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Bhaskar's Corner Tribute

Bidyut Prabha Devi – The First Feminist Odia Poet

By Bhaskar Parichha

Bidyut Prabha Devi

Bidyut Prabha Devi (1926 – 1977) is celebrated as one of the most prominent female poets in Odia literature. Hailing from Natara village in the Kendrapara district, she was the second daughter of the esteemed writer, Nimai Charan Das, and Rekha Devi.

Raised in a traditional family in Bamphisahi, Cuttack, she received most of her education independently, attending Ravenshaw Girls’ School until the ninth grade. Inspired by her father and notable Odia poets like Nanda Kishore Bal and Kunja Bihari Das, she began her journey into poetry in 1940.

Her first collection, released in 1944 when she was merely 18 years old, featured patriotic poems that celebrated the cultural and natural heritage of Odisha. It highlighted her early ability to create vivid imagery and convey emotional depth, drawing from her rural background and the literary traditions of Odia.

Her 1950 collection, Utkal Saraswata[1], was recognised as a significant contribution to education, being included as a poetry textbook at Utkal University. In addition to poetry, she also wrote for children, for which she was awarded by the Government of India in 1955, acknowledging her impactful contributions to children’s literature.

Bidyut Prabha’s poetry explores the challenges faced by women, societal limitations, and the theme of empowerment, weaving together both personal and universal experiences. It embodies her feminist viewpoint, tackling matters such as gender inequality within a conservative framework, all while preserving a lyrical and approachable style.

She authored numerous plays, although specific titles are not extensively recorded. Her theatrical pieces frequently conveyed social messages, resonating with her socialist and feminist principles. Her writings were recognized for their clarity and moral depth, rendering literature accessible to younger audiences. Some of these later works are less documented but showcase her reflective and philosophical nature.

Influenced by socialist principles, her poetry examined social disparities and advocated for the marginalised. Her self-taught approach was characterised by clear and evocative language, rendering her work both relatable and profound.

Bidyut Prabha’s writings were revolutionary for their era, especially in their focus on women’s issues within Odia literature. Her son, Sachidananda Mohanty, a distinguished educationist and litterateur, has translated her works, thereby preserving her legacy.

Writes Sachidananda Mohanty[2]: “In recent decades, feminist historiography in eastern India has paid welcome attention to issues of education, creativity, and sisterhood across linguistic barriers. It has recognised women’s pivotal role in shaping the public space at the intersection between feminist history and literary creativity. Scholars like Judith Walsh, Tanika Sarkar, Malavika Karlekar, and others have brought to our attention forgotten life-narratives of literary women of the region who have created a tradition of their own.  Bidyut Prabha Devi, recognised as a major female voice in pre-modern Odia poetry, belongs to a poetic tradition represented by an illustrious sisterhood, comprising Reba Ray, Kuntala Kumari Sabat, Haripriya Devi, Debahuti Devi, Nirmala Devi, Tulasi Das, and Brahmotri Mohanty, among others. 

“While Bidyut Prabha may be known in Odisha, her feminist poems, based on her deep understanding of domesticity and patriarchy, have not been sufficiently read outside the state. Even in Odisha, her ‘romantic poems’ are widely anthologised at the cost of the more powerful compositions that address the woman’s position and identity in terms of the entrenched power structures in society.”

According to Mohanty, Bidyut Prabha’s feminist poetry stands out distinctly from the prevalent ‘Advice-for-Women’ genre in the region. She bases her work on her own life experiences and resonates with the growing feminist consciousness in Odisha, which is championed by literary feminists and social reformers like Sarala Devi[3], who played a pivotal role as a mentor to Bidyut Prabha. This journey was marked by its transnational influences. Sarala Devi had a strong connection with poet Annada Shankar Ray, a key figure in the Odia Romantic movement.

Her impact on Odia literature is significant, particularly as one of the earliest notable female poets in a predominantly male literary environment. Her contributions are rooted in her capacity to merge lyrical elegance with social critique, enhancing the inclusivity, reflection, and cultural relevance of Odia literature. Her work continues to serve as a foundational element for feminist and regional narratives in Odisha.

She was married to Panchanan Mohanty. Following health challenges in 1966, her literary output took on a spiritual dimension, shaped by her connection to the Sri Aurobindo Ashram, Pondicherry. Unfortunately, she took her own life.

Bidyut Prabha Devi’s poetry, deeply rooted in feminist and socialist ideals, continues to motivate and inspire, with her centenary of birth being commemorated in 2025 as a representation of women’s empowerment in Odisha.

[1] Odia Literature

[2] A literary sisterhood, Vol. 65, No. 6 (326) (November-December 2021), Published By: Sahitya Akademi

[3] Sarala Devi (1904-1986) – Odisha’s first Satyagrahi, first female legislator and first feminist writer.

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Bhaskar Parichha is a journalist and author of Cyclones in Odisha: Landfall, Wreckage and ResilienceUnbiasedNo 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.

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

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Amazon International

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How Nazrul Stirred the Winds of Change

Kazi Nazrul Islam was born in Churulia in India on 24th May, and he died a Bidrohi poet in Bangladesh. When he was born in 1899, it was before the McMahon Line of Partition had been drawn. He looked up to Rabindranath Tagore as his mentor but his form of poetry was more rebellious and his lyrics, different, though no less beautiful. His heart belonged to a united Bengal as can be seen from much of his works. He started magazines, supported feminism, brought out Begum Rokeya’s work in his journal, spoke of rising beyond borders and he has even written of climate change more than a hundred years ago…

His essay on melting icebergs has been translated by Radha Chakravarty. Today, we celebrate Nazrul’s birth anniversary with translations of his works from Bengali. These showcase the diversity in his writings, broadness of his thought and his concern for global issues that remain unresolved to date: his essay on climate change, a story grown out of his experiences as a soldier translated by Sohana Manzoor, a poem on poverty and lyrics on women and living in a world that transcends human constructs rendered in English by Fakrul Alam and more. Welcome to Nazrul’s world!

Poetry

Arise O Woman and Two Flowers on One Leafstalk, lyrics by Nazrul, have been translated from Bengali by Professor Fakrul Alam. Click here to read.

Daridro or Poverty by Nazrul has been translated from Bengali by Professor Fakrul Alam. Click here to read.

Prose

The Day of Annihilation, an essay on climate change by Kazi Nazrul Islam, has been translated from Bengali by Radha Chakravarty. Click here to read.

Temples and Mosques: Kazi Nazrul Islam’s fiery essay translated by Sohana Manzoor. Click here to read.

 Deposition of a Political Prisoner: A Speech by Nazrul: A powerful speech by Nazrul from the Selected Essays: Kazi Nazrul Islam, translated by Radha Chakravarty. Click here to read.

Hena, a short story by Nazrul, has been translated by Sohana Manzoor. Click here to read.

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Celebrating Tagore

Rabindranath Tagore (1861-1941) in the role of the blind singer in his play, Falguni (published in 1917). Art by Abanindranath Tagore. From Public Domain

On May 7th 1861, or Pochishe Boisakh of the Bengali year 1268, Rabindranth Tagore was born in Jorsanko, Calcutta. That time, there was one subcontinent. Borders were fluid though the concept of countries had already started making inroads with the onset of colonials more than a couple of centuries ago. Rabindranath Tagore — a man who rejected the academia and earned no degrees — set the world aflame with his words and ideals. Many of his works hope to inspire people out of miseries by getting them in touch with their own strength. He created Santiniketan and Sriniketan to train young minds, to close social and economic gaps, to override the stigma of walls that continue to box and divide humanity to this date. Subsequently, his works, especially his writings, have become subjects of much academic discourse as well as part of popular cultural lore.

Tagore celebrated his own birthdays with poetry on Pochishe Boishakh. Pochishe Boisakh falls between 7-9 May on the Gregorian calendar. We start our celebrations with translations of his birthday songs and poems. The song translated by Aruna Chakravarti was the last he wrote, and based on a long poem he had written in 1922, also featured here. We also have the first birthday song he composed in 1899. In prose, we bring to you works that showcase his call for change and reform. Fakrul Alam has translated a powerful play by him, Red Oleanders, which strongly seems to reflect the machinations of the current world and ends on a note of hope. We can only carry an excerpt from this long play but it will be a powerful read when published in full. Somdatta Mandal shares a translations of an essay in which Tagore airs his views on the need for change in social norms — the strange thing is it would still seem relevant today. And Himadri Lahiri rendered an essay from Bengali to English on his views about the British Raj. We also have a story about a woman who changed social norms and her religion, translated by Chakravarti.

Birthday Poems & Lyrics

Hey Nutan or Oh ever new has been translated by Aruna Chakravarti in Daughters of Jorasanko. This was the last birthday song he wrote in 1941, a few months before he died. It was based on the long birthday poem he had written in 1922. Click here to read.

 Pochishe Boisakh Cholechhe (The twenty fifth of Boisakh draws close…), a birthday poem written in 1935, seems to be a sad reminder of mortality and dreams left unfinished. Click here to read.

Pochishe Boisakh (25th of Baisakh) is a birthday poem Tagore wrote in 1922 and the poem from which he derived the lyrics of his last birthday song written in 1941. Click here to read.

Jonmodiner Gaan or  Birthday Song by Tagore was written in 1899 and later sung as Bhoye Hote Tobo Abhayemajhe ( Amidst Fears, May Fearlessness). Click here to read the translation.

Prose

An excerpt from Tagore’s long play, Roktokorobi or Red Oleanders, has been translated by Professor Fakrul Alam. Click here to read.

Tagore’s essay, Classifications in Society, has been translated by Somdatta Mandal. Click here to read.

 Raja O Praja or The King and His Subjects, an essay by Tagore, has been translated by Himadri Lahiri. Click here to read.

Musalmanir Galpa (A Muslim Woman’s Story), a story by Tagore, has been translated by Aruna Chakravarti. Click here to read.

Bengal Landscape. Art by Sohana Manzoor.
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Bhaskar's Corner Tribute

Ramakanta Rath: A Monument of Literature

By Bhaskar Parichha

The death of Ramakanta Rath, a provocative figure in contemporary Odia poetry, has left a considerable gap in the literary landscape. Born on December 13, 1934, in Cuttack, Ramakanta was a prominent modernist poet in Odia literature. He obtained his Master’s degree in English Literature from Ravenshaw College and joined the Indian Administrative Services (IAS) in 1957.

His work was significantly shaped by the influences of poets such as T.S. Eliot and Ezra Pound, often delving into themes of mysticism, mortality, and human isolation. Ramakanta Rath’s contributions have profoundly impacted modern Odia literature in various ways. He brought modernist themes and styles to Odia poetry, drawing significant inspiration from Western poets such as T.S. Eliot and Ezra Pound. His examination of topics like the search for the mystical, the concepts of life and death, and the experience of inner solitude facilitated a transition in Odia poetry towards more contemporary and universal themes.

 Rath’s poetry is marked by symbolic references to spiritual and metaphysical dimensions of existence, which enhanced the intellectual richness of Odia literature. This methodology enabled readers to engage with intricate philosophical concepts through the medium of poetry. Rath’s poetry is noted for its somber tone and symbolic references to the spiritual and metaphysical dimensions of existence.

His significant literary contributions include Kete Dinara (Of Bygone Days, 1962), Aneka Kothari (Many Rooms, 1967), Sandigdha Mrigaya (Suspicious Hunting, 1971), Saptama Ritu (The Seven Seasons, 1977), Sachitra Andhara (Picturesque Darkness, 1982), Sri Radha (1984), and Sri Palataka (Mr Escapist, 1997). Rath was honoured with the Sahitya Akademi Award in 1977, the Saraswati Samman in 1992 for Sri Radha, the Bishuva Samman in 1990, and the Padma Bhushan in 2006. He also received the Sahitya Akademi Fellowship in 2009 before which he was the vice-president of the Akademi.

Rath is particularly celebrated for his lengthy poem, Sri Radha, in which he reimagines Radha, freeing her from theological limitations and depicting her as a remarkable character who embodies deep emotions, love, defiance, and resilience. This poem uniquely intertwines themes of erotic love with existential introspection. This notable work initiated a new trend in Odia poetry that echoed the confessional styles of poets like Sylvia Plath, infusing a personal and introspective quality into Odia literature.

He skillfully combined traditional Odia poetic meters and techniques with contemporary free verse, creating a unique hallmark of his artistic expression. Odia poetry is characterised by its extensive use of classical meters and forms, such as chhanda, chautisa and  champu which serve to articulate intricate emotions and themes in a structured and rhythmic manner. By incorporating these traditional elements, Rath infused his poetry with cultural richness and musicality, thereby amplifying its emotional resonance and thematic depth.

Ramakanta Rath’s integration of traditional Odia meter enriched his themes in multiple ways. By using these familiar poetic forms, his work connects more profoundly with readers who recognise them. This cultural connection amplifies the emotional resonance of his themes, making them easier for his audience to relate to. Additionally, traditional Odia meters often hold symbolic significance, which Rath skilfully utilises to deepen his modernist themes.

The combination of symbolic annotations and modernist concepts enhances Rath’s poetry, adding depth and encouraging reflection. By contrasting traditional forms with modernist ideas, his work creates a dynamic tension. This tension amplifies the emotional resonance of his poetry, prompting readers to navigate the clash between traditional values and contemporary realities, which adds layers to his themes. Rath’s incorporation of traditional meters with modern free verse invites readers to think critically about his poetry.

This fusion of styles encourages a deeper exploration of his themes, leading to a more profound appreciation of his work. While the traditional Odia meters offer a cultural base, Rath’s modernist themes keep his poetry relevant on a global scale. This interplay between tradition and modernity enables his work to reach beyond local confines, attracting a wider audience interested in existential and philosophical questions.

Rath’s poetry stands out for its masterful incorporation of irony and wit, elements that add depth and complexity to his body of work. Critics note that his use of irony can often be challenging to interpret, reflecting the nuanced and multifaceted nature of his poetic viewpoint. This unique approach, combined with his thematic explorations, has sparked a resurgence among a new generation of Odia poets, playing a crucial role in the advancement of modern Odia literature.

Ramakanta Rath’s impact has been instrumental in shaping the landscape of contemporary Odia poetry, solidifying his reputation as a monumental figure in the realm of Indian literature today. His passing signifies the conclusion of a significant era in the narrative of Odia literature, leaving behind a legacy that will continue to inspire future writers and poets.

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(First published in Odisha Plus)

Read his translated poems by clicking here.

Bhaskar Parichha is a journalist and author of Cyclones in Odisha: Landfall, Wreckage and ResilienceUnbiasedNo 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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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Amazon International

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Well Done, Shyam! Never say ‘Goodbye’!

By Ratnottama Sengupta

“If I enjoy the film I have made, then I am quite certain viewers will too. And what business do I have to burden viewers with what I myself do not enjoy?”

–Shyam Benegal (in an interaction with Ratnottama Sengupta)

Art is not elitist. Nor is artistic experience one that only the elite can enjoy. The world’s greatest art has been accessible to all mankind. Taj Mahal was erected in memory of Mumtaz Mahal but it is for the world to access and admire. The cave paintings at Ajanta propagated a certain philosophy but thousands of years later too they mesmerise one and all.  And, anyone who goes to Tanjore temple experiences its magnificence. Cinema too is capable of providing such universal experience. What is more, it is possible to provide such an experience without distorting or oversimplifying an idea.

Shyam Benegal (1934-2024) had dinned this belief into me when I interviewed with him for the first time — in Bombay of 1980. Seven years before that he had proved it to the world with his debut film, Ankur (The Seedling, 1974). It had announced itself to cineastes through its nomination for the Golden Bear at the 24th Berlin Film Festival and had gone on to win three National Awards. In the wake of stylised trendsetters like Bhuvan Shome (directed by Mrinal Sen, 1969), Uski Roti (Others’ Bread, directed by Mani Kaul, 1969) and Maya Darpan (Illusory Mirror, directed by Kumar Shahani, 1972), everyone expected Ankur to be another “arty” film. In other words, “pretentious”, “pseudo intellectual”, even “boring”. Far from refusing to peter out of theatres due to lack of footfalls, the Rs 5-lakh budget film went on to garner millions because it engaged audiences of every shade and strata. And it was hailed as marking a new beginning in Indian cinema that had roots in the narrative tradition of earlier masters such as Bimal Roy and Benegal’s own cousin, Guru Dutt.

No, Ankur was not a fluke, Nishant (Night’s End, 1975) had proven. Once again, Benegal had set his film in Telengana, that part of Andhra Pradesh which had seen him grow up with his siblings in the household of his father whose livelihood came from a photo studio. “Alwal was a semi-rural semi-urban area, so I had seen both sides of a feudal society coming to grips with modernity setting in,” Benegal had explained to me.

Ankur had touched upon several ills of the feudal system: class difference, caste inequity, sexual exploitation of women, of the physically challenged, and even alcoholism among the poor. It had a sequence of thrashing, and it closed with the indication of violent protest. Almost all these themes would flower into independent saplings in Benegal’s subsequent films. Because the important thing for him, as he once said to BBC, was that “post-Independence India was changing its feudal character to the kind of society we wanted to create. Industrialisation at one level, creation of the middle class at another level, and disappearance of the regressive values of the feudal life.” 

At that time, when I was yet to step out of my teens, I was deeply impacted by the oppressive ‘liberty’ of the caste person who thought he had a right over the lowborn woman. The empowerment of women was a theme Benegal felt strongly about. “The idea had started during the national movement with Gandhi, who first talked about women having equal responsibility,” pointed out the director of The Making of a Mahatma (1996). “They have to become aware of their strength and empower themselves because 50 percent of your population comprises of women.”

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From the birth of a new nation to the birth of a nation, Benegal constantly grappled with these themes. With “the whole business of tradition and modernity,” to borrow his words. “In an ancient society like India where so much of tradition is still valued and revered, when will we get rid of the dubious virtues?” he wondered.

Benegal functioned with a sensibility that was native to the length and breadth of the land that was his canvas. “As long as one functions with one’s sensibility, it will resonate with every person of that sensibility,” he maintained. 

To me the most endearing trait of a Benegal film is the simplicity of its narrative. His incidents came out of life, his characters were from his surroundings. And his unfolding, though devoid of gimmick, was not bereft of drama nor of violence. He learnt to steer clear of artifices while making ad films where, “because you have to make your point in one minute, you tend to fall back on gimmick.”

Clarity of purpose and simplicity of narration were the two rails that never let his script go off into a meander of ultra mystical or complex metaphors. Magic realism? Hyper realism? High pitched melodrama? Benegal had need for none of these ploys. “The most complex of ideas have a simple way of projecting themselves,” he’d say. That, and not its reverse, was the most valid mantra of his life.

Why did the Phalke or the Padma Bhushan awards like simple story telling? “Because I like to involve people, and that happens when there is a dramatic juxtaposition of characters.” The use of drama did not in any way dilute the significance of his subject — be it casteism (Samar, Conflict, 1999), women’s empowerment (Bhumika, Role, 1977), portrayal of the principles of national heroes (Making of the Mahatma), or the struggle to wrest power from an oppressor (Junoon, The Obsession, 1978). Be it in feudal Telengana (Nishant), in a Borgadar’s Bengal (Arohan, The Ascent, 1982), an industrial Bombay (Kalyug, The Age of Vice, 1981), in Bose’s Burma (The Forgotten Hero, 2005), or Mujib’s Bangla (Mujib: The Making of a Nation, 2023). 

In the process he dispelled the notion that showing our reality in cinema cannot engross or entertain. In fact, he questioned the very definition of the word ‘Entertainment’. “If a serious talk or a news holds you spellbound, isn’t that also entertainment?” he had asked me.

So, in order to engage the viewers, Benegal plunged into problems and miseries of the marginalised Indian: the milkman (Manthan, The Churning, 1976) and the weaver (Susman, The Essence, 1978), the untouchable (Samar) and the glamorous (Bhumika), the royals (Zubeidaa, 2001) and the entertainer (Sardari Begum, 1996), the middle class households where women are mere birthing machines (Hari Bhari, 2000), or the illiterate voters of Sajjanpur (Welcome to Sajjanpur, 2008).

Through all these voters, men and women, landlords and servants, on the banks of Katha Sagar (A Sea of Stories, 1986, TV series) or in the arid Birbhum or in the Mandi (Market Place, 1983) of flesh, Benegal made spectators of us. “Even a road accident turns us into spectators, some mute, some aggressive, some caring,” he’d pointed out. “What is it we want to experience when we rush to the window when we hear a car screeching to a half?” he’d asked. “Why is an unanticipated death — or murder — part of the entertainment formula? Because the adrenaline rush, the excitement in these exorcises our fears,” he had explained. 

But Benegal’s wasn’t a conventional definition of entertainment. Nor did he decry the use of violence in mainstream cinema. “Indeed, it helps society because viewers find vicarious release from the stress that builds up in the tension filled life in urban societies.” As for his own films rooted in the remote pockets away from the metros? “Sometimes we need to use force because some social problems have got so deeply entrenched,” he was unabashed about violence in his films. “Change in certain situations can come only from the use of violence. But be careful never to lose your moral compass,” he immediately warned me. “Violence cannot be indiscriminately justified nor universalised. And in no circumstance should it be  glamourised.”

So human impulses, and social well-being were his prime concern.  The constant interaction between an individual and his or her milieu; suffering inequities, and standing up against exploitation — we gained insight into these when we sat in darkened auditoriums to watch Arohan, Sardari Begum, Mammo (1994), Well Done Abba…(2010)

Socio-economic. Socio-political. Socio-legal. No label of genre could own Shyam Benegal. Because? “That will restrict my own thinking. How can I keep pace with the galloping changes that come with the ticking of centuries? And when the march of science unleashes computers and cellular phones, Internet and digital filmmaking?”

But what prompted his choice of subject every time he sat down to work on a script — with Shama Zaidi or Girish Karnad, Satyadev Dubey or Khalid Mohamed[1]? “There’s an electic streak in me that will not let me go where I’ve been before or do what I’ve done before,” Benegal was clear. So historical patterns to saw him go from The Making of a Mahatma on Gandhi, the advocate of non-violence, to Bose, The Forgotten Hero who escaped home incarceration and travelled through Himalayan hurdles and joined the Japanese to fight the British colonisers of India. From the Junoon of the Sepoy Rebellion of 1857, to Bharat Ek Khoj (India, a Search, 1988 TV serial) exploring the roots of India. From my Samvidhan (2010, TV mini-series),  the formulation of the Constitution that is the firm foundation of the nation he mapped through his films, to Mujib on the birth of Bangladesh.

This refusal to be contained in a box had seen Benegal go from making promotional ads to documentaries on Steel Authority of India and Artificial Insemination in Animal Husbandry, on Nehru and Satyajit Ray. Benegal’s refusal to be boxed and labelled saw him make

Manthan and Hari Bhari — two prime examples of turning a documentary subject into a feature film. Why, his varied interest saw him making a documentary that mapped the course of a raga which originated with Mallikarjun Mansur hearing a leaking tap in the kitchenette of a friend in Bombay – and went on to capture the spirit of the financial capital!

What explains the prolificity of the man who celebrated his 90th birthday on December 16 and bade goodbye a week later? His indomitable and indefatigable spirit. 

Unusual Concerts: The documentary on Mallikarjun Mansur (1910-1992) and Bombay

[1] Actors on the Hindi screen

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Ratnottama Sengupta, formerly Arts Editor of  The Times of India, teaches mass communication and film appreciation, curates film festivals and art exhibitions, and translates and write books. She has been a member of CBFC, served on the National Film Awards jury and has herself won a National Award. 

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

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Amazon International

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The Eternal Sleep of Kumbhakarna

By Farouk Gulsara

I reported to Kuala Pilah[1]District Hospital on 11th August 1989. Just having passed out from medical school a year earlier, followed by a year of housemanship training, I was rearing to go. Like Dr. David Livingstone, who explored the interior of Africa to treat the needy (and convert them), I thought I would change the world.

1989 Kuala Pilah District Hospital was a secondary 100-bedded hospital with a resident Obstetrician-Gynaecologist, a few medical officers and a functioning operating theatre. Many seriously ill patients who needed tertiary care were transferred to a general hospital about 40km away.  

The hospital administrator was pleasantly surprised to meet me. He thought I would join the team when the rest of the doctors reported on the first of the month. Truth be told, I was down with a case of occupational hazard. I was down with chicken pox after delivering a mother with the disease. I had to extend my training ten days after exhausting my annual leave.

After the cursory formalities, I was given time off to help settle in. The hospital did not have any accommodation facilities for its staff. They only had a vacant but rundown wooden attap house just outside the hospital. It had all the basic amenities, electricity and water supply. I thought I would use it temporarily before getting better accommodation elsewhere. That is when I was introduced to CK. CK was to be my housemate. 

CK was working as an anaesthetic medical officer in the hospital. He was a year senior to me in service and was training to be an anaesthetic specialist. He alternated with another medical officer trained in anaesthesia to do daily calls in the Kuala Pilah District Hospital. 

CK walked in when I was talking to the hospital administrator, Dr Teng. 

“Oh yes. This is Dr. CK. He can be your housemate,” Dr Teng said. He will move into a new place once he gets one.”

“I think I’ll stay with CK and probably share his new place,” I said, “…that is if he is okay with sharing.”

CK was a lovable chap with a smiling face and an approachable demeanour. Slightly chubby, he resembled a cuddly teddy bear. His affable charm put everyone at ease, which helped him in his career as an anaesthetist. I later found that, understandably, the one thing he loved in his life was his food. He would later jokingly say that his paunch was an asset for him in his job. It helped to stabilise patients’ heads when he was intubating them. 

A tall Minangkabau roof. From Public Domain

Before the phrase ‘living out of a suitcase’ became vogue, I was already living that life. Uprooting from point A to point B meant shoving everything into a couple of suitcases into the car’s boot, and off I went. My needs were few. 

My stay was at an old wooden house built with a tall Minangkabau-styled roof. At any time of the day, it was cool. A cool breeze constantly swept through the length of the house. The tall ceiling helped. Despite its location in the heart of Kuala Pilah town, it was eerily quiet. The only noise one hears is the squeaking of its wooden floor when someone walks. As mentioned, the home had modern electricity and water supplies. The quarters pleasantly surprised me with a newly installed telephone line. 

It was a time before digital mobile devices came into existence. All we had were landlines and pagers. Telephones were essential to medical treatment as they remained the only way to track down doctors on the go, from ward to ward, in a compound with single-story buildings. It was comical to see musical chairs at play. Sometimes calling someone is like playing ‘Whac-a-Mole’. One calls Ward B only to be told the doctor has gone to Ward A, which has just been called. In emergencies, if a doctor could not be tracked down, a runner (literally the most agile of the staff) would run from point to point to hunt the doctor down. The public announcement system was available but would forever be under repair, and the person holding the key to the audio room would be AWOL[2]

As CK was the anaesthetic medical officer (MO) on call, attending cases that needed surgery, he did not need to sleep in the hospital. He could return to his quarters (the one I was to share) after midnight to retire for the night. He would typically hang around the hospital before leaving for his quarters when the coast was clear.

Now, CK was a heavy sleeper. Like Kumbhakarna[3], he was one of those who could sleep through a nuclear holocaust. The only thing that CK woke up to was a telephone ringing—the first ring at that! No, the bleep of the pager would not do.

Later that evening, after meeting around the new colleagues, CK and I walked to a nearby food court for dinner. The char koay teow[4] stall there later became our favourite hunting ground for dinner for the next year while we were there in Kuala Pilah. 

Ah Chong, the char koay teow seller, who had known CK for his regular patronage, ran out. Ah Chong was born and bred in Kuala Pilah. He ran Kuala Pilah’s famous halal char koay teow stall and took a keen interest in every little gossip around town. A simple-looking man whose wardrobe probably had two types of garments — white pagoda tee-shirts and black knee-length trousers — must probably be one of the wealthiest men in Kuala Pilah. 

“Hello, boss. What happened early this morning, ah? So much commotion, with lights, honking and ambulance sirens. What happened? A bus accident or something like that? I think the whole of Kuala Pilah got up!”

CK sheepishly told Ah Chong, “No, nothing. The hospital just wanted to contact me.” Ah Chong left to prepare our dish.

After Ah Chong left our table, CK started to chuckle.

“You know what he is talking about?” asked CK.

“No.” I shrugged.

“The day I arrived here, I knew I would be on-call. And I took the quarters to stay before getting a proper house. Teng, the administrator, told me to do calls on the third day I arrived.” CK started. “I told Teng he needed to install the telephone line at the quarters immediately as they may need to contact me after late.” 

“Teng told me he will get it done next week. He said, “You know, these small towns, they do things slowly.”

“I told him I was doing calls and that I am a deep sleeper. The only thing that wakes me up is the sound of a phone ringing.”

“But he said he would get it done as soon as possible.”

“Yesterday, I was on call. I don’t know why; maybe it was because it was the start of the hungry ghost month or something, and the wards were eerily quiet. There were no cases after 4pm.”

“I was at the doctors’ lounges watching TV and dosed off. Can you imagine there were bed bugs on the settee cushion?”

“I started scratching and scratching like a monkey on heat. I left for the quarters, telling the Operation Theatre (OT) staff to contact me if needed.”

“I left close to midnight. As luck would have it, a mother came in just as I left, after being in labour at home since morning. Our friend, Morrison, thought she needed a Caesarian Section. They paged me. Twice. No reply. So, Wahab, the OT attendant, ran to the quarter.”

“Wahab came to the quarters’ gate. He was just too shy to come in. So, he started calling for me. I must have been in my deepest sleep state. I guess I was just too tired yesterday. Too tired, not doing any work.”

“After a few times, he started throwing pebbles at my window. No response. Then he ran back to the nurse to tell the situation. The OT nurse, now in desperate mode, called the ambulance driver. She thought the ambulance driver, being good at raising the alarm, could raise me from a dead sleep!”

“What?” I exclaimed. I had no clue in which direction this story was going.

“Now, the ambulance driver is a smart man. He knew it was 4 o’clock on a Tuesday morning. He can’t simply turn on the ambulance siren at full blast. People had to go to work the next morning. He had to answer if any of the townfolks were to complain.” 

“He brought the ambulance near the quarters, parked it facing the main gate and turned on the high beam. No reply. Then he flickered it repeatedly. All were quiet in the rooms.”

“Then the genius thought, why not turn on the beacon? So, up came the stroboscopic red light twirling around town, waking everybody!”

“He was not prepared for what came next. Lights from nearby shophouses started flickering, too. Soon, he could see silhouettes of people drawing their curtains, trying to figure out the commotion. One by one, everyone was up!”

“Still, I was sleeping, it seemed. As a last measure, before calling the police, the driver started blaring the siren!”

“Luckily, I got up. As an instinct, I saw my pager and the numerous messages there.”

“I ran out like the Merry Melodies cartoon character. I got the shock of my life when I came out to the gate. Outside, to greet me were the uncles and aunties, with their sarongs[5]and nighties, all with blurry eyes trying to make sense of the pandemonium. I could see through the windows that the lights were on. People were craning their necks trying to see all the excitement — lights, ambulance lights, siren and crowd.”

“KP is a peaceful town. I think people never get more excitement in their lives. Ever.”

“Anyway, the surgery went fine and baby too.”

That was how our first day started. A few days after that episode, we moved to a single-storey house some 10 minutes from the hospital. Filled with quirky moments like that and many more, we got embroiled in our respective works. A year flew past by. CK went on to be a consultant anaesthetist a few years later. We have been in contact since.

One October morning, 2024, I heard CK was found slouched in the bathroom. He had an apparent coronary event. Nothing could arouse CK this time, not even the 1,000 elephants who allegedly walked over Kumbhakarna to wake him up. 

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[1] Kuala Pilah is the second in the State of Negeri Sembilan, Malaysia. It is 36 km from the state capital, Seremban, and 101 km from Kuala Lumpur.

[2] Absent without official leave

[3] In Ramayana, Ravana’s (the king who abducted Sita) brother is Kumbhakarna. An intellectual and physically menacing prince was tricked into receiving the boon of sloth. He remained asleep for six months, just to get up, eat and sleep again. Legend has it that he could only be awakened by having 1,000 elephants walking over him.

[4] A popular stir-fried flat rice noodle dish of Southern Chinese origin

[5] A loose cloth wrapped around the lower body, worn by men and women of the Malay Archipelago.

Farouk Gulsara is a daytime healer and a writer by night. After developing his left side of his brain almost half his lifetime, this johnny-come-lately decided to stimulate the non-dominant part of his remaining half. An author of two non-fiction books, Inside the twisted mind of Rifle Range Boy and Real Lessons from Reel Life, he writes regularly in his blog, Rifle Range Boy.

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Where Courage Met the Street

A poetic tribute to the students who lost their lives in Dhaka in the uprising of July 2024 by Shahin Hossain

In the July heat, where courage met the street, 
Young hearts marched refusing to retreat.
Abu Sayed, a beacon, stood tall.
With each step, he towered above all.

Faisal Ahmed, Shanto, Wasim Akrum braved,
In the face of tyranny, they refused to cave.
Sakib Hasan and Tamim stood with fire in their eyes.
For Freedom, they paid the ultimate price.

They came in peace in the name of the land,
But power-hungry hands bled them to death.
The police like shadows darkened the light,
Thousands of souls vanished into the night.

But freedom is a flame that never dies.
It rises from ashes it pierces the skies.
The blood of our children, the tears we weep
Will water the soil where freedom becomes the call.

Mir Mugdho and Fahad your spirits remain
In every struggle in every refrain,
Cruelty’s reign a chapter of despair
Will lose itself in annals of time.

For every life taken, a thousand more rise.
In the name of justice under the free skies,
Guard this freedom, a treasure untold,
In the hearts of the young, let its spirit unfold.

For Abu Sayed and the fallen, we vow to defend
Our birthright until the very end.
Let the world know. Let the tyrants see.
Freedom is ours and forever it shall be.

The revolution’s fire will burn bright
For those fallen for freedom.
May they find peace in eternal lives.

Shahin Hossain is a Maryland-based researcher and writer, passionate about exploring global issues through poetry and prose.

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A Hundred Years from Today…

A hundred years from today…
Who are you reading my poetry
With eager curiosity?

-- One Hundred Years Later,Tagore
Rabindranath Tagore (May 7th 1861-August 7 1941). From Public Domain.

One of the greatest minds of centuries, Tagore wondered about life and death… about posterity. He lost his wife, some of his children and many more loved ones in his lifetime. He took a philosophical stance on death. On his death anniversary, we bring to you his ideas on death and life too…

As a salute to his pen, we start with his poems and stories, mostly in translation, and move on to tributes by Nazrul (translated by Professor Fakrul Alam), by Aruna Chakravarti , by the late Sunil Gangopadhyay and more…

Tagore’s Poetry   

The Child, a poem by Tagore originally written in English. Click here to read. 

Tagore in Translation  

Tagore’s Achhe Dukhu, Achhe Mrityu(Sorrow Exists, Death Exists): These lyrics were composed by the poet when on the death of his wife. It has been translated by Fakrul Alam. Click here to read.

Mrityu or Death, a poem by Tagore has been translated by Mitali Chakravarty. Click here to read.

One Small Ancient Tale: Rabindranath Tagore’s ‘Ekti Khudro Puraton Golpo (One Small Ancient Tale)’ from his collection Golpo Guchcho ( literally, a bunch of stories) has been translated by Nishat Atiya. Click here to read.  

Tributes

Nazrul’s Ghumaite Dao Shranto Robi Re(Let Robi Sleep in Peace) has been translated from Bengali by Professor Fakrul Alam. Click here to read.

The Myriad Hues of Tagore by Aruna Chakravarti : Aruna Chakravarti writes on times and the various facets of Tagore. Click here to read.

Rabindranath Tagore: A Universal Bard :This conversation between Aruna Chakravarti and Sunil Gangopadhyay that took place at a Tagore Conference organised by the Sahitya Akademi in Kochy in 2011. Click here to read.

A book review by Meenakshi Malhotra of Somdatta Mandal’s The Last Days of Rabindranath Tagore in Memoirs, a translation from a conglomeration of writings from all the Maestro’s caregivers. Click here to read.

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Out of the Closet: Norman Rockwell

By Wayne F. Burke

Norman Perceval Rockwell went into dementia in the last years of his life and died at 84 in 1978. He was a deeply insecure human being—about himself and his work. Even as a cultural icon, he still distrusted his judgement, wondering if the quality of his work was slipping, if editors would still take it, if he and his work were passé—too old fashioned. His insecurities—masculinity among them; his struggles with self-worth and the worthiness and meaningfulness of his work, drove him to achieve a kind of surface perfection in his work and self.

He wore rose coloured glasses an inch thick, refusing to acknowledge the seamier side of life, though in a few pictures, very few, he stepped out of character: with a poster/picture of a machine gunner, 1942; with a 1960’s painting of a little black girl being escorted by U.S. Marshalls, he presented a deeper reality, clearer vision, than his usual joshingly superficial emotionalism—the signature of his work. His seven years in therapy with Eric Erikson did bring a deeper psychological nuance to his work, but the depth remained at the shallow end of the pool.

 “I have the ability,” he wrote in his autobiography My Adventures As An Illustrator,“to ignore unpleasant or disturbing experiences.” (In the autobiography, he failed to mention his second wife’s alcoholism—they were married for twenty years.)

He remained blinkered to reality, setting out purposely to create an alternative and prominently adenoidal looney-tune world.

As a product of a valetudinarian mother and a cold remote father (a salesman) Norman became an emotionally stunted pedantic oddball whose work straddled worlds of illustration and fine art. Whenever asked, he always declined to describe himself as an “artist,” insisting he was an “illustrator.” A display of humility, Deborah Solomon noted in her Rockwell biography, or a defensive feint—“he couldn’t be rejected by the art world if he rejected it first” (American Mirror, ‘The Life and Art of Norman Rockwell’). The insipid emotionalism of his characterisations ensured his place as illustrator.

Though Americanising Dutch Realism, as Solomon also noted, his technique—fidelity to realism, and to the shallowness of his vision—made his work’s elevation to rarified “art” probable though only as a side-show, as an art of eccentricity, and not for the big tent. 

Wayne F. Burke is, primarily, a poet–with 8 published poetry collections to date–but also writes prose fiction, nonfiction, and expository. His most recently published book, a nonfiction work, is titled “the VAN GOGH file: POTATO EATERS, PREACHERS, AND PAINTERS,” Cyberwit.net., publisher. He lives in the state of Vermont (USA).

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‘He Belongs to Me, He Belongs to You’

Santosh Bakaya weaves magic around the iconic Gandhi

Courtesy: Creative Commons
MAGIC

 
Lo! I saw a magician last night. 
 A slender silhouette -- almost half-naked. 
Was the night at its tricks once again? 
Was the frail figure about to pull rabbits out of his hat? 
Magicians do have this incorrigible habit of pulling rabbits from hats.
But this magician defied all stereotypes. Where was his hat? 
Where the rabbits? 

I looked at the calendar, and gasped. It was 16 August 1946. 
How bizarre! The stars outside had a fickle glow. 
There was chaos, there was confusion. There was hatred. 
The graffiti on the mildewed walls screamed: 
Direct Action Day! 

Piercing the cacophony, a soft, feathery voice
 fell on the turbulent crowd. 
Not a rabble rousing voice, but a magical one.

“I have come here to serve Hindus and Muslims.” 
A hush fell. Louder – louder – louder grew the hush.

Then I saw the half-naked figure walking away. 

All alone – but in sync with 'Gurudeb's words 
'Ekla chalo Re*’. 

But lo and behold! There was more magic! 
The pages of the calendar fluttered in the breeze. 
With great ardour, swayed the trees.
I was amazed; the calendar now showed the year 2023.

I peeped through the window.
 Birds perched on bowers were singing, impromptu songs.
 The folds of their yellow-green-blue-wings hid musical notes.
Then I again saw the half-naked figure. 
Walking alone, but in sync with 'Gurudeb's words, 
'Ekla chalo Re,' ringing in his ears.  

But lo and behold! There was more magic! 
The One Man Army was no longer alone.
The trickle had become a deluge. 
Music poured from every tree.

A multi-layered song was being sung in every tone, 
every tenor, every pitch, pouring love melodies.  
The sun of a new morn smiled from above.  
The heady scent of freshly hewn lawn spread in the air.

Megalomaniacs had fallen pathetically silent.
The muted falling of a leaf creating a quiet turbulence.
An invisible drummer was beating his drum.

“Back to nature --Back to peace --Back to love. 
An eye for an eye, a tooth for a tooth will make the whole world blind. 

Blind-Blind-Blind.” 
The surroundings resounded.
 The boughs seemed to be swaying to the beat of myriad stringed instruments 
Queedle queedle -queedle hoo- ah hoo- hoo- hoo kleek kik ik ik ik .honk honk 
koo- ookoo hoooooooo…

Birds sang from every branch-- high pitch – low pitch, contralto cadences,
 chirruping notes, and even hoarse, grating rattles and loud caws. 
Magic again happened-- creating a soul-- soothing symphony 
of eclectic pitches and rhythm. 

 “He belongs to me, he belongs to you. 
He belongs to the man in the street. 
He belongs to the coward and the bold. 
He belongs to the strong and the effete.
He belongs to the one shivering on the pavement.
He belongs to me, he belongs to you.  

"He belongs to the man whimpering under the awning.
Hoping for something good in the coming morning. 
He belongs to the bruised and the battered.
And the one with unshed tears and clothes tattered. 

"He belongs to the one who lives by his labour. 
And even to the one who does not love his neighbor. 
The spunky woman bending in ceaseless toil.
And the youngster whose blood is on the boil. 
 
"He belongs to the one with the frown. 
He belongs to the white, black and brown. 
The one with a swagger in his gait. 
The one who suffers viciously at the hands of fate.

"The bird fluttering helplessly in the cage. 
The youth struggling with road rage. 
Those engrossed in ego tussles 
and the one flaunting his muscles.
He belongs to me, he belongs to you.”

With a revolutionary fervor, every leaf was shaking.
A symphony of love and peace was in the making. 
The pilgrim was no longer alone 
Love had injected every bone. 
Faces glimmered with hope -- there was no mistaking. 

*Gurudeb means Teacher and refers to Tagore in this case. 'Ekla Cholo Re' (Walk Alone) is a well known song by Tagore.

Santosh Bakaya, PhD, poet, essayist, novelist, biographer, TEDx speaker, has written twenty-three books across different genres, Ballad of Bapu, and Only in Darkness can you see the Stars [Biography of Martin Luther King Jr]. have won international acclaim. What is the Meter of the Dictionary? is her latest solo book of poetry. 

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