Categories
Interview

The Global Story of Plants, People and Plastic

Keith Lyons in conversation with Helen Townsend, an environmental entrepreneur and a plant enthusiast

Helen Townsend speaking to women at Girls-in-STEM that aims to close gender gap in science in 2026. Photo sourced by Keith Lyons

Helen Townsend has spent her career uncovering the connections between people, plants and the planet. From working with herbarium collections in Nepal and Bangladesh to leading campaigns against single-use plastics and creating nature-based toys for children, the environmental entrepreneur has come to see climate change, biodiversity loss and waste as deeply interconnected global challenges. In this interview, she reflects on the power of plants, the importance of global responsibility, and why reconnecting children with nature may be one of our greatest reasons for hope.

Keith Lyons (KL): How did you find yourself in Nepal and Bangladesh, and what did you do there?

Helen Townsend (HT): In 2006 I was working in the herbarium of the Royal Botanic Garden Edinburgh on a project digitising African plant specimens. The aim of the project was to increase African botanists’ access to their countries’ important specimens which had been collected during colonial exploration and taken to the UK. In 2009, the project expanded to Asia, and I went to Nepal to train staff and set up the digitising project at the National Herbarium of Kathmandu. I also spent six months in Bangladesh volunteering at a girls’ school in Dhaka.

KL: How were your experiences in those places influence your awareness of environmental issues which are both linked with modern society and global?

HT: While growing up in New Zealand and living in the UK, I knew we used too much plastic packaging and tried to avoid it but it was when I was in Nepal and Bangladesh and saw plastic rubbish on the streets and in the rivers that I started to realise the scale of the plastic pollution problem. In New Zealand we produce so much more rubbish than people in Nepal and Bangladesh but because it’s collected weekly and taken away, we never have to confront the environmental impact of our purchasing choices.

KL: What fascinates you about plants?

HT: Plants are beautiful, especially trees! But the more I learn about them the more interesting they become. Plants are often seen as the backdrop to a scenic view or ‘nice to haves’ for people living in cities but they are absolutely essential not only for the survival of all life but also for our physical, mental and emotional well-being.

How has this interest run through your study, work and approach?

HT: Both of my businesses have tackled systemic issues by providing alternatives to single-use plastics and reconnecting kids with nature. These issues are directly related to protecting the environment and helping parents pass on their love of nature to their kids.

KL: What broader lessons have you learned from working with plant collections, botanical gardens and herbariums?

HT: Working on projects to return botanist’s access to plant specimens taught me how interconnected societal problems are and how our current problems are grounded in colonial and capitalist thinking. Europeans taking plant specimens from Africa and Asia in the 1800s directly impacts the work of today’s botanists from those areas. In the same way, climate change and the biodiversity crisis have been caused by rich countries’ exploitation, again taking more than their share of nature and resources.

KL: Waste is often seen as a local issue, whether it be plastic, uncollected rubbish, dumping, or pollution in waterways. Why do you see it as a global issue?

HT: Billion-dollar companies headquartered in the USA or Europe take oil from the Middle East and turn it into plastic to be made into products in China which are then shipped to New Zealand. After we’ve used the product, we put our plastic ‘recycling’ out to be collected, and it’s shipped to Indonesia where it contributes to enormous landfills contaminating the land, water ways, oceans and health of communities we will never visit.

This is not an accident. It is a planned devaluing of the global south so rich countries can continue to consume overpackaged and unnecessary junk to make a few people extremely wealthy. If we look at waste as a local issue, we can pat ourselves on the back for taking part in a beach clean-up, while ignoring the capitalist system that created the inequality and environmental destruction of countries we do our best not to think about.

KL: What initiatives have you been involved in which have looked for solutions to problems, and how did you go about turning ideas into action?

HT: After returning to New Zealand, I set up a company called ‘The Rubbish Whisperer’ to provide replacements to single-use plastics. I made reusable produce bags and introduced paper straws to cafes and restaurants in New Zealand, advocating for straws on request. Providing reusable alternatives was an important component in the grass roots movement to eliminate single-use plastics. Working alongside activists, scientists and community groups, we were successful in achieving New Zealand’s 2019 ban on single-use plastic bags and restrictions on plastic straws.

Now I have a company called ‘Sustained Fun’, the world’s first climate change focused toy company. Toys are vital to climate change because they teach social norms and shaped how kids see the world. The toy industry works on a fast fashion business model and is training kids to be over-consumers of cheap, disposable plastic junk. If we want adults who care about the environment, we need kids to learn how to love nature. Luckily all this entails is to get kids out into it! We make fun and sustainable toys and games that encourage kids and families to connect with nature.


Anthea Bell and Helen Townsend, co-founders of Sustained Fun with their reusable water-balloons. Photo sourced by Keith Lyons

KL: When it often seems that environmental problems can feel overwhelming, what gives you hope?

HT: This is something I struggle with a lot. It doesn’t always feel like things are getting better. I make an effort to seek out positive news and connect with others who are excited about nature and are making a positive impact. Running ‘Sustained Fun’ also gives me hope as I can help to create a more positive future for kids and families.

KL: What helped shaped your perspective and desire to make a difference?

HT: I’m not sure. I don’t understand why everyone wouldn’t want to make a difference? We all want swimmable rivers, clean beaches, forests, amazing animals and breathable air. And, especially for those of us from rich, privileged countries, it’s our responsibility to make sure a healthy environment is there for all people and the next generation.

KL: If someone could see the world through your eyes just for one day, what do you think they would notice differently?

HT: Plants! Instead of seeing plants as a green backdrop, they would see them as the view, noticing which ones are native and which are invasive. They’d look at deforested hillsides and imagine them covered in mature forests. They’d look at a polluted estuary and see it teeming with life. Wherever I go, I imagine what it used to look like before we cut down the trees and what it will look like again, once we’ve restored them.

KL: What kind of world would you hope today’s young people inherit?

HT: I would love it if every year wildlife numbers increased so that when young people look back at 2026, they are amazed at how far we’ve come. I can’t wait for my grandchildren to say to me ‘I can’t believe you were excited to see one whale in the harbour, I often see hundreds’. 

KL: If you could leave one message for readers around the world, regardless of where they live, what would it be?

HT: Do more and speak up. We need to move swiftly and urgently to prevent the worst effects of climate change and stop biodiversity loss. Whatever your skills, experience and profession, turn them to protecting the environment. And if you have kids, teach them to love the environment by getting them out into nature as often as possible!

Links

https://sustainedfun.com

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 Wild Winds: The Borderless Anthology of Poems

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

Categories
Interview

Erik Kennedy: Crossings, Preoccupations and Poetry

Keith Lyons converses with Erik Kennedy

Erik Kennedy

What does it mean to write poetry in an age of climate crisis, internet overload, and late-stage capitalism? Few writers tackle those questions with as much intelligence, humour, and urgency as Erik Kennedy. The acclaimed contemporary poet talks about finding his voice, life in another hemisphere, the pleasures of performance, and why writing remains central to how he makes sense of the world.

For readers who may be discovering your work for the first time, could you tell us a little about yourself and the kinds of writing you write?

I’m Erik Kennedy, a poet, critic, editor, and performer in
Ōtautahi Christchurch in Aotearoa New Zealand. I’m originally from New Jersey, but everything good I’ve ever written was produced here. My three books are There’s No Place Like the Internet in Springtime (2018), Another Beautiful Day Indoors (2022), and Sick Power Trip (2025), all with Te Herenga Waka University Press. My first and third books were shortlisted for best book of poetry in New Zealand’s national book awards, the Ockhams. I also co-edited an anthology of climate change poetry from Aotearoa and the Pacific called No Other Place to Stand (Auckland University Press, 2022).

How do you describe your poetry? 

In a recent fellowship application, I wrote that with my style I am ‘intense, wry, and willing to seem unhinged if it makes the writing real’. That seems fair. The adjectives ‘political’ and ‘funny’ are often thrown around in discussions of my poems. I think I have taken a more solemn turn with my recent work, especially in Sick Power Trip and in the manuscript I’m working on now. Subjects I return to over and over include climate collapse, the internet, labour, illness, warfare, addiction, and dysfunctional late capitalism. I try to use every tool in the poet’s toolbox: free verse, rhyme, collage, prose and hybrid forms, personas, etc. As a poet you get to shapeshift; I try not to forget that.

I also enjoy writing criticism, and I think I’m good at it, but it’s not something I’m driven to do unless I’m asked by an editor. (Hit me up, editors.)

When did writing first become important to you, and do you remember the moment you thought, ‘I’d like to do this for a living’?

I have never thought that I can write for a living! I do various kinds of work, including as an editor in book publishing, but I don’t expect the kind of writing I do to buy me truffles and Audis. 

When did I first realise that I wanted writing to be a central part of my life? I was about thirteen when I started to write really seriously, autodidact-ing myself into a position where I started to have a style and ambitions. I was the classic teen poet filling notebooks with poems that, mercifully, remain in what Thomas Gray would call ‘dark, unfathomed caves’. I have never really looked back. Writing is a vital part of how I live. Of how I process the world and the things that happen in it. I have always produced new writing, except in periods of personal turmoil, and in those circumstances I think the not-writing made things even worse. 

What kind of work have you done in this space, and how has it shaped your writing?

In an earlier period of my life I was doing a PhD in English at Princeton, and while I didn’t complete it (by writing what surely would have been a tragically uninspired dissertation), the many years I spent at the coalface of literature and history at universities were not wasted. There is a part of me that still thinks that The Poet Who Knows Lots of Stuff is the ideal artist.

Being a copyeditor is an underrated literature-adjacent job. I know loads of writers who teach creative writing (it’s not for me), and that obviously makes you think constantly about how texts work, but there is something about the technical, competence-driven, problem-solving nature of copyediting that I have always found appealing. I like coming up with answers! Every book you work on upskills you in one way or another. That’s so valuable. I’d like to point out that AI is not coming for copyeditors any time soon. The sheer amount of random facts, hunches, preferences, and human judgements involved in copyediting a book definitely makes it a craft for flesh-and-blood knowledge workers.

Also, I have edited poetry for litmags for years. There is simply no better way of seeing what writers are actually doing than by reading hundreds or thousands of real-life examples of contemporary writing. Editing offers you examples of writing to emulate and to react against. It’s also a crucial part of a writer’s moral education; people are entrusting you with important parts of themselves, and as an editor you have a responsibility to treat their work with care and respect.

What readers/listeners do you most like writing for?

I feel really fortunate to have a thriving literary scene on my doorstep, quite a lot of it grounded in performance. I have gained so much by trying to make my work resonate with live audiences, who of course only get to experience the text once, via my voice and expressions. (Also, I was a theatre kid, and I just really like performing.) Page versus stage is a false dichotomy, but page plus stage is a great way of thinking about making work that draws people in. Publication is always my goal with my poems, but I also want to entertain, to commune with real people I can see and chat with. So in some ways the reader I have in my head when I write is a punter at a reading series. These people have been wonderful barometers for me over the years.

You grew up in the US and now live in New Zealand. How has this influenced your outlook? 

I can imagine my answer to a question like this being shown to me by agents in some dismal room at Newark Airport. Let’s just say that I am glad that I am where I am. Also, I have published work that probably makes the points I wish to make better than I can make them here.

Where does your writing usually begin: with a character, a situation, a question, or something else entirely?

A line. I am a compulsive notes app user. I raid my poem ideas document all the time.

What does your writing routine look like, and what conditions help you do your best work?

‘Routine’, lol. As is the case with many poets, I would say that there are certain aspects of executive function that I don’t excel at. So my process can look a little chaotic. I try to set myself up for success with my note-making habits. And I work on things when the moment feels right. I am opportunistic, a jackal who doesn’t miss a trick if a corpse is nearby. I only occasionally sit down with the intent to write. (It does work sometimes, though, which feels like finding $50 on the ground.) Walking is a great imaginative stimulant for me; we could call that an important part of my routine. I’m like a moustached twenty-first-century Wordsworth.

Every writer faces difficult days. What helps you keep writing when inspiration is absent or a manuscript feels stuck?

If I haven’t produced anything vaguely satisfactory for a fortnight or so I start to feel so inadequate and despondent that not writing doesn’t even feel like an option. I suppose if, despite my best efforts, I ever get full-on writer’s block, I will dissolve into a dejected slime. Let’s hope it doesn’t come to that.

What aspect of the writing craft took you the longest to master, and what did that journey teach you?

The dark art of ordering a poetry manuscript—of making disparate elements into a coherent whole—is something I will always want to get better at. It is hard. My most recent book, Sick Power Trip, feels of-a-piece in a way that neither of my first two books did, because I set out to make it that way and because I allowed my preoccupations to come through. Maybe what I’ve learned is that artists need preoccupations. I am thinking about artistic unity earlier in the process now. Is this good? Maybe. Do I feel I’ve cracked the case? No.

What role does reading play in your life as a writer, and are there particular authors or books you return to for inspiration?

I don’t like the name-your-influences game because 1) my influences change all the time and 2) I am terrified of offending someone by not mentioning them. 

Anyway, it all starts with reading. Sure, living is useful too, but I’ve always found that an encounter with the right text at the right time is transformative, alarming (in a good way). It’s like a nineteenth-century galvanist is jolting me with electricity. 

I do a lot of reading for professional purposes (keeping up with what’s coming out), so I sometimes must remind myself to let my fancy wander and read . . . whatever the hell I want. Another thing I need to remind myself to do is to read things on my TBR pile! You bought these books, you idiot, maybe you should look at them. A constant problem.

What has surprised you most about the experience of being a published author?

I’m always amazed that people take the time to write to me out of the blue. I can only imagine what it’s like if you’re, you know, actually a big deal writer. 

How do you navigate self-doubt, rejection, or the inevitable setbacks that come with a creative career?

I am a world-class user of defence mechanisms. 

What is the most valuable piece of writing advice you have ever received?

I find that the example set by other writers I admire, especially peers, is more motivating to me than maxims. It’s more valuable to me to observe the ups and downs of other people’s careers than to hear, like, ‘the brain is a muscle—exercise it’.

What advice would you give to aspiring writers?

Make sure you like writing, not just having written. I think there are some truly terrible temptations available to writers who want to get to the end product too quickly. (Yes, I am talking about generative AI.) But if you really do like writing, then probably nothing will stop you. I believe in you. We are so lucky to work in an artform that requires very few material inputs. I don’t need a tuba or big canvases or a theatre to do what I do. Life presents obstacles—of course it does—but in theory literature can be such a democratic artform.

If you could go back and have a conversation with the writer you were before your first book was published, what would you tell them?

You were a ‘real writer’ then, even if you barely felt like one. Having books doesn’t make you a writer. Writing does.

You can read two poems from Sick Power Trip by clicking here.

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 Wild Winds: The Borderless Anthology of Poems

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

Categories
Essay

Homecoming

By Larry S. Su

I left China in 1997 with little more than youthful ambition and the resilience my parents had instilled in me. Since then, the United States has become my second home, first as an international student and later as a naturalised citizen. In nearly three decades, I have returned to my hometown five times, each visit less a simple trip than a pilgrimage, rich with memory, loss, and renewal. Of these, three homecomings stand out most vividly, moments when the presence of my parents, siblings, and villagers reminded me of who I am and where I come from. In their sacrifice, hard work, and quiet endurance, I found lessons in resilience and gratitude that reach beyond my own life and speak to something universal.

Home Visit in 1999    

My hometown lies in Heyang County, Shaanxi Province, about fifteen miles from the county seat and five miles from the nearest town. In my memory, a winding dirt road served as the village’s lifeline, linking it with surrounding towns and villages. Though not entirely cut off, the village remained relatively remote, as public transportation was non-existent at the time. To the east and west stretched deep gorges and ravine carved by centuries of rain and snow. Three miles to the north rose Mount Liang, the county’s highest peak, towering yet desolate.

Approximately thirty families, around one hundred and twenty residents, called this village home. The village unfolded along two streets which were riddled with potholes throughout the year. In dry weather, stirred up by the robust northwest wind, a pervasive layer of dust enveloped the streets and the villagers in swirling dances. Conversely, during the rainy season, the thoroughfare turned into a muddy quagmire, making passage difficult.  The villagers had to throw in discarded bricks, stones, or fragments of decaying planks to make a makeshift path. Dump sites, replete with smoldering wood, fallen branches, and both animal and human waste, cluttered the sides of the streets. There were very few trees, making the village barren and dreary.

The dwellings varied between mud or brick caves, with a few select families having brick and wood houses when they first settled here. Whatever they were, they had lost their usual shape and colour due to the relentless beating from rain and wind.

Mud caves. Photo Courtesy: Larry Su

We lived in two cave dwellings dug into a high cliff, about three hundred feet from the village street. In front of them lay a small dirt yard, where sheds housed our pigs, ox, chickens, and rabbits. The yard also held the latrine, a simple pit enclosed by dirt walls, whose stench, especially on warm or hot days, often drifted into our living spaces.

This is my hometown, where I was born and lived for eighteen years before leaving for college in Xi’an, the provincial capital, in 1983. I studied English literature at Xi’an International Studies University, earning both my BA and MA degrees, and later joined the faculty of its English Department. I remained there until 1997 when I left for the United States.

Inundated by academic work in graduate school and lack of financial constraints, I did not plan any home visit during my two years of studies in the United States. However, the sudden death of a drunkard in the rooming house I shared with a few American students hastened my decision to make a visit to China.  

As a newcomer to the culture, I never linked the drunkard’s brown bags or bulky coat to the heavy drinking that would claim his life. His body was discovered days later, only after the foul smell crept through the air ducts and into our rooms. It happened three weeks before the semester’s end. Fearing I would soon be alone in that eerie house and weighed down by eighteen months of separation from my wife, son, and parents, I hastily bought a plane ticket back to China.    

My three-week visit to China was brief, quiet, and deeply comforting. I was overjoyed to see my loved ones and longed to linger in those carefree days, away from foreign foods, stacked books, and unfinished papers. My wife, also a faculty member of Xi’an International Studies University, went to Xianyang International Airport to welcome me back. We traveled by a slow train and a rattling farm tractor to reach my village home. Though I had gone only a short time, I noticed the brick caves, built fifteen years earlier to replace the old loess ones, were already losing mortar. A thin film of black grease from years of cooking stained the walls. Cold air seeped through the cracks in the doors and windows. The animal sheds, with broken doors and missing bricks, made the courtyard even colder and more desolate.

At meals, I noticed my father’s gnarled hands and heavy knuckles rubbed by decades of toil. The gray cotton padded coat was worn out on his shoulders and elbows. Around his waist was a thick hemp rope, the kind used to bundle corn stalks in the fields. Cinched tightly around his coat, it kept the biting wind from slipping in through the gaps, but it looked rough, even absurd. The cotton-padded shoes hand made by my mother were also tattered with cotton exposed. The towel he used to wear over his head in winter had totally lost its whiteness.  No doubt life was very hard for them.

During my year and a half in the United States, I spent most of my time in the library and rarely ventured beyond the college campus to see how Americans lived. Still, I caught glimpses of their lives. From visits to my professors’ homes, I saw spacious houses surrounded by trees, lawns, and flowers, with garages large enough for two or three cars. They wore casual yet high-quality clothes, and at parties served sandwiches, barbecued meats, salads, and red wine. Such abundance and variety were things I had never experienced before. Years later, when I owned my own house, I came to understand that Americans had achieved this standard of living after World War II, so I could not help but ask myself: Both Americans and Chinese are human beings, how could their lives be so different, with Americans enjoying plenty, modernity, and comfort, while the Chinese peasants endured poverty, primitiveness, and hardship?

The morning of our departure for Xi’an, my father carried my suitcase on his shoulder, his steps steady on the familiar dirt road, while my wife and I followed behind. The path, worn by years of passing feet and baked dry by windless days, had turned into a powdery film that rose with every footfall, stinging our eyes and filtering into our nostrils.  He glanced back and quietly suggested we move to the edges, where the earth was less trampled and the dust less suffocating. As we walked, the frosty wind whistled through the withered corn stalks, their hollow rustle echoing memories I could not keep down. 

I was pulled back to those early mornings two decades ago when my father and I walked this same road with a cart of potatoes. Nothing had changed in the region since then.  Now with each step, a heavy sadness settled over me. I looked around at the land that my parents lived on for most of their lives; its parched, colourless soil gave little and demanded much.

A few questions throbbed quietly inside me: How lucky I was to escape this poor land! If I had not made it to college, would I be living the same kind of life as my parents? What would be the future for my parents and siblings? When would they finally see a day of plenty, not like the Americans, but be able to eat wheat flour at every meal, not as a holiday luxury, but as an everyday certainty? The silence around us offered no answer, only the sound of the wind scraping through brittle stalks and the soft crunch of dust beneath our shoes.       

In less than half an hour, we reached the bus stop. The sun had yet to rise, and the morning air still clung to its chill, though the brisk walk had warmed our bodies. We stood by the roadside, the sky slowly paling, waiting for the van to appear over the horizon. I turned to my father and told him to head back home. He shook his head gently. “I’m not busy,” he said. “Waiting a few more minutes won’t hurt.” He stood beside us, his hands folded deep within his sleeves.

He stood there quietly, patient as ever, perhaps a little awkward too, never at ease in public spaces. Six feet tall and striking in his younger years, he had never learned to take pride in his height or in any part of himself. Life had worn it out of him. Decades of bowing to weather and labour had stripped away any sense of vanity, replacing it with a humility so deep it bordered on invisibility. He saw himself as nothing more than a poor peasant, a man whose only worth came from the work his hands could do in the fields or on the mountain slopes. In his eyes, he was always falling short, always inadequate, someone who never quite belonged unless tethered to a plow, a hoe, or a load on his back.         

We waited nearly twenty minutes before the van finally appeared, its headlights slicing through the pale morning mist. When the door creaked open, he stepped forward, lifted our suitcase in, greeted the driver with quiet courtesy, and said, “They are my son and daughter-in-law. They’re heading back to Xi’an.” Then he stepped back, just a pace or two, and stood off to the side, his tall frame silhouetted against the dim sky, waiting without a word. I leaned out and told him he could head home now. “It’s all right,” he replied softly, not moving.

As the van lurched forward, he began to wave slowly at first, then with greater insistence, as if trying to hold on for a moment longer. We waved back, again and again, until the village road curved and he vanished from view. That farewell, quiet and unceremonious, was the last time I would ever see him.

Home Visit in 2009

In August 2009, a year and half after my father’s death, my wife, son and I took a flight from Chicago to Shanghai to visit home. From 1999, when I last saw my father to this homecoming, ten years had passed, yet due to our tight financial situation, we were not able to visit my father and mother. Neither could I attend his funeral in 2007 due to the cost and the hassle of reapplying for a visa after the visit. So this home visit was long overdue.  It was a 14-hour flight, and I could not wait for the plane to touch down.       

The Shanghai Pudong International Airport was modern, spectacular and state-of-the-art. We waited for two hours to transfer to Xi’an, the nearest city to my wife’s hometown and mine.  We first stayed in my wife’s parents’ home for a few days, enjoying the comfort and hospitality my parents-in-law extended to us, but I was counting the days to be with my mother and siblings.

As the car was racing through the newly built highway, my heart was flying home faster than the wheels.  When it hit the county seat where my father and I sold potatoes thirty years ago, my heart was pounding faster.  I was gripped with a longing and anxiety that I was unable to describe in words. As the car got on the road from the town to the village, memories of the roadside landmarks came back to me: the scattered villages, the apple orchards, and the sudden curves of the road.  Now, the surface of the old road had been removed, and a new layer of asphalt had been laid on it. It was also lined with trees.  With the summer air and greenness all around, the surroundings were mellow and pleasant. 

When the car got to the edge of the big valley before it raced down the slope, I could see vaguely my village.  In five minutes, I would get home. My heart tightened and it kept tightening until I felt out of breath. In no time the car arrived at the west end of the village.  We almost missed it because the stone lion that was always stationed there had disappeared.  As I grew up, the lion was the landmark of the village, and the villagers would always stand there chatting and seeing traffic pass.

Now my feet touched the street I had long missed over the past decade. In my absence, both the houses and the streets had changed beyond recognition. The streets had been widened and cleared of debris. The old dirt houses had given way to brick and cement structures. The gateposts, once made of mud bricks with rough wooden planks for doors, had been replaced by sturdy gleaming metal gates.

The car parked outside the courtyard. My mother and the siblings ran excitedly outside. My mother was older and thinner but in good spirits, as she always was even though she suffered from poor health her entire life.  She stooped quite a bit and walked more slowly. Her once abundant hair had also become thin and silvery. My younger brother, my two sisters and their husbands had all changed their clothes for the welcome, but their brown faces, greying hair, and callous hands all gave them away, showing the crushing impact of years of hard labour on their bodies.  It was especially heart-breaking to see my two sisters, slightly fairer than their husbands, but still wore rough skin and tired expressions, looking older before their time.  They all helped to unpack the car and carried our big suitcases to the sitting room.

In the courtyard, my younger brother had built a new brick flat of three bedrooms.  The two on the sides were installed with doors and livable, but not the bigger one in the middle that would require a bigger, specially made door.  With the added bedrooms, the living space had been expanded.

I felt its spaciousness, but I also felt its emptiness and loss because of the absence of my father. When he was living and I was in college and graduate school for seven years, his presence in the courtyard filled it with warmth and love. I never failed to see him on the roadside waiting for me when I got off the vehicle. He guessed the dates and would always stand on the roadside to try his luck.  Some days he was disappointed when I failed to show up, but when he did see me, his face was all smiles.  He walked fast to carry whatever luggage I had. He excitedly exclaimed that he thought it was about time I should return home. He repeated this sentence for years. He put the luggage on the floor of the kitchen, sat in silent contentment at the edge of the Kang[1], and quietly smoked his water pipe while mom was preparing food.  I could see that among his life-long laborious hustle and bustle this was the most relaxing and enjoyable moment for him. 

For all my years in school from the first grade to graduate school, he never asked what I was learning and how I did it — not that he was not interested or did not care. Given his taciturn nature and lack of education, he felt he was not equipped to inquire about my progress. He knew he could count on me to do well in school. His lack of words conveyed more of his love and expectation than any language could express.

Now he was gone. It must have been very hard for my mother to face the days and nights without him. For more than forty years of marriage, my father bore the burden of most of the fieldwork so that my mother, always in fragile health, could remain at home, focusing on making clothes and preparing meals for us children. Their life together, though often marked by conflicts born of poverty, was sustained by a shared sense of duty to raise five children and to hold on to hope for the future. With her partner gone, the strong shoulder she had leaned on for forty-six years was no longer there. The loneliness must have been overwhelming.

I looked forward to being by her side in this difficult time, but I was also weary of the return. After all these hard years, I finally made it, becoming a professor in an American university. The status of a well-educated intellectual teaching in a Chinese college was enough to call for admiration, let alone a professor teaching in America.  Even today, the mention of America would create in listeners associations with wealth, money, status, and superiority, yet could I have delayed my father’s death? Could I have done more for him and the family? What could I have done differently? At the bottom of my heart, I felt embarrassment, regret and guilt.                

We were led into the sitting room of the new house which my younger brother had built. Right on the wall of the sitting room, I saw a big canvas portrait of my father’s bust my close friend asked made for his funeral. I stared at that picture.  All the emotions that had been pent up within me seemed to explode. I sobbed with tears pouring down my face. The picture was probably taken shortly before his death.  His hair was receding, short and mostly white.  His stubble also grew white and had not been trimmed for a few days. His skin, due to long years of exposure to the sun, rain, snow and wind, had lost its hue and become dark brown. Wrinkles were engraved on his forehead and around his shrunk and mournful eyes. The hard life had reduced a tall and handsome young man into a visage too painful to see.    

My younger brother helped me to our father’s memorial tablet in another room. On the table was another picture of him and some tributes like incense, dry fruits and paper that we burnt for him.  I lighted a few incense sticks and knelt on the floor.  I said I was sorry to come home late, and I asked for his forgiveness. For all these years, all my father did was work. He never stopped working till his last breath.  He gave all he had to his poor family.  He started his life’s journey early, walked on the frozen road of hardship for years, and his life was cut short because of too much exertion and exhaustion. He died too early. He did not deserve any of these.        

I wished that my stable financial and overall status change in America had come earlier, so that I could do something for my father and family. It took me seven years to obtain my master’s and PhD degrees before I found my current job. It was difficult for me and my family.  Both my wife and I depended on assistantships in the States to finish our doctoral degrees and raise our son, but it was harder for my Chinese family left behind.  How did he and the family survive all the hardships all these years? From time to time, I called and asked how the family was doing, my father, as reticent as he was always, would say, “The same as usual. Now we had enough to eat.”  He never shared details.  He did not want me to worry.

Now he was dead. For his short sixty-nine years he lived a hard life, supporting his wife and five children.  Never did a day go by without him thinking how he would put food on the table and,  when we were young, how to save to send us to school.

One scene remains vivid in my memory. When I was in elementary school, my father, elder brother, and I hauled a cart of potatoes to the county market sixteen miles away. We stood beside the cart the entire day until every sack was sold. By the time we started home, night had fallen, and the air was dark and cold. Near the outskirts of town, we stopped at a nearly deserted food stand. My father bought my brother and me a bowl of noodles to ease our hunger and warm our stomachs. For himself, he asked only for a bowl of hot noodle broth, free of charge, into which he soaked the cornbread we had brought from home. That was his dinner. After a whole day in the cold—calling to passersby, weighing potatoes, helping customers pack their goods—he longed for a bowl of noodles that cost barely three American cents, but he would not spend that money, choosing instead to save every coin for daily necessities and for his children’s tuition and supplies.

This was who my father was, a hard-working yet destitute Chinese peasant living at the bottom of society, always lacking food, money, and the basic necessities, dying so untimely without enjoying a day of hearty meal and relaxed mind, leaving nothing behind for people to remember him by: no money, no property, no words, except the good memories people had of him.  Is this what life is? What kind of world is this? Who should be held responsible for him and people like him? 

It had never occurred to my father to complain against any individual, institution or society.  Like millions of Chinese peasants living from the 1960s to the end of the 1970s, he was a victim of his time marked by the Great Leap Forward, the People’s Commune Movement, the Great Famine, and most devastating of all, the ten-year long Proletariat Cultural Revolution. It was estimated that over forty million Chinese starved to death just from the Great Famine from 1958-1961.

During my short stay at home, I ventured to the villages nearby. I saw peasants as old as in their 70s and 80s, stooped and frail, still toil day in and day out in the poor soil, to contribute to their sons’ building a new house or paying their daughters’ dowry. I read about millions of migrant workers, leaving their aging parents and small children behind, selling their labour to factories and workshops in big cities earning $600 a month. They work fourteen hours a day with only one or two days off in a month.

My 45-year-old sister recently worked in a factory in Guangdong. She told me she worked more than fourteen hours a day, with only two short meal breaks of about twenty-five minutes each. The rest of the time she stood in front of a machine, collecting washing machine parts that poured out nonstop. She could not step away, even briefly, without parts piling up and crashing to the floor. To prevent this, she avoided drinking water so she would not need to use the restroom as often.

I often wonder what our father would think, knowing from the grave that his grown children, though no longer hungry or ragged, still must toil so hard to make a living. They still depend on crops and apple orchards for survival. They still lack savings for family emergencies, vacations, or helping their children marry.

Home Visit in 2019

I visited China in May 2019, during which I delivered a lecture entitled William Faulkner and His Works at my alma mater. Before the talk, a formal ceremony was held, and I was awarded an honorary professorship. I had invited my mother to attend, but she declined. For a woman in possession of a lifelong interest in meeting people and seeing new places, her refusal seemed unusual.

Later I learned that her health had declined sharply over the past two years, making long trips difficult. This became painfully clear during my walks with her in the village. I held her weakened arm, little more than thin flesh over bone, as we moved slowly along the path. Every few minutes she had to stop and sit, murmuring that her legs were too weak to carry her farther.

 As I walked with her through the village, I noticed many changes. The streets had been paved with cement, streetlights now stood on every post, and running water had been installed in every household, yet the village also felt emptier. Wealthier families had moved to the county seat, and younger men and women had left for jobs in larger cities. What remained were mostly the elderly and children, giving the village a quiet and desolate air.

My younger brother had upgraded his home. In September, I learned from my younger brother that our mother was seriously ill. It started with a few swollen teeth, then a big ball grew on one side of her face, so big that it squeezed her eye.  My brother and sisters thought it might be some infection that would heal in a week or two, but when it became more than two weeks, they decided to take her to the county hospital, only to be told that they could not treat her, that she needed to be transferred to a hospital in Xi’an.  She was taken to the emergencies of two big hospitals, only to be told that they could not treat her.

They then took her to the third hospital affiliated with the Fourth Military Medical University, one of the best ones in Xi’an. I happened to have a friend working there, and I called him repeatedly, asking if he could help arrange for my mother to see a doctor. Through his connection, she was admitted to the emergency department. A team of specialists were assembled, and they diagnosed her case as advanced oral cancer, with very slim chances of recovery. If we insisted on treatment, two hospitals would need to be involved. Part of her face would have to be cut, and her chest opened to drain the fluid. Given her age, the likelihood of surviving such a surgery was minimal.

After careful discussion, my brother, sisters, and I decided to forego the attempt and brought her home, leaving her final days in God’s hands. It was indeed a hard decision for us.  We felt extremely guilty for our mother did not deserve to die this way, yet she accepted it with resignation and sigh. She said, “How did the Lord allow this weird illness to happen to me?”  For two weeks she lay on bed, becoming weaker day by day, withering away until she lost her last breath.   

Since she was diagnosed, I had been preparing to fly back to China for the funeral. Because of my absence from my father’s funeral, I was determined to attend my mother’s funeral, to make sure she had a decent burial. I told my siblings that I would be glad to pay for all the expenses. That was the least I could do to show a little appreciation for what she did for the family and me. I spent fourteen hours flying from Chicago to Beijing, then two hours from Beijing to Xi’an, then four hours of drive home.  By the time I arrived home, more than twenty-four hours had passed.      

The moment I knelt before my mother’s dead body in a coffin, my eyes were filled with tears.  I told her how sorry I was not to be with her for the last weeks now that she was forever gone. With a heavy heart and hasty breath, my words were repeatedly interrupted by my sobbing. My brother and sisters, kneeling beside me, tried to calm me down and asked me not to be carried away by my grief.

The second day was filled with preparations for the funeral. A few large tents, complete with tables and chairs, were rented and set up by a group of young men. The caterers arrived in their big truck, bringing utensils, meats, and vegetables. They busily set up the stove, chopped the meat, and cleaned the vegetables. In the nearby field, the grave diggers worked diligently, laying bricks to line the walls of the grave. My brother and I carried home-prepared food to the gravesite, along with light refreshments, cigarettes, and liquor, as tokens of our appreciation for everyone’s efforts.

The funeral ceremony was held the next day. Relatives, villagers and the people nearby packed the small square in front of the courtyard. My mother’s coffin was carried by a few strong men from the house outside and placed on a frame for people to pay their last respect. Our sisters and the women relatives knelt around the coffin, cried and chanted the hard life my mother had lived, while my elder brother, younger one, and I knelt in front of the coffin. The band started to play music of mournful nature.

I then stood up and gave a short eulogy outlining mother’s sacrifice and her impact on us. As I started to utter those words, they invoked images of the past years when my mother, always in poor health, did her best to make clothes and food for us. I especially mentioned how she insisted on us siblings going to school to get an education during a financially challenged times. Without her push, encouragement and resourcefulness, our lives now would be different.

When the ceremony ended, the coffin was placed on a motorized vehicle for transport to the graveyard. As it moved slowly toward the site, we siblings, along with relatives and villagers, followed behind, carrying the funeral decorations. When the coffin was about to be lowered into the grave, everyone gathered along the sides. I offered a prayer for my mother, thanking the Lord for bringing her into our lives and for all she had done for our family. I asked Him to remember her sacrifices and contributions and to welcome her into heaven. I recited a verse from Revelation 21:4: “And God will wipe away every tear from their eyes; there shall be no more death, nor sorrow, nor crying. There shall be no more pain, for the former things have passed away.” After my prayer, the villagers helped cover the grave with cement boards and dirt.

On the journey back home, and later on the flight to the United States, my thoughts were consumed by the many sacrifices my mother had made. She did not come from this region.  She was born into a prosperous doctor’s family in Gansu Province, but during the national famine, she was forced to leave Gansu and migrate to Shaanxi, where she married my father. Within four years, she had given birth to three sons, placing an immense burden on our already poor family, and later she bore two daughters. Years of poor health, inadequate nutrition, and endless labour to provide food and clothing for the family left her frail. I remembered how she often lay on her side, wracked with pain from stomach ulcers caused by malnutrition, yet the family could not afford medicine.

My mother was a very ordinary peasant woman. She had only three years of schooling, yet she understood the value of education and how it could shape the future of her children. One memory remains carved in my mind. Every time I returned home from four years of boarding school, she made sure I had a bowl of noodles to give me some nourishment. Our family was extremely poor and survived mostly on corn and sweet potatoes, yet she used the small amount of wheat flour she had saved to make me that simple meal. Watching me enjoy a hearty bowl after days of dry corn bread and hot water brought her more joy than when she ate the food herself. She would sit beside me, relaxed and smiling, asking about school as I devoured the noodles.

I recalled more… One winter during high school, I was short just one dollar of my tuition. My homeroom teacher, stern and unyielding, made me walk five miles home and warned me not to return without the full amount. My parents, especially my mother, went from house to house in the village, humbly pleading for a small loan for a week or two. Most turned them away, citing their own hardships, but a few, out of pity, offered a yuan or two. By late afternoon, the small contributions had added up. I returned to school at dusk.

Now that both of my parents are gone, I probably will not return as often as I once did, yet home will always hold a permanent place in my life, its significance untouched by time. It has become a wellspring that nourishes me, as it has for many years. Whenever I think of home, I remember my parents, siblings, and the villagers. Their hope, hard work, and resilience have inspired me throughout my studies, career, and life. I have always thought: if my parents could endure those grueling years, far harsher than anything I have faced, I could persevere as well.

Struggling with a difficult reading, drafting a paper, or completing a PhD dissertation feels like a minor challenge compared to the battles they fought for food, clothing, tuition, farming tools, seeds, and fertilizers. For my challenges, I could seek more time or consult a professor. For my parents, failing to buy seeds or fertilizers in time could mean missing a season, leaving the family without a harvest, a matter of life and death. It is almost unimaginable how they survived those years. Their stories of sacrifice and resilience must be remembered and passed down through generations.

I have benefited most from their hard work and sacrifice. I owe a profound debt of gratitude first to my parents, and then to my siblings. My father spent his life labouring in the fields, always placing his faith in the land; my mother devoted herself to cooking and sewing, always ensuring we were clean and presentable. My siblings, who left school early, worked alongside our parents, giving all they had to support the family. I, the one who stayed in school the longest, completing graduate studies, reaped the rewards of their toil and perseverance. Without their sacrifices, I might be living the same life as my siblings today, repeating the same exhausting work my parents endured. For my entire life, I can never fully repay what they gave to our family.

Beyond feelings of indebtedness, these homecoming visits also prompt me to reflect on deeper issues. The contrast between my life and that of my siblings in China could not be more striking. It is almost as if I live in a king’s palace, eating what I want, buying what I desire, and traveling to places that interest me, without concern for cost, while they worry daily about whether there will be enough rain for the crops, whether they can save enough for their children’s education, or whether they have enough to face unexpected emergencies. Yes, they do not go hungry, but their lives remain far from secure or comfortable. Witnessing their struggles, I often feel guilty that I cannot do more for them. I cannot help but wonder why some people are able to change their lives through hard work, while others, despite equal or greater effort, cannot. Is there such a thing as fate? What lies behind it, and can it be changed?

I cannot answer these and the frustrations that are hard to quell, I remain hopeful and calm.  My parents often told us when we were children that even though we could not control the weather or the harvest, we must give our best effort and never let drought, storm, or hail prevent us from planting the next season’s crops.

 I realise homecoming is no longer simply about returning to a physical place; it is about returning to the essence of who I am. My parents’ fields, the worn paths of our village, and the laughter and burdens shared with my siblings shaped the foundation upon which my entire life was built. Though I may not walk those village roads as often as before, they live within me, and every achievement of mine carries their unseen footprints. My parents’ sacrifices and my siblings’ endurance gave me the privilege of education and the chance to live a life far removed from the toil of farming. Their lives remind me that fate is both mysterious and humble. We cannot fully explain why one child remains tied to the land while another journeys across oceans into universities and cities; nor can we fully reconcile the injustices of unequal rewards for equally hard labor. Still in this tension between destiny and effort lies the lesson my parents embodied: We must keep planting seeds, even when the harvest is uncertain. Their resilience teaches me that while we may not command the outcomes of life, we can command the spirit with which we endure it.

Thus, homecoming becomes more than nostalgia.  It is a renewal of faith, gratitude, and responsibility. It compels me to remember not only what I received but also what I must pass on: the stories of hardship, the virtues of perseverance, and the wisdom of contentment. Just as my parents left behind a legacy of strength and dignity, I too must carry forward their spirit, telling and retelling their stories so that the future generations may know the price paid for their opportunities.

Even as life pulls me farther from the village, home will remain my wellspring, reminding me of the values that no distance can erase. In remembering, I find balance between guilt and gratitude, between abundance and humility, and between fate and choice. And in this balance, I carry with me the most enduring inheritance my parents left behind: the courage to live with resilience and the grace to be content in every circumstance.

[1] A heatable clay bed, a traditional Chinese sleeping platform made of earth or brick. It has hollow interior channels connected to a stove or external fire source, circulating warm air to heat the clay mass and provide energy-efficient warmth during cold winters

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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 Wild Winds: The Borderless Anthology of Poems

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

Categories
Notes from Japan

My Husband and AI

By Suzanne Kamata

From Public Domain

Like many people, I have complicated feelings about AI. On a recent trip to the United States, my daughter, who is deaf and has never learned English, was able to keep up with dinner table conversations with the help of an app which transcribed and translated spoken words, almost in real time. However, as one who teaches English as a foreign language, I am dismayed by the extent to which students outsource their learning.

As a writer, I was both flattered to find that my writing had been used to train Large Language Models, and angry that it had been done without my consent. Meanwhile, just the other day I enjoyed a movie featuring a computer-generated octopus, but I also worry that moviemakers will substitute human actors with AI ones. Apparently, this is already happening in China and other places.

I am also alarmed by how often my husband consults ChatGPT in his decision-making. For example, we recently decided to purchase new curtains for our living/dining room. Previously, the three windows in question had been hung with floral curtains in coordinating but different patterns. How nice it would be to finally have matching curtains on all three windows! We went curtain-shopping and fell for a beautiful set of drapes with deep crimson roses that would go well with our deep red cabinets. We didn’t buy them right away, however. 

In the interim, my husband asked ChatGPT what colour curtains would go best with our décor. “Greige,” came the reply. A neutral colour, such as a cross between gray and beige, would go with everything. We would easily tire of a busy print, and loud colors would overwhelm.

We went curtain-shopping again. This time, we considered more subdued designs. I still thought that a floral print would be nice, but I was willing to go in for a change. We wound up selecting curtains in an elegant gray ombre. They are fine, but not quite as cheerful as the ones we had before.

Next, my husband and I began painting the cement wall that separated our lot from the neighbour’s. Surprisingly, he agreed to a mint green. It reminded me of the lovely pastel houses on Rainbow Row in Charleston, South Carolina, or San Francisco, California. A few houses down, some other neighbours had painted their house yellow. I supported this trend.

When we had finished the wall, my husband said that he was going to paint the gate. “What colour do you think would be best?” he asked.

“How about blue?” Sky blue would be uplifting. A darker blue would be a nod to the indigo for which our town was named.

My husband went to ChatGPT for confirmation. “He says that we should paint it greige.”

I rolled my eyes. First of all, it was not a “he,” not a sentient being. Secondly, it was becoming clear that if we always relied on AI’s advice, the whole world would soon be bland and inoffensive – in other words, greige.

This time, I refused to go along with the verdict. My husband asked again, apparently with different wording. He read the reply out loud to me: “Your wife is not wrong…”

Another thing about AI is that it aims to please.

Ultimately, my husband painted the gate blue.

From Public Domain

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 Wild Winds: The Borderless Anthology of Poems

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

Categories
Poetry

Autumn Treasures by Keith Lyons

FRom Public Domain
AUTUMN TREASURES
(For A.C.)

Behind the cabbage tree casting afternoon shadows,
flanked by tufts of tussock
and spindly coprosma saplings,

late autumn held a quiet secret
on the last Sunday of April.

I almost passed them,
but in the shade
small lanterns still burned.

In awe, I knelt
to examine this improbable find.

So fragile, so easily crushed or crumbled,
I picked each one gently,
cradling the glowing late harvest in my hand.

Each hollowed dome
resembled an ornate temple
of intricate chambers,

red light passing through
their clustered sacred geometry.

Yet on the tongue:
succulent, fragrant, dissolving away,
leaving tiny seeds,
the very essence, between the teeth.

Some alchemy of light and warmth,
deepened by waiting,
had ripened them

far sweeter than childhood memories.

It is said raspberries are best
freshly picked from prickly canes
sunlit, sheltered, and watered.

Though this neglected rogue vine
crept along hard ground
facing the cold south.


Finding you was like that.

Not signposted,
just suddenly there.

Your natural ease,
your grounded presence.

No performance or pretence,
only shared attention,
where the moment feels complete enough
that neither past nor future intrudes.

Meeting you carried that same feeling:

a quiet astonishment,
and an awareness
of how fleeting
such sweetness can be.

Lanterns,
small lanterns lit;
Lanterns that glowed against the coming winter.

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 Wild Winds: The Borderless Anthology of Poems

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

Categories
Slices from Life

Technology War in the House

By Chetan Datta Poduri

The other day I had a tough time explaining mobile telephony and its advancements to my dad who’s around 85 years old. Both of us are highly educated. Neither of us knew modern technology well. Nevertheless, me being a self-taught-geek-or-engineer-or-technologist-of-sorts keep explaining the advancements in technology at regular intervals to my father.

My father, 85, is still actively practicing in a nearby trust hospital. He retired from government service almost two decades ago. Ever since he has been actively consulting patients in local private hospitals. He always says that keeping oneself active (physically or professionally) is more than sufficient to keep ourselves healthy.

No exercises needed”, he would say whenever someone asked him, and would add, “there isn’t any beach or a lake resort in the arid Hyderabad to sit back and relax. So, the patients give me some avocation to pass my time”.

I must also confess that my father has been using hearing aids in both the ears since he was 50 years old, and amnesia slowly started getting the better of him four years ago…

*

Six years ago, another problem cropped up…

In December 2019, as you all know this planet was plagued by the COVID-19 pandemic. Amidst this hullabaloo, China made a small significant technological advancement – China silently unrolled 5G mobile telephony[1] in Wuhan.

As March 2020 neared, Indian government announced harsh restrictions, prominent amongst them are the lockdowns. To complicate the matters, my dad’s patients desperately needed to consult him for whatever…

… So, literally imprisoned at home my father embarked on video consultations to patients through WhatsApp. That represented the flashpoint between my dad and me.

Dad started complaining that his video conferences were not working properly.

The self-taught engineer in me explained that for proper video streaming and conferencing the mobile handset needs to have certain amount of memory in its RAM and storage all of which must be compatible with the ‘xG’ mobile telephony the government or service provider is offering (where ‘x’ represents a whole number like 2, 3, 4 or 5 and in near future can be 6 also). Like a true technocrat, I explained all the technology I knew with appropriate diagrams and flow-charts.

What’s this RAM and storage?” asked my dad

Well, I think RAM means Random Access Memory…”, I quipped peering through the edge of my glasses.

What’s with the storage?

Well, everything your mobile handset receives, be it SMS or any other notifications or photographs you click with your mobile camera, it needs to keep somewhere. It needs a filing cabinet. That is called storage. If your handset has something called an SD card, it is external storage while every handset is sold initially with some storage called ‘internal storage’…

So … how much area does this storage take

I casually replied, “Usually it is measured in GBs (giga bytes) … Your handset, I guess is some 16 GB or so… Mine’s about 32 GB…

It’s been six years since we have had this discussion. The then government complicated the situation in our house by announcing that in another six months it will roll out 5G services in India to compete with Chinese …

Ok! That’s alright but why are my phone calls not up to the mark. What does it have to do with storage? I understand if it is missing SMS, photos, storing and retrieving videos, etc… But why is the voice of the caller invariably broken or videos not clear?

Well, you might be using a 3G handset. Presently, the service providers are offering 4G+ services. Maybe you need to change your handset

Do I look like a fool? On one hand you are saying my phone is 16 G and on the other hand you are saying that government is offering only 4G services. Are you trying to ridicule me?

Dumbstruck I tried to convince my dad. “Daddy, telephony G is different from storage GB … G of telephony means Generation and GB is giga bytes… 4G is different from 16 GB”.

I know… I know… If government is offering only 4G and I have a 16 G handset, and there are two SIM cards in my handset 4G multiplied 4G is 16 G… then why is my handset not working properly?”, dad said angrily.

As an adolescent, I always felt that my father was very poor in mathematics and that’s perhaps why he asked me to opt for Biology stream in college. Had I known then that he knew how to square 4, I would’ve opted for mathematics stream giving many-a-CEOs a good run for their money…

No!” I yelled, “the G in xG is different from GB

Now… Now… Now… My hearing aids are working properly… no need to shout… unnecessarily you’ll be disturbing the neighbours… Tell me, if my handset is 16 G why is it not working in 4G technology?

I tried to pacify myself, “guess he has a hearing problem with letter ‘B’…

This G is not the same as that GB… Both are different…,” I said at the top of my voice

Ok… But how to solve the problem?

Change your handset to something that can support 4G services…

But it is lockdown now… So… what’s the alternative?

The only alternative is to wait till they relax the lockdown and buy a new one until then endure the faulty video and audio calls… No other way out…

*

Twenty years ago, in 2002, I bought my first mobile handset – a Nokia 3100 for about Rs3000. I was in Shimla, Himachal Pradesh then. There was a delayed roll-out of mobile telephony in North-western India and Kashmir regions of India for obvious reasons of them being very next to enemy nations, China and Pakistan. It was 2G technology then. Subsequently, a number of cheap Chinese, Taiwanese, Vietnamese and Korean mobile handsets invaded India.

Back in 1991 CE, when India liberalised its economy, India was invaded by a number of international products in all spheres of life. Many Chinese and other Asian national companies also released their wares. This gave the average Indian at least four options.

The first option of buying highly priced superior quality original products from the Western Countries. The second option is that of the cheap lookalikes mostly from oriental countries like China, Taiwan, Vietnam and Korea. These were commonly referred to as duplicates. A third reasonable and genuine option was also offered by the liberalised Indian market – the Japanese products. These Japanese products, particularly the watches and calculators, were diametrically different from either the Western or the Oriental country products. They were priced somewhere in between and offered technology products with graceful designs. No matter what happens, these Japanese goods exceed your expectations. The fourth option was the local Indian products. These were rather crude in their design, usually low in quality and may or may not work testing your luck.

Chinese products, the duplicates, looked more American than the American products themselves but with Mandarin notations. From a distance it is difficult to say which is which. The most popular example in this direction was the copy of popular Batteries. Street vendors used to dispense American lookalike batteries for Rs5 while the original western would cost Rs95. Among the Indian products that stood the test of time were mostly food and dairy items and some watches/clocks.

This period of 90s in India paralleled the European Union’s efforts to revive the defunct industries that were bombed out in World War II. Also, around this time domestic airlines pampered the passengers by giving cheap watches as gifts and souvenirs. Net result: both my father and me developed a passion for collecting watches. My father’s patients would gift him cheap Chinese or so-called duplicates of the popular European watches. While he still collects these cheap watches, I, in due course, fizzled out. Of course, as of today, the pace at which the companies release newer designs outran our passion.

Mobile handsets, particularly the cheap ones that flooded the Indian market, fuelled our passion to collect handsets. So, now both of us have an additional avocation of changing mobile handsets as frequently as possible. Since in 2002 I was in Shimla and my dad was in Hyderabad, it became an unwritten rule between both of us that we appear with a different mobile handset every time we met. This passion continued for about a decade till 2012. By this time, I covered two cities – Shimla and Guwahati in Northeastern state of Assam. My father having retired from active government service lived (and continues to live in, touch wood) in Hyderabad which is in the south Indian state of Telangana.

A neighbourhood mobile vendor used to supply my father with cheap mobile handsets. For some unknown reason he used to call my father ‘Uncle’ and me as ‘Sir’. So, my mother and me used to pull my dad’s legs by calling the mobile vendor as his nephew.

As per our passion, we regularly changed our mobile phones. This continued till sometime… literally till 2018… when the 4G services were launched. Around this time the mobile ‘nephew’ of my father stopped supplying newer versions of handsets to my father.

But when he supplied mobile handsets to my father, he also used to do an additional service to my father: every time my father changed his handset, the mobile ‘nephew’ would somehow do a data transfer from the older handset to the new one. This I call an additional service because my father, as I mentioned earlier, uses hearing aids. So, the mobile handset must also be connected to the hearing aid through Bluetooth or other reliable technology. This is followed by a calibration of the hearing aid with the audiologist. All this took at least 2 – 3 days and multiple visits to both the mobile vendor and the audiologist. The mobile ‘nephew’ was very enthusiastic and never complained about any inconvenience. Other mobile shop owners would bluntly ask my father to get the calibration done elsewhere or with the service centre present at the other end of the city.

In one of the exchanges of mobiles, the data could not be properly transferred.

*

In June 2020, I guess, the government relaxed the lockdowns for the first time. Promptly, my father headed to a neighbourhood mobile phone shop and bought a 4G handset as per my recommendation. To my surprise, my father did not go to his mobile ‘nephew’. He went to a high-end mobile shop. My father this time bought an advanced model of a popular company’s handset.

After a day or two, and more video conferences later, my father expressed happiness and thanked me saying that for the first time in his life I gave a correct advice.

But now he needed something from the earlier unfinished data transfer. He wanted the data in the older mobile handset into the new handset. I took both the handsets to the new vendor and requested him to do the transfer. He gave a polished glib talk giving me the impression that the earlier handset is a cheap model from which it is better not to transfer the data. Crestfallen, I dragged myself to my-father’s-mobile-nephew and asked him to do the needful. The nephew told me that he failed to get permission for 4G and 5G so he’s at a loss as to help me.

…that”, the nephew told me then, “is also the reason why your father no longer procures his mobiles from me”.

*

Two years of COVID restrictions rolled on somehow. For more than a year and a half every Indian was literally imprisoned in their respective homes due to the on-going pandemic.

The technology argument resurfaced between me and my father once again.

Dad said, “…again the problem of poor-quality video and audio…

Ah! Our service provider has now upgraded to 5G+ …Your handset is 4G… Change your handset…

Hmm… you mean there’s no problem with the handset?

Yeah! There’s no problem with the handset. It is just outdated. It is no longer compatible with the existing technology“, I quipped.

What do you mean?

I played the cards differently this time.

We are three people in this house now. How comfortable will it be if suddenly there are 15 people in this house now?

If you talk like that, a greater number of people can be made to adjust in the house…

But what if everyday 15 people keep coming into the house without vacating?

Ah! Then that will be a problem…

Ditto for your handset… It is receiving more information from the network than it can handle…

The Apps are also freezing occasionally…

Same logic… they are receiving more information and upgrading themselves to the new technology… time to change your handset…

How much will a basic handset that works will cost me?

The one that is compatible will cost you around Rs15,000. The one that is also compatible with your hearing aids will be at the least Rs 20,000.

Well, since my childhood, I always kept myself updated on the prices of the latest in market whether I need those items or not. Wishful thinking, I guess.

If this is the case then, every year or two even if there is no malfunction, I am forced to change my handset. This is very bad…

That’s the flip side of the technological advancement… Whether you like it or not… Whether there’s a malfunction or not, we are forced to change our products leading to huge amounts of pollution…

Very bad state of affairs. Think about the laptops then. Unnecessarily we are shelling out truckloads of money just to keep us abreast of the technology…

Very bad state of affairs… the technology developers think everybody is a billionaire and everybody’s a computer geek…

*

Thanks to our passions, every year, me and my dad each spend at least Rs8000 just for the batteries so that our watches are in working condition. The other day, I took an Indian watch of mine for servicing which I bought in 2001 with the first salary I received after my PhD. I bought it for Rs400 then.

The servicing personnel cooed, “Is this watch still working?

Nostalgically, I asked, “What’s the price of this model now?

This model is no longer produced Sir…

If this episode makes me misty-eyed, my Japanese watch always gives me goosepimples.

In 2010, I found a display board in a watch shop in the Fancy Bazaar of Guwahati that read, “Japanese – EcoFriendly watches”. I walked into the shop and bought the watch for about two thousand bucks. The manual said, “10-year Battery Life”. Believe it or not, it lasted 15 years and this is the only watch which did not give me an opportunity to change its battery.

Good and Honest things in life must be appreciated at the first opportunity.

[1] Telephony is the technology involving telephones for communication (audio or video), and data exchange between distant parties

Categories
Interview Review

Aruna Chakravarti Converses about her Ghost Stories

An introduction to Aruna Chakravarti’s Creeping Shadows: 13 Ghost Stories, published by Penguin India, along with a discussion with the author.

Ghosts are evocative of a past… of history one could say. Then who could be a better storyteller of the past than an author steeped in colours of historical fiction — Aruna Chakravarti! In the past she not only translated novels set in colonial India but evoked the Bengal Renaissance to perfection in her two Jorasanko novels and details of a court hearing in her retelling of the Bhawal prince! This time the diva of historical fiction brings to us a book of spine chilling, ghost stories, Creeping Shadows: 13 Ghost Stories.  It is her third collection of short stories.

The narratives are so vivid and visual that they could be worthy of being made into films. They are distinctive in that she has mostly created her own very horrific ghouls – not the traditional ones. They pop up and frighten the reader with their bizarreness and terrifying presences which linger even when you try to sleep at night! She has given us thirteen stories — a spooky number in itself — spread across multiple communities in Asia.

Some of the narratives evoke the past, starting from the 1800s. ‘The House of Flowers’ is set in China partly and partly in Kolkata, where there is now a thriving Chinatown known as “Tangra” and a Kali temple that serves ‘noodles’ as its prasad or offering. The story has echoes of Pearl S Buck’s China interestingly. What comes as a surprise is the fluency with which she has woven in the influences that impact a community of migrants!  

Chakravarti has used her skills as a writer of historical fiction in some of the stories like, ‘The Road to Karimganj’, in which a spook takes us back to undivided Bengal, when passports were not needed as in the story of the migrant Chinese. Hovering around history are more narratives like ‘Possessed’, where a courtesan who performs with the legendary Girish Ghosh1 of the nineteenth century Kolkata undergoes, along with the audience, a strange spooky experience!

Traveling down the century, closer to our times, is the story that is perhaps one of the most bizarre and yet most relatable, ‘The Necklace’. Set in the Anglo-Indian community and the glamour of Park Street — where Wiccan writer, Rajorshi Patranabis, claimed to have met a colonial ghost awaiting her lover — Chakravarti’s narrative is of black magic and betrayal. The fiction is far more impactful and frightening than the factual narrative, which too was spine chilling! You realise what makes fiction so much more gripping than facts — anything can happen in fiction. Chakravarti is imaginative enough to make it as creepy and shadowy as any regular horror writer!

Holding on to that thought, the author holds the key to our experiences as she skillfully outlines two demons grown out of poverty in ‘A Winter Night’. The conclusion has a sense of irony and tragedy. ‘Truth is stranger than Fiction’ weaves in more of the diversity in the historic annals of Bengal. The story that starts the book, ‘The Caregivers of Gazipur’, has an unresolved ending, like some of her other narratives. Though there is a frightful resolution in ‘They Come Out After Dark’. The ghosts play spine chilling havoc with fears of the living while recalling the senseless violence of 1947. ‘There are More Things in Heaven and Earth’…takes us back to the atrocities committed during the Sikh riots of 1984 in Delhi. The mingling of fact and fiction to create weird a fantastical narrative is addressed during a conversation on the supernatural. And there is an exploration of the lines from Shakespeare’s Hamlet, which probably is a touch of the academic as Chakravarti had a long tenure as the principal of a girl’s college in Delhi. It also defines the authorial stance in this story:

‘Don’t forget what Hamlet said to Horatio? There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy.’

What is unusual about these stories is the way she has created fictitious geographies and personas, evoking historic realities. They seem perfectly authentic to the reader, including the one set in China. There is a vast mingling of facts and fiction in these stories all to lead to spine-chilling ends with strange twists. 

‘Grandmother’s Bundle’ stands out in its rendition as the ghosts given out are part of the mythical lore of Bengal — stories that were related to most Bengali kids of the twentieth century. They have a touch of humour and dry wit, perhaps introducing a sense of comic relief among very dark and horrific stories that transport us into different worlds.

‘The Motorcycle Rider’, set in modern times, takes us into a university campus to shock us with horrific spooks born out of tragic deaths, while ‘Twenty-nine Years, Seven Months and Eleven Days’, merges a modern outlook with an unfathomable past, touching upon strange tantric yearnings. ‘Vendetta’ twirls nature and supernatural to give a frightening narrative of how nature takes its revenge… a theme that reiterates in writings addressing our current concerns with climate change.

The ease and fluidity with which she has switched from history and realism to horror and fantasy is amazing. Let’s find out more from her about this new persona that inhabits her writerly self…                                                           

Till now we have had translations, numerous novels—many of which can be called historical fiction—and realistic short stories with their base in history or contemporary life. What made you think of writing ghost stories?

After writing The Mendicant Prince which involved extensive research into the life and times of Prince Ramendranarayan Roy of Bhawal, I didn’t feel up to writing a historical novel again. The work had demanded delving into sociological texts, court records, letters, insurance papers and medical reports. Apart from research, historical fiction also demands a certain amount of field work.

Before writing the Jorasanko novels I visited the Tagore mansion thrice and while writing The Mendicant Prince, I went to Bangladesh to see the royal palace in Bhawal, renamed Gazipur. Though it has been totally neglected, with shopkeepers and squatters having overtaken most of the area, I was able to get some idea of the topography of the palace and its grounds. I saw the lake and the temple (which was locked) and was able to visualise where the halls and galleries and the apartments of the queens and princesses would have stood. All this work was exhausting. So, for a change, I decided to try my hand at short stories which emerge straight from the imagination. And while at it, I decided to break out of the mould of “historical fiction” writer in which I had trapped myself and try a completely new genre.

Published in 2022

I wrote the first one on an impulse and found myself quite enjoying the process. I didn’t even think of publishing at that time. The first story led to another and another. When eleven stories had been written I sent the manuscript to three publishers and was surprised when all three accepted it. It was then that I found out that ghost stories were the in-thing. That they were selling well and that publishers were looking out for them. I signed up with Penguin as you know. At one point my editor Moutushi Mukherjee suggested I write another two. Thirteen stories will make it even more spooky, she said.  So, I wrote another two.

Would you list these stories as fantasies or fantastical? Or are they stories of personal experience? Please elaborate.

No. They are not born out personal experience. I must confess that I have never seen a ghost in my life. I believe in sixth sense. As a matter of fact, I have acted on my sixth sense on occasions. I have had sudden impulses to do certain things and realised later that if I hadn’t yielded to the impulses, I would have regretted it. But I have had no brush with the supernatural. These stories were sparked off by sudden memories. Something I had read somewhere. Something somebody had told me years ago. A face I had seen in childhood which had stuck in my mind though whose I don’t remember. A conversation overheard which made no sense at the time but which, as an adult, seemed ridden with sinister nuances. A phrase from a book whose title and author’s name I had forgotten. In fact, I didn’t even remember the context from where the phrase had come.

Sudden flashes such as these triggered off the stories. But in the writing, they took on a life and soul of their own. I even feel, sometimes, that the pen took over and they were written by an invisible hand.

Your stories are set, sometimes in real landscapes and sometimes in fictional ones. What kind of research went into creating them? How do you make them so vivid and real?

There wasn’t any immediate research.  I needed to look up a few facts, now and then, mostly to be sure of their authenticity. But nothing truly back breaking. The landscapes, both physical and of the mind, were culled from my travels and my reading of both English and Bengali writers over the eight decades of my life. Much of it stayed with me tucked away in some unconscious part of the mind. Although I write in English, you will notice that almost all the stories are about Bengalis. Bengalis living in Delhi, Kolkata, Bihar and the small towns and villages of Bengal. There are Anglo-Indians, Punjabis and Chinese, too among my characters. But having lived in Bengal for generations, they have adopted Bengali customs and a quasi-Bengali way of living.  Many of the locales in which, they appear are fictional…gathered from my reading and observation of people from different strands of Bengali life.

You have a story set in China which also has the Chinatown of Kolkata in it. Have you been to China? What was the reason for the choice? Were you influenced by any Chinese writers? How did you visualise the Chinese migrants in Kolkata?

Yes, I have been to China. I visited the cities of Guangzhou, Shanghai and Beijing in 2004. Naturally, I have no personal experience of life as it was lived in the late 18th century which is the period covered in the story ‘The House of Flowers’. For this I had to rely totally on my reading of English authors writing about China like Pearl Buck and Amy Tan. Pearl Buck was a great influence on me while writing this story. It was from her books that I was able to catch the ambience of tea houses and brothels of the period. In depicting the Chinese family who lived in Calcutta in the early 20th century I had to rely on childhood experience, I knew some Chinese girls who had lived for several generations in Calcutta. And my imagination went into full play, of course.

In ‘Grandmother’s Bundle’ you have written about spooks from Bengal. It departs from your other stories in as much as it does not really introduce the supernatural except as a source of folklore. Do you feel it blends with the other narratives in your collection?

Well. It is different from my other stories in certain ways. Firstly, it is three stories rolled into one. Secondly, unlike the others, they are children’s stories. Thirdly, it is the only one that deals with ghosts and other supernatural beings with humour. Lastly, they have been drawn from folklore. I agree that it doesn’t quite blend with the others in this collection. But it is also true that each story in this collection is different from another. There are different time spans. Different locales. Different themes. Characters from different levels of society. That being the case, I think that this story lends variety and another flavour to the collection.

Your stories aren’t like the usual ghost stories one reads. The structure and content seem different. Your comments.

You are right. These stories do not belong to the gothic/horror genre. They are not about vampires, blood sucking bats, severed heads or violence heaped on violence. They are essentially human-interest stories with a supernatural twist at the end. I have taken my cue, you may say, from Coleridge’s demand for a willing suspension of disbelief  before reading his poetry. These stories have innocuous beginnings. Two friends sharing an apartment, a boy walking from his village to an unseen destination, a dinner party in an exclusive area of the capital, a marital spat or a telephone call at dawn. Then, a few paragraphs later a subtle hint is dropped startling  the reader into a realisation that it is not a simple story of human relationships. That it is headed in another, more sinister direction. Another hint is dropped and another. Then in the final sentence the bomb bursts. The last line is the most important line of the story. 

Which is your favourite story? And why?

Just as a mother loves all her children, I love all my stories. But mothers also have favourites and so do I. “The House of Flowers,” “Vendetta,” “Possessed” and “The Necklace” are my favourites. That’s because their themes are unusual and posed a greater challenge. And, perhaps, because I had to work harder on them than on the others.

Are you planning any new books? Exploring any new genres? Any new book we can expect soon?

I always think of a new book even when I am writing the current one. Yes, I am planning to explore yet another genre of writing. But my ideas are nebulous at the moment. Still in a fluid state That being the case I cannot share them with you. All I can say is that the work will be a challenging one and I’m not even sure I’ll be able to see it through. So, we must both wait for some more time

  1. Girish Ghosh (1844-1912) Actor and Director from Bengal ↩︎

 (This review and online interview by email is by Mitali Chakravarty)

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Click here to read an excerpt from Creeping Shadows.

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Categories
Essay

Some Changes Are Bigger Than Others

By Keith Lyons

From Public Domain

Last month the Doomsday Clock had moved closer to midnight than at any point since it was created in 1947. Maintained by the Bulletin of the Atomic Scientists, the clock is meant to signal how close humanity stands to destroying itself, whether through nuclear conflict, climate breakdown or new technologies. Its latest shift suggests that we are living through a particularly dangerous moment.

That is one way to look at the year ahead.

Another comes from a friend of mine who follows astrology. “2026 will be intense,” she told me after we had worked out the time difference to talk. “There are major planetary shifts happening. But that also means there is potential for growth.”

Between scientific warning and planetary symbolism sits a familiar question. Are we heading towards catastrophe, or simply moving through another period of change?

It is difficult to judge the scale of events while we are inside them. Perspective usually comes later. At the time, everything feels amplified. The media leans towards urgency. Our own thoughts do the same. The expectation of upheaval can sometimes be more overwhelming than the experience itself.

In recent weeks there have been many reminders of transition: the turning of the calendar year; the Lunar New Year observed across China, parts of Southeast Asia, Korea and the Himalayan region; the beginning of Ramadan for Muslims around the world. These moments draw people together in ritual and reflection. They offer continuity, even when the wider world feels unstable.

At the same time, global leaders speak in stark terms. The Secretary-General of the United Nations recently described a world marked by conflict, inequality and unpredictability. Climate scientists warn that we have entered uncharted territory. Heat records continue to fall. Rain arrives in sudden deluges. Winters in some places are no longer as cold as they once were.

For centuries, seasonal rhythms have provided reassurance. Spring follows winter. Festivals return at roughly the same time each year. Even the Gregorian calendar, introduced in 1582, was an attempt to bring order to time.

The Greek philosopher, Heraclitus, wrote that no person steps into the same river twice. The water flows on, and so do we. It is a simple image, but it captures something steady and true about human life.

What feels different now is the speed. Changes that once unfolded across generations now seem compressed into years. Climate patterns shift within decades. Technology reshapes industries almost overnight. Artificial intelligence systems are altering the nature of work, leaving some people optimistic and others uncertain. I know people who are struggling to find employment, both those nearing the end of long careers and those only just starting out.

My friend attributes the turbulence to a conjunction of Saturn and Neptune. She links economic instability and political upheaval to movements in the sky. When she mentioned the recent increase in visible auroras, I thought of astronomers pointing out that the Sun is nearing the peak of its eleven-year solar cycle. Different explanations, same phenomena.

Whether we turn to science, philosophy or astrology, the underlying experience is similar. Things feel unsettled. Time feels faster. The future feels closer than it used to.

It is tempting either to tune out the warnings or to become consumed by them. Neither response changes what is happening. Ignoring risk does not reduce it. Constant alarm does not resolve it either.

We cannot return to a previous version of stability. The seasons will continue to shift, though perhaps less predictably. Technologies will continue to develop. Political arrangements will evolve. Some changes are small and gradual. Others are abrupt and disorienting.

The real question is how we live through them.

After our conversation, my friend sent a message: “Changes aren’t endings, but thresholds.” It is a hopeful way to think about uncertainty. Crossing a threshold suggests movement rather than collapse.

Perhaps this year calls for small, steady practices. Paying attention to what we consume, digitally and otherwise. Slowing down our thinking when everything pushes us to react. Staying connected to the people around us. These are modest responses, but they are within reach.

We step into the river again. The water is different. So are we.

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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

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Categories
Excerpt

The House of Flowers by Aruna Chakravarti

Title: Creeping Shadows: 13 Ghost Stories

Author: Aruna Chakravarti

Publisher: Penguin India

The House of Flowers

Zihan stirred in his sleep. A chill breath passing over his limbs had awakened him. He strained his eyes, still heavy with wine fumes, and looked around. Where was he? This was not his room and this wasn’t his bed. He was lying in what seemed to be a small, confined space under an ornate gilded ceiling in a bed so soft, his limbs were sinking into its depths. The sky was paling with first light and long beams from a dying moon streamed in through the open window. The fragrance of an unknown flower, wild and sweet, filled the room. 

He turned his head towards the window. Something, like an opalescent haze, was obscuring his vision. At first, he thought it was a sheet of mist. Then, before his amazed eyes, it started to take a shape and form. It became a woman. He could see her slender limbs, smooth as white satin, shimmering through the garment that swayed and billowed around her form. Diaphanous as a film of gossamer. So light, it seemed woven out of moonbeams. Her face was swathed in mist.

The figure moved from the window and came gliding towards him. He could see her face clearly now. A perfect oval with apricot shaped eyes, brows like strung bows and hair that fell down her back like a sheet of black silk. He stared at the vision of loveliness so long and hard …his eyes began to hurt. He had never seen such beauty in a woman before.

She stood by his bed for a while gazing into his eyes, then lay down, her body light as a feather against his. Taking his face in her hands, she caressed it with a tenderness that reminded him of his mother’s touch. She drew the silky strands of her floating hair all over his naked body. Across his chest and abdomen, over his genitals, thighs and legs, down to the insteps of his feet. The wildflower scent from her limbs filled his nostrils. Her kisses fluttered on his lips, soft and cold as drifting snow…

The wine, still running in his blood, quivered in his veins. His limbs, untouched by a woman before, heaved luxuriously and his eyes closed in ecstasy. He drifted away…

How long he lay in this state of bliss, he couldn’t tell. It could be minutes. It could be hours. Gradually, an uneasy feeling came over him. Something heavy was pressing against his body. It was squashing his chest and squeezing the breath out of his lungs. He moved aside but the pressure grew in intensity, driving him further and further towards the edge of the bed. And now his heart beat rapidly with an unknown dread. What was happening? Was he still asleep and this a fearful dream? Suddenly his eyes sprang open and what he saw sent currents of ice water rippling down his spine. He felt the hot blood pulsing and pounding in his ears.  A muscle twitched and shuddered in his cheek…

The reed-slim body of the woman beside him had bloated to a colossal size. Her eyes, thin slits in the vast globe of her face, glittered with hate. Her mouth was a deep red gash through which yellow teeth, long and sharp as a panther’s fangs, hung to her chin.

The mountain of flesh was growing larger and larger every moment. It was filling the bed. He would fall over the edge any moment now. A scream gathered in his lungs but froze before it could reach his throat…

Suddenly she sprang on him; her nails sharp as claws ripping the skin off his chest and thighs. Digging her teeth into the soft flesh just below the right shoulder, she bit off a large hunk. Zihan’s eyes were glazed with pain and fear. He stared mesmerized as the monstrous creature rose from the bed and swayed and shuffled towards the opposite wall. She wore a garment of sheer white muslin that swelled and surged like waves about her form. Blood dripped from her slavering mouth and fell on the floor as her great body waddled, like a gorilla’s, from side to side. And now, for the first time, Zihan saw the coffin. It was open… 

Zihan screamed. Shriek after shriek burst from the throat that had been frozen all this while, hit the walls, and sent fearful echoes all through the house. Then, exhausted and half dead from shock and loss of blood, he lay motionless, whimpering like a child.

Kueilan was a light sleeper and the first to hear the cries. They seemed to be coming from the dead girl’s room. Her heart thudded with fear as she rushed to it and flung the door open. She stood where she was for a while, her eyes glued to the coffin. It stood in the same place but the seal was broken and its open lid rested against the wall. A lily-white hand with long tapering fingers was dangling from the edge. And now the lid began to move downwards. Slowly, soundlessly, it was falling in place. In a few moments it would reach the hand and crush it. A tremor ran through Kueilan’s frame. Her mouth opened in a scream but before she could utter a sound, the hand glided over the edge and slipped into the hollow where the rest of the dead girl lay. Then, before Kueilan’s amazed eyes, the coffin closed, the seal came together and all was as it had been.

‘Published with permission from Penguin Random House India from Creeping Shadows (2026)’.

About the Book:

The stories in Creeping Shadows are spread over a vast canvas, both in terms of time span and locale. A teahouse in ancient China. A brothel in nineteenth-century Calcutta. A forest lodge in Bankura. An old mansion in Bangladesh. A university campus in today’s Delhi. Beginning as human-interest narratives, they end with sudden, unexpected twists that raise hair ends and send trickles of ice water down the spine. Here are tales of shadows, tingles and chills…

About the Author:

Aruna Chakravarti has been principal of a prestigious women’s college of Delhi University for ten years. She is also a well-known academic, creative writer and translator with eighteen published books on record. They comprise five novels, two books of short stories, two academic works and nine volumes of translation.
Her first novel, The Inheritors (published by Penguin Random House), was shortlisted for the Commonwealth Writers’ Prize and her second, Jorasanko, received critical acclaim and became a bestseller. Daughters of Jorasanko, a sequel to Jorasanko, has sold widely and received rave reviews. Her novel Suralakshmi Villa was adjudged ‘Novel of the year (India 2020)’ by Indian Bibliography published in The Journal of Commonwealth Literature U.K. Her other well-known works include The Mendicant Prince which has been shortlisted for the Rabindranath Tagore Literary Prize, and Through a Looking Glass: Stories. Her translated works include an anthology of songs from Rabindranath Tagore’s Gitabitaan, Saratchandra Chattopadhyay’s Srikanta and Sunil Gangopadhyay’s Those Days, First Light and Primal Woman: Stories. Her most recent work is titled Rising from the Dust.
Among the various awards she has received are Vaitalik Award, Sahitya Akademi Award and Sarat Puraskar. She is also a scriptwriter and producer of seven multi-media presentations based on her novels. Comprising dramatized readings, interspersed with songs and accompanied by a visual presentation by professional artists and singers, these programmes have been widely acclaimed and performed in many parts of India and abroad.

Click here to read her interview/review

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Categories
Review

Along a River from Tibet to the Bay of Bengal

Book Review by Somdatta Mandal

Title: River Traveller: Journeys on the TSANPO-BRAHMAPUTRA from Tibet to the Bay of Bengal

Author: Sanjoy Hazarika

Publisher: Speaking Tiger Books

Sanjoy Hazarika, a former reporter for the New York Times, dons many hats, combining roles as researcher, columnist, mentor and practitioner. Over decades this veteran journalist has travelled extensively across the Northeast and its neighbourhood. His interests include developments in Myanmar, Bhutan, Tibet (PRC), Bangladesh and Nepal and he has produced over a dozen documentaries including on the Brahmaputra, dolphins, governance, conflict, and rights.

River Traveller tells the story of a great river, as powerful as it is mysterious. The Brahmaputra rises in Tibet, travels through three countries and, after travelling over 2,900 kms, flows into the Bay of Bengal. But the most interesting part is that this river is known by many names: Yarlung Tsangpo and Po Tsangpo in Tibet, Siang in Arunachal Pradesh, Brahmaputra in Assam, the Jamuna in Bangladesh, merging with the Ganga at Arichar Ghat, to form the vast Padma on its unending flow to the Bay of Bengal and its quest for union with the sea.

This book has come together over decades of travels on this braided river (including on the boat clinics that he launched in 2005 in Assam) where Hazarika had seen its beauty and faced its wrath, been stuck on sandbanks and swept out to sea. He listened to those who plied the boats, the pilots, drivers, fishermen and their families, the sick and the ailing, women and children, Buddhist and Hindu monks, Sikh and Muslim priests, officials, politicians, students and scientists. He has listened to poets, singers, writers and artists, and to businessfolk and daily wage earners, boat builders, contractors, tea planters and workers. The writer amalgamated all their stories which were a mix of sadness, a determination to survive, an acceptance of fate and joy. Therefore, his traveller’s tales span not just his own journeys but the stories of those who had gone before him. Like the river, the region and its neighbourhood “never cease to delight, surprise, inspire, sadden and confound.”

Of course, the most ostentatious reason for Hazarika’s travels is the filming of documentaries on the river at different points of time.  His first travel was for the film A River’s Story, the Quest for the Brahmaputra that he scripted and produced with Jahnu Barua as the director, Sudheer Palsane as cinematographer, Sanjoy Roy and Jugal Debta as audiographers as well as many others. The thrust area was to study the stories of the river and its people, from its beginnings in the Tibetan Plateau to the end in the Bay of Bengal. It wasn’t about science and theory, or politics and the environment, or climate change, but about the river and its moods, and especially its people and their relationship with each other, through history and changing geography, culture, faith, peace and poverty.

In the second venture, Gautam Bora was director and cinematographer of Brahmaputra, a six-part series for Doordarshan, shot in Arunachal Pradesh and Assam. In his third venture, he was involved in the making of Children of the River, the Xihus of Assam, which was directed and filmed by Maulee Senapati and where he learned much about dolphins.

Divided into three parts, the book is as exhaustive a study on the river as can be imagined. The Brahmaputra is one of the world’s longest and widest rivers—sustaining entire civilizations and agrarian systems. It has fascinated cartographers, lured adventurers, attracted kings and dynasts, and has supported life and ways of living by its banks. Before beginning with the actual travel in Part One that includes his sojourns in Tibet and Arunachal Pradesh, Hazarika goes back to history of the thirteenth century when in about 1215 AD, the Tai-Ahom prince Siu-ka-pha left his native land now on the China-Myanmar border and undertook a long march before settling down in Charaideo, his capital, with its surrounding flat plains, rich red soil, streams and the vast Brahmaputra nearby. After that for centuries, traders, smugglers, fighters, fugitives, goods, cuisines, languages and ideas as well as religions and religious people have travelled in either direction on the Siu-ka-pha trail.

Hazarika begins his yatra in Tibet and narrates how the challenges relating to it were not new. He describes a Tibet that was trying to hold on to its cultural legacy in the face of Chinese rule and the land’s exploitation for its resources. He recounts stories of explorers, spymasters and mapmakers, especially a motley crowd of intrepid men in the service of the East India Company and the Survey of India, who discovered the route of the river especially when it’s source was hidden in the most inhospitable terrain on earth. They finally solved the puzzle of the vanishing river and established that the Brahmaputra and the Tsangpo were the same river.

In Arunachal Pradesh, Hazarika views the river from a helicopter and to him it resembled a great, brown meandering serpent, moving in huge loops, with many channels; at times, a stream or two which joined the flow backed down on themselves, creating elegant oxbow lakes. At Gelling, the first village on the Indian side, the turbulent Tsangpo churns its way through a narrow valley after a cascading drop from Tibet. Here for the first time the Tsangpo changes its name and is known as the Siang or Dibang for the next 200 kilometers before it enters Assam. At a place called Kobo, the Lohit meets the Dibang, Noa Dihing, Tengapani and Siang and develops the immense power that is mirrored in the Brahmaputra in full flow.

Part Two comprising of nine chapters focuses on Assam. After the earthquake of 1950, water ‘blockades’ happened not just on the Siang but also on several other rivers flowing into the Assam Valley and as a result the river changed its course, lifted the riverbed, flattened the banks and land, and braided it in many places far more than ever before. As a result, many towns like Rohmoria, Sadiya simply vanished after being embraced by flood waters, and places like Barpeta, Goalpara and Dhubri underwent demographic changes.

In separate chapters we learn about the tea gardens of Assam, the influence of Srimanta Sankaradeva and his satras[1], about the great river island Majuli, the singer Bhupen Hazarika, the presence of dolphins in the Brahmaputra, the thousands of islands known as the chars and saporis, which are permanent in their impermanence, where the Muslim residents are known as Miyas, the large number of migrants that inhabit the place, the sand bars and sandbanks that dot the riverscape from Upper Assam and how the collection of sand and its sale and distribution has changed the lives of many along the river to the point where it enters Bangladesh. He also gives us details about the ferry system, the boat clinics on the river that represent both a dream and a reality, as annually, nearly three lakh people are treated in these mobile structures.

The third part of the narrative obviously ends with four chapters on Bangladesh. We are told how to move from a slow riverine economy to a bustling one is quite challenging. This section includes fear of being hunted by pirates on an open sea, the faith in the navigators, ‘drivers’, pilots and other crew members who can read the mind of the river, the trip to the confluence of the Ganga and the Brahmaputra along with a Bangladeshi singer called Maqsoodul Haque or Mac. Both these rivers have different names in Bangladesh. The Ganga is the Padma while the Brahmaputra is the Jamuna. We are told about the story of the island known to Indians as New Moore Island and to the Bangladeshis as Sandwip island that appeared and disappeared, causing a diplomatic furore. The Brahmaputra’s role in shaping the destiny of low-lying Bangladesh is well-established and we are told of the connectedness of the people to the river, on either side of the human-made border. There are many places where the turbulent river refuses to accept human markers and controls and the border just remains an imaginary line snaking across shifting sands.

After reading about the multifarious experiences of Hazarika, it is needless to state that this book of non-fiction mesmerizes the readers to such a great extent that one hankers for more information. It is best to conclude the review by quoting from the poetic way Hazarika himself speaks at the end of the book about the interconnectedness that lies even in a grain of sand:

I have traversed the river, shared my secrets with it and laid my fears and troubles to rest there. It too has spoken to me and has been kind and generous, in the midst of its vastness and power, to someone who could not swim.

“River Traveller is deeply personal and piloted by my life and learnings on the river, failings, shortcomings, understanding. It’s about shared stories, loves gained and lost, inspiration and sadness. Autobiographical in parts, it navigates history and crosses borders.

Many travels beckon, for the river still calls.

 From extremism to environmental responsibility, politics to ethnography, River Traveller touches on a multitude of subjects, and is an enduring study of human life and natural history. It is a rich and memorable portrait of one of the mightiest rivers on our planet. The colour photographs that are included in the middle of the narrative add extra charm to the narration. A volume worth possessing and reading and rereading repeatedly.

[1] Specialised Vaishnavi monasteries in Assam serving as socio-religious, cultural and educational centres since the fifteenth century.

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Somdatta Mandal, critic and translator, is a former Professor of English at Visva-Bharati University, Santiniketan, India.

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