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Stories

Blue Futures, Drowned Pasts

By Md Mujib Ullah 

The air at Patenga Sea Beach hung thick with salt and memory, a living weight that clung to Karim’s skin and settled in the grooves of his thoughts. He stood motionless, his feet half-buried in the damp embrace of sand, facing the heaving expanse of the Bay of Bengal. Each wave broke with a rhythm once known to him, a lullaby of youth and simplicity. Now, it rolled like an echo chamber of loss.                            

He didn’t just see the sea—he saw the absence it bore. Azimpur Union, a coastal village once nestled like a secret in the arms of Sandwip, no longer existed. The Meghna River had devoured it, inch by insatiable inch, until it was reduced to memory. His family, like countless others, had fled inland, displaced not by war or persecution but by the creeping violence of climate change. Halishahar became their reluctant refuge. Karim, now a climate scientist, carried the wound like a relic—not healed but honed.

Beside him, Anika traced idle circles in the sand with her bare toe, drawing galaxies destined to be washed away. Her short hair fluttered in the breeze, framing a face defined by quiet determination and dark, searching eyes. As a student of Environmental Sciences at the Asian University for Women, she viewed the beach not just as a source of beauty, but as a battleground.

“It’s getting worse, isn’t it?” she asked, not breaking her gaze from the horizon, where cargo ships floated like steel ghosts. Karim nodded. “It’s not just the sea creeping in. It’s the salt in our fields, the poison in our wells. My grandfather spoke of golden paddy fields in Azimpur. Now it’s all water. Still. Empty. Unforgiving.” A voice, crisp and clear, cut through the air. “That’s why your work matters, Bhaijaan[1].”

Hafsa had arrived, stepping into the wind like it obeyed her. Younger than Karim by a decade, she wore her uniform from Feni Girls Cadet College like a blade sheathed in pride. Her eyes, sharp and unwavering, carried a fire that scorched complacency.

“Understanding the science is our first defence,” she said. “You’re giving us a fighting chance.” Karim smiled—not the performative curve of lips, but the rare, involuntary kind that cracked through layers of grief. “That’s why I studied Oceanography. Not for grades. To learn the language of the sea. To understand the force that took everything from us.”

They drifted to the quieter banks of the Chittagong Boat Club, where boats bobbed like dreams tethered to fragile ropes. Here, the water lapped gently, less a threat, more a whisper.

“Sandwip’s shoreline is disappearing,” Karim said, leaning on the railing. “Sometimes by metres each month. It’s a perfect storm: rising seas, broken river systems, displaced sediments. The Bay of Bengal funnels it all into disaster. It’s not just nature. It’s a mirror of our neglect.” Anika picked up the thread like a weaver. “It’s a slow massacre. Salt invades the soil. Crops wither. Freshwater turns brackish. The mangroves—our final fortress—are dying. The Sundarbans are gasping.”

“And with them,” Hafsa added, “everything unravels. People flee inland. Cities like Halishahar swell and groan. Agriculture collapses. Food security frays. And without mangroves, every cyclone cuts deeper. Everything is connected.”

Karim nodded, the weight of data behind every word. “The models I build are no longer predictive. They’re prescriptive. They warn of what is already unravelling. Sea levels, salinity, erosion—they all spike. The IPCC[2] confirms it. But the tide doesn’t wait for consensus.”

At Foy’s Lake, serenity shimmered over the water like an illusion. But their thoughts grew darker.

“Bangladesh knows storms,” Anika said, her voice soft. “Bhola, 1970. Chittagong, 1991. Cyclones that rewrote our history in wind and water.”

“Those storms taught us resilience,” Karim said. “Shelters. Warnings. Community drills. However, the storms are now stronger. Hotter oceans feed them. And higher seas mean bigger surges—even from weaker storms.”

Hafsa’s voice quivered at the edges. “But how much more can we endure? Our grandparents rebuilt after every storm. But if this continues, is it resilience, or a kind of slow exile?” Anika nodded. “Traditional adaptation isn’t enough anymore. We need foresight. Long-term planning. Even planned migration. And that’s not just about moving people. It’s about moving lives, cultures, entire identities.”

They sat for a while, sharing silence, watching birds slice the air like omens. In that stillness, Anika said, “You know what hurts most? It’s not the loss of land. It’s the loss of certainty. The knowledge that what raised you, fed you, and shaped your memories is vanishing. And there’s no going back.”

Silence followed them to the War Cemetery, where white stones bore witness to another kind of war. One with bullets and borders. Karim saw it differently now: this, too, was a battlefield. But here, the enemy was time, water, and indifference. Later, among the blooms of DC Park and the Sitakunda Botanical Garden and Eco Park, their talk turned to life beneath the waves.

“Most people think of fish,” Karim said, gesturing to a flowering hibiscus. “But the ocean’s true wealth lies in biodiversity. Coral reefs, like those near St. Martin’s Island, are the lungs and nurseries of the sea.”

“And they’re dying,” Anika said. “Warming waters bleach them. Carbon dioxide makes the ocean acidic. Reefs dissolve before our eyes. It’s extinction, hidden by depth.”    

Karim’s voice dropped like an anchor. “The blue economy—fishing, tourism, aquaculture—depends on healthy oceans. Without reefs, fish vanish. Livelihoods collapse. The sea becomes a graveyard.”

“So it’s not just conservation,” Hafsa said. “It’s survival. But how do we grow our economy without destroying what sustains it?” Karim didn’t hesitate. “Balance. Policy grounded in science. Marine protected areas. Sustainable fishing quotas. Eco-tourism. Stewardship over extraction.”

They spent hours walking through the botanical paths, discussing seagrass, kelp forests, and the future of ocean farming. Anika shared her dreams of working with community-led marine conservation, and Hafsa spoke of pushing climate policy debates in every youth parliament session she attended. High in the Chandranath Hill, where the wind carried the scent of leaves and legacy, their voices softened.

“There’s more to the sea than science,” Karim said, his voice almost reverent. “There’s a myth. Memory. Identity. That’s what the blue humanities teaches us. When Azimpur disappeared, it wasn’t just land. It was language. It was lullabies.” Anika blinked; her eyes were glassy. “I see it in displaced communities. They lose more than their homes. They lose stories. The names of trees, the tastes of festivals.” Hafsa, ever the compass, brought it home. “So blue humanities means recognising the ocean not just as a resource but as part of us. A mirror. What we take from it, we take from ourselves.” Karim looked at them and felt a surge rise in his chest, not of sorrow this time, but something like hope. “You’re right. This fight isn’t just scientific. Or economic. It’s human. And we can only win it together.”

As the sun dipped behind the Chandranath Hill, setting the sky ablaze in golds and blood-reds, they walked in a hush, not of despair, but of reverence. They were young, yes. But in their hearts, they carried the future—and it was heavy.

Then Anika asked, “What gives you hope?” Karim looked at her, then at Hafsa, and smiled. “You do. The fact that we’re talking like this. That we care. That we haven’t given up.” And Hafsa, eyes firm as stone, said, “We won’t. We’re the generation that listens to the tide before it screams.”

They turned from the sea, toward the uncertain shore of tomorrow. The water behind them was not done. But neither were they.

Sandwip beach. From Public Domain

[1] A respectful way of addressing a man, translates to brother

[2] Intergovernmental Panel on Climate Change

Md Mujib Ullah reads, researches, thinks, and writes. His work has appeared in Artful Dodge, Text, Borderless, and elsewhere.

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

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

Click here to access Monalisa No Longer Smiles on Kindle Amazon International

Categories
Essay

This Garden Calls Out to Me: A Flaneur in Lucknow’s Sikandar Bagh

Photographs and Narrative by Prithvijeet Sinha

Sikandra Bagh

What if I tell you that History is my neighbour? It would sound like hyperbole to a lay person. But if you are a resident of the historic and expansively beautiful urban area of Hazratganj that is the heart of the city, it will seem a shorthand for reflections in time.

Hazratganj is a state of mind, not only a piece of land stretching across kilometres and hosting the best that humanity has to offer, whether natural or man-made, including the Imambaras, gardens and riverfronts and gateways that define Lucknow as also the mass of commercial institutions, cultural centres and culinary establishments elevating its profile as a diverse area of activity.

In this beautiful centre of a glorious city lives yours truly and one of the most evocative of the historic gardens dotting Hazratganj also happens to be a mere five-minute walk from his home. I’m talking about Sikandar Bagh, a garden complex that is a sight for sore eyes and retains history in its structure, with lime yellow walls of lakhauri[1], a beautiful gateway bearing the city’s fabled fish symbol and a pagoda style arch signifying the melange of influences in its multidimensional whole.

The domes and ramparts retain the haunting afterglow of history but also the dark days that led to its tragic unraveling.

Built around the mid 1840s by Nawab Wajid Ali Shah[2], the great aesthete and ruler of Lucknow, Sikandar Bagh was a private residence, a garden of elegance and a performance art venue made to honour his love for Sikandar Begum, his beloved wife. The intimacy of this saga of love and mutual respect shared between two life-partners is reflected in the way the place comes alive for any visitor. There’s nothing grand here. Yet there’s the gift of verdure, the protection of huge, dome-like trees and remnants of the original structure that reminds us of a place preserved in its handsome inception and prevalence down the ages.

But Sikandar Bagh is a cultural outlier because apart from its blessed beginnings and present serene state, it had also been scarred by the First War of Independence in 1857[3]. This was the site that was used by sepoys of Awadh (a hallowed title for the region comprising Lucknow and its neighbouring districts that continues to this date) to mount their rebellion against British supremacy. This was a private garrison and hiding place in those erstwhile days of November 1857 where the plotting of a historic rebellion took place. History was not kind to the rebels, and nearly all were slain by the colonial establishment. Knowing that the serenity here could hold so much ballast in its open space makes one ponder. To know about this is to understand that we are progeny of these brave and the remains of the walls facing this garden and continuing up till the Shahnajaf Imambara seem to take the toll of all that bloodshed and hurt that lies embedded within these bricks.

Of course, knowing the background is imperative but so is being inured to its beauty. I am an eternal walker, a flaneur, so for me Sikandar Bagh has been a favourite place to revel in the humbling and aesthetic aspects of Lucknow. Sikandar Bagh befits my desire to saunter and take in the bouquet of nature.

*

It’s been my morning ritual to be comforted by the breeze, swayed and lulled to satisfaction with the lullaby of the trees within its compound and behold a distant beehive in the tallest Goliath among these ancient trees, looking at nestling birds and squirrels in the lower branches of their trunks.

As I write this after a brief stroll in this garden on a pleasant Sunday afternoon, the summer seems to have been evoked to spread its sunny yellow carpet with mellow repose instead of scorching us with humid darts and blows.

The thing with Sikandar Bagh is that history is alive here but also a natural companion. Always the silent, sturdy type, an occasional morning walker or casual passers-by make for rare sights inside its premises in the early hours. It always makes me feel like the chosen one, allowed to roam its length and breadth, making it a regular haunt.

*

A lot of times while going from one place to another, I see young people seated on its green benches, relieving themselves of their pressures and sometimes enjoying a quiet meal here. I also look at people who, besotted by its unique beauty and structure, walk leisurely and photograph its stretches.  Their eyes register the special place it holds for them.

Today, Sikandar Bagh is overseen by the Archeological Survey of India. Around early 2022, it commissioned a refurbishment that restored its walls, ramparts with the lakhauri , a far cry from the concrete jungle that is an urban reality in the modern era.

It always comes down to these columns, frescoes, ramparts, a humble mosque within this secular compound, the pavilion signifying what once was an open theatre and the palatial remains, all blended in the unique textures and colours of centuries; worn out by time but never denuded of glory, a stark yet humbling reminder that Sikandar Bagh is a labour of love. Writing this, I am enchanted by its gateway’s peacock iconography, how they seem to call out to the actual birds who visit from the neighbouring Botanical Gardens premises facing this little slice of verdure and architectural wonder.

I inhale the sights, simultaneously rattled by the annoyance of traffic outside its main gate intruding upon its peculiar, unique position within the heart of the city. Yet I know it’s sealed by a dignified reserve, as if these domes and the gateway spell quietude and ubiquity like the red eyes of the pigeons flying near the roof and peering down its height.

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Honeybees on the tallest trees here go from the nectar of one season to the next and the sun shades this compound in moods invoking the spirit of a poet in me. It’s so easy to be wrapped in the peace and calm of this open space and its historical representation, so easy to know that creative inspiration fed by such a pleasant source is far from just a fictional device. It is a living, breathing ally to diurnal times.

Being in the lap of nature within cities can be a novel intervention. But my love affair with Sikandar Bagh – my own paradise — never waits for a distinct memento. It came to be from a place of love. It is my composite love for it that makes it stand out.

[1] lime paint and plaster

[2] Nawab Wajid Ali Shah was the eleventh and last nawab of Awadh. His kingdom was annexed by the East India Company in 1856 and he was exiled to Kolkata.

[3] Revolt of 1857: The sepoys – Hindus and Muslims – rose united in rebellion against the British Raj. As a result, the British adopted the weapon of Divide and Rule successfully, and the subcontinent continues to be scarred by the fanning of the same flame to this day.

Prithvijeet Sinha  is an MPhil from the University of Lucknow, having launched his prolific writing career by self-publishing on the worldwide community Wattpad since 2015 and on his WordPress blog An Awadh Boy’s Panorama. Besides that, his works have been published in several journals and anthologies. 

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