Let’s look forward to things getting better this New Year with wars tapering off to peace— a peace where weapons and violence are only to be found in history. Can that ever happen…?
Perhaps, all of us need to imagine it together. Feeling the need for peace, if we could dwell on the idea and come up with solutions, we could move towards making it a reality. To start with, every single human being has to believe firmly in the need for such a society instead of blaming wars on natural instincts. Human nature too needs to evolve. Right now, this kind of a world view may seem utopian. But from being hunter-gatherers, we did move towards complex civilisations that in times of peace, built structures and created art, things that would have seemed magical to a cave dweller in the Palaeolithic times. Will we destroy all that we built by warring – desecrating, decimating our own constructs and life to go on witch-hunts that lead to the destruction of our own species? Will human nature not evolve out of the darkness and chaos that leads to such large-scale annihilation?
Sometimes, darkness seems to rise in a crescendo only to be drowned by light emanating from an unknown source. This New Year — which started with an earthquake followed the next day by a deadly plane collision — was a test of human resilience from which we emerged as survivors, showing humanity can overcome hurdles if we do not decimate each other in wars. Bringing this to focus and wringing with the pain of loss, Suzanne Kamata, in her column tells us: “Earthquakes and other natural disasters are unavoidable, but I admire the effort that the Japanese people put into mitigating their effects. My hope is that more and more people here will begin to understand that it is okay to cry, to mourn, to grieve, and to talk about our suffering. My wish for the Japanese people in the new year is happiness and the achievement of dreams.”
And may this ring true for all humanity.
Often it is our creative urges that help bring to focus darker aspects of our nature. Laughter could help heal this darkness within us. Making light of our foibles, critiquing our own tendencies with a sense of humour could help us identify, creating a cathartic outcome which will ultimately lead to healing. An expert at doing that was a man who was as much a master of nonsense verses in Bengal as Edward Lear was in the West. Ratnottama Sengupta has brought into focus one such book by the legendary Sukumar Ray, Abol Tabol (or mumbo jumbo), a book that remains read, loved and relevant even hundred years later. We have more non-fiction from Keith Lyons who reflects on humanity as he loses himself in China. Antara Mukherjee talks of evolving and accepting a past woven with rituals that might seem effete nowadays and yet, these festivities did evoke a sense of joie de vivre and built bridges that stretch beyond the hectic pace of the current world. Devraj Singh Kalsi weaves in humour and variety with his funny take on stocks and shares. Rhys Hughes does much the same with his fun-filled recount on the differences between Sri Lanka and India, with crispy dosas leaning in favour of the latter.
Our stories take us around the world with Paul Mirabile from France, Ravi Shankar from Malaysia, Srinivasan R from India and Rebecca Klassen from England, weaving in the flavours of their own cultures yet touching hearts with the commonality of emotions.
In conversations, Ratnottama Sengupta introduces us to the multifaceted Bulbul Sharma and discusses with her the celebrated filmmaker Mrinal Sen, in one of whose films Sharma ( known for her art and writing) had acted. We also have a discussion with eminent screenplay writer Gajra Kottary on her latest book, Autumn Blossoms and an introduction to it.
Somdatta Mandal has reviewed Sudha Murty’s Common Yet Uncommon: 14 Memorable Stories from Daily Life, which she says, “speaks a universal language of what it means to be human”. Bhaskar Parichha takes us to Scott Ezell’s Journey to the End of the Empire: In China Along the Edge of Tibet. Parichha opines: “The book evokes the majesty of Tibetan landscapes, the unique dignity of the Tibetan people, and the sensory extremity of navigating nearly pre-industrial communities at the edge of the map, while also encompassing the erosion of cultures and ecosystems. Journey to the End of the Empire is both a love song and a protest against environmental destruction, centralised national narratives and marginalised minorities.” Meenakshi Malhotra provides a respite from the serious and emotional by giving us a lively review of Rhys Hughes’ The Coffee Rubaiyat, putting it in context of literature on coffee, weaving in poetry by Alexander Pope and TS Eliot. Rakhi Dalal has reviewed a translation from Punjabi by Ajeet Cour and Minoo Minocha of Cour’s Life Was Here Somewhere. Our book excerpts from Anuradha Kumar’s The Kidnapping of Mark Twain: A Bombay Mysteryintroduces a lighter note as opposed to the intense prose of Srijato’s AHouse of Rain and Snow, translated from Bengali by Maharghya Chakraborty.
Translations this time take us to the realm of poetry again with Fazal Baloch introducing us to a classical poet from Balochistan, the late Mulla Fazul. Ihlwha Choi has self-translated his poetry from Korean. Niaz Zaman brings us Nazrul’s Samya or Equality – a visionary poem for the chaotic times we live in — and Fakrul Alam transcribes Masud Khan’s Bengali verses for Anglophone readers. Our translations are wound up with Tagore’s Prarthonaor Prayer, a poem in which the poet talks of keeping his integrity and concludes saying ‘May the wellbeing of others fill my heart/ With contentment”.
May we all like Tagore find contentment in others’ wellbeing and move towards a world impacted by love and peace! The grand polymath always has had the last say…
I would like to thank our contributors, the Borderless team for this vibrant beginning of the year issue, Sohana Manzoor for her fabulous art, and all our readers for continuing to patronise us.
With hope of moving towards a utopian future, I invite you to savour our fare, some of which is not covered by this note. Do pause by our contents page to check out all our fare.
Mother & Child by Jamini Roy (1887-1972)Mother and Child by Picasso (1881-1973)
‘Victory to Man, the newborn, the ever-living.’ They kneel down, the king and the beggar, the saint and the sinner, the wise and the fool, and cry: ‘Victory to Man, the newborn, the ever-living.’
This is the month— the last of a conflict-ridden year— when we celebrate the birth of a messiah who spoke of divine love, kindness, forgiveness and values that make for a better world. The child, Jesus, has even been celebrated by Tagore in one of his rarer poems in English. While we all gather amidst our loved ones to celebrate the joy generated by the divine birth, perhaps, we will pause to shed a tear over the children who lost their lives in wars this year. Reportedly, it’s a larger number than ever before. And the wars don’t end. Nor the killing. Children who survive in war-torn zones lose their homes or families or both. For all the countries at war, refugees escape to look for refuge in lands that are often hostile to foreigners. And yet, this is the season of loving and giving, of helping one’s neighbours, of sharing goodwill, love and peace. On Christmas this year, will the wars cease? Will there be a respite from bombardments and annihilation?
We dedicate this bumper year-end issue to children around the world. We start with special tributes to love and peace with an excerpt from Tagore’s long poem, ‘The Child‘, written originally in English in 1930 and a rendition of the life of the philosopher and change-maker, Vivekananda, by none other than well-known historical fiction writer, Aruna Chakravarti. The poem has been excerpted from Indian Christmas: Essays, Memoirs, Hymns, an anthology edited by Jerry Pinto and Madhulika Liddle, a book that has been reviewed by Somdatta Mandal and praised for its portrayal of the myriad colours and flavours of Christmas in India. Christ suffered for the sins of humankind and then was resurrected, goes the legend. Healing is a part of our humanness. Suffering and healing from trauma has been brought to the fore by Christopher Marks’ perspective on Veronica Eley’s The Blue Dragonfly: healing through poetry. Basudhara Roy has also written about healing in her take of Kuhu Joshi’s My Body Didn’t Come Before Me.Bhaskar Parichha has reviewed a book that talks of healing a larger issue — the crises that humanity is facing now, Permacrisis: A Plan to Fix a Fractured World, by ex-British Prime Minister Gordon Brown, Nobel Laureate Michael Spence, Mohamed El-Erian and Reid Lidow. Parichha tells us that it suggests solutions to resolve the chaos the world is facing — perhaps a book that the world leadership would do well to read. After all, the authors are of their ilk! Our book excerpts from Dr Ratna Magotra’s Whispers of the Heart – Not Just A Surgeon: An Autobiographyand Manjima Misra’s The Ocean is Her Titleare tinged with healing and growth too, though in a different sense.
The theme of the need for acceptance, love and synchronicity flows into our conversations with Afsar Mohammad, who has recently authored Remaking History: 1948 Police Action and the Muslims of Hyderabad. He shows us that Hyderabadi tehzeeb or culture ascends the narrow bounds set by caged concepts of faith and nationalism, reaffirming his premise with voices of common people through extensive interviews. In search of a better world, Meenakshi Malhotra talks to us about how feminism in its recent manifestation includes masculinities and gender studies while discussing The Gendered Body: Negotiation, Resistance, Struggle, edited by her, Krishna Menon and Rachana Johri. Here too, one sees a trend to blend academia with non-academic writers to bring focus on the commonalities of suffering and healing while transcending national boundaries to cover more of South Asia.
That like Hyderabadi tehzeeb, Bengali culture in the times of Tagore and Nazrul dwelled in commonality of lore is brought to the fore when in response to the Nobel laureate’s futuristic ‘1400 Saal’ (‘The year 1993’), his younger friend responds with a poem that bears not only the same title but acknowledges the older man as an “emperor” among versifiers. Professor Fakrul Alam has not only translated Nazrul’s response, named ‘1400Saal’ aswell, but also brought to us the voice of another modern poet, Quazi Johirul Islam. We have a self-translation of a poem by Ihlwha Choi from Korean and a short story by S Ramakrishnan in Tamil translated by T Santhanam.
Our short stories travel with migrant lore by Farouk Gulsara to Malaysia, from UK to Thailand with Paul Mirabile while chasing an errant son into the mysterious reaches of wilderness, with Neeman Sobhan to Rome, UK and Bangladesh, reflecting on the Birangonas (rape victims) of the 1971 Bangladesh Liberation war, an issue that has been taken up in Malhotra’s book too. Sobhan’s story is set against the backdrop of a war which was fought against linguistic hegemony and from which we see victims heal. Sohana Manzoor this time has not only given us fabulous artwork but also a fantasy hovering between light and dark, life and death — an imaginative fiction that makes a compelling read and questions the concept of paradise, a construct that perhaps needs to be found on Earth, rather than after death.
The unusual paradigms of life and choices made by all of us is brought into play in an interesting non-fiction by Nitya Amlean, a young Sri Lankan who lives in UK. We travel to Kyoto with Suzanne Kamata, to Beijing with Keith Lyons, to Wayanad with Mohul Bhowmick and to Langkawi with Ravi Shankar. Wendy Jones Nakanishi argues in favour of borders with benevolent leadership. Tongue-in-cheek humour is exuded by Devraj Singh Kalsi as he writes of his attempts at using visiting cards as it is by Rhys Hughes in his exploration of the truth about the origins of the creature called Humpty Dumpty of nursery rhyme fame.
Poetry again has humour from Hughes. A migrant himself, Jee Leong Koh, brings in migrant stories from Singaporeans in US. We have poems of myriad colours from Ryan Quinn Flanagan, Patricia Walsh, John Grey, Kumar Bhatt, Ron Pickett, Prithvijeet Sinha, Sutputra Radheye, George Freek and many more. Papia Sengupta ends her poem with lines that look for laughter among children and a ‘life without borders’ drawn by human constructs in contrast to Jones Nakanishi’s need for walls with sound leadership. The conversation and dialogues continue as we look for a way forward, perhaps with Gordon Brown’s visionary book or with Tagore’s world view of lighting the inner flame in each human. We can hope that a way will be found. Is it that tough to influence the world using words? We can wish — may there be no need for any more Greta Thunbergs to rise in protest for a world fragmented and destroyed by greed and lack of vision. We hope for peace and love that will create a better world for our children.
As usual, we have more content than mentioned here. All our pieces can be accessed on the contents’ page. Do pause by and take a look. This bumper issue would not have been possible without the contribution of all the writers and our fabulous team from Borderless. Huge thanks to them all and to our wonderful readers who continue to encourage us with their comments and input.
Here’s wishing you all wonderful new adventures in the New Year that will be born as this month ends!
In conversation with Meenakshi Malhotra and a brief introduction to The Gendered Body: Negotiation, Resistance, Struggle (Scopus Index), edited by Meenakshi Malhotra, Krishna Menon and Rachana Johri, published by Routledge
Dr Meenakshi Malhotra
Why would one half of the world population be seen as evolved from the rib of the first man, soulless or as merely subservient to fulfil the needs of the other half? This is a question that has throbbed for centuries in the hearts of that half that suffers indignities to this date, women. While feminism became a formalised idea only in the 18th-19th century and things started improving for certain groups of women around the world, in some regions, like Afghanistan, the situation has deteriorated in recent years. Their government, recognised by world leadership, has ensured that women do not have schooling, cannot work in senior positions, have to be accompanied by men if they go out and remain covered as the feminine body could tempt bringing shame, strangely, to the female but not to the man who has the right to be tempted and hence to violence and violate her body and her mind.
Given this ambience, any literature voicing protest for patriarchal mindsets that accept situations like in current day Afghanistan passively, should be celebrated as an attempt to shard the silence of suffering by one half of the world population. The Gendered Body: Negotiation, Resistance, Struggle, edited by three academics, Meenakshi Malhotra, Krishna Menon and Rachana Johri, does just that. At the start, we are told: “This book situates the discourse on the gendered body within the rapidly transitioning South Asian socio-economic and cultural landscape. It critically analyzes gender politics from different disciplinary perspectives…”
Featuring 22 writers, the narratives take up a range of issues faced by women in Pakistan, India, Bangladesh and Srilanka. The Pakistani implementation of Islamic law, under the Hudood ordinances, has been addressed in a powerful essay by Aysha Baqir, subsequently by Anu Aneja, in her discourse on Urdu poetry. It was interesting to read how the ghazal form started as a male-only art form where women were depicted as mysterious houris or pining with sadness. Birangona — a phrase that was given to rape victims of the 1971 Bangladesh Liberation War — has been explored by Sohana Manzoor through a classic, Rizia Rahman’s novel, Rokter Okshor[1](1978), written about such women driven to prostitution. Women’s voices in the Sri Lankan LTTE have been explored by Simran Chaddha. Nayema Nasir has taken up decadent customs in the progressive Bohra community in Mumbai and shown how things are moving towards a change. Colonial and Dalit voices have found a hearing in Malhotra’s essay on Mahasweta Devi’s short story, ‘Draupadi’, set against the Naxalite movement of 1970s.
Dotted with women’s responses to a variety of current issues, including the Anti-CAA-NRC uprisings (Tamanna Basu), Shaheen Bagh (Meenakshi Gopinath, Krishna Menon, Rukmini Sen and Niharika Banerjea), and the pandemic (Krishna Menon, Deepti Sachdev and Rukmini Sen), there is even a case study by Shalini Masih dealing with psychiatric trauma where both the psychiatrist and the patient, who might have evolved into a stalker or a rapist without the therapy, heal. A certain sense of hope echoes through some of these narratives, a hope to heal from wounds that have sweltered over eons.
The flow of words is smooth and the ideas should be able to rise against the tide of erudition to touch our lives with lived realities. There are responses that transcend the heaviness of academic writing for instance the impassioned start made by Giti Chandra in her narrative: “A woman’s body is a story that men tell each other. When it is full-hipped, it is a tale of their healthy children; when it is fair, it speaks of their wealth; when it is narrow, it proclaims their access to gyms; and when it is tanned, it flaunts their ability to vacation on sunny isles. If its feet are not small enough to convey a leisure that does not require walking, they are bound and made smaller and more childishly submissive; if its legs are not long enough befitting its trophy status, bone-crippling heels are added to them. When it is raped it is an assertion of power, a chest-thumping; when it is raped it is an aggression over its owner; when it is raped its womb is stolen from the enemy…” Chandra points out some things that make one think, like quoting Rahila Gupta, she suggests victims is not the word we should use for women, but we should refer to the sufferers as survivors.
This collection of essays questions social norms and niceties to realise what early woman’s rights activist, Elizabeth Cady Stanton, drafted, that “all men and women [had been] created equal” in July 1848. While the struggle continues through centuries and the discourse of these narratives, the last essay by a man, Brijesh Rana, attempts to give a broader and more inclusive outlook to the whole human body. The book comes across as a tryst — of academic and feminist voices — to speak up for mankind to equalise.
To further understand the intent and scope of this book, we have in conversation one of the editors— Meenakshi Malhotra, who teaches gender studies and literature, has to her credit two Charles Wallace fellowships and a number of books. She reflects on the bridge that is being attempted between scholarship and activism.
How and when did you conceive this book? Tell us a bit about your journey from the conception to the publication of the book.
This book was originally conceived due to the positive response my co-editors and I received after presenting a panel at an American Association of Asian studies (AAS) conference back in 2017. We were approached by an international publisher who encouraged us to take forward the work with a focus on South Asia. We were unable to take it forward at that time, however we revived the project a few months into the lockdown in late 2020 when we felt we had a little more time. Also, along the way, we were able to reach out to fellow travellers, working in and on Pakistan, Bangladesh and Sri Lanka.
Three of you have collaborated to compile and edit this book. Collaborations to bring out books are not easy. Tell us about this collaboration.
As we three had presented on the same panel, the collaboration was a natural corollary since we had a sense of being fellow travellers and sister academics/scholars. That worked well for us because each of us were engaged in research and research guidance and wanted to showcase the recent work in this area. Both the co-editors, Krishna working on gender and its intersections with politics and Rachna on gender and psychology are very well-established scholars in the field of gender. I work on gender and literature, had my own network and I must mention that in the course of writing for Borderless Journal, I was able to access the work of others on that platform.
Explain to us the significance of the title of your book.
I think we arrived at the title through two processes-one was the immediate situation of Covid which left us in a state of precarity. However, we felt that even within the context of the contagion, women — and other genders — were endangered in specific ways. Second is the understanding that the body is always already produced by multiple matrices of gender, race, caste etc. The human body is also always a gendered body.
We had initially suggested that we call it ‘The Gendered Body and its Fragments’ to connote the bundling of several discursive strands on gendered bodies, but the idea was vetoed (by the initial reviewer) since “fragments” had resonances and nuances which we did not have space (or expertise) to go into, at that point.
You have a variety of contributors, some of who are non- academic. What did you look for when you chose your content?
Variety as you point out, is the key term. We were looking for something new, something interesting, flagging the variegated cultures of South Asian societies. The book comprises a mix of experienced researchers and some researchers whose essays are their preliminary forays into publishing.
Your book is divided into different sections ‘Negotiation’, ‘Struggle’, ‘Resistance’, ‘Protest’, ‘Critique’, ‘Representations and New Directions’. Can you tell us the need to compartmentalise the essays into this structural frame?
Just to give it a structure, organisation and coherence. Having said that, there are also frequent overlaps.
Would you call this book feminist? Feminism is as such a human construct. Why would this construct be essential for treating people equally? What is the need for feminism?
It is feminist in its orientation to the research areas as well as its methodologies. The key concept here is collaboration and therefore we have two conversation as an expression of feminist epistemology or knowledge-making.
Feminism, like other modes of affirmative action — like reservations, quotas — are an attempt to create a level playing field for historically disprivileged groups and oppressed minorities.
Having said that, I/we would like to point out that feminism has become inclusive and an umbrella term that also includes the work on masculinities and trans-identities since the 1990s.
Isn’t feminism the forte of only women?
Not at all and that is why we have the term feminisms. We hope to do more work subsequently on masculinities, on trans bodies in the future.
You have 21 women writers who write of women’s issues. Yet the last is an essay by a man — not on feminist issues— but more to create a sense of inclusivity, if I am not wrong. Why did you feel the need for this essay?
It is not so much about women’s issues as much as about gendered bodies in contemporary South Asia, about identities, subjectivities, bodies in motion gearing up for political action(the conversation and the essay on campus movements are instances).
Also, the last essay which articulates a post-humanist perspective, I felt, would take us beyond the materialities of gendered bodies and flag the way recent research/scholarship has looked at the Anthropocene. It was attempting to give a meta perspective, to bring in a way of seeing, which probably will have an impact on how we understand and conceptualise human bodies.
Your book blurb says: “Topical and comprehensive, this book will be useful for scholars and researchers of gender studies, sociology, political sociology, social anthropology, cultural studies, post-colonial studies and South Asian studies.” Why would you limit the scope of your book when you have some essays that should be read by many and are like eye openers, like the ones on Hudood, Birangonas, Bohras, even your own on ‘Draupadi’ and more?
I think Routledge as an academic publisher, probably does this routinely, to highlight the academic terrain any new book covers.
Having said that, we would definitely want the book to be of general interest. Some of the essays discussed issues which were possibly eye-openers for us as well.
What is the difference between academic writing and non-academic writing? You do both, I know.
Academic writing has often a thesis and an argument underpinning it, which is not to say that non-academic writing — especially the essay — cannot have them.
Also, many of the essays were based on student papers/MPhil and even PhD dissertations. The panel we were a part of was an academic conference on South Asian studies.
Would this book be classified as women’s writing as majority of the writers are women and have written on women’s issues… and yet there is a man? Is it necessary to have such classifications? Would it rule out male readers?
Not at all to every question. It just happens that many of our contributors are women, but I would like to dispel the idea that “gender” is about women only. It is about boxes, stereotypes and role-based expectations, which are to be questioned.
Thanks for giving us a powerful book and your time.
Just as George Orwell (1903-1950) envisioned a bleak future in his novel, 1984, Tagore left his optimistic vision filled with hope for posterity – a vision which has also been borne true. Written in the Phalgun or spring of the Bengali year 1302 (1895), ‘1400Saal‘ or ‘The Year 1993’, was first published in Tagore’s collection called Chitra (Picture) in 1895.
Art by Sohana Manzoor
1400 SAAL or The YEAR 1993
A hundred years from today… Who are you reading my poetry With eager curiosity? A hundred years from today. I won’t be able to give you Even a small fragment of the Exuberance of this spring morning — A blossom or a birdsong, The passions that Drench us. A hundred years from today…
Still, once, open your Southern door, Sit by the window, Gaze at the distant horizon, And imagine — One day, a hundred years before, A lively, euphoric cluster wafted from Heaven into the heart of the universe, Like a new-born Phalgun day — Free of ties, ecstatic and restless, Adrift with the scent of flowers. The Southern breeze Rushed to colour the Earth With a youthful glow, One hundred years before you. On that day, the soul of a poet soared With a song-soaked heart — To find words which bloom With an abundance of love, One hundred years ago.
A hundred years from today Which new poet will strum Lyrics in your hearths? I felicitate the poet with delight In your joyous spring — But let my vernal songs, Find echoes in your hearts for a while, Like the buzz of bees, Like the murmur of leaves... One hundred years from today...
About 32 years down the line, Nazrul responded to this poem of Tagore’s with a rejoinder, which is from the standpoint of a young poet and depicts his adulation for the older one and his poetry. Nazrul’s poem in Bengali is also called 1400 Saal and has been translated by Professor Fakrul Alam. The translation can be read by clicking here.
This poem was also discussed and translations read in 1993, the Gregorian calendar year for 1400 in the Bengali calendar, in a function jointly organised by the Nehru Centre of the High Commission of India in London and the Tagore Centre of London and held in the premises of the Nehru Centre. The translations included a rendition of Tagore’s own rather brief and ‘loosely translated’ version, according to the keynote speaker and scholar, Brian A. Hatcher, published in the poet’s collection called, The Gardener and reprinted in The Collected Poems and Plays of Rabindranath Tagore (New York, 1966).
Tagore’s own vision of his songs being remembered after one hundred years has been not only borne true but also his hope that poets and poetry will continue to impact our lives, stirring hope and love in our hearts. The role of a poet as seen by Tagore, perhaps, is what Uma Dasgupta’s research on Sriniketan reinforces — as that of a visionary and not merely a recorder of events.
Tagore reciting his ‘1400 Saal‘ in Bangla
This poem has been translated by Mitali Chakravarty with editorial input by Sohana Manzoor and research by Sohana and Mitali on behalf of Borderless Journal
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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
How can anybody comprehend one of the largest and most ancient cities in the world? Keith Lyons goes up high, underground, underwater and down some dead-end alleyways as he tries to understand in just three days what took 3,000 years of history to create.
Day One*
My fascination with China started at an early age. I remember as a child leaving through the Time-Life World Library series volume for China (1965); its photographs grainy black and white, and tinted colour, only serving to increase the mystique about the nation then isolated behind the Bamboo Curtain at the height of Mao’s Cultural Revolution. Back then, to be able to stand on the Great Wall of China, or to see the vastness Tiananmen Square seemed as probable as going on a school trip to the Moon.
I was in my late 20s when I first visited the Middle Kingdom, and through a series of events, choices, and decisions, later found myself living and working in the ethnic borderlands of southwest China for more than a dozen years from the mid-2000s. During that time in-country, as well as before and after during my various travels throughout China, how many times do you think I visited the capital, Beijing? Half-a-dozen times? Or at least 10 times? Sorry. I have to confess, even though I ‘knew’ Beijing through books and documentaries — and creating travel itineraries for tour groups — I never once visited in person the Chinese capital.
Yes, that’s right. I crafted detailed, tailor-made itineraries for first-time visitors to Beijing, to give them an insider’s experience of the capital, without getting within a thousand kilometres of the great city. My excuses include:
1 – China is vast, and almost the same size as Europe;
2 – It would take 3 days by train from my courtyard house in Yunnan’s Lijiang to the Forbidden City, and I wasn’t up for such a long journey
3 – To be honest, I wasn’t as enthralled about Beijing after hearing mixed reports from other travellers, so I decided I could live (and/or die) without casting my eyes upon the sights and wonders of Beijing.
A small window of opportunity opened to me recently when the stars aligned between jobs and other responsibilities. I had turned down the invitation to speak at a national tourism conference about the future of China’s tourism development post-pandemic, but I got to visit China for the first time since 2019, making an extended stopover in the capital. A visa-exemption initiative recently re-instated to encourage tourism without the need for pre-approved visas meant I could theoretically apply for a 144-hour transit stamp.
So, I touched down at Beijing’s Capital International Airport (IATA code PEK) early one morning after an overnight flight from the southern hemisphere. This being my first time without a pre-approved (and expensive) visa I was a little nervous, and my fears were not allayed when no one was staffing the 144-hour visa desk. Was this the first great wall I had to overcome? I got sent from one immigration queue to another, a couple of times having to go against the flow of newly-arriving passengers and slip upstream through security. When eventually an official arrived to process the paperwork and issue the transit stamp, I had to show all my flight and accommodation bookings; not an easy task when you can’t connect to the airport wi-fi.
I was sweating, not just because of the late summer heat, but also because I had booked a bus tour to the Great Wall that was leaving at 8 a.m. from central Beijing, a train and subway ride away. “Dear Sir, our assembly point is at Exit C of Dengshikou Subway Station on Line 5,” read my instructions. “You can see the guide wearing a blue vest. Please arrived at the assembly point 10 minutes early.”
Having a Chinese bank card, a map preloaded onto my phone, and some decent residual Mandarin skills, along with no reservations about queue-jumping as payback for being delayed, I found an ATM, and headed to the exit of the massive airport. There were only a few seconds to admire the impressive roof arching over Terminal 3, designed by Sir Norman Foster for the 2008 Beijing Olympics as I marched across the marble floors towards the Capital Airport Express. It was just after 7 a.m. but already I could see how Beijing Capital Airport is — or was — the second busiest airport in the world.
Transferring from the airport line train downtown to the metro, the time on my phone was counting down towards the departure time. I worried that if I missed my bus, my whole trip would be ruined; and that such an inauspicious start to my Beijing exploration would cause a chain reaction of delays, missed opportunities and regret. Maybe I’d never make it to the Wall. Then I thought: take it easy, it’s not the destination, it’s the journey. I studied the Chinese characters for Dengshikou, recognising the first Sinogram as meaning light or lantern.
Arriving at the subway station, I quickened my pace up the stairs and escalators to emerge into sunlight at Exit C. It was 7:59. Fortunately, a blue-vested person was standing in the middle of the carpark. “Do I have time to grab something to eat or drink?” I asked the ZANbus guide in my slightly rusty Mandarin. “No. We’re leaving right now,” she said, ushering me onto the bus.
“But we have bottles of water on sale onboard.”
My online booked tour, a bare basics budget-friendly US$25 including admission ticket, offered three advantages: visiting a less-visited section of the Great Wall a mere 70km from Beijing, arriving before the ‘other tourists’, and being a strictly ‘no shopping’ experience (many tours visit several stores where guides and drivers make huge commissions). As the only non-Chinese person on the coach, the guide (who was supposed to speak some English) gave me a special briefing (in Mandarin), explaining the options for going up and coming down from the Mutianyu section of the wall, as we sped out of the metropolis heading towards the green rolling hills in the hazy distance.
As we passed orchards, with growers selling freshly-picked fruits and nuts, I secretly wished we could stop for some shopping, not just to support the locals, but to ease my rumbling empty stomach. A nearby passenger, a man in his 20s visiting from a central province, whom I later dubbed ‘Running Man’, live-streamed the succession of farmer’s markets we zoomed past, in between video-chatting to his girlfriend. “There’s apples, pears, apricots, plums, grapes, persimmon, walnuts and huge peaches,” I heard him say. Since the bus driver didn’t once slow down, I justified to myself that, even though probably quite delicious, that produce would probably be exorbitantly over-priced for day-tripping Great Wallers like myself.
By 9.30am I was striding along an arcade of mainly unopened shops past the visitor centre, stopping to buy more water, and some snacks. “How about an ice cream?”one vendor asked me after I looked into his glass-top freezer. “Later, OK?” A cafe offered a latte coffee, but the US$8.25 price tag reminded me that China gives too much status to the beverage, which is sometimes just instant coffee and creamer. A Chinese family, long-resident in the UK, gave me a fuller rundown on the logistics for sightseeing, where to meet the guide for the trip back to Beijing (the waiting hall just near Burger King), and most importantly, when the bus driver would be leaving (4pm sharp). “Also, if you tell them you are with this bus company, there’s a discount at Subway,” the teenage son chimed in as we boarded an electric vehicle for a short ride to the base station for the ascent of the crestline high above us. Looking along the line of the hills, I could just make out the crenellated up-and-down patterns of the walls, stretching off into the far distance.
Now you’ve probably heard it many times, but let’s dispel the myth: the Great Wall of China is not visible from space. It is not visible from the Moon. It isn’t even visible to the naked eye from the low-orbit International Space Station. The popular myth goes back centuries, and more recently has been part of the propaganda of modern China to state that the wall was the only human-made structure that could be seen from space. The myth was challenged when Apollo 12 lunar module pilot Alan Bean said, “The only thing you can see from the Moon is a beautiful sphere, mostly white, some blue and patches of yellow, and every once in a while, some green vegetation. . . No man-made object is visible at this scale.”
Some artificial structures such as cities, highways and dams are visible from space, but the Great Wall is only visible from low Earth orbit with magnification or high-powered camera lenses. This was confirmed by China’s own first astronaut who went around planet Earth 14 times in 2003 on Shenzhou 5. “The Earth looked very beautiful from space, but I did not see our Great Wall.”
Photographs provided by Keith Lyons
To get personal and up-close with the Great Wall, other passengers decided to get a chairlift up and traipse further along between watchtowers and then take a toboggan (“speed slide”) down for 5 minutes of excitement. Rather than hike up (crazy in the heat), I opted to take the same cable car up and down (less than US$20 return).
Within minutes we could look down on the graceful, curved line of each section of the wall as it gently arched from one watchtower to the next. Wow! As the cable car reached its terminus near watchtower 14, the extent of the Great Wall to the north was revealed, fading to the horizon as vegetation and battlement became indistinguishable.
The Mutianyu section extends some 5.4km, and though work began in the 6th century, much of it was rebuilt or renovated in the 15th and 16th centuries. In the 1980s about 2.3 km of that section was restored, so over the last three decades, more and more people have been able to visit the less crowded and commercialised alternative to the more famous, most-restored, scenically magnificent Badaling section.
At Mutianyu, constructed of granite blocks, the wall has been made pedestrian-friendly and smooth, though there were steps, some steep in parts as they climb to the series of watchtowers. My fellow passenger Running Man darted around taking selfies and videos, as if he had only 24-hours left to live. Couples set off to the best spots to take photos, while a group of three university students set their sights on the highest watchtower, No.20, which could take one or two hours return depending on speed, stops and stamina. The path climbs from the low of watchtower 17, with the steepest leg between 19 and 20.
Being something of a mountain goat myself, you might expect me to join them purposefully climbing towards the much-talked-about ’20’, but this goat was tired, jet-lagged, and hungry. Instead, I wandered along to the next abutments and decided to just sit in the shade admiring the view. This is just what I had envisioned, I wrote in my journal. And it was. Just like in the photos. Actually, I had expected the Great Wall might be more crowded with jostling visitors, but less than half those getting off the cable car ventured beyond watchtower 16 — and it wasn’t a weekend or holiday.
At watchtower 17, it was so quiet and still that I could hear cicadas in the pine and chestnut trees flanking the wall. A pair of sparrows darted around, a plane flew overhead, and I watched the slow progress of a centipede across the path from the inner parapet to the invader-facing crenelation, a distance of four or five metres. Surely, the centipede hadn’t climbed all the way up the seven or eight metres of the Wall’s walls, five times the height of an adult? During its construction, which went until the mid-1600s, parts of the wall were made with bricks, held together by a durable glutinous rice mortar — arsenic was used to prevent insects from eroding away the wall.
An old man, who has been sitting nearby in the shade while his adult son and grandchildren went on further, finishes drinking from a plastic water bottle and discards it over the side. I feel like saying something, but stop myself, realising that some attitudes and behaviours are slow to change. He probably thinks the Great Wall was visible from space, I confide to myself.
The Wall’s modest width, no bigger than a road, was probably why it couldn’t be easily spotted from above. However, it did provide a fast means of travel and transportation for troops. Officially, the Great Wall was some 21,198 km long – that’s equivalent to half the equator – but up to a third of the structure has disappeared over time. It’s not just one continuous wall either, with sidewalls, parallel walls, enclosing walls, and even sections where there are no walls, just high mountain ridges, rivers, ditches or moats as the barriers. The Wall can lay claim to being the longest man-made structure as well as the largest building construction project ever undertaken. On a blank page I start a rough sketch of the section in front of me, trying to get my head around how this is just a tiny fraction of the longer, greater wall.
As well as being for border defence, the Great Wall also served to transmit messages, using watchtowers and beacon towers. From the next watchtower, the grandson of the bottle-litter-man waves but failing to catch the attention of the old man, he runs back along the wall path yelling, “Yéye – Granddad! Did you see me waving to you at the next castle?”
There is a certain irony about this extensive bulwark constructed across northern China and southern Mongolia up to two millennia ago to keep out invaders which now every day is climbed over by tourists from Mongolia, Russia, Eurasia and beyond. This is supposed to keep us out. But here we are, on the top of the wall and fortifications, having invaded, not from beyond, but from the downtown of the capital of the nation. So much for the upright projections, resembling teeth bared at the enemies.
Other travel experts and expats living in Beijing tell me if I visited Mutianyu a month later, I would see the surrounding maple, oak and chestnut trees in their autumn splendour. In winter, snow transforms the scene. But on this day, I am just happy to be present, to take on the literal meaning of Mutianyu — Admire Fields Valley — as I take the cable car down to the bountiful valley, snack on a corn cob sprinkled with chilli, and some fresh walnuts. As the clouds turn to a sudden rainstorm, in the comfort of the waiting hall, after savouring an ice cream, I let the day catch up on me.
Photo provided by Keith Lyons
Back on the bus at 4pm, Running Man is sunburnt red and sweaty — but still grinning as he sorts through his photos and videos. The mother hen guide gives us all a small memento of the day, a fridge magnet of the Great Wall, as a reward for all making it back on time.
The next thing I recall is being woken by the guide. I must have drifted off to sleep. “We’ve arrived,” she says, pointing towards an entrance to the Beijing metro which seems different from the starting point. For a moment, I wonder if I have been dreaming it all: the Great Wall, the perfect day, how everything worked out in the end. Then I realised it was all true: I’ve just seen and been on the Great Wall. And I have the fridge magnet in my pocket to prove it. I turn to say goodbye to Running Man, but he’s already exited the bus, and is making for the escalator down.
Keith Lyons (keithlyons.net) is an award-winning writer and creative writing mentor originally from New Zealand who has spent a quarter of his existence living and working in Asia including southwest China, Myanmar and Bali. His Venn diagram of happiness features the aroma of freshly-roasted coffee, the negative ions of the natural world including moving water, and connecting with others in meaningful ways. A Contributing Editor on Borderless journal’s Editorial Board, his work has appeared in Borderless since its early days, and his writing featured in the anthology Monalisa No Longer Smiles.
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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL.
No, they whisper. You own nothing.
You were a visitor, time after time
climbing the hill, planting the flag, proclaiming.
We never belonged to you.
You never found us.
It was always the other way round.
‘Moment’ by Margaret Atwood
With an unmanned mission reaching the moon — that moon that was chipped off the Earth’s surface when Theia bashed into the newly evolving planet — many feel mankind is en route to finding alternate biomes and perhaps, a solution to its housing needs. Will we also call moon our ‘Homeland’ and plant flags on it as we do on Earth? Does the Earth — or the moon — really belong to our species. Do we have proprietary rights on these because of lines drawn by powerbrokers who say that the land belongs to them?
These are questions Margaret Atwood addresses in her writings which often fall into a genre called cli-fi. This is gaining in popularity as climate has become uncertain now with changes that are wringing fear in our hearts. Not all fear it. Some refuse to acknowledge it. While this is not a phenomenon that is fully understood by all of us, it’s impact is being experienced by majority of the world — harsh stormy weather, typhoons, warmer temperatures which scorch life and rising water levels that will eventually swallow lands that some regard as their homeland. Despite all these prognostications, wars continue to pollute the air as much as do human practices, including conflicts using weapons. Did ‘climbing a hill’ and ‘planting the flag’ as Atwood suggests, ever give us the rights over land, nature or climate? Do we have a right to pollute it with our lifestyle, trade or wars — all three being human constructs?
In a recent essay, Tom Engelhardt, a writer and an editor, contended, “Vladimir Putin’s greatest crime wasn’t simply against the Ukrainians, but against humanity. It was another way to ensure that the global war of terror would grow fiercer and that the Lahainas of the future would burn more intensely.” And that is true of any war… Chemical and biological weapons impacted the environment in Europe and parts of Afghanistan. Atom bombs polluted not only the cities they were dropped in, but they also wreaked such havoc so that the second generation’s well-being continues impacted by events that took place more than seven decades ago. Yet another nuclear war would destroy the Earth, our planet that is already reeling under the impact of human-induced climate change. Flooding, forest fires and global warming are just the first indications that tell us not only do we need to adapt to living in changed times but also, we need to change our lifestyles, perhaps even turn pacifist to survive in a world evolving into an altered one.
Critiquing the darker trends in our species which leads to disasters is a book by an eminent Singaporean writer, Isa Kamari, called Maladies of the Soul. He too looks for panacea in a world where the basic needs of humans have been satiated and they have moved on towards overindulgence that can lead to redundancy. In a conversation, he tells us how he hopes his writings can help towards making a more hopeful future.
This hope is echoed in the palliative poems of Sanket Mhatre from his book, A City full of Sirens, excerpted and reviewed by Basudhara Roy. Bhaskar Parichha’s review of Samragngi Roy’s The Wizard of Festival Lighting: The Incredible Story of Srid, is a tribute also from a granddaughter to her grandfather celebrating human achievements. Somdatta Mandal’s discussion of fiction based on history, Begum Hazrat Mahal: Warrior Queen of Awadhby Malathi Ramachandran not only reflects the tenacity of a woman’s courage but also explores the historicity of the events. Exploring bits of history and the past with a soupcon of humour is our book excerpt from Syed Mujtaba Ali’s Tales of a Voyager (Joley Dangay[1]), translated from Bengali by Nazes Afroz. Though the narrative of the translation is set about ninety years ago, a little after the times of Hazrat Mahal (1820 –1879), the excerpt is an brilliant introduction to the persona of Tagore’s student, Syed Mujtaba Ali (1904-1974), by a translator who describes him almost with the maestro’s unique style. Perhaps, Afroz’s writing bears these traces as he had earlier translated a legendary work by the same writer, In a Land Far from Home: A Bengali in Afghanistan. Afroz starts with a startling question: “What will you call someone who puts down his profession as ‘quitting job regularly’ while applying for his passport?”
In non-fiction, we have Devraj Singh Kalsi’s funny retelling of his adventures with a barber while Hughes‘ essay on the hugely popular Tintin makes us smile. The patriarchal past is reflected in an essay by G Venkatesh, whereas Suzanne Kamata from Japan talks of women attempting to move out of invisibility. Meredith Stephens and Candice Louisa Daquin both carry on the conversation on climate change. Stephens explores the impact of Californian forest fires with photographs and first-hand narrative. Vela Noble draws solace and strength from nature in Kangaroo Island and shares a beautiful painting with us. Madhulika Vajjhala and Saumya Dwivedi discuss concepts of home.
Two touching tributes along with a poem to recently deceased poet, Jayanta Mahapatra, add to the richness of our oeuvre. Dikshya Samantrai, a researcher on the poet, has bid a touching adieu to him stating, “his legacy will continue to inspire and resonate and Jayanta Mahapatra’s name will forever remain etched in the annals of literature, a testament to the enduring power of the poet’s voice.”
Our translations this time reflect a diverse collection of mainly poetry with one short story by Telugu writer, Ammina Srinivasaraju, translated by Johny Takkedasila. Professor Fakrul Alam has introduced us to an upcoming voice in Bengali poetry, Quazi Johirul Islam. Ihlwha Choi has translated his own poetry from Korean and brought to us a fragment of his own culture. Fazal Baloch has familiarised us with a Balochi ballad based on a love story that is well known in his region, Kiyya and Sadu. Our Tagore translation has attempted to bring to you the poet’s description of early autumn or Sharat in Bengal, a season that starts in September. Sohana Manzoor has painted the scene depicted by Tagore for all of us to visualise. Huge thanks to her for her wonderful artwork, which invariably livens our journal.
Profound thanks to the whole team at Borderless for their support and especially to Hughes and Parichha for helping us source wonderful writings… some of which have not been mentioned here. Pause by our content’s page to savour all of it. And we remain forever beholden to our wonderful contributors without who the journal would not exist and our loyal readers who make our existence relevant. Thank you all.
Autumn expresses itself in Bengal as Sharat (early autumn) and Hemonto (late autumn). The Tagore pantheon of literature has much of seasons in it. This poem, Sharat, was part of his poetry collection Kalpana, published in 1900.
Sharat by Sohana Manzoor.
Autumn
I see your beauteous form
In this autumnal dawn,
Oh! Mother Bengal, your green figure
Is resplendent with radiance.
The river cannot be contained in its bed.
The fields are overflowing with paddy.
Robins chant and koels sing
In your graceful gardens.
Amidst this dawn of sharat,
O Mother, you stand poised.
Mother, the breeze chimes
An auspicious onset —
Grains of new rice crops
Fill homes with festivities.
You have no respite anymore.
Sheafs of paddy move in bulk
Along rural paths wafting
Their perfume in the draft.
Mother, the zephyr sends you
An intimation of the seasonal onset.
The skies paint clouds
to welcome the season.
Dewdrops have sprinkled
Coolness on the green earth.
The flute seems to play a melody that
Wafts through the land, water and air.
Boats come crowding to your doorway
From all directions.
The sky is clear and blue.
The earth, soft and cool.
The breeze starts to chill
Refreshing tired bodies.
Every hut is filled with new hope,
With the advent of new life.
All over, Mother, abound events
Organised by joyous faces.
People grab fistfuls of happiness
From your overflowing granaries.
The breeze rushes with anchals*
Full of new life.
Come, come, wherever you are,
Come running all of you —
Our Mother has opened her granary.
Our grains are overflowing.
Come by boat from the other bank,
Mothers and daughters come.
Who cries in hunger under maternal care?
Come running all of you.
Our mother has opened her granary.
Our grains are overflowing.
Our Mother wears a garland of shefali.
Floral perfumes scent the earth.
White, creamy cirrus clouds
Seem to stud her veil.
Crowned with a golden halo,
Sweet, glorious, green and resplendent,
With feet dressed in blooms,
My mother stands poised.
The whole world smiles at her illuminated
With dewdrops, flowers and crops.
*Anchal is the loose end of a sari
When and how do you know when it is time to change your life, job, relationship, friends, plans or location? Keith Lyons examines the push and pull factors of change
If you ever feel trapped in a predictable, boring routine, or wake with a nagging feeling that something isn’t quite right with your life, perhaps it is time to take action. But how can you decide to leave your familiar workplace, hometown, or social networks and start a fresh career, move to another place, or find new friends? And what happens if the grass isn’t greener on the other side – and it doesn’t work out?
These are the dilemmas many of us face at different stages of our lives. The challenge when we’ve got just a bit too comfortable and lazy in our comfort zone. The inner voice that whispers of incredible opportunities in other places. The gut feeling that reminds us that right here and now we aren’t living our best life.
If most Sunday evenings a sense of dread creeps up on you, and you feel you aren’t able to be your true self, maybe it is time for a change. But how can you escape the harsh circumstances of your life, whether it is your fate or misfortune, largely out of your control?
I believe there are many aspects of our lives that we can influence. We can be the architects of better lives, authors of inspiring life stories, creators of meaningful existences.
But first, we need to take stock, and clearly identify what the problem is, so we can find solutions that will work. A useful exercise is to write down all the things which are making us unsatisfied.
A list makes tangible our concerns, showing not just the things which irk us, but also providing guidance on what we are seeking on the other side. Whether it is a relationship, role or place which is the issue, it could be because you don’t feel fulfilled, engaged, valued/appreciated or inspired where you are right now.
For some, it is the negativity of the environment or culture, while others are held back from being their authentic selves by too much drama, toxicity, and hostility. Ultimately it might come to whether you like the person you are right now.
If you are shrinking rather than growing, and bending over instead of standing tall, it might be time to move on, if you can. Looking back on my life, in my late 30s my significant long-term relationship ended, and as I came to the end of a job contract, I didn’t feel in a good space, living in a damp house, feeling depressed about how things had worked out and the gloom of winter. I thought back to the last location I felt content and happy, and booked a flight to get back to a place where I’d lingered while on holiday. That move — to a place some 10,000kms away — did work out, but I had never imagined previously that I would end up moving to live and work in a very foreign, yet welcoming, country that was a world away from my mundane existence.
Let’s also acknowledge that in some circumstances, you can’t easily extricate yourself from ties, responsibilities, relationships and locations. For example, you might have duties to your family, expectations around obligations to others, or constrains on moving — ranging from financial and political to cultural and social.
Ideally, you want to find your place, your tribe. You want to be surrounded by others who understand and support you. That could mean hoping for a geographic cure, or even finding your community of peers whose values align with yours online.
The hardest part is overcoming your fears and anxieties going from the familiar to the unknown. You might have the concern that things won’t work out. Or the worry that you will never be happy, and that there is something wrong with you. That’s perfectly normal. No, there isn’t something wrong with you — this is just a reality of our existence. Change is scary.
Those who’ve made tough choices in their lives report it does take courage to put into action the difficult decisions, but once the first step is made towards a fresh start, it can be liberating and empowering beyond expectation.
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Keith Lyons (keithlyons.net) is an award-winning writer and creative writing mentor originally from New Zealand who has spent a quarter of his existence living and working in Asia including southwest China, Myanmar and Bali. His Venn diagram of happiness features the aroma of freshly-roasted coffee, the negative ions of the natural world including moving water, and connecting with others in meaningful ways. A Contributing Editor on Borderless journal’s Editorial Board, his work has appeared in Borderless since its early days, and his writing featured in the anthology Monalisa No Longer Smiles.
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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL.
Perhaps, most sceptics will say it is against human nature to stop fighting and fanning differences. The first recorded war was fought more than 13,000 years ago in what is now a desert but was green long ago. Nature changed its face. Continents altered over time. And now again, we are faced with strange shifts in climate that could redefine not just the dimensions of the surface area available to humankind but also our very physical existence. Can we absorb these changes as a species when we cannot change our nature to self-destruct for concepts that with a little redefining could move towards a world without wars leading to famines, starvation, destruction of beautiful edifices of nature and those built by humankind? That we could feed all of humans — a theory that won economist Abhijit Banerjee his Nobel Prize in 2019 so coveted by all humanity — almost seems to have taken a backseat. This confuses — as lemmings self-destruct…do humans too? I would have thought that all humanity would have moved towards resolving hunger and facing the climate crises post-2019 and post-pandemic, instead of killing each other for retaining constructs created by powerbrokers.
In the timeless lyrics of ‘Imagine’, John Lennon found peace by suggesting we do away with manmade constructs which breed war, anger and divisions and share the world as one. Wilfred Owen and many writers involved in the World Wars wrote to showcase the desolation and the heartfelt darkness that is brought on by such acts. Nazrul also created a story based on his experience in the First World War, ‘Hena’, translated for us by Sohana Manzoor. Showcasing the downside of another kind of conflict, a struggle to survive, is a story with a distinctive and yet light touch from S Ramakrishnan translated from Tamil by B Chandramouli. And yet in a conflict-ridden world, humans still yearn to survive, as is evident from Tagore’s poem Pran or ‘Life’. Reflecting it is the conditioning that we go through from our birth that makes us act as we do are translations by Professor Fakrul Alam of Masud Khan’s poetry and from Korean by Ihlwha Choi.
A figure who questioned his own conditioning and founded a new path towards survival; propounded living by need, and not greed; renounced violence and founded a creed that has survived more than 2500 years, is the man who rose to be the Buddha. Born as Prince Siddhartha, he redefined the norms with messages of love and peace. Reiterating the story of this legendary human is debutante author, Advait Kottary with his compelling Siddhartha:The Boy Who Became the Buddha, a book that has been featured in our excerpts too. In an interview, Kottary tells us more of what went into the making of the book which perhaps is the best survivor’s guide for humanity — not that we need to all become Buddhas but more that we need to relook at our own beliefs, choices and ways of life.
Another thinker-cum-film maker interviewed in this edition is Vinta Nanda for her film Shout, which highlights and seeks resolutions for another kind of crisis faced by one half of the world population today. She has been interviewed and her documentary reviewed by Shantanu Ray Chaudhuri. Chaudhuri has also given us an essay on a bookshop called Kunzum which continues to expand and go against the belief we have of shrinking hardcopy markets.
Gastronomical adventures seem to be another concurrent theme in this edition. Rhys Hughes has written of the Indian sweets with gulab jamun as the ultimate life saver from Yetis while trekking in the Himalayas! A musing on lemon pickle by Raka Banerjee and Ravi Shankar’s quest for the ultimate dosaaround the world — from India, to Malaysia, to Aruba, Nepal and more… tickle our palate and make us wonder at the role of food in our lives as does the story about biryani battles by Anagaha Narasimha.
Talk of war, perhaps, conjures up gastronomic dreams as often scarcity of food and resources, even potable water and electricity is a reality of war or conflict. Michael Burch brings to us poignant poetry about war as Ramesh Karthik Nayak has a poem on a weapon used in wars. Ryan Quinn Flanagan has brought another kind of ongoing conflict to our focus with his poetry centring on the National Day (May 5th) in Canada for Vigils for Missing and Murdered Indigenous Women by hanging red clothes from trees, an issue that perhaps has echoes of Vinta Nanda’s Shout and Suzanne Kamata’s poetry for her friend who went missing decades ago as opposed to Rachel Jayen’s defiant poetry where she asserts her womanhood. Ron Pickett, George Freek and Sayantan Sur have given us introspective perspectives in verse. We have more poetry asking for a relook at societal norms with tongue-in -cheek humour by Jason Ryberg and of course, Rhys Hughes with his heartfelt poem on raiders in deserts.
The piece that really brought a smile to the lips this time was Farouk Gulsara’s ‘Humbled by a Pig’, a humorous recount of man’s struggles with nature after he has disrupted it. Keith Lyons has taken a look at the concept of bucket lists, another strange construct, in a light vein. Devraj Singh Kalsi has given a poignant and empathetic piece about trees with a self-reflective and ironic twist. We have narratives from around the world with Suzanne Kamata taking us to Osaka Comic Convention, Meredith Stephens to Sierra Nevada and Shivani Shrivastav to Ladakh. Paul Mirabile has travelled to the subterranean world with his fiction, in the footsteps perhaps of Jules Verne but not quite.
We are grateful to all our wonderful contributors some of whom have not been mentioned here but their works were selected because they truly enriched our June edition. Do visit our contents page to meet and greet all our wonderful authors. I would like to thank the team at Borderless without whose efforts and encouragement our journal would not exist and Sohana Manzoor especially for her fantastic artwork as well. Thank you all.
Wish you another lovely month of interesting reads!
“May is pretty, May is mild,
Dances like a happy child…”
Annette Wynne (Early twentieth century)
Each month is expressed in a different form by nature in various parts of the world. In the tropics, May is sweltering and hot — peak summer. In the Southern hemisphere, it is cold. However, with climate change setting in, the patterns are changing, and the temperatures are swinging to extremes. Sometimes, one wonders if this is a reflection of human minds, which seem to swing like pendulums to create dissensions and conflicts in the current world. Nothing seems constant and the winds of change have taken on a menacing appearance. If we go by Nazrul’s outlook, destruction is a part of creating a new way of life as he contends in his poem, ‘Ring Bells of Victory’ — “Why fear destruction? It’s the gateway to creation!” Is this how we will move towards ‘dancing like a happy child’?
Mitra Phukan addresses this need for change in her novel, What Will People Say — not with intensity of Nazrul nor in poetry but with a light feathery wand, more in the tradition of Jane Austen. Her narrative reflects on change at various levels to explore the destruction of old customs giving way to new that are more accepting and kinder to inclusivity, addressing issues like widow remarriage in conservative Hindu frameworks, female fellowship and ageing as Phukan tells us in her interview. Upcoming voice, Prerna Gill, lauded by names like Arundhathi Subramaniam and Chitra Divakaruni, has also been in conversation with Shantanu Ray Choudhuri on her book of verses, Meanwhile. She has refreshing perspectives on life and literature.
Devraj Singh Kalsi has written a nostalgic piece that hovers between irony and perhaps, a reformatory urge… I am not quite sure, but it is as enjoyable and compelling as Meredith Stephen’s narrative on her conservation efforts in Kangaroo Island in the Southern hemisphere and fantastic animals she meets, livened further by her photography. Ravi Shankar talks of his night hikes in the Northern hemisphere, more accurately, in the Himalayas. While trekking at night seems a risky task, trying to recreate dishes from the past is no less daunting, as Suzanne Kamata tells us in her Notes from Japan.
May hosts the birthday of a number of greats, including Tagore and Satyajit Ray. Ratnottama Sengupta’s piece on Ray’s birth anniversary celebrations with actress Jaya Bachchan recounting her experience while working for Ray in Mahanagar(Big City), a film that has been restored and was part of celebrations for the filmmaker’s 102nd Birth anniversary captures the nostalgia of a famous actress on the greatest filmmakers of our times. She has also given us an essay on Tagore and cinema in memory of the great soul, who was just sixty years older to Ray and impacted the filmmaker too. Ray had a year-long sojourn in Santiniketan during his youth.
Eulogising Rabindrasangeet and its lyrics is an essay by Professor Fakrul Alam on Tagore. Professor Alam has translated number of his songs for the essay as he has, a powerful poem from Bengali by Masud Khan. A transcreation of Tagore’s first birthday poem , a wonderful translation of Balochi poetry by Fazal Baloch of Munir Momin’s verses, another one from Korean by Ihlwha Choi rounds up the translated poetry in this edition. Stories that reach out with their poignant telling include Nadir Ali’s narrative, translated from Punjabi by his daughter, Amna Ali, and Aruna Chakravarti’s translation of a short story by Tagore. We have more stories from around the world with Julian Gallo exploring addiction, Abdullah Rayhan with a poignant narrative from Bangladesh, Sreelekha Chatterjee with a short funny tale and Paul Mirabile exploring the supernatural and horror, a sequel to ‘The Book Hunter‘, published in the April issue.
All the genres we host seem to be topped with a sprinkling of pieces on Tagore as this is his birth month. A book excerpt from Chakravarti’s Daughters of Jorasankonarrates her well-researched version of Tagore’s last birthday celebration and carries her translation of the last birthday song by the giant of Bengali literature. The other book excerpt is from Bhubaneswar@75 – Perspectives, edited by Bhaskar Parichha/ Charudutta Panigrahi. Parichha has also reviewed Journey After Midnight – A Punjabi Life: From India to Canadaby Ujjal Dosanjh, a book that starts in pre-independent India and travels with the writer to Canada via UK. Again to commemorate the maestro’s birth anniversary, Meenakshi Malhotra has revisited Radha Chakravarty’s translation of Tagore’s Farewell Song. Somdatta Mandal has critiqued KR Meera’sJezebel, translated from Malayalam by Abhirami Girija Sriram and K. S. Bijukuma. Lakshmi Kannan has introduced to us Jaydeep Sarangi’s collection of poems, letters in lower case.
There are pieces that still reach out to be mentioned. Do visit our content page for May. I would like to thank Sohana Manzoor for her fantastic artwork and continued editorial support for the Tagore translations and the whole team for helping me put together this issue. Thank you. A huge thanks to our loyal readers and contributors who continue to bring in vibrant content, photography and artwork. Without you all, we would not be where we are today.
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