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Under the Shadow of Death: Memoirs of Tagore’s Last Days

To Commemorate Tagore’s 80th Death anniversary, we present a review of Somdatta Mandal’s translation of memoirs around Tagore’s last days with a forward by Professor Fakrul Alam

Book Review by Meenakshi Malhotra

Title: The Last Days of Rabindranath Tagore in Memoirs

Translator/ Editor: Somdatta Mandal

Publisher: Birutjatio Sahitya Sammiloni, 2021

The Last Days of Rabindranath Tagore in Memoirs, selected, edited, translated, and put together from the original Bangla by Somdatta Mandal, hovers along a fine line between biography, autobiography and perhaps a bit of hagiography around the account of a life lived in the shadow of imminent death. Mandal draws on all these genres to create a rich chiaroscuro of effects, with a chorus of the memoirs of a few caregivers, mostly women, who were in close proximity to Tagore and served and took care of him in the last year of his life.

Criss-crossing between bouts of illness and creativity, the caregivers also doubled as scribes and notetakers, transcribing the precious words of the great poet. Together, they create an incredibly rich web of narratives, which have been very ably selected and translated by Professor Somdatta Mandal. The memoirs also convey a sense and flavour of the place, whether it is Santiniketan, Jorasanko, Kalimpong or Mongpu — the various places and haunts of Rabindranath in the twilight of his life. The interesting thing is that many of these ancillary memoirs were written by young people who later became famous as writers and artists, their talents often nurtured, encouraged and incubated by the greatly revered poet himself.

The titles of their respective memoirs attest to their unique writerly talents: ‘Nirbaan’ by Pratima Devi, representing a release and freedom from a painful state. Rani Chanda, the second section talks about the ‘alapchari’(Musical) Rabindranath and Gurudev, highlighting his sensitivity to and concern for others.  Mongpu-te Rabindranath and Swarger Kachakachi (Rabindranath at Mongpu and Close to Heaven) by Maitreyi Devi are deeply evocative pieces. Nirmalkumari’s “22nd Shravan” is perhaps given the most space by the editor/translator and shows his anxieties about the fate of the university built by him, a unique educational experiment very dear to his heart. Living in the shadow of the great man, it is as if each memoir and person measures up their life which gains in meaning and significance, as a result of the unique legacy bequeathed to them, with love and affection, by the poet.    

In reflecting and refracting, through the prism of their care and service, the closing year of Rabindranath’s life, the memoirs lay bare several facts. The bard was often a difficult patient, experiencing several crests and troughs as far as his moods — creative and otherwise — were concerned. Too intelligent and perceptive to avoid facts, he could see his imminent death, but did not want his caregivers to be morose and mournful. On them, fell the job of entertaining him, creating laughter and fun, in which he would participate when his health permitted him. He was less scared of death, he said, than of surgery advocated by his very eminent doctors like Dr Bidhan Chandra Roy (later he Chief Minister of West Bengal from 1948-1962) and Dr Nilratan Sarkar.

That this book is a labour of love is evident from Professor Mandal’s careful selection and editing, as well as her meticulous and competent translation. She has presented the momentous and moving final months of Rabindranath Tagore’s eventful life up to the day of his death which witnessed an outpouring of grief from many quarters. It is the final months of his life which is transcribed and inscribed by his memorialists, among whom are Pratima Devi, his daughter-in-law and son Rathindranath’s wife; Rani Chanda, his secretary Anil Chanda’s wife and a writer herself; Maitreyi Devi, the well-known writer and a protégé and favourite of Tagore’s; Nirmalkumari Mahalanabis, whose exchanges with the kobi-guru (great poet) have been detailed in Kobi and Rani (translated by Professor Mandal in 2020) and Amita Thakur, his granddaughter.

The first selection Pratima Devi’s ‘Nirbaan’ (1942) demonstrates his faith in and affection for his conscientious daughter-in-law, who, along with Rani Chanda and others, become an embodiment of care and nurture. He is aware of being a difficult patient and this awareness, which shines through in many of his comments and pet peeves, not only redeems him, but makes him more human. Musing “fondly on the poet’s twilight moments” while punning on the Robi (Bangla for sun) in the poet’s name, Maitreyi Devi, a Sahitya Akademi award-winning novelist writes: “The almost setting sun…was no less pleasant than the glory and radiance of the afternoon sun” and even within the sickroom, the poet continued “playing” his tunes, along with the march of time.

In his sensitive and nuanced foreword, Professor Fakrul Alam points out the memorialists’ refusal to minimize or sentimentalize Gurudev’s illness. In fact, Rani (Nirmalakumari Mahalanobis) expresses her impatience and criticism of the happenings and the people around the poet in the last stages. Amita Thakur, Rabindranath’s granddaughter was a notable exponent of his songs in her time, and he would depend on her to note down the songs as they came to him. Her work is chosen, says Alam, “as a coda for her assemblage of extracts from the memoirs of the five devoted caregivers who were women who had served him selflessly for sustained periods.”

The literary and archival value of such a work is undeniable and its benefits for exploring literary culture is immense. Between its glimpses of a towering giant in the world of letters with a truly international perspective to its comments about Tagore’s closeness to women and his seeking women as caregivers, the collection is also a testament to Tagore’s faith in the selfless capacity of women.

The book and Rabindranath’s close relationship with his many caregivers and later, memoirists, sometimes created a family dynamic of some tension between his natal family and adopted one. At one point, Maitreyi Devi (called “Mongpobi” or “Mitra” by the poet) talks of the negative comments made about her by Indira Debi (Bibi), one of Tagore’s favourite nieces, daughter of Satyendranath Tagore and Jnadanandini Debi. Later however, Maitreyi Devi also mentions the kindness shown to her by Indira Debi when they are together in Santiniketan.

Like in Kobi and Rani, the memoirs of Rani Mahalanobis (called Prathama or first to differentiate her from Rani Chanda who was referred to as Dwitiya or second) show the many facets of the great man himself — his many moods from his mellow moods even when he was in extreme pain to his irascible mood to his playful and humorous moments. It is to the credit of the editor/translator that she has organised and arranged the material very skillfully to bring out his mercurial nature, his flashes of temper and his expectation that his caregivers would wear their responsibilities lightly.

Overtly committed to personal memory, life narratives and biographies occasionally come  close to hagiography. They also lay bare a  performativity inscribed in the very form, implicit in the relationship between the great man/ luminary and those who are satellites in his orbit. The many layers of feeling get reflected in a plurality of forms that are both sedimented and fluid in structure — comprising letters, diaries, poems, fragments. These innovative narrative structures are evolved to convey through an overlapping of various genres: non-fiction, poetry, memoir, autobiography, letters, etc. Extending well beyond any coherent theoretical coordinates to streamline its disparate forms, life narratives are as much constructed by an individual artist — subject as they are the product of her/his intersecting textures of historical, social, political, economic, and cultural contexts.

The socio-cultural context  is specifically that of the progressive environment of Santiniketan and Vishwa Bharati. We see how the ambience of cultural efflorescence and Brahmo liberal ideas helped shape these young women. Perhaps, because of the reformist cast of Brahmo womanhood or the holistic educational schemes fostered by Tagore, in his caregivers, we see the emergence of relatively independent or mobile women, cast in agentic roles of decision making. We see an extraordinary sense of  a tightly-knit community of caregivers whether in Pratima Devi and Maitreyi Devi during the harrowing journey back from Kalimpong to Calcutta when Tagore’s illness worsens, the encounters of Maitreyi Devi with British doctors in Kalimpong or the journey undertaken by Maitreyi from Mongpu along with her young daughter immediately after a landslide, when her husband, Manmohan Sen, undertakes  to get the landslide cleared.

With a vibrant assembly of many pictures and voices, the story emerges from a collage. Piecemeal in bits and pieces, like the oranges sent to Rabindranath by Maitreyi Devi from Mongpu. Each experience, like the fruit, is savoured slowly and with relish. The remaining fruit, both actually and figuratively/symbolically, is given to the students.

A life, even one as extraordinary as Rabindranath Tagore’s, unfolds in time, simultaneously, it also participates in eternity. Thus, even as his nearness and the promise of proximate greatness draws his mentees into his magical orbit, we see him worrying about his imminent death and the fate of Santiniketan. We have to also see the life of the women, details of which get inscribed in their memoirs. The demands placed upon them are often relegated to the margins as they form part of the enchanted circle around the ailing poet, who at times seems to assert his claim on their time, albeit often  in jest, sometimes in a semi-serious way, competing for their attention with their other affections and preoccupations. Their lives, they realise, are given significance and irradiated by his presence, endowed with value through the care they could extend to the great soul.  

Ultimately the collection testifies to the power of great literature and poetry. As the poet himself says:

“Of course, literature is based upon lies — from beginning to end. Whatever I have said, whatever I am saying, how much of that is true? I have done a lot of farming for 80 years. I cannot vouch that all the grains will be stored in the barn. Some will be eaten by rats, but even then, something would be left behind. I cannot say that with certainty, eras change, times change and along with that everything also changes. But I can say with certainty that my songs will last the longest. Especially Bengalis will have no other way except to sing my songs in grief, sorrow, joy and happiness. They will have to go on singing them for ages.”

Kumar Sri Jayantanath is aptly quoted in Appendix B of the memoirs: “There is nothing new to say about Rabindranath because whatever we had to say has already been said by him.” Therefore, we pay a tribute to the poet in the poet’s own words:

“You had brought along with you

 Deathless soul

In your death you have

Donated that

You have donated that

In your death.”

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  Dr Meenakshi Malhotra is Associate Professor of English Literature at Hansraj College, University of Delhi, and has been involved in teaching and curriculum development in several universities. She has edited two books on Women and Lifewriting, Representing the Self and Claiming the I, in addition  to numerous published articles on gender, literature and feminist theory.       

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Murder at Daisy Apartments

Book Review by Gracy Samjetsabam

Title: Murder in Daisy Apartments

Author: Shabnam Minwalla

Publisher: Speaking Tiger, 2021

Murder in Daisy Apartments (2021) by Shabnam Minwalla is a young adult murder mystery story set in Colaba, Mumbai, India during the COVID-19 lockdown days.

Shabnam Minwalla has worked as a journalist with the Times of India. Her debut novel, The Six Spellmakers of Dorabji Street (2012) won the Rivokids Parents’ and Kids’ Choice Awards. She writes children’s fiction now. She has written a number of children’s story books including the Nimmi series, and a forward to an edition of Little Women brought out by Speaking Tiger Books.

Murder in Daisy Apartments starts on the forty-third day of the lockdown when 78-years-old Mr. Sevnani a resident of Lily Apartments, who had a bad heart, and an even worse temper was mysteriously hospitalized. The emergency that led him to be rushed to the hospital did not come as a surprise to the residents. Sevnani’s case was one in which a swarm of men wearing masks and sinister blue safety suits took him away in an ambulance.

But it happened again. On the forty-fourth day, a BMC (Brihanmumbai Municipal Corporation) van drove to the housing complex to pick up a dead body. People grew apprehensive. The shock deepened as residents came to know that Raghunath, a long-time resident of these apartments had been evicted by Baman Marker, the Chairperson of the Daisy and Lily Apartments as he had tested corona positive, and the complex had been declared a containment zone. During such severe lockdowns, movements were restricted.

On the forty-sixth day, Mr. Marker was found poisoned in his apartment. Since he was murdered during the pandemic lockdown, the killing could have only been masterminded by a resident of the complex. Nandini Venkat, a 15-year-old murder mysteries enthusiast, who calls herself and her twin brother as “standard issue South Bombay brats” is glued to the details of this “OMG (o my God) moments” in the history of Daisy and Lily Apartments. She joins the dots to detect and solve Marker’s murder mystery. Honing her investigative skills, with keen observation of people and the chronology of events, Nandini turns into a detective on the fiftieth day of the lockdown. Her sunny, social and festival loving brother, Ved, and her best friend, Shanaya, join her to find out more about this mysterious death.

Who could have murdered Baman Marker? Was it the Kurians, the Carvalhos, the Khambatas, the Habibullahs, the Lambas, the Burmans, the Kapadias, Lina Almeida, Maria, Alfonso, Mr. Shetty or Chemmen Saab? Who was the mysterious man that Mrs. Kurain saw early in the morning of the fateful day? Whose were those “black legs” that Nandini spotted climbing up and down the stairs on the night of the murder? More questions assail Nandini and the air gets thicker with thrill, nervousness and excitement all at the same time. Ved sings in a low voice:

"Beware, beware, he’s out and about, 
So be careful ’bout the rumours you monger, the panic you spread. 
The Big Bum’s at the door, revenge cooking in his head."

Ved and Shanaya make the best investigating team with Nandini. Nandini’s “LIST OF SUSPECTS—Means, Motive and Rating” tactfully streamlines the possibilities of finding the murderer. The strong suspects in the list includes Mr. Carvalho, Daniel’s father and a physics teacher who took crazily expensive tuitions and has a shady history; Amrita Aunty, Shanaya’s mother, who had had major disagreements with Marker; old and mean retired principal Lina Almeida, the granny gruesome who makes fabulous immunity boosting juices and detox smoothies; Marker’s chartered accountant Ranjit Burman with whom he had a nasty fight some months back; the secretly courageous Rashida Habibullah; and, the aged and immobile Mr. Alimchandani, who had long-buried secrets.

Amidst the fearful environment of death and pandemic in the Daisy and Lily Apartments, Minwalla beautifully brings out the characters of the young investigators and the residents with many details. The role of internet and social media during the pandemic and in the present day is infused in the narrative. For instance, she has highlighted the unavoidable participation in the Apartment’s WhatsApp groups of adults, where daily updates that thrive with rumours or gossips and the Daisy-Lily kids’ group for the children who discuss school, crushes, movies, people and latest information. Nandini and Shanaya discuss TikTok and Instagram followers, zombie teenagers addicted to social media, FOMO, Zoom call with school friends, Netflix and WiFi connections. Nandini on the verge of solving the mystery says, “My mind will be thinking about nachos or the red boots on sale in H&M, while my fingers pick up my phone, click, swipe, click.”

Minwalla also uses subtle humor to make the story a delightful read. This is evident in the children calling Mr. Sevnani “the Abominable Snowman”, or in imagining Baman Marker, the shrewish Chairperson of Daisy and Lily Apartments as “an arch criminal—a sort of Macavity the Cat” or “SoBo version of Kaa the python” and more. Minwalla’s use of phrases like ‘Work from Home’, disowning someone, sealed apartment, social distancing, stay safe, compulsory registry of visitors, tested corona positive, online meetings, and mental deterioration, instantly connects us and sheds light on the shift in the usage of language for depicting the pandemic. Nostalgia, empathy, magic and mystery mingle as one reads with a sense of enjoyment, revelling in the suspense-filled clandestine moves taking the mystery forward.

Murder in Daisy Apartments is entertaining and organically Indian. It gives a flavour of Mumbaikars to those willing to step into a local residential complex and mingle with the residents.

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Gracy Samjetsabam teaches English Literature and Communication Skills at Manipal Institute of Technology, MAHE, Manipal. She is also a freelance writer and copy editor. Her interest is in Indian English Writings, Comparative Literature, Gender Studies, Culture Studies, and World Literature. 

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The Third Eye of Governance

Book review by Bhaskar Parichha

Title: The Third Eye of Governance

Author: Dr N Bhaskara Rao

Publisher: Speaking Tiger Books, 2021

Populism may be   a decent expression for politicians; but social science researches would give a damn to the way government policies are planned shorn of any rationality and wisdom. Research is key to whatever social development one talks about because that gives an edge to the expected change. This book takes forward precisely the idea of good research and the downsides of not having an investigation into the way governments’ function.

The Third Eye of Governance–Rise of Populism, Decline in Social Research by Dr N Bhaskara Rao is an eye-opening book because it is written by a pioneer of social research in India. Being  Founder Chairman of the Centre for Media Studies (CMS) and of Marketing and Development Research Associates (MDRA), Rao  built up the equally prestigious Operations Research Group (ORG) as its CEO.A member of the National Population Policy Committee and one who reorganized the media units of the Information and Broadcasting ministry, Rao has authored a couple of other books : Social Impact of Mass Media, A Handbook of Poll Surveys in Media , Sustainable Good Governance, Development and Democracy, Citizen Activism in India and The TRP Trick: How Television in India Was Hijacked. 

A first-of-its-kind history and analysis of social research in India from Independence to the present, this book discusses India’s most important research projects, and the policies based on them. That includes the family planning programme, the five-year plans and the decennial census which has been put on hold because of the pandemic. 

According to Dr Rao, there has been a steady decline in social research with the rise of populism in Indian politics, and there is an utter disregard for transparency and accountability. The volume shows how data, statistics, analysis and research have become politically sensitive and belligerent. Rao argues that if the current refrains about development and progress are backed by applied social research, India can reach new heights in democracy, development, and governance.

Forthright to the core, Rao says with political parties dominating policies, there has been a greater emphasis on winning elections. And this trepidation has to become the priority for research. He contends that research is a distinctive form of enquiry — and that is why he calls it ‘third eye of governance’. The book is a valuable investigation of public policy successes and failures of governments led by different PMS, from Nehru and Indira Gandhi to Manmohan Singh and Narendra Modi. 

Writes Rao: “Populism is an outlook of leaders, and a methodology and strategy of those in power to control, command, and exert their authority. What we are witnessing today is an altogether new populism where ideology has little importance. The new instruments of communication and network have changed the course so much that populism is being made to appear or sound synonymous to democracy and development, when in fact it can turn out be a countervailing phenomenon.

“What is being regarded as a boom may turn out to be a bubble. This depends on the leaders’ grip or control over the instruments of administrative authority or political power. In populism, the difference between ends and means becomes blurred.”

Terming the new wave of populism sweeping across the nation ‘rhetoric-centered’, he argues: “It purports people as masses but is led by a few who are masters of rhetoric. Here, institutions matter less, as do future implications and research and feedback. Populism depends on revisiting the past rather than focusing on the future beyond three-five years. Polarizing people through destabilization is part of the strategy. Perpetuating hate, anger, and resentment form the core of populism and help sustain the phenomena. Double-talk also comes handy in this process.”

Academically comprehensive, the book cites the example of how the ‘melting pot’ idea of American society in the mid-20th century was studied closely by sociologists and contributed to the assimilation process that changed the course of American social progress by changing the mindset. In India, however, Rao says, despite Nehru embarking on the idea of assimilation, people continue more divided, and development has not reached a large number. Part of the reason, according to him, is the lack of critical research and independent appraisal of policies and plans.

While acknowledging the potential of the development themes echoed by Prime Minister Modi, Rao points out the glaring gaps between the stated intention and actual practice. The ideas have to be backed by “high-quality independent and unbiased research”. Slogans and themes such as ‘Sabka Saath, Sabka Vikas (united, we progress)’ deserve to be followed up far more seriously, consistently, and critically.

The government’s recent campaigns such as Swachh Bharat (clean India) or Smart Cities has brought about a new research. He calls it “Endorsement research” or supportive research. Whether research is independent is no longer the preferred criteria. Even the credibility of independent institutions, which have been the primary sources for the country’s statistics, have come under questioning. There has been more reliance on audit-based method than evaluative research in recent years, according to the book.

Divided into ten chapters and running through a little more than 300 pages, the book unequivocally tells how credible public institutions of the country are being reduced to the level of drum beaters. “Covid numbers being doled out by state after state reminds the extent political leaders stoop to suit their immediate advantages. As if we are reviving a regime of numbers.”

The book further says, citizen activism, debates, deliberations, and checks and balances are no longer virtues, and may even be snubbed. Populism does not care so much for self-correctives or plurality. He goes to the extent of saying populism needs an imaginary or a virtual villain or an enemy to prompt realignments. It submits a polarization that thrives in terms of ‘We of now’ and ‘They of the past’.

Dr Rao delves into the history, successes, and failures of research since Independence. He seeks to “regroup social sciences towards a trajectory of good governance, development and democracy, so that social research can lead towards a citizen-centric, society-sensitive future than one focused on just the market and consumer”.

With a foreword by Dr RA Mashlekar, former Director General Council of Scientific and Industrial Research (CSIR), the book is in-depth, fetching and has a broad sweep. It looks at the outlines of public and social research in India through a critical lens. An indispensable read.

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Bhaskar Parichha is a journalist and author of No Strings Attached: Writings on Odisha and Biju Patnaik – A Political Biography. He lives in Bhubaneswar and writes bilingually. Besides writing for newspapers, he also reviews books on various media platforms.

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Hurtling through Time

Book review by Rakhi Dalal

Title: A Sense of Time

Author: Anuradha Kumar

Publishers: Weavers Press, 2021

A Sense of Time is a collection of short stories by Anuradha Kumar that stretch across different periods of time, hurtling through the past into the future. A two-time Commonwealth award winner, Kumar has authored thirty-one books, written for Economic and Political Weekly among many other journals and newspapers, woven stories for children under a pseudonym and has released two books almost together in 2021, the other being The Hottest Summer in Years amidst excellent reviews.

Reading Kumar’s A Sense of Time is akin to going on an unplanned journey which takes you to places most unexpected, the roads twisting and turning as you march on with bated breath, wondering where or what it might lead you to. You have to remain alert at all times lest you might miss something crucial to a story. The narrative style in each story is crisp, never faltering once. And the most striking thing is Kumar’s ability to conjure vivid imagery in the mind of the reader. The spaces that her pen creates might either be real or illusive, the enticement is decidedly palpable.  

The story, ‘Entomologist at Trial’, is a about a small town lawyer trying to make it big at High Court. He fails each time he bases his decisions on idealism. It is essentially a satire on the society which derides integrity and where being successful is far more important than being right. ‘Pandemic 2121’ is a love story based in an imagined future where the protagonist is separated from her lover, from a different planet, because of the policies of her planet’s government. Here the author addresses the innate human longing for things simpler and basic to human nature for sustenance amidst a pandemic like situation similar to that witnessed in 2020.

In some stories, Kumar explores the world of women from distinct backgrounds. Rekha from ‘Rekha Crosses the Line’ is a bored middle class housewife looking for ways to distract herself from her mundane existence and from the anxieties forced upon her by the familial expectations. It also explores the murky world of Godmans thriving in a society where people flock in the hope to find answers or to while away their time deliberately, knowing exactly what they are entering. ‘All the Way to the Twelfth Floor’ follows the events of a day in the life of Gauri who works as a house help for different apartments in a society. Kumar focuses upon the perilous circumstances women engage in this work sometimes confront, their apprehensions and the acts they feel obliged to do to for the sake of their livelihoods. It is also a peek into the apathy with which the society treats women working as domestic helps and employers’ lack of concern to the vulnerabilities they might be exposed to.

‘Dorothy Cries in the Bus‘ is the story of a journey taken by two women of different nationalities brought together by circumstances and their effort to connect with each other. It essentially focuses on their similarities as women dealing with their marriages and discovering a kinship in unusual circumstances. ‘Missing’ takes us to the world of a woman married to an army soldier and her efforts to keep the household functioning in the absence of her husband who rarely gets a leave from his posting. The story, however, also turns our attention to the meagre salaries the army soldiers earn and the psychological stress they endure which is seldom focused upon. The heroic welcome that Gudiya’s husband receives in the village upon his return on a vacation stands in stark contrast to the reality of his everyday life marred by difficulties to procure even nutritious food for his ailing father.

Some stories are also biting satires on the ways a society acquires and becomes accustomed to. ‘The Man Who Played Gandhi’ is a story of a man who gets invited to play Mahatma at various events. Das takes great pain to look like Gandhi, wear similar clothes, practice the same kind of gait and the way of spinning the charkha. He also memorizes Bapu’s speeches which he delivers to sometimes a rapt audience. As the years after independence progress, he realises people don’t really care about the Mahatma or his ways anymore. At one event, he is invited to appear only to be made to disappear again — as a magician’s prop. Through the course of this narrative, Kumar highlights the growing indifference of the citizens towards the ideals or edifice upon which India was constructed after a long struggle faced by the independence movement.

‘Big Fish’ takes us to the world of a refugee family living on the brim of society, its fears and vulnerabilities. It also showcases the apathy of a government towards such people whose sole existence could hang on the whims of officers given charge to identify them.

The titular story, ‘A Sense of Time’, has elements of supernatural where time gives the impression, of drifting and sometimes advancing, but traps the reader into a delusion with such alacrity so as to leave her mystified by the experience. The disorientation which Kumar manages to entice a reader into is at once intriguing and spell-binding.

Kumar’s writing clearly comes out as bold, experimental and confident. The pace with which she commences a story never loses its hold on the reader. Though there are a couple of stories where the ending may leave a reader wondering or wanting for a closure but author’s choice to keep them open ended emulates life as sometimes experienced in reality. Instances where you may come across people only passingly and may never come to know everything about them. But then this is how life is. This is the beauty of it, our ability to keep some experiences in memories and identify our own existence as transient, only fleeting for those we unexpectedly meet on our journey.

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

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The Secret Diary of Kasturba

Book Review by Meenakshi Malhotra

Title: The Secret Diary of Kasturba

Author: Neelima Dalmia Adhar

Publisher: Tranquebar, Westland Books

The Secret Diary of Kasturba by Neelima Dalmia Adhar was an interesting experience as it traverses known ground, albeit from a feminine perspective. The book lays no claim to authenticity or historical veracity since Kasturba was barely literate, obdurate in the face of her husband’s efforts to educate her. Adhar’s retelling of the personal life of the Gandhis is obviously inseparable from Mohandas Karamchand’s huge public persona which acquired almost mythic status during his own lifetime, as he became the “father of the nation”. That the public role came at a certain cost is what this fictionalized memoir/ autobiography makes clear. The fight against imperialism also took its toll and some aspects of this fictionalized biographical account might be seen as a sort of collateral damage.

Married off at a young age when both were thirteen, she describes the sexual passion between the two which cemented their conjugality. At the same time, his early experience of lust and unbridled passion fills Gandhi with guilt and remorse and his autobiography, The Story of My Experiments with Truth, comes out strongly against the practice of child marriage, as he feels that it stunts the growth and potential of children trapped in the practice.

The other reason for his guilt is the fact that his ailing father was on his deathbed when Mohandas was overtaken by desire. That sense of guilt plagues him later, since he leaves his father’s room knowing well that the father’s chances of survival were slim. Soon after, he receives the news of his father’s death. Later in life, he took a vow of celibacy, but his decision of celibacy was taken unilaterally without consulting Kasturba, who felt resentful about being excluded from something that concerned them both. While Gandhi’s behaviour towards his wife, his tendency to dominate and control, were within the expected parameters of conjugality in late 19th century, they would stand out as oppressive by today’s standards.

Two episodes stand out in this context, both providing ample anecdotal evidence of Gandhi’s high-handedness and tendency to dictate terms to his wife. One is his injunction to clean out the chamber-pots of guests in the house in South Africa. When she refuses to do so, he is ready to throw her out of the house. On another occasion, when they are about to leave South Africa, Kasturba is given gifts of jewelry as a goodwill gesture. Gandhi forbids her to keep any of it and she is forced to relinquish all of it against her will. Her resentment is not because she is greedy but is based on the instincts of a middle-class homemaker who has, in the past, been a mute witness to her own jewelry being sold off, to fund Mohandas’s journey to England to study law. At every step, Kasturba, who comes from a relatively affluent background, has had her desires thwarted. Strong-willed and decisive in many things, with definite opinions of her own, Kasturba is curbed and controlled, her will broken by her overbearing husband.

 A similar pattern follows as far as his children’s lives and education are concerned. The book also shows Gandhi’s attempt to control and shape the lives of his children and his growing rift with his eldest son, which ensues as a result. His ideas of self-sacrifice and austerity do not always sit well with his sons, who view his refusal of a formal education to them as a disprivilege and a denial of opportunity. Ironically, he helps his nephews and other associates, but his immediate family is always put through impossible tests. Not only is the bar raised for them, but they are also made to forego all legitimate desires and aspirations, for example their desire for proper schooling. While there could be an element of exaggeration in Adhar’s book, some of these facts are on record. Adhar quotes a letter from Gandhi to his friend:

“I don’t know what evil resides in me,” he wrote to a friend, “I have a streak of cruelty in me that compels people to attempt the impossible in order to please me.”

The eminent historian K.M. Pannikker once wrote that the Indian national movement was India’s version or an equivalent of the suffragette movement in the West, since it served to grant women equal rights to citizenship of the country. My caveat is that these rights were only in the domain of the political, that too construed in a limited way. While Gandhi called women to join the national movement that he was in the forefront (and practically the face) of, right from 1918 to 1948, he was not seeking to emancipate, but more to call forth their capacity for self-abnegation and self-sacrifice. He was definitely not seeking to challenge the entrenched structures of Hindu society, but seeking to marshal women’s energies to bring about a sea-change in the minds and hearts of men and political system. His attitude to the Dalit-Bahujans was similarly status quoist. His nomenclature for them-“Harijans” or children of God was refused by them; instead they chose to foreground their own oppression by calling themselves Dalits.

There is no denying that Gandhi strode into the national movement like a messiah. He also gave the world a moral substitute for war. Yet his subsuming of all other aspects of his wife’s and children’s identities and aspirations to serve the cause of the nation seems excessive and impossibly demanding. As the blurb phrases it: “He is the Mahatma, a man the world venerates as a prophet of peace. But for Kastur, the child bride who married the boy next door, Mohandas was a sexually-driven, self-righteous, and overbearing husband. Mohandas Karamchand Gandhi was sworn to poverty, celibacy and the cause for India’s freedom; Kastur spent sixty-two years of her life, juggling the roles of a devoted wife, a satyagrahi and sacrificing mother, who was eclipsed because of a man who almost became God for India’s multitude.”

Ready to sacrifice his family at the altar of the nation’s freedom, Gandhi’s demands as a husband along with his intolerance and harshness as a father, threaten at times to exceed the boundaries of acceptable behaviour. Such are the paradoxes that constitute history or is glossed over in its official versions. For the longest time, feminist historiography has sought to redress the imbalanced and skewed nature of official history. This book could be seen as an attempt to fill the blanks and gaps in a narrative which tells us about one of the most revered and reviled figures in South Asia.

Neelima Dalmia Adhar’s book is interesting and engaging. Some embellishments and degree of artistic freedom are permissible and in line with historical fiction and fictionalized history. On the whole, the book conforms to well known facts of Gandhi’s life, basing itself on already existing documentation of it.

The Secret Diary performs an important function as biographical/historical fiction. Experiences like the time in South African are detailed in Gandhi’s autobiography but this fictionalized account fleshes it out, adding effect, conflict and detailing tensions of a kind we perhaps know well, both in his public life and between an authoritarian and self-righteous husband/father and his wife and growing children. It captures the everyday, in a layered and nuanced way, helping us to unravel and capture a sense of the various strands that are woven together to weave the fabric of the daily life of Mohandas Gandhi (before he became the Mahatma) and his family. The ‘truth’ that autobiographies, biographical and historical fiction express in never one-sided or singular or a monolith but is often many-sided, plural and multi-faceted. Such a work lends a chiaroscuro effect, where we see the life of the great man sometimes in light, sometimes in shadow, adding up to a complex whole.

For a colossus of a man, who was committed to righteousness and treading the path of truth, he did not seem to have acknowledged or come to terms with the fact that his truth might have clashed against the truth of other life-journeys. The search for truth is a fraught task, a journey up a slippery slope, provisional and contingent and comes perhaps at a cost.  

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  Dr Meenakshi Malhotra is Associate Professor in English at Hansraj College, University of Delhi and has been involved in teaching and curriculum development at several universities. She has edited two books on Women and Lifewriting, Representing the Self and Claiming the I, in addition  to numerous published articles on gender and/in literature and feminist theory.       

    

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Review

Transforming Banking Practices

Book Review by Bhaskar Parichha

Title: Transformational Leadership in Banking

Author: Multiple. Edited by Anil K. Khandelwal

Publisher: SAGE Publications/ New Delhi, 2021

India’s banking system, as it has evolved in the past two hundred years, is a mixed bag. It has cooperative banks, domestic financing institutions, scheduled commercial banks, regional rural banks, pre-reform traditional private sector banks, tech-savvy private banks, and foreign banks. One can add to this protracted list are the newer entities — small finance banks, payments banks, and the large number of mobile applications.

Even as India’s banking sector has expanded tremendously in the past few years, there is a lot to be desired from these financial institutions. Banks have, of late, been the government’s whipping boys, and the so-called reforms have only been half-baked. Bank mergers have taken place but they are yet to show up on their balance sheets.

While Non-Banking Financial Companies (NBFCs) have grabbed the space vacated by commercial banks, financial stability of banks is at crossroads. Monitoring and supervision have fallen drastically, reflecting in the persistent growth in Non-Performing Assets (NPAs). Post -Covid, there is an unfathomable shadow on India’s banks. It is in this scary backdrop that this book carries enormous importance. Transformational Leadership in Banking: Challenges of Governance, Leadership and HR in a Digital and Disruptive World by Anil K. Khandelwal comes in handy for the beleaguered leadership of the banking sector.

A thought leader, author, international speaker on leadership and governance, Anil K. Khandelwal is an acclaimed authority on human resource and leadership in the banking sector. He is a rare transformation leader. Transforming Bank of Baroda from a staid Public Sector Banks (PSB) to one of India’s most valuable international banks won him many awards, including the Asian Banker Singapore’s Lifetime Achievement Award. His brand of human resources leadership and its application in business turnaround also won him the Lifetime Achievement Award from the National Human Resource Development Network. He also chaired the government-appointed committee on HR in PSBs and was a member of the first Banks Board Bureau for banking reforms and selection of whole-time directors.

The book, as the blurb says, “offers a roadmap on leadership which is all about converting adversity into an opportunity for transformation. Through an excellent set of articles, case studies and interviews, this book offers a way forward for transformational leadership of the Indian banks.” Despite their many achievements, public sector banks continue to face several challenges, such as increasing non-performing assets, depleting market share and low market capitalization.

The volume is comprehensive because it deals with almost all aspects of Indian banking. With a Foreword by former Comptroller and Auditor General of Inida, Vinod Rai, the book has three parts. In part I there are essays from academics and practitioners. Part II deals with case studies. The last part deliberates on perspectives from experts. With  more than thirty chapters — each chapter contributed by a doyen in the banking sector and the academics — the 500 plus page book is clearly laid out with  sections on governance, leadership, human resources and of course the future of the banking environment

In the introduction, Dr Khandelwal writes: “The book comes at a time when Indian banking is undergoing crisis.” It gives a strong message that banks become robust institutions by addressing governance, leadership, talent and culture. The author’s argument is that the banking sector is likely to remain in a perpetual crisis mode, unless these measures are initiated immediately. 

The book, as the titles suggests, is on leadership in banking. Evidently, it has chapters on changing context of governance and leadership in public sector banks, the digital revolution, future of work in BFSI (Banking, Financial Services, and Insurance) organisations, human capital and ethical bank governance, leadership choices in building better governance in the context of regulation or culture, strategic human capital management and banking governance (unexplored symbiotic relationship in PSBs), honoring legacy while embracing evolution: (the ethics narrative in State Bank of India), leadership experience and fifteen actionable insights from the trenches, organizational transformational and an agenda for Indian banks, coaching and mentoring in the backdrop of the unsung and underutilized warriors of leadership development, grooming leaders in public sector banks, crafting and living in  bank culture et al. 

There are also some illuminating pieces on leadership in times of crisis. For example, lessons from COVID-19. Employer branding to build human capital advantage, trade unions in the digital economy, skilling  a new currency,  a new manifesto for chief human resource officers in the era of digital change, wellness and yoga investment for the bankers,HR as strategic business partner in SBI ,sustainable people processes and leadership development in Bank of Baroda, the human resources story of ICICI Bank, digital transformation of HR at Union Bank of India, fear psychosis in the executives, and  bank directors require training in specific areas of technology are the other chapters which make a value addition to the book.

In the context of competition and digitalization requiring new business models, the book argues for a fundamental shift in the structure and process of governance, including board-level autonomy, CEOs tenure and compensation, people process, talent development and building a leadership pipeline, to make banks resilient and future-proof. 

Transformational Leadership in Banking is both well-timed and edifying. With admirable standpoints on the issues of authority, management and HR in a digital environment, the book is a clear blueprint for makeover and restructuring. The book is, mostly, meant for public sector banks, and will be of immense value to policymakers, regulators, board members, CEOs, researchers and to all those who are  in  the leadership roles and the public on the whole. 

Dr Khandelwal’s book makes an overriding case for crucial and cohesive reforms in India’s banking sector. It offers timely solutions by focusing on several issues. A must-read for anyone interested in the well-being of Indian banking.

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Bhaskar Parichha is a journalist and author of No Strings Attached: Writings on Odisha and Biju Patnaik – A Political Biography. He lives in Bhubaneswar and writes bilingually. Besides writing for newspapers, he also reviews books on various media platforms.

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Review

Fragments of Happiness

Book Review by Rakhi Dalal

Title: Fragments of Happiness

Author: Shrilal Shukla, translated from Hindi by Niyati Bafna

Publisher: Speaking Tiger Books, 2021

Fragments of Happiness is a translation of Shrilal Shukla’s novel, Seemayein Tootati Hain, originally published in 1973. Shrilal Shukla (1925 –2011) was a Hindi writer, notable for his satire. He has written more than 25 books and received the Jnanpith Award, the highest national recognition for writers (2011), the Padma Bhushan (2008) and the Sahitya Akademi (1969). Seemayein Tootati Hain has been translated to English by Niyati Bafna, who has studied translation under Arunava Sinha and is currently a student of Computational Linguistics pursuing an MSc in Prague as an Erasmus Mundus scholar.

In this novel, Shukla, widely known for his satire, weaves the story of a family struggling to come to terms with its reality in the aftermath of an unfortunate incident. Durgadas, a businessman based in Delhi, is convicted for a murder and is sentenced to life imprisonment. He has two sons and a daughter. His children believe in their father’s innocence. Over time, the brothers become convinced that the murderer is Vimal, their father’s partner and a long-time friend. The story is centred on the idea of their father’s innocence and the subsequent efforts of the brothers to find the real criminal. However, the book is not a murder mystery. It does not offer a solution to the impasse that the brothers Taranath and Rajnath seem to find themselves in. And it certainly is not a story which offers closure. Rather it is an exploration of the beliefs, opinions, and nature of its characters as well as of the dynamics of relationships shared by them. The author takes on a well-to-do family in early 1970s Delhi to track the trajectory of each character as they tackle the situation.

Taranath runs a college. Rajnath takes care of his father’s business. Their younger sister Chaand is a 23-year-old researcher in the field of Chemistry.  Rajnath’s thoughts and actions are dictated by his desire to restore the reputation of his family whereas those of Taranath to see his father happy. Chaand is more of a realist, who accepts the situation and is more focused upon her career and her personal life. Vimal, on the other hand, stands by the family through the trial of Durgadas and believes him to be innocent too. However, the zenith of the plot revolves around the relationship between Chaand and Vimal.

Mrinal Pande, an eminent author and journalist, dubs Shrilal Shukla as one of India’s most unique and beguiling writers. This is evident as the author treads ahead with the narrative that is crisp and advances effortlessly to portray remarkably the interplay between societal influences and individual opinions and behaviour. Speckled with spiritual and philosophical musings and satire, the narrative skilfully captures the subconscious of its characters. The characters are life-like, with their fears and insecurities governing their responses and actions. One of the most unpredictable characters is that of Julie, Vimal’s confidante and once a sex worker. She is taken aback when she comes to know of Vimal’s deliberate silence about his presence at the scene of murder in which Durgadas was convicted and adds she wouldn’t have done so in his place, that she would have spoken the truth. Vimal’s character remains beguiling till the very end, and it may unsettle some readers.

Also, quite notable in the novel is the depiction of early 70s Delhi. Connaught Place, its cafes, espressos, cinema, localities –flavours and sounds of old Delhi, reminiscent of a distinctive era that may tickle the senses of a reader. In carving the character of Chaand, the author portrays an independent woman who has the courage to make her life choices, is determined and not affected by the expectations of her family or friends. Her individuality parallels the rising class consciousness among women in early 70s which recognised the inequalities within power structures of family, tribe and region as well. With Taranath’s character, he addresses the question of religion and with that of Rajnath and his wife Neela, the restrictions imposed within the familial structures. We know next to nothing of the character of Durgadas, around whose conviction and sentence, the story is constructed. By making this choice, the author has consciously aimed to focus on recounting the ways in which different characters try to cope with adverse circumstances in their lives.

To translate such a distinctive novel by an acclaimed author from Hindi to English, while capturing the nuances of the language, is not an easy task. Bafna has done a commendable job. Although, those who have read the novel in Hindi may wonder at some points about the choices made by the translator, the overall experience is closer to reading the original work and is, definitely, a step forward in making the work reach diverse readers.

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

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The Fascinating Saga of Feisal Alkazi

Book Review by Rakhi Dalal

Title: Enter Stage Right: The Alkazi Padamsee Family Memoir

Author: Feisal Alkazi

Publisher: Speaking Tiger Books, 2021

Feisal Alkazi is an educationist, a theatre director, and an activist. Over the past 40 years, his group, Ruchika, has directed over 200 plays in Hindi, English, and Urdu. Noor and A Quiet Desire, two plays written by him, were produced recently. He has also directed thirty films, and more than 100 productions for schools all over India. He is actively involved in heritage education, initiating projects in Delhi, Jaipur, Srinagar, and Hyderabad each of which has culminated in a book. He has written over 20 books.

Enter Stage Right by Feisal Alkazi is a family memoir which recounts the story of two families intertwined by a single love – theatre, of people who helped shape much of the Indian theatre from 1940s to 1990s, of people who came together by chance and stayed on to weave a rich tapestry which not only included theatre but also art, media, cinema and advertising. A memoir which draws an exhaustive portrait of one of the first families of theatre in a subtle yet candid manner, unveils some secrets, shares some anecdotes while capturing the complete attention of the reader.

The prologue of this memoir titled ‘Around the Horseshoe – Shaped Table’ starts with:

“English theatre in Bombay was born on my grandmother’s horseshoe-shaped dining table in 1943. Literally. A group of young college students, among them my father, Ebrahim Alkazi, listened wide- eyed as my Uncle, Sultan Padamsee, spoke of how they intended to form their own group, simply called the Theatre Group.”

These lines open the book with a perfect scene for the reader, drawing attention to the setting which was at the core of foundation of theatre group formed by Sultan Padamsee, the eldest of the Padamsee siblings including Roshen and Alyque. Roshen became a costume designer for plays directed by Sultan and later by her husband Ebrahim Alkazi. Akbar, their cousin, though not a part of the horseshoe table gathering, became a famed painter, one of the pioneers of modern Indian art, while Alyque a famous theatre personality and ad film maker, probably best known for playing Mohammad Ali Jinnah in Richard Attenborough’s movie Gandhi.

How in the 1940s, the entire Padamsee clan would come together for the preparation of plays directed by Sultan, or Bobby as he was lovingly called, is well recounted by Alyque Padamsee, who was then a kid and Sultan’s younger brother.

“There was a little trellis in our bedroom, the roshandaan. We used to climb up on stools and peek through that window to watch what was going on in the drawing room. Bobby reciting Shakespeare, Roshen stitching costumes, Zarina painting posters, Shiraz making some props. It was like a cottage industry, and it was so thrilling to be in a family that had something so exciting to do!”

The seed of this industry, as he calls, was sown by Sultan’s mother Kulsum Padamsee, who had determined the best of English education for her children, which meant that her children were all sent to an elite residential school in Bombay where they had their first lessons in theatre. At her home in Kulsum Terrace, overlooking Colaba Causeway in Bombay, she would allow them to enact plays. Later, she took them to Shropshire, England for further studies where the worlds of Shakespeare and Dickens and Hardy were revealed to them. However it was Sultan, who — having spent six months at Christ Church in Oxford before World War II — began directing plays for the St. Xavier College’s Shakespeare Society in 1943.

Feisal writes about the flamboyant and bold Sultan who revolutionized the theatre scene in 1940s, about his choice of directing Oscar Wilde’s Salome which was controversial enough for the times. His restructuring Shakespeare’s Othello was also a move towards the unimaginable in those days. He writes about Sultan’s suicide at the age of twenty three, the cause of which remained a well-guarded secret of the family for many years. Though Sultan’s untimely demise did create a void, the revolution helmed by him was forged further by the rest of Padamsee clan. As present on the horseshoe – shaped table that day in 1943, was also Ebrahim Alkazi, mentored by Sultan, who was later to become the director of National School of Drama and to shape the subsequent theatre milieu.

In the successive chapters, Feisal delves into the history of his father’s family and staging of plays by the Theatre group after Sultan’s death, about the split in Theatre group with Ebrahim and Alyque going separate ways, about his parents’ stay in post War London and the influences they carried back to India, about his early years at Vithal Court where his father, perhaps continuing the tradition of Padamsee family, turned the whole house into a rehearsal space for theatre! Imagine a life where entire days of the family were spent in reading, rehearsing, soaking in various forms of art, hosting the likes of Nissim Ezekiel, M.F. Hussain, Tyeb Mehta, John Cage, Merce Cunningham and Adi Davierwala, where the house constantly bubbled with activities stimulating the mind, where the children, joined by their numerous cousins and friends, would perform plays for the audience, constituted of their families. Fancy having a childhood like that!

Feisal describes the experience:

“Sound, smell, touch, flavor. Open windows that allowed the world in, and that allowed me to peep into the world from my tiny height. Not the isolated ivory tower of the Padamsee childhood but a vibrant, open, engaged view of the world.”      

In one of the chapters, aptly titled Six Women Who Revolt, Feisal gives us a glimpse into the choice of plays his father directed during his last phase of directing for the Theatre Unit in Bombay. Henrik Ibsen’s Hedda Gabler, August Strindberg’s Miss Julie, Jean Anouilh’s Antigone and Eurydice, Lorca’s Yerma and Euripides’ Medea – plays with strong female central characters. While offering critique of these plays and sharing some anecdotes about their production, Feisal interestingly remarks how through the exploration of these characters, his father seemed to be trying to comprehend his own equation with women. It is a discreet, well intended remark which somehow seems to familiarize the reader with the relationship shared by Ebrahim Alkazi with his wife Roshen and then with his later partner, Uma Anand.

In writing about his parents, Feisal dwells more upon his father’s professional life, the plays he directed, the experiments he did with the use of space and light, the revolutionary ideas he brought to NSD (National School of Drama, New Delhi), the fine actors he mentored during his years as Director, but not upon the personal life which Ebrahim shared with his mother. In the chapter where he writes about his parents’ separation, he does write about his mother’s sadness and their difficult initial years in Delhi but focuses more upon his mother’s endeavour in establishing and running an art gallery with her husband and continuing designing costumes for all of his plays even after their separation. What’s even more intriguing is that his parents continued travelling together, every alternate year, to Europe and Beirut to visit Ebrahim’s parents and siblings. Despite their differences, they came together to enrich their children’s lives by revealing to them the best of art and theatre the world had to offer and by letting them spend time with their paternal grandparents, soaking in love, and mores of a culture they lived far away from.

Back home in Delhi, both Feisal and his sister Amal would spend time at NSD, where their father would rehearse and direct plays and their mother would design costumes. During his college years at St. Stephens, Feisal made his own theatre group called Ruchika and spent considerable time in acting and directing the plays. However, it is while he writes about the theatre of questioning and dissent which gained momentum during the late 1970s and 1980s, that the readers get a peek into his role in taking theatre to wider audiences. He talks about the Sikh pogrom of 1984, the rallying of Narmada Bachao, Babri demolition, brutal murder of Safdar Hashmi and about terrorism in Kashmir. Despite his very humane account of repercussions of violence in a society in those times, he does not anywhere refer to the present regime and the sufferings faced by people in the current times.

In writing about his family, he also gives an account of his maternal grandfather Jafferbhai and his aunt Pearl Padamsee, wife of his Uncle Alyque Padamsee. He credits Alyque for making English Theatre accessible, popular and relevant to middle-class audience of Bombay. According to him, Safdar Hashmi, Mahesh Elkunchwar and Alyque were three individuals who widened the scope, subject matter and audience for theatre in 1970s and 1980s, so that it never looked the same again.

Feisal pays homage to his mother by saying that it was the greatest privilege of his life to have been her son — an endearing tribute to the one who taught him all he ever learned of life. He ends the memoir befittingly with an epilogue in which he mentions the death of his father in August 2020. Ebrahim Alkazi was the last survivor of those who had gathered at the horse-shoe shaped table in 1943 and his going marked an end of an era.

Writing a family memoir comes with its own challenges, especially when the entire family is engaged in pursuits which are open to speculations and public opinions. There is always a risk of either going overboard or offering little to the reader in terms of a relevant account. Feisal does a brilliant job in maintaining that balance while offering this memoir. He gives us a detailed account of what matters and merely touches upon that which can be omitted. His writing is astute, rational and pragmatic while being vigorously ebullient.

This memoir is not only the story of a family dedicated to theatre but also an important document which chronicles the history of Indian theatre as well as arts centred around the two important cities of Bombay and Delhi, of the plays which shaped much of the theatre’s panorama in India, of actors, playwrights and directors whose entire lives revolved around enhancing and taking the form to a wider audience, of the efforts the theatre and people associated with it made to give voice to the common man’s concerns in difficult times. This is an essential read for anyone interested in theatre and in the broader art scene happening in the country during the period.

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

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Conscious Parenting in an Increasingly Fragmented World

Book review by Bhaskar Parichha

Title: Raising a Humanist, Conscious Parenting in an Increasingly Fragmented World

Authors: Manisha Pathak-Shelat & Kiran Vinod Bhatia

Publisher: SAGE Publications India/SELECT, 2021

Unusual times warrant unusual responsibility. And, when the responsibility is manifest in parenting, it becomes even more important. Raising a Humanist: Conscious Parenting in an Increasingly Fragmented World by Manisha Pathak-Shelat and Kiran Vinod Bhatia is, as the title suggests, meant for the troubled times in which we live. 

On the face, this book is not a typical work on parenting, rather it goes far beyond the remit. Written by   two media professionals, it is a sort of prescription   for modern day parents. 

Says the blurb: “The world is immensely divided and broken. We have lost the art of having conversations with those who are different from us. While we cannot change the world, we can take small remedial steps starting with our homes and communities.” 

Manisha Pathak-Shelat is a Professor at Centre for Development Management and Communication, MICA (Mudra Institute of Communications, Ahmedabad, Gujarat, India) and Kiran Vinod Bhatia is a doctoral candidate in the School of Journalism at the University of Wisconsin-Madison. Coming as it is from two media professionals, the book results from their engagement with parents, teachers and the youth. Being communication scholars, the authors mull over their work, contributing meaningfully and substantially   towards a better world. And, they have succeeded in this effort to a large extent. 

Using critical questions, rational tips and exciting anecdotes, they touch upon the abysmal number of discordant issues of our society and provide fascinating ways to use art, technology and media. The idea is to provide the progenies with a nurturing community. The conversation is appealing and enriching because the writers have a vast experience in the area.

With a Foreword by Lina Ashar, Educationist and Entrepreneur, the book has in all nine chapters and the approach of the subject is avant-garde. It provides a much-needed investigation of how adults can guide children to become kind, liberal and critically thoughtful humans in an ever-changing technological world.

The authors write in the preface: “Critical thinking, empathy and the readiness to engage with different viewpoints have to be a gradual and lifelong process — beginning with ourselves, including our children  and extending it to our larger social circles.” 

That the authors   have taken up a subject as vast as ‘parenting’ is itself challenging. How to raise a child in this polarized and conflicted world is every conscious parent’s concern and the book offers the solution with insight and wisdom. It is multidisciplinary in its sweep and yet not wandering off from the root issue. The mainstay of the book is its account of everyday experiences.

Raising a Humanist results from over three years and interactions with more than 120 parents. It aims to help parents deflate stereotypes, prejudices, mental conditioning about gender, caste, religion and class. 

That politically complex and technologically upsetting times warrant responsible parenthood needs no reiteration. If children from a young age are conditioned into stereotypical and biased ways of thinking, parents are largely to blame. The book not only raises the right questions but also offers solutions by providing a deeper understanding of popular culture and the role of the media in gender, religious, caste and class portrayals. This scholarly book tells us how to unlearn and re-learn as parents. 

Raising children in a scrappy world who can walk through life with self-confidence and empathy is challenging. This book solves that challenge. ‘Raising a Humanist’ mainstreams the power of initiating hard conversations and discussions, guided by a strong yet sensitive rationale at its core. The lucid case studies and the real-life examples are educational and motivating. The book not only sketches the social divide but also remediates it by addressing its concerns. The book talks of the nuances of religion and prejudice in the most succinct manner.

 It is a must-read, especially for parents, educators and concerned citizens who are ambitious for a radical vision of the world that will leave our children free from anxiety and misgiving. This book is a refreshing departure from the tiresome ‘how to’ books imposed on caregivers, as you see guilt and fear taking a rightful back seat to more nuanced, critical and creative conversations that generate excitement for how we would like to see the world turn for the better.

For delving deep into some of the most challenging questions of our times in a rigorously and thoughtfully way, it is an essential reading for anyone interested in parenting. Bold and provocative, this influential book is a decent companion in raising a humanist in the child.

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Bhaskar Parichha is a journalist and author of No Strings Attached: Writings on Odisha and Biju Patnaik – A Political Biography. He lives in Bhubaneswar and writes bilingually. Besides writing for newspapers, he also reviews books on various media platforms.

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Click here to read the interview of the authors.

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The Chronicler of the Hooghly and Other Stories

Book Review by Gracy Samjetsabam

Book: The Chronicler of the Hooghly and Other Stories

Author: Shakti Ghosal

Publisher: Half Baked Beans, 2020

The Chronicler of the Hooghly and Other Stories by Shakti Ghosal is a collection of four compelling stories that hover around people in different times and places around the majestic Hooghly in Kolkata. As the river flows, the narratives flow with the current as long as there are storytellers and listeners.

Shakti Ghosal, an MBA from IIM, Bangalore, is a seasoned corporate personnel with more than four decades of experience both in India and abroad. The globetrotting Ghosal and his passion to explore new places and cultures are vividly imbued in his writing. The Chronicler of the Hooghly and Other Stories,  is a well-researched debut book entrenched in history.

His stories help us make sense of our realities. Ghosal admits that intense and traumatic events in life have contributed to the creation of these stories. Part-memoir, part-historical, Ghosal paints the stories with strokes of personal experiences and from chapters of India’s long history, selecting those that converse about Kolkata. This tapestry makes the readers more aware of the nuances of history and vividly recreates these scenes in the imagined reality. Ghosal impressively weaves history and imagination to blend fiction and reality, thereby providing a voice of the unrecorded, the myths and legends around what happened on the other side of known history during the colonial period in pre-independent India or at present.  

‘Ashtami’, the first story starts with a nightmare, a dream Lord Curzon had since his childhood days setting the tone of the story. The story opens in 1912 with Sujit, a Junior Clerk in the British administration and his wife Bina as they are all set to relocate to Delhi. Weaving the story in close quarters with the time of Ashtami during the Durga Puja festival of Bengal, Ghosal raises the idea of birth and death, beginning and ending in the personal lives of the characters along with the history of the nation, thus proposing life coming in full circle with fragments of joys and sorrows. Change is the only constant that is destined in the uncertain future.

From 1912 to 1947 and after, Sujit and Bina witness progress in life through their journey from Kolkata to Delhi with their children, the double irony of the life of the youngest child Shanti is a touching twist. A human error of a delivery gone wrong, makes Shanti a differently-abled child. As a result, he is mistreated, ignored, and judged by siblings and society but at heart, he is a sensitive soul. Shanti’s home schooling, errands, plea for help as his brother is murdered in an unjustifiable situation during the communal violence of the Great Kolkata Killings, an aging mother’s concern for a differently-abled child and the death of his mother leaving him helplessly alone, makes him and, subsequently, the reader, wiser on life and life’s little ironies. The lighter notes on the Howrah, Lal Qila, horse drawn tonga rides at Civil Lines, interstate train journeys, Burra Bazaar to Chandi Chowk, typical dust storms in Delhi, Durga Puja, food and communication through postcards make the story flavourful.             

‘Pandemic’ moves through different time zones within a century, dealing with similar situations in history. Dipen in 1919 is caught in the mahamari at Khidderpore docks where he is a labour supervisor. Indranil from Gurgaon in 2020 is caught in the pandemic situation in the middle of a safari trip with his wife in the Dooars forest region of West Bengal. Although a hundred year apart, the stories highlight similarities and differences in the human condition. Amidst the pandemic, Dipen is caught in all that happens between his home and the dockyard. Ghosal touches upon health issues both physical and mental, quarantine, human emotions, personal secrets, sacrifice, and life choices. Ghosal also beautifully brings out the gender readings as he sheds light on life as a widow or a widower, childlessness and society, and of perceptions on ill-luck and how ironically, the characters deemed as unlucky or  how just what is deemed as bad luck convert to beacons of hope and goodwill. Through Indranil, Ghosal discusses lockdown and cytokines, the science and signs of the disease along with the issues of present-day work and marriage and brings to light different aspects of youth, the working class, newer trends that govern passions, aspirations, families and priorities.         

In ‘Fault Lines’, a deadly gas explosion changes Anjan’s life forever. The accident broke the artificial shell that Anjan and Jaya made their home in and the realities that lay hidden in his subconscious haunts him in disguise of Savio, Anjan’s friend. Set in the idyllic Middle-East, and shuttling back and forth in time and between places, Anjan finds enlightenment through lessons on karma. Jaya closes the story with the understanding that nothing good can be built on the foundations of deceit and hurt.

The titular story, the last one in the book, ‘The Chronicler of the Hooghly’, has the protagonist, Samir, reacting to his dying mother who utters a panic-stricken whisper, “mukto malar abhishap” or the curse of the pearl necklace. Here Ghosal intricately and imaginatively spins history and myth to take us into a string of narratives strewn in their pathway by the fabled curse of the necklace. The ‘Chronicler’, or narrator, mystically and mysteriously asks, “What could be behind you taking this trip today and me telling you this tale?” He narrates the stories to Samir in the breath-taking boat ride on the Hooghly with a feeling both of nostalgia and curiosity, swaying between past and present to highlight the bigger picture. He touches upon England and Calcutta (1842-1846), Murshidabad palace of Siraj ud Daula in June 1756, Chandernagore (1757), Plassey (1757), and Calcutta (1846-55), along with the present day beautifully guiding the reader to the climax of the story.   

What is most fascinating is the telling of the stories in an alternative voice making the readers experience history with a fictitious veneer that magically brings into sight the hitherto unknown facets. Despite being set in a different time frames and in different situational events of history, the timeless elements in Ghosal’s stories are priceless.

The elements in the stories such as the anxieties of moving to a new place, the concerns of leaving behind old parents, the generational gap on how one looks at traditions, reflections on crisis and resilience on issues ranging from the Partition to communal violence to casteism to the pandemic and more, changing belief systems over time and experience, old age, diseases, mental health, loss and grief of a child or a partner, a parent’s concerns for their children, on the importance of empathy and decision-making,  on acknowledging uncertainties, on karma and enlightenment, finding home or solitude, or coming to terms with oneself – Ghosal sprinkles confetti of his coaching in life skills into the storytelling to create a set of modern-day tales that are easily relatable and palatable. The style and the settings are like fresh air that enlightens as it entertains. The stories are vibrant and close to current realities, making them a worthy read.

These are stories of changing times and a reminder that life is short, and that time will not wait for us. But we need to be positive, hopeful and be aware of the best we can do for ourselves and for others.     

 

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Gracy Samjetsabam teaches English Literature and Communication Skills at Manipal Institute of Technology, MAHE, Manipal. She is also a freelance writer and copy editor. Her interest is in Indian English Writings, Comparative Literature, Gender Studies, Culture Studies, and World Literature. 

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