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Contents

Borderless, January 2026

Art by Sohana Manzoor

Editorial

Sense and Nonsense: Atonal, Imperfect, Incomplete… Click here to read.

Translations

Akashe Aaj Choriye Delam Priyo(I sprinkle in the sky) by Nazrul has been translated from Bengali by Professor Fakrul Alam. Click here to read.

Four of his own Malay poems have been translated by Isa Kamari. Click here to read.

Six Fragments by Sayad Hashumi have been translated from Balochi by Fazal Baloch. Click here to read.

Five poems by Pravasini Mahakuda have been translated to English from Odia by Snehaprava Das. Click here to read.

A Poet in Exile by Dmitry Blizniuk has been translated from Ukranian by Sergey Gerasimov. Click here to read.

Kalponik or Imagined by Tagore has been translated from Bengali by Mitali Chakravarty. Click here to read.

Pandies Corner

Songs of Freedom: The Seven Mysteries of Sumona’s Life is an autobiographical narrative by Sumona (pseudonym), translated from Hindustani by Grace M Sukanya. These stories highlight the ongoing struggle against debilitating rigid boundaries drawn by societal norms, with the support from organisations like Shaktishalini and Pandies. Click here to read.

Poetry

Click on the names to read the poems

Ryan Quinn Flanagan, Ron Pickett, Snehaprava Das, Stephen Druce, Phil Wood, Akintoye Akinsola, Michael Lauchlan, Pritika Rao, SR Inciardi, Rich Murphy, Jim Murdoch, Pramod Rastogi, Joy Anne O’Donnell, Andrew Leggett, Ananya Sarkar, Annette Gagliardi, Rhys Hughes

Poets, Poetry & Rhys Hughes

In What is a Prose Poem?, Rhys Hughes tells us what he understands about the genre and shares four of his. Click here to read.

Musings/Slices from Life

Duties For Those Left Behind

Keith Lyons muses on a missing friend in Bali. Click here to read.

That Time of Year

Rick Bailey muses about the passage of years. Click here to read.

All So Messi!

Farouk Gulsara takes a look at events in India and Malaysia and muses. Click here to read.

How Twins Revive Spiritual Heritage Throbbing Syncretism

Prithvijeet Sinha takes us to the Lucknow of 1800s. Click here to read.

Recycling New Jersey

Karen Beatty gives a glimpse of her life. Click here to read.

Musings of a Copywriter

In ‘All Creatures Great and Small’, Devraj Singh Kalsi writes of animal interactions. Click here to read.

Notes from Japan

In The Cat Stationmaster of Kishi, Suzanne Kamata visits a small town where cats are cherished. Click here to read.

Essays

The Untold Stories of a Wooden Suitcase

Larry S. Su recounts his past in China and weaves a narrative of resilience. Click here to read.

A Place to Remember

Randriamamonjisoa Sylvie Valencia dwells on her favourite haunt. Click here to read.

Christmas that Almost Disappeared

Farouk Gulsara writes of Charles Dickens’ hand in reviving the Christmas spirit. Click here to read.

The Last of the Barbers: How the Saloon Became the Salon (and Where the Gossip Went)

Charudutta Panigrahi writes an essay steeped in nostalgia and yet weaving in the present. Click here to read.

Aeons of Art

In Art is Alive, Ratnottama Sengupta introduces the antiquity of Indian art. Click here to read.

Stories

Old Harry’s Game

Ross Salvage tells a poignant story about friendship with an old tramp. Click here to read.

Mrs. Thompson’s Package

Mary Ellen Campagna explores the macabre in a short fiction. Click here to read.

Hold on to What You Let Go

Rajendra Kumar Roul relates a story of compassion and expectations. Click here to read.

Used Steinways

Jonathan B. Ferrini shares a story about pianos and people set in Los Angeles. Click here to read.

The Rose’s Wish

Naramsetti Umamaheswararao relates a fable involving flowers and bees. Click here to read.

Discussion

A brief discusion of Whereabouts of the Anonymous: Exploration of the Invisible by Rajorshi Patranabis with an exclusive interview with the author on his supernatural leanings. Click here to read.

Book Excerpts

An excerpt from Showkat Ali’s The Struggle: A Novel, translated from Bengali by V. Ramaswamy and Mohiuddin Jahangir. Click here to read.

An excerpt from Anuradha Marwah’s The Higher Education of Geetika Mehendiratta. Click here to read.

Book Reviews

Somdatta Mandal reviews Showkat Ali’s The Struggle: A Novel, translated from Bengali by V. Ramaswamy and Mohiuddin Jahangir. Click here to read.

Meenakshi Malhotra reviews Anuradha Marwah’s The Higher Education of Geetika Mehendiratta. Click here to read.

Udita Banerjee reviews The Lost Pendant, translated (from Bengali) Partition poetry edited by Angshuman Kar. Click here to read.

Bhaskar Parichha reviews Rakesh Dwivedi’s Colonization Crusade and Freedom of India: A Saga of Monstrous British Barbarianism around the Globe. Click here to read.

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

Click here to access Monalisa No Longer Smiles on Amazon International

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Editorial

Sense and Nonsense: Atonal, Imperfect, Incomplete

In the Accademia Gallery, Florence, are housed incomplete statues by Michelangelo that were supposed to accompany his sculpture of Moses on the grand tomb of Pope Julius II. The sculptures despite being unfinished, incomplete and therefore imperfect, evoke a sense of power. They seem to be wresting forcefully with the uncarved marble to free their own forms — much like humanity struggling to lead their own lives. Life now is comparable to atonal notes of modern compositions that refuse to fall in line with more formal, conventional melodies. The new year continues with residues of unending wars, violence, hate and chaos. Yet amidst all this darkness, we still live, laugh and enjoy small successes. The smaller things in our imperfect existence bring us hope, the necessary ingredient that helps us survive under all circumstances.

Imperfections, like Michelangelo’s Non-finito statues in Florence, or modern atonal notes, go on to create vibrant, relatable art. There is also a belief that when suffering is greatest, arts flourish. Beauty and hope are born of pain. Will great art or literature rise out of the chaos we are living in now?  One wonders if ancient art too was born of humanity’s struggle to survive in a comparatively younger world where they did not understand natural forces and whose history we try to piece together with objects from posterity. Starting on a journey of bringing ancient art from her part of the world, Ratnottama Sengupta shares a new column with us from this January.

Drenched in struggles of the past is also Showkat Ali’s The Struggle: A Novel, translated from Bengali by V. Ramaswamy and Mohiuddin Jahangir. It has been reviewed by Somdatta Mandal who sees it a socio-economic presentation of the times. We also carry an excerpt from the book as we do for Anuradha Marwah’s The Higher Education of Geetika Mehendiratta. Marwha’s novel has been reviewed by Meenakshi Malhotra who sees it as a bildungsroman and a daring book. Bhaskar Parichha has brought to us a discussion on colonial history about Rakesh Dwivedi’s Colonization Crusade and Freedom of India: A Saga of Monstrous British Barbarianism around the Globe. Udita Banerjee has also delved into history with her exploration of Angshuman Kar’s The Lost Pendant, a collection of poems written by poets who lived through the horrors of Partition and translated from Bengali by multiple poets. One of the translators, Rajorshi Patranabis, has also discussed his own book of supernatural encounters, Whereabouts of the Anonymous: Exploration of the Invisible. A Wiccan by choice, Patranbis claims to have met with residual energies or what we in common parlance call ghosts and spoken to many of them. He not only clicked these ethereal beings — and has kindly shared his photos in this feature — but also has written a whole book about his encounters, including with the malevolent spirits of India’s most haunted monument, the Bhangarh Fort.

Bringing us an essay on a book that had spooky encounters is Farouk Gulsara, showing how Dickens’ A Christmas Carol revived a festival that might have got written off. We have a narrative revoking the past from Larry Su, who writes of his childhood in the China of the 1970s and beyond. He dwells on resilience — one of the themes we love in Borderless Journal. Karen Beatty also invokes ghosts from her past while sharing her memoir. Rick Bailey brings in a feeling of mortality in his musing while Keith Lyons, writes in quest of his friend who mysteriously went missing in Bali. Let’s hope he finds out more about him.

Charudutta Panigrahi writes a lighthearted piece on barbers of yore, some of whom can still be found plying their trade under trees in India. Randriamamonjisoa Sylvie Valencia dwells on her favourite place which continues to rejuvenate and excite while Prithvijeet Sinha writes about haunts he is passionate about, the ancient monuments of Lucknow. Gulsara has woven contemporary lores into his satirical piece, involving Messi, the footballer. Bringing compassionate humour with his animal interactions is Devraj Singh Kalsi, who is visited daily by not just a bovine visitor, but cats, monkeys, birds and more — and he feeds them all. Suzanne Kamata takes us to Kishi, brought to us by both her narrative and pictures, including one of a feline stationmaster!

Rhys Hughes has discussed prose poems and shared a few of his own along with three separate tongue-in-cheek verses on meteorological romances. In poetry, we have a vibrant selection from across the globe with poems by Ryan Quinn Flanagan, Ron Pickett, Snehaprava Das, Stephen Druce, Phil Wood, Akintoye Akinsola, Michael Lauchlan, Pritika Rao, SR Inciardi, Jim Murdoch, Pramod Rastogi, Joy Anne O’Donnell, Andrew Leggett, Ananya Sarkar and Annette Gagliardi. Rich Murphy has poignant poems about refugees while Dmitry Bliznik of Ukraine, has written a first-hand account of how he fared in his war-torn world in his poignant poem, ‘A Poet in Exile’, translated from Ukranian by Sergey Gerasimov —

We've run away from the simmering house
like milk that is boiling over. Now I'm single again.
The sun hangs behind a ruffled up shed,
like a bloody yolk on a cold frying pan
until the nightfall dumps it in the garbage…

('A Poet in Exile', by Dmitry Blizniuk, translated from Ukranian by Sergey Gerasimov)

In translations, we have Professor Fakrul Alam’s rendition of Nazrul’s mellifluous lyrics from Bengali. Isa Kamari has shared four more of his Malay poems in English bringing us flavours of his culture. Snehaparava Das has similarly given us flavours of Odisha with her translation of Pravasini Mahakuda’s Odia poetry. A taste of Balochistan comes to us from Fazal Baloch’s rendition of Sayad Hashumi’s Balochi quatrains in English. Tagore’s poem ‘Kalponik’ (Imagined) has been rendered in English. This was a poem that was set to music by his niece, Sarala Devi.

After a long hiatus, we are delighted to finally revive Pandies Corner with a story by Sumona translated from Hindustani by Grace M Sukanya. Her story highlights the ongoing struggle against debilitating rigid boundaries drawn by societal norms. Sumana has assumed a pen name as her story is true and could be a security risk for her. She is eager to narrate her story — do pause by and take a look.

In fiction, we have a poignant narrative about befriending a tramp by Ross Salvage, and macabre and dark one by Mary Ellen Campagna, written with a light touch. It almost makes one think of Eugene Ionesco. Jonathan B. Ferrini shares a heartfelt story about used Steinway pianos and growing up in Latino Los Angeles. Rajendra Kumar Roul weaves a narrative around compassion and expectations. Naramsetti Umamaheswararao gives a beautiful fable around roses and bees.

With that, we come to the end of a bumper issue with more than fifty peices. Huge thanks to all our fabulous contributors, some of whom have not just written but shared photographs to illustrate the content. Do pause by our contents page and take a look. My heartfelt thanks to our fabulous team for their output and support, especially Sohana Manzoor who does our cover art. And most of all huge thanks to readers whose numbers keep growing, making it worth our while to offer our fare. Thank you all.

Here’s wishing all of you better prospects for the newborn year and may we move towards peace and sanity in a world that seems to have gone amuck!

Happy Reading!

Mitali Chakravarty

borderlessjournal.com

CLICK HERE TO ACCESS THE CONTENTS FOR THE JANUARY 2026 ISSUE.

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READ THE LATEST UPDATES ON THE FIRST BORDERLESS ANTHOLOGY, MONALISA NO LONGER SMILES, BY CLICKING ON THIS LINK.

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Slices from Life

Duties For Those Left Behind

By Keith Lyons

Ubud: Where Dean and Keith Stayed. Photo by Keith Lyons

So many questions remain about Dean. Many remain unanswered. Top of that list would have to be “Is Dean still alive?”, followed by “How and when did Dean die?”

But underlying all those questions about a gentleman I met in Indonesia in the late 2010s is the fact that I, along with many others who encountered him on the island of Bali, regard him as a ‘good man’ and miss his presence.

“Have you ever wondered if he is still alive but just can’t communicate?” suggested an associate; a possible scenario, given Dean was in his seventh decade on this Earth. “What would happen if he just turns up again? Wouldn’t that be funny?” another pondered.

I first met Dean a couple of years after I moved to the cultural heart of Bali, Ubud, a small town a couple of hundred metres above sea level, a place sometimes with its head in the clouds. When I moved into a room overlooking the rice paddies, just 10 minutes’ walk from the centre of town, I heard about Dean before I first met him in person. Staff mentioned the other ‘permanent’ residing in the neighbouring bungalow. Later that day, in the turquoise waters of the infinity pool that overlooked the gully cloaked in jungle, I saw a figure glide underwater from one end to the other, dive flippers giving the impression the creature was both extraordinarily tall and also well-suited to amphibious life.

Dean, as I was later to learn, was both frugal and generous. I never quite worked out if he was living off savings or a veteran’s benefit. Or if he served in the military or actively tried to avoid it. When I first met him on the pathway that connects our respective residences to the main path that straddles the accommodation and the rice fields, he told me how he would eat lunch at a local food stall, known as a warung, with it being as little as 10,000 rupiah — less than US$1 — for a simple rice-based meal.

He cared less for the plethora of cute Instagram cafes and foodie-recommended ‘must-try’ restaurants that catered to the tourists who thronged the central market and motorcycle-packed streets of Jalan Raya Ubud. Though, there was one exception. Every so often, sometimes to mark his arrival back from a visa-run to Malaysia (most foreigners living in Bali usually have to exit every three or six months depending on their visas), or at the end of his long stay, when he was about to travel elsewhere in south east Asia, as the end of year rainy season ramped up — then Dean displayed his munificence. He would treat the staff — and a few hangers on — to a calzone from a long-established pizza joint that prided itself on its secret sauce. Being a folded-over pizza, the fillings remain hot during its journey in the box on the back of a Honda Vario scooter.

I got invited to join in one of those calzone feasts. We sat under a long pagoda looking out across beyond the pool and jungle to the terraces and the ridge where silhouettes were just visible in the twilight. Dean was very much a global citizen, well-travelled, and scuba diving in almost as many countries as he had visited. He had worked as a dive instructor at schools and resorts. He still had with him equipment for aqua-living, along with other items stored in other places where he had lived and worked.

Just as scuba diving requires adherence to safe practices and procedures, Dean’s life on terra firma also followed routines and habits, which he hoped would ensure his longevity. One day he asked me to check an unusual skin condition with white patchiness on his upper arm, which he had convinced himself by Googling might be pre-cancerous. He was going to have it checked out, but on closer inspection, I thought it might just be a local fungal infection. Fortunately, it cleared up a week or so later, so he didn’t have to visit a clinic.

Because Dean seemed to live such an active life and appeared fitter and healthier than most of the visitors to Bali, it seemed like he was in a sweet spot: retired but active, living a simple life of contentment, sharing good vibes with all and sundry.

So, it was a surprise, after the COVID pandemic with its travel restrictions, that I didn’t hear from Dean, and later, concluded he must have left us. It was only a few months ago when I returned to Bali that the reality of his absence became more evident. When I visited, instead of my usual room at the end of the block overlooking the jungle, I was given the next upstairs bungalow, the one Dean usually stayed in.

Staff, as well as the former ‘manager’ and one of his closest friends, told me they hadn’t heard from him for more than a year. He’d moved to a coastal settlement, closer to the sea, and there were rumours he’d met someone. “Perhaps she was a gold-digger,” suggested his local friend, who I’ll call No. 4. “But I don’t think Dean had much gold for her to mine.”

As we sat under the gazebo, gazing out at the perfect postcard scene of harmony between humans and nature, No. 4 confided that if Dean had already died, he had a rather onerous duty. Dean had asked him to dispose of his body. I thought perhaps that the American might have requested a cremation ritual, common on the island, which has evolved a blend of Hinduism, animism, and Buddhism into a rich mix of ceremony and devotion. But no, instead, he had requested that No.4 deal with his bodily form in another way. “See those coconut trees,” No.4 pointed towards the tall palm trees in the gully, which rose high up to their crown canopy of green fronds sheltering its fruit orbs. “Dean wanted to be strung up in one of those.”

We talked about the practicality of somehow hauling his body up 25 metres or more, and then about what processes and creatures might consume his corpse. It was quite a natural way to go, we concluded, though we did wonder about the sight, smell and impact on other guests staying in the bungalows.

“Dean also had another option, he mentioned to me a few times,” said No. 4, who seemed troubled by the responsibility. Plan B involved Dean’s body being fed to the lions at Bali Zoo. Dean had obviously given this some thought, and it weighed heavily on No.4, not just his role as Dean’s body caretaker, but what the duty might entail.

The following evening, my last before heading back home, I invited No.4 and some of others who knew Dean to get together. Amid the chat and speculation, the cool drinks and spicy snacks, as the breeze picked up and swayed the coconut trees gently this way and that, we had an informal farewell to Dean. Another of his friends — let’s call him Guitar Man — nominated one coconut tree and reckoned with some rope it would be possible to string up a body. No one wanted to try calling Dean’s phone, so I did again, just to confirm it was true. The number was out of service.

Another who knew Dean, let’s call him TaxiMan, talked through what Plan B might involve: chopping up with a machete Dean’s corpse, putting it into bags, visiting the zoo during its 9am to 5pm opening hours, and either throwing the parts over into the lion’s enclosure, or joining the special ‘Lion Feeding’ session (US$5). “I can find out what times they feed the lions and tigers,” he said, having worked out the practicality of this option. No. 4 looked nervous. There was more risk attached with this option, not just from a lion’s fangs, but from the law. How would you explain bags of body parts?

Then, just in time, I heard the strain of the motor-scooter coming up the rise of the terrace towards our place. It was the pizza delivery guy bearing two boxes with calzones I’d ordered.

As for Dean, we still don’t know for sure if he has died. We don’t know the circumstances of his death, or what remains of his body. What we do know is that he is still cherished and remembered. And that there can be few better legacies than to have friends fondly recall a person with a blend of missing, gratitude, and humour.

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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. 

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

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Essay

The Untold Stories of a Wooden Suitcase

By Larry S. Su

On the first day of college in today’s China, train stations and campuses unfold like a modern spectacle. Students step off high-speed trains, wheeling sleek polycarbonate suitcases or expandable fabric cases, an impressive display of China’s transformation and prosperity—worlds apart from the scene when I started college in the 1980s. Back then, students from the countryside, like me, arrived weighed down by clumsy, hand-built wooden suitcases—boxy, awkward, sometimes nailed shut or painted over in dull brown or red. Despite their lack of style and ease, these suitcases held far more than just clothes and books. They carried the weight of individual and family expectations, sacrifices, and the deep conviction that education was the key to a better life.

I was admitted to college in 1983, just six years after China resumed its national college entrance exam, which was halted during the Cultural Revolution from 1966 to 1976. For an entire decade, higher education had vanished like a dream interrupted.  When it returned, it did so with urgency and hope. Admission rates hovered in the single digits, and every name on the list felt like someone hitting the million-dollar jackpot.  

In my village of 150, tucked between dry hills and narrow paths, I was the first to make it to college. The news spread like wildfire down the dusty lanes, from the threshing fields to the courtyard kitchens. Old friends came by to shake my father’s hand. My mother quietly wiped her eyes with the corner of her apron. For families who had known only toil, harvests, and ration coupons, the word college opened the door of paradise.

For years, we had lived under the gaze of quiet scorn of certain snobbish and well-off villagers. Our poverty was visible in our patched clothes, our sunburnt skin, and our empty grain jars. Other villagers had watched us with indifference or pity. Now my college admission lifted my family’s status in a way nothing else could. I was no longer just a poor farmer’s son; I was a future cadre, or ganbu, with a guaranteed salary, a ration book, and an iron rice bowl that would never crack. No one else in the village had ever crossed that threshold.

For more than a decade, my family had invested everything—hope, sacrifice, and a few Yuan they could scrounge into my education. On days when the journey felt too long or the hunger too loud, they were the ones who kept me going. I remember one winter during high school when I was short of just one dollar of my tuition. My homeroom teacher, stern and unmoved, made me walk five miles home and warned me not to return without the full sum. My parents went from house to house in the village, humbly pleading for a small loan just for a week or two. Most turned them away, murmuring about their own hardships, but a few, out of pity or quiet admiration, handed over a Yuan or two. By late afternoon, the small offerings had added up. I returned to school at dusk, the cold wind at my back and the full tuition folded carefully in my coat pocket. This incident, instead of shaming and destroying me, further strengthened my conviction that no matter what price my family and I had to pay, I would go to college.  

To prepare for my departure to college, my father did something he had never done before. He hired a carpenter from a neighboring village to build a wooden suitcase. It was a costly decision, one that must have weighed heavily on him. We were truly poor. There were days when even salt felt like a luxury, when my siblings and I wore the same mended clothes year-round, and when my mother bartered eggs for school supplies. When unused, our tattered clothes were wrapped in a faded cloth, stored in the corner of the kang, our raised earthen bed connected with the earthen stove.

To have a suitcase made, father first had to find wood for the suitcase.  The lumber did not come from a store, nor from a tidy stack delivered by truck, but from the raw ribs of the mountains five miles away, remote, rugged, and indifferent to human need. It was hewn not with ease, but through toil born of necessity, from a land where poverty pressed against every doorstep like a hungry wolf.

In the villages near the foot of those mountains, the stooped peasants in worn jackets would venture up the steep trails in search of timber, not for craft, not for trade, but for survival. When harvests failed or granaries stood bare, they turned to the forest as their last resort. Trees were cut and sold in the black market for bread. A good haul of wood might mean a sack of corn to keep a family fed for another week.

But obtaining the wood was no simple act. The journey was long and unforgiving. They would rise before dawn, axes slung over their shoulders, climbing through thickets and boulder-strewn paths, deep into the mountain’s silence. There amid the mist and the call of unseen birds, they would fell the chosen trees, their sweat mingling with sap and soil. Because it was illegal to cut down the trees, the peasants had to keep alert not to be spotted by the forestry workers who, though sparse in number, might show up on the roadside, so they often chose dark evenings to carry the lumber home.

The return was even harder. The logs, heavy with sap and sorrow, pressed into their backs. When the burden became too great for one person, they’d cut the timber into several smaller chunks, but even then, each required the strength of two men to carry.  They would strap it to a thick bamboo pole pressured on their shoulders like a yoke of hardship.

Then the carpenter had to be hired.

In the last century, craftsmen were highly revered, especially in rural areas. A person with a particular skill was often treated as an honoured guest. As a result, there were many craftsmen at the time, covering every trade such as stonemasons, carpenters, roof tilers, lathe workers, scale makers, locksmiths, blacksmiths, and so on.

Most rural carpenters didn’t have a permanent workshop. Instead they traveled from home to home, carrying a heavy tool chest on a shoulder pole, often walking long distances between villages. A carpenter might spend days or weeks at a client’s home, eating and sleeping there, crafting everything from furniture to roof beams.

Electricity was rare in villages, so all labour was done by hand. Precision was essential; there was no room for error, and the quality of joints, mortises, and finishes distinguished a true master even though the tools they used were heavy and primitive such as chisels, hand planes, ink markers, hand saws, clamps, files, oiling pads, and so on.   

The carpenter my father hired was an elderly man clad in a worn-out black shirt. He exuded the quiet dignity of a lifetime spent in manual labor. His silver hair was cropped neatly, and his glasses rested securely on his nose, an emblem of careful, measured craftsmanship. Every detail of his posture spoke of experience: His back slightly hunched in concentration, his grip firm yet practiced, and his face calm but focused as he drove a wooden peg into place with a mallet. His labour, a simple wooden suitcase for college, was held together by mortise and tenon joints. Tools lay scattered around him, not as clutter, but as trusted companions making rhythmic movements guided by repetition, trial, and intuition. 

It took him a few days to prepare the timber and to complete the suitcase. It was crafted from elm with a thick lid and slightly raised base. It was built to survive train rides, jostling, and years of storage in dormitories or small rented rooms. He used metal corners and hinges, often made of blackened or rust-resistant steel, to reinforce its solidity. He fixed a metal lock plate to the front where I would attach a small padlock. The box rested on a slightly elevated base, not decorative but practical, to prevent moisture from seeping up through concrete or earthen floors. The inside was unlined, raw wood, rough to touch. It was rectangular and boxy, about 70 cm long, 40 cm wide, 40 cm high, and weighed over 10 kilograms when empty.

When the suitcase was completed, my father carried it on his shoulder to a village a few miles away to have it painted by a painter. Being a painter in rural China in the 1980s was a life marked by ingenuity, hardship, and quiet artistry.  While cities were beginning to modernise and reform under Deng Xiaoping’s opening-up policies, the countryside remained largely poor and traditional. In that setting, rural painters were admired for their skill, often called mister, xiansheng, or master, shifu, yet they were rarely paid well.  Their payment might be in kind—a few eggs, a meal, or a bag of grain. Many painters did manual labor or farming to survive.

These rural painters, to be sure, are not professional artists painting landscapes or portraits for galleries. They were locally recognised for their talent in New Year prints, nianhua, paper cuttings, or village murals. They painted gods, animals, good luck symbols, or local mythologies on temple walls or household altars; they also painted shop names, price boards, wedding banners, walls, furniture, doors, and coffins.

As bleak and barren as the region often felt, the village painters still found ways to infuse life with colour and meaning. With brushes dipped in leftover paint and hope, they adorned rough wooden furniture with scenes that reached beyond hardship. Floral patterns bloomed across cabinet doors. On headboards and chests, magpies took flight, dragons curled in motion, and phoenixes danced in pairs, each stroke a whisper of good fortune, power, or harmony.

The painter who adorned my suitcase turned a rough wooden box into something radiant, almost otherworldly. He coated it in a deep, lacquered red, and on its front panel, he conjured a scene of quiet enchantment: A still pond cradled by green reeds, golden fish drifting in lazy arcs beneath the surface, and birds poised on willow branches, their beaks open in mid-song as if singing to the silence. It was a landscape none of us had ever truly seen, except in schoolbooks or village tales whispered under oil lamps.

When my father brought the suitcase home days later, the sun hit its polished surface and sent a soft glow across the dusty courtyard. The red shimmered like embers, the painted water seemed to ripple in the light, and for a brief moment, the box did not look like something made for travel, but for reverence. It felt as though something sacred had entered our home, something beautiful and too delicate for hands weathered by fieldwork and ash. For most peasant families in the 1980s, such a thing was unthinkable, a luxury far beyond reach.

The day I left for college arrived under a weeping sky. Rain had fallen for weeks without pause soaking the hills and fields. The autumn wheat sowing, so crucial to the coming year’s harvest, had been delayed again and again, the absorbed fields swallowing the farmers’ footsteps as if resenting their labor. The dirt roads had turned into narrow canals of mud, where every step threatened to pull a shoe clean off your foot and suck it into the earth, but that morning there was no time to think of planting. I was to leave for college, six miles from the train station. We had no way to get there but on foot.

Everything I would need for the new life: My quilt and bedding, summer shirts and padded winter coat, two pairs of shoes, a few notebooks, and my admission documents, were packed neatly into the lacquered wooden suitcase, now wrapped tightly in sheets of plastic sliced from emptied fertilizer bags. The suitcase was too large and heavy to carry alone. No buses ran from our village to town; no donkey cart would dare the mire. My elder brother and I did what necessity demanded: We slid a bamboo pole through the knots tying the box, hoisted it between us, and prepared to carry it to the station in the rain.

Father rose early that morning, long before the faintest hint of light broke through the slate sky. He cut two makeshift raincoats for us from the same plastic sheeting, covering them loosely around our shoulders. They rustled with every movement, thin as cellophane, barely enough to keep the water out. For himself, he wore nothing. There was no extra plastic, and we had never owned an umbrella. He insisted on walking part of the way with us.

His cloth jacket was already damp before we reached the edge of the village, his cotton shoes dark with moisture, but he showed no sign of discomfort. He walked beside us quietly, his eyes fixed not on the muddy road but on the box, on the sum of so many sacrifices, so much hope, now swaying with each step as we bore it forward. Eventually, he stopped and said he would go no farther. “It’s your journey now,” he said simply.

It took close to three hours for my brother and me to carry the suitcase to the train station. It rode with me for seven hours to my college. It was indeed a prized possession handcrafted with care, a costly item that had occupied an honoured place in our home, but within days of arriving on campus, my affection for the suitcase began to falter. What once felt like a treasure now felt like a burden, heavy not just in weight, but in meaning. It stood there beside the dormitory beds, squat and old-fashioned, its lacquered wood and painted pond strangely out of place among the glossy synthetic trunks or sleek leather cases of my classmates who came from cities. Its sturdy bulk, once a symbol of care and craftsmanship, now seemed to shout my difference in the echoing corridors.

I had already felt the sting of dislocation—my homemade shirts hung too loosely, my accent turned heads for the wrong reasons, and my soles were so thin I could feel the gravel beneath them. The suitcase, with its rural weight and painted dreams, added another layer to my growing unease.

I dreaded the glances and the unspoken judgments. Would they smirk at the rough wood, the iron clasps, and the makeshift lock? Would the women in our class notice it when they visited our dorm? I imagined whispers, sideways glances, and quiet laughter. The suitcase suddenly seemed not like a carrier of dreams but of shame. It was a marker of poverty, of distance, and of the village accent still in my voice and the callouses still on my palms.

I tried to silence that shame by reminding myself what the suitcase had cost my family not just in money, but in care, pride, and hope. And yet despite my best efforts, a quiet sense of isolation would creep in, uninvited. I told myself to be grateful. Still, beneath gratitude lived an ache: The fear that no matter how far I had come, I would never truly belong.

In graduate school, my relationship with the old wooden suitcase quietly shifted. By then, I was no longer the anxious, self-conscious undergraduate who feared that the worn, bulky trunk might betray my rural background. I was now one of four graduate students sharing a cleaner and bigger dormitory room, markedly better than the ones assigned to undergraduates. The simple fact that I had made it to graduate school granted me a certain dignity and status, something visible in the way others addressed me and in the quiet respect I began to feel in myself. With that change came a subtle emotional distance from the suitcase that had once embarrassed me. It no longer defined me.

I began to see the suitcase not as a social burden but merely as a functional storage box. Its outdatedness did not offend me. I no longer examined it with self-doubt or compared it with others’ modern luggage. It just sat in a corner, silent and sturdy, holding things I didn’t need every day. I had more important things to think about: coursework, research, passion in literature, and my future beyond campus. The emotional weight the suitcase had once carried of family expectations, inferiority, and identity began to loosen its grip. I stopped resenting it.  I told myself it was old-fashioned and coming from a different era, but I was now moving beyond it. I believed, with growing confidence, that better things lay ahead: lighter luggage, freer choices, and a life not weighed down by symbols of poverty but propelled by the quiet strength and sacrifice that wooden box had always represented.

By the time I became a university faculty member, my relationship with the old wooden suitcase had become almost purely practical, stripped of the emotional charge it once held. I shared a dorm room with only one colleague, a considerable upgrade from the four-person graduate setup, and my financial situation had improved dramatically. I could now buy what I wanted like new clothes, books, even a suitcase in any style or color. If I had wanted to replace the wooden trunk with a sleek, fashionable one, I could have done it without a second thought. But I didn’t. I had reached a point in life where I no longer needed to prove anything through objects. I had become what I once dreamed of becoming: A university professor.

After I got married in 1992, my relationship with the old wooden suitcase entered its final, quiet stage. As my wife and I began setting up our new home, one of our first major purchases was a large modular furniture set made up of three sections. The middle part held our television and decorative items, while the tall cabinets on either side were designed for hanging clothes and storing household essentials. It was modern, elegant, and capacious, a clear symbol of how far I had come. The suitcase, once essential, now served no practical function. I placed it in the deep corner of the closet. Its role in my life had come to a quiet close.

Though the suitcase now rests on a shelf, its meaning and the stories it carries remain alive. Remembering it brings back the life my father and his generation endured. My father was born in 1938. When I entered college in 1983, he was 45, supporting a wife and five children, the youngest only seven. By the time I finished graduate school in 1990, he was 52, still living a hard life. I could send home a few hundred to a few thousand Yuan for seeds, fertiliser, or wedding gifts—small relief for him, though never enough. From 1990 to 1997, as a university faculty member in China, I sent as much as I could; life was still tough for him, but at least the family had enough to eat.

When I left for the United States in 1997 to pursue further studies, I lived on assistantships and could send nothing home. I knew they had food but still struggled to afford the most basic supplies. In 2004, when I secured a full-time, tenure-track professorship in an American college, I began sending money regularly. Three years later, in 2007, my father died at 69. I could not return for his funeral, but I sent enough to cover all expenses. I wanted him to be buried with dignity, for without him, there would be no educated professor named me.

Remembering the suitcase, I cannot help but think of my father and the sacrifices he made so I could become educated. He remains an unending source of inspiration. His stance toward life, his defiance in the face of hunger and humiliation, and his resilience against the weight of helplessness guide me every day. The hardships I have endured—four years of boarding school sustained by meagre food brought from home, the inability to pay even a few dollars of tuition, the shame of wearing threadbare clothes in public, and over a decade of isolation from my family while living in a foreign land—are nothing compared to what he faced. Because of him, I have always found the strength to forge ahead no matter the obstacles, carrying in my mind the unwavering gaze of my father as if to say, “If I could do it, so can you.”        

Now, at sixty, I have reached an age when I can slow my pace and begin to savour life. How different my days are from those of my father! As a professor at an American institution of higher learning, I can say without hesitation that I have lived my American dream. I am well-fed, well-clothed, and surrounded by all I need. When I buy food, it is not merely to stave off hunger; I choose wholesome meats, fresh vegetables, and ripe fruits—luxuries compared to the corn, potatoes, and sweet potatoes on which my father and his family relied for more than a decade. For him, the simple gift of wheat bread once a day would have been a source of deep contentment. My clothing, too, tells the story of this contrast: Nike shoes, Ralph Lauren shirts, Banana Republic trousers, each item costing enough to feed my father’s household for half a year or more.

In addition, I have the luxury of traveling internationally. Between the ages of fifty-four and sixty, I have visited France, Italy, Germany, Switzerland, Austria, Hungary, Monaco, the Czech Republic, the United Kingdom, Spain, Portugal, and Turkey. I can say, without boasting, that I have walked the streets of distant lands, savoured their foods, immersed myself in their cultures, and broadened both my horizons and my perspective.

The contrast with my father’s life could not be starker. For most of his years, his movements were limited to the fields near home. Occasionally, he traveled three miles to the rural market to sell produce or buy supplies, and only rarely journeyed twelve miles to the county township to exchange goods for cash. Never did he have the luxury of dining out, attending a show, or taking a day off from the relentless toil of farm life.  Seen in this light, that simple wooden suitcase of his era captures the noble, heroic, and sacrificial spirit of my father and of an entire generation.

Unless someone has lived through such hardships, it is hard to grasp how unforgiving life can be for some. I tell the stories of my school years to my son constantly, and I never fail to mention the wooden suitcase, a thing he has never seen. We brought him to the United States when he was close to five. He never experienced the life of my father’s generation, or even mine. Growing up in one of the richest and most powerful countries in the world, he naturally takes much for granted, and I do not blame him.

Our purpose in coming here was to create a better life for him and for us. On the first day of college in the fall of 2014, my wife and I packed all his necessities into our Honda CR-V and drove him to Northwestern University. He needed no suitcase, certainly not a cumbersome wooden one, yet he never forgot the stories I had told him about my wooden suitcase or the depth of its significance for my family and my generation.

He made the most of his college years, graduating in 2018 with a double major in statistics and economics, fully prepared for the career he now has at a Fortune 500 company. In this way, hardships and difficult journeys become wells that nourish the mind and soul of the next generation. And the stories of the suitcase, like a quiet legacy, will continue to inspire his children and his children’s children.

The wooden suitcase that traveled with me from 1983 to 1992 is far more than a piece of luggage; it is a vessel of hope, a keeper of dreams, and a silent witness to the shifting tides of my family’s life. Built and painted by calloused hands in lean years, it carries not only my possessions but also the love, expectations, and unspoken sacrifices of my family, especially my father. For those of us from villages along dusty roads, such a suitcase embodies the weight of our origins and the transformations we endured. Over time, its meaning deepens. It comes to represent not only my personal journey but also the shared story of a generation of rural college students who, rising from poverty, saw their futures irrevocably changed by the power of education. It also stands as a tribute to the previous generation, who gave everything so their children might leave the parched soil behind and begin anew in the cities. Even now, the worn corners of these wooden suitcases seem to murmur stories of struggle, resilience, transformation, and gratitude—tales not only of my own life, but also of a family, a village, and a nation in motion.

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Larry S. Su has been a professor of literature and writing for the past thirty years.  He has also been a passionate reader and ardent writer since college.  He writes both in Chinese and English, and his writings have appeared extensively in the Chinese and English publications, mostly in the form of articles and essays. 

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

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

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Categories
Interview

Harry Ricketts: Mentor, Poet, Essayist…

Keith Lyons in conversation with Harry Ricketts, a writer and mentor who found himself across continents and oceans

Harry Ricketts has authored thirty books and mentored many writers, including Keith Lyons. Photo Courtesy: Robert Cross

Harry Ricketts is a New Zealand poet, essayist, and literary biographer whose work has gained recognition for its wit, lyricism, and insight into memory, identity, and everyday life. He has published widely across poetry, biography, and literary criticism, and his writing blends formal elegance with accessibility. After studying at Oxford University, he taught in the UK and Hong Kong before moving to New Zealand in the early 1980s. A respected teacher and mentor, Ricketts has shaped both the literary culture of New Zealand and the broader English-language literary world through his poetry, essays, and guidance to emerging writers. His works include a major biography of the British India-born journalist, novelist, poet, and short-story writer Rudyard Kipling, The Unforgiving Minute, Strange Meetings: The Poets of the Great War, and his most recent books, the memoir First Things, and the poetry collection Bonfires on the Ice. His How to Live Elsewhere (2004) is one of twelve titles in the Montana Estates essay series published by Four Winds Press. The press was established by Lloyd Jones to encourage and develop the essay genre in New Zealand. In his essay, Ricketts reflects on his move from England to New Zealand. In this interview, he brings to us not only on his writerly life but also his journey as a mentor for other writers.

KL: Tell us about your early life?

HR: My father was a British army officer, and we moved every two years till I was ten: England, Malaysia, two different parts of England, Hong Kong, England. My first words were probably Malay. From eight to eighteen, I went to boarding schools in England; apart from the cricket and one or two teachers, this was not a positive experience.

KL: How do you think moving around affected you, and your sense of self and being in the world? Does that transience shape your perspective and writing now?

HR: I think constantly moving around gave me a very equivocal sense of belonging anywhere and also a strong sense of needing to adapt (up to a point) to wherever I found myself. I was an only child, and friendship became and remains incredibly important to me. Perhaps this hard-wired sense of temporariness has contributed to my trying to produce as many different kinds of books as possible, but eventually you discover what you can and can’t do: I can’t write novels.

KL: How has your sense of ‘home’ evolved in your work over the years?

HR: As above, but I’ve lived in New Zealand for more than forty years, so that must count for something. My second wife, Belinda, was a Kiwi; for thirty years, she was a lovely person to share the world with. I’d say I like to live slightly at an angle to whatever community I’m in.

KL: How did books and poems come into your life, and what do you think have been influences on your later work?

HR: My mother was a great reader and read me Beatrix Potter, A.A. Milne etc as a child. When I was seven, I had measles and had to stay in bed for a fortnight. I read Arthur Ransome’s Peter Duck and then I couldn’t stop. Books were a protection and a passion at boarding school. As for poetry, at school we had to learn poems by heart which I enjoyed and later recited them in class which was nerve-wracking. When I was fifteen – like many others – I fell in love with Keats, then a few years later it was Sylvia Plath, Ted Hughes, T.S. Eliot, Gerard Manley Hopkins, C.P. Cavafy ….. I was also listening to a lot of music, particularly singer songwriters like Bob Dylan, Leonard Cohen, Richard Thompson, Joni Mitchell.

Everything you read and listen to is an influence. My mind is a lumber-room of things I’ve read and listened to, things other people have said, things that have happened to me and to others, places I’ve been, love and friendship – and all that crops up in my poems in one way or another. Plath and Hughes were a wrong trail. It took me a while to work that out. Well into my twenties, I couldn’t stand Philip Larkin, but not now. I like witty, melancholy poets.

KL: Your first book, People Like Us: Sketches of Hong Kong was published when you were 27. How did that come about.? What satisfaction did you get from seeing your name in print?

HR: People Like Us is a mixture of short stories and song lyrics. Hong Kong, as I experienced it in the 1970s, (still very much a British colony) was a heterogeneous mishmash of styles, and I tried to mimic that mishmash in the pieces I wrote. I was pleased when it got published but it wasn’t much good.

KL: Can you describe your writing space?

HR: I have a small study, but since Belinda died two years ago, I’ve shifted to the kitchen table. She wouldn’t have approved, but the kitchen is light and airy and the stove-top coffee-maker close by.

KL: What is your writing process from start to finish?

HR: I do a lot of drafts. First thoughts can almost always be improved. A friend likes to say, ‘It’s not the writing; it’s the rewriting’, and I agree. But some poems have come quite quickly. When I’m writing prose, I often play music, but not when I’m working on a poem.

KL: What usually sparks a new poem for you: an image, a phrase, or a rhythm?

HR: It can be anything really. I’m usually doing something else entirely – writing an email or some piece of prose or just walking around – and something will interrupt me. It’s often a phrase which for some reason acts like a magnet, attracting another phrase or an images or an idea. It might be something I’m reading; this has happened with English poets like Edward Thomas, Philip Larkin, James Fenton, Hugo Williams and Wendy Cope and New Zealand poets like Bill Manhire, Fleur Adcock and Nick Ascroft. Occasionally, I’ve written a commissioned poem: for a friend’s wedding, say.

KL: How do you balance experimentation with accessibility in your work?

HR: I don’t think like that, but I do try not to repeat myself if I can help it. However, several poems of mine have had successors; so I wrote a poem in the mid-1980s about my six-year-old daughter Jessie called ‘Your Secret Life’, imagining her as a teenager and me waiting up late for her to return home, and my latest collection contains a ‘Your Secret Life 5’, written when she was forty. I’ve found myself writing a few poem-sequences recently, including one about an imaginary New Zealand woman poet. That was quite new for me.

KL: How do your roles as poet, biographer, and critic feed into each other?

HR: Constructively, I hope. I think you can always get prose out of yourself if you sit there long enough (fiction writers might disagree), but not poems. Some initial reverberation/interruption has to happen, some ‘spark’, as you put it. It’s all writing, of course, and writing is a habit. You have to keep doing it, otherwise that part of you switches itself off or attends to other things.

KL: Looking back across more than thirty books, what evolution do you see in your writing life, and what themes do you keep on coming back to?

HR: I think lots of writers (except the very vain ones) suffer from versions of ‘imposter syndrome’ and have problems with their personal myth — that they are a writer. I’ve got a bit more confident that I am a writer and in particular that I can write poems. Getting published helps a lot with the personal myth: something you’ve done is now out in the world. Once you publish a book, though, you lose any control you had over it. People may love it, hate or, worst of all, ignore it. But that’s just the deal.

I prefer the term preoccupations to themes. I’m preoccupied with people, places, trying to make sense of the past, happiness, the role of luck, life’s oddities, incongruities and ambiguities….

KL: You often talk about ‘gaps’, doubt, and ambiguity as central to your work. How do these function in your poetry today?

HR: To measure gaps, to be in doubt, to see the ambiguity in things: that just seems to me to be human. Poems can be acts of discovery or at least partial clarification. They can also simply preserve something: an experience, a moment, a realisation, some sense of those we love.

KL: You describe teaching as a kind of midwifery: helping writers bring out what is already within them. How did you arrive at that approach?

HR: Decades of teaching suggest to me that encouragement is more likely to help someone tell the stories they have it in them to tell rather than giving them a hard time. Writing can be a bit like giving birth and, for some, having support and encouragement is more helpful than trying to do it all on your own. Of course, in the end you do have to do most of it on your own.

KL: What advice did you find yourself giving students most often, and does it still hold true for you?

HR: I have taught poetry courses, but over the last twenty-five years I’ve mostly taught creative non-fiction. I often quote Lytton Strachey’s comment that ‘Discretion is not the better part of biography’ and then add: ‘Nor the better part of autobiography.’ I also suggest that mixed feelings are more interesting to write out of and about than clearcut ones. If you’re writing about someone else, pure admiration tends to produce hagiography, pure dislike a vindictive portrait – all warts, rather than warts and all. Serious doesn’t mean earnest; you can be serious and funny at the same time.

KL: What is the best advice you’ve received as a writer?

HR: The best advice it would have been helpful to be given (but no one did) would have been: ‘Don’t eat your heart out trying to be a kind of writer you aren’t (say, a novelist). Try to find out what kind of writer you are and pursue that as hard as you can.’ Chaucer knew: ‘The lyf so short, the craft so long to lerne.’

KL: Which authors do you most often recommend to students or emerging poets?

HR: I mostly suggest they should read as widely as they can and that they should read as a writer.

KL: What writers are you returning to most these days?

HR: I often go back to Montaigne’s essays and Orwell’s and Virginia Woolf’s. Poets I often reread include: Derek Mahon, Hugo Williams, Thomas Gray, Wendy Cope, Fleur Adcock, Edward Thomas, Andrew Marvell, Seamus Heaney, Lauris Edmond, Anne French, Robert Browning, Thomas Hardy, Philip Larkin …

KL: What responsibilities do reviewers have to writers, and what responsibilities do they have to readers?

HR: Reviewers have an obligation to be fair-minded towards their subject and to write something as worth reading (ie well-written and enjoyable) as any other piece of prose.

KL: How can reviewers give criticism that is honest yet constructive?

HR: They should try to understand what the writer was aiming at (rather than the thing they think the writer should have been aiming at) and judge the work accordingly. This is easier said than done. Writers rarely remember the positives reviewers say, and rarely forget the negatives. Reviewing is hard, if you’re trying to do a good job. In a small country like New Zealand, there’s only one-and-a-half degrees of separation, which makes puffing and pulling your punches a tempting prospect.

KL: What kind of legacy do you hope to leave through your poetry and teaching?

HR: Whatever legacy you might leave (and few writers or teachers in the scale of things leave any) is not up to you. But of course writers hope people will positively remember something they’ve written and that their work will continue to be read after their death. When I think of the teachers who have matter to me, I think of them with immense gratitude and I hope some of my pupils might feel something of that, too.

KL: Is there a question about your work that you wish people asked more often?

HR: Interesting question, but I don’t really have an answer. Perhaps ‘Why, given that you also write plenty of poems in free verse, do you still think that there are possibilities in fixed poetic forms like the sonnet, villanelle and triolet?’ I could talk about that for a long time.

KL: If your life was a movie, what would the audience be screaming out to you now?

HR: Keep going! Well, I’d like to think they might.

KL: What’s next for you? What are you working on now? 

HR: I’m threequarters of the way through a second volume of memoirs and about to write about a particularly difficult part of my life. I want to finish that and then a third volume, if I can. And write more poems.

*This interview has been conducted through emails.

Click here to read Harry Rickett’s poem.

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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’sEditorial 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

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

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

Categories
Notes from Japan

One Thousand Year Story in the Middle of Shikoku

Photographs and Narrative by Suzanne Kamata

I’d wanted to go on the Shikoku Mannaka Sennen Monogatari (One Thousand Year Story in the Middle of Shikoku) train trip ever since I saw it advertised on a poster in the window of Tokushima Station. When I investigated, however, I discovered one couldn’t begin the journey in Tokushima, where I live. Although it starts (or ends, depending on which way you’re coming from; it’s a one-way trip) deep in the mountains of Tokushima, I would have to change trains a few times before boarding the special sightseeing train. It would take hours to get there. A better way would be to board in Tadotsu, which is in the neighboring prefecture Kagawa. I could drive there in a little over an hour, take the fancy train to Oboke, and return by express train.

I decided to take a ride on the spur of the moment. The train was pretty much booked for the rest of the season, at least on the days when I didn’t have other plans, like my job. I did find one last seat on a train in mid-November. It might have been more fun to go with someone else, but I didn’t have time to coordinate with friends. I immediately booked the seat, reserving my lunch as well.

The morning of my train trip was chilly, but sunny. I donned a thin tunic and a long cardigan, wondering if it would be cold in the mountains. Maybe I should bring my down jacket? I rolled up a windbreaker and stuffed it into my backpack. I entered my destination – Tadotsu Station – into my phone’s navigation app, selected a podcast for the drive, and set off.

Tadotsu turned out to be a sleepy little town, which makes sense. These are the kinds of places that need something special to attract visitors and their money. If the whole purpose of these sightseeing trains is to rejuvenate dying towns, then Tadotsu seemed like a good choice. I could see that some construction was in progress, perhaps to accommodate the hordes of new visitors brought by the train. Porta potties temporarily served as bathrooms.

In front of the station, an intriguing sculpture attracted my attention. To me, it looked like a tall armless man wearing a hat, backed by a sickle. There was an emblem like a coat of arms where the neck of the man would be. At the base of the sculpture was a plaque with the words: “Thankful for my own life. Thankful for having you in it.”

Later, I discovered that it was meant to commemorate Doshin So, nee Michiomi Nakano, a former military intelligence agent who spent many years in China. After returning to Japan, he was stationed in Tadotsu, where he established a cram school to teach Buddhist philosophy and martial arts.

In 1947, he founded Shorinji Kenpo, a Japanese martial art with a holistic system. The training methods are divided into self-defense training, mental training, and health training. According to his philosophy, spirit and body are as one, and they must be trained together as such. His teachings emanated from this small town of about 20,000 people to the rest of the world. The emblem, as it turned out, was the symbol for Shorinji Kenpo.

I took a photo of the monument and proceeded to the train platform, where I was met with heavy equipment surrounded by a chain link fence. A sign apologised for this inconvenience, and explained that construction was underway to make the station barrier-free.

I was twenty minutes early, but my fellow passengers – Japanese, as far as I could tell – were already milling about, taking selfies and photos of each other in advance of their train trip. The group was mostly female, middle-aged, and older. Many people were wearing masks.

A cinematic melody heralded the approach of the train, accompanied by another rush for selfies and photos. The three cars, all different colors, were named after spring, summer, and fall. What happened to winter? A small doormat with the train’s motif, which resembled a stylized tree, was positioned on the platform at the entrance to the train. I boarded the green “spring” car, Haru Akari, and found my seat, a fuzzy green upholstered chair at a table against the wall, facing the window. The two seats next to me were unoccupied.

Most people wore casual clothes. I rarely saw folks from Tokushima get dressed up, unless it was for a wedding, say, or a graduation ceremony. One woman at the four-top on the other side of me was striking in a sumptuous Chinese-style jacket and gold barrettes. I wondered for a moment if she might be some kind of celebrity. I tried not to stare.

I examined the orange cloth placemat, again with the tree motif. Already my mouth was watering. Disposable chopsticks and a wet napkin were aligned at the bottom, while a spoon rested on a rectangle of granite. Paper napkins, toothpicks, and creamers were tucked into a small basket made of vines. Brochures detailing the train’s route, souvenirs for purchase, and additional menu items were laid out.

You could use your phone to scan a QR code and order keychains, sweet potato cakes, or a yusan-bako, a traditional lunch box which originated in Tokushima. This one was made of Japanese cypress adorned with Kagawa lacquerware. It had three drawers for various delicacies, which fit into a box with a handle, perfect for toting to a picnic in a meadow somewhere. You could also buy a CD with the train’s theme song.

I had already ordered my lunch, but I glanced at the menu anyway. Fish cutlets, another specialty of Tokushima were available, along with bamboo shoots, and ice cream made with sake lees. The sweet potato crumble, with a dollop of whipped cream, was also tempting, but I summoned my willpower.

One of the uniformed attendants pointed out the wooden box under my car for storing my backpack and purse. I got those items out of the way. She also handed me a coupon for soup and water to be redeemed at our first stop. And then finally, the train began to move. A whistle blew. Japan Railway employees and others lined up with flags and round paper fans and began waving at us. We all waved back.

After that enthusiastic send-off, the train began to trundle along the tracks, picking up speed as we zipped past backyards of houses, apartment buildings with laundry hanging on balconies, convenience stores, crows alighting on power lines, an empty playground. We passed rice paddies, some surrounding family gravestones; a construction site with bright blue, green, and yellow earth moving machines.

As we neared Kotohira Station, our first stop, a young woman chirped that Kotohira’s brass band had been declared second best in the country. She reminded us to redeem our coupons in the welcome center. After the train had stopped, I followed everyone into a small room adjacent to the station where we lined up at a counter. I handed over my little piece of paper and received a bottle of water and a small China cup of kabocha 1potage. I perched on the padded bench to drink it, while gazing around at the proud display of photos of the award-winning high school band. A white-gloved attendant came around with a tray to collect my empty cup, and I got back on the train.

A young Chinese family – a couple and their plump baby – were now occupying the seats beside me. The train moved on. The view outside my window was now more expansive – terraced fields, occasional houses with tiled roofs and walled gardens, tufts of pampas grass, a patch of pink and magenta cosmos.

The voice announced that we were nearing Sanuki Saida Station, which boasts a 700-year-old tabunoki tree, said to be a “power spot.” Apparently if you stand under the tree, you can absorb some of its spirit and energy. The tree has also been designated a Kagawa Prefectural Protected Tree. The train came to a stop again, but this time we didn’t get off. Instead, we all whipped out our smartphones to take photos of the person dressed in a polar bear costume shooting soap bubbles from a bubble gun. The baby was delighted.

Once we were again underway, the attendant distributed large square bento boxes with gold-rimmed lids. I opened mine to find an array of chilled meat dishes – the first course. I unsheathed my disposable chopsticks and broke them apart. “Itadakimasu!2

Out the window, farmland had given way to gnarly brush. `Although the foliage wasn’t quite at its peak, swatches of scarlet and gold popped against the greenery. I wondered about the wildlife in the mountains. I knew that there were monkeys, boars, and deer. The latter two appeared on menus deep in the interior of Shikoku. You could get a burger made with game meat, or “peony hot pot,” in which thin slices of pink boar meat curled up like flower petals after being cooked in miso broth.

Next to me, the young parents passed their good-natured baby back and forth. When I caught his eye, I smiled at him, and he showed his dimples, smiling back. I remembered how, when I had first come to Japan, whenever I had tried to engage with a stranger’s baby on the train, the baby’s face had crumpled up in terror. Apparently, big-nosed foreigners were scary even for infants. At least back then. It was nice to be able to engage with a small child without causing tears.

We made a brief stop at Tsubojiri Station, a small, unmanned station accessible only by switchback, surrounded by trees. “You can get off the train and smoke,” the voice announced. We all scampered off the train, but I didn’t see anyone light up a cigarette. Instead, passengers posed in front of the station’s sign and the weathered wooden building.

Back on the train, the next course was served – buttered rice and pork, arranged on a gold-rimmed China plate. The narration continued. “Please look to the right. You will be able to see Mount Hashikura. You can take a ropeway to Hashikura Temple, which was established by the famous Buddhist monk Kukai, also known as Kobo Daishi.”

Kobo Daishi is known as the father of Shikoku’s 88-Temple Pilgrimage. Hashikura Temple is not one of the 88, but is considered to be an associated temple. According to the Tourism Shikoku website, the name “Hashikuraji” contains the character for “hashi,” or chopsticks, “an everyday unifying ubiquitous tool of daily life for all Japanese. In 828 [CE], Konpira Daigongen revealed himself to the priest Kukai and promised to save all who use chopsticks, a pledge of salvation for all.”

According to an announcement, we would soon have a good view of the Yoshino River, the majestic “wild” river which runs west to east across Shikoku. Its rushing waters carved out the Oboke Gorge over millennia. This river flows 121 miles, past Tokushima City, and the house where I live, and into the Kii Channel. At one time, it flooded repeatedly. The “Tora-no-Mizu” (“Tiger’s Water”) flood of 1886 (Year of the Tiger), one of the worst floods in Japanese history, led to the deaths of an estimated 30,000 people. Now, however, strong levees keep the waters in check, though heavy rains can still shut down the roads nearest the river. These days, the Yoshino River is more known as a place where visitors can enjoy various forms of recreation including swimming, fishing, and white-water rafting.

As I gazed out at the glassy emerald waters, which reflected the rocky banks, the voice announced that we were approaching Awa-Ikeda. High school baseball, I thought. Sure enough, the voice told us that we would soon have a view of baseball players practicing at Ikeda High School’s diamond, and that they had once won the National High School Baseball Tournament at Koshien.

The train chugged on. We passed another station, Awa Kawaguchi, where another person in a polar bear suit filled the air with soap bubbles. A sign on the platform declared that this was a town where tanuki (an indigenous animal that is often called raccoon-dog, and is a notorious trickster in Japanese folklore) and people live together.

After traversing another tunnel, coffee was served with a petite madeleine. Outside the window, I could see the water rushing through the gorge, frothing over rocks. We were almost at the end of our thousand-year journey. It had lasted a little over two hours.

The train pulled into Oboke Station, in the town of Miyoshi, and we got off. We were greeted by a man wearing a woven peaked hat and happi coat, banging on a drum affixed with characters from the animated series Anpanman. Although my fellow travelers had been mostly Japanese, quite a few European and American tourists were milling around the station, perhaps waiting for transportation.

At the time I first visited, over thirty years ago, I recall no restaurants or hotels, but now there was a large roadside station with souvenir shops, food vendors, and a Yokai House. There was even yokai3-themed food. Some traditional houses have been refurbished as high-end inns.

I took a short walk around the area and then attempted to buy a return ticket on an express train. Although the station was now geared for tourists with English signage and souvenir shops, it was still old-fashioned in many ways. I realised it wasn’t equipped to deal with phone apps or credit cards. I hadn’t brought a lot of cash, but I had just enough to buy a ticket back to my starting point.

  1. A variety of winter squash ↩︎
  2. I humbly receive (feel grateful for the food) ↩︎
  3. A spirit having supernatural powers ↩︎

Suzanne Kamata was born and raised in Grand Haven, Michigan. She now lives in Japan with her husband and two children. Her short stories, essays, articles and book reviews have appeared in over 100 publications. Her work has been nominated for the Pushcart Prize five times, and received a Special Mention in 2006. She is also a two-time winner of the All Nippon Airways/Wingspan Fiction Contest, winner of the Paris Book Festival, and winner of a SCBWI Magazine Merit Award.

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

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

Click here to access Monalisa No Longer Smiles on Amazon International

Categories
Essay

From Madagascar to Japan: An Adventure or a Dream?

By Randriamamonjisoa Sylvie Valencia

For as long as I can remember, I have been an introvert — this is who I am and will always be. Yet, few believe it. I come from Madagascar, a distant island where the people are called the Malagasy — a community bound by culture, tradition, and a shared sense of identity. Malagasy people are known for their warmth and generosity, often revealing a talkative side as they delight in conversation, and playful exchanges.  In contrast, I am reserved — a shy person who expresses myself freely only when comfortable and among those I trust.

As a child, I was the most talkative among my siblings, recounting every detail of my school day to my parents. I delighted in describing the funny expressions my primary school teacher made while explaining lessons, or the mischievous boys who always stuck their chewing gum on the pupils’ desks and all the tasks I had accomplished. I wanted my parents to know I was doing well, that the teacher praised me, and that I helped classmates who struggled.

Both my parents are very talkative, especially my father, from whom I inherited the gift of words. Speaking in front of my family comes naturally, yet in front of others, my words often falter — a fear that has always troubled me. I speak freely only with those I know well— my family and a few close friends.

Facing a large audience has always been daunting. My father encouraged me to confront this fear, to be confident, and to meet the audience’s gaze. I tried many times: presenting in group projects, speaking as a class representative, even addressing an audience at a classmate’s parent’s funeral.

As I grew older, my determination to overcome this fear grew. I devoured books and videos on public speaking, eager to communicate with confidence. My first real test came in 2018, when I delivered a speech in a Japanese language contest. I had loved Japanese language since childhood, captivated by its culture, and dreamed of becoming fluent. Entering the contest was a dream — an opportunity to speak publicly and a chance to win a trip to Japan.

I was guided by two close friends who practiced with me daily. They corrected my mistakes, offered feedback, and most importantly, encouraged me. Having known me for years, they understood how terrifying standing on stage could be, yet they supported me out of love, friendship, and belief in my potential.

During rehearsals, I gave my utmost effort, memorising the script when necessary. Still, doubts lingered about meeting expectations, conquering fears, and not disappointing those who believed in me. The days of practice passed quickly, and soon, the big day arrived. Nervous at first, I gradually became more at ease while speaking. I managed to control my anxiety but knew my performance was imperfect. I focused on each word, yet my mind occasionally went blank, struggling with the judges’ questions. Embarrassment washed over me; I feared I had let my friends and family down.

In the end, I did not win the first prize, but my closest friends congratulated me. They reminded me that the true milestone was stepping onto the stage, speaking in front of an audience, and maintaining composure. Their encouragement helped me realise that courage and effort mattered more than the outcome itself.

As an introvert, talking to strangers is challenging, let alone addressing a crowd. Hearing the words “public speaking” makes my stomach tighten, palms sweat, and heart race. Stage fright, fear of facing many people and sharing my thoughts has always been real. Each time my name is called, I shake, my mind blanks, heart pounds, mouth dries, and confidence seems to vanish before I start. Yet, I have never lost hope. Deep down, I knew a strength within me would help rise above fear and grow into a better version of myself.

One year later, I stood again in the same contest. This annual competition was a goal I refused to let go of. As before, my friends encouraged, pushed, and trained with me every day until the D-day. Their support gave me the strength to continue. I prepared even more fiercely — joining language clubs and volunteering in storytelling activities. But it was not easy. I never felt comfortable speaking or working with strangers. I was told teamwork required discussion, sharing, and collaboration — a nightmare for an introvert.

Solitude had been my ally, yet suddenly, I was surrounded by people of all ages and personalities. Cooperation was no longer optional. However, through this challenge, I discovered an important truth: whether introverted or extroverted, whether silent or talkative, we must learn to connect with others. Survival and growth depend on collaboration and support.

The big day of the speech contest arrived in May, a season of transition between summer and winter. I arrived at the hall just in time, accompanied by a close friend. A staff member guided me to my seat, only a few meters from the judges. I felt cheerful, and calm, even giving a fist bump to nearby contestants. For the first time, I felt truly ready to give a speech — optimistic, and at peace. Perhaps it was the preparation or my friends’ wholehearted support, or maybe I had begun to trust myself.

There were four contestants in the advanced level, and I was the last to speak. Each of us hoped to win the grand prize — a trip to Japan. I did not worry about the others. I believed in my success and was determined to win first place. Just days before, I even dreamed of visiting Japan, so nothing could stand in my way.

Finally, it was my turn. I adjusted the microphone, greeted in Japanese, and bowed to the judges and audience. I spoke for about five minutes on how Malagasy parents raise children. Three judges asked each two questions. Thanks to countless practice hours and mock questions and answers sessions with my best friends, I answered every tricky question. For the first time, right after my speech, I felt like a winner.

The event lasted about three hours, and the final verdict came. The Master of Ceremonies announced winners, starting with the beginner level, then the advanced. Among the four in my category, only two remained. The Master of Ceremonies paused dramatically before announcing the first-place winner… and pronounced my name. I whispered a silent thanks to God. This result — the goal I had worked so hard for — had become reality. The trip to Japan was the reward, and even more importantly, I had overcome stage fright. I spoke naturally and confidently in front of the audience — another milestone achieved.

Later that year, in 2019, I visited Japan for the first time. The experience was magical. I met wonderful people, explored my favorite country, and fulfilled a long-cherished dream.

Six years later, I returned to the Land of the Rising Sun—this time as an international student. I now live in Tokushima prefecture, which is in southeastern Japan, far from the bustling cities, in a quiet countryside where few tourists venture. Yet, the city and its neighbourhoods are simply wonderful. It is peaceful, surrounded by greenery, and while the locals may seem reserved, they are incredibly welcoming. Even with some grasp of the local language, adapting to a new country as a foreigner is challenging. Still, thanks to the support of my seniors and friends who have lived here for years, I managed to navigate my first six months successfully.

The city where I live hosts an annual Japanese speech contest open to foreigners who have been residing here for some time. I was encouraged to participate, partly because I could speak some Japanese, and partly because it was a great chance to gain experience. I thought, why not? After all, I gradually grew more comfortable speaking in front of others.

This time, participants could choose their own topics, though it was suggested to focus on their experience in Japan or explore cultural connections between their home country and Japan. I was eager to participate, but selecting a topic was harder than I expected. Inspiration felt scarce, and I had no clear direction. Still, I knew that finding my own perspective was key to making the speech meaningful.

Overwhelmed by my studies, I barely noticed the passage of time. Before I knew it, the deadline had arrived. I had not written a single word, though ideas swirled in my mind. I opened my laptop, took a deep breath, and began writing everything that came to my mind. Reflecting on my experiences in Japan, I realised that people often struggled to pronounce my name correctly. That inspired me to talk about the hidden culture behind Japanese and Malagasy names.

With my theme set, I focused on making my speech coherent and captivating. I tend to draw inspiration at the last minute. I wrote, rewrote, and proofread repeatedly, staying up all night without noticing morning approaching.

Finally, I finished my manuscript and emailed it to one of my Japanese teachers to check for grammatical errors. She responded immediately, and her quick proofreading allowed me to submit my speech on the deadline. I felt relieved, yet strangely nervous, a sensation I could not quite describe.

Six years have passed since I last spoke in front of an audience. Preparing another speech made me feel nostalgic, bringing back memories of long rehearsals, the advice of my best friends, and countless sleepless nights.

A month after submitting my manuscript, I received an email from the event organizer announcing my selection. I was among the fourteen candidates chosen to compete. I whispered a quiet “wow,” but doubts immediately surfaced. I had two months to prepare. To understand what awaited me, I watched recordings of previous competitions, while my seniors and Japanese teacher helped me refine my speech.

Four students were selected from my university. The other three were Asian students with extensive experience in Japanese language and culture. They read Kanji (Japanese characters)effortlessly and conversed naturally. And then, there was me. Though I had been exposed to Japanese language and culture since childhood, memorising every character reading and grasping dialects was never easy. Back in my country, despite growing interest in Japanese language and culture, opportunities to use it in daily life remain limited. Once again, I faced a new challenge—this time in the Land of the Rising Sun.

Time flew, and soon the two months of preparation had passed. Finally, the big day arrived. Early that morning, a kind university staff member greeted us with a bright smile. As I descended from my dormitory, I saw her waiting by her car near the main gate, bowing politely. Her excitement was palpable. Three of us rode in her car; she asked about our preparations and told jokes, perhaps to ease our nerves, which were all visible.

After twenty minutes, we arrived at a large building and walked up to the fifth floor through corridors decorated in traditional style. Japanese architecture and design have always fascinated me, and I was struck by their beauty once again. The event hall was medium-sized, with a small table at the entrance holding our name tags.

One by one, the other candidates arrived. We were then led to a smaller room for a preparatory meeting. While waiting, we chatted briefly to get to know one another. The competition began in the early afternoon. We were instructed to enter the hall one by one, greeted with warm applause. Observing the other candidates, I could tell they were ready. Fourteen contestants competed in total. Thirteen were Asians from countries including China, Vietnam, India, Indonesia, the Philippines, Taiwan, Sri Lanka, and Thailand. I was the only African, from a distant country few people knew. Before each speech, the Master of Ceremonies shared a brief anecdote about the candidate’s country, offering the audience a glimpse into its culture. Each contestant then delivered a five-minute speech.

There were two types of awards: the Golden Prize for first and second place, followed by four Silver Prizes. I had hoped to place among the top five while preparing my speech.

As I listened to the first three candidates, I was deeply impressed. Their speeches were powerful, emotional, and delivered with near-native fluency. I was surprised by how advanced and impressive their speaking skills were. I was the sixth speaker. Perhaps it had been so long since I last addressed an audience, or perhaps it was the absence of my closest friends but standing alone in a foreign country in front of strangers was overwhelming. My hands trembled. When my name was announced, I feared I might not endure those five minutes on stage.

Still, I stood before hundreds of people. I bowed, held the microphone firmly, and began. My heart raced and sweat ran down my face and back. Gradually, the pressure eased. When I shared the example of the longest name in the world—from my country, the audience reacted with surprise and amusement. I realised how attentive they were and regained inner calm. Although I forgot one line, I finished my speech smoothly and expressively.

The remaining eight candidates were equally impressive. Their eloquence was such that, with eyes closed, one might mistake them for native speakers. It was the highest-level contest I had ever participated in. Each theme and presentation were unique, and every contestant spoke with confidence. I doubted whether I would receive a prize, but reassured myself that even without one, the experience was worthwhile. Most participants had lived in Japan for over three years, and the Chinese and Taiwanese contestants were especially strong in oral expression. Yet, standing among such talented competitors was an honor.

After a break that was supposed to last twenty minutes but stretched to fifty, results were announced. They began with six Encouragement Prizes. I thought I might be among them, but my name was not called. Two more awards followed, still not mine. A friend nudged me, whispering, “Congratulations!” I replied, “Stop joking. Congratulations to you instead!”

Finally, the Silver Prizes were announced. They first called my country, then my name. The applause and cheers overwhelmed me, and tears welled in my eyes. I had not expected to win a Silver Prize, given the competition’s level. One friend from my university won the Golden Prize, and the second Golden Prize went to a Vietnamese contestant.

Participating in such a high-level competition was a tremendous challenge. Every step—from manuscript preparation to standing on stage—pushed me beyond my comfort zone. Yet, when it was over, I felt immense pride. I had once again delivered a speech before a large audience, this time in the country whose language I had cherished for years.

Though I had been nervous, the audience remained unaware. Their attentive expressions and warm applause carried me through. Afterwards, my Japanese teachers praised my performance, saying I had done exceptionally well. In that moment, I realised every hour of preparation, every doubt, and every fear had been worthwhile. I had faced a formidable challenge, stood my ground, and expressed myself fully, a reminder that courage, practice, and determination can transform daunting experiences into triumphs. It is a memory I will treasure forever.

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Randriamamonjisoa Sylvie Valencia is from Madagascar and is currently studying in Japan as a trainee student. She enjoys reading, writing, listening to music, and traveling to explore new cultures.

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

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

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

Categories
Musings

What’s in a Name?

By Jun A. Alindogan… also known as Manuel A, Alindogan

Lines from Romeo and Juliet by William Shakespeare(1564-1616) From Public Domain

When I was in kindergarten, the only name I knew was Jun. So when my teacher called me by my full name, I didn’t respond at all.

Obviously, I was named after my father and am the second child in a brood of four. Many acquaintances actually mistake my name for Emmanuel. I don’t know why my grandparents named my father Manuel, but it might be attributed to common influences in the community, not necessarily based on a desired dream or a definite meaning. My grandfather was from Fujian, China, as were many other Chinese migrants to the Philippines. It is presently common for Filipino Chinese to have Filipino surnames, which could be traced back to the Spanish regime in the Philippines when conversion to Catholicism entailed getting a godparent to sponsor one’s last name.

Although my surname has its Tagalog root, which means alluring or captivating, my facial features are predominantly Chinese despite being just a quarter Chinese. According to my mom, I got my habit of heavy toothbrushing from my father. My dentist told me that I inherited my yellowish and strong teeth from my dad. According to stories, my grandmother, Isadora, was from Tondo, Manila, who I presume, had some Chinese roots too as her maiden name was Gubangco.

While teaching at a special speech school in Manila, I met a student from Capiz province whom I got to know better through some conversations on a bus heading to a southern suburb. She asked me about my middle name, which is Arnaldo, and mentioned that my roots might have a tendril from her province. She also noted that in addition to Roxas City, there is an Arnaldo City in the province. Similarly, there is a highway named Arnaldo in General Trias, Cavite province. However, our Arnaldo clan is from Bulacan province, so I am not sure if we have relatives who migrated to Capiz or if it is the other way around.

It is interesting to note that my grandfather had only one sibling. They shared two last names, which were Arnaldo Cruz. These names were not to be mistaken for middle and last names, as is the legal order of our names. From some information I received from my cousins, I discovered that my grandfather decided to only have one last name, so he adopted Arnaldo, while his brother took on Cruz. In Spanish, arnaldo means powerful as an eagle.

Our Arnaldo clan is large, as my mother had twelve siblings, with one dying shortly after birth. All of my uncles’ first names ended with the letter O, while two of my aunts shared the same last letter, A, in their first names as my mom. I do not have information about my grandfather’s brother and whether he had a large family as well. However, I do know that my mom and her siblings were close to their first cousins, who mostly lived in a village in Tondo, Manila.

One of their cousins worked in theatre, sharing the last name Arnaldo, for many years until his passing. My second cousin, whose maiden name is also Arnaldo, is a seasoned actress for television and movies. Another nephew who shares the same last name, Arnaldo, owns a boutique in Makati and is a fashion designer. His father was a village captain (Barangay Chairman) in Tondo. I am a freelance writer with a creative non-fiction portfolio. I do not know if talent is innate, but I believe it is a gift that needs to be consistently nourished and shared. Each family has its own unique talent, origin, and destination.

A former movie actress, who used to be known by her maiden name Arnaldo, has now become a nun and has turned her back on films. However, we are not related. She was also an environmentalist. Perhaps we are all connected in some way, but as time and tradition fade away, we cannot definitively identify these physiological and social elements.

When I moved to a residence uphill a few decades ago, the municipal mayor’s last name was Cuerpo. Residents claimed he was originally from Nueva Ecija, the province next to Bulacan. Recently, I discovered that two last names were common during our grandparents’ time. I learned about this during annual visits to our family tomb in Obando, my hometown. My grandmother had a brother whom we fondly called Lolo (grandfather) and was a good painter. I remember a porch at their house with a concrete wall painted with fish, shells, and other marine life. His name was Eliseo, but we knew him by his nickname Sayong. On our family tomb, his death marker shows his full name as Eliseo Cuerpo Cruz Enriquez. Does this mean that we are remotely related to the previous town mayor of my current residence? Her daughter recently started a political career and won as the number one councilor in our just-concluded national and local government elections. It would be great to have a conversation with her about her family origins. Cuerpo means body in Spanish.

In my first teaching job at a high school in my province in the late 80s, I had the opportunity, along with my colleagues, to visit the ancestral house of the then-municipal mayor, former mayor Tito Enriquez of Bulakan, Bulacan, on his birthday. His house reminded me of the Alindogan ancestral house, also known as Bahay na Bato (stone house), where the ground floor was used for firewood storage, free-range chicken, and other household items. I suspect that we may be related, as my grandmother was also from Bulacan, but from a different municipality, Baliwag. I recall attending a large family reunion of the Arnaldo-Enriquez clan in the same town during my childhood, which rarely occurs now since all of my mom’s siblings have passed away. In my first year of teaching, I was too timid to inquire or discuss my ancestry with the mayor. “Enriquez” means “son of Enrique” in Spanish. According to history, the Enriquez family of Bulakan, Bulacan, were prominent heroes in the Battle of San Rafael[1].

Not everyone has the opportunity to observe, identify, and understand family connections from the past and present, but it is always a good idea to remember where we come from. This can perhaps help us navigate our present and future destinations more clearly.

[1] Fought between the Spanish and the Filipinos in 1896

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Manuel A. Alindogan, Jr. or Jun A. Alindogan is the Academic Director of the Expanded Alternative Learning Program of Empowered East, a Rizal-province based NGO in the Philippines and is also the founder of Speechsmart Online that specializes in English test preparation courses. He is a freelance writer and a member of the Freelance Writers’ Guild of the Philippines (FWGP).

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

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

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Categories
Stories

The Sixth Man

By C. J. Anderson-Wu

Lin Yuan-Kai strode past the basketball courts, flanked by two prison officers, when a basketball suddenly flew toward him, striking his left hip. Though unhurt, the impact startled him. Laughter erupted from the players on the court—it was no accident.

Without hesitation, he picked up the ball and gestured his intent to join them. The officers didn’t interfere. The inmates, momentarily caught off guard, watched as he lined up a shot. He missed, but his confidence and performance impressed them.

For the next seven minutes, they played. Two inmates stepped forward as his teammates for a mano a mano match. Together, they seized victory, defeating their opponents 12 to 8. When the game ended, the officers resumed their duty, escorting Lin Yuan-Kai away, as if nothing had happened.

The sun hung mercilessly overhead, its heat absorbed and magnified by the endless concrete walls stretching in every direction. The prison yard of cracked pavement and sun-bleached barriers offered little relief. The air shimmered above the surface, thick with dust and the scent of stone baking in the heat. A few trees, sparse and struggling, clung to life along the far edge of the yard, their thin, brittle leaves barely moving in the stagnant air. The little tree shades were claimed by the few inmates lucky enough to lean against their trunks, eyes squinted against the glare. 

Most others had no such luxury. They paced in the open, sweat slicking their skin. Conversations were short and clipped, words drowned out by the hum of cicadas whining from somewhere beyond the towering perimeter walls. The walls themselves, reinforced with layers of thick concrete, absorbed the heat like a furnace, turning corridors into suffocating tunnels of stifling air. 

Two years ago, Lin Yuan-Kai was commissioned by the Archives Bureau to conduct the analysis of political archives and the gaps left behind after multiple rounds of legal document collection. The task was immense, and many researchers had approached it by pinpointing missing records and overlooked events. However, that method lacked structure and rarely led to meaningful conclusions.

Given the limited timeframe, Lin Yuan-Kai devised an approach that combined institutional records, yearbooks, and interdepartmental meeting minutes to identify relevant agencies involved in political documentation. Not every agency maintained comprehensive records, and many yearbooks only covered relatively recent years, which complicated the search. Another method involved a quantitative breakdown of archival cases and items.

With these comparisons and insights gained from studying archives and conducting interviews, Lin Yuan-Kai suspected that there were unfound prison archives that might have been hidden, abandoned, or destroyed. Traditionally, archives had been collected by searching institutional catalogs through keyword and classification code queries. But that process had two major flaws—some documents were not indexed due to oversight, and institutional catalogs were often incomplete or poorly organised. The true scope of political archives lay not only in recorded files but also in the unindexed stacks of storage, filled with materials that had never been officially recognized as archives.

Determining which institutional catalogs to consult was another challenge. For instance, searching for prison records during martial law meant looking beyond the former Garrison Command and into its subordinate and sub-subordinate agencies that had been dismissed after the abolishment of martial law. Despite the obstacles, direct access to storage rooms was the most effective solution. That required perfect timing, coordination, and support from the right people. Fortunately, the Archives Bureau’s careful planning made it possible, allowing as much as possible access to the storage rooms where records had long been buried. Several times, young staff members had initially claimed that certain archives did not exist, only to uncover them once inside.

It was a rare opportunity, shaped by luck and determination, and it offered a glimpse into the missing history hidden in forgotten shelves.

Nevertheless, bureaucracy was a major obstacle of Lin Yuan-Kai’s mission. Authorities were never eager to be scrutinized, in the past as well as at the present. As he arrived at the former Alapawan prison, now a correctional institute, Lin Yuan-Kai felt the old walls, though renovated, still carried the weight of their history. Inside the building, the scent of disinfectant and old settings filled the air as he approached the front desk. A stern clerk barely glanced up from his files when Lin Yuan-Kai introduced himself and explained his purpose, citing his authorization letter from the Archives Bureau. The clerk took his paper, skimmed it for a brief moment, then sighed.

“The records you’re looking for don’t exist.”

Lin Yuan-Kai had anticipated resistance. Bureaucracy had a way of stalling progress, and Alapawan’s past was no exception. He tried to reason with the clerk. “These events happened only fifty years ago. Surely there are still some transcripts or reports? Can I enter your archive room and look for myself?”

Half a century ago, political prisoners in Alapawan attempted to seize weapons and ammunition from the prison guards, hoping to break free and ignite a large-scale revolt across the island—ultimately aiming to establish the Republic of Taiwan. But they failed.

Following the prison break, a Joint Command was formed, consisting of the Garrison Command, an army corps, and the police force, tasked with tracking down the fugitives. Within days, five chief conspirators were captured, and within months, these rebels previously imprisoned for separatism, disrupting social harmony, or sympathizing with communists were sentenced to death. This time, the charges were far graver: instigation of social disorder, treason, and espionage.

This chapter of the insurgence had been thoroughly investigated and studied. Lin Yuan-Kai had pored over nearly all available historical materials, including the official reports on its suppression and subsequent rehabilitation. To him, their plan had always seemed doomed from the start—too few participants, none of whom had ever been trained in combat, armed or unarmed.

Even if many sympathized with their idealism, organizing them into a unified force, let alone securing enough supplies to sustain an uprising, was nearly impossible.

What pressed on Lin Yuan-Kai’s mind, however, was not how they had failed—but what followed. How many more were purged in the aftermath?

Determined, he waited for the clerk’s response.

The man’s lips pressed into a thin line. “You’ll need an official request submitted through proper channels. A paper from the Archives Bureau can’t order us to upheaval our archive.”

Upheaval, Lin Yuan-Kai thought, that’s how they saw a search of the archive, it means the documentation must be in very bad condition. “Is there anyone I can speak to in person? Former officers, anyone who might have firsthand knowledge?”

The clerk shrugged.

“What about inmate logs? Medical reports?”

The man hesitated. “Accessing them requires approval from the warden’s office. But the documents don’t include materials from fifty years ago.”

Lin Yuan-Kai saw his chance. “Let me speak to the warden, please.”

After several more rounds of procedural explanations and lingering doubt from the clerk, Lin Yuan-Kai was finally escorted to the warden’s office. Warden Liu, an aging man with years of institutional experience behind him, sat at a desk cluttered with paperwork. His eyes held neither warmth nor hostility, just the weariness of a man accustomed to endless trivial administrative tasks.

“I understand you’re seeking records on the insurgents,” Liu said, leaning back in his chair. “Officially, we have no ties to the former Alapawan prison, and our institute does not comment on past political events.”

Lin Yuan-Kai sat forward. “I’m not here to stir controversy, only to understand what happened. The prisoners’ perspective, the conditions, their treatment during the conflict, those details are crucial to preserving history.”

What he withheld was the conversation with a relative of one of the cellmates. She had approached him upon learning about the Alapawan prison project.

“Dr. Lin, my granduncle disappeared after the prison insurgence, after the sentencing and execution of the five chief conspirators. We never found out why or what happened. There is no governmental paper detailing his release, or his death.”

The young woman, Hsiao Yi-Chun, retrieved a worn photograph: a man in a white shirt, his hair neatly trimmed in a business cut. “This is the only photo we have of our granduncle.”

Lin Yuan-Kai, who had spent years studying the White Terror, had seen countless images of its victims. Each one struck him deeply. In the faded photograph, the man’s dark eyes stared back at him—he was likely around his own age.

What would happen to his own family if he were to vanish?

Carefully, Lin Yuan-Kai wrote down the man’s name, his charge, the year he was sent to Alapawan prison, and snapped a picture of the worn portrait with his smartphone.

After their meeting, Lin Yuan-Kai tried to edit the portrait with his phone—unblurring it, brightening it a little, strengthening the contrast 20%, and testing almost all special effects. But, at last, he saved the original without keeping any edited image. Hsiao Yi-Chun said they were told that her granduncle was the “sixth man”, but no one knew what it meant. 

Standing in the warden’s office, Lin Yuan-Kai wondered if there was any clue that could lead him to the “sixth man”. The air was thick with the scent of stale paper and old ink, the kind that lingered on documents left untouched for years.

A single overhead lamp flickered, casting erratic shadows over the cluttered desk, its surface scarred by decades of use. Forgotten files lay in disarray, stacked haphazardly, their edges curling from time and neglect. The blinds were drawn, shutting out daylight, trapping the room in a suffocating stillness.

Officer Liu studied Lin Yuan-Kai for a long moment. Then, instead of responding, he rose from his chair and crossed the room to an old, rusted cabinet. With a quiet click, he unlocked a drawer and pulled out a worn box of folders.

“These are the only personnel notes from that time, kept by a former officer,” Liu said. “Unofficial and very incomplete, but if you want insight, this might be your best chance.”

Lin Yuan-Kai wiped the dust from his sleeves as he leaned over the crate, its brittle edges crumbling under his fingers. The box, long forgotten in the corner of the archive, promised secrets. But so far, it had yielded nothing but empty envelopes, rusted paper clips, and a cracked ceramic cup with faded initials no one could recognize.

Lin Yuan-Kai stood by the desk, flipping through the box’s contents with growing frustration. Bent clips, drawing pins, a hardened eraser, outdated requisition forms, a dust-coated key, each item more useless than the last. But the warden said nothing. He sat slumped in his chair, fingers laced together, watching the archivist with weary indifference. His gaze held neither curiosity nor concern, just the detached patience of a man accustomed to fruitless searches. The dim light caught in the deep lines of his face, revealing decades of service worn into his skin.

Lin Yuan-Kai kept searching, brushing aside brittle folders until his fingers found something different—a single slip of paper, folded with deliberate care. Slowly, he unfolded it, scanning its brief message.

“Documents regarding Deng Tse-Shan must be burned before May, together with this note.”

Obviously, it was a secret order but was not obeyed. The recipient had neither destroyed the note nor, perhaps, the documents it referenced.

Lin Yuan-Kai’s pulse quickened. He scanned the note again, absorbing its implications. If the files had been moved rather than burned, then someone had deemed them worth preserving, just not in the way history had dictated. His grip tightened. He glanced at the warden, searching for any reaction. None came. Silently, Lin Yuan-Kai tucked the paper into his pocket.

Back at the AirBnB, Lin Yuan-Kai let the cold shower wash away both the sweat and the lingering excitement. He reminded himself that he might not find anything beyond the note.

Later, in the shared living room, he settled into a chair, sipping the icy beer he had stored in the fridge earlier.

A westerner with a ponytail walked in. Seeing Lin Yuan-Kai, he asked politely, “Are you Dr. Lin Yuan-Kai?”

“Yes, I am,” Lin Yuan-Kai replied, surprised. How did a foreigner know him?

The man extended his hand. “I’m Dr. Morris. They told me you’re an archive expert.”

Lin Yuan-Kai shook his hand. In this isolated place, any outsider stood out, especially one visiting the prison, the largest institution in the region.

He gestured toward the beer. “Want one?”

They moved to a high table with their beers. Dr. Morris, an American sinologist, studied the inscriptions on headstones to trace the tempo-spatial patterns of migration to Taiwan from different regions of the world.

“They told me there are many headstones that might be of interest, so I came to see for myself,” he said. “I walked around and found graves with inscriptions suggesting that people from diverse backgrounds lived here from the late nineteenth to the early twentieth century. Some came from China, some from Southeast Asia, others from Taiwan’s west coast, and some relocated from the mountains to farm.” Lin Yuan-Kai was amazed that one could re-establish such a history through headstones.

Dr. Morris continued, “I copied down some of the names carved into the stones, at least the ones still legible. Some graves bear only a name, with no other details. Tomorrow, I am going to check out the old village office, hoping some documents have survived. The neighbourhood chief, Mr. Huang, agreed to take me.”

“What is in the village office?”

“They said the office kept tons of unattended documents, and I might find some matching the names on the headstones.”

“Can I go with you?” Lin Yuan-Kai asked, as an archive expert, the prospect of an unknown collection set his pulse racing.

“Of course, that’s what I intend to do.”

.

Around 7 o’clock next morning, they met in front of the dilapidated village office, and Mr. Huang brought a key to carefully open the door. Lin Yuan-Kai thought it was just a gesture, for the door was so unhinged, anyone could just kick it open.

The archive room was in the deepest side of the building, lying in stillness, untouched and forgotten. As the pale morning rays filtered through its dust-streaked high windows, shadows stretched long across the floor, tracing the outlines of scattered folders and crumbling stacks of paper that had surrendered to time.

Metal filing cabinets, their surfaces pockmarked with rust, stood in rows like sentinels guarding history’s remnants. Some drawers hung open, revealing brittle documents curled at the edges, their ink faded. The air smelled of damp paper and aged furniture, memories soaked into the very walls, lingering long after the last searcher had departed.

A single overhead light flickered weakly, its bulb on the verge of surrender. In the corner, a toppled chair lay beside a desk strewn with yellowed index cards, each inscribed in careful, long-forgotten handwriting. The room exuded a quiet decay—a blend of dust, brittle paper, and the faint musk of fraying linen threads that once bound volumes now crumbling with age. The air carried a musty dampness, heavy from years without ventilation, tinged with the metallic trace of ink that had long since bled into the paper’s grain.

They stood uncertainly, unsure where to begin. Then, a sharp shriek from a bird outside the window cut through the silence, startling them. A single leaf fluttered in through the broken screen and landed atop a half-open drawer. Lin Yuan-Kai took it as a sign, so he would start there.

Dr. Morris unfolded the papers where he had recorded names over the past few days, studying them as he tried to decipher the document arrangement. The records were categorized roughly by the number of strokes in the characters of family names: Wong, with four strokes, was placed first; Wu, with seven, followed after; and Lin, with eight, came next in the sequence.

While Dr. Morris remained buried in the worn-out documents, Lin Yuan-Kai turned his attention to the files of surnames with the most strokes. He examined those for Yen but found little of note, only a handful of records for the name. The files of Tsai were similar.

The documentation was inconsistent; some individuals had more detailed records, including birthplaces, occupations, marriages, and even death dates, while others had nothing beyond a name. Women, in particular, were often documented solely in relation to their husbands—identified, for instance, as Madam Tsai when married, and again only when widowed.

Lin Yuan-Kai thought of Hsiao Yi-Chun’s granduncle as he sifted through the files under the Hsiao surname. Unsurprisingly, he found nothing; the man had disappeared in 1970, while these records dated back only to the late 19th century through the mid-20th century.

Still, experience had taught him that archives always held something—hidden traces, faint echoes of the past, as if the ghosts of those denied closure lingered, guiding his search.

Political prisoners of that era were often in their twenties or thirties. If some had been locals born in the 1930s or 1940s, their names might still be buried in these files.

He retrieved the note he had secretly pocketed the day before—Deng Tse-Shan, the man the authorities had tried to erase.

At first, the documents of the Deng families revealed nothing. But as Lin Yuan-Kai scanned names that might be connected, Dr. Morris unfolded his own notes and pointed to an entry—a name containing Deng and Shan, though the middle character was unrecognisable

“Could they be the same person?”

“Very likely,” Lin Yuan-Kai said, leaning in. “Where did you find this name?”

“In the mass grave. He might be the ‘sixth man.’”

Sixth man. It was the second time Lin Yuan-Kai had heard that phrase.

Dr. Morris explained that, according to Prof. Jiang Ming-Shun, after the five chief conspirators for Taiwan’s independence were arrested and sentenced to death, the national leader Chiang Kai-Shek remained convinced that a sixth man had played a role in the prison break and ordered that he be found at all costs.

No one knew how Chiang had obtained this information, given that he lived and governed from Taipei, far from the prison in Taitung. But his word carried unquestioned authority. His judgment was treated as truth, and his directive was followed without hesitation.

The result was a wave of arrests and executions carried out with little to no evidence, culminating in the mass grave near the prison.

“So, there were more than one ‘sixth man’?”

“Based on what we counted in the mass grave, there were likely eight to twelve. Some mounds might not be graves at all, and others may have disappeared over time, lost to floods or landslides.”

Lin Yuan-Kai took over Dr. Morris’s notes, searching for Hsiao Yi-Chun’s granduncle. One name shared a matching character, but it wasn’t enough to confirm whether it was the same man, or if Hsiao Yi-Chun’s granduncle was among the “sixth man.”

A clearer picture has begun to emerge beyond the well-studied prison insurgence. In addition to the five chief conspirators, eight to twelve other men were accused of being accomplices and executed on the spot—without trial, without due process. The scale of this slaughter exceeded even that of the major trials. Each of these men—who may or may not have been involved in the uprising, who may or may not have supported Taiwanese independence, who may or may not have identified as Chinese or Taiwanese—was killed as the “sixth man”.

To their families, they simply vanished. To history, they became little more than unmarked remains, whose existence were left to be debated as part of Taiwan’s sovereignty decades later. 


C. J. ANDERSON-WU
 (吳介禎) is a Taiwanese writer who has published fiction collections about Taiwan’s military dictatorship (1949–1987), known as White Terror: Impossible to Swallow (2017) and The Surveillance (2021). Her third book Endangered Youth—Taiwan, Hong Kong, Ukraine has been launched in April 2025. Her works have been shortlisted for a number of international literary awards, including the International Human Rights Art Festival and the 2024 Flying Island Poetry Manuscript Competition. She also won the Strands Lit International Flash Fiction Competition, the Invisible City Blurred Genre Literature Competition, and the Wordweavers Literature Contest.

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Categories
Review

Proclamation for the Future

Book Review by Bhaskar Parichha

Title: Raisina Chronicles: India’s Global Public Square 

Author: S. Jaishankar & Samir Saran

Publisher: Rupa Publications

Raisina Chronicles: India’s Global Public Square by  S. Jaishankar and Samir Saran commemorates a decade of the Raisina Dialogue, India’s flagship geopolitical and geo-economics conference. The book reflects on the journey of the Raisina Dialogue and its impact on global discourse. It brings together contributions from leaders, thinkers, and diplomats, scholars, and policymakers worldwide, offering insights into addressing global challenges through collaboration and dialogue.

S. Jaishankar has been India’s External Affairs Minister since May 2019 and represents Gujarat in the Rajya Sabha. He was the Foreign Secretary from 2015 to 2018 and has held ambassadorial roles in the U.S., China, and the Czech Republic, as well as High Commissioner to Singapore. He authored notable books like The India Way: Strategies for an Uncertain World and Why Bharat Matters. Samir Saran is the President of the Observer Research Foundation (ORF), a leading Indian policy think tank. He has enhanced ORF’s influence in the U.S. and the Middle East and provides strategic guidance at the board level. Saran curates the Raisina Dialogue, co-chairs the World Economic Forum’s Global Future Council on Geopolitics, and serves on the Board of Governors of The East West Centre in the US. He has written five books, edited key monographs and journals, and contributed to numerous academic papers and essays, appearing in both Indian and international media.

The book brings together voices from across the world—of leaders and thinkers reflecting on the Raisina Dialogue’s impact on how we may navigate global challenges and create solutions that work. Putting India at the forefront of leading the change, the effect of these Dialogues is felt across policies and projections.

The editors emphasise that diversity, dissent, discord, and divergence of opinion make for the necessary ingredients for a sustainable future, shaped and owned by all. Ten years since its inception, the Raisina Dialogue has become the paramount platform for bringing together cultures, peoples and opinions. It is now India’s flagship geopolitical and geo-economics conference and has truly become a global public square—located in New Delhi, incubated by the world.

It emphasises the importance of diversity in thought, approaches, beliefs, and politics. It highlights how pluralism and heterogeneity contribute to resilience and societal evolution. Raisina Dialogue serves as a platform for inclusive participation, welcoming voices from underrepresented geographies and institutions.

While it showcases India’s emergence as a global leader in addressing development challenges and fostering international cooperation, it reflects the philosophy of Vasudhaiva Kutumbakam (the world is one family) and its efforts to harmonise local solutions with global needs.

Through initiatives like the G20 Presidency, India has shared transformative models such as digital public infrastructure (e.g., India Stack), offering templates for financial inclusion and tech-enabled development globally.

Alongside the carefully organised discussions, Raisina Chronicles examines the evolution of the Dialogue and presents its audience with a comprehensive volume that offers deep insights and an unwavering optimism for achieving shared solutions to worldwide issues.

As the globe approaches significant structural and historical transformations, the core aspiration of this work is to ensure that the voices of the populace are prioritised in global politics and policymaking, echoing through influential circles and reaching the broader community. For leaders to effect change, it is essential for society to unite and take a decisive step forward in the right direction.

Raisina Dialogue is also portrayed as a crucial venue for bridging divides in a fractured world. It fosters open discussions among diverse stakeholders—diplomats, scholars, business leaders, civil society members—to discover shared futures and solutions. The book underscores the importance of dialogue over polemics and inclusivity over exclusivity in shaping global policies.

Contributions from high profile global leaders such as Kyriakos Mitsotakis (Prime Minister of Greece), Mette Frederiksen (Prime Minister of Denmark), Penny Wong (Australian Foreign Minister) and others enrich the book with perspectives on international cooperation, climate goals, defence partnerships, and multilateralism.

The book serves as both a retrospective of the Raisina Dialogue’s achievements over ten years and a forward-looking guide for navigating global challenges. It positions India at the heart of global conversations, highlighting its role in fostering equitable dialogue and creating solutions that resonate across borders.

This volume is not just a collection of essays but also an intellectual testament to the transformative power of dialogue in shaping a sustainable future for humanity.

Bhaskar Parichha is a journalist and author of Cyclones in Odisha: Landfall, Wreckage and ResilienceUnbiasedNo Strings Attached: Writings on Odisha and Biju Patnaik – A Political Biography. He lives in Bhubaneswar and writes bilingually. Besides writing for newspapers, he also reviews books on various media platforms.

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

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