Categories
Essay

From Place to Place

By Renee Melchert Thorpe

Formative years can imply simply a growing body or the development of a complex outlook on life.   My mother, born Mary Ann Hostetler in Pontiac, Illinois, lived her formative years in colonial India.   Here is what I know about two formative migrations that made her who she was.  She was a quick study, a keen photographer, and resourceful traveler, but she also had an uncanny sensitivity to the need of people to feel welcome anyplace.

She had a deeply fond memory of arriving with her family in West Bengal when she was a mere 2 years old.  On the dock of Calcutta, waiting to greet the Hostetlers, was another Mennonite missionary, a man who would escort the family to the mission compound.  Dispatched aloft by her mother, little Mary Ann absolutely “sailed into his arms”, feeling sincere love and comfort from this steady and attentive new man.  He would sometimes take her for walks in the farms and villages, letting her reach out safely.  There was nothing to fear in this new place, and she was allowed to build her confidence.

Crates and luggage would have been handled by porters, a first lesson in India’s system of echelons, privileges and defenses, which even Anabaptists would adopt. India would embrace Mary Ann with her cacophony and vibrancy.  There was always the conservative life at home and in the classroom, but she could escape into the chowrasta[1], eat street food, and read the discarded letters such food was wrapped in.

From the age of 5, she boarded at a dreary school in the extraordinary altitude of Darjeeling, wintered in the rural outskirts of Calcutta, spoke street dialect like an urchin, and learned to draw from memory a Mercator map of the world showing the borders of all the British colonies.  During school break back in her parents’ mission compound, she and her brother might pass time picking fat ticks from the tender hide of a little bullock her parents kept, but her favourite activity in those warm days was to climb an old mango tree which stood just out of range of her mother’s call and read a book.  Any book.  She was never without one.

She and her family made two returns to the US, the first in 1936 for a Mission Board furlough, and again in 1944, when she had graduated from high school and the war, closing in first on the Straits Settlements, and soon after striking the Calcutta docks, was too close for comfort. 

For that 1936 furlough, the family stayed a few days in Calcutta’s Salvation Army hotel while her mother shopped for items to bring back with them to the States.  Her list would have included a tablecloth and sheeting, cotton yardage, British wool, perhaps a few sandalwood items. These things would not have been exotic souvenirs but rather, practical items for their year ahead enduring America’s Great Depression.  They were, after all, the family of a pastor, disinclined to appear exceptional or proud.

Through their Salvation Army hotel window, my mother gazed down at the Fairlawn Hotel next door, where well-heeled families relaxed with tea service on white rattan furniture, children scattered gleefully on the vast greensward, late afternoon birdsong above, and a distant Victrola warbling from inside the forbidden edifice.  She longed to experience such pleasures, and decades later, she did finally stay a few nights at the Fairlawn in 1992, with me, as I had chosen the hotel without knowing its gnawing maneuvers deep in my mother’s soul.

Checking in, we met the flamboyant and zaftig British redhead in charge of the place, my mother’s very age, daughter of the owner from those last days of the Raj.  That woman could scream gutter Bengali at the top of her lungs, and the next moment turn to my mother and politely ask about some little thing important only to little girls from a faraway garden city.  I watched as these two disparate women embraced and laughed together.    

The day she and her own mother arrived in the Los Angeles port of San Pedro, she was astonished to disembark and hear sweaty stevedores yelling and chattering in English.  This told her more about America and what was purportedly its classless society, than any adult’s own description could have.  She thrilled at this discovery.  She was unconcerned about fitting in with new school mates, got along well with them, even though they whispered amongst themselves about “her brogue.”

She never told me anything about her trip back to India, a year later.  But she would have sailed again, stuffed into Second Class.  I imagine her trying to lose her parents, availing herself of the ship’s library.  But I don’t know.

She graduated from Mount Hermon School as the “Best Girl,” although if you visit there, you can discover that the clueless new headmaster from her graduation year neglected to have the big silver trophy emblazoned with her name for the class of 1944.  Her brother’s is there with the year 1943 on the school’s “Best Boy” cup.  But he simply forgot to put in the engraving order when it was Mary Ann Hostetler’s honor.  My mother harbored few resentments, but this was a sore point, as she had worked very hard at academics.

I have never seen Bombay Harbour, where she finally left India as a young woman, but this is what she has told me.  It was wartime, 1944, but she was full of hope and thrilled to be out of that grim and cold school in the clouds.   

Mary Ann and her family boarded a passenger liner repurposed to carry a large number of troops.  A little sister had been born in India, making the family five, now billeted in what was once a First Class cabin, as were other American families leaving India.  Of course, no monogrammed towels or French milled soaps awaited them, but she relished the luxury of portholes and her own bunk.

The ship left Victoria Dock in April of 1944, mere days before the catastrophic accident of the munitions-laden SS Fort Stikine accidental fire and explosion, which destroyed every vessel in the harbor.  Wartime secrecy held successfully for decades, and my mother never learned of the near miss until many years after the war was over. 

All kinds of security measures were taken, even though the atmosphere on the crowded ship was convivial and relaxed. No flags flew.  And they sailed a zigzag course as a precaution against torpedoes.  They were in a convoy with two other soldier and civilian transports, but never saw the other ships except when in harbour.  One of those harbours was Melbourne, where boarded dozens of Australian war brides, and every last one of those young women, my mother said, had a screaming infant.  Those women shared second class cabins.  Two mother/baby pairs had bunks and one pair slept on their cabin floor.

Everyone aboard seemed to be flirting with the soldiers and welcoming distraction.  My mother and her new girlfriends, and even a few of the young Australian mothers, were nurturing chaste romances and enjoying their youth.  It was so much fun, and so stress-free, that my mother looked down at her wrist one day, where there had flourished for many months a large filiform wart, resembling some sort of fleshy agave plant; it had vanished. 

They went through the Panama Canal, a surprise for everyone aboard as well as for their stateside families.  All had been told by the war department that the convoy would land in San Francisco.  Instead, they went to Boston.  Plans were upset, lives were disrupted, and thousands of families who had made their way to California were now faced with crossing the wide country to meet their loved ones.  Typical instance, my mother said, of the war and the US government inflicting the population with whimsy, wasted efforts, or red tape in the name of national security.

To glimpse at last the American flag flying in Boston harbour gave my mother an indescribable feeling of safety and delight.  Worries carefully buried were truly gone.  The war would end in a little over a year’s time.  She had the rest of her life ahead of her.  

The USA was a safe harbour for a few years of university before she was off again, this time to Japan.  Decades later, with an empty nest, she and my father chose Italy.   Migrations were just part of living, and wherever she went, if she met another person displaced by whatever reason, she had a new best friend.  I knew them, too.  The Finnish dry cleaner, the Salvadorian woman who answered the phone at the Honda repair shop, or the Japanese lady who ran an art supply store: these people came from away, and so had she.

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[1] An intersection of four roads.

Renee Melchert Thorpe has fiction and nonfiction work has appeared in several Asian journals and magazines.

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Categories
Poetry

Sunrise from Tiger Hill

By Shamik Banerjee

Sunrise at Kanchenjunga from Tiger Hills, Darjeeling.
Blue Sunbirds haunt this region. They
Convert this hill into an odeum.
At five a.m, tree branches sway
When dawn winds blow, making a constant hum.
By six, a gradual colour change
Occurs above the distant mountain range.

The sky, once lazuli and white,
Gets flooded by the hue of orange-gold
From Heaven's massive source of light.
The tourists, standing cheek by jowl, behold
This incandescent spectacle
Like witnessing a one-time miracle.

The children are moon-eyed and thrilled,
Adults and elders bow in adoration
(As if to God Himself), all stilled,
When Kangchenjunga gets its coronation,
And youngsters click and store this view
Until that light has fully bathed them too.

Shamik Banerjee is a poet from India. He resides in Assam with his parents and works for a local firm. His poems have appeared in Fevers of the Mind, Lothlorien Poetry Journal, and Westward Quarterly, among others, and some of his poems are forthcoming in Willow Review and Ekstasis, to name a few.

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Categories
Poetry

Satirical Poems by Maithreyi Karnoor


HIGH AND MY TEA

A cup of Darjeeling
Just brewed, dark, steaming
Sat on the high table
That at first seemed stable
It wasn’t. I’m sullen.
Look! How my tea has fallen!


DEATH OF THE AUTHOR

The author is a scripter who no longer bears
Passions, feelings, impressions
He simply sits on chairs
He hands over the keys to the meaning of his words
To a reader who lacks history
And biography – what a nerd!
Forlorn for want of importance he takes to eating much
Cakes, biscuits and puddings
Custards, pies and fudge
He eats and eats and mopes over the sordidness of writing
And the ingrate world that takes away
One’s claim over one’s citing
His blood sugar shoots up like a star he’d hoped to be
He swears aloud at Roland Barthes
And dies of diabetes


MEN BELONG IN THE WOODSHED

Men belong in the woodshed
Swinging axe, chopping kindling
It’s as sweet mother nature intended

Boys raised well will always tread
The right path – which isn’t writing and reading
For men belong in the woodshed

Buffing brawn is their daily bread
And not knitting or pee sitting
Just as sweet mother nature intended

Let no state be by man led
They would take wars for playthings
As men belong in the woodshed

Men must be to women wed
Who push them to fulfil their calling
Where they belong – in the woodshed
As sweet mother nature intended


LETTING IN THE DRAUGHT


Topple a tipple
We’re lager than life
Never an outsider in cider
But all ale pales
Before pale ale
A draught as smooth as eider


THIRD WORLD LITERATURE AS NATIONAL ALLERGY*

Our pulp fiction is pulped too fine
Rising up it irritates the sine-
-uses, giving headaches and fevers
In Fahrenheit of ninety nine

Every hero in lit prose
Makes the nation preen and pose
Blowing pollen on the west
Giving it a runny nose

Stories of the global south
Of reddened eyes and cottonmouth
Will try to claim postcolonial angst
But in fact they are mouldy growths

Our novels are but spicy stews
With peanuts slipped in for the chews
We try to match the great canon
But all we write is achoo achoo!

*Fredric Jameson’s essay ‘Third-World Literature in the Era of Multinational Capitalism’ that claims all third world literature is a ‘national allegory’.

Maithreyi Karnoor is the author of the novel Sylvia and the translator of Kannada novels A Handful of Sesame and Tejo Tungabhadra. She is a two-time finalist of The Montreal International Poetry Prize and the recipient of the CWIT fellowship at LAF and UWTSD.

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Categories
Interview

Of Spooks & Ghosts: In Conversation with Abhirup Dhar

Abhirup Dhar

Do you enjoy ghost stories or stories of haunting that send shivers down your spine? Meet Abhirup Dhar, a young writer of horror who juggles a corporate job with his love of writing. He puts on his writerly shoes at night – like ‘Nina, Pretty Ballerina’[1] – to create horror stories that are not just taken up by reputable publishing houses but also by Bollywood. His books[2] have been endorsed by a renowned filmmaker, Vikram Bhatt, and Dhar is now scriptwriting for a number of films based on his own books and more. His earlier book, Ghost Hunter: Gaurav Tiwari (2021) was picked for a screen adaptation even before it was published. The book is based on a real-life event where a young paranormal researcher, Gaurav Tiwari (1984-2016), was found dead… And did Dhar, while writing the script, have a visitation? Read on to find out more about the genre, visitations by spirits, the author and his fascination for the paranormal…

You are a banker by profession. What made you turn to writing? Since when have you been writing? What gets your muse going?

Firstly, thank you for having me for the interview. I have been a banker for many years after which I changed the sector and am currently into travel. In the corporate world, it’s important that one keeps a track of the market and switches when it is the right time rather than continuing in a saturated atmosphere.

Coming to writing, I have always been a writer much before I was anything else! As a child, I used to write stories on notebooks and keep them to myself. Some went for the school and local magazines. When I was in college, I blogged and did some freelancing too, also wrote movie reviews for certain portals. It was during a break between my postgraduate course and first job that I utilised a few weeks and wrote my first book at a stretch. Getting published was never in my mind and I had written only for the sheer joy of it. Then I got busy with my job till a few years later when I began writing movie reviews for a portal again. It was then that I had shared the manuscript with a few people who loved the book. They said it was fun and struck a chord and that I should get published. So, I did! I was an amateur then but that’s where my writing career began. My first book was out in 2015 and it was an extremely special and emotional moment for me holding its copies! Passion is what keeps me going. It’s been an interesting and worthwhile journey of learning from successes and failures, unlearning, persevering and also importantly for me, multi-tasking.

Why horror? What made you choose this genre of writing? Your first book was a story of relationships. Why did you move into horror?

I was always a big horror buff. The first book I read was horror. The first movie I watched was horror. The first story I wrote was horror. And I enjoyed visiting deserted and supposedly haunted places. Anything supernatural intrigued me and I was curious about the afterlife. I still am. I was actually supposed to debut with a horror book which came out later. Based on a short story I had written while studying at a boarding school in Darjeeling, The Belvoirbrooke Haunting didn’t really shape up earlier. I guess for a difficult genre like horror, a little more maturity is required. So, I came out with Once Again… With Love! first as the manuscript was ready. My second book — Stories Are Magical — had six stories from six genres, including horror. While writing the book, I went back to my childhood days and realised it was horror which I enjoyed the most. It was a genre hardly focused upon and I knew it was risky. But I just wrote Hold That Breath without thinking about the repercussions. It went on to surprise everyone including me! The idea was to tell horror stories just the way I like them and have a common link – urban legends. It was followed by The Belvoirbrooke Haunting and Hold That Breath: 2 after which we now have Ghost Hunter: Gaurav Tiwari and HAUNTINGS. My horror outings have been enjoyable to say the least though I personally enjoy other genres like thrillers, murder mysteries and romance too.

Would you view horror as the voice of the age or as a genre which brings catharsis to masses? Does horror only entertain or have a larger value than appeasing the appetite of the people who read or watch a film?

We all lived through horror during the pandemic, didn’t we? It’s relevant, relatable and now a voice of the age. I wouldn’t say it is a massy genre in India yet but for those who enjoy reading it, horror provides relief. It also teaches you how to overcome fear and come out strong in life. So, it isn’t only about entertaining. Though I do think, it’s very important for a writer to make the genre fun. My books are relatable, relevant and entertaining for sure. It also helps that I have been a huge horror buff myself so I know how the genre and also a few tropes work for readers.

Your horror novels have been picked up by Bollywood. Tell us a bit about that.

Ghost Hunter: Gaurav Tiwari was acquired for screen adaptation much before its release itself. There are talks on about other books too. An upcoming book is going to be adapted for the screen and I’m writing the script myself. Screen adaptation deals are important because they begin reaching out to a wider audience right from the announcement itself. While the entire process is a very lengthy one, it’s a good validation for writers apart from other aspects. Horror has come a long way now. Thanks to efforts made by Suhail Mathur, a literary agent from The Book Bakers, it is getting noticed by the big traditional publishing houses. I’m sure it will have a better position in the film world too. There are very few filmmakers who have focused on it yet and the best way is to adapt horror novels or get good writers.

You have moved into scriptwriting from novel writing? How is it different?

I write both books and scripts now and I enjoy them equally. Though scriptwriting and books are two different mediums, they are both about one common thing – storytelling. Very different! Books are a lot more about descriptions and one can play with words. But in a script, it’s visual storytelling which means that one needs to be very specific. It’s more about the action and dialogues while books are more about characterisations and inner thoughts.

Your novels are in English. What language do you use for screenwriting for Bollywood? Are you bilingual and is it an easy transition?

Scripts are mostly in English these days. It can later be translated by the dialogue writer. It has become very professional in Bollywood now and smart filmmakers know or should know that the story is the king. I’m fluent in Hindi as well so that certainly helps but I don’t write in Hindi. I love Hindi films though.

What makes the most impact to create the semblance of horror in books and in films? How is it different?

Relatability. And this is extremely difficult in a genre like horror. Most people can relate with a genre like romance as most have fallen in love and even if they haven’t, they want to fall in love. With a genre like horror which is driven on the basic of fear, it becomes important that a reader relates with the characters and the events because most would not have seen a ghost. But they have experienced fear. In a book, a writer can scare readers with the situations. However, what a book misses out on is something extremely integral to the genre – background music. You get that in movies. I wouldn’t say that jump scares and scary faces are the most important things in horror as I personally like to find fear in moments, silence and circumstances.

You are associated with some paranormal societies too. Do you believe in ghosts or the paranormal? Please tell us more about it.

Just one and they are the pioneers of paranormal research in India. I’ve collaborated with Indian Paranormal Society which was founded by Reverend Gaurav Tiwari in 2009. Yes, I do believe in ghosts, the paranormal and the afterlife and I have a theory which I have researched on. The Afterlife or ‘The Other World’ as I call it is simply a phase after death where we wait for reincarnation. The better the karma in the life we led, the quicker the time. But again, there is no concept of time there. One needs to read my books to understand the theory as it is a very detailed one. To make it understandable to the layman, ghosts or spirits dwell in The Other World due to some baggage or unfulfilled desires. They may not even want to accept that they are dead and try to latch on to the living physical world to make their presence felt. There are boundaries not to be crossed either by us or them. That is how the balance remains.

Have you ever had any out of the world/ paranormal experience?

I used to visit many deserted and supposedly haunted places as a child. Also tried calling ghosts with friends. But nothing really happened. I won’t lie here. But something did happen after I completed the manuscript of Ghost Hunter: Gaurav Tiwari that I discussed with the folks at Indian Paranormal Society. I mostly write at late nights because that’s when I get time. And it’s also the best time to write horror. So, I mailed the manuscript to the erstwhile publisher Westland (the book is getting republished by Rupa now) and tried to sleep. It took me some time to close my eyelids as I felt a little uneasy. I dreamt about Gaurav Tiwari that night. I don’t really remember much but there was something he was trying to tell me. I don’t know what it was. I had a word with IPS the next morning and was shocked to know that after Gaurav’s death in 2016, most of his team members had a similar dream. He always wanted a good writer to write a book about him and his cases so I’m guessing he had come to thank me!

Share a few of your most interesting experiences as a horror writer.

Every time I sit to write something, the experience is interesting! My imagination takes me to different places, and I get to meet different characters. But researching on both Ghost Hunter: Gaurav Tiwari and HAUNTINGS took me to a different aspect of being a horror writer – Empathy for the dead is important because they lived once too.

What are your future plans? Do you plan to juggle all your jobs or would you focus on one that is your favourite?

I’m an aspirational person. By being aspirational, I don’t just mean being ambitious about studies, job or career but life as a whole. While I can focus more on writing if I stop juggling it with my job, I see a future in both – of course, in different ways. But you never know. However, in present times, a writer can’t just live in a bubble. One needs to make money out of the craft as you need to pay the bills. So, a more feasible option would be to become a ‘writerpreneur’. If a writer can’t be that, he or she needs to have other avenues of income. No writer earns a living only through books and the royalty. Screen adaptations and scripts are good ways to expand for sure.

Thanks for giving us your time.


[1] A song by ABBA where a girl transformed from an ordinary person to a ballerina of exquisite grace

[2] Hold That Breath: 2 released in 2022

(This interview has been carried out via emails by Mitali Chakravarty. The images have been provided by Abhirup Dhar. )

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Categories
Poetry

Entwined Places

By S Srinivasan

Artwork by Gita Viswanath
ENTWINED PLACES

Standing on the Juhu beach,
I heard, more than a decade ago, 
The winds from the Marina, 
In a smattering of Marathi and Tamil,
Accompanying birdsongs.

Blame that on a bout of homesickness
But what about last year, when

The Sealdah station, its turf
Pounded by the waves of human feet,
Seemed to me to reverberate 
With the weighty steps of the rush hour, 
Also felt in Mylapore and Nariman Point?

Perhaps, the crowds stirred me then
But that cannot be all, for

Often on cool Hyderabadi afternoons,
I have worn, in silence, the unease
Of Bangalore's woolen evenings;
And sensed in Delhi's nippy nights
The cold grip of other Indian winters...

Extremes sometimes addle the brain
And lull the heart, but…

Even when I take a leisurely stroll
On a summer dusk, around the lake
That girdles my neck of the woods,
I am greeted by the lush sights, of
The long winding ways yonder...

To Darjeeling and Kodaikkanal,
To Yercaud and Dehradun,
To Kashmir and Kanyakumari,
And to all that lies beyond.      

Srinivas S teaches English at the Rishi Valley School, India. He spends his free time taking long walks, watching cricket and writing poetry in short-form (mostly haiku).

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