Categories
Musings

Hope Lies Buried in Eternity

By Farouk Gulsara

I learnt early that life is never fair. They say time and tide wait for no man, moving along their own trajectory. 

I heard money solves all problems or at least eases the pain of tough times. There was a time I ventured into saving mode. I started my own piggy bank, dropping in a coin almost daily into a plastic-mould chick figurine. I patted myself on the back as the clink of coins became louder and louder. It was not much, but every jingle reminded me of the value of money and the comfort it would provide me one day. The trouble was that my sisters were equally pleased that my coffers were filling to the brim. They began needling out coin after coin to finance their addiction of buying little treats. I felt frustrated. I knew saving was hard, but I never expected reaching my goal to be so difficult. My sisters’ malfeasance came to light one day when I noticed that the piggy bank had been displaced away from its usual place, tucked behind my nice shirts. That was when I confronted my sisters. 

In my eyes, I did nothing wrong. Instead of admonishing my sisters and compensating for my loss, Amma claimed it was my fault. She taught me the harsh truths of life. It was my responsibility to safeguard my property, not anyone else’s. After that realisation, I sought out other ways to save money.

Then, I had a new group of friends. I joined a competitive group of classmates who wanted to excel academically. I thought that would be easy. I devoted all my time to studying and paying attention in class. It seemed easy, but it was a different story when the examination results were released. It was the class jester, for whom everything was a joke, who came out on top. Another valuable lesson I learnt was not just to study hard, but to study smart.

As I grew older and the screaming radio became a constant background to my daily life, I realised that the world was not a peaceful place. On one hand, songs promised a tranquil world of apple trees and honeybees[1]; from the same country, they sent tanks and bombs to annihilate each other. It seemed that the Vietnam War would never end. Peace in the Middle East was merely a pipe dream. 

Amidst all that, a hippie song emerged, envisioning a world without boundaries, an airspace free from control, and a peaceful existence [2]. It instilled a sense of hope that life might indeed have something to look forward to after all. The image of two figures dressed entirely in white playing a white grand piano remains permanently etched in my mind as the beacon of hope that one day everything will be all right. And life went on. 

After many years of burning the midnight oil and reaping bitter seeds, its sweet fruit finally emerged. Yet, all my classmates who were partying and living life to the full had already gained a head start in their careers. They had ascended the ladders of their professions and were cruising around in flashy cars, while I was starting as an intern with little to show except a few letters behind my name. The competitive streak within me, however, reassured me that academic excellence is superior to the acquisition of wealth.

I continued my healing work, convincing myself that what I was doing would be returned in kind and that I would receive blessings of a different kind. As time passed, I realised that those were merely comforters to soothe a colicky baby. The old adage ‘health is wealth’ was a fallacy. In the real world, wealth buys health, just as one gets justice with all the money one can afford to pay for legal services. The youthful cry of ‘Can’t Buy Me Love’ [3] was another lie. Money buys everything, and it feels better to cry in a BMW than by the footpath of the street. 

So, there I was, thinking that if I were to follow the ways prescribed by the elders, I would be all right. “Tell no lies.” They said. “Speak only the truth!” Then there were people who made lying— or they would call it ‘bending the truth’— the pillar of their profession. “Don’t be materialistic, look at humanity!” Tell that to the stockholders who do not take it kindly when the conglomerate shows high praises and blessings but announces no monetary returns in dividends. For one thing, even big countries help each other not for altruistic reasons but for geopolitical and economic interests. There is no such thing as a free lunch. Everything comes with its encumbrances. 

I was advised not to fight back but to turn the other cheek. Yet, behind my back, the world has regarded me as a fall guy, and I was merely a useful idiot—someone they could blame for all their wrongdoings because I was naïve enough to admit my mistakes. Now my friends urge me to strike before the other party draws first blood and to never admit to any wrongdoings. 

As human beings, we yearn for a world without conflict. We all desire peace of mind—a world where everyone follows a single prescribed path, where everything falls into place, a utopia in which one person sees another not by the colour of their skin or the tunic they wear, but by the strength of their character. Most prayers we offer to a higher being invariably end with ‘Peace on Earth’ or ‘Happiness for All’. Prayers like ‘Sarve Bhavantu Sukhinaha‘ [4] and ‘Om Shanti‘ [5] assume that everyone can have things their way at one given time, creating a win-win situation. Such a situation can only exist in our imagination. Regardless of what everyone else says, life is a zero-sum game. For someone to win, another must lose, somewhere, somehow. For the lion colony to be happy, a goat must be sacrificed. Contentment is achieved when we acknowledge our limitations and accept that sometimes things do not go in our favour. Outcomes may improve if we recognise that we can only do so much.

An Earth without conflict is a pipe dream. The natural course of events is entropy interspersed with instances of chaos and order. One can choose to adopt a nihilistic view of our existence and do nothing, or be like Sisyphus [6] — resigned to the fact that we are in a hopeless situation — but strive to find joy in setting small targets and achieving modest successes, filling our hearts with laughter and happiness during the lull before the storm, and endeavour to leave a better future for the next generation.

When everyone found it impossible to carry a big load, the human mind devised the wheel. When the greener pastures across the lake obsessively stirred the curious, it took one brave young man with the imagination to make a raft of fallen tree trunks. Hope springs eternal in the human breast[7]. The change we want the world to embody starts with the man in the mirror. Numerous social experiments have repeatedly shown that doing a kind gesture is contagious. One good turn deserves another. No good deed remains unreturned. We can try. 

Sisyphus: From Public Domain

[1]  A verse from The New Seekers’ “’I’d Like To Teach the World to Sing” became a jingle for Coca-Cola later.

[2] John Lennon’s most successful solo single, ‘Imagine’, envisions a world of peace without materialism, without borders separating nations, and without religion.

[3] The Beatles’ 1964 hit ‘Can’t Buy Me Love’ is a McCartney composition that naively preaches that true love cannot be bought. In the later stages of his life, McCartney discovered the hard way that divorce, without a pre-nuptial agreement for someone of his stature, could be financially draining. Money can’t buy love, but falling out of it can be costly.

[4] Sanskrit for ‘May all be happy’

[5] Sanskrit for ‘Peace’

[6] In Greek mythology, Sisyphus was a shrewd king. The gods condemned him to roll a boulder up a hill for eternity, only to see it roll down again after reaching the summit. Albert Camus, in his book ‘The Myth of Sisyphus,’ implies that Sisyphus was happy. He found performing and completing the act itself meaningful. He gave meaning to the meaningless.

[7] “Hope springs eternal in the human breast,” an excerpt from Alexander Pope’s poem “An Essay on Man.”

.

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.

.

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
Musings

Nobody Knows…

By Farouk Gulsara

It was a moment reminiscent of Eleanor Rigby[1].

A lady who had spent over half her life serving at the temple passed away unexpectedly. She had remained unmarried, having lost her family quite early on. In search of solace, she dedicated all her spare time to various activities to ensure the temple ran smoothly. She ensured that even the most minor details were attended to. 

One day, she passed away in her sleep. Nobody realised. The daily operations continued as usual. Nobody missed her. There wasn’t even a mention of her death in any of the temple communications. Only the local gossipy housewives had something to discuss during their daily tête-à-tête. They believed she was in a better place and held a higher status in the karmic cycle. But nobody knows…

During one of my weekly cycling routines, I chanced upon a lady who had pulled over her SUV by the road. She gave a gentle honk. As if responding to some intergalactic mothership, I noticed a pack of stray dogs and a troop of wild monkeys hurrying towards the SUV. They gathered around the vehicle patiently as the lady began rummaging through the backseat and distributing food. 

I believed this to be the finest form of non-verbal interspecies communication I have ever witnessed. The cynic within me proposed that her actions were not in the best interest of the natural order. Wild animals are meant to hunt for their daily sustenance. By feeding them, they become overweight and less agile, ultimately diminishing their mobility. What will occur when the gravy train halts? Will they resort to attacking passersby for free meals? Nobody knows…

Here I am, cycling and running, hoping it will help me live longer or make me less of a bother to those around me in my twilight years. On the other hand, could exposure to the elements and the dangers associated with the outdoors be the actual cause of my malady? Nobody knows…

The individuals gathered in Prayagraj, India, for the Kumbh Mela share a common belief. The alignment of the Sun, Moon, and Jupiter in a straight line is thought to hold cosmic significance. The Kumbh occurs every 12 years in four locations across India—Prayagraj, Nashik, Haridwar, and Ujjain. This year, in 2025, a rare celestial alignment that occurs once every 144 years[2], offers a unique spiritual renewal and liberation opportunity. 

Can a lifetime of wrongdoing and accumulated karma debts be washed away in a single dip at Triveni Sangam[3]? Can one attain moksha so easily? Yet, nobody knows… none who have been there and returned to provide a field report.

The take-home message is that just because no reproducible and tangible proof can be provided does not mean it does not exist. To each their own. Rather than attempting to undermine their beliefs or corner them into adopting our views, we should simply leave them be. Let everyone believe they are making a difference in the world they inhabit during their lifetime.

Photo Courtesy: Farouk Gulsara

[1] Eleanor Rigby is a Beatles song from 1966 about a lonely woman who found solace in the church.

[2] https://www.moneycontrol.com/religion/maha-kumbh-mela-2025/maha-kumbh-mela-2025-astrological-significance-and-zodiac-impact-of-this-once-in-144-years-event-article-12918706.html

[3] The Triveni Sangam in Prayagraj (formerly known as Allahabad) is the confluence of three rivers: Ganga, Yamuna, and the displaced Saraswati.

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.

.

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

I Remember Remembering That…

Poetry by Stuart McFarlane

From Public Domain
I REMEMBER

Seven, maybe eight,
I remembered a windy day long ago;
blue sea stretching forever to the sky.
Seagulls wheeling, buckets and spades;
and all our running in the sand.
I remember remembering that.

Thirteen, maybe fourteen,
I remembered when I heard
the 'Beatles' 'Help'*, or maybe, nine or ten,
for, I believe, the very first time.
And how it sounded different then;
How it sounds darker now.

Twenty-nine, maybe thirty,
I remembered how life once
seemed like an empty journal;
all the pages still unwritten.
Now it is full of words,
scrawled in indelible ink.

Yesterday, it was,
I remembered things I'd said
and wished I hadn't;
things I'd thought forgotten;
quite a litany of regrets.
I remember remembering that.



MY PAST LIFE

Having arrived at Heaven's gate
I found a queue, so had to wait;
a curious angel there enquired
about my past life, not long expired.
'Had I enjoyed this life of mine?'
'It helped', said I, 'to pass the time'.

Beatles singing ‘Help’. The song was released in 1965

Stuart McFarlane is now semi-retired. He taught English for many years to asylum seekers in London. He has had poems published in a few online journals.                                                                                                                    

.

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
Essay

Discovering Rabindranath and My Own Self

Musings by Professor Fakrul Alam

Apnake jana amar phurabe na/Ei Janare shongo tomai chena/

There will be no end to my discovery of myself/And this discovery keeps coming with my discovery of you

On the one hand, Rabindranath Tagore [1861-1941] has been with me almost all my life. On the other, I only began to discover that I had Rabindranath so centrally in me relatively late in my life. In fact, I have now realised that the process of discovering the way he has been embedded in me is part of the process of discovering my own self in the course of the life that I have been leading till now.  Indeed, at this stage of my life, it seems to me that there will be no end to my discovery of the way Rabindranath has become part of my consciousness since I feel that there will be no end to discovering myself till I lose consciousness once and for all. The one thing I can say with certainty, using his words but in my translation is “There will be no end to my discovery of myself.”  For sure, this process of discovering myself endlessly keeps happening with my continuing discovery of Rabindranath.

Surely, the process through which Rabindranath had become embedded in me began in childhood. However, I did not encounter his work in my (English medium) textbooks since I did not learn Bengali in school for a while. How then did I come to remember poems such as “Tal gach ek paye dariye/shob gach chareea/ Uki mare akaashe” (Palmrya tree, Standing on one foot/Exceeding all other trees/Winking at the sky”) or “Amader Choto Nadi chole bnake bnake” (“Our little river keeps winding its way”). How do I remember these opening lines even now? And why do I still associate such palm trees and winding little rivers with these lines even now whenever I am in the Bangladeshi countryside? Surely, it must have been my mother who planted Rabindranath in me in my seed time so that he would become embedded in my unconscious, only to surface in my consciousness decades later. It is surely no coincidence that she taught me Bengali and made me learn Rabindranath’s poems indirectly.

 As a boy growing up at a time when the radio was the main source of entertainment in middle-class Bengali houses, my siblings and I were made to listen to Rabindra Sangeet in our house by my father, who felt that he had to share his favourite songs and singers in the musical genre with us, whether we wanted to listen to them or not. Of course, at that age I would have much rather not listen to those solemn-sounding, soulful songs, and whenever I could put my hands on the radio dials, I would listen to English popular music on Radio Ceylon. My favourite singers were Pat Boone, Elvis Presley, Cliff Richards and—a little later—the Beatles. In school, when we were not playing or talking about sports or girls, we boys would be discussing the pop music we heard on Radio Ceylon. By the end of the 60s, we would be talking about the English thrillers and comedies we saw on Dhaka television. What place could Rabindranath have in one’s life then? If Rabindranath had been placed in my innermost self by my mother through her reading of his poems to us children or my father through his addiction to Rabindra Sangeet, for the moment he was getting occluded deep inside me and, it would now seem, all but forgotten!

But from the middle of the 1960s, our lives in Dhaka began to change as the claims of Pakistan on us East Pakistanis started to loosen, little by little. It was a time when in neighbourhoods and on streets, processions would come out singing gonosangeet—literally songs of the people, but in effect music of protest and patriotism.  First, the Six Points Movement and then the Agartala Conspriacy case were on everyone’s lips and East Pakistanis everywhere were becoming activists in one way or the other. There was no escaping songs like “Shonar Bangla” (“Golden Bengal”) or “Banglar mati, banglar jol, banglar baiuo, banglar phol/Punno houk”” ( “Let the land, the waters, the air and fruits of Bengal be blessed…) and “Bartho Praner Aborjona Purea Phele Agun Jalo” (“Burn the frustrated soul’s detritus and light up a flame”). In my school where we boys now studied “Advanced English” and “Easy Bengali”. There was no way we could have learned enough Bengali to read Rabindranath or Nazrul in the original in any sustained attempt, but how could we escape the call from such songs and poems like Nazrul’s “Bidrohi” (“The Rebel”) or the call from the streets to protest and even burn for our emancipation?  At home, three of my four sisters would be practicing Rabindra Sangeet regularly, since this was what my parents wanted them to do, and so there would be no evading Rabindranath’s songs at home for this reason as well, but I was more interested in friends and sports than staying home and so I would hear the songs only in snatches at this time.

By the end of the decade though, Rabindranath was everywhere in our lives since becoming Bengali became first and being a Pakistani only came later. Even on Dhaka Television, Rabindranath’s songs and dance numbers were being aired fairly regularly then. Outside, one could get to see his plays and dance dramas being performed every now and then in functions and cultural events all over the city. He would soon become an important part of Pohela Boisakh, which itself would become instantly popular amongst us all almost as soon as Chhayanaut[1] organised the first event in Balda Garden as the decade came to a close.  But while Rabindranath was everywhere around me all of a sudden, I was still not reading him at all, preferring English thrillers and westerns initially, and later, when I became a “serious” reader from college onwards, contemporary classics of English and European literature available in English editions.

In the early seventies, however, you could not be in Bangladesh without imbibing Rabindranath at least a little, for there was a process of osmosis at work at this time. Glued as we were to Swadhin Bangla Betar Kendro[2] during our Liberation War[3], we kept listening to his patriotic songs on our radios; the promise of Shonar Bangla seemed alive and possible then. The years after liberation, my generation was exposed to Rabindranath in new ways; we would get to hear and view singers like Kanika, Debobroto and Suchitra Mitra on stage in Dhaka; their songs became freely available in tapes in our shops; and Satyajit Ray’s film version of Rabindranath’s fiction and Ray’s documentary on him became staples of Dhaka’s film societies. I was finally growing up intellectually and was hungry for culture, and so how could I have escaped the poet’s works totally at this time?

But the Rabindranath that I was imbibing thus was almost entirely coming to me aurally and visually. Because he was becoming embedded in my consciousness through songs and the silver screen as well as television, he still inhabited the surface of my consciousness. And I was certainly not making any conscious bid to savor him. The seventies and the eighties were, in fact, decades when I was becoming an even more “serious” student of English literature than before and getting “advanced” degrees in my subject and acquiring expertise for my teaching career; where would I get the time to read Rabindranath then? As an expatriate student for six years in Canada and as a visiting faculty member for two years in the USA, I would be getting small doses of Rabindranath in those countries through the songs I kept hearing in the cassettes I had brought along of my favorite singers and in the occasional film versions of his work that I would get to see because of campus film societies, and I suppose nostalgia played a part in my yearning for him then, but I had no time to spare for him and not enough exposure to his works to let his ideas and his achievement resonate in me in any way.

To sum up my encounters with Rabindranath till then, I was discovering Rabindranath in small doses all the time and experiencing him directly here and there, but my knowledge was all very superficial and my understanding of him too limited. And nothing much had happened that would allow me to tap into the unconscious where all the memories of poems and songs by him I had first come across through my parents’ enthusiasm for his works were hidden.

“Dekha hoi nai chokkhu melia/Ghor hoite shudhu dui pa felia”/

“I haven’t seen with my eyes wide open/what was there only a stride or two away from my house”

In the 1980s, I became smitten by theory, especially the works of Edward Said, and suddenly questions of postcoloniality, ideology, power and location became all-important for my understanding of literature. I was coming around to the belief that I could not be a good and truly advanced student of English literature in Bangladesh, let alone a good teacher of the subject here, unless I sensitised myself to my roots and look at the world around me. And now I remembered some lines I had been hearing since childhood without realising their relevance for me and everyone else around us then: “Dekha hoi nai chokkhu melia/Ghor hoite shudhu dui pa felia” (“I haven’t seen with my eyes wide open/What was there only a stride or two away from my house”). Rabindranath had been all around me and yet I had not opened my eyes wide enough to learn from him. I had not read his works with any kind of sensitised attention at all and I had not been able to arrive at any kind of appreciation of his achievements except the smug sense of self-satisfaction at the thought that this Bengali had once won the Nobel Prize.

Towards the end of the 1990s, for the first time really, I plunged into Rabindranath and found—to quote Dryden on Chaucer— “here was God’s plenty”. Having opened my eyes to him I realized that there was so much to him than one could take in at any one time. He had once said in a song about the infinite contained in the finite and I now thought, “How appropriate of him!” He had said in one of his most famous poems, “Balaka[4]” about how one must not succumb to stasis and how the essence of life is motion and I thought, “how inspirational!” He had written in a song about viewing the Ultimate Truth through music and I thought “Exactly!” He had looked on in amazement in a starry night at how humans have a place in the cosmos (Akaash Bhora Surjo Tara[5]) and I thrilled at the idea now. He made me see the monsoonal kadam flower that I had passed every year without blinking an eye as immensely lovely. Every poem that I read enlightened me, every song lent my soul harmony, every short story or novel took me to eternal truths about human relationships. Who would not learn from a man who had been given some of the highest honors the world has offered any human being, when he says with such unambiguous humility, “Mor nam ei bole khati houk/Aami tomaderi lok…” Let this be my claim to fame/I am all yours/This is how I would like to be introduced.” And so I kept reading him in between teaching and writing, finding him an endless source of inspiration, creativity and wisdom. I strove to learn about nature, the universe, people, relationships, beauty and the dark side of humans through his works.  And soon I felt compelled to translate some of them.  

Rabindranath, then, opened my eyes not only to the world I lived in but also helped me discover my own self as a product of forces that had taken our nation past 1947 to true liberation. He helped root me in Bengali and Bangladesh as never before, making me discover myself not merely as a Bengali but as a citizen of the world, a product of a certain history but also of the history of mankind. My discovery of him and my place in the world was furthered by the work I did in co-authoring The Essential Tagore and authoring a collection of essays on diverse aspects of his work.

But Rabindranath truly contains multitudes. What I now realise is that it is impossible to discover him fully in one life, especially when one embarks on the process of discovery so late in life. By now, therefore, I have despaired of knowing the whole man and feel I will get to know only parts of him. But I also know whatever I read of him will enlighten me and make me know myself better in every way than before. And so I’ll keep reading him and translating him, if only to know him and myself better in the days left for me!  

[1] Centre for promotion of Bengali Culture established in 1961

[2] Free Bengal Radio Centre

[3] 1971 Bangladesh was liberated from Pakistan.

[4] Swans

[5] The Star-Studded Sky

.

Fakrul Alam is an academic, translator and writer from Bangladesh. He has translated works of Jibonananda Das and Rabindranath Tagore into English and is the recipient of Bangla Academy Literary Award (2012) for translation and SAARC Literary Award (2012).

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

Categories
Editorial

Restless Stirrings

As we stand on the threshold of a new normal that will eternally rewrite the history of social interactions, of movements across the globe, of new world orders that will have to be more inclusive and more transparent to world view, we will, perhaps, feel the need to redefine business laws so that even countries with lesser wealth are able to access vaccinations and peace. We are now looking  up to leaderships which seem to be in crises themselves. Sitting securely on a tiny island that is well governed, an island where affluence and well-being set it adrift from the turmoils of countries around it, I wonder thirty years from now, what will mankind be like…  Will we be forever marred by the current events of the world? Globalisation has ensured that none of us can be secure on any secret island. There can be no land of lotus eaters hidden from the rest of mankind and accessed by only a few anymore. Even if one region is affected by the virus in any corner of the world, can the rest of the world be pandemic free? Perhaps, a question that those who peddle in vaccines and human well-being can address.

These issues have not only been highlighted by the news media but have also found echoes in some of our content this time. Keith Lyons’s essay talks of his last stay in India, when a tourist carried the  the pandemic  unwittingly into Kerala in February 2020 and subsequent repercussions. More stories and poems that dwell on the spread of the virus this year cry out for compassion. One hopes young poet Ruchi Acharya’s verses are born true.

One day the roses of hope will grow
Meeting the horizon,
Roses that, even plucked, will not die
But will bloom and bloom
Every single day that passes by.

We have young writers on the virulence of the virus and mature pens like that of globe-trotting academic Wendy Jones Nakanishi, who maps the pandemic from UK. Perhaps, we will find a new direction eventually.

There have been calls for uniting above divides as a single unit called mankind earlier too, from greats like Tagore and Nazrul. This time we carry translations of both — Nazrul’s translated poem calls for uniting against artificial divides drawn by man-made constructs and Tagore’s translation talks of redefining through self-reflection. An essay on Tagore by academic Parineet Jaggi talks of the impact of the teachings of Guru Nanak, the founder of Sikhism, on Tagore.

We have essays on writers and icons from around the globe. A photo-essay on the bald eagle, heralding the American Independence Day on the 4th of July, gives a humorous anecdote on how the eagle was chosen above the turkey. We have more variety by Candice Louisa Daquin, an immigrant in US, who shows how important human movement across man-made borders is to the development of a country. Michael Burch has given us beautiful poetry reflecting the history of America and American dreams, one of them with the voice of the legendary Mohammed Ali. These verses add substance to the concerns raised by Daquin. Jared Carter brings to us the colours of life with his poetry.

We have humour in verses from Rhys Hughes and even from a young poet, Sutputra Radheye. Limericks from Michael Burch and Penny Wilkes photo-poetry on ‘Changing Seasons’ puts us in a more cheerful mood.  More poetry from multiple writers across the world, including Nepal, Macedonia and Korea, have found their way into our journal.

Hughes has also given us a comprehensive and interesting essay on a twentieth century poet called Ivor Cutler, who said much as he sang his poetry and was encouraged by Paul McCartney of the Beatles. The brilliant poetry of Akbar Barakzai continues translated on our pages by Fazal Baloch and one must give many thanks to the translator for his indefatigable energy and for bringing us wonderful fare from Balochistan. An excerpt translated by eminent journalist Ratnottama Sengupta from Nabendu Ghosh’s autobiography ends with Satyajit Ray’s starting his famed career with Apu’s triology (based on Pather Panchali, a novel by Bibhuti Bhushan Bandopadhyay). These three films have become iconic in cinema history.

We were fortunate to have Professor Fakrul Alam agree to an interview. An eminent translator, critic and academic who has lived through the inception of Bangladesh from East Bengal, Alam has translated not just the three greats of Bengal (Tagore, Nazrul, Jibanananda) but also multiple political leaders like Mujibur Rahman. In this exclusive, he has taken us through the annals of history, reflecting on less-known perspectives of the Partition. Also, in conversation with Borderless, is Arindam Roy, a journalist with forty years’ experience and the founder of Different Truths who started his writing career, much in the tradition of Cyrano de Bergerac on a humorous note.

This time our backpacking granny, Sybil Pretious, gives us a glimpse of her wisdom, wit and compassion while visiting Philippines and talks of an ancient death ritual, volcanoes and strange mud baths. Devraj Singh Kalsi explores young romance in his tongue-in-cheek fashion. We also have more semi-humorous musings from young writers across borders. While Sunil Sharma has explored facets of the impact of terrorism, the other stories are told in a lighter vein.

Our book excerpt from Feisal Alkazi’s Enter Stage Right has a picture of the young artiste in a discotheque dancing in abandon — check it out. It made me smile. Rakhi Dalal has reviewed Jnanpith Award winner Shrilal Shukla’s Fragments of Happiness translated by Niyati Bafna. The book review by Meenakshi Malhotra of Neelima Dalmia Adhar’s The Secret Diary of Kasturba brings out an interesting facet on Gandhi and women in the Independence movement. It makes one notice the contrasts in the perspectives of Gandhi and Tagore, who created women like he saw around him in fiction. Kasturba’s life also contrasts with the independence found in the life of the avant-garde artist, Amrita Sher-Gil, who lived around the same time. In an essay, Bhaskar Parichha has shown how Sher-Gil lived out her dreams, blending the best of the East and West, while Malhotra writes, that though “Gandhi called women to join the national movement … he was not seeking to emancipate, but more to call forth their capacity for self-abnegation and self-sacrifice.”

Parichha has also introduced us to the need for changes in the banking sector in India while reviewing Transformational Leadership in Banking edited by Anil K. Khandelwal. Perhaps these will be part of the changes that will ultimately lead to a revision of old systems and the start of new ones. Changes, though not always welcomed or convenient, hopefully will lead to progress that can mould our future into a happier one. Restless stirrings transformed mankind from cave dwellers to an intelligent race that can assimilate nature and technology to survive and dream of a future, living among stars.

As Borderless reaches out to unite mankind transcending artificial constructs, its attempts can bear fruit only with support from each and every one of you. I would like to thank all our editorial team for their wonderful support, contributors for being the backbone of our content, and all our readers for continuing to patronise us.

Do take a look at our current issue for the writers who remain unmentioned here but create phenomenal bridges towards a borderless world.

Best wishes,

Mitali Chakravarty