Categories
Poetry

The Years I Still Have

Poem by Saranyan BV

From Public Domain

I am in Haridwar. Haridwar is a holy town where people wash sins in the Ganges.
I watch the waves touch my feet, then tumble over the cobblestones, take the curve and veer off.
I watch the horizon dissolve, vanish into the darkness of the night.
These kind acts of nature are reminders of the years I still have.
There is absolute uniformity in the sound from conch-shells.
The blower has no control over the notes of appeasement.
The blower is dressed like a sage. I cannot vouch if he is one.
I hear the cow-bells shake off satisfaction,
I envy the bovines heading home for a regular meal from the wife of the herdsman.
The cows have before them a whole night of masticating after the day-long grazing is done.
The river or horizons or even the cows and their sweet moos are mere physical things.
An angel comes in my dream and proclaims that we are products of time.
Though men often wish not to ponder over this labyrinth of metaphysics --
Nothing is truer than death, death is real, it is the only truth --
The angel doesn’t explain in so many words, simply leaves the footpath of left over life ahead.
I sit on a stone to study the footprints left by the muster of crows,
What made them descend to the ground although they have wings?
What did they forage?
Oh angel, you are evanescent as are my dreams. Do not go away. I long for you. I have no power to criticise or doubt.
I will even drink for your presence -- though I stopped drinking long ago.
There, let us join! Young monks prepare for the aarti* of mother Ganges!
The lights from the aarti act as beacons for the dingy boats of sins,
Are there labs to check the density of sins or instruments to measure the river’s purity?
A horde of pelicans fill the wintry sky with rosy feathers and fade out
Giving the sky back it’s blue.
Nothing is permanent -- everything seems good, everything –
And that’s why I’d feel secure when I close my eyes later in the night.

*Offerings accompanying prayers
Religious offerings on Ganges. From Public Domian

Saranyan BV is poet and short-story writer, now based out of Bangalore. He came into the realm of literature by mistake, but he loves being there. His works have been published in many Indian and Asian journals. He loves the works of Raymond Carver.

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

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Categories
Conversation

From Outhouse to Backwaters

Ratnottama Sengupta tracks the journey of Leslie Carvalho over a quarter century

It seems like only the other day. The International Film Festival of India, IFFI, 1998 was on. Along with a colleague, I was seated on the steps outside Siri Fort I auditorium connected to a long corridor going to Siri 2. Someone introduced Leslie Carvalho. “Aha! The young filmmaker from Mangalore?”  I responded. “There’s a write up on you in The Times of India today. It says there’s a lot of expectation from The Outhouse.”

The “delightfully sweet” film had lived up to the expectation of the critics. It was bestowed the Aravindan Puraskaram, presented by the Kerala Chalachitra Film Society to commemorate the iconic Malayalam director, and the first Gollapudi Srinivas award, another national level award to recognise filmmakers marking their debut in Indian cinema. So I was not surprised to meet him next as a co-member of the jury for the National Film Awards 2000.

The Tennis coach who is also a German language teacher with a passion for painting has now published his first novel, Smoke on the Backwaters. It centres on Rosa, a twenty-year-old from Mangalore, who is forced to flee overnight because of the storm of gossip, fear and shame unleashed by a single incident in her life. Her unexpected journey across continents becomes a path of healing. Seven years later, armed with education and maturity, she returns home, determined to pursue her purpose in life. But how much had the town she left altered from its old ways?

RS: Leslie, before we talk Backwaters, can we briefly revisit The Outhouse? From where did you derive its content? And what was your compulsion for choosing that subject?

Provided by Ratnottama Sengupta

LC: The Outhouse was a simple, linear narrative about moving on in life despite the odds. A young mother’s need to gain economic independence to supplement the family income; the help she received from her financially independent sister; a kind hearted Bengali landlady’s generosity which causes stress and violence in the Anglo-Indian couple’s day to day life, and how it affects the two children growing up.

RS: Why did you choose this subject as your debut vehicle? If you were to travel in a time machine, would you choose a ‘mainstream’ subject?

LC: I chose this subject as my debut vehicle as I had seen quite a bit of violence in the Anglo- Indian community in the Lingarajapuram area of Bangalore I grew up in.

I was itching to make a movie after my six-month course at the New York Film Academy. As I was working on a very tight budget, I just stuck to what was taught — to keep it simple, straightforward and just tell a story using the various tools of cinema — in short, to make it cinematic.

If I were to go back in time, I don’t think I would have chosen a ‘mainstream subject’. I derived immense satisfaction along with the cast and crew as we felt we were working on something we were passionate about. We all felt drawn towards the characters, the story and the theme of the film.

RS: How did you get interested in cinema? And what were the problems you faced while filming The Outhouse – in terms of funding, casting, shooting location, distribution?

LC: I grew up watching Tamil, Kannada, Hindi, a couple of Konkani and lots of Hollywood films. My mother tailored clothes at home, and she taught a whole lot of women stitching. They were fans of Tamil cinema, especially of Sivaji Ganesan, MGR, and the heroes of Kannada cinema, Dr. Rajkumar and Vishnuvardhan. She also enjoyed the Hindi films of Rajesh Khanna, Dharmendra, Hema Malini, Amitabh Bachchan, Sanjeev Kumar, Jaya Bhaduri and Rekha — that is the popular cinema.

And my father, being an Army person, took us to see English films, like The Ten Commandments, The Bible, Hatari, To Sir, With Love[1]. Also, St. Germain’s School where I studied, screened English films every Friday afternoon in the Hall, from spools off a projector that made a jarring sound. It was an amazing experience — black and white Charlie Chaplin, Laurel & Hardy films and also Patton with all the bad words. Later, when in college, we would bunk classes to watch most of the popular Hindi and English movies.

At the New York Film Academy, I was exposed to an entire range of the world’s best in cinema. Satyajit Ray, Akira Kurosawa, Ingmar Bergman, Antonioni, John Ford, William Wyler, Fellini, Jean Renoir… And I watched a whole lot of films on the American Movie Chain (AMC). There I discovered all of Spencer Tracy’s films and fell in love with his sense of timing and under playing. It was also a time when I discovered Guru Dutt and marveled at his brand of filmmaking from Pyaasa, Kaagaz Ke Phool, Chaudhvin Ka Chand, Sahib Biwi Aur Ghulam to Aar Paar and Mr & Mrs 55[2].

It is hard to believe I began the shoot for The Outhouse on September 18, 1996, and completed it in 14 days – on October 1. After we went through the rushes, we required two more shots to link the gaps. Since I was on a shoestring budget of a few lakh rupees, I had rehearsals with the cast for close to three months. I doff my hat to them in gratitude as 90% of the film was canned on first takes. I could not afford retakes, and I worked with a brilliant cameraman, S Ramachandra, who was very supportive and encouraging. He shot most of B V Karanth, Girish Karnad, and Girish Kasaravalli films as well as the popular tele-serial Malgudi Days[3]. A number of first-time directors like myself, had benefitted immensely by his generosity and patience.

Since it was an independent film, whatever little finance I had, I sunk into the film. And then it took me a year to complete post-production for lack of finance.

I was particular about the casting. I wanted the Anglo-Indian look, feel, mannerisms, costume, interiors to be authentic. I met each cast member and spoke to them at length about the vision I had for my film. Almost all of them were from the Bangalore English Theatre, and all of them were cooperative. Moreover, Cooke Town is a quaint little place with many English bungalows and outhouses. After some struggle, I found one on Milton Street which suited my story perfectly.

After The Outhouse was selected for the Indian Panorama in IFFI ’98 and received the two national awards, I just walked into Plaza Theatre on MG Road in Bangalore and met the owner, Mr Ananthanarayan. He had heard about the film and asked me to meet the distributor, Nitin Shah of Hansa Pictures in Gandhi Nagar, the biggest distributor of English films. He put it on for a noon show for three weeks while Fire was on for the matinee and evening shows. The distributor then put it in Mangalore and Udupi for a week. And when I received the Gollapudi Srinivas National Award in Chennai, Aparna Sen was one of the honoured guests. She saw a small portion of the film and said that she would speak to Mr Ansu Sur to screen it at Nandan in Kolkata — founded by Satyajit Ray to help screen small independent films. A theatre owner in Kolkata recommended a person who took the film to the North East. It was also screened in parts of Kerala.

Coincidentally, this April 30th, The Outhouse will be screened in the leafy neighbourhood of Cooke Town next to the outhouse where the film was shot.

RS: In the last 50 years we have seen films by directors like Aparna Sen, Ajay Kar, Anjan Dutt. Even before these, Ray had touched upon Anglo Indians in Mahanagar. These are all films made in Kolkata. Is it because this is the erstwhile capital of the Raj?

LC: Many of the films on Anglo-Indians were based in Calcutta. It was the influence of the British Raj and its culture that was so much a part of their long history of ruling there. Of course their influence was in other parts of the country as well like Madras, Hyderabad, Bangalore, Whitefield and Kolar Gold Fields, the railway colonies all over the country, the hill stations, and many other cities which has pockets of Anglo-Indians.

RS: I remember one Hindi film, Julie that had an Anglo-Indian protagonist. How has the community been projected in popular culture? Was it lopsided or biased?

LC: Throughout our film history Anglo-Indians have played bit roles here and there. Some significant roles came their way in Bhowani Junction, the teleserial Queenie, 36 Chowrighee Lane, Bow Barracks Forever, Bada Din, Cotton Mary, The Outhouse, Saptapadi, Mahanagar, Julie, and Calcutta I’m Sorry[4].

Some of the characterisations have been quite biased; some not well fleshed out; some in passing fleeting moments of drunkenness, prostitution. The song and dance sequences have not helped the community, sadly.

RS: What led you to writing? The screenplay for The Outhouse?

LC: I wrote the screenplay of The Outhouse on plain A4 sheets of paper, on both sides. This is not done but I did it to save on cost. I gave the screenplay to my cinematographer S. Ramachandra, and in his generosity he understood my purpose. I went by what was taught at the New York Film Academy. Of course, I had to combine all the elements to make it whole. The idea of the screenplay came to me while I was at the film school in 1995.

RS: What was the trigger for writing Smoke in the Backwaters?

LC: As an artist, filmmaker, and writer, I have tried to combine all the elements of story-telling – fact and fiction — keeping in mind the flow of ideas, pace and momentum to engage and interest my audience and readers.

I remember beginning to write the novel two decades ago when my mother — who studied in Kannada medium — said, “I hope you will write it in simple English so I can read it too.”

And I wanted it to be reader friendly with regard to the font size, the brightness of the paper, the spacing, the clarity and the size of the book. I was lucky my publisher ‘Anglo-Ink’ was supportive and combined well to find that centre.

Provided by Ratnottama Sengupta

RS: How are you marketing the book? Through Litfests? Bookstore readings? Airport bookstalls? A H Wheelers?

LC: Since Anglo-Ink is a small-time publisher, we’ve had a dream launch in my hometown Bangalore at the Catholic Club. My book seller is Bookworm on Church Street in the heart of Bangalore and for people in Cooke Town it is in The Lightroom’ library.

We are looking at launches in various cities as well, through book readings, LitFests, Airport book stalls, AH Wheelers, readings at schools and colleges.

Since a major portion of the novel is set in Germany, we are looking at translating it into German. I hope to get it translated in a few Indian languages as well.

RS: Since the sunset decade of 1900s, Anglo Indians have been migrating to Australia and Canada. What triggered this migration? Economics or politics?

LC: The migration of Anglo-Indians was inevitable. It was bound to happen for reasons more than one, be it political, economic or social. First under the ‘Whites Only’ policy, many fair skinned Anglo-Indians migrated — the brown and dark skinned were left behind. Slowly they opened up and even they left. Some felt they would adapt better to a western culture, and have adopted their new country as their homeland.

RS: You were a big support for me when my son joined NLSUI in 2000. Again, when I curated Anadi, the exhibition of paintings by Contemporary and indigenous artists from MP and Chhattisgarh. Bangalore has since become an international megalopolis. How has life changed for the locals?

LC: Bangalore has changed dramatically and drastically. The change was bound to happen because of its growing prominence of an International City. The IT industry brought jobs, slowly other industries, started picking up from real estate, fashion, digital technology and social media platforms, start-ups, academics, sports, games, recreational and tourism.

The moderate climate was a huge bonus that attracted people from all over. Bangalore has always been cordial, encouraging and accommodative of people from all over through their mild manners, hospitality and gentleness.

Today Bangalore is unrecognisable. Still, some pockets retain that old world charm of neat, clean and green Bengaluru from the old Pensioners Paradise of Bangalore.

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[1] The Ten Commandments (1956), The Bible (1966), Hatari (1962), To Sir, with Love (1967)

[2] Pyaasa (Thirsty, 1957), Kaagaz Ke Phool (Paper flowers, 1959), Chaudhvin Ka Chand (The Full Moon, 1960), Sahib Biwi Aur Ghulam (The Master, the Wife and the Slave, 1962), Aar Paar (This shore or that, 1954), Mr &Mrs 55 (1955).

[3] From 1986 to 2006.

[4] Bhowani Junction (1956), TV miniseries Queenie (1987), 36 Chowrighee Lane (1981), Bow Barracks Forever (2004), Bada Din (1998), Cotton Mary (1999), Saptapadi (Seven Steps, 1981), Mahanagar (The Big City, 1963), Julie (1975), and Calcutta I’m Sorry (2019)

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

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Categories
Poetry

Oh! You Would Not Believe…

By Saranyan BV

From Public Domain
THE HIDE-OUT IN MY BOTANY BOOK



Oh! You would not believe
For a while I thought Professor Livingstone fooled me.
He taught us botany, that tamarind is a leguminous species
With small little leaves and a central nerve.

Oh! You wouldn’t…
For a while I believed when I read somewhere all leguminous are like spinach*,
Good protein, sound for body and health,
No small leaves, no central nerve.


Oh! You wouldn’t…
When I referred back to my old text
That the Professor used for Botany, the book had holes,
Smelt ancient, a silver fish or two crawled to shy away from light.

Oh! You wouldn’t…
The silver fishes ate the portions of the book
Which spoke about the species Tamarindus Indica
And the family to which it belonged.

Oh! You wouldn’t believe my dear Professor,
The tamarind trees belong to the leguminous after all.
I tried to hide my head in a borehole
Dug by silver fishes in the pages containing work on Phytomorphology*.





* http://www.dietamediterranica.pt/?q=en/node/240

*The study of external structures of plants
From Public Domain

Saranyan BV is poet and short-story writer, now based out of Bangalore. He came into the realm of literature by mistake, but he loves being there. His works have been published in many Indian and Asian journals. He loves the works of Raymond Carver.

.

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 Kindle Amazon International

Categories
Poetry

Fear is a Paper Tiger

By Ananya Sarkar

FEAR IS A PAPER TIGER

It flaps and growls,
Gathering all its might.
But it's hollow like an empty can,
And the wind doesn't help either.

It looks fierce
But sways lightly
From side to side,
Unsure of its footing.

So, how long before you
Lift your head,
Look it in the eye
And then reach out to crumple --
The daunting paper tiger
Made of the sheaves of lies?

Ananya Sarkar is a creative writer from Kolkata currently living in Bangalore. Her work has been published in various ezines. She loves to go on long walks, cloud gaze and ponder upon miracles. She can be found on Instagram @just_1ananya and reached at ananya7891@gmail.com

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

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Categories
Poetry

The Clock that Cuckoos

By Saranyan BV

As I was fast asleep in my bed of roses,
Someone silently moved
The cuckoo clock standing against the eastern wall
And hung it next to the awning through which I watch sunset.

As I sleep on my bed of roses,
The cuckoo comes out of the darkness every hour.
The cuckoo's breast is brown, like the pile of wood stacked on funeral pyres.
The cuckoo would look at the unencumbered nail sticking out,
And blow its honest heart out,
‘It’s not about death I am afraid, It’s about living’ –
It’s time I hang a picture of the churchyard symmetry
Where my father, my mother and my friend have gone before, sleep.
I sleep past my bed of roses.
I do not draw conclusion from the waxing of or waning of the moon
The moon passes through the window over the beads of raindrops
All night,
The good old cuckoo clock minds
‘Cuckoo…, cuckoo…’.
From Public Domain

Saranyan BV is poet and short-story writer, now based out of Bangalore. He came into the realm of literature by mistake, but he loves being there. His works have been published in many Indian and Asian journals. He loves the works of Raymond Carver.

.

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 Kindle Amazon International

Categories
Editorial

Seasons Out of Time

...the horror of dark red sky – the gates of hell opened wide so they say that even atheists prayed to save the souls of the dead...

— Lizzie Packer, 'Hot Dry Summers'

The description in ‘Hot Dry Summers’ is not of hell but what is perceived as happening on certain parts of Earth due to global warming or climate change. Forest fires. Nearer the equator, the storms have become harsher with lightning strikes that seem to connect the Earth to the sky. Trees get uprooted as the soil is softened from excessive rain. Sometimes, they fall on passers-by killing or injuring them. There is no rain in some places, forest fires or flooding in others… The highest temperatures touched 55 degrees Celsius this year. Instead of worrying about losing our homes lodged on land masses to the oceans that continue to rise, becoming dark heat absorbers due to loss of white ice cover, we persistently fight wars, egged on by differences highlighting divisive constructs. It feels strange that we are witness to these changes which seem to be apocalyptic to doomsday sayers. Are they right? Our flora, fauna and food will also be impacted by global climate change. How will we survive these? Will we outlive these as a species?

Keeping the myriad nuances of living on this planet in mind, we have writings from more than a dozen countries showcased in this issue, with a few highlighting climate change and wars — especially in poetry. Michael Burch has given us poetry on weather. John Grey has celebrated nature. Other than Lizzie Packer, Mitra Samal has a subtle poem on climate change. Stuart McFarlane and David Mellor bring the disaster of war to our doorstep. Jared Carter, Kirpal Singh, Ryan Quinn Flanagan, Averi Saha, Shamik Banerjee, David Francis, George Freek, Rakhi Dalal and more have reflected on the varied nuances of life. Rhys Hughes has brought in humour and a comment on our perspectives, with his poem ‘Devil’s Bridge to Istanbul’… Can a shortcut be found across continents with the magic of a signboard?

Poetry in our translations’ section travels to Balochistan, from where a Hafeez Rauf translated from Balochi by Fazal Baloch, talks of burning tyres, again conflicts. It takes on a deeper hue as Ihlwha Choi translates his poignant poem from Korean, reflecting on the death of his mother. We have a translation of Tagore’s less popular poem, Mrityu[1], reflecting on the same theme. His reflections on his wife’s death too have been translated by Professor Fakrul Alam who has also shared a song of Nazrul, written and composed on the death of Tagore. Another lesser-known poet but brilliant nonetheless, Nirendranath Chakraborty, has been translated for us by Debali Mookerjea-Leonard. And what a tremendous poem it is when the person called Amalkanti wanted to be sunshine! We have a story too — ‘Speech Matters’ by Naramsetti Umamaheswararao translated by Johny Takkedasila.

Our stories as usual travel around the world — from Holland (by Paul Mirabile) to Hyderabad (by Mohul Bhowmick) and with a quick pause at Bangalore (by Anagha Narasimha). Travels in the real world are part of our non-fiction. Sai Abhinay Penna takes to a the second largest mangrove forest in the world and Ravi Shankar to Colombo. Madhuri Bhattachrya gives us a glimpse of an Indian summer and Snigdha Aggrawal explores the impact of climate change in her part of the world. Farouk Gulsara actually writes his reflections at a traffic junction. And it reads droll…

We have an in memoriam by Keith Lyons on Morgan Spurlock, the documentary maker who ate McDonald fare for a month and then made a film on it. We have two tributes to two legends across time. Wayne F Burke has given a brief piece on the iconic illustrator, Norman Rockwell. And Aruna Chakravarti, the queen of historic fiction who brought the Tagore family alive for us in her two very well researched novels, Jorasanko and Daughters of Jorasanko, has given us a fabulous tribute to Tagore on the not-so common aspects of him.

We have excerpts from another historical novel set in Bengal of Tagore’s time, Dan Morrison’s The Prince and the Poisoner: The Murder that Rocked the British Raj and Hughes’ The Sunset Suite, a set of absurd tall tales that make you smile, squirm or wonder…  Reviews of Salman Rushdie’s Knife: Meditations After an Attempted Murder by Somdatta Mandal and of Arundhathi Subramaniam’s Wild Women: Seekers, Protagonists and Goddesses in Sacred Indian Poetry by Basudhara Roy bring two latest books to our readers. Navleen Multani reflects on Mapping the Mind, Minding the Map, edited by Basudhara Roy and Jaydeep Sarangi. And Bhaskar Parichha tells us about a group of men called Pundits during British Raj, “In the closed files of the government of British India, however, they were given their true designation as spies…” in his review of Derek Waller’s The Pundits: British Exploration of Tibet and Central Asia.

Suzanne Kamata, the novelist who does a column from Japan for us normally, has spoken to us about her new novel, Cinnamon Beach, which overrides multiple manmade constructs. It’s an interesting read from someone who lives her life across multiple cultures and transcends many boundaries.

This is a bumper issue, and it is difficult to convey the vibrant hues of words that colour this edition. Please do pause by our contents page for a more comprehensive look.

This issue would not have been possible without all our fabulous contributors and a wonderful, dedicated team. We are delighted that Rakhi Dalal — who has done many reviews and shares her poetry with us in this issue — has agreed to be a writer-in-residence with us. A huge thanks to all of you, and especially Sohana Manzoor for her artwork. I am truly grateful to our readers for popularising our efforts to put together an online space with free and vibrant reads.

I would like to end with a few lines that gives me hope despite climate change, wars and doomsday predictions.

There’s more to life,
he says to me,
than what you choose to see.

— George Freek, 'The Imponderables'

Enjoy the reads.

Mitali Chakravarty

borderlessjournal.com

[1] Death

Click here to access the content’s page for the July 2024 Issue.

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Categories
Poetry

Learning to Listen to Silence

By Saranyan BV

Our friendship overcomes the distance between the balconies.

At first the extent seems long, gaping like the head of a ship-mast sailing beyond the horizon.

We could connect only with our eyes. We do not have access to each other.

Otherwise, she is companionable, very bubbly. She is petite,

I guess she feels lost being alone. She demands I remain in the balcony all the time.

And I would, a book of poems on my lap.

My neighbours often leave her alone,

go roaming, to play or to munch popcorns in movie malls,

She would express her stress by barking through the morning,

or whining the rest of the day. I learn not to be troubled by her tantrums.

She would jump with joy upon seeing me, let me know how happy she felt using the tail.

I never reason any other purpose for that appendage.

It makes me feel inadequate, the absence of it.

In that period of love we forge our clandestine kinship by panting like mountaineers doing high altitude trek.

I learn to return her love.

I would lean over the balustrade and pretend to hug.

She taught my eyes to ooze oxytocin, which she channels into her wide-eyed ardour.

And then her folks move away to another apartment, taking her along.

She is not aware of the plan to move, she has not been told, she goes without saying goodbye.

I still have the book on my lap, the book of poems, open and face down.

The silence is not adequate to replace the ligature of our bond

or to teach me how to bear her absence with quietude.

Saranyan BV is poet and short-story writer, now based out of Bangalore. He came into the realm of literature by mistake, but he loves being there. His works have been published in many Indian and Asian journals. He loves the works of Raymond Carver.

.

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 Kindle Amazon International

Categories
Stories

Alvin and the Curious Case of Spoilt Milk

By Anagha Narasimha

The Bangaloreans will mostly remember the spring of 2024 for bringing on only the heat wave. The Garden City’s temperature reached an unprecedented forty-one degrees Celsius (falling just nine short of a half-century. The summer was terrible for Bangaloreans on two counts – the heat wave and the RCB[1] Men’s team drifting further away from their slogan, hashtag ESCN[2]. But, all of it changed and changed suddenly. The pre-monsoon showers finally brought some relief from the heat wave. Although it initially teased everyone with sprinkles (making the entire city seem like a hot dosa pan, from which steam emanates as soon as the chef sprinkles water). The clouds took pity on the poor souls and became generous eventually. Similarly, RCB Men’s fortunes also changed and changed utterly as they stood with a legitimate chance of qualifying for playoffs after six consecutive wins on the trot.  

Amidst the aforementioned cloudy weather, teasing the Bangaloreans, Alvin, a young advocate in a mid-tier law firm, enjoying his long-sought break from the court, finally decided to make himself a coffee from the coffee brewer. All thanks to the summer that preceded, he had forgotten the setting of the coffee brewer and had to rely on the manual. Finally, he found a way to set the brewer to make a cappuccino with 80 ml of milk and 40 ml of coffee. Just when he was about to press start, his senior colleague interrupted: “What the heck are you doing? Can’t you see that the milk is spoilt?” Alvin did not even bother checking the authenticity of the claim by himself as he knew he would not be able to figure it out. He directly took the matter to the only other colleague who happened to be working even during court vacation, albeit cursing her fate.  

Avni, who was buried inside her file, was suddenly brought back to the office by Alvin.

Avni blurted, “Oh good you are here!”

Alvin showed her the container with the milk and Avni realised she made a big blunder by assuming that Alvin’s presence was a good sign.

Alvin confirmed her fear by asking, “Tell me whether it’s spoilt.”

“Spoilt? It has become curd, you idiot, ” retorted Avni, adding, “And here I was… thinking I would take your advice on my cheque bounce case.”

Accepting Avni’s judgment, Alvin proceeded to throw the milk (or curd) into the wastebin and just then… He noticed the empty aseptic tetra-pack milk sachet lying there craving his attention. He carefully picked it up, went straight to Avni and held it in front of her as a matter of fact. Avni had given up on Alvin’s antics and had decided to finish her work and go home.

Avni: “What?”

Alvin: “It was lying in the dustbin.”

Avni: “Ewwww gross. Throw it away.”

Alvin: “You don’t see?”

Avni: “I see trash but I don’t see why it is outside the dustbin!”

Alvin: “The maid clears the bin every morning around ten thirty…”

Avni: “Mhmm. You are the one to tell. Who’s never in office before 11!”

Alvin: “It is nonetheless. It is twelve forty-eight now. And the packet is still in the bin. Which means it was opened after ten thirty.”

Avni: “Mhmm.”

Alvin: “So processed milk, packed in an aseptic tetra-pack, gets spoiled within two hours?”

Avni, finding all the strength within her, dragged herself out of the file she was covered in and yelled, “What do you want me to do now? Sue them? For fifty rupees?”

Alvin: “No!”

Avni: “Yeah right. Let’s add damages too!”

Alvin: “No!”

Avni: “I must prepare for cross-examination in a Section 138 NI Act case. So why don’t you just blurt out whatever it is?”

Alvin: “How did the milk get spoiled?”

Avni: “Really? I’m asking you for a way to rebut the presumption against the accused in a cheque bounce case and you are worried about spoilt milk?”

Alvin: “Well…”

Avni: “You know what they say? Do not cry over ‘spoilt’ milk!”

Alvin: “What?”

Avni: “Forget it.”

Alvin: “You don’t get it. Cause milk can’t get spoiled for no reason. That would change everything. If you let it go then the very fabric of causality will be ruined and once that’s done… Well, it opens the floodgate and anything can happen.”

Avni stared at him with a dismissive look, “All that’s great but some of us are dealing with real-life problems like preventing a person from going to prison. So can we first focus on that?”

Alvin: “Ah, maybe you’re right. What is it now?”

Alvin sat beside her and cleared the long pile of files that were enjoying their summer break.

Avni: “Good! We’re for the accused. The complainant alleges that the accused issued the cheque in discharge of the amount he lent to the accused in cash on January twenty-seventeen, worth sixteen lakhs[3]. Well, the accused says he received no such cash and the complainant is misusing his signed cheques – but the presumption under Section 118 and Section 139 is against the accused, so…”

Avni was startled when she saw Alvin dozing off in the middle of her narration.

Avni: “Oh come on! For crying out loud! I am not narrating some chanda mama[4] story or singing a lullaby.”

Alvin: “Well you know me. I want my afternoon nap. That’s the reason I wanted to have a cup of coffee in the first place.”

Satisfied with his explanation, he laid his head to rest on the cleared table. Avni could not afford that luxury and she went back to her files. Alvin, who was struggling to stay awake, was now struggling to sleep. Coffee was supposed to help him not fall asleep, and now the thought of missing coffee kept him awake.

The entire event ran in flashes while he tried to sleep.

INT. MID-TIER LAW OFFICE – MID-NOON

Nitin, a middle-aged, office clerk, is running around haphazardly stitching a file. He is cursing somebody – “Even on vacations — these people won’t let me even have a cup of coffee in peace. Keep calling again and again, interrupting. Screw them.” 

Alvin makes sure that the coffee beans are filled. Alvin presses the buttons to make the coffee. Nothing is working. Realises it is switched off. Finds the plug and connects it to the switchboard. The tray on which the coffee cup is supposed to be placed is dusty. Searches for a towel nearby, and finds it on the printer. The towel is also dusty. Ends up wiping the tray with tissues…

BLACKOUT

Alvin woke up suddenly, imagining himself to have exclaimed “Eureka”, except, he had done that only in his sleep. Avni felt she was oblivious to the world of Alvin and continued with her day out with the file.

Alvin ran towards the coffee brewer, completely ignoring Avni’s presence. He had reached the coffee brewer by the time he realised his mistake, and returned to the office cabin to drag reluctant Avni with him.

Alvin: “I got it!”

Avni: “There is no way I can escape this is it?”

Alvin: “So why bother?”

Avni: “I’ll listen to your crazy explanation only if you promise to assist me in preparing for the cross.”

Alvin proclaimed, “Done.”

Alvin: “You see the Bean Hopper? It is recently filled.”

Avni: “So?”

Alvin: “The brewer wasn’t even connected to the power source and I had to dust it before connecting. Obviously, everyone’s on vacation and it wasn’t in use so it was dusty.”

Avni: “Can we cut to your big reveal, where my exhaustion takes the form of beating you up?”

Alvin: “If these are dusty, the milk container must also be dirty.”

Avni: “Ewwww and you were making coffee with that?”

Alvin: “Hell no. The milk was already filled, and I saw Nitin running around, cursing the work that he had been asked to do.”

Avni: “Poor Nitin. Just like me.”

Alvin rushed past Avni to the washbasin where the sponge was lying on the washbasin, completely displaced from its actual position.

Alvin: “You see?”

Avni: “What am I supposed to see?”

Alvin: “Nothing is in order. The sponge is over there, the liquid soap isn’t even closed properly, and you can even find the soap smudges on the washbasin.”

Avni: “Don’t wait for me to react. Just get done with it already.”

Alvin: “Nitin came to the office, earphones plugged, listening to some merry song, thinking of starting his day by making a cup of coffee. He brought out a packet of milk, prepared to clean the milk container, and the office telephone rang – vibrations tearing through the melody of the song being played on his earphones.”

Narrating thus, Alvin walked towards the telephone and pressed a button revealing the call logs.

Alvin continued: “Nitin cursed his fate when they assigned work, but thought he could start with it after having his daily cup of coffee. He went back to cleaning the container and then again – as you can see from the call log – multiple calls didn’t let him have the coffee.”

Avni: “He spoilt the milk so that none can have coffee?”

Alvin: Nah! There is no mens rea[5]whatsoever. If that was the case, he would have made sure none would notice. He was constantly disturbed by the calls. He realised he couldn’t have his coffee so decided to clean it and pour the milk so that he could have it as soon as he was done with the work. While he was cleaning the container – you can see there were a few more calls – he hurried, after cleansing the container with the liquid soap, he forgot to soak it in hot water to remove the soap remnants.”

Avni: “How do you know?”

Alvin points at the water dispenser, which was switched off, which further implied that Nitin had no access to hot water.

Alvin: “Nitin, in that state of mind, added milk to the container which had soap remnants.”

Alvin pointed out the lemon on the liquid soap bottle and with a wide grin exclaimed, “…did the job of spoiling the milk”.

Avni: “That’s artificial lemon, you genius. They don’t add actual lemon.”

Alvin: “Yes indeed. What they add to get that lemon flavour is limonene — a colourless liquid aliphatic hydrocarbon classified as a cyclic monoterpene, which is the major component in the volatile oil of citrus fruit peels. That’s how we were faced with the curious case of spoilt milk.”

Avni: “You. Just you. Don’t you dare include me by saying we. Now, if you’re done playing Sherlock Holmes, can we switch to Perry Mason and find a way to rebut the presumption against the accused in our case?”        

Alvin: “Ah, don’t worry about it.”

Avni: “Why? You have a few more spoilt milk puzzles to solve?”

Alvin: “You can disprove the complainant’s testimony.”

Avni: “How? The complainant says he gave a loan worth sixteen lakhs to the accused. The signature is not disputed. There is no way to prove that the complainant hasn’t given sixteen lakhs because the presumption in his favour.”

Alvin: “How much does the complainant claim to have paid?”

Avni: “Sixteen Lakhs.”

Alvin: “Date of payment?”

Avni: “Sometime during January 2017.”

Alvin: “Mode of payment?”

Avni: “Cash. How convenient?”

Alvin: “Denomination?”

Avni: “I don’t know. Five hundreds and thousands?”

Alvin: “There. You have proved him wrong.”

Avni: “How?”

Alvin: “In January 2017, he paid a sum of sixteen lakhs via cash. November 2016, we had demonetisation — five hundred and thousand notes were discontinued. Moreover, he couldn’t have paid more than two lakhs in cash to the accused as per the guidelines that existed. There. You have proved he is lying on oath.”

Avni ran to her chamber to verify the statements – “He says he paid the entire sixteen lakhs at one stretch” – Her facial expression screamed “Eureka”, while Alvin prepared coffee for both of them.

Avni, sipping her coffee, “So when did you realise this loophole?”

Alvin: “As soon as you told me the case.”

Avni: “And why didn’t you tell me?”

Alvin: “You would have gone home and I had to solve the curious case of spoilt milk alone.”

Avni: “One day… You’ll find poison in your coffee and you’ll die without ever knowing how it got there.”

Alvin sounded baffled, “You’re so mean”.

Finally, the rain made up its mind to show mercy on Bangalore by pouring down as they had their coffee in peace.

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[1] Royal Challenger’s Bengaluru, a football team.

[2] Ee Sala Cup Namde translates to ‘This time, the cup is ours’

[3] A lakh is an Indian denomination equal to 100,000

[4] Chanda mama or moon uncle in Hindi… here used in lieu of fairy tale

[5] The intention or knowledge of indulging in a crime constitutes a criminal act.

Anagha Narasimha C N, an advocate by profession, is also a poet and writer. His poems in Kannada and English are published in various online journals and he is actively involved in playwriting and theatre production. 

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Categories
Essay

Picked Clean

By Snigdha Agrawal

Right now, we are on the cusp between pre-monsoon and full-blown monsoon.  The commencement of cool windy breezes and the partially cloudy skies comes as a welcome relief after the asphalt-melting summer heat, experienced this year.  Just what is needed to uplift melting spirits. The mind has started recalibrating, the body readjusting, to the sudden dip in temperatures in the ‘Garden City’ of Bangalore, known for its salubrious climate right around the year.  Defined by a short, short summer with the temperature barometer rarely rising above 34°C.  December, January, and February, temperatures usually hover around 16°C to 18°C, a trend that has barely changed over the last thirty-plus years of my stay in the city.  However, over these thirty-odd years, there have been several departures concomitant to the growth and evolution of the city. 

The nomenclature “Pensioner’s Paradise”, has lost its significance with the progressive encroachment into virgin lands and lung spaces in the city getting systematically squeezed. A ‘Paradise lost’ and no hopes of it ever being regained.  Road rollers, cranes, and crawlers are seen in every neighbourhood, slowly but surely picking the city clean of all its flora, fauna and water bodies. Justifiably nothing different from the growth path in other metros across the world but its impact on the environment, has become more and more evident.  I can unequivocally say, that some of these major shifts have had a huge impact on both climate and the environment. The causative effect of overpowering greed hinged on profitability.  The then Bangalore, a far cry from the now Bangalore. I will come to that later.  


When I first relocated to Bangalore from Kolkata, a coastal city with a hot and humid climate, the sobriquet ‘air-conditioned’ City was not its only USP.  It had earned the epithet ‘Silicon Valley’ that came about with IT companies/industries shifting their operations, lock stock and barrel to this much sought-after location, ergo necessitating a shift of manpower.  The city thus, witnessed a massive exodus of techies/white-collar workers, moving in from various parts of the country to take up residence in the city.  Dominique Lapierre’s City of Joy[1] saw the greatest pullout.  Discarding the old for the new as some would think, was not so out of choice but for compelling reasons, following the shutdown of establishments, an antiquated work culture, and the government’s short-sighted policies; some of the contributing factors attributed to this attrition.

In June 1991, we moved into the city which surprised us pleasantly.  First, there was no need to run ceiling fans.  Strikingly different from Kolkata, where fans and air-conditioners did little to relieve the heat and humidity. Bangalore’s room air-conditioner vents remained tightly closed permanently, and by extension, contributed to a reduction in noise pollution.  The susurration of the breeze, floating in through the windows was like being permanently plugged into music channels on YouTube.  Therefore, it was unsurprising to that the figure for the first month’s electricity bill was a record low since the previous decade. 

Natural lighting was more than abundant without anything to block it, eliminating the need to switch on the lights till well after sunset. The view from the 6th-floor apartment balcony on Richmond Road opened into an orchard of tall palm trees, beyond which stood the Good Shepherd Convent.  Nuns walking in the coconut orchards while fingering the moving rosary beads had this effect of transporting one to a seaside setting, sans the sand and sea.  Sublime.  Often, I wondered if we had moved to a city at all! The ambience was so contrary to what one would conjure about big cities. 

By the time, we moved out of the apartment, after a stay of twelve years, the view was curtained off.  Gone were the tall trees. Felled indiscriminately.  Spidery earth movers had taken over, raising noise pollution, and piercing through the ear drums.  The heavily laden polluted air inhaled gave rise to frequent allergies. From the perspective of the locals, who resented the invasion of their paradise, parthenium was not alone to blame.  Rightly so. 

Funnily with the commencement of the academic year, my girls then twelve and eight were taken aback by the need to wear sweaters to school. “Woollens are for winter months, right Mamma?”  True that. A strange phenomenon for the newly arrived Kolkata migrants precipitated the need to unbox the woollens, with naphthalene balls inserted between folds.  Duvets and blankets intended to be unpacked during November and December got a premature release from their taped cardboard cartons.  That was Bangalore weather then. 

In a couple of years, as the girls moved from school to college, they were no longer layering during these monsoon months of June/July.  The only conclusion drawn is either they had acclimatised to the Deccan plateau weather conditions or had become self-conscious during the growing up process, or was it a clear pointer to climate change? The latter seems more plausible.  Supported by the fact that initially during the first few years, the bathroom geysers stayed plugged in for the entire day, to the subsequently reduced hours (one/two hours before shower time) stay highlighted with a bright marker on memory panels. 

With the wiping out of tree-lined avenues and vintage colonial bungalows dotting the landscape, giving way to multi-storeyed offices and high-rise apartment complexes, the city soon acquired a garish makeover plastering the natural tone of the city’s face.  Twelve years on Richmond Road, saw all this and more.  Decentralisation was on its way.  Moving out from the central district to the outlying areas, becoming inevitable.  In 2003, we moved to our new apartment in Domlur Layout, still relatively pristine, with virgin forest cover.  But not for very long.  The tentacles of greed reached out grabbing all this, in justification of better civic amenities.  In a couple of years, the inner ring road snaked its way connecting Indiranagar to Koramangala thus reducing travel time.  Hailed as the best thing for commuters, at what cost?  Filling up ponds, deforestation, levelling whole villages, and gobbling up military land as well — approvers of the city’s expansion worked tirelessly.    

Water shortage was evident here with most residential complexes having to rely on tankers for water supply.  A cost added to the already steep monthly maintenance fee paid by apartment dwellers as well as stand-alone homes. Unbudgeted.  Dipping into pockets, water shortage was rearing its ugly head in the City of Thousand Lakes, conceived and built by Kempe Gowda.  The bane of urbanisation, reportedly, of the eighty-one existing ‘live’ lakes Kempambudhi and Ulsoor dating back to the 16th century, have since shrunk in acreage. Many others have just disappeared from the landscape.

In our pursuit of green spaces and low noise pollution, we once again moved further to Whitefield, named the Electronic City, a neighbourhood in Bangalore developed explicitly for housing the electronics industry in 2017.  Greens visible.  Aha! This would be our paradise in a city turned inside out with ugly stitches showing up in the inner seams.  Alas! A short-lived dream.  The beautiful Vathur Lake, a huge water body, soon was seen foaming and frothing, spilling over to the adjacent lands as a consequence of chemical effluents pouring into the lake.  Resulting in the discolouration of water and an unbearable stench, it became imperative for lake-side dwellers to shift residence. The lavender hyacinth blooms floating on the lake surface were permanently coffined and nailed down by concrete slabs.  Roads ran over these.  Voices were raised in protest.  But who’s listening?  Construction activities continued, all in the name of development, providing job opportunities, and housing for the increased growth in population.  A city bursting at the seams.

This year summer took the worst toll, with temperatures peaking at 38.1°C on 2nd May, the hottest day in forty years.  From no air conditioners being run in 1991 to sitting whole day in air-conditioned surroundings is riling for all.  Faced with acute shortages, the city authorities clamped down on water usage, making it mandatory for apartment dwellers to install aerators on taps, to reduce the water flow. Failure to comply would invite heavy penalties, uniformly across the city.  And they were deadly serious, warning of inspectors making surprise visits to homes to ensure compliance.

Now, in a two-member household, that to retirees, that made no sense.  I confess to non-compliance and got away with it.  Resorting to ‘bucket baths’ in place of standing under the shower, was a contribution in the right direction. With the rains, this mandate has been lifted. And that brought on chuckles rewinding to childhood memories of those bitterly cold winter months and Ma’s famous line ‘no kager chaan[2]’ before our baths and, most often, being sent back to repeat baths.  Ma put up with no excuses for short-cut baths.  But the writing on the wall is loud and clear.  Heading to the apocalypse?  

For the time being, I feel privileged that the green field outside my third-floor living room balcony, a disputed property, remains untouched.  A treat for the old eyes.  For how long is anybody’s guess?  

The green field outside the window. Photograph by Snigdha Agrawal

[1] Kolkata. The City of Joy by Dominique La Pierre gave Kolkata that sobriquet

[2] Crow’s bath

Snigdha Agrawal (nee Banerjee) is a published author of four books and a regular contributor to anthologies published in India and overseas.  A septuagenarian, she writes in all genres of poetry, prose, short stories and travelogues.

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Categories
Poetry

Poetry by Saranyan BV

Standing in the Expanse Under the Neem Tree Cluster

I wait with a bundle of tinder logs rolled in a hessian sack.
It’s raining, the air humid, the dust in the air settled.
I wait for the pilgrims to pass, the coast town is overfilled.
I wait for today’s angels to avail my service,
Angels who arrive with spices and groceries,
They never bring the firewood. I cook their food with love.

I stand waiting at the crossroad with a jerrycan of petrol,
The fuel’s brown looking like gold, no sediments in there,
No decisions to be made by the private car users,
Except to notice the quality of my fuel,
And ask me if I could take over the wheels.
I drive with love. Whatever I do, I do with love.

All this waiting is about being and the essence of being
And finding means to make ends meet;
When the need stops, you would no longer find me
Standing in the expanse under the neem tree cluster;
The hessian sack or the jerrycan would continue
In the hands of another good person, waiting to learn.

Saranyan BV is poet and short-story writer, now based out of Bangalore. He came into the realm of literature by mistake, but he loves being there. His works have been published in many Indian and Asian journals. He loves the works of Raymond Carver.

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

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