Title: Biju Patnaik: The Rainmaker of Opposition Politics
Author: Bhaskar Parichha
Publisher: Rupa Publications India
Architect of Modern Odisha
Biju had a strong sense of zeal for dreaming big. At that time, no one had even dreamt that there could be a private sector industry, much less one that was successful. He dreamt and succeeded. Throughout his life, Biju stood out as a person with courage, and that by itself chronicled a remarkable saga of industrial adventure in Odisha half a century ago.
In 1945, when he had attempted to establish an industrial empire in Odisha, he had several other responsibilities. He could have remained committed to politics and wielded political power, as he was exposed to it during the height of the freedom struggle. However, he had a unique vision of industrialization of Odisha. As mentioned earlier, Biju was greatly influenced by Manubhai Shah. In the same way that Mahtab taught him the basics of realpolitik, Manubhai taught him the first few lessons of setting up an industry.
In the years following Biju’s release from jail, he developed an unshakable faith in himself and a commitment to utilize his full potential. There were no great merchants or wealthy individuals in his circle, nor was he in possession of vast resources. The only thing he had was a lofty vision. Despite British strongholds throughout the country, he had flipped through quite a few pages on how to struggle and achieve success. However, the actual struggle had not yet begun.
Owing to his aviation background, several years before he became a big industrialist, he had set up his own airline Kalinga Airlines. At one time, it is believed that Biju had seven aircraft registered in his name, a rare possession. This demonstrated the importance of Biju as a pilot—industrialist. Apart from aviation, it was Choudwar’s textile mill that ushered in a new era of industrial expansion in Odisha. With the establishment of the Odisha Textile Mill in Choudwar, he launched the first chapter of his industrial empire. Slowly but surely, the Kalinga Empire was taking shape. Two years later, it swept through the area, adding a few more plants, both large and small. It would be a reiteration of the obvious to dwell on the ingenuity of this stalwart who painted a large industrial landscape on a blank canvas.
In setting his vision of an industrialized Odisha, Biju was clearly aiming to change the fate of Odias; to transform an agriculture-dominated, feudalist economy and society into something more industrial. This was the inevitable course of action that he took.
ODISHA TEXTILE MILL
From 1946 to 1950, Mahtab served as the Chief Minister of Odisha.
There was a great deal of activity during his tenure as
CM Mahtab, like Biju, was also concerned with the industrialization of Odisha. He was seeking a dynamic youth to this end, which he found in Biju. Mahtab was also instrumental in establishing Biju as a leading industrialist in the country. It took just a short period of time for Biju to become one.
In 1944, the interim Indian government decentralized the textile industry. As a result, Odisha received four textile units. As textiles appeared to have great potential, Biju was particularly interested in them. Odisha Textile Mills was established at that time. A company named B. Patnaik & Co. was established. A half stake in the company was owned by Biju. Lala Pratap Singh, a descendant of industrialists Lala Sriram and Bhubanananda Das, held the other half. In Odisha, it was the first private company to begin operations. Through this flagship company, Biju’s enterprise was growing rapidly. Several small- and medium-sized industries emerged, including cotton and ferromanganese. Biju Patnaik & Co. was an industry through and through. It was the birth of a brand. A common thread running through Biju’s corporate credo was the concept of industrialization and diversification.
It was in the late 1940s that Biju joined the Kalinga industrial empire. The primary objective of his career was to establish himself as an upcoming industrialist and develop a company that had the highest annual growth rate. Biju took a shot and Odisha’s industrialization was catapulted into a remarkable era. However, this glory did not last long. Out of his own free will, Btu was renouncing that industrial prowess. The two contrasting factors that contributed to his disdain for the position must have been his well-publicized commitment to do something for the slothful people of Odisha and his dislike of the responsibilities that came with being a manager.
After a brief blossoming, his entrepreneurial spirit soon faded. Biju was the only one apart from Prafulla Chandra Roy[1] in West Bengal, who was able to build industries from scratch. It has been decades since Sir Prafulla Chandra Roy pioneered the West Bengal industry before it withered away.
In 1963, Biju gave away his Ironworks plant in Barbil to the state when it was earning 10-15 per cent profit annually. Biju then gave other plants to his employees. The Kalinga Group saw a gradual decline once he made everything available to the state. All of this had the potential to make him the richest man in the state. This reluctance to engage in business, which Biju demonstrated later as well, was accompanied by a lack of expectation of compensation. All he wanted was a progressive Odisha, which could have never become a reality if he had no political power.
[1]Physicist, educator, historian, industrialist and philanthropist, Roy was an eminent figure in Indian science. Known as the father of chemical science in India, he established the first modern Indian research school in chemistry. While being the founder of Bengal Chemical & Pharmaceuticals, he also served as its chairman.
About the Book
Transitioning from pilot to freedom fighter, businessman to politician, Biju Patnaik(1916-1997) was a multifaceted leader and towering regional icon who has left behind an impactful legacy. Step into the riveting saga of Biju Patnaik, the icon of resurgent opposition politics, through this compelling biography, Biju Patnaik: The Rainmaker of Opposition Politics. His journey, from leaving office in 1963 to reclaiming it in 1990, epitomized resilience and rebirth in politics. Whether as chief minister or Opposition leader, Patnaik’s unwavering connection with the people of Odisha defied conventional politics. Navigating triumphs and trials, Patnaik wielded immense influence, shaping the state’s destiny. His adept manoeuvring from the state secretariat to the corridors of power in Delhi showcased unparalleled strategic prowess, strengthening Opposition alliances and advocating for a credible alternative to the dominant Congress. Biju had tremendous faith in Opposition unity, considering it vital for the survival of democracy in the country. A visionary and unifier, Biju Patnaik’s legacy as a stalwart of Opposition unity echoes through the captivating pages of this stirring account.
About the Author
Bhaskar Parichha is a renowned name in Odisha journalism. Throughout his four-decade long career in the media industry, he has been affiliated with various newspapers in the state. He is the writer of Unbiased: Writings on India, No Strings Attached: Writings on Odisha, and Madhubabu – The Global Indian. Recently, he has also edited a collection titled Naveen@25 – Perspectives. Residing in Bhubaneswar, he is known for his bilingual writing.
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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
Title: Once Around the Sun: From Cambodia to Tibet
Author: Jessica Mudditt
Chapter 20 – In or out?
As I walked the streets of downtown Hohhot in search of a travel agency, I felt further than five hundred kilometres from Beijing. I was still in East Asia, but the capital city of Inner Mongolia had Central Asian influences too, such as the cumin seed flatbread I bought from a hawker with ruddy cheeks and a fur hat. I passed a Muslim restaurant with Arabic lettering on the front of its yellow-and-green facade, and many street signs and shops featured Mongolian script as well as Mandarin. With its loops, twirls and thick flourishes, Mongolian looked more similar to Arabic than Chinese. In actual fact, the top-down script is an adaptation of classical Uyghur, which is spoken in an area not far to the west.
The winds that blew in from the Russian border to the northeast were icy cold, so I was glad to soon be inside a travel agency. It was crammed with boxes of brochures and a thick film of dust covered the windowpanes. Hohhot is the main jumping-off point for tours of the grasslands, so I was able to get a ticket for a two-day tour that began the following morning.
I wasn’t enthusiastic about going on a tour because I preferred to move at my own pace, however there was no other way to access the grasslands. The upside was that I was guaranteed to sleep inside a ger, which is a circular tent insulated with felts. The Russian term of ‘yurt’ is better known. I had read that Inner Mongolia was a bit of a tourist trap for mainland Chinese tourists, but I was nonetheless excited to get a glimpse of the Land of the Weeping Camel.
I walked into a noodle shop and a customer almost dropped her chopsticks when she saw me. The girls at the cash register were giggling and covering their faces as I pointed at a flat noodle soup on a laminated menu affixed to the counter.
Foreign tourists must be thin on the ground in Hohhot, I thought as I carried my bowl over to a little table by the window.
Inner Mongolia was one of the few places that Lonely Planet almost discouraged people from visiting: ‘Just how much you can see of the Mongolian way of life in China is dubious.’ But I was still keen to see what I could.
I ate slowly, enjoying each fatty morsel of mutton. I was pretty good with chopsticks by that point – I’d never be a natural, but I didn’t drop any bits of mutton into the soup with a splash, as I used to in Vietnam.
Hohhot seemed a scruffy, rather bleak sort of city – or at least in the area where I was staying close to the train station. Street vendors stood cheek by jowl on one side of the road, calling out the prices of their wares. The opposite side was under construction and the one still in use was unpaved, which meant that two lanes of traffic had to navigate a narrow area of bumpy stones while avoiding massive potholes and piles of dirt. I saw a motorbike and a three-wheel truck almost collide.
I spent the next few hours wandering around the Inner Mongolia Museum, which has a staggering collection of 44,000 items. Some of the best fossils in the world have been discovered in Inner Mongolia because its frozen tundra preserves them so effectively. The standout exhibit for me was the mammoth. It had been discovered in a coal mine in 1984 and most of its skeleton was the original bones rather than replicas. I gazed up at the enormous creature and tried to imagine it roaming the earth over a million years ago. Mind-boggling.
I admired the black-and-white portraits of Mongolian tribesmen, and then took photos of a big bronze statue of Genghis Khan astride his galloping mount. The founding leader of the Mongol Empire was the arch-nemesis of China, and parts of the Great Wall had been built with the express purpose of keeping out his marauding armies. Genghis Khan must have rolled in his grave when China seized control of a large swathe of his territory in 1947.
What was once Mongolia proper became a Chinese province known as ‘Inner Mongolia Autonomous Region’. This long-winded name is an example of Orwellian double-speak. So-called ‘Inner Mongolia’ is part of China, whereas the independent country to the north is by inference ‘Outer Mongolia’. Nor is the Chinese region autonomous. The Chinese state has forced Mongolians to assimilate. Their nomadic lifestyle and Buddhist beliefs had been pretty much eradicated, and although speaking Mongolian wasn’t outlawed, learning the state language of Mandarin was non-negotiable.
On top of this, the government provided tax breaks and other financial incentives to China’s majority ethnic group, the Han Chinese, if they relocated to Inner Mongolia. Mongolians now account for just one in five people among a total population of 24 million. The same policies of ethnic ‘dilution’ exist in China’s four other ‘autonomous regions’, which include Tibet and Xinjiang, the home of the Uyghurs.
Shortly before I left the museum, I came to a plaque that described the official version of history, which was at odds with everything I’d read in my Lonely Planet.
‘Since the founding of Inner Mongolia Autonomous Region fifty years ago, a great change has happened on the grasslands, which is both a great victory of the minority policy and the result of the splendid leadership of the Communist Party of China. The people of all nationalities on the grassland will never forget the kind-hearted concerns of the revolutionary leaders of both the old and new generations.’
I rolled my eyes, snapped a photo of the plaque for posterity, and continued walking.
* * *
I didn’t venture far from my hotel for dinner because I planned on having an early night. I chose a bustling restaurant with lots of families inside and was waiting for a waiter to come and start trying to guess my order when a group of men at the next table caught my eye. They seemed to be waving me over.
Me? I asked by pointing at myself.
Yes, they were nodding. Shi de.
I happily joined the group and introduced myself by saying that I was from ‘Aodàlìyǎ’. I think they were Han Chinese, as they didn’t look Mongolian. I whipped out my phrasebook and tried to say I had come from Beijing, but I was fairly certain they didn’t understand me.
Anyhow, no matter. Ten shot glasses were filled from a huge bottle of baijiu, and I was soon laughing as if I was with old friends. One of the slightly older guys used a set of tongs to place wafer-thin slices of fatty pork into the bubbling hotpot on the table, followed by shiitake mushrooms and leafy greens. As the impromptu guest of honour, my bowl was filled first once it was cooked – by which time I’d already had three shots.
The hotpot was fantastic, and I had to remind myself not to finish everything in my bowl. Bethan had told me that Chinese etiquette requires a small amount of food not to be eaten at each meal. This indicates that it was so satisfying that it wasn’t necessary to eat every last bite. As a kid, it was ingrained in me to finish everything on my plate. I loved food and was generally in the habit of licking my bowl clean, so I had to exercise a certain amount of restraint.
I had just rested my chopsticks across the top of my bowl to signal I was finished when I was invited to go sit on the wives’ table, which was across from the men’s. The women were very sweet and a couple of them seemed to be around my age. I once again tried to communicate using my phrasebook, but I was hopelessly drunk by then. I could hardly string a sentence together in English, let alone Mandarin. I was also beginning to feel queasy from the baijiu, so I gratefully accepted a cup of green tea from the porcelain teapot that came my way on the lazy Susan. After taking some photos together, I bid the two groups ‘zaijian’ (goodnight). I tried to contribute some yuan for the meal, but they wouldn’t hear of it. I curtsied as a stupid sort of thank-you, and then I was on my way.
* * *
More hard liquor awaited me the following day. A striking woman in a red brocade gown with long sleeves handed me a small glass of baijiu as I stepped off the minibus a bit before noon.
‘It’s a tradition,’ she said with a smile, while holding a tray full of shots.
I downed the baijiu with my backpack on and grinned as the backpacker behind me did the same. There were four foreign tourists on the tour, and about eight domestic ones. The liquor gave me an instant buzz, which I needed. I hadn’t slept well and woke up feeling lousy, so I’d kept to myself during the two-hour journey. Even though I should have been excited, I got grumpier and grumpier as the reality of being on a tour began to sink in. Plus, the landscape was not the verdant green steppes I’d been expecting. At this time of year, it was bone dry and dusty. It hadn’t occurred to me to check whether my visit coincided with the low season.
I began chatting to the other tourists. The guy who had the baijiu after me was Lars from Holland. There was also a couple from Germany. I could immediately tell they were pretty straitlaced. Their clothes looked very clean and functional, and the girl refused the baijiu.
The woman in red introduced herself as Li, our tour guide. Then she led us along a path lined with spinifex to a dozen gers. They faced each other in a circle, and off to the right was a much larger ger with the evil eye painted on its roof and Tibetan prayer flags fluttering in the fierce winds. There were no other buildings in sight and no trees.
Li told us to meet inside the big ger in fifteen minutes after we’d put our stuff in the smaller gers she proceeded to assign us. Lars and I would be spending the night in a ger with ‘82’ painted on its rusted red door. There certainly weren’t eighty gers, so the logic behind the numbering system wasn’t clear – but no matter. The German couple took the ger to the right of ours.
These were not portable tents for nomads. Each ger was mounted on a concrete base and I think the actual structure was made of concrete too, and merely wrapped in grey tarpaulins. The door was made of metal and at the top was a sort of chimney structure – perhaps for ventilation. Like igloos, the only opening was the door, and it was pitch-black inside. I located a dangling light switch as I entered.
‘Ah – I love it!’ I exclaimed.
It was a simple set-up, with single beds lining the perimeter and a low table in the middle of the room. Patterned sheets were draped from the concave ceiling. I chose the bed with a framed portrait of Genghis Khan above it. Lars put his backpack next to a bed on the other side. I was happy enough to share a ger with him. He gave off zero sleazy vibes.
‘I might just take a couple of those extra blankets,’ I said to Lars as I piled on a few extra floral quilts from another bed. The wind had an extra iciness to it out on the steppes and I shuddered to think what the temperature would drop to overnight. We zipped our jackets back up and headed out.
I wandered over to the toilet block, which was quite a distance from the gers. I made a mental note to drink as little as possible before getting into bed to avoid having to go in the night. Once I got closer to the toilets, I was glad they were so far away. The stench was unbelievable.
In the female section were two concrete stalls without doors. In the middle of the floor in each was a rectangular gap. I almost gagged. Just a few centimetres away from the concrete was an enormous pile of shit. I could make out bits of used toilet paper and sanitary pads and there were loads of flies buzzing around. Without running water or pipes, the excrement just sat there, day after day, building up. I would have turned and walked straight back out but I was busting for a wee. I held my breath so I wasn’t inhaling the smells. I wanted to close my eyes too, but I was terrified of falling in, so I had to look at what I was doing. I couldn’t get out of there fast enough.
‘Oh my god, Lars – the drop toilets are totally disgusting,’ I said after I met up with him in the big ger. ‘It’s just a pit of shit without running water.’
‘I know an American girl who fell into a drop toilet in China last year,’ he said.
‘No way,’ I said with a shudder.
‘Yeah. She said it was terrible. She was in a really poor village somewhere in central China and she went to the toilet at night. She couldn’t see that some of the wooden planks had gaps in them – and then one of them broke and she fell in. She was up to her neck in shit. She was screaming for people to come help her. Apparently, it took them half an hour to fish her out, and all the while she could feel creatures writhing around her body. She cut her trip short and had to get counselling when she got home.’
‘I bet she did,’ I said. ‘That’s the most disgusting thing I’ve ever heard in my life. The poor girl.’
Just then Li appeared and said we were heading outside to watch horse racing and traditional wrestling after some sweet biscuits and tea. We assembled around a fenced area where there were about thirty ponies tethered to poles. Some were lying down while still saddled.
‘Horses usually sleep while standing up, so these ponies must be knackered – pardon the pun,’ I joked to Lars.
Notwithstanding, they looked to be in reasonably good condition, with shiny coats and no protruding ribs. There were chestnuts, bays and dapple greys.
I heard the sound of hoofbeats and looked behind me. A group of men on horseback came thundering across the steppes. It was a magnificent sight, and any lingering resentment I had about being on a tour melted away.
One of the men rode ahead of the rest. He was wearing a cobalt-blue brocaded tunic and his wavy black hair came down past his ears. He was really good-looking. He approached Li with a smile, said something to her and dismounted with the ease of someone who had probably started riding horses before he learned to walk. Li and the man exchanged a few words – I definitely saw her blush – and then he got back on.
‘Gah!’ he yelled as he dug his heels into his horse’s sides.
The other horsemen followed after him with whoops, leaving a trail of dust in their wake. These Mongolian ponies were only about twelve or thirteen hands, but they sure were fast and could turn on a dime. I loved watching them carve up the dry earth.
Next a group of men on motorcycles appeared along the track. There were quite a lot of them – at least twenty. We formed a big circle, and the traditional wrestling began. I wasn’t sure what the rules were, but it was fairly self-explanatory: one man got another in a headlock and thumped him to the ground. The next man came along and fought the winner, and so on and so forth. The spectators egged on the fighters with what I assumed were good natured cat calls. Everyone was grinning. By the time the wrestling matches were over, the fighters were absolutely covered in dust and the sun was beginning to set. I’m sure it was all staged for our benefit, but it was good fun.
With the seamless orchestration of a tour that has been done a thousand times before, we gravitated to the big ger. Dinner was bubbling away in a large clay pot and it smelled pretty good. There was also a big vat of noodles with black sauce and the ubiquitous Chinese vegetables of thinly sliced carrot, bok choy, baby corn and onion. There was a bottle of baijiu on each table.
We were serenaded with traditional music while we ate. One of the instruments reminded me of the didgeridoo and there was also a violin. I had read that strands of horse mane are used to make violin strings. The male singer had a deep voice that was almost a warble, and it was hauntingly beautiful.
Five men and women emerged from behind a red curtain and began to dance. They wore long-sleeved, billowing satin tunics that were cinched at the waist with embroidered belts. One of the women had a tall hat made of white beads that dangled down to her waist. It must have been heavy. It was a high-energy display of kicks and splits and parts of it were reminiscent of Irish dancing. They twirled their billowing skirts like sufis. The Chinese tourists started clapping in time with the music and then we all joined in. Sure, it was a bit cheesy, but I was really enjoying myself. At the end of the concert, we had photos with the performers as they were still trying to catch their breath.
We were given torches to light our way back to our gers. It was absolutely freezing, so I wore all my clothes to bed. I snuggled into my blankets and pulled them right up to my chin, feeling grateful for the warmth of Bethan’s jumper.
Mercifully, I slept right through until morning and avoided a late-night visit to the shit pit.
When I wandered out of the ger the next morning, breakfast was being prepared nearby. The carcass of a freshly slaughtered sheep was hanging from the back of a trailer. A man was skinning it while the blood drained out of its neck into a big metal bowl. Its head was in a second bowl, while squares of wool were laid out flat to dry on a tarp. A toddler in a puffy orange jacket was playing in the dust while his mother worked away at skinning parts of the wool. What distressed me more than butchery up close was the live sheep that was watching on from the back of the trailer. He presumably knew he was next.
After a breakfast of ‘sheep stomach stew with assorted tendons’ (as Li described it) we headed out for a ride on the steppes. I couldn’t wait to ride a horse again. I’d spent most of my childhood obsessed with horses, and I was lucky enough to have one for a few years, until I got older and became more interested in hockey and parties.
I rode a stocky bay with a trimmed mane that bobbed up and down as it trotted along the path. I looked over its perky little ears. The saddle had an uncomfortable pommel that kept jabbing me in the stomach, but I loved being under the wide open sky. It was a pale blue with just a few wispy clouds. Sheep grazed and crows rested on clumps of rocky outcrops.
I winced at the Chinese guy ahead of me, who was bouncing out of time to the rhythm of his horse’s gait and landing with a heavy bump in the saddle; his oversized suit flapping in the wind and his feet poking out straight in the stirrups. Much easier on the eye was the guide two horses ahead of him. He was every inch the Mongolian cowboy. Dressed from head to toe in black, he wore a leather jacket, cowboy hat and scuffed black cowboy boots. He never took off his wraparound sunglasses and he spoke little. He smouldered like the heartthrob actor, Patrick Swayze.
We’d travelled several kilometres when we came to a building block that was the same greyish brown as the earth. Inside it had a cottage feel. We sat around a table covered with a frilly tablecloth and drank yak milk. As we did, Lars told me about his day trip to North Korea. While in South Korea for a couple of weeks, he had visited the demilitarised zone (better known as the ‘DMZ’), where a ceasefire was negotiated between the two Koreas in 1953. In a military building is what is known as the ‘demarcation line’ – and Lars had one foot in North Korea and another in South Korea. I hung on his every word.
Our conversation got me thinking about how cool it would be to go to North Korea. I was actually quite close to the border. When I got back to the ger, I retrieved my Lonely Planet out of my bag and thumbed to the section titled ‘Getting there and away’, which had instructions for every country that borders China.
‘Visas are difficult to arrange to North Korea and at the time of writing, it was virtually impossible for US and South Korean citizens. Those interested in travelling to North Korea from Beijing should get in touch with Koryo Tours, who can get you there (and back).’
I was pretty sure the cost would be prohibitive for my budget and decided to stick with my existing plan of cutting south-west towards Tibet. Maybe one day I’d get the chance to visit North Korea, but it wouldn’t be on this trip.
Once back in Hohhot, I boarded a train bound for Pingyao. As I watched the apartment blocks pass by in a blur, I thought with satisfaction about the past twenty-four hours. Any visit to Inner Mongolia is problematic, but I couldn’t fault the Chinese tour company. They had made every effort to keep us entertained. Mongolian culture was so new to me that I couldn’t even tell whether something was authentic or staged, but I had seen and done all the things I hoped to during my visit. And, sure, my time there was really brief. But I’d be forever grateful to have seen a part of the world I thought I’d only ever get to see in a documentary.
Photo Courtesy: Jessica Muddit
About the Book: While nursing a broken heart at the age of 25, Jessica Mudditt sets off from Melbourne for a year of solo backpacking through Asia. Her willingness to try almost anything quickly lands her in a scrape in Cambodia. With the nation’s tragic history continuing to play out in the form of widespread poverty, Jessica looks for ways to make a positive impact. She crosses overland into a remote part of Laos, where friendships form fast and jungle adventures await.
Vietnam is an intoxicating sensory overload, and the hedonism of the backpacking scene reaches new heights. Jessica is awed by the scale and beauty of China, but she has underestimated the language barrier and begins her time there feeling lost and lonely. In circumstances that take her by surprise, Jessica finds herself hiking to Mount Everest base camp in Tibet.
From a monks’ dormitory in Laos to the steppes of Inner Mongolia, join Jessica as she travels thousands of kilometres across some of the most beautiful and fascinating parts of the planet.
About the Author: Jessica Mudditt was born in Melbourne, Australia, and currently lives in Sydney. She spent ten years working as a journalist in London, Bangladesh and Myanmar, before returning home in 2016. Her articles have been published by Forbes, BBC, GQ and Marie Claire, among others. Once Around the Sun: From Cambodia to Tibet is a prequel to her earlier book, Our Home in Myanmar.
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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
Title: Out of Sri Lanka: Tamil, Sinhala and English Poetry from Sri Lanka and its Diasporas
Editors: Vidyan Ravinthiran, Seni Seneviratne and Shash Trevett.
Publisher:Penguin India (Vintage)
AAZHIYAAL (b. 1968)
Aazhiyaal (the pen name of Mathubashini Ragupathy) was born in Trincomalee in Eastern Sri Lanka. She taught English at the Vavuniya Campus, Jaffna University, before moving to Australia in 1997 where she worked for two decades in the IT sector and commercial management in Canberra. Aazhiyaal has published four collections of poetry in Tamil: Uraththup Pesa (2000), Thuvitham (2006), Karunaavu (2013) and Nedumarangalaai Vazhthal (2020), the last honoured by Canada’s Tamil Literary Garden. Her poems have appeared in anthologies and have been translated into several languages. She in turn has translated Australian Aboriginal poetry into Tamil (Poovulagaik Kattralum Kettalum, 2017). Aazhiyaal writes about women’s place within patriarchy and uses her work to make sense of the war in Sri Lanka: ‘I believe that poetry is the antidote to the present rat-race. It is needed, it is necessary.’
Unheeded Sights
After the rains the tiled roofs shone sparklingly clean. The sky was not yet minded to become a deeper blue. The tar roads reminded me intermittently of rainbows. From the entire surface of the earth a fine smoke arose like the smoke of frankincense, or akil wood, the earth’s scent stroking the nostrils, fragrant as a melody.
As the army truck coming towards me drives away, a little girl transfers her candy-floss from one hand to the other raises her right hand up high and waves her tiny fingers.
And like the sweet surprise of an answering air-letter all the soldiers standing in the truck wave their hands, exactly like her.
The blood that froze in my veins for an instant, in amazement, flows again rapidly, asking aloud, ‘War? In this land? Who told you?’
[tr. from Tamil by Lakshmi Holmström]
BASHANA ABEYWARDANE (b. 1972)
Rohitha Bāshana Abeywardane was a member of the founding editorial board and later editor in chief of the Sinhala alternative weekly newspaper Hiru. In 2003, he was one of the activists who organised the Sinhala-Tamil Art Festival. His journalistic commitments brought on threats to his life, and he had to leave Sri Lanka. He continues to publish and coordinates Journalists for Democracy in Sri Lanka, an organisation founded by journalists in exile. Following a stay in the Heinrich Böll House, Langenbroich, Abeywardane took part in the PEN Writers in Exile Program from September 2007 to August 2010. Today, he lives in Germany with his wife.
The Window of the Present
Nightmares, long dead, peer through the shattered panes of the window of the present.
The dead of the south, killed on the streets, with bullet-riddled skulls, walk once again, through an endless night,
and those of the north drowned in deluges of fire when rains of steel drench their unforgiving earth, gaze through the shards of glass empty eyed;
as slaughtering armies, prowl under starless skies, upholding sovereignty with blood-soaked hands.
PACKIYANATHAN AHILAN (b. 1970)
Born in Jaffna in the north of Sri Lanka, Packiyanathan Ahilan has lived through the thirty-year civil war. An academic as well as a poet, he has published three collections of poetry and is Senior Lecturer in Art History at the University of Jaffna. As well as writing about the visual arts, poetry, theatre and heritage, he curates art exhibitions and is co-editor of Reading Sri Lankan Society and Culture (Volumes 1 & 2). Ahilan’s poetry is sparse and staccato, like a heartbeat: he is one of the most influential poets writing in Tamil in Sri Lanka today.
Days in the Bunker III
Good Friday. The day they nailed you to the cross.
A scorching wind blew across the land and the sea. One or two seagulls sailed in an immaculate sky. The wind howling in the palm trees spoke of unfathomable terror. That was the last day of our village.
We fishermen came ashore, only the waves returned to the sea. When the sun fell into the ocean, we too fell on our knees and wept.
And our lament turned slowly into night.
In the distance our village was burning like a body being cremated.
Good Friday. The day they nailed you to the cross.
[tr. from Tamil by Sascha Ebeling]
A Poem about Your Village and My Village
1 I do not know. I do not know if your village is near the ocean with its wailing waves or near a forest. I do not know your roads made from red earth and lined with tall jute palms. I do not know the birds of your village that come and sing in springtime. I do not know the tiny flowers along the roadsides that open their eyelids when the rains pour down. I do not know the stories you tell during long nights to the sound of drumbeats or the ponds in your village where the moon goes to sleep.
2 Tonight, when even the wind is full of grief, you and I know one thing: Our villages have become small or perhaps large cemeteries. The sea with its dancing waves is covered with blood. All forests with their trees reaching up to the sky are filled with scattered flesh and with the voices of lost souls. During nights of war dogs howl, left to themselves, and all roads and the thousands of footprints our ancestors left behind are grown over with grass. We know all this, you and I. We now know about the flowers that died, the abandoned lines of poetry, the moments no one wants to remember.
3 But do you know if the burnt grass still has roots, or if the abandoned poems can still be rooted in words? If, like them, you do not know whether our ancient flames are still silently smouldering deep down in that ocean covered with blood, know this today: They say that after he had lain in hiding for a thousand years one day the sun rose again.
[tr. from Tamil by Sascha Ebeling]
ABOUT THE BOOK:
Out of Sri Lanka shines light upon a long-neglected national literature by bringing together, for the first time, Sri Lankan and diasporic poetry written in and after Independence. Featuring over a hundred poets writing in English, or translated from Tamil and Sinhala reshapes our understanding of migrational poetics and the poetics of atrocity. Poets long out of print appear beside exciting new talents; works written in the country converse with poetry from the UK, the US, Canada and Australia. Poems in traditional and in open forms, concrete poems, spoken word poems, and experimental post-lyric hybrids of poetry and prose, appear with an introduction explaining Sri Lanka’s history.
There are poems here about love, art, nature – and others exploring critical events: the Marxist JVP insurrections of the 1970s and 80s, the 2004 tsunami and its aftermath, recent bombings linked with the demonisation of Muslim communities. The civil war between the government and the separatist Tamil Tigers is a haunting and continual presence. A poetry of witness challenges those who would erase, rather than enquire into, the country’s troubled past. This anthology affirms the imperative to remember, whether this relates to folk practices suppressed by colonisers, or more recent events erased from the record by Sinhalese nationalists.
ABOUT THE EDITORS:
Vidyan Ravinthiran was born in Leeds, to Sri Lankan Tamils. His first book of poems, Grun-tu-molani (Bloodaxe, 2014), was shortlisted for the Forward Prize for Best First Collection, the Seamus Heaney Centre Poetry Prize and the Michael Murphy Memorial Prize. His second, The Million-petalled Flower of Being Here (Bloodaxe, 2019) was shortlisted for the Forward Prize for Best Collection, the T.S. Eliot Prize and Ledbury Munthe Poetry Prize for Second Collections. After posts at Cambridge, Durham and Birmingham, he now teaches at Harvard.
Seni Seneviratne, a writer of English and Sri Lankan heritage published by Peepal Tree Press, with books including Wild Cinnamon and Winter Skin (2007), The Heart of It (2012), and Unknown Soldier (2019), which was a Poetry Book Society Recommendation, a National Poetry Day Choice and highly commended in the Forward Poetry Prizes 2020.
She is currently working on an LGBTQ project with Sheffield Museums entitled Queering the Archive and her latest collection, The Go-Away Bird, was released in October 2023. She lives in Derbyshire.
Shash Trevett is a Tamil from Sri Lanka who came to the UK to escape the civil war. She is a poet and a translator of Tamil poetry into English. Her pamphlet From a Borrowed Land was published in 2021 by Smith|Doorstop.
Shash has been on judging panels for the PEN Translates awards and the London Book Fair, and was a Visible Communities Translator in Residence at the National Centre for Writing. Shash is a Ledbury Critic, reviewing for PN Review and the Poetry Book Society and is a Board Member of Modern Poetry in Translation. She lives in York.
It was dark outside but for a faint yellow glow hanging like a cobweb around the gate lamp. She saw two figures moving stealthily, sneaking up the verandah. They were coming in her direction. As they approached the façade of the house they scanned the wall, and then the pillars.
The two men came right up to where she was hidden behind the window, and one was pointing above their heads at the exterior wall. He was well-built, about six feet, and wore a long raincoat speckled with rain and a cap with a chinstrap. He had something in his hand which looked like a crowbar for jimmying locks. The other man, much shorter, had a thickset brutish face, and he had such a cruel look in his eyes that Sujata gasped when she saw him standing so close. He was carrying a jerrycan. This guy had a vermilion streak on his forehead, and his bucktooth was shining in the faint light.
Will they try to break in? She could call out for help with the hope that someone would hear. But the nearest house belonged to a private school, and there would be no one there except for the caretaker who would be dead drunk. The hotel further down the road was still waterlogged, and the labourers—even if they heard her—won’t be able to make it here in time. Too late to call the police, and then there would be many questions.
The shorter of the two opened the jerrycan and began to splash some liquid on the walls and on the chairs kept outside. Petrol! His partner pulled a tool from his pocket and reached up to the wall. The electricity metres were just above his head. What! They were trying to short circuit the electric wires and start a fire! That’s what she thought they were upto. And when she rushed out, they would shoot her and dump her body into the flames.
She went stiff for a second but was alert right the next moment. With a swift movement she swept away the curtains, pushed the shutter and stood straight in front of the window.
The thuggish-looking character with the jerrycan took a step back at the sound and then he saw her. He gave out a low whistle to warn his companion while trying at the same moment to draw his gun. But whatever happened after that was too fast for him, or anyone for that matter.
It is impossible to provide an exact record. If someone was watching, they would have seen her cross her hands after she swept away the curtains to face the hired hitmen. She joined her hands, crossing her arms in that millennia-old swastika mudra—which they say can even stop the devil in his tracks.
It could have ended there but didn’t. As she made the hand gesture, buck-tooth whistled but he couldn’t draw his gun. An ice shower from another world froze his muscles. He turned to stone, buried as if under an avalanche of ice.
Through that daze he saw the curls of her hair writhe and twist, having come to life, animated and growing longer. Sinuous dark ribbons hissing their way out through the window, hoods raised, fangs exposed. Till there was no one on this side, only these swarthy hissing messengers of death slithering into the verandah.
The taller of the two hearing the other whistle, cursed under his breath, ‘Damn! What is it yaar?’
He glanced to his left but it was all too late. All that Sujata heard as she stepped back was a blood-curdling cry of agony as a blue tongue of fire leapt out from the metre box lashing at the two, flinging them back. Both were knocked out cold. It was only left for the fire to do the rest.
A hot train of sparks charged ferociously through the wires and licked the petrol doused wall. Within seconds the lawn lit up with this eerie blue light. Blue changed to white. Flames shivered like teasing tongues. Now they leapt through walls and doorways, and were streaking across the ceiling of her room in angry crimson arrows.
She threw on her jacket and rushed towards the passage for the kitchen exit. Amitav Ghosh’s book about climate change still lay open on the couch where Chanchal had left it. She stopped, scooped it up and stuffed it into her knapsack. A book is always a good weapon, hardbacks are even better. Below the book was a half-eaten bar of Atman dark chocolate; she had given it to him.
She took a bite and jammed it into her pocket. The curtains in the passage had caught fire from the radiated heat coming from the next room. She made a dash for the kitchen. If it got hot beyond a point, the gas tank would explode. Not another moment to lose!
But the kitchen door leading out to the backyard was jammed. She struggled with the oil and grime-caked bolt, losing precious minutes. Is this how she will go then?
ABOUT THE BOOK
Chanchal Mitra wakes up in a far-off desert town, sharing a dingy hotel room with the flamboyant Mr. Kapoor, who is planning to abduct a billionaire. Kapoor insists that the billionaire tycoon is an impostor. Chanchal is unwittingly drawn into the plot. Soon they are joined by the mystery woman Sujata, her eyes dark like murder; and then a crutch-clutching ex-sailor, who is quick with a gun.
In the smog-swathed capital city of Aukatabad, an organic chemist engaged by the tycoon to design a mind-altering drug, is found dead from an overdose. Elsewhere, the billionaire industrialist’s chocolate factory is contaminated by salmonella while Sujata fights a fiery death at the hands of hired killers. As weird weather overtakes the land and Kapoor sets out with his accomplices to kidnap the businessman, the flimsy lines between friend, foe and lover begin to quickly disappear.
ABOUT THE AUTHOR
Rajat Chaudhuri’s works include novels, story collections, edited anthologies and translations. He curated The Best Asian Speculative Fiction and co-edited the Multispecies Cities: Solarpunk Urban Futures(Asia-Pacific) anthology.
His most recent novel, The Butterfly Effect was twice listed by Book Riot (US) as one of the ‘Fifty must read eco-disasters in fiction’ and among ‘Ten works of environmental literature from around the world’. Acclaimed for its exploration of a ‘Ballardian near-future’, this novel is now taught in Indian, American and European universities. His short fiction has also appeared in the internationally acclaimed climate fiction video game, Survive the Century. Chaudhuri has received writing fellowships from Charles Wallace (UK), Hawthornden Castle (Scotland) and Livonics (India) and residency awards from Arts Council Korea-InKo (South Korea) and Sangam House (India).
ABOUT THE PUBLISHER
An internationally acclaimed publishing house, Niyogi Books, established in 2004, has more than 650 titles today. They not only specialize in textual context but also strive to give equal importance to visuals. They purvey a wide range of content on art, architecture, history, culture, spirituality, memoirs, and every aspect, which connects with our rich heritage. Under their umbrella, they have fiction and non-fiction that cover books on social science, cookery, and self-help as well as English Translations of modern classics from different Indian languages. Niyogi Books has recently launched four new Imprints: Olive Turtle (English fiction), Thornbird (English Translation), and Paper Missile (English non-fiction) and Bahuvachan (Hindi Translation: Fiction & Non-Fiction). Also, they have co-published a number of critically acclaimed books with reputed institutions like the British Library, Rietberg Museum Zurich, IGNCA, National Gallery of Modern Art, Ministry of Culture (Govt. of India), National Manuscript Mission, Sahitya Akademi, among many others.
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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
It is the 20th of December 1980, a Saturday, and at dinner, Lorenzo Senesi, who will turn twenty-two in a little over a month, tells his mother, ‘Mamma, I think I just might go down to Padua with Roberto and Francesca for Christmas and the New Year. Should be back by the 3rd or 4th of January.’
Elda glances at her son but says nothing. Amedeo the father grunts once to acknowledge that the information has reached his ears. Paola, Lorenzo’s sister, older by fourteen months, asks in a tone that suggests that it wouldn’t matter if he doesn’t respond, ‘With those two? But I thought you were bored to death of them.’
The next morning, Lorenzo packs some essential things, including his copy of Carlo Carretto’s The Desert in the City, in an overnight bag, places the bag on the rear seat of his Renault 5, goes to the kennel in the corner of the garden to hug and nuzzle Vega the dog (a handsome golden-brown beast, half German Shepherd, a quarter Retriever, and in her reflective moments, there is something about her eyes that recalls the young Sylvester Stallone) and is off. Francesca and Roberto are nowhere to be seen. From Aquilinia, the dot on the outskirts of Trieste where they stay (a workers’ village, really, an adjunct to the Aquila oil refinery is how it was conceived and inaugurated in 1938, with habitual pomp, by Mussolini), he takes La Strada Costiera, the scenic coast road, down to the plains.
It is late in the morning, and bright and sunny. On his right lie the hummocks, ridges and undulations of karst, their eroded limestone continually sneaking a peek between the trees of lime and pine at the brilliant blue, on his left, of the bay of Trieste. The landscape tumbles down in leaps and bounds to the radiant sea that stretches like blue polythene till the haze of the horizon. On some curves, he can spot the white sails of boats, as still as life, on the aquamarine lapping at the feet of Miramare Castle.
The Renault, three years old, is an acquisition that dates from his road accident and the insurance money that he reaped as one of its consequences. It moves well; he makes good time to Sistiana and thence to Monfalcone where, having left the Adriatic and reached the bland plains, he takes the A 4 west-south-west towards Milan. He is undecided—but only for a moment—between the radio and the cassette player. Radio Punto Zero on FM wins; with his arms fully stretched to grip the steering wheel, he leans back in the seat to enjoy Adriano Celentano crooning ‘Il Tempo Se Ne Va’.
A hundred and fifty kilometres, more or less, to Padua, an uncluttered highway through the ploughed cornfields and plantations of poplar of the region of Gorizia; Celentano on the radio is succeeded by Franco Battiato, Giuni Russo, Antonello Venditti and Claudio Baglioni. Friuli-Venezia-Giulia gives way to the Veneto a while before Lorenzo switches off the radio to enjoy, in peace, the noon silence. At Padua, though, it not being his final destination, he still has a further fifteen kilometres to go to reach Praglia at the foot of the Euganean Hills.
He parks the Renault as far as he can from a bus disgorging a contingent of British tourists alongside the church wall of the Chiesa Abbaziale di Santa Maria Assunta and carrying his overnight bag, walks across to the arched recess in which is inset an iron door. It is the principal entrance to Praglia Abbey of which the church forms an integral part. He rings the bell and waits.
He glances back at his car. Behind the wall, the church rises solid and grey, monolithic like a fortress, almost forbidding. Hearing the clang and whine of the iron door being opened, he turns back.
The monk whom he sees, Father Anselmo, sombre in his black robe, is tiny. He smiles and nods at Lorenzo and ushers him in. ‘Oh, have you come by car? Then I’ll open the main gates for you so that you can park inside.’ Without ceasing to nod and smile, he ushers him out.
Father Anselmo, being the porter of the abbey, is a statutory requirement of the institution. Let there be stationed at the monastery gate, says Chapter 66 of the Rule of Saint Benedict, a wise and elderly monk who knows how to receive an answer and to give one and whose ripeness of years does not suffer him to wander about. This porter ought to have his cell close to the gate so that those who come may always find someone there from whom they can get an answer. So when the Father does not reply, it may be presumed that the question was not worth a response. For they do not speak much, the Benedictines.
The Renault having found its parking berth in a spacious, paved, open corridor that runs right around a large, rectangular garden, Lorenzo returns to the reception room where Father Anselmo, at his place behind a plain, unadorned desk, waits for him.
‘Good afternoon,’ he starts again formally. ‘I would like to meet the maestro dei novizi. I have an appointment. My name is Lorenzo Bonifacio.’
A cue, as it were, for Father Anselmo to nod and smile again, and without getting up, lean sideways in his chair and press, six times in a measured, definite code, a red plastic button affixed to the wall. One push of the bell, a long pause, two pushes, a short pause, two more pushes, a long pause, one last push. Immediately, from the great bell tower of the church, clearly audible in each nook and cranny of the abbey, begins to ring, in the same code and with the same pauses, one of the lesser bells. Father Anselmo then gestures to Lorenzo to sit down in one of the chairs ranged along the wall. No conversation ensues.
(Extracted from Lorenzo Searches for the Meaning of Life by Upamanyu Chatterjee. Published by Speaking Tiger Books, 2024)
About the Book
One summer morning in 1977, nineteen-year-old Lorenzo Senesi of Aquilina, Italy, drives his Vespa motor-scooter into a speeding Fiat and breaks his forearm. It keeps him in bed for a month, and his boggled mind thinks of unfamiliar things: Where has he come from? Where is he going? And how to find out more about where he ought to go? When he recovers, he enrols for a course in physiotherapy. He also joins a prayer group, and visits Praglia Abbey, a Benedictine monastery in the foothills outside Padua.
The monastery will become his home for ten years, its isolation and discipline the anchors of his life, and then send him to a Benedictine ashram in faraway Bangladesh—a village in Khulna district, where monsoon clouds as black as night descend right down to river and earth. He will spend many years here. He will pray seven times a day, learn to speak Bengali and wash his clothes in the river, paint a small chapel, start a physiotherapy clinic to ease bodies out of pain, and fall, unexpectedly, in love. And he will find that a life of service to God is enough, but that it is also not enough.
A study of the extraordinary experiences of an ordinary man, a study of both the majesty and the banality of the spiritual path, Upamanyu Chatterjee’s new novel is a quiet triumph. It marks a new phase in the literary journey of one of India’s finest and most consistently original writers.
About the Author
Upamanyu Chatterjee is the author of English August: An Indian Story (1988), The Last Burden (1993), The Mammaries of the Welfare State (2000), Weight Loss (2006), Way to Go (2011), Fairy Tales at Fifty (2014), and Villainy (2022)—all novels; The Revenge of the Non-vegetarian (2018), a novella; and The Assassination of Indira Gandhi (2019), a collection of long stories.
In 2000, he won the Sahitya Akademi Award, and in 2008, he was awarded the Order of Officier des Arts et des Lettres by the French Government for his contribution to literature.
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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
Jahar sang out, “Bimal Roy, the Director of Udayer Pathey! He was all praises for one of your writings. So I offered to escort you — and introduce you if he so wished. He said, ‘He is a creative talent, I’d surely likely to meet him.’ Forthwith I set out on this venture.”
I was stunned. Overwhelmed. My experience of the craze in Rajsahi – when the police had to lathi charge on the crowds that thronged the theatre where Udayer Pathey had released — flashed through my mind. I recalled my deep seated desire to work with him.
At this point Kanaklata stepped into the room. Jahar sprung forward and despite her vehement protest he bowed to the ground and touched her feet. “Boudi,” he spoke to her, “renowned director Bimal Roy has expressed his wish to meet Nabenduda. I’m here to escort him.”
“Sure, after you’ve tasted some sweetmeat and had a drink of water. The fish curry rice can wait for you to come back for lunch.”
“Thy wished is my command Boudi!” Jahar bowed again.
*
Bimal Roy lived on Sardar Shankar Road in South Calcutta. Tall, fair complexioned, attractive looking with a commanding presence, Bimal Roy was a heavy smoker.
After a while of polite conversation he said, “I’ve read your Daak Diye Jaai[3]and Phears Lane. As an admirer of your writing I can say that it has all the essentials of a screenplay.”
This observation brought me alive to a latent aspect of my writing. I kind of rediscovered myself. Gratefully I thanked him.
“Why don’t you narrate a story that can be made into a film?” he said. “Something new, different, and arresting,” he added.
So I narrated the storyline of my new novel, Ajab Nagarer Kahini (Tales of a Curious Land). It was an allegorical story about contemporary civilisation, about the state, and about love too. His face lit up as he listened to the story. He sat still for a couple of minutes. When I stopped, I waited eagerly for his response. Tense.
“I liked the story very much,” Bimal Roy pronounced. “It’s a peerless but relatable and captivating emblematic story. But there’s a slight problem. Mr B N Sircar, the proprietor of New Theatres must hear the story. I firmly believe he will also like it. But right now he is not in Calcutta. Just a few days ago he left for Europe. He will be back after two months. So you will have to wait this while.”
“I will wait,” I replied, earnestly.
*
Two months went by.
One day Mrinal Sen came over.
“Welcome Mrinal Babu, do come in.” Soon as he sat down Mrinal excitedly said, “I’ve got a producer. I’ll direct a film – so I need a good story.”
I narrated two stories, of which Mrinal liked one. Then, after some random conversation I spilled out that “Bimal Roy of Udayer Pathe fame has selected a story of mine.” Mrinal was naturally curious and I had to narrate the storyline to him as well.
The minute I stopped the narration Mrinal clasped my hand, “Give this story to me.”
“But Bimal Roy…” I started out but before I could finish the sentence Mrinal said,“Ritwik [Ghatak] and Hrishikesh [Mukherjee] will both be working with me.”
“Who’s Hrishikesh?”
“He is a well-known assistant in the Editing department of New Theatres. Very intelligent.”
“I cannot give you the story without having a word with Bimal Roy,” I told Mrinal. Mr Sircar will be back in a matter of days.”
Mrinal left for the day.
*
I met Bimal Roy the very next day. He informed me that Mr Sircar’s return had been delayed, it will be some more weeks before he returns.
But more than a fortnight went by and I did not hear from Bimal Roy. Besides, I was facing financial hardship. I needed money to keep the kitchen fire going.
Suddenly Mrinal showed up again. “I must have that story Nabendu Babu,” he said and shoved 500/- rupees in my hand.
I ended up saying ‘Yes’ to Mrinal Sen.
Two days later we signed an agreement.
On the third day a postcard landed in my flat. Bimal Roy was writing to say that, “Mr Sircar is back from Europe. He has also liked the story idea of Ajab NagarerKahini. Come over right away, we must meet Mr Sircar to sign the contract with him.”
The next morning I went to his house and told Bimal Roy about Mrinal Sen. The solemn gentleman turned grave.
I sat still with bowed head.
The Shubh Mahurat, two months later spelt the ‘auspicious commencement’ of the film. The lead character of Arindam was to be played by Sambhu Mitra, the famous theatre personality who is still revered as an actor, director, playwright, and reciter. In Technicians Studio, the clapstick was sounded on a shot of him by the eminent actor of Bengali theatre and screen ‘Maharshi’, whose name was Monoranjan Bhattacharya. But why was he called ‘Maharshi’? Because the very first role he essayed was of Maharshi Balmiki in Sita produced and acted by Sisir Kumar Bhaduri[4]. His Ramchandra was an amazing portrayal of Lord Rama. So long back he had portrayed the author of Ramayan, yet that remained his calling card in popular imagination, for decades. Why? Because he was a stalwart as far as his wisdom and character was concerned too.
Mahurat, yes, but that initial instalment of Rs 501 was not followed up by another. So what if an agreement was drawn up and signed!
“Oh sir!” I complained to Mrinal Sen, “I need…”
“Yes, he will give,” Mrinal assured me, “in a few days you will get the second instalment. I have spoken with him.”
Six months later Mrinal himself told me, “This producer does not have any fund. You better send him a notice.”
So I sent him a notice – to the effect that unless you clear all my dues within 15 days, then the agreement will stand cancelled. Null and void. The producer did not bother to grace me with a reply. So legally the rights to the story was now mine again.
*
Forthwith I visited Bimal Roy again.
“Come, come Nabendu Babu…”
His gracious welcome was encouraging. I said, “It’s been a while since I was here. So, what’s keeping you busy?”
Bimal Roy smiled, “Your story was not available, so I am currently shooting a film about Netaji’s INA.”
“Who is the author?”
” Nazir Hussain, a gentleman who was formerly with INA.”
“Excellent,” I said. Then I murmured in a low voice, “Necessity obfuscates clarity of thought. That’s what happened with me Mr Roy. But my story is back with me now. Those who had acquired the right did not have the wherewithal to film it.”
“Let me complete this film,” Bimal Roy said, “I will speak with Mr Sircar after that. I’ll be happy if we can film your story.”
I drank up the tea, greeted him with folded hands and came away.
*
Then I went through a difficult phase. To put it bluntly, I was in dire need of money. Here’s why.
Literature was my main occupation. However, writing the scripts for Putul Nacher Itikatha and SwarnaSita[5]had spelt a certain prosperity and made life easier. But both literature and cinema was dealt a blow by the political development of 1947.
I think of the Partition as a national curse. I still think so. The direct impact of that was I was alienated from my birthplace, Dhaka, which had become East Pakistan. I still had a link – Bengali Literature and Bengali Cinema. But Pakistan was Pakistan, be it East or West. So the Pak mind thinks differently – rather, quite the opposite. Iconic dramatist Dwijendralal Roy’s classic play Shahjahan had a scene revolving around Danishmand, a celebrated figure from Persia who came to India and was the court jester during Aurangzeb’s rule. Then, he went by the name of Dildar. In the aforementioned scene he discussed the Hindus and Muslims and commented that “These two communities will remain opposites. One prays facing East, the other faces West; one writes from left to right, the other from right to left. One wears a pleated dhoti, the other wears the unpleated lungi. One has a pig tail at the back of his head; the other nurses nur, a tuft of hair on his chin.”
I recalled the scene in the fading days of 1948 when the government of East Pakistan dealt a blow to Bengali language and films by declaring Urdu as the national language of Pakistan at the cost of Bengali, the language of the people’s heart.
In fact, those deciding the fate of the people from distant Islamabad mandated that Bengali too should be written in the Arabic script. What is more, to destroy every emotive link between Bengalis on either side of the divide, Bengali books and Bengali movies were banned in East Pakistan. As a result, once again the middle class and upper class Hindus started deserting their home and hearth and crossing the borders even to live as refugees in West Bengal.
This dealt a massive blow to the commerce of publishing and cinema.
I had just completed a short novel; I started doing the rounds of publishers to try my luck with it. My household was crying out for money to keep the kitchen fire alive.
I went over to Bengal Publishers. Manoj Da said, “I will definitely publish this Nabendu but after two-three months. The market is stymied right now.”
Sachin Babu of Baak Sahitya also said the same thing in polite words.
I walked over to Cornwallis Street and into the office of D M Library. Gopal Das Majumdar warmly welcomed me and treated me to tea and sandesh[6]. Then he said, “You leave the manuscript with me. I will most certainly publish it but not right away. The market is reeling under this attack by Pakistan. Just wait for a couple of months. Meanwhile here’s an advance for you.”
That’s what I did eventually. That novel was titled Nahe Phoolhaar[7].
Meanwhile, since Gana Natya Sangha, the radical theatre group or People’s Theatre Association that attempted to bring social and political theatre to rural villages in the 1930s and 1940s, was banned by the West Bengal government. Bijon Bhattacharya, the famed dramatist of the classic Nabanna (1944), and other major members founded another organisation named Natyachakra. On its very first night of performance Neel Darpan[8], written by Dinabandhu Mitra in 1858-1859 and pivotal to the Indigo Revolt of 1859, raised a storm amongst the theatre lovers. We the members of Natyachakra were inspired by that.
*
Almost a year had passed by. One day I was visiting my friend Santosh Kumar Ghosh in Bhowanipore. One of the majors in the editorial department of the newspaper, Ananda Bazar Patrika, who was acclaimed as the author of Kinu Gowalar Gali, this friend of mine lived on the first floor of a house opposite Bijoli Cinema. On this visit I noticed that Bijoli was showing Pahela Aadmi[9].
I glanced at my wrist watch — 5.30 pm. “I feel like watching a movie,” I told Santosh Babu. “Care to join me?”
“Which film?”
“That one playing in Bijoli – Bimal Roy’s latest creation. The evening show starts at 6 pm.”
“I’m game for it,” Santosh Kumar said in English. “Let’s go.”
Right away the two of us friends made our way to the balcony of Bijoli Cinema.
Some of the scenes of Azad Hind Fauj[10] excited us and made us feel proud. The structuring of the story and direction made me salute Bimal Roy once more. “Jai Hind[11],” I said to myself in his honour. Santosh Ghosh also highly praised the film. ‘’This gentleman Bimal Roy is a rare talent – and this film once again proves that. Well done.”
As soon as I reached home I told Kanaklata about Pahela Aadmi. She was happy and unhappy, “Such a nice film but I didn’t get to see it.”
“I will take you to watch the film – it is worth a second viewing.”
Next morning at 9 am, I told Kanaklata, “I need to buy some writing paper, I’ll just be back from the market.” But I did not go to the market. I headed straight for Sardar Sankar Road, to Bimal Roy’s residence.
“Come Nabendu Babu, step inside.” Bimal Roy was, as before, holding a cigarette between his fore fingers.
“I watched Pahela Admi yesterday,” I started the conversation.
“In which theatre?” he asked, smiling. “Bijoli. And with me was Santosh Kumar Ghosh of Ananda Bazaar Patrika.”
“Yes Sir. Both of us liked the film very much. It’s very courageous. To make a film concerning INA[13] calls for a lot of courage. We congratulate both New Theatres and you Sir.”
“Thank you,” he replied with a smile. Then he called out, directing his voice inward, “Two cups of tea here, please.”
“Yes, I will send…” a lady’s voice replied. Then he puffed his cigarette in silence. After a few seconds I mumbled what I had actually come for, “Now that Pahela Aadmi has released, will you consider my story?”
“No,” Bimal Roy looked straight at me and shook his head. “And I am sorry to say this. Because I am leaving New Theatres to go to Bombay. There, no one will value your story the way Bengali cinema would. Besides, I am going to Bombay to make a Hindi film for Bombay Talkies.”
He fell silent. And I felt darkness descend around me.
Bimal Roy had not finished. He took a puff off his cigarette and then spoke again, “Himangshu Rai’s wife Devika Rani has sold all the rights over Bombay Talkies and left. At present thespian Ashok Kumar is the owner of the Bombay Talkies. He has invited me to make a film.”
“Waah!” I was overwhelmed on hearing the name, Ashok Kumar.
Bimal Roy went on speaking, “Bombay is at the other end of India. The demands of the Hindi film world are quite different, so there is a risk involved in this. Besides, the financial condition of Bombay Talkies is not robust at the moment. If I cannot make a film that is both good and successful, then…” his voice trailed off.
Silently I started pondering over what options I had before me.
A maid brought tea and biscuits for us. “Have the tea,” Bimal Roy’s voice cut into my thoughts. I kept thinking even as I downed the tea, “What now? Pakistan has as good as killed the markets for both, books and films. Everything was uncertain at the moment. I had no option but to send off Kanaklata and our four year old son to live with her parents in Malda.”
“Nabendu Babu,” Bimal Roy’s voice floated into my ears. I looked at him. He smiled a bit as he said, “My chief assistant Asit Sen is going with me and so is Hrishikesh Mukherjee as the editor in my team. Can you join us as our screenplay writer?”
‘Ayn!’ Surprised, I looked at him with renewed attention. “Are you asking me to go to Bombay with you?” I sought to clarify my own thoughts perhaps. “Yes. Screenplay writing is a very serious part of filmmaking. Not everybody can become a screenplay writer. Along with the ability to wield the pen the person must also possess a sound sense of drama. You have that.”
Am I dreaming! Was I dreaming?! After watching Udayer Pathe in Rajsahi I had secretly desired to work with that film’s director. God seemed to have heard me then and was all set to fulfil that desire.
“I will be happy to do so, Mr Roy,” I replied, gratitude overflowing in my voice.
“Our future is uncertain, let me caution you Nabendu Babu. You will have to treat it as an adventure. And, another thing: Asit, Hrishi, all these guys will go alone for now, leaving their families here.”
“So will I Mr Roy,” I stressed. “I will go with you to Bombay — ”
About the Book: Published in 2008, this is the autobiography of the legendary screenplay writer and Bengali litterateur, Nabendu Ghosh. Spanning through Pre-Partition India to the modern times, it is both a political and an artistic commentary of his times.
About the author: Nabendu Ghosh was born 27 March 1917 in Dhaka (now in Bangladesh). At the age of 12 he became a popular actor on stage. As an acclaimed dancer in Uday Shankar style, he won several medals between 1939 and 1945. Ghosh lost a government job in 1944 for writing Dak Diye Jaai, set against the Quit India Movement launched by Indian National Congress. The novel catapulted him to fame and he moved to Calcutta in 1945. He soon ranked among the most progressive young writers in Bengali literature.
Nabendu Ghosh has written on all historical upheavals of 1940s – famine, riots, partition – as well as love. His oeuvre bears the distinct stamp of his outlook towards life. His literary efforts are ‘pointing fingers.’ There is a multi-coloured variety, a deep empathy for human emotions, mysterious layers of meaning, subtle symbolism, description of unbearable life. Love for humanity is also reflected in his writings. He has to his credit 26 novels and 14 collections of short story. He directed the film Trishagni (1988), based on Saradindu Bandopadhyay‘s historical short story Maru O Sangha.
He died on 15 December 2007.
About the Translator: 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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Title: The Kidnapping of Mark Twain: A Bombay Mystery
Author: Anuradha Kumar
Publisher: Speaking Tiger Books
An hour passed as Henry, back in his rooms at the Byculla Club, waited for Abdul to return from the doctors’ bungalow. He had taken a message from Henry to Maya. He would not be back to have dinner with the Clemenses that evening. ‘Don’t give Maya memsahib the message in front of them,’ Henry warned, and Abdul gave him his usual long-suffering look. He really wasn’t an idiot, Henry thought to himself ruefully. ‘And if she asks more, tell her some urgent business came up.’ Henry’s face darkened, for he wouldn’t tell her about his intentions of tailing Bancroft, even accosting him. ‘And come back fast, we need to…’
Abdul looked at him expectantly, but Henry paused, pursed his lips. ‘I will tell you when you are back.’
He looked toward his desk, where his prized Colt Bisley lay in the locked second drawer. A brand-new model, with its five-inch barrel, that he had bought in London. Henry didn’t want to use it, especially on Bancroft and he hoped the other man wouldn’t make it difficult for him. Freddie Bancroft had quite a reputation, one that preceded him. He had first trained as a dentist and then worked as an insurance agent in Philadelphia before he had set out to make a magician of himself. It was an ambitious hope, and Bancroft could be impatient. The time when the
New York papers had reported unfavourably about his show, when his illusions had not worked, and his card tricks had bored much of the audience, Bancroft had thrown a tantrum, throwing his magician’s props on the seated audience. He had then burst into the offices of the New York Journal. He had accosted the editor on the late evening shift, accusing him, and the paper, of favouring the other magician Alexander Hermann, and insisted that the next day the office itself would vanish into thin air.
A portion of the office was indeed found ablaze early the next morning, but Bancroft had an alibi. There were many people who had seen him on the return train to Philadelphia. And the culprits were found to be two workers who were part of the union of newspaper workers. But Bancroft later bragged about it, that he could indeed hypnotize people to do his bidding.
He had made sure people in Bombay knew about this too, and he was determined to stage his own show at the Rippon Theatre on Grant Road. Bancroft had dropped flyers all over, had demanded advertising space for himself in the Gazette, and was also soliciting funds from the likes of Albert Sassoon, Shapoorji Bengalee, and the others, to build those elaborate sets he so wanted. But, of course, Henry, his fellow countryman, hadn’t been of much help, nor had he pulled his weight with the customs people.
Henry sighed. He was letting his jealousy get to his head. Bancroft must have added to his skills in the months he was in Bombay. For he had impressed Maya, and in a far shorter period of time, Mark Twain too, it would appear. And perhaps, Henry thought, Bancroft wanted Twain to write about him, an entire piece in the American papers about the magician’s immense popularity in the East. And now, it would appear that Bancroft may have been the last person to actually see Mark Twain, for he must have peered into his room, as he had Boehme’s, and it was likely, he did know a thing or two.
Henry looked at his notes on the table, and realized with some consternation that he had forgotten a meeting. With a man he disliked as much as he did Bancroft, but when business mattered, Henry knew he had to be quite the professional. Arthur Pease, the tireless campaigner against opium, the vices of drinking, and prostitution, had expressed an interest in the electric fans. They were needed, Pease had said, for the big meetings and assemblies he called every once in a while, in the Parsi meeting halls, and the town hall, and especially at the Reformatory Institute that was a particular favourite of his, for he always found a willing and suppliant audience here.
An hour later, Henry felt there was little point waiting for Abdul in his study. The longer he was on his own, the more he would fret over Twain and think sullenly about Bancroft. So Henry resolutely set off first for the police headquarters, and then to meet with Arthur Pease in Khetwadi, that lay a bit after Crawford Market. This was where Pease lived in a small bungalow, part of which doubled up as a healing centre for addicts.
Henry left a note for Abdul by the table near the hat stand, next to the silver embossed tray that usually held the keys, messages, and letters. Come to…, and he wrote the address. House next to Daji clinic. Crawford Market. Come as soon as you see this.
He called for a carriage, from the many standing aimlessly by the club. The coachman, a Pathan judging from his build and turban, saluted smartly as he jumped down from his seat to hold the door open. ‘The police station first,’ Henry said in a low voice, ‘and then someplace else. I will tell you later. You do have the time, I hope?’
‘Good, sahib, very good,’ the coachman said, nodding to his helper who would ride with him. The boy resting at the foot of the statue that everyone called the Standing Parsi, came running up, and the carriage shook momentarily as he jumped up behind. ‘Go fast, all right?’ Henry said, looking through the window.
The man nodded, gently tapping the pony, a young, spirited brown animal, with his whip, and then, looking over his shoulder said, ‘They are sending a lot of the police toward Sewree and Parel, the workers are angry. They really anticipate trouble, and they are stopping us from going there.’
(Extracted from The Kidnapping of Mark Twain: A Bombay Mystery by Anuradha Kumar. Published by Speaking Tiger Books, 2023)
About the Book: In 1896, Mark Twain arrives at the docks of Bombay, wife and daughter in tow, and, after attending a party in his honour, vanishes from his room at the iconic Watson’s Hotel in the dead of night.
Desperate to find the legendary writer and avoid an international incident between his country and Britain, the American Trade Consul, Henry Baker, teams up with Abdul, his trusted aide, and Maya Barton, a free-spirited Anglo- Indian with surprisingly intuitive detective skills. But they have their task cut out for them: Mark Twain’s disappearance appears to be entangled with a thriving opium trade; an intimidating, self-righteous preacher; an anxious magician who walks on stilts; a professional thief on the run; and a powerful labour leader, Tuka, whose young wife is found strangled in her bed.
Full of fascinating period detail and delightful cameos—and awash with suspense—The Kidnapping of Mark Twain is a thrilling page-turner.
About the Author: Anuradha Kumar was born in Odisha. She studied history at Delhi University and management (specializing in human resource management) at the XLRI School of Business, Jamshedpur. She has worked for the Economic and Political Weekly. She has an MFA in Writing from the Vermont College of Fine Arts (VCFA). Her stories have won awards from the Commonwealth Foundation, UK, and The Little Magazine, India. She writes regularly for Scroll.in. Her stories and essays have appeared in publications like Fiftytwo.in, The India Forum, The Missouri Review, among others. She has written for younger readers as well. This present work is her 11th novel.
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It rains outside one of the windows, snows outside the other. This happens in Pushkar’s house. Well, not their house exactly, they are tenants, but this does happen there. Not every day, only from time to time. No one other than Pushkar knows about this, neither does he wish to tell anyone. There are two windows in his room, side by side, one almost touching the other. Outside one of them it rains the entire day and snows throughout outside the other. On the days this happens, Pushkar finds himself unable to leave the house.
The light in rented houses has a pallor of its own, a unique dimness, as if it never wishes to fully brighten. As if it knows it has been confined within the walls of a leased property. So every evening it flickers into life in a blurry, understated manner. Like it lacks self-confidence, lacks the courage to be loud. Thus the walls of the rented property, the calendar hanging on it, the door that refuses to shut properly and the ancient curtain sticking to it—they all look a bit pale in that low, dim light.
This is not a lie, Pushkar is well aware of that. It is hardly possible to know how one’s house looks from within. Like one has to be in space to truly understand how the earth looks, one has to step out of one’s house to see it, from afar. Pushkar has never really managed to do it that much. There’s a narrow lane just outside their house and rows and rows of walls and houses of the tiny neighbourhood beyond it. He has never managed to examine his house from a distance. So one must wonder how he figured out the matter of the paleness of the lights. It was quite easy. Whenever he had to take the local train back from a friend’s distant house in the evening, he witnessed the lights of the houses coming on one after the other. Various kinds of lights coming on behind big and small windows—a scene he watched many a time from the moving train. Such scenes immediately made him aware of the houses where families were living on rent, the ones where the lights were yellowish, slightly oil-stained and diffident. He used to count them on his way back and arrive at the conclusion that there were more tenants than landlords in this world. Or else the world at night would have been far more luminous every day.
Such was their house too. The only consolation being theirs was visible from aeroplanes. He has never seen it himself, but many a time he has seen the planes up close from the roof during their descent en route to Dum Dum Airport. If any passenger were to look down from the plane window that very instant, they would be able to spot Pushkar’s house and tell it was a rented one. That was nothing to be ashamed of, at least not for Pushkar. Many people don’t even have a roof over their heads, those who are barely discernible as human beings from planes and trains.
Although, in his own sliver of a room, he hardly switches on the lights most evenings even after it’s dark. Not because he is embarrassed or anything. Rather, he is fond of watching the light die out slowly and darkness descend all of a sudden. To wrap that feeling around himself—as if the only reason the day had dawned was to bring him this cover. Thus, many an evening he spends in the darkness of his small, square room. Just above the study table is a light on the oil-stained walls, one that he does not switch on every day. Like he will not today, he thinks.
It’s still early afternoon though, he just finished lunch a while back. Baba is on a day shift today, he will be late. Ma is getting some shut-eye, for soon she will have her singing classes in the adjacent room. This is what he is used to since childhood—his father’s job as a journalist in the newspaper office and his mother singing at local concerts and teaching music at home. This is how things have been for them, how they still remain. So, the days don’t really change for them, they mostly remain the same and Pushkar, too, can predict what will come to pass and when. Like today, like how he was not going to switch on the lights this evening.
Most days, he gets held back in his room, does not get to go out. His first-year classes have just begun. Geography. An excellent subject and it’s taught very well at their college. Yet, he is absent more than half the days. It’s not that he does not want to go, it’s just that he cannot bring himself to do so, always getting stuck. Mornings roll into afternoons and afternoons into evenings; he shuts the shaky doors of his room and sits alone on the far end of his bed, unable to leave. Perhaps because of the windows divided by the rain and snow. He cannot seem to fathom what he needs to do to go out, how he must prepare so he can walk down the narrow lane of their locality towards the main road, where the evening gathers together streams of light that split and disperse all around again.
About the Book:
Pushkar, an offspring of the most incredible of times, has next to nothing to call his own. Except for a seasoned but out-of-work and disheartened father, and a defiant, uncompromising mother with a truly astounding gift for music. It is only in the gradually widening chasm between his parents that he discovers his world of poems, which he desperately tries to hide from everyone.
Everyone else except Saheli, that is, only she gets to read his poems. Saheli, his school friend who he is in love with. Abhijit, another friend from school, is unwilling to leave it all up to fate and insists on dragging Pushkar to meet Nirban and their independent publishing house—at least to ensure that Pushkar’s poems manage to see the light of day.
In this entirely strange, magical and leisurely course of life swirling all around Pushkar, there is but one entity with whom he shares all his secrets. A milkwood tree, a chatim is privy to everything in his life. And so time moves on, leading him to eventually confront a truly secret equation of life—the change made possible by the transformative power of love.
A House of Rain and Snow is a testament to an era, a witness to an astounding journey of a young poet.
About the Author
Srijato, one of the most celebrated Bengali poet-lyricists of our times, is the recipient of Ananda Puroskar in 2004 for his book Udanta Sawb Joker (All Those Flying Jokers).
About the Translator
Maharghya Chakraborty is a well-known translator. He teaches at St Xavier’s College in Kolkata.
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Title: Whispers of the Heart – Not Just A Surgeon: An Autobiography
Author: Dr Ratna Magotra
Publisher: Konark Publishers
A noteworthy incident occurred at Northcote Nursing Home that garnered attention in my favour. Dr L.H. Hiranandani (widely known as LH), was an acclaimed head and neck surgeon. He was known internationally for his expertise in performing radical neck resections and for the remarkable speed with which he conducted surgeries. He wielded significant influence in both medical and social circles, and routinely performed surgeries on his private patients at Northcote.
One day, a highly distinguished lawyer from Madras (Chennai) underwent a neck cancer operation at Northcote, with me assisting LH during the procedure. As was his practice, LH completed the surgery swiftly and left for his clinic. Meanwhile, the patient had been transferred to his private room, while I was tending to my remaining duties on the floor. As part of my routine, I made rounds to check on the patients who had undergone surgery.
Upon entering the lawyer’s room, I was taken aback by the sight of him struggling to breathe. His hand felt cold and clammy, and his pulse was feeble. Although he remained conscious, he appeared extremely restless even as I tried to reassure him. It became evident that he was choking, and I realised that unless something was done, his life would slip away. Unfortunately, I was uncertain about the specific course of action needed to save him. While the nurse had attempted suction and increased the oxygen supply through a face mask, these measures appeared ineffective. The patient’s breathing grew shallower, and his lips and nails began to turn blue. It became increasingly obvious to me that blood clots were obstructing his airway, and simply increasing oxygen flow would not suffice. Private patients received distinct treatment compared to those in public hospitals. In this setting, resident doctors were not authorised to make decisions independently and were required to follow the consultant’s instructions.
Unfortunately, I couldn’t afford the delay involved in contacting the consultant, as the process would have entailed routing the call through the telephone exchange, involving operators at both ends and resulting in a significant loss of valuable time.
I recalled reading about tracheostomy (creating an opening in the windpipe) during my undergraduate studies, though I had never witnessed the procedure being done (ENT surgeons usually performed tracheostomies). Acting on instinct and without hesitation, I reached for a scalpel from the emergency tray and made a decisive incision in the middle of the patient’s neck. There were substantial blood clots surrounding and compressing the trachea. As soon as this pressure was released, there was a dramatic transformation in the patient’s condition, and his breathing improved considerably. I carefully removed the blood clots both from within and around the trachea using suction before inserting a tracheostomy tube. To my immense relief, there was significant improvement, and the patient’s lips and nails regained their natural colour. He was soon breathing comfortably, and so was I. Assured of his well-being, I promptly requested blood from the blood bank and decided it was time to inform LH, the operating surgeon.
The patient had stabilised, narrowly escaping from the clutches of death. Now, I had to confront the repercussions of my actions because I had essentially performed a minor operation without obtaining permission from the consultant. Additionally, I had neither informed the patient’s family about the procedure, nor had I obtained their written consent. The list of mistakes was growing longer, and LH’s reputation in the city was significant enough to potentially impact my future prospects in Bombay.
In the midst of this emotional turmoil, I made a call to LH. His clinic was situated near the Regal Theatre, in close proximity to Northcote. He arrived swiftly at the hospital. LH was known for his predilection for taking the stairs rather than the elevator, and I could distinctly hear his brisk footsteps and booming voice as he inquired, ‘What happened? Who did this?’ I, as the sole resident doctor and with no alibi, not that any was necessary, stood there, anxious and unsure of what would transpire next.
When LH entered the room, the lawyer, now fully conscious and aware of the ordeal he had gone through, managed a weak smile. I expected LH to explode, and I stood there with a numb mind, waiting for the inevitable. To my astonishment, LH rushed towards me and, to my surprise and that of others, nurses and hospital personnel gathered there, embraced me in his characteristic, effusive manner. He repeatedly and profusely thanked me for displaying presence of mind during the crisis, which could have cost the lawyer his life. He appreciated that his patient had been saved. Overwhelmed with relief, I could have collapsed, but there was still work to be done.
The patient was swiftly transported to the OR, where we located and ligated the bleeding vessel responsible for the incident. We also revised and secured the tracheostomy, this time by a qualified ENT surgeon, LH himself. Subsequently, the patient was shifted to his room. As he was leaving, LH discreetly handed me an envelope in my hands containing crisp currency notes. Sentimental as I was, I left the envelope and its contents untouched for several years. I knew that two lives had been saved that day!
Word of the incident spread quickly to Nair Hospital, where LH held an honorary professorship in ENT surgery. Several consultants from Nair Hospital, who regularly operated at Northcote, inundated me with congratulations. I had every reason to be pleased. The incident had generated immense goodwill.
(This excerpt from Dr Ratna Magotra’s ‘Whispers of the Heart – Not Just A Surgeon: An Autobiography’ has been published with permission from Konark Publishers, New Delhi)
About the Book
This book provides a captivating glimpse into the journey of a cardiac surgeon, illuminating the story of a small-town girl who, as an outsider, struggled to get a foothold in an intensely competitive field. Her eventual triumph serves as a poignant representation of an earlier generation of Indians post-Independence, showcasing their resilience through both triumphs and tribulations.
Throughout the narrative, the author shares her personal philosophy on the practice of medicine and addresses the evolving landscape of societal norms, encouraging readers to pause and reflect. While she doesn’t make exceptions for being a female cardiac surgeon in a predominantly male speciality, her narrative serves as a powerful source of motivation for women aspiring to break barriers in any field.
This book also sheds light on the transformation of healthcare in contemporary India, with the author playing a significant role in its development. Additionally, it delves into facets of her life beyond the medical realm, including her enriching travels and impactful social activism.
About the Author
After completing her MBBS at Lady Hardinge Medical College in New Delhi, Dr Ratna Magotra pursued Master’s degrees in general surgery and cardiothoracic surgery from Bombay University (now known as University of Mumbai) while working at BYL Nair Hospital in the city. She further honed her skills through training at Guy’s Hospital in the UK and the Texas Heart Institute in Houston, USA.
Dr Magotra’s illustrious career led her to become a professor and head of the Cardiovascular and Thoracic Surgery Department at the prestigious GS Medical College and King Edward Memorial Hospital in Mumbai. Despite her demanding role, she remained committed to issues beyond medicine, both as a department head and as a practising paediatric cardiac surgeon. Her outstanding contributions to the field have earned her numerous accolades, including the Lifetime Achievement Award from the Indian Association of Cardiovascular-Thoracic Surgeons in 2017, a testament to her exceptional expertise.
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The world ball dance was held on 25th December. It was the last time that Jay and Poulomi had agreed to meet each other with the tag of being lovers. The ballroom was majestic with a long winding staircase – the magnificent staircase was adorned with Christmas Mistletoe plants. Jay could not help but stare at Poulomi in her maroon ballroom dress and with her maroon lipstick making her lips seem more protruded than ever.
The song ‘Maroon’ by Taylor Swift was playing in the background.
The ballroom ceiling was full of sparkling chandeliers which glimmered with golden light. The golden rays of the daytime sunshine lit up the ballroom with a soft glow, as they passed through the crystal clear huge glass windows. Each of the windows had maroon curtains which were shifted to the side to let the daylight in.
As the day approached late evening, the curtains were closed and the ballroom still had the soft golden glow – this time it was because of candlelight lamps.
In this glorious ballroom, Agatha was playing the instrumental version of the song ‘Maroon’ on piano with the grandeur of royalty, for the piano was gifted by the Princess of England, Agatha could not feel more proud of her musical skills.
For a while, Agatha kept looking at Poulomi and Jay now and then. Poulomi’s maroon dress had golden belt and golden buttons, and Poulomi was wearing a necklace studded with golden star shaped diamond-like stones. She was carrying a golden purse with her and as she walked down the staircase, she seemed like the very Queen of England.
In the middle of the dance with Jay, Poulomi excused herself and went to Agatha. She exchanged a few words with Agatha and when she returned to the dance floor, Jay was nowhere to be found. Jay had disappeared.
Agatha came running and said, “Poulomi, you must confront Jay. This act of disappearance is no way justified”.
“Agatha, is Jay a real person? Or is he a hallucination of mine?” asked Poulomi, being well aware of her own mental health condition. And Poulomi ran towards the veranda and gazed at the maroon night sky glittering with silver stars.
Agatha followed her and said, “Well, at least, the sky and the stars are for real.”
About the Book:
The novella, titled The Ocean is Her Title, is an exploration of a fractured existence of the central character Poulomi “struggling through a welter of feelings, incapacities, and anxieties to shore up her beleaguered existential coherence”. In the words of Mark P Lynn, noted journalist at Doordarshan, “the novella is rich in self discovery monologue and dialogue and moves from literature to the philosophical realm and back. The internal monologue takes the form of a conversation with real characters who are fictionalized from the author’s love for Harry Potter, Taylor Swift, Wonder Woman, and the heartfelt support structure provided by a father who tends to a child with bipolar disorder.” In the words of renowned journalist and author Jitendra Dixit, “The Ocean Is Her Title, the readers are invited to embark on an emotionally charged novella that weaves together the dreams and struggles of a young Delhi girl, Poulomi, whose life takes an unexpected turn when she is abducted and transported to a place she could never have imagined – the Ocean Hospital. This novella, authored by Manjima Misra, is a poignant exploration of identity, resilience, and the complexities of modern womanhood.”
About the Author:
Manjima Misra is a writer based in Delhi. She has written three published books previously which are titled Indian Feminine Fury, Unapologetically Mad, and The Ocean is Her Title. Her opinion articles have been published in The Indian Express, The Quint, Outlook India, Deccan Herald, Newslaundry, and Firstpost. She has previously worked as a writer with the Education Desk at The Indian Express and as an educator with Teach For India.
She has a Master’s degree in English literature from the University of Delhi and a Postgraduate Certificate in Teaching English to Speakers of Other Languages (TESOL) from the University of St Andrews, Scotland.
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