I really admired the way the everyday situations in a middle class Bengali home are played out. The scene when Ranjit’s mother, the great actress Karuna Banerjee – who had played Apu’s mother in Pather Panchali – searches for the dry cleaner’s receipt is just heart breaking.
The interview scene itself is so sensitively done. You want Ranjit to get the job but you know it will not happen. There is such understated humour, anger and sadness in that scene. I wish I could tell Mrinalda all that today!
Me:Interview, the first of Mrinalda’s Calcutta Trilogy, is considered a milestone in his oeuvre because of its socio-political content as well as its naturalistic form. How does it compare with the other two films of the Trilogy – Calcutta 71 and Padatik?
Bulbul: Unfortunately I have not seen these two films.
Me:Would you compare it with Ray’s Pratidwandi which also centred on a job interview?
Bulbul: Yes, Ray’s Pratidwandi also deals with the theme of unemployment during that turbulent period – 1969 to 1971 – in Kolkata. Yet they are not at all similar.
I think Mrinalda’s slightly impish, dark humour is lacking in the other film. Both are amazing films by our most brilliant directors. Films you very rarely get to see now.
Silk Painting with Kantha stitch by Bulbul Sharma Photos provided by Ratnottama Sengupta
Okay Bulbul, now my son and I will both wait to meet your onscreen Grandma avtar!
[6] Three films by Mrinal Sen: Interview (1971), Calcutta 71 (1972), Padatik (The Guerilla Fighter, 1973)
[7] Known collectively as the Calcutta trilogy, The Adversary (1970), Company Limited (1971) and The Middleman (1975) documented the radical changes Calcutta.
Ratnottama Sengupta, formerly Arts Editor of The Times of India, teaches mass communication and film appreciation, curates film festivals and art exhibitions, and translates and write 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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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
The year 2023 seemed to have been hard on all of us. Wars in the post-pandemic world, weapons and armies that destroy innocent civilian lives have taken the centre stage, vying with climate disasters, refugees, senseless shootings and unrest. Amidst this gloom and doom, we need hope — a gleam of light to help us find solutions towards a peaceful world. Let us give the newborn 2024 a fair chance towards its own wellbeing with cheer and laughter. Let’s laugh away our troubles and find the inner strength to move forward towards a better future where people live in harmony… perhaps to hum and recall Paul Mc Cartney’s wise words in ‘Ebony and Ivory'(1982)…
We all know that people are the same wherever you go There is good and bad in ev'ryone We learn to live, when we learn to give Each other what we need to survive, together alive
.... Amidst this wave of conflict, In the haze of the games you script, I will swing towards my own dream.
Let the breeze blow off the lamplight, Let storms thunder in the sky — Every moment in my heart, I can sense your footfall. In darkness, I strive to find my stream.
In that spirit, we look inward not just to find our dreams and materialise them, but also into the treasure chests of Borderless Journal to find writings that bring a smile to our lips. Tagore, translated by Fakrul Alam and Somdatta Mandal, leads the way as we start with humour and wonder in poetry and meander into a few prose pieces that evoke laughter, at times upending our current stream of thoughts or values. We move on to our three columnists, Rhys Hughes, Devraj Singh Kalsi and Suzanne Kamata, who bring laughter and uncover the nuances of the world around us on a monthly basis. Included also are the pieces by our travelling granny, Sybil Pretious, whose spirited travels prove that age is just a number. Capturing the spirit of diversity with a tinge of laughter, let us usher in the new year to a more hopeful and sturdy start.
Poetry
Giraffe’s Dad by Tagore: Giraffer Baba (Giraffe’s Dad), a short humorous poem by Tagore, has been translated from Bengali by Professor Fakrul Alam. Click here to read.
Humbled by a Pig: Farouk Gulsara meets a wild pig while out one early morning and muses on the ‘meeting’. Click here to read.
Leo Messi’s Magic Realism: Sports fan Saurabh Nagpal explores the magic realism in famous footballer Messi’s play with a soupçon of humour. Clickhere to read.
I am a Jalebi: Arjan Batth tells us why he identifies with an Indian sweetmeat. Click here to read why.
A Day at Katabon Pet Shop , a short story set amidst the crowded streets of Dhaka, by Sohana Manzoor. Click here to read.
Nativity of Christ, painted in the Mughal empire, around 1800 AD
“The central celebration is the birth of a child. There is no culture that does not celebrate this event, because all of us who belong to the human race can see our collective future in the pudgy little face. We marvel at this conjuring act, the miniature miracle, at its tiny fingernails and budlike nose.” — Jerry Pinto, Indian Christmas: Essays, Memoirs, Hymns, an anthology edited by Jerry Pinto and Madhulika Liddle
Christmas centres around the birth of a child who impacted a large part of the world and urged us to love others despite differences, to be kind, to embrace those who suffered… and that is the spirit that continues to unite humankind to move towards a future where people thrive in harmony, with love in their hearts. Despite all the darkness that broods over the world, Christmas has come around. The sun still moves forward in time and at some point, the darkness will give way to light. Perhaps, Christmas will remind people of the values they need to uphold to live in a world that is not filled with fear, greed or the lust for power and they will stop killing ruthlessly and without any sense of coherence. With that in mind, we have tried to evoke the spirit of Christmas cheer by presenting writings that talk of celebrations.
This is a season that should be filled with hope, goodwill, peace and love. The celebrations — depicting variety, a departure from conventional norms — by writers who reach across borders and time, rekindle our belief in the wonder created by these values, which is what Christmas is all about. We start with Tagore, a Brahmo by religion but his poem in English dwells on the wonder he feels at the idea of this unique birth of Christ. Our other writers from across the world pitch in with what Christmas means to all of them, whether it creates a sense of goodwill, nostalgia, invokes curiosity or just evokes plain laughter. Hopefully, we can all join together to ring the bells of kindness, love, humanitarian help and peace this year!
Poetry
An excerpt from Rabindranath Tagore’s ‘The Child‘ a poem originally written in English by the poet to celebrate Christmas. Click here to read.
In I Went to Kerala, Rhys Hughes treads a humorous path while exploring Christmas in Kerala. Click here to read.
In Hold the Roast Turkey Please Santa , Keith Lyons writes from New Zealand, where summer solstice and Christmas fall around the same time. Click hereto read.
In My Christmas Eve “Alone”, Erwin Coomb has a strange encounter on Christmas eve… Is it real? Clickhere to read.
Nativity, a fresco by Italian artist Boticelli, created around 1467
A conversation with the author,Afsar Mohammed, and a brief introduction to his latest book, Remaking History: 1948 Police Action and the Muslims of Hyderabad. Click hereto read.
A conversation with Meenakshi Malhotra over The Gendered Body: Negotiation, Resistance, Struggle, edited by Meenakshi Malhotra, Krishna Menon and Rachana Johri and a brief introduction to the book. Click hereto read.
In His Unstable Shape, Rhys Hughes explores the narratives around a favourite nursery rhyme character with a pinch of pedantic(?) humour. Click here to read.
Mother & Child by Jamini Roy (1887-1972)Mother and Child by Picasso (1881-1973)
‘Victory to Man, the newborn, the ever-living.’ They kneel down, the king and the beggar, the saint and the sinner, the wise and the fool, and cry: ‘Victory to Man, the newborn, the ever-living.’
This is the month— the last of a conflict-ridden year— when we celebrate the birth of a messiah who spoke of divine love, kindness, forgiveness and values that make for a better world. The child, Jesus, has even been celebrated by Tagore in one of his rarer poems in English. While we all gather amidst our loved ones to celebrate the joy generated by the divine birth, perhaps, we will pause to shed a tear over the children who lost their lives in wars this year. Reportedly, it’s a larger number than ever before. And the wars don’t end. Nor the killing. Children who survive in war-torn zones lose their homes or families or both. For all the countries at war, refugees escape to look for refuge in lands that are often hostile to foreigners. And yet, this is the season of loving and giving, of helping one’s neighbours, of sharing goodwill, love and peace. On Christmas this year, will the wars cease? Will there be a respite from bombardments and annihilation?
We dedicate this bumper year-end issue to children around the world. We start with special tributes to love and peace with an excerpt from Tagore’s long poem, ‘The Child‘, written originally in English in 1930 and a rendition of the life of the philosopher and change-maker, Vivekananda, by none other than well-known historical fiction writer, Aruna Chakravarti. The poem has been excerpted from Indian Christmas: Essays, Memoirs, Hymns, an anthology edited by Jerry Pinto and Madhulika Liddle, a book that has been reviewed by Somdatta Mandal and praised for its portrayal of the myriad colours and flavours of Christmas in India. Christ suffered for the sins of humankind and then was resurrected, goes the legend. Healing is a part of our humanness. Suffering and healing from trauma has been brought to the fore by Christopher Marks’ perspective on Veronica Eley’s The Blue Dragonfly: healing through poetry. Basudhara Roy has also written about healing in her take of Kuhu Joshi’s My Body Didn’t Come Before Me.Bhaskar Parichha has reviewed a book that talks of healing a larger issue — the crises that humanity is facing now, Permacrisis: A Plan to Fix a Fractured World, by ex-British Prime Minister Gordon Brown, Nobel Laureate Michael Spence, Mohamed El-Erian and Reid Lidow. Parichha tells us that it suggests solutions to resolve the chaos the world is facing — perhaps a book that the world leadership would do well to read. After all, the authors are of their ilk! Our book excerpts from Dr Ratna Magotra’s Whispers of the Heart – Not Just A Surgeon: An Autobiographyand Manjima Misra’s The Ocean is Her Titleare tinged with healing and growth too, though in a different sense.
The theme of the need for acceptance, love and synchronicity flows into our conversations with Afsar Mohammad, who has recently authored Remaking History: 1948 Police Action and the Muslims of Hyderabad. He shows us that Hyderabadi tehzeeb or culture ascends the narrow bounds set by caged concepts of faith and nationalism, reaffirming his premise with voices of common people through extensive interviews. In search of a better world, Meenakshi Malhotra talks to us about how feminism in its recent manifestation includes masculinities and gender studies while discussing The Gendered Body: Negotiation, Resistance, Struggle, edited by her, Krishna Menon and Rachana Johri. Here too, one sees a trend to blend academia with non-academic writers to bring focus on the commonalities of suffering and healing while transcending national boundaries to cover more of South Asia.
That like Hyderabadi tehzeeb, Bengali culture in the times of Tagore and Nazrul dwelled in commonality of lore is brought to the fore when in response to the Nobel laureate’s futuristic ‘1400 Saal’ (‘The year 1993’), his younger friend responds with a poem that bears not only the same title but acknowledges the older man as an “emperor” among versifiers. Professor Fakrul Alam has not only translated Nazrul’s response, named ‘1400Saal’ aswell, but also brought to us the voice of another modern poet, Quazi Johirul Islam. We have a self-translation of a poem by Ihlwha Choi from Korean and a short story by S Ramakrishnan in Tamil translated by T Santhanam.
Our short stories travel with migrant lore by Farouk Gulsara to Malaysia, from UK to Thailand with Paul Mirabile while chasing an errant son into the mysterious reaches of wilderness, with Neeman Sobhan to Rome, UK and Bangladesh, reflecting on the Birangonas (rape victims) of the 1971 Bangladesh Liberation war, an issue that has been taken up in Malhotra’s book too. Sobhan’s story is set against the backdrop of a war which was fought against linguistic hegemony and from which we see victims heal. Sohana Manzoor this time has not only given us fabulous artwork but also a fantasy hovering between light and dark, life and death — an imaginative fiction that makes a compelling read and questions the concept of paradise, a construct that perhaps needs to be found on Earth, rather than after death.
The unusual paradigms of life and choices made by all of us is brought into play in an interesting non-fiction by Nitya Amlean, a young Sri Lankan who lives in UK. We travel to Kyoto with Suzanne Kamata, to Beijing with Keith Lyons, to Wayanad with Mohul Bhowmick and to Langkawi with Ravi Shankar. Wendy Jones Nakanishi argues in favour of borders with benevolent leadership. Tongue-in-cheek humour is exuded by Devraj Singh Kalsi as he writes of his attempts at using visiting cards as it is by Rhys Hughes in his exploration of the truth about the origins of the creature called Humpty Dumpty of nursery rhyme fame.
Poetry again has humour from Hughes. A migrant himself, Jee Leong Koh, brings in migrant stories from Singaporeans in US. We have poems of myriad colours from Ryan Quinn Flanagan, Patricia Walsh, John Grey, Kumar Bhatt, Ron Pickett, Prithvijeet Sinha, Sutputra Radheye, George Freek and many more. Papia Sengupta ends her poem with lines that look for laughter among children and a ‘life without borders’ drawn by human constructs in contrast to Jones Nakanishi’s need for walls with sound leadership. The conversation and dialogues continue as we look for a way forward, perhaps with Gordon Brown’s visionary book or with Tagore’s world view of lighting the inner flame in each human. We can hope that a way will be found. Is it that tough to influence the world using words? We can wish — may there be no need for any more Greta Thunbergs to rise in protest for a world fragmented and destroyed by greed and lack of vision. We hope for peace and love that will create a better world for our children.
As usual, we have more content than mentioned here. All our pieces can be accessed on the contents’ page. Do pause by and take a look. This bumper issue would not have been possible without the contribution of all the writers and our fabulous team from Borderless. Huge thanks to them all and to our wonderful readers who continue to encourage us with their comments and input.
Here’s wishing you all wonderful new adventures in the New Year that will be born as this month ends!
A brief introduction to Remaking History:1948 Police Action and the Muslims of Hyderabad, published by Cambridge University Press, and a conversation with the author, Afsar Mohammed
Afsar Mohammad
In a world given to wars and fanning differences, an in-depth study of history only reflects how we can find it repeating itself. In Remaking History:1948 Police Action and the Muslims of Hyderabad, academic and writer, Afsar Mohammad, takes us back to the last century to help us fathom a part of history that has remained hoary to many of us.
On 15thAugust, 1947, when India and Pakistan ‘awoke’ to a freedom amidst the darkness of hatred and bloody trains and rivers, there was a part of the subcontinent which remained independent and continued under the rule of a Nizam, Mir Osman Ali Khan, Asaf Jah VII. This was Hyderabad. Later, in post-Jinnah times, when India decided to integrate the independent kingdom, which had even found a name for its independent existence — ‘Osmanistan’ — what broke out was an episode called Police Action, code name Operation Polo. Mohammad’s book is an exhaustive relook at the integration of a people into the mainstream nation of India, using the voices of common people.
There were strands of communists in the Telangana movement and the mercenaries we know of as Razakars. His own family was involved in the events, and he had an uncle arrested for the performance of Burra Katha, a form of theatre used by Left to educate the audience, somewhat like a musical street theatre. Mohammad has interviewed survivors extensively and knitted into his narrative findings which make us wonder if religion or nationalism were used as a subtext of power play and greed. For, we have the local cultural lore where the people despite differences in faith had a tehzeeb or a way of life, where Hindu writers wrote in Urdu for the love of it and Muslims used Telugu.
Afsar Mohammad interviewing an activist from abasti in Old Hyderabad. Photo Credits: Sajaya Kakarla
Hyderabad was perceived by some as a sanctuary, like writer Jaini Mallaya Gupta. He contends: “Like me, many leftist writers and activists had migrated to the city at that point and they became popular by using pseudonyms. Hyderabad was like a sanctuary as it could hide us in its remote neighborhoods where we were supported by local Muslim community too. But we all became really closer to each other and more connected to the Urdu literary culture that indeed provided a model for our activities.”
But did things stay that way post Operation Polo? Razia, a witness to the police action, states: “It was a phase of unfortunate turns—everything so unexpected! Not about the Razakars or the Nizam, but most of the ordinary Muslims (ām Musalmān) whom I know fully well since my childhood had a hard time. Particularly young Muslim men and women … all suddenly became suspects and many of them from their homes leaving everything. They just wanted to live somewhere rather than dying in the bloody hands of the Razakars and Hindu fundamentalists.”
That cultural hegemony has a tendency of typecasting languages based on political needs is shown as a myth by Mohammad as both Hindu and Muslims used Urdu and Telugu in Hyderabad. His book revives Hyderabadi tehzeeb as the ultimate glue for defining a Hyderabadi. This is somewhat similar to what Bengal faced which had been divided along religious lines in 1947. Professor Fakrul Alam, a well-known academic, essayist and translator, tells us in his essay on the birth of Bangladesh in 1971, “The key issue here was language and the catalyst was the insistence by the central government of Pakistan that Urdu should be the lingua franca of the country…” Bangladesh emerged as a protest against linguistic and cultural hegemony. Eminent writer, Aruna Chakravarti, goes further back in history in her historical novel, Daughters of Jorasanko (2016), and shows how Tagore was involved in preventing the division of Bengal proposed by Lord Curzon in 1905. However, despite these historic precedents, we are seeing the world suffer wars from such divides and common people continue to be affected by the violence and bloodshed, losing their homes, livelihoods and often, their lives. What happened in the last century continues to reiterate itself more virulently in the current world. In times such as these, Remaking History surfaces as a book that has much to offer, perhaps if humanity is willing to learn lessons from history.
Your book is focussed on a small group of people, the common people of Hyderabad who suffered during the integration into a nation. Why would this be important in a larger context? How would it assimilate into stories of the world? By stories, I would mean plight of Rohingyas,Muslims, Jews … more or less plight of minority groups of people. Do you see any emerging patterns in all these stories?
In this work, I’ve consistently used the category of ordinary people as related to Hyderabad and Deccan. I needed this term to speak about both Hindus and Muslims as I was constantly reminded of the divisive politics persistent in this region and throughout South Asia. Despite the focus on the Muslims of Hyderabad, this work emphasises the inseparability of Hindus and Muslims when it comes to the violence and trauma of the Police Action of 1948. According to many interlocutors, the violence had inflicted the entire community — mostly the ordinary people of the Deccan.
I started writing this book with a primary idea that this lens of ordinariness helps us to not just this 1948 violence in Deccan, but many other religious conflicts now rampant through the globe. The examples you just mentioned above are not an exception. Since we’re blind to an ordinary person’s approach or emotional life, we totally failed to capture many dimensions of these violent events. Most patterns, either subjective or objective, that emerge out of this violence and trauma have their origins in this search for ordinariness.
Along with a few interviews, you have brought up the issues through writings of great Telugu and Urdu writers of that time. Can you tell us if literature actually translates to real life situations?
To be honest, being a writer and poet by myself, I’ve always believed that literature is half-truth which is filtered by multi-dimensional subjectivity of a writer. Specifically, when there’s a political situation, literary writings also tend to project a partial reality. However, these gaps could be filled by empirical evidence that we gather from the stories of ordinary people who not only witnessed the violence, but also suffered many setbacks caused by such violence. Yet, we require a balanced perspective to level these oral narratives and written materials. In this way, rather than relying fully on a singular story, we can explore the possibilities of multiple stories of a singular event.
Your family and you profess Leftist leanings. And yet, you write of religious minorities. Historically, the Left professes to be above traditional religions, like Hinduism and Islam. How do you integrate religion into communist ideology? Would you agree with Harari that Left is a religion unto itself?
One of the major critiques in this work is to contest the left-centric approach to 1948 and even the Telangana armed rebellion of 1946-1951. As I argued in this book, leftist writers, poets and ideologues completely failed to capture the reality of the day. I’ve presented evidence for this argument from various writings and witness narratives too. Since their high emphasis on economic determinism, many key social and religious dimensions remained their blind spots. Various religious and caste developments during the periods of the 1930s and 40s were determining factors of modern Indian history. Yes, of course, I still believe in the Leftist ideology, but never worship it though! To put it simply, I’m a critical Leftist and critical Muslim!
‘Popular understanding is largely shaped by what exists in circulation. This is what we see in the form of how people understand the Police Action across India as well as folklore, including the reconstructed folk narratives such as Adluri Ayodhya Rama Kavi’s burra katha. Such popular representations further reinforce the larger narrative peddled by the state.’ What exactly is burra katha? And what was your family involvement in it?
Burra katha was a popular storytelling and music genre in Telugu utilised by the leftist organisations to circulate their idea of resistance against the status quo in Telangana and elsewhere. Shaik Nazar was an icon of this radical narrative tradition and he also trained hundreds of disciples in this genre. Most artists and writers from the leftist camp were busy producing stories based on the Telangana armed rebellion and other resistance movements to gather the people in the public meetings between 1946 and 1952. My family also had some role in the production and circulation of this genre. However, it’s a story beyond my family’s history and had numerous political and performative implications that I’ve discussed in my book. I already have a detailed narrative of these personal and professional connections in my book and I encourage my readers to access them directly from the book. Just a brief note, many performers were arrested and put in prisons for months and months during this armed rebellion and they also suffered heavily due to the oppression of the Nehru’s government.
A burra katha performance
Do you see a parallel between what was happening then to such performers and protest writers in more recent times? Do you find still that popular opinion is being shaped by stuff circulating in media?
I see many parallels between the past and the present conditions of performers and writers who speak out against the hierarchies and status quo. Recent times, we see more strategic ways of silencing such protest and performance genres. Various apparatuses of the state have become extremely powerful and most writers/performers are being cleverly trapped into a governmental system. Nevertheless, there’re always exceptions. This book captures such intense moments that stubbornly contested the government-led media or privileges. We need more such strong voices to change the current state of things.
Were Razakars the Nizam’s army? I had been under the impression that they were mercenaries — irrespective of religion. But you say they were volunteers. Can you explain who were the Razakars exactly?
During the earliest phase of the Razakar activism, this was not Nizam’s army. It was supposed to be a group of young Muslims who volunteered to initiate radical changes in the Hyderabadi-Deccan Muslim community. In that sense, Razakar was a “volunteer,” the actual literal meaning of the term. Later, when Kasim Razvi became the president of this group, it took on a totally different manifestation. Razvi promoted a version of the Razakar activism that eventually served the military needs of the Nizam. I actually tried to show these different faces/phases of Razakar activism by collecting evidence from various writings and oral histories.
Before the Indian government ‘integrated’ the state of Hyderabad, there seems to have been a simmering of resentment against the Nawabi lifestyle and the common people, irrespective of their religious beliefs as you have shown. Do you find in the world context such reactions against wars or cultural hegemony currently?
Before, during and after the integration of the state into the Indian national government, it was an extremely complicated situation which we could name it as a “transition” period. It was similar to many states in India, but Hyderabad state had a peculiar situation due to its local politics and Deccani identity. Of course, there was a resistance to the Nawabi lifestyle as the new generation Muslims were engaging with many facets of modernity and embracing a reformist version of Islam. Nevertheless, these changes were not merely the products of local Muslim life. As I argued in the book, local Islam and Muslim sense of belonging was in constant dialogue with the larger networks of Islam and Muslim politics. I see similar thread continuing in contemporary Muslim discourse since 1992 when Hindu nationalism became a defining factor for many identities.
Did and do common people resent the “integration” as they did the Nawab? What would be the cause of that? Was it religion or economic and social discontent that becomes the focal point of riots then and as of now?
Whereas the Nawab’s resistance had his own political and private reasons, as I noticed from the evidence, the resistance from ordinary people had more to do with the common good and also, there was a protest against the way the entire military invasion was initiated and promulgated. People were concerned about the atrocities of the military which were aimed at wiping out the leftist movement on the first hand. At the end of the day, the Nawab and the Nehru government remained safe and friendly, while thousands of people were killed for this power sharing. Despite several different viewpoints, most of the public opinion was against this military invasion and the killings.
Why is evolving a Muslim, or for that matter any religious identity, important in today’s world? Will these not lead to conflict as we are experiencing in the post-pandemic twenty first century?
It’s not about a specific religious identity: now it’s high time for any identity to be discussed and disseminated. I see this more as a conflict resolution so that we become aware of our differences and learn the limits of our discourses. We’ve bigger issues that the pandemic. We’ve caste, religion, gender and regional issues that we need to sort out gradually. Many conflicts around us are due to our failure to acknowledge these identities and their role in the making of our community.
“The nationalist/textbook version of history is determined by the nation-state as is seen in how a nascent India emphasized and celebrated the ‘integration’ with an utter disregard for native opinion or the costs people paid associated with the bloody event.” Is this true not just in the Indian context but in context of the battles we see happening in the world?
Yes! Absolutely! The desire for “integration” is a product of hegemonic politics and turning into global phenomenon and we’re all plagued by the idea of nationalism and we’re forced to declare a singular nation, culture and language in many instances. We’ve too many examples right now to prove this and I don’t have to rehearse everything here.
Can you suggest a solution to finding and enforcing, peace, love, kindness and forgiving?
At first, we need to realise our mutual desire for such love and compassion. Our sheer dependence on political parties and making their goals as our own goals is a self-defeat by all means. I see community as a larger concept and we need to acknowledge its real sources of being and belongingness.
Thanks for your time and the comprehensive book.
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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL.
In conversation with Meenakshi Malhotra and a brief introduction to The Gendered Body: Negotiation, Resistance, Struggle (Scopus Index), edited by Meenakshi Malhotra, Krishna Menon and Rachana Johri, published by Routledge
Dr Meenakshi Malhotra
Why would one half of the world population be seen as evolved from the rib of the first man, soulless or as merely subservient to fulfil the needs of the other half? This is a question that has throbbed for centuries in the hearts of that half that suffers indignities to this date, women. While feminism became a formalised idea only in the 18th-19th century and things started improving for certain groups of women around the world, in some regions, like Afghanistan, the situation has deteriorated in recent years. Their government, recognised by world leadership, has ensured that women do not have schooling, cannot work in senior positions, have to be accompanied by men if they go out and remain covered as the feminine body could tempt bringing shame, strangely, to the female but not to the man who has the right to be tempted and hence to violence and violate her body and her mind.
Given this ambience, any literature voicing protest for patriarchal mindsets that accept situations like in current day Afghanistan passively, should be celebrated as an attempt to shard the silence of suffering by one half of the world population. The Gendered Body: Negotiation, Resistance, Struggle, edited by three academics, Meenakshi Malhotra, Krishna Menon and Rachana Johri, does just that. At the start, we are told: “This book situates the discourse on the gendered body within the rapidly transitioning South Asian socio-economic and cultural landscape. It critically analyzes gender politics from different disciplinary perspectives…”
Featuring 22 writers, the narratives take up a range of issues faced by women in Pakistan, India, Bangladesh and Srilanka. The Pakistani implementation of Islamic law, under the Hudood ordinances, has been addressed in a powerful essay by Aysha Baqir, subsequently by Anu Aneja, in her discourse on Urdu poetry. It was interesting to read how the ghazal form started as a male-only art form where women were depicted as mysterious houris or pining with sadness. Birangona — a phrase that was given to rape victims of the 1971 Bangladesh Liberation War — has been explored by Sohana Manzoor through a classic, Rizia Rahman’s novel, Rokter Okshor[1](1978), written about such women driven to prostitution. Women’s voices in the Sri Lankan LTTE have been explored by Simran Chaddha. Nayema Nasir has taken up decadent customs in the progressive Bohra community in Mumbai and shown how things are moving towards a change. Colonial and Dalit voices have found a hearing in Malhotra’s essay on Mahasweta Devi’s short story, ‘Draupadi’, set against the Naxalite movement of 1970s.
Dotted with women’s responses to a variety of current issues, including the Anti-CAA-NRC uprisings (Tamanna Basu), Shaheen Bagh (Meenakshi Gopinath, Krishna Menon, Rukmini Sen and Niharika Banerjea), and the pandemic (Krishna Menon, Deepti Sachdev and Rukmini Sen), there is even a case study by Shalini Masih dealing with psychiatric trauma where both the psychiatrist and the patient, who might have evolved into a stalker or a rapist without the therapy, heal. A certain sense of hope echoes through some of these narratives, a hope to heal from wounds that have sweltered over eons.
The flow of words is smooth and the ideas should be able to rise against the tide of erudition to touch our lives with lived realities. There are responses that transcend the heaviness of academic writing for instance the impassioned start made by Giti Chandra in her narrative: “A woman’s body is a story that men tell each other. When it is full-hipped, it is a tale of their healthy children; when it is fair, it speaks of their wealth; when it is narrow, it proclaims their access to gyms; and when it is tanned, it flaunts their ability to vacation on sunny isles. If its feet are not small enough to convey a leisure that does not require walking, they are bound and made smaller and more childishly submissive; if its legs are not long enough befitting its trophy status, bone-crippling heels are added to them. When it is raped it is an assertion of power, a chest-thumping; when it is raped it is an aggression over its owner; when it is raped its womb is stolen from the enemy…” Chandra points out some things that make one think, like quoting Rahila Gupta, she suggests victims is not the word we should use for women, but we should refer to the sufferers as survivors.
This collection of essays questions social norms and niceties to realise what early woman’s rights activist, Elizabeth Cady Stanton, drafted, that “all men and women [had been] created equal” in July 1848. While the struggle continues through centuries and the discourse of these narratives, the last essay by a man, Brijesh Rana, attempts to give a broader and more inclusive outlook to the whole human body. The book comes across as a tryst — of academic and feminist voices — to speak up for mankind to equalise.
To further understand the intent and scope of this book, we have in conversation one of the editors— Meenakshi Malhotra, who teaches gender studies and literature, has to her credit two Charles Wallace fellowships and a number of books. She reflects on the bridge that is being attempted between scholarship and activism.
How and when did you conceive this book? Tell us a bit about your journey from the conception to the publication of the book.
This book was originally conceived due to the positive response my co-editors and I received after presenting a panel at an American Association of Asian studies (AAS) conference back in 2017. We were approached by an international publisher who encouraged us to take forward the work with a focus on South Asia. We were unable to take it forward at that time, however we revived the project a few months into the lockdown in late 2020 when we felt we had a little more time. Also, along the way, we were able to reach out to fellow travellers, working in and on Pakistan, Bangladesh and Sri Lanka.
Three of you have collaborated to compile and edit this book. Collaborations to bring out books are not easy. Tell us about this collaboration.
As we three had presented on the same panel, the collaboration was a natural corollary since we had a sense of being fellow travellers and sister academics/scholars. That worked well for us because each of us were engaged in research and research guidance and wanted to showcase the recent work in this area. Both the co-editors, Krishna working on gender and its intersections with politics and Rachna on gender and psychology are very well-established scholars in the field of gender. I work on gender and literature, had my own network and I must mention that in the course of writing for Borderless Journal, I was able to access the work of others on that platform.
Explain to us the significance of the title of your book.
I think we arrived at the title through two processes-one was the immediate situation of Covid which left us in a state of precarity. However, we felt that even within the context of the contagion, women — and other genders — were endangered in specific ways. Second is the understanding that the body is always already produced by multiple matrices of gender, race, caste etc. The human body is also always a gendered body.
We had initially suggested that we call it ‘The Gendered Body and its Fragments’ to connote the bundling of several discursive strands on gendered bodies, but the idea was vetoed (by the initial reviewer) since “fragments” had resonances and nuances which we did not have space (or expertise) to go into, at that point.
You have a variety of contributors, some of who are non- academic. What did you look for when you chose your content?
Variety as you point out, is the key term. We were looking for something new, something interesting, flagging the variegated cultures of South Asian societies. The book comprises a mix of experienced researchers and some researchers whose essays are their preliminary forays into publishing.
Your book is divided into different sections ‘Negotiation’, ‘Struggle’, ‘Resistance’, ‘Protest’, ‘Critique’, ‘Representations and New Directions’. Can you tell us the need to compartmentalise the essays into this structural frame?
Just to give it a structure, organisation and coherence. Having said that, there are also frequent overlaps.
Would you call this book feminist? Feminism is as such a human construct. Why would this construct be essential for treating people equally? What is the need for feminism?
It is feminist in its orientation to the research areas as well as its methodologies. The key concept here is collaboration and therefore we have two conversation as an expression of feminist epistemology or knowledge-making.
Feminism, like other modes of affirmative action — like reservations, quotas — are an attempt to create a level playing field for historically disprivileged groups and oppressed minorities.
Having said that, I/we would like to point out that feminism has become inclusive and an umbrella term that also includes the work on masculinities and trans-identities since the 1990s.
Isn’t feminism the forte of only women?
Not at all and that is why we have the term feminisms. We hope to do more work subsequently on masculinities, on trans bodies in the future.
You have 21 women writers who write of women’s issues. Yet the last is an essay by a man — not on feminist issues— but more to create a sense of inclusivity, if I am not wrong. Why did you feel the need for this essay?
It is not so much about women’s issues as much as about gendered bodies in contemporary South Asia, about identities, subjectivities, bodies in motion gearing up for political action(the conversation and the essay on campus movements are instances).
Also, the last essay which articulates a post-humanist perspective, I felt, would take us beyond the materialities of gendered bodies and flag the way recent research/scholarship has looked at the Anthropocene. It was attempting to give a meta perspective, to bring in a way of seeing, which probably will have an impact on how we understand and conceptualise human bodies.
Your book blurb says: “Topical and comprehensive, this book will be useful for scholars and researchers of gender studies, sociology, political sociology, social anthropology, cultural studies, post-colonial studies and South Asian studies.” Why would you limit the scope of your book when you have some essays that should be read by many and are like eye openers, like the ones on Hudood, Birangonas, Bohras, even your own on ‘Draupadi’ and more?
I think Routledge as an academic publisher, probably does this routinely, to highlight the academic terrain any new book covers.
Having said that, we would definitely want the book to be of general interest. Some of the essays discussed issues which were possibly eye-openers for us as well.
What is the difference between academic writing and non-academic writing? You do both, I know.
Academic writing has often a thesis and an argument underpinning it, which is not to say that non-academic writing — especially the essay — cannot have them.
Also, many of the essays were based on student papers/MPhil and even PhD dissertations. The panel we were a part of was an academic conference on South Asian studies.
Would this book be classified as women’s writing as majority of the writers are women and have written on women’s issues… and yet there is a man? Is it necessary to have such classifications? Would it rule out male readers?
Not at all to every question. It just happens that many of our contributors are women, but I would like to dispel the idea that “gender” is about women only. It is about boxes, stereotypes and role-based expectations, which are to be questioned.
Thanks for giving us a powerful book and your time.
Rabindranath Tagore (1861-1941) Kazi Nazrul Islam (1899-1976)
1400 SAAL OR The YEAR 1993
A hundred years ago O poet, you had thought of us With such immense affection, A hundred years ago!
Mystical one; child of mystery, Taking off the cloak covering your eyes, When did you arrive from some far-off haven? Heading from the south and opening a window of our house, O secret stroller into our dreams, You came with the fragrance wafted by the spring breeze, To where a hundred years later I was reading your poem At nighttime. An absent-minded butterfly, you saw us with pain-brightened and moist eyes— With silent wings, Fluttering casually, you went languidly away. And we, a hundred years later, Keep reading your poem, dyed in the tenderness of youth, With rapt attention, affectionately. In a reverie, and sleepy, with eyes drooping, My beloved listens to your prophetic song With tear-moistened eyes.
Alas, to this day, The shut southern window Opens again and again. The restless spring breeze cries out in pent up pain. In minds and forests and in murmuring blossoms, Moist flowers shed from their braided beds, Again and again.
The dark eyelids of the blossoms keep fluttering softly. The female bee snatches honey from the beak of her mate.
The dark-eyed buds flutter in the gentle breeze. Drenched in pollen, bees drink honey-sweetness fully. The she-dove loses herself at the warbling of her mate. The forest bride has decked herself in crimson robes of youthfulness. Every now and then earth’s heart gasps At the breeze’s passionate outbursts.
Immersed in the depth of your being, a hundred years later, Oh sun-suffused one, I have been reading your poem, With immense adoration. At your gesture I wake up to your music, O artful one, I’ve grasped your artfulness! Stealthily you tiptoe To our far away youthful beings, In poetry, songs and in lush tones and colourful dreams. All flowers that have bloomed today—all birdsongs, All crimson hues, Caressed by you, O ever-youthful poet, Have become livelier! In the morning hours of this spring festival, You’ve become the song in our youthful festivities. Once a darling child and now immortal in a bower All of us youthful men and women await your nuptial hour. Sing O dear one, sing again and again The songs you would sing amidst blooming flowers, Songs my beloved and I sing on our own or together, Songs at whose end I slide into sleep, only to hear In a dream appearing in a midnight hour, My beloved weep, “Dearest poet, friend and wise one—“ Till my dream ends suddenly And I view my beloved’s eyes moisten Until tears trickle down her eyes.
I remember now, how a hundred years ago You had stirred—and others too had awakened In some far away cloistered state. At your gesture a sad tune had spread its wings and flown. Glancing back from the window momentarily, It had caressed the tears lining your eyelids. It had bent the curling tresses of flower buds. And then vanished—leaving you sitting silently. Moistened by the dewdrop of your eyes, Your messages blossomed; some bloomed, Some even resonated instantly, And then were tucked away inside our dreams.
All of a sudden a door opened In the spring morning your greeting came through. The envoy of spring you’d sent a hundred years ago Filled us youthful ones with intense yearnings.
O Emperor of all poets, though we haven’t seen you, The Taj Mahal you created, Sparkling like sandalwood on the forehead of time Entrances us and we behold it breathlessly. We curse our youth— “Why did it have to be a hundred years later?” Alas, in this day and age, We’ve never been able to glimpse Mumtaz and behold the Taj!
A thousand years later—O emperor of poets, New poets keep coming to sing your praise From sunrise to sunset songs celebrate your feats And the tune that wandered away from you Fill groves and forest shades with your message anew.
And in our time A hundred tunes keep sounding from veenas in our homes And yet the heart remains unfulfilled and the soul keeps yearning Traversing a hundred years your song drifts into our dreams Then it occurs to me our poet You have settled in our horizon to light it up forever— Our very own and eternal sun!
A hundred years ago, You had greeted us -- young ones -- warmly, Vibrantly and affectionately. The same greeting is being sent to you this day As a floral wreath to decorate your feet.
O perfect poet, it seems you’ve appeared in imperfect guise Amidst us, softly, silently! And with a trembling voice imperfect being that I am, I sing your spring song in your spring bower And send it to you a hundred years later!
(First published in Kazi Nazrul Islam: Selections 1, edited by Niaz Zaman, Dhaka: writers.ink, 2020)
Clickhere to read Tagore’s 1400 Saal, the poem that inspired this beautiful response from one of the greatest poetic voices of all times.
A rendition of Nazrul’s poem in response to Tagore’s 1400 Saal in Bengali
Born in united Bengal, long before the Partition, Kazi Nazrul Islam(1899-1976) was known as the Bidrohi Kobi, or “rebel poet”. Nazrul is now regarded as the national poet of Bangladesh though he continues a revered name in the Indian subcontinent. In addition to his prose and poetry, Nazrul wrote about 4000 songs.
Just as George Orwell (1903-1950) envisioned a bleak future in his novel, 1984, Tagore left his optimistic vision filled with hope for posterity – a vision which has also been borne true. Written in the Phalgun or spring of the Bengali year 1302 (1895), ‘1400Saal‘ or ‘The Year 1993’, was first published in Tagore’s collection called Chitra (Picture) in 1895.
Art by Sohana Manzoor
1400 SAAL or The YEAR 1993
A hundred years from today… Who are you reading my poetry With eager curiosity? A hundred years from today. I won’t be able to give you Even a small fragment of the Exuberance of this spring morning — A blossom or a birdsong, The passions that Drench us. A hundred years from today…
Still, once, open your Southern door, Sit by the window, Gaze at the distant horizon, And imagine — One day, a hundred years before, A lively, euphoric cluster wafted from Heaven into the heart of the universe, Like a new-born Phalgun day — Free of ties, ecstatic and restless, Adrift with the scent of flowers. The Southern breeze Rushed to colour the Earth With a youthful glow, One hundred years before you. On that day, the soul of a poet soared With a song-soaked heart — To find words which bloom With an abundance of love, One hundred years ago.
A hundred years from today Which new poet will strum Lyrics in your hearths? I felicitate the poet with delight In your joyous spring — But let my vernal songs, Find echoes in your hearts for a while, Like the buzz of bees, Like the murmur of leaves... One hundred years from today...
About 32 years down the line, Nazrul responded to this poem of Tagore’s with a rejoinder, which is from the standpoint of a young poet and depicts his adulation for the older one and his poetry. Nazrul’s poem in Bengali is also called 1400 Saal and has been translated by Professor Fakrul Alam. The translation can be read by clicking here.
This poem was also discussed and translations read in 1993, the Gregorian calendar year for 1400 in the Bengali calendar, in a function jointly organised by the Nehru Centre of the High Commission of India in London and the Tagore Centre of London and held in the premises of the Nehru Centre. The translations included a rendition of Tagore’s own rather brief and ‘loosely translated’ version, according to the keynote speaker and scholar, Brian A. Hatcher, published in the poet’s collection called, The Gardener and reprinted in The Collected Poems and Plays of Rabindranath Tagore (New York, 1966).
Tagore’s own vision of his songs being remembered after one hundred years has been not only borne true but also his hope that poets and poetry will continue to impact our lives, stirring hope and love in our hearts. The role of a poet as seen by Tagore, perhaps, is what Uma Dasgupta’s research on Sriniketan reinforces — as that of a visionary and not merely a recorder of events.
Tagore reciting his ‘1400 Saal‘ in Bangla
This poem has been translated by Mitali Chakravarty with editorial input by Sohana Manzoor and research by Sohana and Mitali on behalf of Borderless Journal
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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL