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Poets, Poetry & Rhys Hughes

India Pale Ale

Courtesy: Creative Commons

I thought that I didn’t like India Pale Ale until I came to India. I wasn’t pale at the time but I was certainly ale (and arty)[1] because I had just spent three months in Sri Lanka and had acquired something of a tan. Maithreyi, my companion, took me to a place that sold ‘craft’ beers and I changed my mind about the merits of India Pale Ale and my mind has been changed ever since.

The notion of a ‘craft’ beer is one that intrigues and baffles me. I think of a craft as something involving working with wood, chiselling it, shaving it like an orthogonal chin with a plane, drilling it, fitting it together into a chair, table, ark for animals, or something beautiful but useless that looks like furniture but also might conceivably be a petrified tree stump.

Therefore, how can one ‘craft’ a beer? The foam on the surface of the brew once it has been poured into a glass can be removed with a flat tool, the blade of a knife or a metre long ruler or even a credit card. Yes, that is plausible and once or twice I have seen it done. But what other crafty actions remain to be taken in regard to the beer in order that it should be regarded as ‘crafted’? Drilling a beer is a futile exercise. We have all done that with our noses and understand the lack of permanent effect. Who among us has never surrendered to the temptation to dip our noses into the meniscus of our beers?

Let me adjust that hasty statement. Many or at least some of us have done that with our noses, at one time or another, probably long ago when we were the callowest of youths, students at some college or other and fairly new to the rite of drinking beer. The dipping of the nose might even have been accidental. Who can be a harsh judge in such circumstances?

So, it is settled that beer can’t be drilled, nor can it be sawn in half. We have all heard the wise saying that the optimist regards the glass as ‘half full’ and the pessimist regards it as ‘half empty’ and we instinctively know that the liquid in those philosophical glasses is beer. What kind of beer is less clear. If it is totally unclear then it must be a dark beer, but I suspect it is only unclear with a foggy opaqueness, which tends to lead me to conclude it is India Pale Ale. It becomes easier now to picture the scene in the drinking den, whether that den is posh and plush or crude and rude. We see the optimist and the pessimist, good friends but mismatched, holding up their depleted glasses.

Both are drinking India Pale Ale and have consumed exactly fifty percent of the contents of what once were brimming vessels. The optimist looks down at his glass with a large smile, “Ah, it is still half full. What excellent luck!” while the pessimist looks at his own glass with a deep frown, “It’s half empty already, what a blasted nuisance the world is!” But something strange has happened, and we have only just noticed it. We suppose that a ‘half empty’ glass contains beer in the bottom half and air in the top half.

Because this is a vision we are having, and visions aren’t subject to all the laws of physics, especially not gravity, we are amazed to peer closer and see the beer in the pessimist’s glass is confounding our (unreasonable) expectations. It contains the air at the bottom and the beer at the top. The optimist is impressed and cries, “What marvellous luck! You don’t need to tilt your glass at a steeper angle anymore in order to receive the India Pale Ale into your mouth. You can slurp it up from the summit of the glass.”

I am sure the pessimist will object to this positive interpretation of a beery situation and find some convoluted reason why this defiance of gravity is a bad outcome. But I am weary of these two fellows now. Let us leave them in peace to get drunk together, the optimist thinking that being drunk is good, his friend concluding that it’s not as good as he was led to believe it is, and head to a quite different location for a drink of our own.

The place Maithreyi took me to that sells ‘craft’ beers, including the India Pale Ale that is the subject of this small essay, was somewhere in Bangalore not far from Blossom Book House. We had bought books in that house, as we often do, a decent haul, and went to celebrate with beer and nibbles, and later, when we were just a little tipsy, we hurried back to Blossom Book House and bought more books. But this isn’t an article about books. It’s an article, or what passes in my mind for an article, about beer, specifically about the type of beer that is known as India Pale Ale. Where was I?

Oh yes, I was in that place that sold craft beers, and I have decided at this point to stop writing the word ‘craft’ in inverted commas. There were too many craft beers on offer for an easy selection to be made, so we ordered a sampler of many kinds, and they came on a big tray. They were in small glasses, dark beers and golden, reddish beers and greenish, fizzy beers and still beers, and perched on the end of the rectangular tray, two glasses of the mythic India Pale Ale. My reluctance to try these hangers-on is comprehensible when one considers how dreadful a non-craft India Pale Ale can be.

Back in Britain, decades ago, when first I allowed beer to pass the gates of my lips without turning it back, IPA was fairly popular among those unfortunate drinkers who lacked taste buds. Why they lacked taste buds was never explained to anyone’s satisfaction. Presumably they had lost them overboard while sailing from the Far East on packet steamers. It was a long time before I knew that IPA was an acronym for India Pale Ale. I assumed it was a word in its own right and that its own right was wrong. I would say that most beers sold in pubs in Britain in the 1970s were abominable, but this suggests that the Abominable Snowman would like them, and I doubt that he would.

I have done a little research (a very little, almost too little to be regarded as anything other than mildly faffing around) and I learn that India Pale Ales were once a noble style of beer, invented in the 18th Century for export by the sneaky imperialists of the East India Company. It was flavoured with hops, lots and lots of hops, more hops than a kangaroo would do, if it had a chance, and the adding of these extra hops had some effect that meant the ale would mature or whatever the word is during the difficult sea voyage.

I don’t really understand the chemistry of it, and I don’t really want to, I am merely repeating what I found out just now. IPA was an EIC product, proving to my own satisfaction that acronyms aren’t relatively modern inventions but have been around for a very long time. The decline in the quality of IPA, and all beers for that matter, during the 20th Century, is perhaps a mysterious one or maybe it has something to do with the big breweries rapaciously wanting to increase their profits by using less lovely ingredients and processes. I don’t especially like the taste of hops at the best of times. At the worst of times hops make me wince and frown like some kind of wincing frowner, a very lazy comparison, true, but my powers of simile and metaphor are temporarily on hold, for I haven’t recovered from a rather severe bout of acutely remembering the IPA and other beers of my early days on this gracious planet of ours.

A strongly hopped beer tastes, to me, like mouldy bread. The IPA of those long-gone days tasted like a sack of mouldy loaves swung around the head of a gorilla and used to bash one on the bonce. My powers of simile and metaphor, such as they are, seem to have returned. And yet when I took a cautious gulp of the IPA in the place that Maithreyi had guided me to, my preconceptions and established prejudices melted with the delightfulness of the taste that confronted me. What a magnificent India Pale Ale! I tried the other IPA on offer. Golly, this was even more wondrous! Let’s order more!

I say, my dear, we have bought books in our favourite bookshop. Isn’t it an astonishingly beneficial way to pass the time, obtaining books? And it’s not as if we buy them but never read them. We read them! Wouldn’t it be a jolly romp to return to the bookshop, once we have consumed more beers here, and engage in the act of purchasing more books? Indeed!

A final observation from an unobservant chap (myself). Any British fellow who guzzles IPA with gusto and ends up with a sodden moustache and beard as a consequence can be regarded as a ‘Pale Ale Face’ which is what ‘Indians’ in old Westerns almost called cowboys on occasion. Anyway, this essay appears to be over now, and the page on which this final paragraph has been written is an empty glass at last, the brew of its words fully consumed by your eyes, leaving only the dregs of a footnote at the bottom.

[1] Hale and hearty, a description used frequently in my youth, but which seems to have fallen out of favour. Falling out of favour is easily done if the speeding favour brakes to a sudden halt and the thing that was in favour isn’t strapped in properly. When it falls out of favour it often lands with a painful bump and favour drives off with a monstrous laugh. Even flavours can fall out of favour or back into it.

Rhys Hughes has lived in many countries. He graduated as an engineer but currently works as a tutor of mathematics. Since his first book was published in 1995 he has had fifty other books published and his work has been translated into ten languages.

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Essay

Epaar Bangla, Opaar Bangla:  Bengals of the Mind

Asad Latif

By Asad Latif 

If nations are imagined (but not therefore imaginary) communities, Bengal is a nation. The reality of nationhood rests on the quality of the imagination that goes into it. 

Calcutta, where I was born in 1957, provided me with a cartographic point of entry into the imagined geography of Bengal. My Bengal began with West Bengal, within which lay a rough face-to-face society rich in visual and oral provenance. The everyday homeliness of rural thatched mud huts were reflected in the high gabled roofs which contoured the spiritual skyline of Dakshineswar. Minstrel bauls walked through the soul, half-starved on their way to seeking salvation for everyone. The very soil of Bengal broke out in bhatiali song. The chau dancers of Purulia dramatised Hindu epics in a language emotively accessible to all. The energy of santhali dances invoked the performative agency of a tribal culture that refused to let pre-industrial and pre-state time lapse into contemporary irrelevance.   

Agricultural West Bengal encompassed the legacy of a land whose grasp was much longer and larger than the social circumference of middle-class life in Calcutta. In my own ancestral village in Hooghly district, a short train journey from Howrah station, boys my age could climb trees and run barefoot and naked across scorching soil, outpacing the shy urbanite in me. Young women, taught to avoid the roving gaze of male strangers, lowered their eyes to the ground in modest contemplation when men passed by. Farmers could bend unbearingly long to till the land, standing upright for only a few minutes before they resumed their toil. No one spoke English. No one needed to. No one needed me. I needed them.

To the west of West Bengal lay the rest of India. The “rest of the Indians” were decipherable. In Bihar and Odisha, once a part of Bengal Presidency, rump Bengal lived on in the linguistic and cultural traces of the colonial past. Farther west, West Bengal vanished into an eclectic Indian nationalism. I must say, though, that on a long train journey from Calcutta to Cochin in Kerala as a teenager, I thought (rightly or wrongly) that the particular shade of green found in the vegetation of West Bengal was lost till it was found in Kerala again. The renewed connection between Calcutta and Cochin made it possible for me to extend my Bengali-ness vicariously all the way to Kerala, making me quite a pan-Indian Bengali, I suppose. The connective nationalism of Indian Railways (like that of the State Bank of India) plays no small part in protecting the unitary reality of contemporary India. 

Farther to the west of the rest of India lay the lands of Islam. They began with forbidden territory: Pakistan. Pakistan embodied the Partition of India, the departure of space from Indian time. For me, West Pakistan was unknown terrain: No one I loved or hated lived there. But if, indeed, there was an “Islamic world”, then I certainly inhabited it subliminally. I was (and am) a Muslim. I belonged to the global efflorescence of a great faith that had spread into my birth and self-recognition. West Pakistan had nothing to do with it. My mother was a practising Muslim (after a fashion), my father was a practising atheist. As a five-day-old, I had been “adopted” by a childless Hindu couple who lived in the same block of flats as my parents. Nilima Kurup (née Bose) took me to temples, and Parameshwara Raghava Kurup, well-versed in the Vedas, stayed away from the Puranas. But no one made me anything but a Bengali indebted forever to the Islamic religiosity of South Asia, Central Asia, the Middle East, and beyond. Certainly, I belonged to the lands of Islam. There was nothing vicarious about this. It is just that West Pakistan had nothing to do with my identity. I respected its existence even as it stayed indifferent to mine (since it had no idea that I existed). That was all.   

East Pakistan was different. I had relatives there on both my mother’s side and my father’s. I remember a childhood visit to my paternal uncle’s home in Narayanganj. It was raining. Unlike West Bengal (where rain falls on people), the people of East Bengal fall on the rain. A female cousin, all of six years old, made an excuse of going to the bathroom: instead, she took a bath in a roomful of rain as wide as the skies outside, within sight of the elders, dancing with the abandon of the water that flowed through her tresses, kissed her eyes, drenched her frock, and caused an uproar that led her to be dragged back to lunch, laughing unrepentantly. Meanwhile, her elder brother wanted to go to the “bathroom” as well. He was held back by his hair and resisted violently, raining cries of recrimination on everyone. Watching my wild bangal (native East Bengali) cousins in righteous ghoti (native West Bengali) awe, I decided that East Pakistan was too Bengali for me. 

But it was not to be. 

Bangladesh

Baker-ul Haque came to live next door to our flat in Nasiruddin Road, Park Circus, Calcutta, in 1971. A year younger, he caught up with me in historical time with vivid stories of how he and his family had escaped Bogra, trudging through forests as the Pakistani air force strafed fleeing civilians, people fell dead on the left and the right, his mother held on his elder sister’s hand, he grasped his younger siblings firmly, his father led on, and all of them made their way — to me. I doubted specific details of his heroic journey, but not his visceral courage. I witnessed it when my pet dog chased him to the fourth-storey terrace, he climbed on to the parapet and kept walking on it calmly, I held the dog back, and I implored Baker to climb down. He smiled at me insouciantly. It was only when he saw tears in my eyes that he relented. Once he was safely down, I wanted to give him a hearty kick, but settled for a rib-shattering hug instead. Epaar Bangla[1]wins when Opaar Bangla[2]is safe. 

Baker and his family lived next door, in the third-storey flat which the writer Syed Mujtaba Ali had occupied briefly earlier. Given his literary reputation, I stayed away from him, but he was rather fond of me, and I invaded his rooms whenever I found the door ajar. The family which stayed with my own family was that of Lutfar Rahman, an Awami League Member of the National Assembly from Khulna. Chachaji[3] smiled a lot but was fierce, chachiamma[4] was benign to a fault, their elder son Ornob took after his mother and their younger son Tulu (his pet-name) took after his father. Both brothers, who were much younger than I was, became mini companions on laughing excursions to the same terrace on which Baker had reduced me to tears.         

The liberation of Bangladesh on December 16, 1971 (which happily and sadly soon saw Baker’s and Lutfar Chacha’s families returning to Bogra and Khulna) was my rebirth as a Bengali. I had been born into the bifurcated mythos of Bengal, which was first partitioned administratively in 1905 in an act rescinded in 1911, and then partitioned along national lines in 1947 to produce Pakistan. The partition of that Pakistan in 1971 produced an independent Bengali nation called Bangladesh. It is only in the years to come that I would understand the reasons for the ontological security of Bangladesh: it is a sated or satisfied nation because its borders guarantee the two conditions of its existence — that it be Bengali and Muslim in co-determinate measure — with provision being made for the rights of non-Bengalis and non-Muslims within its borders. Indeed, so successful has Bangladeshi nationalism been that its majority population finds it unnecessary to seek links with West Bengal to achieve cultural completion. That attitude is reciprocated in West Bengal, whose incorporation into the Indian ethos makes Bangladesh its closest neighbour, but a neighbour nevertheless. 

Yet, to look across the border within Bengal, to see its integrity, is to un-see its divisions. Bengal is named ground: To walk on it, even vicariously, is to recover the insights of Walter Benjamin [5]on his visit to Moscow. Benjamin’s delineation of Russia as named ground (in his Reflections) leads him to proclaim that “you can only see if you have already decided… Only he who, by decision, has made his dialectical peace with the world can grasp the concrete. But someone who wishes to decide ‘on the basis of facts’ will find no basis in the facts”. The facts are always too many. The facts are contested. The facts might not even be facts. But Bengal is decidedly one — not because of its successes but because of its vulnerabilities. 

The Refugee Within

The fragile figure of the refugee straddles the two Bengals. Achintya Kumar Sengupta’s[6] poem, Udvastu[7], rendered unforgettably in the recitation by Kazi Sabyasachi[8], is a part of an aural tradition without which it is impossible to re-imagine the Bengal that existed once. What makes the refugee central to the idea of Bengal as a state of mind is that she embodies the land’s biological unity and integrity in the very act of losing her place in its stolen geography. Bearing the scars of uprooting, dispossession and exile, the refugee socialises the pain which lasts long after the immediate displacement of enforced migration has passed. To seek refuge is to pass from basha to bariBasha is a temporary place of residence, no matter how long that temporarity lasts. Bari is an inherited abode which is both ancestrally personal and nationally interchangeable with desh, the native land. The udvastu or vastuhara[9] from East Bengal seeking refuge in West Bengal since 1947 had to contend with what Nilanjana Chatterjee calls “epistemological denial in India”, wherein those who had crossed the border were treated as an economic burden. 

The epilogue to the story of the refugees of 1947 was written in 1971, when it was the turn of Bengali Muslims from East Pakistan to join Bengali Hindus in seeking refuge in West Bengal. While the vast majority of refugees spent months in harrowing conditions, professional and other middle-class families were often hosted by middle-class families in West Bengal who could afford to do so. It was not unknown for the family of a Bengali Hindu, who himself had come from East Bengal in 1947, to share its basha with a Bengali Muslim family. The Bengali Muslim knew that he would return home if Bangladesh won the war. His Hindu host kept dreaming of a bari relegated forever to the nostalgic lay of a lost land. 

My family was more lucky. Our first trip to Bangladesh was to Lutfar Chacha‘s home in Khulna across the land crossing in Benapole. Of course, I enjoyed the royal spreads at breakfast, lunch, tea and dinner. But what filled my eyes was the sight of Ornob, Tulu and their little sister (by then), strutting about their home as if it was theirs. It was theirs. Bangladesh restored in me my extended sense of myself, my identity as a resident of Epaar Bangla who sought completion in the autonomy of Opaar Bangla. Soon after, I visited Baker in Bogra. At one dinner, his mother sat down just the two of us together. Naturally, I got the larger piece of fish in a bowl. I cooked up an excuse for Baker to go and look for something. I exchanged the bowls. He returned to eat. When we began with the vegetables, he exchanged the bowls. That insouciant smile again. I hate him. He has outwitted me always inspite of being a year younger.     

The refugee is the first citizen of imagined Bengal. She will also be the last. That is, without Bangladesh and West Bengal being the ultimate refuge of the transitional Bengali self, there will be no Bengal.  

There will be no me.

Birth matters. No one can be born in two places.

In his essay, “Englands of the Mind”, Seamus Heaney[10] registers the birthing role of place in the “interlacing and trellising of natural life and mythical life”; what a land does is to afford a man “nurture that he receives by living among his own”. Bengal forms a similar geography of the mind. It received me among my own. Life was material, which is to say that it veered from the banal to the brutal, but it was redeemed by the furtive companionship of the imagination.  The trellising which Heaney notes does not have to be idyllic. It rarely is. Australian writer Dorothea Mackellar’s[11] poem, “My Country“, written while she was homesick in Britain, captures the native lore of a land that her ancestors supposedly discovered for her. She writes: “I love a sunburnt country,/ A land of sweeping plains,/ Of ragged mountain ranges,/Of drought and flooding rains.” Australia is nothing without its enervating drought and its equally uncaring rain. Mackellar dismisses the pastoral epiphanies of a promised expatriate land, particularly “When sick at heart, around us/ We see the cattle die”. Natural disasters provoke her to reclaim art from nature. She redeems a wayward landscape by offering it refuge in her lines.

I am no Heaney or Mackellar. Bengal has no need to find refuge in my words. May these English words of mine find refuge in the lap of Bengal from which I sprung into life.  


[1] Epaar Bangla: This side of Bengal (West Bengal)

[2] Opaar Bangla: That side of Bengal (East Bengal or Bangladesh)

[3] Father’s younger brother is chacha and ji is an honorific in chachaji

[4] Father’s younger brother’s wife

[5] Walter Benjamin, German-Jewish man of letters and aesthetician (1892-1940)

[6] Achintya Kumar Sengupta (1903-1976), writer and editor in Bengali language

[7] Refugee in Bengali

[8] Kazi Sabyasachi (died 1979), a Bengali Elocutionist, Nazrul’s son

[9] Dispossessed in Bengali

[10] Seamus Heany, 1939-2013, Irish writer

[11]  Dorothea Mackellar, 1885-1962

 Asad Latif is a Singapore-based journalist. He can be contacted at badiarghat@borderlesssg1

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