Categories
Stories

The Wrong Woman

Story by Veena Verma, translated from Punjabi by C. Christine Fair

In the darkest of night, a black car was winding its way along the black, wide, and desolate roads of Germany like a snake. Only the sound of the wind broke the all-pervasive silence. The wind and the car seemed to be competing to outpace each other. Far away in the distance, a glimmer of light briefly appeared and then vanished like a firefly. The silence and darkness returned once more. The electricity poles on the side of the road appeared to be standing with their heads bowed in exhaustion, yawning forth a light so dim that Manjit couldn’t even make out the time on her watch.

But Manjit didn’t even bother looking at her watch. She didn’t know the date, the day, much less the time.  She didn’t know whether this country’s time zone was ahead of or behind that of India. She only knew that she had left her home on the 25th of October.  She didn’t even have a calendar to look at the dates. But nature had given women one way to know the passing of a month. But that clock gifted from nature had become broken along the way.  Manjit seemed to bleed every third day.

Sitting in the car, with eyes half open, she looked at her fellow travelers. There was the Gujarati driver and a white man in the passenger seat. Manjit was in the back with her son, Dipu, who rested his head in her lap. Dipu was the only one she knew. Manjit didn’t know who the others were, where they were taking her, or which routes they were driving. She only knew that she would soon meet her husband, Harjit.

Harjit, to whom she had been married six years ago. After spending only two weeks together, Harjit returned to Germany after promising to take her to Germany soon. The two weeks spent with Harjit felt like two minutes. It was like a beautiful dream which disappeared once she opened her eyes. Harjit promised her that within two months at the most, she would be with him in Germany. But years had passed, and Harjit still hadn’t sent the paperwork to call Manjit to Germany. He only wrote once to say that up to now, he had not yet divorced his German wife.  Manjit and her family remained silent.

The Bride by Amrita Shergil (1913-1941). From Public Domain.

In this silence, there was also regret. Why did they marry this tall, slender, beautiful Manjit at the tender age of 20 to Harjit, who was already married? Manjit was faultless. No one ever said anything bad about her character. After finishing the tenth grade in the village, her father arranged for her to do her BA in a hostel in Ludhiana. Pragat Singh lived for his daughter whose mother died while she was a child. She was only five years old and her brother was only one year old when their mother passed away from pneumonia. Pragat Singh brought his young children, wailing like birds, under his wing and accepted God’s will. His relatives tried very hard to get him a second wife, but Pragat Singh was not ready to hear this.

“I will not allow a stepmother to come into this home…My children will not be neglected. What happened has happened. If I had had any luck at all, why did my first wife die? My God will take care of me. My children will grow up. Manjit will leave my home. When Kulbir turns 16, I will get him married. Happiness will return to the house. I’ve lived my life. All of you should pray for my children’s well-being.” Whenever Pragit Singh spoke with sorrow in his voice, the entire family wept.

Manjit remembered everything. Even though she was only five years old at the time, she remembered her mother’s passing very well. Throughout her childhood, she carried this loss in her gut.  Without a mother, Manjit had to grow up early. She had to care for her little brother. She had to cook food for her father. All of the household responsibilities fell on her. Even though she ostensibly had a large family, they did nothing to help her other than expressing their sympathies.

Passing the tenth grade was a major milestone for Manjit.  She had passed with distinction. Pragat Singh was very excited.

“Who says that daughters are less than sons?  My daughter is my son. I will make her a lawyer…” Pragat Singh said with pride.

“Excessive education spoils girls…Moreover, because of her education, finding a suitable boy for her will be difficult. It’s hard to marry off well-educated girls. If the girl becomes a lawyer, you’ll have to find a judge,” the relatives caviled.

“So according to your logic, I should dump my daughter on some run-of-the-mill boy? I am going to send her to America or Canada. There, my daughter will enjoy her life. What is there for her here? Here, she’ll just toil away her life.”  Pragat Singh had such lofty dreams for his daughter. He wanted to do everything he could to make up for the fact that the children had no mother. He wanted to give them all manner of comforts.

He enrolled Manjit in a girls’ college in Ludhiana where she stayed in a hostel. Sorrow tempered her father’s nature. With Kulbir, her relationship was more like that of a friend.  Both siblings shared their secrets freely with each other. Kulbir paid less attention to his studies. She advised him to focus more on his studies, but he would just shrug his shoulders in response.

One day Manjit grabbed his ear and asked, “What do you mean to say by this shoulder shrugging?”

“Sister…If you leave after completing your studies and if I become a government officer, then Father will be left alone. If we both leave, then people will steal our land.” Manjit was incredulous hearing such a profound thing from Kulbir’s tiny mouth.

“I don’t understand, Biri…” She called her brother Biri from childhood.

“Father is alone, sister…All night he is exhausted…He needs someone to help him…Even though he doesn’t say anything, how long can this go on? Moreover, sons are supposed to take over the responsibilities of the family. Daughters become the assets of another family. You have studied a lot. You’ve studied enough for both of us. I am going to stay with Father. I have no plans for further study.” Manjit sighed upon hearing her brother speak as if he were an old man. It seemed to her as if neither she nor her brother ever got to be children. Both had to become responsible as soon as they were born. Both siblings sat there for some time, sharing their sorrows.

From that point onwards, Manjit didn’t pressure Kulbir to study. Moreover, she was very happy when she got called home right before the holidays to go meet a girl for Kulbir.

Kulbir was married even though he hadn’t even passed the tenth grade. The sadness was lifted. Happiness returned to Pragat Singh’s house. The family had a new member and liveliness returned. Relatives visited the house more often. The empty place of a woman had been filled.

Manjit had completed her BA and preparations were underway to marry her off. But no boy met Pragat Singh’s expectations. The prospective grooms came and went, but each time he found some fault with them. The search stretched out. Finally, Pragat Singh’s brother-in-law, Baldev Singh, said that a boy had come to Ludhiana from Germany. He’s an engineer there. To live in Germany permanently, he married a white woman in a “paper marriage” but they lived separately, and they would get divorced. The boy came from so far to marry a special Punjabi girl.  He’s a boy from a very good family.  He’s an educated, good-looking, strapping young man. He had no shortage of prospects. But because Baldev was Manjit’s uncle he could persuade them not to see these other girls right away. If they were to take out a matrimonial advertisement in the newspaper, there would be a huge line of girls, and it wouldn’t take long for there to be a bidding war.

Pragat Singh began to think about the boy’s second marriage.

Pragat Singh asked, “My daughter is not lacking anything.  Why would I marry her off to a boy who is already married?”

Baldev Singh explained, “Look, it’s different in other countries…No one is virtuous there. People get married to settle there permanently. These white women do not find our sons suitable nor do they suit our sons. My friend’s son did exactly this. He went to England and married a white woman. Then after paying her off, he left her. White women agree easily. They never stay with one man for long. Now that boy is very wealthy, and he has taken a bride from Kapurthala back with him. The girl did a double BA!”

“But what will people say?” Pragat Singh was not convinced.

“How can you convince them? You don’t need to tell anyone…The boy knows and you know…Do what suits you. Don’t make a big deal about it. Fulfil your responsibility while you are still alive. In the future, we don’t know what your son and daughter-in-law will do.” Baldev Singh instilled in him the fear of an unknown future.

“No! My son would never betray his sister…” Pragat Singh was hurt by his suggestion.

“You married off your boy. He’s no longer yours to control. For now, you are the boss of your household.  Whether you spend five rupees or fifty. It’s your call. No one would dare question you. Moreover, finding a boy from this kind of family is very difficult. The boy is a gem. A total gem. He is beyond reproach. He even takes care to iron his underwear. For the sake of my dead sister, I don’t want my niece to get caught up in the ruses of a mother-in-law or a sister-in-law. In a foreign country, there won’t be such family fights. Both the husband and wife are educated. They can enjoy life. Here, even the best government employee doesn’t make in a month what this boy makes in a week. And this is not temporary work. He has houses and cars. What difference does it make if he married a white woman to live there permanently?  If a jatt [1]has land and vigour, then he can marry twice in one year, during the March and July harvests. These days, no one is a saint like you.”  Baldev Singh’s flattery brought a smile to Pragat Singh’s sad face which flickered for a moment then disappeared much like a lightning bolt flashing ever so briefly in a dark cloud.

“Okay. I’ll consider your suggestion. You should do as you like. You are family. My daughter is your daughter…But I am asking Manjit’s preference.” Pragat Singh laid down this condition.

“You talk to Manjit. And also get Kulbir’s views. Even though he’s younger, his opinion still matters. By the grace of God, Kulbir is happily married.” Baldev Singh said his peace and got up.

Even though Manjit never argued with her father, Pragat Singh still wanted to have her consent before taking such a big step. When he raised the issue of Harjit with her, she became very bashful.

“If your mother were still alive, I wouldn’t have to ask you about this or discuss this with you. She would have done this herself.”  Today he remembered his wife for the first time in years and his eyes welled up in front of his children.

Bride’s Toilette, Painting by Amrita Shergil. From Public Domain

“Do whatever you want father.” Manjit, crying, hugged her father tightly.

They cried for a long time in each other’s embrace.

The next week, he brought Manjit to a friend of Baldev Singh’s to meet Harjit. Manjit kept her eyes lowered and didn’t look at Harjit. Harjit took a liking to the fair-complected, serious, and shy girl. Five days later, she was married to Harjit. Harjit, lacking vacation time, returned to Germany two weeks later. It didn’t seem like two weeks had passed.  Manjit dropped Harjit off at the Delhi airport. She felt as if she had seen off her own soul. Only her body was returning. Harjit’s loving touch awoke her virginal body and aroused a thirst in her. Like the hot earth which, upon experiencing a sudden momentary burst of rain, becomes ever thirstier.

Manjit no longer felt at home in her village. What game is Mother Nature playing that she feels like a stranger in her own home?

“It’s a matter of a little time. Harjit will send the papers…Then this separation will be over.” She was trying to console herself and care for the keepsakes of Harjit’s love. But Harjit had left her a hidden gift that she would realise much later – Harjits’s child. This was the real token of his love. Upon learning of this, a wave of happiness swept over the entire family. Manjit went to Ludhiana for the sole purpose of informing Harjit of the good news via phone. Harjit was very happy to hear this news.

Manjit forthrightly told him “Call me soon as I don’t want to remain alone.”

“I also want this…but I am helpless…That bitch is obstinate. She says that she will leave me and have me deported. She isn’t divorcing me. Just be patient for a while. I will do something,” Harjit assured her.

It was like this every time. She would stay up until the middle of the night writing him letters. She told him about her anxieties, she wrote about their love, and their child. She asked him about a name for the child, told him about the village gossip questioning why she hadn’t gone to her in-law’s family, and the growing burden on her father.  But every question got the same response, “I am helpless…The issues are still being sorted….”

Some time had passed. Manjit’s son Dipu, began to crawl.  But the paperwork from Harjit still had not come.  The hopes and aspirations with which Pragat Singh had married off his daughter failed to materialise.  After four years of having his daughter sitting at his home, he began to feel fits of panic. On several occasions, he wrote to Harjit to say that even though there was no shortage of wealth in the house, it still didn’t look good to have his daughter at her parent’s home. But Harjit repeated the same story that he wanted to do something but couldn’t.

In the meantime, Kulbir had two daughters. His wife, who had been an adolescent girl, grew into a woman and she began to rule the house indirectly. That very sister-in-law who out-danced everyone in the village at her wedding now did not speak with her politely. Leave aside not having conversations, she found a way to taunt her even in basic matters. She wasn’t half as smart or attractive as Manjit. But a woman whose husband loves her is the queen. The world will bow down to a woman—howsoever ugly or moronic she may be–if her husband values her.  But even the most useless man will consider a woman who is beautiful and intelligent to be irrelevant if her husband is not with her.  In our society, a man is like a woman’s identity card without which she cannot be identified.

Manjit was an intelligent girl.  She very well understood her husband’s compulsions and her father’s responsibilities. So, she made a compromise with time and quietly waited for the papers to be sent from Harjit. She could tolerate all of this. But she couldn’t tolerate Kulbir’s avoidance and silence.  Kulbir’s nature had completely changed in the last two years. Her little brother had been a friend. They spent their childhood laughing and playing together.  They supported each other in times of sorrow. Now, he didn’t speak to her. He never spoke to her son Dipu nicely– as if he were some illegitimate child. And he didn’t speak that much with Father either. He usually spent his time away and the rest of the time with his wife.

Harjit occasionally sent a bit of money. But Pragit Singh forbade her from spending that money on expenses and told her to save it. Harjit sent clothes for Dipu a few times but Kulbir’s wife burned with jealousy. When her eldest daughter insisted upon wearing new clothes, she would drag her and punch her.

 “Your father did not go to Germany…We are villagers…We have to make do with the little we have. I am not going to pamper my girls. I won’t let them become lawyers….” The sister-in-law let out her frustration that had been festering for several days.

“Sister-in-law, why do you beat your daughter? It makes no difference to me whether she or Dipu wear the clothes. Both are the same.” Manjit took her sister-in-law’s hand.

“How can they be the same? He has a rich father…His father seems to be some bigshot and her father toils all day in the soil. This will spoil the girls. There’s no question of me pampering my girls. I’m going to keep them on the straight and narrow otherwise they’ll make my life hell. We are already screwed because we haven’t sorted out the previous problem and we can’t bear more difficulties. My husband can’t sleep at all at night…” The sister-in-law, having made a mountain out of a molehill, went inside.

It seemed to Manjit that her sister-in-law wasn’t taunting her but simply speaking the truth. She hadn’t realised that Kulbir wasn’t her little brother anymore; rather, he was now the father of two daughters.  The burden of Manjit wasn’t just born by her father or Kuldip but by the entire family. And not just by the family, but the entire village. And maybe by the entire country, whose culture views women as a burden or the wealth of another family. Perhaps, Harjit had forgotten his culture having settled in Germany. This was perhaps why he had become irresponsible.

Several such incidents made Manjit feel uneasy. Silence spread across the house. It was as if everyone was sulking at each other. Dipu began going to school.  He went along with Kulbir’s daughters. Manjit never dropped him off at school. She had stopped leaving the house because people would pepper her with questions.

One asked, “Girl! Do you have any clue about your husband?”

Another said, “We know about those who live abroad…They do what suits them. We heard that he keeps a white woman. What was the need for your father to make this mess by marrying you off to someone so far away? Were there no boys in the Punjab?”

Because Manjit didn’t have the courage to leave the house, she remained inside. She kept her face hidden like a thief. Pragat Singh began to fall ill. His body was not robust to begin with. But the sorrow of his daughter devastated him. He was bedridden. Manjit’s heart sank when she saw him.

One day, Pragat Singh and Kulbir were engrossed in an argument about something. Just two days before, Manjit had gone to her friend’s home in Ludhiana to call Harjit. Upon her return, no one spoke to her.

“Have you done anything for Manjit or not, father?” This was perhaps the first time that Kulbir spoke to their father in a loud voice.

“What should I do, son? The boy turned out to be a duffer. We took a risk with this second marriage…” Pragat Singh took a deep sigh.

“The boy turned out to be a good-for-nothing. Are there no other boys in the world? Marry her off somewhere…” Kulbir’s patience had run out.

“How can we marry her off?  What will people say?” Pragat Singh understood his son’s predicament.

“What are people already saying? You are always inside the house. I’m the one who has to interact with them. It’s going to be six years of her living here.  In the future, I’ll have to marry off my daughters.” Kulbir was worried about his daughters’ futures.

“It’s not a big deal. Six years have passed by. So will another four. If he doesn’t call her, then he’ll return. Where will a woman with a child get a second husband?” Pragat Singh began coughing.

“So, you keep her for four more years. I can’t care for her. She frequently goes to Ludhiana. People are talking shit about us. So how long can you keep her here? Until her hair goes grey? Then you’ll marry her off? Right now, you should find someone who has been married twice or even thrice. But you won’t like any of them. You said, ‘My daughter will be a magistrate.’ Has the women’s revolution come? Yet, you gave her more education. Even though our relatives objected to more education, you did what you wanted. Even now if I say something, you are unwilling to listen. You, like mom, are going to die.  But I’m the one who has to deal with the problems. If in the future she does something that disgraces us, who will we blame?” Kulbir seemed to be trying to find a solution.

Pragat Singh sat there thinking quietly.

“I am going to call your uncle. You don’t worry. First, we’ll hear what advice he has. He was the middleman.” Pragat Singh wanted to calm the situation.

“Forget this useless uncle. This is his mess. This son-of-a-bitch has never even visited. After getting us wrapped up in this bad marriage, he has stepped aside.” Kulbir abused his uncle profusely.

“It’s not a big deal. Don’t worry. Tomorrow, I am going to send someone to Tutian Ali village to call Baldev Singh,” Pragat Singh said calmly.

“Why will you send someone? I am going to Tutian Ali myself to get that bastard.” Kulbir got up.

And the next day, at the break of dawn, he brought Baldev Singh on his motorcycle.

The three men went on arguing for some time. After considerable discussion, Baldev promised to do something quickly and then left.

Even though Manjit didn’t hear everything, she sensed that something important would happen. She was like a bird in the forest who seeing the direction of the wind can predict a storm.

A few days later, Baldev returned and explained that an agent who lived in Jalandhar would illegally deliver Manjit to Germany for Rs 5 lakhs.  Once she reached Germany, she could apply for political asylum just as others did. She could live there till Harjit got his divorce and they could live together.

At first, Pragat Singh was not amenable to this. But, seeing no other way, he relented. When Kulbir and his wife learned about the amount of 5 lakhs, they made it clear that they were not going to pay for it. From that point onward, neither spoke to the father or the uncle. Upon hearing this, Manjit felt as if finally, there was a glimmer of hope in her dark world.

When they discussed this with Harjit, he refused.

Harjit explained, “Coming here through an agent is very dangerous. Women are raped by them. How can a woman come like this? Moreover, she has a child with her.”

“The legendary lovers of the Punjab, Sassi and Sohni, took even greater risk to cross rivers to meet their lovers. I will be coming by plane. Don’t worry. It’s become very difficult for me to live here now. I can’t explain everything on the phone. With great difficulty, God has given us this opportunity.” Manjit choked up as she made her appeal. Harjit relented.

“It’s fine. Do as you wish. I won’t stop you.” Harjit gave the green signal.

Pragat Singh immediately agreed without seeking the advice of the pandit. After speaking with his brother-in-law, Baldev, Pragat Singh sold some land and arranged the 5 Lakhs to give to the agent.  He didn’t ask Kulbir. However, he did inform him that by selling Manjit’s share of the land, he had fulfilled his obligation. Hearing Kulbir use such hurtful words for his sister, Pragat Singh felt aggrieved, and he wanted to do anything to bring back happiness to his depressed and hapless daughter.

“Why should this poor girl be punished for our mistakes?  I feel like I have had two daughters. I spent five lakhs for the marriage of my second daughter. Parents will do anything to settle a daughter in her own home.” God knows how Pragat Singh managed to summon such confidence despite being ill and frail.

Manjit knew that her brother and sister-in-law would be angry when they heard about selling the land. But there were no other options available. She hesitated to speak to her brother. But a woman could understand a woman’s pain. So, she tried to explain everything clearly to her sister-in-law.

“Sister-in-law, I don’t know why I am so unfortunate that my father had to sell ancestral land to reunite me with my husband. But all of these things are on my mind. This is a loan to me and to Harjit. When I reach, I will return every cent.” Manjit felt like a criminal.

“Sister-in-law, go to your in-laws even if you have to take the earrings off my ears to do it. It’s not a loan. Educated girls take their equal share. Had Harjit intended to send money, he would have done it a long time before. Why does he need to do this? Harjit has artfully extracted his share of the land. Fine. It’s finished. We’ll make do. Father must also be very happy that he gave his daughter her share. But he never even spoke with us politely about this.” Manjit lost her courage to discuss things further when her sister-in-law spoke rudely, nostrils flaring.

She didn’t want there to be a conflict in the house because of her. Whatever relationship that she still had with her brother would also be lost.  With a heavy heart, she swallowed her tears so that her father wouldn’t know what she was suffering.

Kesar Singh, the agent, was given Rs 4 lakhs. The remaining one lakh was promised to be handed over once Manjit reached Germany. Dipu, who from childhood had picked up on the idea of flying, would see a plane flying in the sky and say “Daddy’s plane has come! I am going to see Daddy!” With her child in her lap, Manjit said her final goodbyes to her village. In the middle of the night, she left her beloved village, like a thief.

“Father, we will come back soon.” She placed her head upon her father’s chest as he lay upon the bed.

Pragat Singh began to wail. He took $500 and some jaggery from underneath his pillow and gave it to his daughter and grandson as a blessing.

“Child, if your mother were alive…” His pillow was soaked with tears.

“Father, my sister-in-law and mother are the same. Don’t you worry about me. Both Kulbir and my sister-in-law have taken very good care of me.” Manjit paid her respects to her brother and sister-in-law who were standing nearby.

Pragat Singh took a deep sigh. Manjit picked up Dipu and left the house.

She had no idea when she left her house how long her journey would be or even how she would know when she reached her destination.  The agent, Kesar Singh, had her passport delivered with a visa for Moscow. Kesar Singh’s man would take her from here. At the Moscow airport, she hid herself among the other passengers and came outside. Standing outside the airport she was looking everywhere frantically. For some 15 minutes or so, she stood there waiting for the agent’s man but no one came. She didn’t have a lot of luggage. She had only three suits for herself and three for Dipu in a handbag. The agent explained that she shouldn’t take a lot of luggage because she would have to walk along the way.

Just as she was thoroughly exhausted and thinking about sitting upon the ground, a South Asian man passed by her.

“You are Manjit, right?,” the man asked discretely.

Upon hearing her name, Manjit was startled. But she quickly got a hold of herself and nodded her head affirmatively.

He instructed, “Follow behind me slowly. Don’t arouse suspicion.” He then slipped in front of her.

Manjit put Dipu down to walk, and they began to slowly follow the man. Outside the airport, a white car was waiting, driven by a white man. When the South Asian man went and sat in the car, she picked up Dipu and walked briskly to the car. She climbed inside and sat Dipu on her lap. The car started with a jerk and took off slowly like a bullock cart.

Manjit looked outside the window. people with strange faces and clothes roamed about. Store sign boards were written in Russian, which she didn’t understand. She prayed to God and sat quietly with her son in her lap.

They arrived at some desolate place and stopped in front of a building. When the old, rusty door opened, a foul odor filled the air. Manjit was seated in a room on the second floor. In the room, there was only one bed, a desk, and a chair. Manjit laid the sleeping Dipu on the bed and began looking for water to wash her hands and face.

The South Asian man explained, “There’s a shared kitchen here, Madam…Boys in your situation are staying in the adjoining rooms. I mean those with illegal papers.”

Confused, Manjit responded, “Illegal? But Uncle Kesar arranged my papers…These are genuine…”

“In our profession, no one has an uncle. Agents and goldsmiths don’t even spare their own fathers…. How did you get this wrong impression?” The man gave a lecherous laugh, his black, filthy teeth glimmered like watermelon seeds.

Manjit was in disbelief. “This is fraud,” she said in English.

“Don’t speak English. You will get caught…And if you get caught, four other men will suffer along with you…Sit here quietly. The kitchen and the bathroom are below. You go and wash your face and hands, and I will bring you something to eat.” And as he was leaving, Manjit handed him Dipu’s empty milk bottle.

“Oh. I forgot to tell you my name…People call me Tony…But this is my fake name, just like your passport.” As soon as Tony said this, Manjit’s whole body began to tremble.

After Tony left, she locked the door to the room. Not only did she not go downstairs to wash her hands and face, but she didn’t even as much as turn on the lights in her room. She shivered as she sat in the darkness.

About an hour later, Tony returned with things to eat and drink.

He was worried. “Something terrible has happened.”

“What happened…?” She also became concerned.

“Because your visa is fake your name is not showing up in the computer at the embassy here.  The embassy people told me to bring the woman because they are starting a case.”  Tony sat down with his head in his hands.

Fearfully, she stood up from the bed. “Now what will happen?”

“Who knows what will happen…We have a man working in the embassy. I have just returned from meeting him. He is on his way here.  Look, maybe this will get sorted out…The man is very useful…If he uploads your name in the computer somehow…Otherwise….” Concerned, Tony shook his head.

“Otherwise, what will happen?” Manjit went and stood next to him.

Tony laid out the possible punishments. “The police will capture you. Jail is also possible. They may send you back to India…and you may spend seven years in jail here.  They’ll send your kid to an orphanage…”

“No…No…This cannot happen.” Manjit let out a shriek.

“Shut up, you crazy bitch! You’re going to get caught and you’re going to get me caught.” Tony got up and put his hand over her mouth to muffle her sounds and he put the other hand on her back.

“This can’t happen.” Manjit shook her head in disbelief.

“Why can’t it happen? Everything is possible. In the underworld, everything is possible.” Tony removed his hand from her mouth but not from her back.

An idea came to Manjit’s mind. “Can I call my husband or the uncle in India?”

“I thought you’re an intelligent and educated women. But you seem like a complete moron. Where are you going to find a phone here? What if the police record your voice on the phone?  You will bring this trouble upon yourself.” Tony expressed sympathy.

Manjit, out of options, asked him, “So…what should I do?”

“Look. I’m not nuts. I am worried about you. This guy is coming, Peter. He can do a lot of things. If he manages to understand the problem, then he will sort it out. Guaranteed.”  Tony grabbed her and sat her down on the bed.

Manjit asked, “How should he understand?”

Bas[2]. Just watch what is going on…” As Tony elaborated, there was a knock on the door.

“Look, he’s here.”  Tony ran to open the door.

A short, obese man entered. It was hard to tell from his colour whether he was white or South Asian. He sat down as he blew smoke from his cigar. He stared at Manjit and then at Dipu, who suddenly got up from his sleep. Seeing the situation, Tony picked up Dipu and carried him outside.

Manjit was stunned. Peter got up from the chair and sat her on the bed. Manjit was terrified and tried to get up, but he had pinned down her arms.

“Sit up. Don’t worry.” When Peter spoke Punjabi, Manjit sighed relief.

“I…I…I…am very tired…I want to relax.” She began to sense some looming danger.

“Don’t make such a fuss. There is no shortage of women in Russia. I have come here only to help you because you are an Indian girl. I have an obligation to help out my own people because no one over here is going to look after us.” When Peter spoke, Manjit could smell the alcohol on his breath.

“I don’t need any help.” Manjit pushed him and she ran towards the door.

“Don’t be so stupid, girl. You entered this country illegally. It’s very rare to come across Indian girls here. If anyone gets suspicious, you’ll get caught. You need a visa for Germany, and you need papers.” Peter pulled back her dupatta.

“I don’t need anything…” Manjit tried to open the door, but it was locked from the outside.

Manjit threatened, “I am going to scream and call the others for help.”

“Screaming happens every day here. No one will bother. Everyone here is a thief.  Illegal immigrants like you. They value their lives.” Rather than kowtowing to her threat, he scared the shit out of her.

Manjit felt as if she were imprisoned. She banged her head on the door with all her might then she began to wail.

“Don’t be foolish. In life, nothing happens exactly as a person wants. You have to give something to get something.  I am with you…I’m going to help you cross over…” Peter forcefully took her into his embrace and turned off the light in the room.

Helpless and in tears, Manjit sat on the floor with her head in her knees. Peter did not force her onto the bed. He satisfied his lust on the foul-smelling carpet on the floor. Leaving Manjit lying on the floor, he took a key from his pocket and opened the door then put on his coat and went outside.

Injured, Manjit stood up and began looking everywhere for something with which she could take her life. Amidst the things on the table, she glimpsed a long knife. She had just picked up the knife when the door opened, and Dipu came in alone.

“Mommy…” Dipu yelled.  The knife fell from Manjit’s hand.

“Mommy. Uncle has given me so many toys…” Dipu showed her a large packet which he held in his small hands.

“My son…If you hadn’t been born, I would have killed myself. How can I go to your father being disgraced like this?”  Manjit hugged her son and began to sob.

“Mother, who beat you?” It was very difficult for little Dipu to understand his mother’s suffering.

“No one, son.” Manjit collected her wits.

While feeding Dipu, she thought that some way or another, she would hand over Dipu to Harjit to whom he belonged. After this, nothing else would matter. What had she done with her life?  She was living only for Dipu. Otherwise, given all that happened after her marriage, she would have killed herself somehow to remove the burden from her father’s mind. She tried to move on from the rape that had happened. Then she wiped her eyes and began to put Dipu to sleep.

That night, Tony did not return. She spent the entire night awake. The next morning, Tony returned with fresh milk and bread. Manjit wanted to smash Tony’s head with a brick. Tony understanding her mental condition went downstairs with eyes glancing downward to make tea.  After some time, he came upstairs. He had a smile on his face.

“Your situation will be sorted out, Madam.” Tony said in a conciliatory tone of voice.

But Manjit did not respond.  She looked in Tony’s direction with fury in her eyes. With that same, old lustful smirk, he began to pour the tea into the cups.

“Whatever was meant to happen, has happened…Take this tea. Wash your face and hands and change your clothes…Take a look at how ugly you look.

“Your man lives in a country of white women… Where women stand beneath streetlights and call men with a gesture of their hand.  How did your husband pick you, such low-grade stuff?”  When Tony exceeded all limits of indecency, Manjit could no longer control herself.

“What do you know about my husband, you bastard? When I tell him of your misdeeds, he will eat you alive.” Abuses shot from Manjit’s mouth like bullets.

“You are going to tell your husband? About my misdeeds? From where has this brave man come who will eat me alive? If he had any feelings for you, why didn’t he come and get you himself?  Why are you going through an agent?” Tony laughed sarcastically.

“He had to…” Manjit began to say something but quickly stopped herself.

“Compulsion is just an excuse. Here, men sleep around with dozens of women. What do you know about your husband? What will you get by telling him? Your honour is in your hands.  Moreover, no man in this world would keep a woman in his house who has slept with strange men. You’ll just create problems for yourself.  You’ll pay the price.”  Tony’s words silenced Manjit.

For some time, she went on thinking in silence.

“You don’t worry. You are a married woman. Here, we don’t abandon unmarried girls. What will come of you? So, has anyone compromised your virginity? After all, you have a kid…Who will ever know? Your sacrifice will not go wasted. Take a look. I bought your papers from Peter. You’ll be allowed to travel onwards.” Tony withdrew the paperwork from his pocket.

A sparkle returned to Manjit’s sad eyes.  Having forgotten all of her pain and sorrow, she began to eat a biscuit with her tea.

“What else is going to happen to me?” Manjit made herself get up to go to the bathroom to wash her face and hands.

Looking at herself in the mirror, she saw that what Tony said was true. Her face looked haggard. Looking at herself carefully after so many months, she sobbed. Her face was gaunt. Her eyes were sunken with dark circles appearing all around them.

Her face had become skeletal. The veins in her long neck were clearly visible. Her body was emaciated. The darkness of her sorrows snatched her rosy glow and left her face sallow.  Her one-expressive face had become a portrait of despair. Her youth had faded.

“Sorrow and anguish consume a person…,” she said to her reflection in the mirror then she washed her hands and face.

Deep inside a person, no matter how despondent and defeated by life they may feel, there is still some glimmer of life that illuminates a path out of this darkness. This is where Manjit was. Somehow, her heart told her that there would be an end to her misery.  She, like an ordinary woman, would reach her husband’s house and forget all of her hardships. Holding this thought, she spent the whole day playing with Dipu. Just like a person, who after sustaining an injury is weak but healed by nature and rebounds twice as strong to face down challenges, Manjit too resolved to ford this difficult path.

“What was to happen, has happened. What was my fault?” Holding this thought, she began trying to forget the incident of that night.

She was asleep at midnight when she felt something moving on her chest. Fear seized her breath. When she opened her eyes and looked, she saw Tony stretched out next to her, his right hand exploring her body.

“Bastard.” Manjit grabbed his hand and twisted it.

“Don’t speak loudly, Madam. People outside will hear,” Tony whispered.

“Let them hear, you prick. Get out of my room.”  Manjit, with all of her strength, kicked him in the legs.

“Stop it…Stop it.  It’s not good to get so angry. Am I any worse than Peter? If Peter could enjoy himself, what’s your problem with me taking a turn?” Tony didn’t mind her kicks of rage and smiled, revealing those black teeth.

“That happened once,” Manjit clarified.

“If it happened once, then what’s the problem with it happening again and again?”  Tony now began to show his manliness.  He tore Manjit’s clothes. Manjit was helpless and looking all around.  Tony spread a blanket out on the floor and put Dipu to sleep.  Manjit was grateful that at least her child was not watching him violate her.

But Manjit’s wish would not remain fulfilled for long. On the third day, Tony came with two other men, Pala and Narman.

“These are our men, and they will take you across the border with Russia…” Tony introduced them to her.

Upon seeing these men, Manjit didn’t like them. One could see the debauchery in their eyes. Then Manjit began to shake with some unknown fear. A woman, no matter how simple she may be, is an expert in reading the eyes of men.  And Manjit set out on that path where there was no dignity or honour. She put Dipu to sleep then she took a blanket and tried to sleep. The loud drunken laughter coming from the other room kept her awake.

A while later, Pala came into her room and dragged her out from underneath the blanket.  He was the rape champion. He didn’t let Manjit put up the slightest resistance and, like Peter, gave evidence of manliness on the floor of the room. When Pala had exhausted himself, Narman came. He couldn’t speak a word of Punjabi, but every torturer understands the language of cruelty and how to use it. Narman was not unfamiliar with this language.  This happened repeatedly throughout the night.  As if both men had decided their turns. Inside, Manjit had lost her will to say anything. She was not prepared for these sudden assaults.

The next day, Tony stayed with her the entire day.  Because of the incident the night before, whatever hesitation he had was now gone.  Now he violated Manjit in front of Dipu. If Dipu cried, he threatened to turn him over to the police. Several days passed like this.  So, when Tony finally handed over the paperwork to travel onwards, Manjit could not believe it.  Tony took four hundred dollars from her, claiming that it was for purchasing things and bribing onward agents. 

“Take these jeans and top and put it on.  You’ll get caught in Indian clothes.” And then he told her to change her clothes.

The next day, Pala and Narman put her on the train going to Budapest.  The long trip took two days and nights and was exhausting.  But at all times, on the train, there were checkers and other passengers. Because of this, she was not afraid of those two sadists.  At the border with Hungary, the railway employees gathered the passports which, upon reaching Budapest, were returned.

Once they reached Budapest, Pala and Narman dropped her off at a flat and returned.

“So be it.  I escaped that hell,” Manjit consoled herself.

According to what Paul said, two men going by the names of Ali and Makhan would facilitate her border crossing into Austria that evening. Manjit stretched out on the sofa and began waiting for these two strange men.

It was now quite dark but the two men had not come. Manjit felt restless. She didn’t know where she was, their ages or even what they looked like.  But it turns out that she didn’t have to wait much longer.  Around nine o’clock at night, the door to the flat opened and the two young men came in together. One was dark complexioned and the other was wheatish.

Manjit sat up on the sofa.

“It’s okay. Be comfortable. You can stay where you were,” the dark-complexioned man said.

The two men looked at each other and made secretive gestures.  Manjit saw everything and ignored it.  She had become used to tolerating such filthy gazes and rapacious behavior. The two of them went into the kitchen and began warming something. Then they took out a bottle of booze and put it on the table.  The dark one, Ali, filled two glasses with alcohol and offered some to Manjit.

“No.” Manjit answered with hatred.

“Makhna. You take this,” Ali yelled at Makhan who was standing in the kitchen.

“No. I am not drinking,” Makhan answered from the kitchen.

“Drink it, bastard! If you drink, you’ll have the courage to act.” Ali picked up the glass and went to give it to him in the kitchen.

Ali returned and put Manjit’s neck in his right arm and kissed her for a long time.  Manjit did not resist. It was as if she had lost the power to fight back. Dipu got up and began to play with the brass statues on the shelf. He had become accustomed to seeing everything.

“You do not have a visa for Austria. The police are very strict here…,” Ali began to strike fear in Manjit’s heart.

“I know. I do not have a visa. I know how strict the police are. However strict they are, compared to animals like you, they will be gentle…” Manjit suddenly boiled with rage.

Ali and Makhan looked in her direction in bewilderment.

“What do you want to say, girl?” Ali asked in an annoyed voice.

“Why are all of you dogs all alike?” Manjit’s voice was also piqued.

“From which jackal and wolf-infested jungle have you come? You should be grateful that they didn’t chew on your bones or your kid’s.” Ali’s eyes had the sparkle of a butcher, and he grabbed Manjit by her braid and yanked it hard. Manjit let out a cry and even Dipu began to cry out of fear. Ali slapped Manjit on the face two or three times and grabbing her braid dragged her into the other room.

Ali said “We have become bored with white meat. These days, we rarely get any Indian women.” He then rendered Manjit helpless and threw her on the bed.

“Makhan’s turn came after Ali’s.  Then came Ali’s turn, then Makhan’s. Both of them repeatedly did their duty.

After abusing her like this for some time, Ali demanded one hundred dollars from her so that he could give it to the agent who would take her onward. Manjit withdrew the last one hundred dollars from her bag and handed it to him. In the evening, Ali put her in a car and took her to the snow-covered mountains ahead. Before getting out of the car, he gave some instructions to Manjit.

“The next station after this will be your husband’s house.  Once you’ve reached there, you should not talk about us. Even we have a reputation. You also will be disgraced.  For this reason, you should forget everything that has happened during your journey.” Then he handed her over to Jack, the driver of the Sky Train, and left.

Jack took her to a guest house. He then said something in an unknown language to the older white woman sitting at the reception and they both laughed. Manjit could neither understand anything nor did she want to.

At night, Jack came to make use of his manliness. Manjit laid quietly on the bed like a corpse.

The next evening, Jack took her on foot along the twisting mountainous route. Ahead there was a dense forest and the darkness of night. But Jack wanted to make her cross the border at midnight, when the soldiers on guard would change shifts at midnight. They spent several hours walking along the uneven path.  Both were ready to drop due to the cold and exhaustion. Both took turns carrying Dipu, who was asleep.

“Look! There is Germany…”  Jack signaled towards the wire fencing ahead.

Manjit looked ahead with wide eyes as if she were searching for her lost destination in the darkness.

“We must crawl under this wire. There is a current running through it twenty-four hours a day.  If it is touched by you ever so slightly, you will be caught.” Jack warned her of the dangers.

She hesitated for a moment.

Jack warned her, “Do it quickly. Otherwise, I will leave you here and go back.”  Then she gathered her courage and laid herself out in the crevice that had been excavated beneath the wire. She squeezed herself through to the other side on her back. Jack handed her Dipu in the same way, then ran towards the dark forest.

Manjit, without wasting a single minute, turned towards the left following Jack’s instruction. Around five hundred feet ahead, there was a black car waiting for her in the darkness. Without giving it much thought or consideration, she got into the car. The Gujarati driver started the car without even turning around to look.

As the car sped up, Manjit’s memories came flooding back just as rapidly. She remembered each and every moment of her life like some story.  Only she knew what had happened to her, what she had suffered, and what she endured in silence. She could tell no one.  She was contemplating the deep extent of a woman’s suffering. She worships like a God the very one who destroys her. She wasn’t even considered worthy of explaining the reality of these so-called gentlemen who have been appointed the caretakers of society. If she were to say the slightest thing in protest of their cruelties, she would be punished. Society would boycott her. She would be exiled from the homes of her father and husband, and the mark of the stigma would always be a target on her forehead. Perhaps fearing this, she would tolerate all of the abuse quietly and would not share her agony.

Up to this point, she had endured in silence. Her heart had already been crushed in her own country, where people and her relatives taunted her and ruined her life. Without any other option, she had to set upon this dangerous path. Otherwise, somehow or the other, she would have remained waiting for Harjit her entire life. She had no objection.  But in this way, she was kicked out of her village.

Physically, she had been eviscerated by the monsters of this unknown land. Monsters who roamed around everywhere in the guise of men, whose hunger could only be sated by the flesh of women. They didn’t leave any meat on her body. Ali was correct when he said that if they could, they would chew on her bones. There was no part of her body that did not have the marks of the teeth and nails of those monstrous beasts. Even now, she felt their rough hands probing her body as if they wanted to tear away her flesh. Who knew which hand belonged to whom? There were so many hands, and they all felt the same. It was as if they weren’t fingers on her entire body, but lizards slithering. Filthy lizards, under whose stench, the fragrance of the beautiful moments spent with Harjit were vitiated.

She was thinking about Harjit when she recalled with great intensity all of those incidents that happened to her.

“Should I tell Harjit about this?” she asked herself.

“No. You’ll just cause problems for yourself.” Tony’s words were ringing in her ears.

“How can one keep such an enormous truth away from the man with whom one will spend her entire life?” she asked of the darkness.

“In the entire world, there has never been a man born who will let a woman who has been with another man in his house.” Ali’s eyes glimmered in the dark.

“Then what should I do?” Worried, she clutched her bag.

She found a packet of hard cane sugar, which her father had given her for good luck. She felt as if her hands had frozen.

“When your father comes to know your story, he will kill himself by eating poison.  Harjit won’t keep you…How will you go — having left Dipu alone in this cruel world?  You have seen the savagery and reality of this world. For this reason, you will remain quiet. Leave the decision in the hand of God…Women tolerate anything to preserve the honour of the family.” The packet grabbed her hand.

“So be it…If this ever gets out, then I will explain to Harjit that I destroyed myself for his son.  If it hadn’t been for Dipu, she would have ended her story by leaping into a well in the village. Maybe Harjit will forgive me. He is so educated and gentle. If he cannot understand my pain, then curse this life.” Thinking about this, she began her journey quietly like a train that would stop at several stations, and travelers would get on and off continuing forward towards its final destination.

“In just ten minutes, we will deliver you to your husband.” The Gujarati driver said in Hindi, breaking the silence.

Manjit’s heart began to pound hard and her hands and feet began to tremble.  Her mouth was dry.  She ran her hands over her hair and fixed her chunni[3].

“Have I really reached my husband’s country? What will be the first words I say to him?” But Harjit wouldn’t let her say anything. He would run to her and bring her into his arms in front of everyone…Maybe he’d even forget Dipu…But she would stop him herself to say, “Take care of your child. With great difficulty, I cared for him these last five years. Now it’s your turn.” All of this seemed to be a dream.

Suddenly the car stopped with a jerk beneath an electricity poll. Manjit looked outside from the window.   Some man was standing there with his hands inside the pockets of a leather jacket. Manjit watched with great attention.  This was indeed Harjit. He got a little heavier and perhaps this was why she didn’t recognise him.

The driver got out of the car and was talking with Harjit for some time. Manjit began to feel anxious. Why was Harjit taking so long?  Why hasn’t he come over to open the door and embrace her? When Manjit could no longer control herself, she slowly opened the door and came outside. Outside there was a frigid wind blowing and her chunni flew off, but Manjit didn’t realise this. Taking soft steps, she approached Harjit and the Gujarati man.

“Who is this,” Harjit asked in surprise.

“This is your wife…,” the Gujarati said happily.

“My wife? Dude, you have brought me the wrong woman. This is not my wife…” Harjit said worriedly.

“Believe me, sir… This is your wife. Look carefully.” The Gujrati was very distressed.

“Do you think that I am looking at my wife for the first time?  She is very beautiful.  Here. Look at her picture…” Harjit took his wallet from his pocket.

Manjit saw that Harjit was showing the photo of her when she was a maiden with two braids in which she is standing holding a book to her chest…a young girl.

Manjit wanted to say something, but the words would not come out.

“You certainly should be able to recognise your child?” The driver wanted to give more proof.

“When the wife isn’t mine, how can the kid be mine? Go. Go make an idiot of someone else…,” Harjit said in a stern voice and quickly went and sat in his car parked on the other side of the road.

“You…You. Please listen to me.” The driver ran behind him.

But Harjit, with a jolt, turned his car around and disappeared in a plume of smoke.

Just as Harjit’s car turned around, Manjit’s mind began to spin… She felt dizzy, and everything around her seemed to be spinning. It was as if the entire universe was spinning…Manjit lost her footing. Before the driver could do anything, she fell to the ground.

[1] Jat  here refers to a person from the farming community. It also could be the caste of the boy

[2] Alright. Stop.

[3] Veil or long scarf

Veena Verma is a Punjabi short story writer based in UK. She has brought out three anthologies of short stories.

C. Christine Fair, the translator,  is a professor in Georgetown University’s Security Studies Program.  Her books include In Their Own Words: Understanding the Lashkar-e-Tayyaba (OUP 2019); Fighting to the End: The Pakistan Army’s Way of War (OUP, 2014); and Cuisines of the Axis of Evil and Other Irritating States (Globe Pequot, 2008). Her translations of Hindi, Urdu and Punjabi stories have appeared in the Bombay Literary Magazine, Bombay Review, Muse India, Kitaab, The Punch Magazine, and Borderless Journal. She reads, writes and speaks Punjabi, Hindi, and Urdu.

.

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

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

Click here to access Monalisa No Longer Smiles on Amazon International

Categories
Review

Portraying Urban Middle Class Life

Book Review by Meenakshi Malhotra

Title: Aunties of Vasant Kunj

Author: Anuradha Marwah

Publisher: Rupa Publications, India

A well-conceived and captivating take on the lives and circumstances of three different women who happen to inhabit  the same building in the middle class not so ‘posh’ locality in South Delhi called Vasant Kunj, Anuradha Marwah’s   observations  about  class, domesticity and “auntyhood” in the novel are both humorous and accurate. With three novels in her authorial bag, the fourth, Aunties of Vasant Kun,j revisits that time in a woman’s life when she is supposedly teetering on the verge of being middle-aged , somewhat on the wrong side of forty, except that the “aunties” are nowhere near “auntie-dom” understood in the conventional sense. In fact, in the  21st century urban churn, women and men are probably more unsettled than ever before, and often embrace that uncertainty. The subtle or not so subtle tension between traditional gender roles and expectations and the actual lives of urban middle class women is wittily and sensitively portrayed in this extremely readable novel.

The three women are almost wholly different from each other except in the fact that each of them is grappling with their own struggles where they have to juggle multiple  issues. The protagonists are  Shailaja, raw from her recent experience of betrayal by her long-standing boyfriend and facing harrassment at her workplace; Dini, in a demanding job with an international NGO,  a single-parented child, experiencing a half-acknowledged attraction to a handsome grass-roots activist and Mrs Gandhi who has subsumed her identity in the household resulting in a sense of neglect and loss of confidence. Ignored by her husband who seems to spend more time with his secretary  than with his wife, we realise that Sunil “Casanova” Gandhi has not only a roving eye, but is actively  engaged in pursuit of other women. In a clever sleight of hand, Anuradha Marwah turns a slice of life novel focusing on the everyday lives of women into a delicious take on the new modern woman as she navigates the quicksands of desire and domesticity, motherhood, meditation and professional commitments, simultaneously.

Shailaja, a newly single academic whose workplace woes are comparable to her messy not-quite-resolved (are they ever?) relationship with a recalcitrant ex who meanders in and out of her life, moves into Vasant Kunj which also houses the hospitable Mrs Gandhi, and the prickly Dini, who is fierce about guarding her privacy. The latter has also become equally adept at dodging both the hospitality as well as the probing questions thrown her way by the determined- to- be- friendly Mrs Gandhi.  Mrs Nilima Gandhi has her own share of troubles-a difficult mother-in -law, a cheating husband who has a roving eye that preys upon other women, a dismissive daughter who gangs up with her father to demean her mother — all these combine in varying degrees to further lower her already plummeting self-esteem. She is rescued from the throes of self-pity by the timely intervention of Mrs Malhotra and Navneeta Singh who encourage her to adopt the Buddhist practice of chanting as a way to address her problems. Listening to Mrs Singh’s optimistic projections, Mrs Gandhi experiences a twinge of doubt but nevertheless goes about it with single minded determination to transform her life and turn it around. As some things start falling into place for   her, Shailaja and Dini, the three women strike an unlikely friendship which provides a holding structure as they negotiate everyday challenges. Dini ‘succumbs’ to the abrasive charms of Radhey Shyam and Shailaja is able to shake off the vestiges of her previous relationship and take a bold new step forward. Mrs Gandhi is able to regain a sort of equilibrium.

As the women collectively register and celebrate their small and big victories in the course of the novel’s unfolding, we as readers are brought face to face with a relatively new sub-genre in the Indian English novel. It is the story of women by women narrated with both humour and compassion, occupying a niche in popular literature between chick-lit and mature women’s fiction, between popular and literary fiction. It actually challenges taxonomies of ‘literary’ vs ‘popular’ fiction. This is clear from the  choice of a title that is quite a masterstroke. Though it sounds subversive, the title seems to be the choice of an author who refuses to take herself too seriously. The  lightness of tone is sustained as the novel critiques societal attitudes towards single women and the entitled behaviour of men who are never held responsible or called to account within patriarchy.  Perhaps  the  only deviation from the lightness of tone is the autobiographical fragment towards the close of the novel which provides a sort of afterword articulating the impulse and desire to write the Aunties of Vasant Kunj. Post-publication, when the author was asked what impels her to create fiction, she replied that it was the hope of getting a glimpse of all the other lives that she might have lived. Marwah has achieved a fine balance in nuancing all her characters, making their stories at once convincing and identifiable.  

She has depicted the rhythms of everyday life and  nuanced the dialogues to suggest a bilingual sensibility. Cinematic and captivating, Aunties of Vasant Kunj provides plenty of fun and frolic without trivialising the serious concerns and conflicts of the three protagonists. Marwah’s humour is spot on, and she does not miss a beat in capturing the water woes and other roadblocks of quotidian life in the sprawling urban metropolis /megapolis of Delhi. The novel is likely to resonate with many readers in its highlighting of vital aspects of life in the city, along with the varied kinds of crises experienced daily.

The novel narrates the stories of its protagonists with verve and humour and with exactly  the ‘mot juste’ or the right words to irradiate them, creating a smorgasboard of delights for the reader.

Click here to read the book excerpt

.

Dr Meenakshi Malhotra is Associate Professor of English Literature at Hansraj College, University of Delhi, and has been involved in teaching and curriculum development in several universities. She has edited two books on Women and Lifewriting, Representing the Self and Claiming the I, in addition  to numerous published articles on gender, literature and feminist theory.  Her most recent publication is The Gendered Body: Negotiation, Resistance, Struggle.

.

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

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

Click here to access Monalisa No Longer Smiles on Amazon International

Categories
Conversation

Peregrinations of a Diplomat’s Wife

Ratnottama Sengupta converses with Reba Som

Reba Som

“If Washington goes to Dhaka, there’s a chance that Paris might make it to Stockholm. And of course Moscow would be moved to Geneva!?”

Sounds like gibberish? But this is a piece of the speculative conversation on transfers and postings that is regular in the drawing rooms of embassies and consulates, Dr Reba Som found out on her very first posting after her marriage with Himachal Som.

Both were Presidency graduates pursuing higher careers — he in Foreign Service, she on the threshold of a doctorate. But life as the wife of an ambassador wasn’t only about glamour postings, fancy holidays and brush with celebrities. It was a mixed bag of blessings, as the woman who had grown up in Kolkata with a grounding in Tagore’s music would soon conclude. For, there were the dark clouds of life away from ageing parents and school going children; from the comfort of familiar food and mastered language; from developing your potential and crafting your own identity in the world out there.

In recent years we have read accounts of retired ambassadors and career diplomats’ experiences in diplomatic life. In her memoirs, Hop, Skip and Jump; Peregrinations of a Diplomat’s Wife, Dr Som’s is a woman’s voice, abounding in stories and observations about how the spouses keep a brave front in alien surroundings to hold up the best image of her country. In this conversation, she voices outmore about her encounters with racism, with political emergencies and exigencies. In short, about her lessons in a borderless world of multicoloured humanity.

You went to Brazil (1972), then to Denmark (1974), then Delhi (1976), Pakistan (1978), New York (1981), Dhaka (1984), then Ottawa (1991), Laos (1994), Italy (2002). Please share your gleanings from these lands.

The roller coaster ride was a saga of discovery. Travelling across expanses of the planet earth that we had seen only on the pages of geography books and atlases was a great learning experience. I gained an understanding of diverse cultures, imbibed social customs, became proficient in languages, and was exposed to exotic cuisines. At the same time I faced homesickness. Each posting entailed the challenge of uprooting oneself, finding schools for children, and reinventing oneself every time.

A large part of this life was in the years that had no mobile phones, no video calls, no social media, no internet communication. What did you thrive on?

Continents and hemispheres away from home, the only link with family and friends then was the diplomatic bag. The weekly mail service ferried across oceans by the ministry in Delhi contained letters and parcels from home. We were asked to judiciously use the weight allowed to bring spices, tea, condiments, clothing and other necessities. It became a ritual to write long letters and send them weekly by the diplomatic bag to Delhi from where they would be posted to respective destinations throughout India.

Along with letters would come bundles of magazines and newspapers. These brought us news of home from which we were truly cut off. With no television or internet or phone calls, we were in the dark about all news, be it political, social or entertainment. Every week on the bag day we waited anxiously to receive the newspapers – and the letters, which had instructions, news, recipes, advice, gossip. All of these were crucial for nurturing our souls.

One telegram from my father in 1973 carried the cryptic message: ‘Reba, solitary First class.’ These were the MA results of Calcutta University which were out after a delay of two years.

I was most taken up by the understated humour of some of your encounters in your memoir. Please recount some of them.

On our very first posting, to Brazil, not only our unaccompanied baggage but also our accompanied baggage did not arrive. Eventually when the lost luggage showed up, Himachal’s ceremonial bandhgala[1]was steeped brown — in the colour of the gur[2] my mother had lovingly packed in!

In Brazil, we found the people to be fun loving but too flamboyant. They made tall claims that their institutions were the biggest in the world. But reality often proved the claims to be hollow. Such was the Presidential bid to make the tallest flag pole in the world in Brazil’s new capital, Brasilia. A very tall flag mast was indeed built but the huge flag atop it was torn to shreds since the engineers had not factored in the wind speed at that height. Brazilians mirthfully called it the President’s erection!

And at Denmark. we were surprised by a sudden news of our posting to Mozambique. We had long realised that we were mere players on the chessboard of postings – we could be shunted off across continents at the whims of the powers that be. By the same token, a couple of phone calls by the newly arrived ambassador undid the mischief. We were happy to unpack and settle down again. The only guilt I felt was when I met the owner of Anthony Berg chocolates: I had in no time demolished the entire carton of chocolates he had sent as farewell gift!

You are among the few I know who have mothered in different continents. So how different is it to become a mother away from India?

I always felt that the best way to get to know certain nuances of a country’s cultural tradition was to have babies in them. My elder son, Vishnu was born in Copenhagen and Abhishek, the younger one, in New York — and my experiences each time couldn’t be more different.

In Copenhagen, a social democrat country, hospital visits for full term pregnant women were fixed on a certain day of the week. On the preceding day they had to collect their urine in a jerry can and present it for lab examination. I was confounded and not a little embarrassed to meet other mothers-to-be, swinging their jerry cans like designer bags without fail on the appointed day. I learnt only later that, from the urine examination doctors would note the condition of the placenta and not unnecessarily rush patients into childbirth with caesarean and surgical intervention!

In NY, on the day of my discharge, the hospital staff were highly excited because Elizabeth Taylor had come in for one of her facelifts. I could not forgive them their magnificent obsession when, along with a goodbye hamper, they wheeled in a bassinet with a different baby. On my protestation the nurse rudely shouted, “Can’t you read… the tag says Som Junior?” Shocked by the implication I said, I could not only read but also see! And it was not my child. While everyone was looking on in disbelief another nurse wheeled in my little one. The babies had their diapers changed and were put back in the wrong bassinet.

Years later, we discovered in an informal meeting with an American ambassador that Abhishek was indeed an American citizen. Because, at the time of the child’s birth Himachal was posted not to the embassy in Washington but to the consulate in New York. Only consulate children were given the privilege. This discovery, rechecked by State Department Records, gave our son the US passport. It was a windfall as Abhishek went on to graduate summa cum laude from a prestigious management school in the US and enter Wall Street as an investment banker.

I must also share another truth about birthing away from India. Before Vishnu’s birth, my parents had come to Copenhagen. When I was discharged from the hospital I received their care and being fed Ma’s cuisine was the best gift I could have. So, when phone calls came from hospital, followed by visits enquiring about my state of depression, I was totally confused. I realised how many mothers suffered from postpartum depression in a society bereft of nurturing family care.

How could you master languages as removed as Portuguese from Lao and Italian from Urdu? Is a flair for languages the key to this proficiency or the training imparted before each posting?

 I enjoy learning languages. My stint at learning French at Ramakrishna Mission Golpark stood me in good stead in grasping Portuguese in Brazil, French in Ottawa and Italian in Rome — all Latin languages. But there was also the hazard of mixing up some phrases and words, so similar yet so different! Like Bon Appetit in French and Bueno Appetito in Italian. Or Amor in Portuguese; amore in Italian and amour in French.

Sometimes though, I accidentally learnt how language travels. My mother had packed in many petticoats to match with my saris but without their cord. We went to a store that promised to hold all we need but all my sign language did not bring what I needed. “Phita is obviously not available here,” I told Himachal, preparing to leave. Suddenly the storekeeper perked up. ‘Fita, si senhora!” he said and produced bundles of cord.

In due time I found out that janala, kedara and chabi – Bengali for window, chair and keys – had travelled from India to become janela, cadeira and chavi.

What did Dhaka mean to one raised in West Bengal – per se the Ghoti-Bangal[3]divide, your roots  or the cultural side with Firoza Begum and Nazrul Geeti?

Dhaka was a great posting in so many ways. It was a hop, skip and jump away from my home town Kolkata, with the same language and culture and yet was a foreign posting with foreign allowances!

As you know, there’s a subtle cultural difference in East and West Bengal. Both speak Bengali but in East Bengal, it’s a colloquial rustic dialect while West Bengal speaks its refined cultural form. This formed the infamous ‘Ghoti-Bangal’ divide: Urban Calcuttans looked askance at their country cousins from the East.

The difference extended to the palate. East Bengalis flavoured their dishes with more chillies and West Bengalis, with a pinch of sugar. For the fish loving people, the two iconic symbols are Hilsa and Prawns, for East and West. Emotions soared high in Kolkata when the supporters of the football teams, East Bengal and Mohun Bagan, clashed, after intensely fought matches that spurred deadly arguments and bets.

Given this background, Himachal created a minor storm by announcing to his parents from Chinsurah, Hooghly in West Bengal that he would marry a girl whose parents were from Dhaka and Faridpur in East Bengal.  Ghoti-Bangal feud remained the subject of much friendly banter between Himachal and me until we were posted in Dhaka. There, in a diplomatic turnaround, Himachal played down his Ghoti background to announce that his mother’s family was from Chittagong and he was born in the principal’s bungalow in Daulatpur, Khulna, where his grandfather was posted.

To give a bit of Himachal’s family background: Dr Pramod Kumar Biswas, the first Indian doctorate in Agricultural Sciences from Hokkaido University in Japan, had settled in Dhaka as principal of the Agricultural College. His charming daughter Kana won the heart of Dr Rabindranath Som, a veterinarian who weathered the predictable Ghoti Bangal storm to win her hand in marriage. 

When my parents Jyotsnamay and Manashi Ray visited us, we couldn’t visit Patishwar in Rajshahi district, where my maternal grandfather Atul Sen had worked with Rabindranath Tagore before he was arrested for revolutionary activities with Anushilan Samiti, and exiled to Kutubdia, an isolated island in the Bay of Bengal. As a headmaster, he had given shelter to Jatirindranath Mukherji, popularly known as Bagha Jatin[4].

It was a breezy day when my octogenarian father revisited Faridpur Zilla School. The colonial bungalow had acquired a fresh coat of terracotta paint. Finding his way to the headmaster’s room, he announced with a lump in his throat that history had been rewritten, boundaries redefined and new national identities forged since 1923, the year he had matriculated.

The headmaster, delving through yellowing files, fished out the matriculation results for that year. My father’s face was that of an excited school boy impatient to show off his prowess: “Look at my maths marks! Oh yes, my English scores were a trifle lower than expected because I had a touch of fever, but look at Jasimuddin’s marks in English! Thank God, he passed it.” We looked around in hushed surprise. This isn’t The Jasimuddin, the beloved poet of Bangladesh? “But of course,” my father responded. “Jasim’s weakness in English was my strength!”

Dhaka was also personally fulfilling as my doctoral studies, which I had carried across three continents, found fruition at last! On another front, I met with success in gaining the confidence and blessings of Firoza Begum, the legendary exponent of Nazrul Geeti.

The songs of Kazi Nazrul Islam were a great favourite of my father. He often hummed those made famous by Firoza Begum. Since I had trained in Tagore songs from age five, I never aspired to master the distinctly different style of rendition. A chance encounter with the golden voice revived this desire. Firoza Begum bluntly refused. When I persisted, she wanted to hear me sing a few Tagore songs.

One morning I mounted three flights of steps, harmonium on my driver’s shoulder, to enter her flat with apprehension. At her bidding, I sang four songs of Tagore. She heard me without any comment, then she asked why I hadn’t been singing for Bangladesh television. My relief was palpable! I had passed her test.

Over the next two years, my weekly classes with her extended well beyond the music lessons to serious discussions on life itself and the meaning of religion. What began as a guru-shishya[5]relationship, transcended to deep friendship. She declined any remuneration and dearly wished that I should cut a disc. This wish of hers came true only when Debojyoti Mishra heard me and decided to record my Nazrul-songs for Times Music in 2016.

Food is perhaps the first face of culture. So please share with us some of your culinary adventures. Or should I say ‘fishy’ stories?

Adventures? I could talk about the chapli kebabs in Pakistan, or about putting samosas in Bake Sales. I could tell you about making rasgullas from powder milk. I could even tell you about our gardener in Laos who merrily collected every scorpion and caterpillar that came his way, “for snacks,” he told me. But let me focus on fish.

The very first party I hosted at home in Brazil led me to seek substitutes for Indian ingredients. Fish of course had to be on the menu, mustard fish at that. I had already learnt from the Brazilian ambassador in Delhi that surubim, being boneless, was the most suited for curries. So surubim it was for months until the day I had to go to the fishmongers – and found it was a monster of a whale!

In Pakistan, traversing the arid countryside of Sind, the train would stop at stations where fillets of pala were being shallow fried on large skillets. Savouring its delicate flavour we went into a discussion on the merits of pala versus hilsa. Both have a shiny silver body with thin bones, both swim upstream against current. The taste of hilsa steam-cooked in mustard sauce is a super delight in both Dhaka and Kolkata. There of course the discussions are on the merits of the hilsa from Padma and Ganga respectively.

In Laos I once called the plumber to ease the draining of the bathtub since the pipe had got clogged. He arrived with a live fish in a plastic bag and promptly emptied it into the pipe. It would eat through the slush as it travelled through the pipe, he assured me!

Post retirement, Himachal settled to honing his culinary skills. Cooking, which he had started in Ottawa, became his lasting hobby. He would shop for fish in C R Park or INA Market[6]. He would pore over cookbooks and plot innovative recipes. “Cooking,” he was quoted in Outlook magazine, “is art thought out with palate.” And his piece de resistance was the salmon baked whole.

Which was your most cherished, or striking, brush with celebrities in world history?

At one of the finest dinners in Copenhagen I found myself seated next to a countess. She invited me to visit her since she lived in the neighbourhood. The next day a liveried man arrived to escort us to an imposing manor house. We were welcomed with sherry and we had to select a card from a silver salver with the name of our partner for the dinner. I was escorted by a handsome young man who floored me when we exchanged names. He was the descendent of Count Leo Tolstoy!

Another memorable encounter was with a person straight out of the history books. I was strolling in a forested park outside Copenhagen. I noticed with a shock that I was looking into a glass topped coffin. The aristocratic face inside had an aquiline nose and a goatee that lent a refinement to the visage that still sported a faint smile. The starched lace collar was held in place by a jewelled button that showed impeccable taste. But the elegant hands tapered off to skeletal fingers, and the feet too had become skeletal.

The plaque at the bottom of the coffin informed us that this was James Hepburn, the Earl of Bothwell, with whom Mary, Queen of Scots had fallen in love. It was a fatal attraction since both were married. But soon her husband, Lord Darnley, the father of her son James, the future king of Scotland and England, was mysteriously burnt down in a manor, and Bothwell was granted a divorce. However, their marriage incensed Catholic Europe, so Mary gave herself up to buy the release of Bothwell, who fled to Denmark.

‘Whoever marries your mother is your father’: this dictum defines the acceptance of whatever political dispensation you are forced to live with, at home or abroad. So how did you cope with a turmoil like Emergency or antagonism in Islamabad? 

We had returned to Delhi in the midst of Emergency. We felt some relief to see trains running on time and punctuality being maintained in government offices. Corrupt officers were being hauled up and over-population being addressed. But the atmosphere was sombre and conversations hushed. The deep scar left by the Emergency saw Indira Gandhi being swept out of power the following year.

In Islamabad tension had mounted when I arrived over the imminent execution of Zulfiqar Ali Bhutto[7]. Our residence had become the favourite watering hole for Indian and international journalists who knew Himachal from his Delhi days. Animated discussions over drinks were followed by quick despatches typed out on my rickety typewriter. Unending speculations on the unfolding drama had kept us on tenterhooks. Then one morning in April 1979, the phone rang to say, “It’s done.” [8]

How did Italy change your life?

Italy was easily the best posting of my life in embassies, not only because of its rich history. There I found Italian artists painting inspired by Tagore’s lyrics, and singers like Francesca Cassio singing Alain Danielou’s translations. What made them take it on? The question led me to rediscover Tagore.

My singing of Rabindra Sangeet also found recognition in Rome. My first CD album was released there. I was in many concerts. It was so fulfilling when my translation of Tagore’s lyrics into English found appreciation. Tagore himself believed that his songs were ‘real songs’ with emotions that speak to all people. I began translation in earnest. And that led me to write Rabindranath Tagore: The Singer and his Song (Penguin 2009). The book, with my translation of 50 Tagore songs, was considered very useful to many performing artistes who could understand and represent Tagore better in their art forms.

Please tell us about growing up with Tagore.

Like many girls in Kolkata I began learning Rabindra Sangeet from the age of five. Over the years the songs grew on me. The unique lyrics conveying a gamut of emotions spoke to me when I was far away on postings abroad. I continued my practice of the music through the years and felt vindicated when I got the opportunity to perform to appreciative audiences abroad and back in India.

Why did you work on his songs rather than his poems or stories?

There’s something compelling about Tagore songs. Remember that Gitanjali, which won him the Nobel, was a collection of ‘Song Offerings.’ Songs had given Tagore the strength to ride over the tragedies that had beset his life. They not only helped him express his grief over the deaths and suicides in his family, they were also his mode of expressing his frustration over the political situation that obtained then. And he felt his songs would help others too. “You can forget me but not my songs,” he had written.

Did you ever feel the need to jazz up the songs for Western audiences?

Tagore’s songs are like the Ardhanariswar[9] – the lyrics and the music are inseparable. The copyright restrictions that prevailed after this death did not allow translations. And that was a handicap since his music cannot be appreciated without comprehending his lyrics which are an expression of his creative thoughts.

I would say his songs have near-perfect balance between evocative lyrics, matching melody and rhythmic structure. And the incredible variety of his musical oeuvre touches every emotion felt by any human soul, without jazzing up.

Tagore’s songs are the national anthem of India and Bangladesh, and have also inspired that of Sri Lanka. But will his internationalism hold up with the change of order indicated by the recent developments on the subcontinent?

Tagore was known to be anti-nationalistic. He believed no man-made divisions can keep people segregated. He did not agree with the Western concept of ‘nation,’ he was an internationalist who accepted the ideals of democracy – ‘aamra sabai raja[10], of gender equality – ‘aami naari, aami mohiyoshi[11]; indeed, in equality of humans. What he wrote in lucid Bengali suited every mood. Georges Clemenceau, who was the Prime Minister of France for a second time from 1917 to 1920, had turned to Gitanjali when he heard that World War I had broken out. Even today people can relate to what he wrote.

How did all the hop skip and jump shape the feminist within Reba Som?

The wives of Foreign Service officers are often seen as decorative extensions of their spouses. People only saw the glamour we enjoyed on postings abroad, not the heartbreaks and disappointments we battled. Despite their qualifications the wives were not allowed to work abroad. Instead they had to be perfect hostesses: clad in colourful Kanjeevarams they had to prepare mounds of samosas and gulab jamuns.

But there was little recognition, appreciation or compensation by the Ministry of External Affairs of all the hard work and struggle they put in. To settle down in different postings in rapid succession. To host representational parties where they had to conjure Indian delicacies with improvised ingredients. To raise disgruntled children on paltry allowances.

Once, as the Editor of our in-house magazine, I had floated a questionnaire to all the missions abroad asking about the changing perceptions of the Foreign Service wives. That had opened a Pandora’s Box. Eventually in response to our requests the Ministry relaxed service conditions and allowed the wives to work abroad if they had the professional qualifications and received the host country’s permission. This was a veritable coup!

My own act of rebellion was accepting the Directorship of the Tagore Centre ICCR Kolkata (2008-13) after we returned to Delhi on Himachal’s retirement. It became a challenge for me to try and get the Tagore Centre on the cultural map of Kolkata, proving to myself and my disbelieving family in Delhi that it was possible!

[1] Somewhat like a Chinese collared coat

[2] Molasses

[3] Ghoti – People from West Bengal state in India
Bangal – People from Bangladesh

[4] Bagha Jatin or Joyotinadranth Mukherjee (1879-1915) was a famous name in the Indian Independence struggle

[5] Teacher-student

[6] Markets in Delhi

[7] Zulfikar Ali Bhutto(1928-1979) was the fourth president of Pakistan and later he served as the Prime Minister too.

[8] Bhutto was executed on 4th April 1979

[9] Half man half woman

[10] We are all kings

[11] I am a woman, noble and great

Ratnottama Sengupta, formerly Arts Editor of  The Times of India, teaches mass communication and film appreciation, curates film festivals and art exhibitions, and translates and write books. She has been a member of CBFC, served on the National Film Awards jury and has herself won a National Award. 

.

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

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

Click here to access Monalisa No Longer Smiles on Amazon International

Categories
Poetry

A Tale of Hair Knots

By Swetarani Tripathy

A TALE OF HAIR KNOTS

She barely ties her hair or pulls it together into a knot or a bun.
It prefers the taste of liberty, sometimes kissing the breeze until it dries.
As whimsical as it can be,
or sometimes it's ideally set on a shoulder; cascading.

It mirrors the river that flows at will; one uncontrollably ferocious river,
evoking constructed sensuality and stigma alike.
Like the same river whose fervour is captured by civilisation in dams,
a civilisation whose women are confined to four walls.
So, it refuses to be kept, on their face in a rebellious act.

She fears the tangled ones though,
stubborn knots like those inevitable questions put forth to women who set to fly.
But the quest to undo them is perhaps life;
life that women live in their quest to be seen.
Should the mess be kept in an updo?
Because it's an absolute fear if someday she finds someone untangling those tousled ties,
while wrapping her in all sorts of bindings.

Like that woman, forever tending the furnace that keeps and sustains her home,
sweat of whose work would deny the hair to touch the nape.
So in a perpetual bun, her hair remains, the way she is stuck to flawed familial bargains.
Whether tied or untied, kept or unkept,
for her, it's a constant elopement to stay unattached from the old skeleton of woman-being,
and if free, it always escapes the arms of new bindings.

Swetarani Tripathy is a feminist scholar based in India. She is currently pursuing a PhD in Economics at Jawaharlal Nehru University of Delhi.

.

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

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

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

Categories
Interview Review

In Discussion with Rajat Chaudhuri: Spellcasters and Solarpunk

A brief overview of Rajat Chaudhuri’s Spellcasters, published by Niyogi Books, and a conversation with the author.

Spellcasters by Rajat Chaudhuri is a spellbinding fast paced adventure in a phantasmagorical world against the backdrop of climate change and environmental disasters. Chaudhuri, a proponent of solarpunk[1],  has nine books under his belt, including the Butterfly Effect (2018) a few fellowships (like Charles Wallace), and a sense of fun as the characters hurtle through the book gripping the readers with their intensity.

In this novel, Chaudhuri’s universe is run by a council, based on Akbar’s Navratnas[2]. They seem to be people in charge of running a chaotic world. This group — though not drawn from Akbar’s court but from various parts of the world — are known as the ‘Nine Unknown Men’. They are said to host great people from the past in another dimension. As they “fold the dimensions and transform matter from one form to another”, manipulating and yet healing characters like Chanchal Mitra, his protagonist, putting the world to ‘rights’ by destroying villainous capitalists who sport shrunken heads of their enemies and indulge in creating drugs that can lead to annihilation of humankind, there is a fine vein of coherence which gives credibility to Chaudhuri’s imagined world.

The locales are all fictitious but highlight real world problems of climate change, unethical scientific research and uncontrolled economic growth that only pamper the pockets of the rich craving power. He weaves in episodes that had made headlines in Indian media, like Ganesha drinking milk, and Himalayan disasters, a result of interferences by human constructs like dam building and ‘development’. A sensuous mysterious woman with curly hair, Sujata, who sets Mitra back on track and is as good as a Marvel heroine when accosted with villains, adds to the appeal of the book.

He describes a barefoot tribe which seems more idyllic than real. But given that it is a phantasmagorical fantastical novel, one would just accept that as a part of the Spellcasters’ world. However, the import of the message the tribal leader conveys to the characters on the run is astute. “We take little from this land and try to return what it gives us. So did our forefathers and all those who walk this country with the animals. But the settlers in villages and cities never tire of drawing out the last drop of earth’s riches…” A similar take on nomadism and settler communities can be found in nonfiction in Anthony Sattin’s Nomads: The Wanderers Who Shaped our World, who talks of the spirit of brotherhood, or asabiyya, that bound the nomads together, a concept borne in the fourteenth century in the Middle East. One wonders if the Nine Unknown Men who cast spells are also bound by some such law as at the end the ‘Perfect Lovers’ disappear into another adventure in time… perhaps, to resurface in Chaudhuri’s next book?

Chaudhuri is poetic with words. He writes stunning descriptions of storms and climate events: “The rivers are boisterous and overflowing, the skies are being torn apart by forests of lightning. The great snow-capped peaks from where these rivers emerge have vanished behind walls of water tumbling down from the skies.”

The thing that makes his book truly unique is the way his characters seem to internalise or grow out of the miasma that encapsulates the world below the mountains. They seem like an extension of the chaotic external environment with strange happenings. Even in the council meeting held by the Nine Unknown Men, some of the crowd seem to be wisps of mists. Chanchal Mitra has to go above the hovering fog to start healing back to normal. The novel starts in a seemingly dystopian setting. The ending is more of a fantasy. There is a strain of Bengaliness in his wry humour, in small factual details, like we find Jagadish Chandra Bose seated in the council hall, though  LJ drawn from RL Stevensons’ fictional pirate from Treasure Island (1883), Long John Silver, and Caligari from The Cabinet of Dr Caligari (1920), have larger and more crucial roles in the novel. Spellcasters is a thriller that entices with words, a gripping plot and suspense — set against a backdrop of strange climate events that are becoming a reality in today’s world, though the characters are more interesting than those drawn from real life.

The novel is written by an author who is compelled by perhaps more than a need to record his times. He has a vision… though not clearly laid out as a didactic message. But it hovers in the fog that is part of the book. One of the things that came across[3] was to create utopia, we need the chaos of dystopian existence…a theme that rebel poet Nazrul addresses in his poem, ‘Proloyullash’ (The Frenzy of destruction): “Why fear destruction? It’s the gateway to creation!”

Rajat Chaudhuri

In a past life, Chaudhuri had been a consumer rights activist, an economic and political affairs officer with a Japanese Mission and a climate change advocate at the United Nations, New York. Working in such capacities could have generated his vision, his worldview. Let us find out more about it by asking him directly:

What made you turn to writing from being an activist and climate change advocate? How long have you been writing fiction? What made you turn to fiction?

I am still involved with activism through my work with NGOs and my writing for popular media and other venues.  However, I have gradually shifted my energies to creative fiction through which, nowadays, I try to engage with climate change and other planetary crises.

I have been writing fiction for nearly two decades now, my first novel, Amber Dusk was published seventeen years ago.  As a full-time activist I have had the opportunity to interact and work with people from various strata of society right from the villages of India to international fora like the United Nations, where I have often noticed a tug-of-war of ideas between big business, sections of civil society, governments and other major groups like women, indigenous people and so on. While watching and participating in these, I had begun to realise how stories can open another flank in our efforts to communicate our ideas.  

Today, you see, storytelling is everywhere. Stories are being recruited for issues big or small, important or completely worthless, even dangerous! In my case, I realised that stories can be an important vehicle for communicating issues surrounding planetary crises to my audience. Stories tend to be sticky — they remain with us for a long time and studies are now showing that well told stories can trigger changes in perceptions, beliefs and ideas. But it took me a long time to transform this realisation into book projects. Before that I had written other books – contemporary fiction, urban fantasy and so on.  

 What made you conceive Spellcasters? How long did it take you to write?

There are two or three strands that came together in the writing of Spellcasters. Most important among these is my interest in psychology and mental disorders and specifically in the fact that the ideas that dominate the world today, you can call them spells too, make us behave like we are affected by some kind of mental illness. Ideas and practices like limitless growth, conspicuous consumption and so on, make us behave as if we have lost our minds as we go on plundering the planet for energy and resources despite the fact that `nature’ is striking back at us with ever-increasing fury. So, our mental illness is causing planetary illness and at the centre of all this are these powerful, mesmerising, false beliefs, which right from the time of the Club of Rome have been known to be dangerous.

So, when I began to plan this novel, all these thoughts were in my mind partly driven by my activism. And at the same time, I had been reading Sudhir Kakar’s works about magic and mysticism in India and the parallels between Indian and western psychology so all of that came together. It took me about five years to complete Spellcasters not at one go, there was other stuff I have worked on in between.  

What kind of research went into making the book?

To create the main character, the journalist Chanchal Mitra, I worked closely with my psychoanalyst friend Anurag Mishra who happens to be a student of Sudhir Kakar. And that research was really intense. We had long face-to-face and online sessions and I read a lot about the varieties and specificities of mental disorder.

Then there is of course that background layer of interest which oftenseeds ideas in your mind. This usually comes from your reading, and I had been interested in reading about the occult traditions of the East and the West for many years. Characters like Mme Alexandra David-Neel[4], the magic healers among indigenous peoples, the power of entheogenic substances like mushrooms have always fascinated me, and some of that came back while researching this book. Writing the climate layer of the story was comparatively easier because of my first-hand activist experience. 

Do you have a vision or a message that you tried to address in this novel? I felt it moved from a dystopian setting to that of a fantasy — though not to utopia. Do you think a dystopian vision is necessary to evolve utopia?

The message is simple, and we all know it: Ideas of limitless growth have affected us mentally and so we behave and act in ways (resource extraction, carbon emission) that are making the planet sick. We are passing on our illness to the planet.  The belief in limitless growth is a zoonotic disease that our species has transferred to the living planet. Still, we do not act because we are under the effect of these powerful ideas, these powerful spells, that’s where the novel gets its name. The message, if we can call it one, is to be aware of this and try to break out of these spells.

The path to utopia is not necessarily through dystopia. We can start hoping and acting today before things get really bad. Which is the locus of the whole solarpunk movement with which I am closely associated as an editor and creator. But `darkness’ can be redeeming too. Jem Bendell writes about this in detail. Grief and sorrow can indeed make us stronger; author Liz Jensen navigates grief and encounters hope in Your Wild and Precious Life, which is a must read for everyone asking these questions. But coming back to Spellcasters it is really neither dystopia or utopia if we are talking about the climate layer of the story, it’s very much set in the present. What might look dystopian are the gothic and magical elements and settings which serve as a counterpoint to the cold logic of the scientist character, Vincent.  

Your novel has broken various barriers by mingling different constructs. So, tell us, how do you combine realism with fantasy, science with literature and create your own world?

It’s not difficult actually. Fantasy, magic and `unreason’ are woven around the borders of the familiar. We see them often without noticing it. Leaping a little higher or using a prescription eye-cleanser can do the trick!

To answer the other part of your question, science and literature or nature and culture were never apart in the first place. They were sundered because of the partitioning project of modernity which goes back to the work of Hobbes and Boyle and has its own history and protagonists. Science fiction as you know does not care much for this division. Climate fiction because of its scaffolding of science and reason needs to bring the two together. As a climate fiction writer, I try to keep the scientific complexities in the background, but they remain as building blocks of the story. In this book however we have a full chapter which is out of a scientist’s journal, and I did that for a change in flavour and in the spirit of experimentation. 

 Are your imaginary locales based on real cities? Please elaborate.

Often so. In Spellcasters the cities of Anantanagar and Aukatabadare modelled on Calcutta and Delhi respectively. A close reader can easily pick out the similarities but then I also enjoy changing some details especially when I am writing mixed-genre work like this one. So, there is no Chinese joint (like the one Chanchal hangs out at) in Calcutta where you can openly smoke weed but there are places quite similar to the one I described and there is indeed a real person with an eye of glass who used to hang out in one of these.

You have spoken of storms on the hills. Do you also see this as an impact of climate change? Do you think building roads, tunnels or hydel power stations on the hills can, over a period of time, have adverse effects on climate or humanity? Can you suggest an alternative to such ‘development’?

The avalanches, the unseasonal rains, especially the cloudbursts are all closely connected to climate change. Having said that, we also have to be careful to avoid climate reductionism. Often it is a concatenation of factors (including carbon emissions and climate change) and processes, their effects amplified by feedback loops, that precipitate disasters. This is very true if we study migration, for which climate change can be one of the driving forces but there could be other factors like economic opportunities, cultural patterns etc implicated in such flows. 

Mindless development which does not take into account the fragility of nature and the interconnections between all beings big and small, microscopic or enormous, animate or inanimate, will set into motion processes that will precipitate crises like climate change. Yes, big dams are definitely a problem and small hydro is always a better option. We often hear that nature is self-healing or that there have been many previous extinctions, and that the planet has made and remade itself, but that’s like telling ourselves, please prepare for suicide while the super-rich and the cults of preppers, especially in the advanced industrialised nations, can escape to their doomsday bunkers.

The alternatives to the current development model is to be found in the ideas of Gandhi, of Schumacher, in solarpunk literature, in Vandana Shiva’s works among plenty of other places. The basic idea is to live in harmony with the planet, cut down on emissions, reduce resource extraction, try community based participatory solutions to problems instead of relying on economic, high-tech or market-based instruments, step back, go slow and let nature cloth and feed us so that we can live with dignity while forsaking greed.   

 In Spellcasters, you show climate change as an accepted way of life at the end. Do you think that can be a reality? Do you think climate change can be reversed?

A novel often presents itself as a bouquet of ideas without the author demonstrating any clear bias for one over the others. But as an activist-writer I usually drop clear hints as to what is more desirable without making it too obvious. There is always this ongoing duel between politics and aesthetics in a novel and the best among us balance the two quite well.

Climate change can of course be engaged with, controlled and reversed, if we can stick to the ambitious targets of the Paris climate agreement with the rich nations facilitating the process with more funds to poorer nations. Both producers and consumers have a role to play here, and we need serious lifestyle changes in the advanced industrial nations (or rather the global North) and a serious focus on climate justice for any meaningful change to occur. Only planting trees and carbon-trading won’t do.

Your language is very poetic. Do you have any intention of trying poetry as a genre?

Thank you. I haven’t ever thought of writing poetry because I am not gifted with the art of brevity which I think is essential there. But I have enjoyed translating poetry from Bengali to English, which was published as a book. I plan to do more of that.

What can we next expect from your pen?

I have been trying to finish a work of non-fiction about climate change and I hope to do this by the end of the year.

Let me also take this opportunity to thank you Mitali and your team at Borderless Journal for your service to literature. You are doing important work here and I am really grateful for your interest in my novel.

Thank you so much for giving us your time and sharing your wonderful book.

.

[1]Solarpunk is a sci-fi subgenre and social movement that emerged in 2008. It visualizes collectivist, ecological utopias where nature and technology grow in harmony. Read more by clicking her

[2]Navratnas or the nine gems were a bunch of very gifted men in his court, like Birbal and Tansen.

[3]The author does not agree to this reading in the interview. He sees his novel evolve out of the solarpunk movement.

[4]Alexandra David-Néel (1868-1969) https://openheartproject.com/the-path-post/alexandra-david-neel/

CLICK HERE TO READ AN EXCERPT FROM SPELLCASTERS

(The online interview has been conducted through emails and the review written by Mitali Chakravarty.)

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

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

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

Categories
Stories

Viceregal Lodge

By Lakshmi Kannan

It took a couple of days to sink in, the serene beauty of the place on Summer Hill, Shimla, and the quiet atmosphere of the campus. Indian Institute of Advanced Study (IIAS), now housed in the regal ambience of the Viceregal Lodge[1], still wore its grandeur well, filtering into interior, the corridors, foyer and the conference room that had a stamp of history. Momentous decisions had taken place in this very room. The sylvan surroundings seemed to have rubbed off on the people too who worked in the offices, for they functioned with a quiet harmony, like it was an unstated requirement.  

Tulsi Shankar’s paperwork went off smoothly in the office. She was given the keys to her allotted flat, a man was assigned to go along with her to help, and she was asked to tell the housing department if she would need anything more for her flat, the kitchen and the washroom. The man helped her unpack her big boxes of books and folders and set up her laptop. The vessels in the kitchen were minimal and very basic. She added the small items that she had got from her home, a saucepan, a ladle, spoons, cups, mugs, tea, coffee, sugar and milk powder. That would do. The man offered to fix a milkman who would deliver fresh milk every morning. The mess served two meals in a day, so there was nothing more to be done except rustle up an occasional upma or poha[2], if one fancied a change.  

Tomorrow, she would explore the books for her area of research in the library, and start her work. She sank into her mattress and made a mental list of the reference books but soon slipped into a deep slumber.

The next few weeks rolled by in a rhythm of studies, notes, typing points on her laptop to draw a skeletal sketch of the chapters for her book. Little did she know how the details she sought would soon rain down on her and submerge her overwhelmingly in. They were right there, within her reach, in the huge library. Sure enough, there were some gaps, but she could always visit the Nehru Memorial Museum and Library at Teen Murti Bhavan in Delhi to fill them up.   

She met the three other Fellows who were also working on their manuscript for their books. Whenever they met, at the dining area in the mess, or while strolling back to the institute after meals, or their shopping trips to the mall, the four Fellows  exchanged notes about how much easier it was when they wrote their dissertation for Ph.D. years ago. They knew exactly what was expected from them — their chosen topic in itself ‘set limits’ for their scope and research took them forward with a controlled sense of direction. But a book? A BOOK? Good Lord, it seemed to be like entering an unchartered territory. It felt adventurous, thrilling even, but alternated with bouts of uncertainly and panic. It often loomed like a road not taken, yet to be explored. Exciting, and scary at the same time.

They decided to help each other with their research for the background. Sudipta Banerjee who taught history, offered to help Tulsi with Hari Mohan Maitee’s notorious case of brutally raping his eleven-year-old child bride, Phulmani Dasi,  causing her death. The case was committed to the Sessions Court in Calcutta in 1890, but Justice Wilson let off Maitee lightly by saying that he had just committed ‘a rash and negligent act’. It was Gidumal Dayaram, a reformer from Bombay, who relentlessly pursued the case of Dasi. On his recommendations, Sir Andrew Scoble based his in 1891. Tripti Sharma from Political Science was equally interested in the steps that led to raising the ‘Age of Consent’ from ten to twelve years, from a legal angle. She had a project for which she needed to know more Sir Andrew Scoble (1831-1916), and the legal aspects of his contribution.   

And all three of them took some lessons in yoga from the fourth Fellow Namrata Tripathi in her flat, just before dinner. She had trained in the Tushita Mahayana Meditation Centre. Namrata often warned them – and herself – of the hazards of sitting down on a chair for long hours to read or write. ‘We’ve to move our limbs and walk, or else we’ll become stiff,’ she laughed, even as she herself spent hours poring over her books for her research on the ghats in Varanasi. Sudipta, Tripti and Namrata looked to Tulsi, a published author, for help in writing their drafts.

“Please, Tulsi,” said Tripti. “We’re painfully conscious that we’re not here to write a Ph.D. dissertation. It is a book, a BOOK, for God’s sake.”

“Yes,” said Sudipta. “We’re anxious that thechapters are readable and don’t come across as boring information. You’re a creative writer, so you can tweak our lines.’

*

Then there were the Associate Fellows (called AFs) who could visit the IIAS three times in a span of three years or more, and were allowed each time to stay for one month to consult books in the library and work towards their M.Phil thesis. Hopefully, after their M.Phil, they would be admitted to Ph.D. programmes in their colleges. Each AF was given a single room in the hostel.

 The women were nearly through with their lunch. Over the dining table, they whispered to each other about the time they would meet Namrata in her flat in the evening, for yoga lessons. Also learn some tips for meditation, a most elusive practice for them.   

The Associate Fellow sitting across two tables was loud. No surprise. Ever since he came from Hyderabad, he has been the most vociferous critic of the food served by the Mess. He was unsuccessful in forming a lobby to join him in his protest and ‘do something’ about the ‘atrocious food’. The others AFs heard him out, some nodded in agreement, but carried on with their work.

Tulsi and her friends considered all that as noise and hurried through their meals.

The man from Hyderabad came over to their table.

“How can you stand this horrible food?” he asked.  

“Well…it’s a change, certainly, from what we are used to,” said Namrata, in a placatorytone.

“A change! It’s appalling. You can do something about it. Each one of you haveakitchen in your flat,” he said.

“What!” said Sudipta, getting up from her chair.

“You’re four ladies. You can easily take turns and cook,” he said, glancing at the other AFs over his shoulder.

.

[1] Viceregal Lodge, formerly the residence of the British Viceroy of India, is the present Indian Institute of Advanced Study that has a library with archival acquisitions that go back to the times before the British rule in India.  The magnificent building is also a tourist attraction for its stunningly regal structures designed by the British architect Henry Irwin, built in the Jacobean style during Lord Dufferin’s tenure as Viceroy.

[2] Upma—Semolina based savoury dish: Poha – A savoury preparation of flattened rice

Dr. Lakshmi Kannan is a poet, novelist, short story writer. Her recent books include Guilt Trip and Other Stories (Niyogi Books, 2023) and Nadistuti, Poems (Authors Press, 2024). For more details, please see http://www.lakshmikannan.in and her entry in The Routledge Encyclopedia of Indian Writing in English (2023).

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

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

Click here to access Monalisa No Longer Smiles on Amazon International

Categories
Stories

Hope is the Dream of a Waking Man

By Shevlin Sebastian

The Scream by Edvard Munch (1863-1944)

There is a large grey wave painted in the middle of the canvas. It is falling over a large group of people standing on the edge of a seashore. Many men wear skullcaps. The women have black burkas. The group has widened eyes and open mouths. Some have turned their backs to flee. Others have raised their arms and clenched their fists, as if they are about to break into a run.  

At the bottom of the canvas, on the left, there is another group of people. They are also standing on another seashore, with windswept hair. There is a woman with a large sindoor in the middle parting of her hair. A young man, in jeans, has a necklace with a gold crucifix. A boy stands with a placard showing a dove with a leaf in its beak. The words, ‘Let’s all live in peace,’ are written in bold, red letters. Others raise placards with slogans like ‘Say No to communalism’, ‘Syncretism is in our DNA’, and ‘We are all brothers and sisters in this great nation’.  

Painter Ashraf Mahmood steps back and stares at the image. A slight smile plays on his lips. He had woken up that morning and this image had come floating into his mental screen. Ashraf kept staring at it, eyes closed, lying on his back. His wife had got up and gone to the kitchen. Alia liked to make her tea using Tata Gold. He preferred Brooke Bond Red Label. So they made separate cups. 

When he entered his studio on Mira Road, in Mumbai, at 9 am, he got down to work, using an easel and grey paint. 

He worked steadily. It was silent inside. But Ashraf did register the outside sounds of a typical Mumbai street. The horns blowing. Tendrils of smoke from exhaust pipes floated in through the window. His nose twitched as he noticed a foul smell. It seemed as if somebody had thrown garbage on the street. Ashraf closed his nose with the tip of his fingers for a few seconds. “The crazy smells of Mumbai,” he thought. 

He grew up near Mandvi Beach in Ratnagiri (343 kms from Mumbai). The air was fresh, and the wind blew constantly. The only sound was the roar of the waves and the beautiful sight of seagulls making circles as they flew above the sea. Ashraf’s father, Mohammed, was a government school teacher. His mother was a homemaker. He had two elder brothers and three sisters. Ashraf was the youngest. He displayed artistic talent from his school days.

Unlike most fathers, Mohammed encouraged his son. His father took him to an art teacher, who taught him how to draw and paint. Ashraf’s major breakthrough happened when he got admitted to the JJ School of Art in Mumbai. After that, there was no looking back…  

It was evening when he finished the work. His soles ached. Ashraf had been standing for hours. 

This image reflected all that he felt. The grey resembled the growing intolerance towards Muslims. This seemed to be overwhelming especially in places like Uttar Pradesh and Madhya Pradesh. There was the rise of majoritarianism. And the fracturing of relations between people of different communities. And yet, Ashraf felt that the DNA of the people over centuries was syncretic. A ready acceptance of people of all faiths. 

It was only the hate campaigns, through speeches, social media, and songs, that had swayed the people. He was sure the fever would die one day. Syncretism would rise again. “After all,” he thought, “throughout human history, love always conquered hate. But it took time.” 

Ashraf wanted to tell the viewers of his work not to lose hope. And hence the pigeon and the symbol of peace. For the title, he used a quote by the Greek philosopher, Aristotle, “Hope is the dream of a waking man.”

Ashraf rubbed his chin a few times and walked to a table on one side. A packet of fresh buns lay on the table. Ashraf opened a fridge. He took out a container which contained butter and a bottle of strawberry jam. He sliced the bun into half with a stainless steel knife, placed butter and jam in between, and began eating it. These were fresh buns from a nearby bakery. Ashraf had bought them when he had stepped out for lunch. He made tea on the gas stove. Then he sat on a stool near the table and sipped it. 

This was his 35th year as a painter. Now, at 55, he could look back with reasonable pride. He took part in regular exhibitions and won a few awards and grants. Profiles of him appeared in the newspapers and on social media. His paintings sold, thanks to his realistic and simple style. An art sensibility was only gradually building up among the people. Ashraf knew that images drawn from his unconscious mind had a pulling power. Why this was so, he did not know. He remembered how one art critic described a David Hockney painting as having a ‘psychological charge’. Hockney was a renowned English painter. Ashraf realised that art needed to have a psychological charge if it had to have an impact.  

But Alia had already made an impact on him. He met her when she came to view his exhibition one day at the Jehangir Art Gallery. She was slim and tall, with curves that were accentuated by the chiffon saree she wore. Like Ashraf, she came from a small town. Through grit and perseverance, she passed competitive exams and got a government job. They went for dates. Ashraf was smitten. Within a year, he proposed and they got married. 

Alia was a superintendent in the sales tax department. She would earn a pension once her career got over. She had another ten years to go. Their two daughters had married and settled down in Aligarh and Delhi. Both had two children each, a boy and a girl. 

Alia wanted Ashraf to earn more money. But he was not a hustler or a man who liked to build a network. If a buyer came and offered a decent price, he sold it. Most of the time, he remained isolated. Sometimes, he met other artists at exhibitions and art seminars. He would chat with them. But that was all. 

He was not keen on extramarital flings or experimenting with drugs or drinking too much. Ashraf led a steady life. In many ways, he was happy with the way his life had turned out. 

He washed the cup and the pans. Ashraf placed the cup on a hook which hung on a wall. He had yet to finish the bun. 

He made his way back to the painting. It was 5.30 p.m. In half an hour, he would close his studio and walk back to his house, fifteen minutes away. The couple owned their apartment. Alia, with help from Ashraf, had cleared the bank loan over 15 years. 

At this moment, he heard a murmur of voices from outside the door. Ashraf wondered what it was. The sound arose. “Was there an emergency?” he thought. “Is the building on fire?” 

He came to the door. Ashraf saw that the lock was coming under strain. It seemed to be bulging backwards towards him. Somebody gave a violent kick and the door sprang open. Ashraf moved to one side.  

A group of young men rushed in. Some wore red bandanas. Many were in T-shirts and trousers. Some had thick, muscular arms. They were shouting. It seemed like slogans. In his shocked state, Ashraf could not register the words. They rushed to the canvas on the easel. One man, using a long knife, sliced the canvas into two. He pushed the easel.  It fell with a clattering sound to the floor.

There were a bunch of finished canvases placed on one side. Ashraf had been doing work to showcase in an upcoming solo exhibition. The group spotted it. They rushed there, pushed the canvases to the floor, and began ripping them one by one with their knives. Within a few minutes, the work of several months lay ripped out. Ashraf remained by the side of the door. He had not moved. 

“Hey you Muslim kutta (dog),” one of them said. “We will come again if you carry on working. No art for Muslims. Clean the sewers. That’s the only job you are good at.” 

Ashraf half-expected one of them to stab him. But they didn’t. They left as quickly as they came. 

Ashraf felt as if a large, round ball had settled at the base of his throat. He could not swallow it nor could he spit it out. 

He blinked many times. Ashraf wasn’t sure whether this event had actually happened. It took place so fast. But there was no doubt about the ripped canvases lying all over the floor.

He felt a pain in his heart. Ashraf rubbed the area. “I hope I am not having a heart attack,” he thought to himself, as he took in lungfuls of air to calm himself down. Employees from other offices on the same floor came to the door. They entered. Most had goggle-eyes. 

“Sir, what happened?” one young man said.

Ashraf shook his head. 

“I don’t know,” he said. 

“Who were these people?” a woman said. 

“No idea,” Ashraf said, as he surveyed the damage. 

“Sir, you will have to call the police,” another man said. 

“Yes, I will,” said Ashraf. 

A couple of men shook his hand. 

All of them surveyed the damage silently. Work was calling them. “All chained to their desks,” thought Ashraf. “At least, that way, I am free. No boss on top of me. No attendance marking every day. No targets to meet. No one shouting at me. But then, no steady income. And no camaraderie. Large amounts of time spent alone.”  

Then he returned to the stool, returned to the present, and placed his head in his hands. 

‘What’s happening to this country?’ he thought. ‘‘There seems to be a collective madness. Indians attacking Indians. And these young people were ruining their lives by working for political leaders. They will be used and discarded.”

He had not seen them before in the locality. They might have come from some other area. Was it a deliberate ploy to send a shock wave through him and the community? Who knew how they thought?  

What should he do now? 

Ashraf realised he had to think rationally. He stood up and went to the door. He realised immediately, he could not do anything immediately. A carpenter would have to be called tomorrow. 

He called Alia and informed her about what had happened. She said she would come directly to the studio from the office. Ashraf called up his media contacts, both in the print and visual media. They said they would arrive with their photographers and cameramen. Ashraf took several photos and videos on his mobile phone, documenting the damage. 

He would have to report the attack at the police station and file an FIR.     

Ashraf realised his work had been ruined, but he would recreate it. He had photos of all the canvases. 

To prove to himself, he had returned to normality, he went back to the table and finished the rest of the bun. He put the butter and the jam back into the fridge. He washed the plate and the knife. 

Fifteen minutes later, Alia arrived. 

In silence, she stared at the canvases lying on the floor. Ashraf saw her press her hand against her open mouth. He realised it was a silent scream. 

In the end, she came up to Ashraf and said, “They have tried to violate your dignity as an artist and a person.” 

The couple hugged. 

After a while they broke away. 

“Don’t keep the canvases here anymore,” she said. 

Ashraf rubbed his chin with his fingers. 

Finally, he nodded. 

“There was something strange about the attack,” he said. “They didn’t overturn the table or the fridge. And for some reason, they did not assault me. It seemed to me they had to leave in a hurry. So I got saved.”  

Alia said, “They are keeping a watch on everybody.” 

“Yes, I read online there is a pervasive deep state,” said Ashraf. “In every neighbourhood there are spies who report about all that is happening.” 

“What is the next step?” she said. 

“I am waiting for the media to come. After that, I will file the FIR,” he said. 

At that moment, a few print and TV journalists arrived. 

Ashraf spoke to the reporters. The photographers and cameramen began recording all that had happened. 

They left after half an hour. 

The couple then shut the door, as best as they could. But there was a small gap at one side. They went to the police station. The police allowed an FIR to be filed against ‘unknown persons’. He faced no hindrances because, as Ashraf surmised, the police were aware of his reputation as an artist. 

The couple took an autorickshaw and returned to their apartment.  

Alia changed into a nightgown. She washed her face, and informed their daughters about what had happened on her mobile phone. 

Ashraf changed into a T-shirt and shorts. He made a glass of whisky mixed with water for himself. Every night he had one peg. 

As he sat on the sofa, nursing his drink and staring at the TV screen, he felt the pain arise in him. It was an ache in the middle of the chest. To see his work treated in such a callous manner was a calamity. He wondered whether he would ever overcome this fear that had come into him. Work on a piece the whole day and in the evening, somebody could come in and rip it up. 

Closed doors did not offer any protection. It was a time of lawlessness. People with criminal behaviour could operate with impunity. Leaders wanted to instil fear in people. 

And would he be able to recreate these ripped-up paintings with the same intensity? He was not sure.  

On the screen, some leader was having his say. His eyes enlarged, he made violent movements with his hand, and spoke with a loud voice. “Horrific,” thought Ashraf. “How do you create art in this environment?”

Yes, indeed, how do you? 

But it did not take long for him to tell himself, “But we must, whatever be the cost. Art is the candle that brings light to the darkness.”

.

Shevlin Sebastian has worked for magazines like Sportsworld, belonging to the Ananda Bazar Patrika Group in Kolkata,​ The Week, belonging to the Malayala Manorama Group, ​in Kochi, the Hindustan Times ​in Mumbai, and the New Indian Express in Kochi. He has also briefly worked in DC Books at Kottayam. He has published about 4500 articles on subjects as varied as films, crime, humour, art, human interest, psychology, literature, politics, sports and personalities. Shevlin has also published four novels for children.

.

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

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

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

Categories
World Poetry Day

What is Home?

Celebrating poetry around the world, our focus this year is on refugees, immigrants or poetry by migrants… In a way, we are all migrants on this Earth and yet immigration for both climate and war has created dissatisfaction in the hearts of many. Can mankind unify under the single blue dome which covers all our home?


“The Journey” by Alwy Fadhel, an asylum seeker to Australia. The piece is included in the Exile collection of the Refugee Art Project. Art from Public Domain.

We start by welcoming migrants from Jupiter but how do we react to human migrants within Earth… ?

All the Way from Jupiter

By Rhys Hughes

All the way
from Jupiter came the refugees,
their heads
made of hydrogen,
and helium, their knees.
No one cried:
depravity!
for we were pleased
to help them
relocate to Earth: we offered
them homes
inside plastic domes
uncrowded but
full of swirling clouds
blown by the music of
fierce trombones
to mimic the crushing gravity.

All the way
from one of our homegrown
war zones
came refugees on their knees
and we said:
no, no, no, and no again!
Go back home right now,
be killed,
assaulted,
it’s all your own fault
for being born here on Earth.
The newcomers
from Jupiter are tubular
like cucumbers,
but men, women and children
like yourselves
aren’t welcome.

And what do refugees from war-torn zones on Earth have to add?These are poems by those who had to escape to safety or move homes for the sake of conflict.

I am Ukraine brought to us by Lesya Bakun, while she was on the run from her home to a place of refuge outside her homeland. Click here to read.

Immigrant’s dream brought to us by Ahmad Al-Khatat, who migrated from Iraq to the West to find sustenance. Click here to read.

In some cases, the wounds lingered and the progeny of those who escaped earlier conflicts give voice to past injuries as well as some immigrants who wandered to find a better life share their experiences.

In 1947, Masha Hassan writes of her grandmother’s plight during the Partition of the Indian Subcontinent. Click here to read.

Bringing along their homeland by Abdul Jamil Urfi talks of immigrants from Lahore in Delhi in the 1960s. Click here to read.

Stories Left Unspoken: Auschwitz & Partition Survivors by Cinna give us stories of people who moved for wars and politics. Click here to read.

A Hunger for Stories by Quazi Johirul Islam, translated from Bengali by Professor Fakrul Alam, gives a migrant’s saga. Click here to read.

Reminiscence by Mitra Samal reflects on an immigrant’s longing for her home. Click here to read.

Finding the Self in Rooted Routes by Isha Sharma explores at an individual level the impact of immigration. Click here to red.

Birth of an Ally reflects Tamoha Siddiqui’s wonder with new flavours she experiences away from her original homeland. Click here to read.

Two Languages by Luis Cuauhtémoc Berriozabal explores linguistic diversity in immigrants. Click here to read.

These could be listed as turns of history that made people relocate.

Red Shirt Hung from a Pine Tree by Ryan Quinn Flanagan takes two issues into account — violence against humanity and colonial displacement of indigenous people — is that migration? Click here to read.

Products of War by Mini Babu talks of the displacement of humanity for war. Click here to read.

This Island of Mine by Rhys Hughes reflects on climate disaster. Click here to read.

Some empathise with those who had to move and write of the trauma faced by refugees.

Migrant Poems by Malachi Edwin Vethamani reflect on migrants and how accepted they feel. Click here to read.

Birds in Flight by A Jessie Michael empathises with the plight of refugees. Click here to read.

The Ceramicist by Jee Leong Koh records the story of a migrant. Click here to read.

And some wonder about the spiritual quest for a homeland… Is it a universal need to be associated with a homeland or can we find a home anywhere on Earth? If we stretch the definition of homeland to all the planet, do we remain refugees or migrants?

Anywhere Particular by Wendy Jean MacLean reflects on the universality of homes — perhaps to an extent on nomadism. Click here to read.

Where is Home? by Shivani Shrivastav meditates on the concept of home. Click here to read.

Sparrows, a poem translated from Korean by the poet — Ihlwha Choi — questions the borders drawn by human laws. Click here to read.

 Journey of Hope  by Tagore has been translated from Bengali by Mitali Chakravarty. It explores the spiritual quest for a home. Click here to read the poem in English and listen to Tagore’s voice recite his poem in Bengali. 

Some look forward to a future — perhaps in another galaxy — post apocalypse.

In Another Galaxy by Masud Khan translated from Bengali by Fakrul Alam wonders at the future of mankind. Click here to read.

And yet others believe in the future of humankind.

We are all Human by Akabar Barakzai, translated from Balochi by Fazal Baloch, is a paean to humanity. Click here to read.

We are all Human 

By Akbar Barakzai...

Russia, China and India,
Arabs and the New World*,
Africa and Europe,
The land of the Baloch and Kurds --
Indeed, the whole world is ours.
We are all human.
We are all human...

Click here to read the full poem.

.

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

Categories
Interview Review

The Subliminal World of Radha Chakravarty’s Poetry

In conversation with Radha Chakravarty about her debut poetry collection, Subliminal, published by Hawakal Publishers

Radha Chakravarty

Words cross porous walls
In the house of translation—
Leaf cells breathe new air.

We all know of her as a translator par excellence. But did you know that Radha Chakravarty has another aspect to her creative self? She writes poetry. Chakravarty’s poetry delves into the minute, the small objects of life and integrates them into a larger whole for she writes introspectively. She writes of the kantha — a coverlet made for a baby out of soft old sarees, of her grandmother’s saree, a box to store betel leaves… Her poetry translates the culture with which she grew up to weave in the smaller things into the larger framework of life:

Fleet fingers, fashioning
silent fables, designed to swaddle
innocent infant dreams, shielding
silk-soft folds of newborn skin
from reality’s needle-pricks,
abrasive touch of life in the raw.

--'Designs in Kantha’

She has poignant poems about what she observes her in daily life:

At the traffic light she appears 
holding jasmine garlands
selling at your car window for the price
of bare survival, the promise
of a love she never had, her eyes
emptied of the fragrance
of a spring that, for her, never came.

--‘Flower Seller’

Some of her strongest poems focus on women from Indian mythology. She invokes the persona of Sita and Ahalya — and even the ancient legendary Bengali woman astrologer and poet, Khona. It is a collection which while exploring the poet’s own inner being, the subliminal mind, takes us into a traditional Bengali household to create a feeling of Bengaliness in English. At no point should one assume this Bengaliness is provincial — it is the same flavour that explores Bosphorus and Mount Everest from a universal perspective and comments independently on the riots that reft Delhi in 2020… where she concludes on the aftermath— “after love left us    and hate filled the air.”

The poems talk to each other to create a loose structure that gives a glimpse into the mind of the poetic persona — all the thoughts that populate the unseen crevices of her being.

In Subliminal, her debut poetry book, Radha Chakravarty has brought to us glimpses of her times and travels from her own perspective where the deep set tones of heritage weave a nostalgic beam of poetic cadences. Chakravarty’s poems also appear in numerous journals and anthologies. She has published over 20 books, including translations of major Bengali writers such as Rabindranath Tagore, Bankim Chandra Chatterjee, Mahasweta Devi and Kazi Nazrul Islam, anthologies of South Asian writing, and several critical monographs. She has co-edited The Essential Tagore (Harvard and Visva-Bharati), named ‘Book of the Year’ 2011 by Martha Nussbaum.

In this conversation, Radha Chakravarty delves deeper into her poetry and her debut poetry book, Subliminal.

Your titular poem ‘Subliminal’ is around advertisements on TV. Tell us why you opted to name your collection after this poem.

Most of the poems in Subliminal are independent compositions, not planned for a pre-conceived anthology. But when I drew them together for this book, the title of the poem about TV advertisements appeared just right for the whole collection, because my poetry actually delves beneath surfaces to tease out the hidden stories and submerged realities that drive our lives. And very often, those concealed truths are startlingly different from outward appearances. I think much of my poetry derives its energy from the tensions between our illusory outer lives and the realities that lurk within. In ‘Memories of Loss’, for example, I speak of beautiful things that conceal painful stories:

In a seashell held to the ear
the murmur of a distant ocean

In the veins of a fallen leaf
the hint of a lost green spring

In the hiss of logs in the fire,
the sighing of wind in vanished trees

In the butterfly’s bold, bright wings,
The trace of silken cocoon dreams

So, when and why did you start writing poetry?

I can’t remember when I started. I think I was always scribbling lines and fragments of verse, without taking them seriously. Poetry for me was the mode for saying the unsayable, expressing what one was not officially expected to put down in words. In a way, I was talking to myself, or to an invisible audience. Years later, going public with my poems demanded an act of courage. The confidence to actually publish my poems came at the urging of friends who were poets. Somehow, they assumed, or seemed to know from reading my published work in other forms, that I wrote poetry too.

Did being a translator of great writers have an impact on your poetry? How?

Yes, definitely. In particular, translating Tagore’s Shesher Kabita (as Farewell Song), his verses for children, the lush, lyrical prose of Bankimchandra Chatterjee (Kapalkundala) and the stylistic experiments of contemporary Bengali writers from India and Bangladesh (in my books Crossings: Stories from India and Bangladesh, Writing Feminism: South Asian Voices, Writing Freedom: South Asian Voices and Vermillion Clouds) sensitised me to the way poetic language works, and how the idiom, rhythm and resonances change when you translate from one language to another. Translating poetry has its challenges, but it also refined my own work as a poet. Let me share a few lines of poetry from Farewell Song, my translation of Tagore’s novel Shesher Kabita:

Sometime, when you are at ease, 
When from the shores of the past,
The night-wind sighs, in the spring breeze,
The sky steeped in tears of fallen bakul flowers,
Seek me then, in the corners of your heart,
For traces left behind. In the twilight of forgetting,
Perhaps a glimmer of light will be seen,
The nameless image of a dream.
And yet it is no dream,
For my love, to me, is the truest thing …

What writers, artists or musicians have impacted your poetry?

For me, writing is closely associated with the love for reading. Intimacy with beloved texts, and interactions with poets from diverse cultures during my extensive travels, has proved inspirational.

Poetry is also about the art of listening. As a child I loved the sound, rhythm and vivacity of Bengali children’s rhymes in the voice of my great-grandmother Renuka Chakrabarti. She has always been a figure of inspiration for me, a literary foremother who dared to aspire to the world of words at a time when women of her circle were not allowed to read and write. A child bride married into a family of erudite men, and consumed by curiosity about the forbidden act of reading, she took to hiding under her father-in-law’s four-poster bed and trying to decipher the alphabet from newspapers. One day he caught her in the act. Terrified, she crept out from her hiding place, and confessed to the ‘crime’ of trying to read. Things could have gone badly for her, but her father-in-law was an enlightened individual. He understood her craving to learn, and promised that he would teach her to read and write. Under his tutelage, and through her own passion for learning, she became an erudite woman, equally proficient in English and Bengali, an accomplished but unpublished poet whose legacy I feel I have inherited. Subliminal is dedicated to her.

As a child I absorbed both Bengali and English poetry through my pores because in our home, poetry, and music were all around me. I was inspired by Tagore and Nazrul, but also by modern Bengali poets such as Jibanananda Das, Sankho Ghosh and Shamsur Rahman. In my college days, as a student of English Literature, I loved the poetry of Shakespeare, Donne, Yeats, T. S. Eliot and the Romantics.

Later, I discovered the power of women’s poetry: Emily Dickinson, Sylvia Plath and Adrienne Rich, to name a few. I am fascinated by the figure of Chandrabati, the medieval Bengali woman poet who composed her own powerful version of the Ramayana. Art and music provide a wellspring of inspiration too, for poetry can have strong visual and aural dimensions.

You translate from Bengali into English. How is the process of writing poetry different from the process of translation, especially as some of your poetry is steeped in Bengaliness, almost as if you are translating your experiences for all of us?

Translation involves interpreting and communicating another author’s words for readers in another language. Writing poetry is about communicating my own thoughts, emotions and intuitions in my own words. Translation requires adherence to a pre-existing source text. When writing poetry, there is no prior text to respond to, only the text that emerges from one’s own act of imagination. That brings greater freedom, but also a different kind of challenge. Both literary translation and the composition of poetry are creative processes, though. Mere linguistic proficiency is not enough to bring a literary work or a translated text to life.

English is not our mother tongue. And yet you write in it. Can you explain why?

Having grown up outside Bengal, I have no formal training in Bengali. I was taught advanced Bengali at home by my grandfather and acquired my deep love for the language through my wide exposure to books, music, and performances in Bengali, from a very early age. I was educated in an English medium school. At University too, I studied English Literature. Hence, like many others who have grown up in Indian cities, I am habituated to writing in English. I translate from Bengali, but write and publish in English, the language of my education and professional experience. Bengali belongs more to my personal, more intimate domain, less to my field of public interactions.

Both Bengali and English are integral to my consciousness, and I guess this bilingual sensibility often surfaces in my poetry. In many poems, such as ‘The Casket of Secret Stories,’ ‘The Homecoming’ or ‘In Search of Shantiniketan’, Bengali words come in naturally because of the cultural matrix in which such poems are embedded. ‘The Casket of Secret Stories’ is inspired by vivid childhood memories of my great-grandmother’s  daily ritual of rolling paan, betel leaves stuffed with fragrant spices, and arranging them in the metal box, her paaner bata[1]. When she took her afternoon nap, my cousins and I would steal and eat the forbidden paan from the box, and pretend innocence when she woke up and found all her paan gone. Of course, from our red-stained teeth and lips, she understood very well who the culprits were. But she never let on that she knew. It was only later, after I grew up, that I realised what the paan ritual signified for the housebound women of her time:

In the delicious telling,
bright red juice trickling
from the mouth, staining
tongue and teeth, savouring
the covert knowledge
of what life felt like in dark corners
of the home’s secluded inner quarters,
what the world on the outside looked like
from behind veils, screens,
barred windows and closed courtyards
where women’s days began and ended,
leaving for posterity
this precious closed kaansha* casket,
redolent with the aroma of lost stories

*Bronze

But I don’t agree that all my poetry is steeped in Bengali. In fact, in most of my poems, Bengali expressions don’t feature at all, because the subjects have a much wider range of reference. As a globe trotter, I have written about different places and journeys between places.

Take ‘Still’, which is about Mount Everest seen from Nagarkot in Nepal. Or ‘Continental Drift’, about the Bosphorus ferry that connects Asia with Europe. Such poems reflect a global sensibility. My poems on the Pandemic are not coloured by specific Bengali experiences. They have a universal resonance. I contributed to Pandemic: A Worldwide Community Poem (Muse Pie Press, USA), a collaborative effort to which poets from many different countries contributed their lines. It was a unique composition that connected my personal experience of the Pandemic with the diverse experiences of poets from other parts of the world. The poem was nominated for the Pushcart Prize. I guess my poems explore the tensions between rootedness and a global consciousness.

What are the themes and issues that move you?

I tend to write about things that carry a strong personal charge, but also connect with general human experience. My poems are driven by basic human emotions, memory, desire, associations, relationships, and also by social themes and issues. Specific events, private or public, often trigger poems that widen out to ask bigger questions arising from the immediate situation.

Sometimes, poetry can also become for me what T. S. Eliot calls an “escape from personality,” where one adopts a voice that is not one’s own and assume a different identity. ‘The Wishing Tree’ and the sequence titled ‘Seductions’ work as “mask” poems, using voices other than my own. This offers immense creative potential, similar to creating imaginary characters in works of fiction.

There are a lot of women-centred poems in Subliminal. Consider, for example, ‘Designs in Kantha’, ‘Alien’, ‘River/Woman’, ‘That Girl’, ‘The Severed Tongue’ and ‘Walking Through the Flames’. These poems deal with questions of voice and freedom, the body and desire, and the legacy of our foremothers. Some of them are drawn from myth and legend, highlighting the way women tend to be represented in patriarchal discourses.

The natural world and our endangered planet form another thematic strand. I am fascinated by the hidden layers of the psyche, and the unexpected things we discover when we probe beneath the surface veneer of our exterior selves. My poems are also driven by a longing for greater connectivity across the borders that separate us, distress at the growing hatred and violence in our world, and an awareness of the powerful role that words can play in the way we relate to the universe. ‘Peace Process’, ‘After the Riot’ and ‘Borderlines’ express this angst.

How do you use the craft of poetry to address these themes?

Poetry is the art of compression, of saying a lot in very few words. Central to poetry is the image. A single image can carry a welter of associations and resonances, creating layers of meaning that would require many words of explanation in prose. Poems are not about elaborations and explanations. They compel the reader to participate actively in the process of constructing meaning. Reading poetry can become a creative activity too. Poems are also about sound, rhythm and form. I often write “in form” because the challenge of working within the contours of a poetic genre or form actually stretches one’s creative resources. In Subliminal, I have experimented with some difficult short forms, such as the Fibonacci poem, the Skinny, and the sonnet. Take, for instance, the Skinny poem called ‘Jasmine’:

Remember the scent of jasmine in the breeze?
Awakening
tender
memories
bittersweet,
awakening
buried
dormant
desires,
awakening,
in the breeze, the forgotten promise of first love. Remember?

The last two lines of the poem use the same words as the beginning, but to tell a different story. The form demands great economy.

I pay attention to the sound, and even when writing free verse, I care about the rhythm.  Endings are important. Many of my poems carry a twist in the final lines. I mix languages. Bengali words keep cropping up in my English poems.

Are your poems spontaneous or pre-meditated?

The first attempt is usually spontaneous, but then comes the process of rewriting and polishing, which can be very demanding. Some poems come fully formed and require no revision, but generally, I tend to let the first draft hibernate for some time, before looking at it afresh with a critical eye. Often, the final product is unrecognisable.

Which is your favourite poem in this collection and why? Tell us the story around it.

It is hard to choose just one poem. But let us consider ‘Designs in Kantha’, one of my favourites. Maybe the poem is important to me because of the old, old associations of the embroidered kantha with childhood memories of the affection of all the motherly women who enveloped us with their loving care and tenderness. Then came the gradual realisation, as I grew into a woman, of all the intense emotions, the hidden lives that lay concealed between those seemingly innocent layers of fabric. The kantha is a traditional cultural object, but it can also be considered a fabrication, a product of the creative imagination, a story that hides the real, untold story of women’s lives in those times. Behind the dainty stitches lie the secret tales of these women from a bygone era. My poem tries to bring those buried emotions to life.

As a critic, how would you rate your own work?

I think I must be my own harshest critic. Given my academic training, it is very hard to silence that little voice in your head that is constantly analysing your creative work even as you write. To publish one’s poetry is an act of courage. For once your words enter the public domain, they are out of your hands. The final verdict rests with the readers.

Are you planning to bring out more books of poems/ translations? What can we expect from you next?

More poems, I guess. And more translations. Perhaps some poems in translation. My journey has taken so many unpredictable twists and turns, I can never be quite sure of what lies ahead. That is the fascinating thing about writing.

Thank you for giving us your time.

[1] Container for holding Betel leaves or paan

(The online interview has been conducted through emails and the review written by Mitali Chakravarty.)

Click here to read poems from Subliminal.

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

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

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

Categories
Interview Review

I Kick and I Fly: Ratnottama Sengupta Converses with Ruchira Gupta

Ratnottama Sengupta has known Ruchira Gupta for more than 40 years. But reading I Kick and I Fly has made her see in a new light the young journalist who has become a force of change in the global fight against human trafficking.

Kiddy. Ruchi. Journalist. Documentary filmmaker. Emmy Award winner. Founder President, Apne Aap[1]Women Worldwide. Social activist. Agent of changes to international laws. Sera Bangali[2]. Ekta[3] Award winner. Professor, NYU. Cancer survivor. Essayist. Exhibited artist. Published novelist…

“What next?” I could have asked Ruchira Gupta. And without waiting for her to reply I could add, “Member of Rajya Sabha? The first step to even higher offices on the world stage.” Because? This kid born to Rajni and Vidya Sagar Gupta has dedicated her life-breath to ensure that not a single child is either sold or bought for sexual gratification in exchange of a few rupees.

Hardly surprising that when she picked up her pen while recovering from Covid in her family home in Forbesganj, she penned a novel like I Kick and I Fly. “A book that is a MUST READ for one and all who are interested in fighting, tackling, and – not or – ending sex trafficking,” as Anjani Kumar Singh, Director, Bihar Museum said at the launch in Patna. Because? It is a story of optimism as Heera the protagonist, overcomes unimaginable obstacles to emerge a path breaker in the Nat community who believed it was the fate of its girls to sell their body at puberty, or even earlier, for the welfare of their family.

Inspirational. And in the most absorbing way. Read this excerpt from the novel to understand how a message becomes engrossing read.

"My name is Heera. I am from a town named Forbesganj, in a state called Bihar, in northern India, very close to Nepal,” I begin. My voice is shaking along with the rest of me. But I go on. “My brother and I are the first people in our family to ever go to school, and I have grown up believing that being sold for prostitution is my Destiny. That there are few doors open to me as a child of an oppressed-caste family. Our people used to be wrestlers and performers. But overnight we were told we could not do those things anymore, that our entire way of life was illegal.”

My voice is shaking less now and I manage to look at people in front of me. “How do people survive when they are not allowed to do the work they know and love? For my family of nomads, it meant asking people for a place to live, and then doing just about any job they told us we could do. One of these jobs was having sex with people for money.

“These children and women had no choice but to sell their bodies in exchange for a place to live. For food to eat. And for their husbands to be given work. And though people say that times have changed, they must not have changed everywhere, because I have been told since I was a little girl that selling my body was what I had to do to support myself and my family. And I believed it. Many in my family believed it too.

“Finally early this year it was my turn to be put up for sale. My family was in a tight spot, in debt to the wrong man. I grew up in a red-light area, so I knew what it involved. There are no secrets kept from kids where I come from. So, I said No, and we tried to get around it.

“My mother paid back our loan, but the traffickers came for me anyhow. The first time I got away. The second time they got me, but I was rescued by my brother and teacher.

“When I was stuck in a tiny room with my traffickers outside the door, I asked myself why had they kept coming for me even when they had no claim, no right? And that’s when I fully realized that they believed my body belonged to them, and I knew for certain it did not. It was kung fu that helped me understand this. Because it is through kung fu that I learnt, my body would do what I told it to. That my body listened to me – and only me.”

I take a breath. “There is power in my body. My body connects me to my cousin, my aunt, my grandmother who were all sold for prostitution. But kung fu also connects my body to my ancestors, who were champion wrestlers. If both these things lived within me, could I choose which course I wanted to take?”

I look up now, realizing that I have memorized the final words on the page. “For most of my life, the answer to that was NO. But suddenly I felt that maybe there was another possibility. I didn't do it on my own: I needed my family to stand with me, and most importantly, a cheerleader who made me believe that safety could be mine. Rini Di taught me kung fu and opened the doors of the world to me. And that is how I have come to stand before you now.”

Heera stands before her teachers and her friends, other survivors of trafficking as an example who not only fights, successfully, the might of traffickers but who actually saves another trafficked girl.  Who, even more importantly, instils faith, and courage, and dream… In her brother, her mother, and her father. Her brother Salman who always stood by her even as he studied for a better future. Her Mai who broke stones for a livelihood and gathered enough courage to take a loan to put in place a roof over their head. Her Baba who stands as a loser but accepts change and even starts to nurse a dream — for his daughter as much as for his son.

And so, when the Martial Arts Foundation awards Heera and her co-fighter friend, Connie, a scholarship to train for one full year in New York, along with admission to a local school, Heera too starts dreaming. Of a future, perhaps only twelve months down, when her family would be dwelling in a pink-bricked three roomed house. When Salman would study in a residential school in Siliguri. When Mai would have a betel shop. When Baba would be a porter at the railway platform. When her cousin Mira Di would be a seamstress with a tailoring shop of her own in the very backroom where she was forced to service men. When the corrupt policeman, Suraj Sharma, and the trafficker, Ravi Lala, would be in jail, no longer on the prowl in Girls Bazaar.

“It’s not a dream,” says Ruchira , reiterating the clinching line of I Kick and I Fly. “I have seen this transformation actually take place in Forbesganj. “There were 72 home-based brothels in the lane when Apne Aap started. Today there are two. Girls no longer sit outside waiting for customers. The two sisters who were locked up in the hut have finished school. One is a chef, the other is a teacher. The girl who was kidnapped is a karate trainer. Someone like Mai really has a betel paan leaf shop and someone like Mira Di is a seamstress. The cattle fair is no longer allowed to bring dance or orchestra groups.”

This was the perfect time to strike a conversation with Ruchira Gupta, I reckoned. And so I decided to shoot…

Me: How – rather, why – did you start writing I Kick and I Fly?

Ruchi: I started writing this story when a fourteen-year-old girl just like Heera won a gold medal in a karate championship in Forbesganj. She was being groomed for prostitution with other girls in her lane. A lane just like Girls Bazaar.

Her journey was not easy, it was heroic. I saw how she and her friends overcame hunger, fought off their fear and stood up to traffickers with grace and gusto. An annual cattle fair used to claim girls from that lane every year. When my NGO, Apne Aap, opened a community centre and a hostel there, we were constantly attacked by men like Gainul and Ravi Lala. They would stalk the mothers, the daughters, and me. They hurled abuses, threw stones, stole from our office and even kidnapped girls. We built higher walls around the hostel to prevent traffickers from jumping over. I posted guards outside my home, hired lawyers, filed police complaints and cases in court. Just like Mai, some mothers in the lane disobeyed their husbands even though they were beaten up. Their daughters were the first batch of girls in our hostel.

Me: Are all the characters real? Is the hope real? Do people in real life change the way Baba does?

Ruchi: Most of the events in the book are inspired by real people, places, events. To give you one example: A trafficking survivor from Indonesia told me how she was locked up and how she escaped from a brothel in Queens, New York, by disguising herself in a burqa. She is now a global leader in the struggle against trafficking. In my novel, Heera uses the same device to rescue Rosy.

Baba, Heera’s father, is also based on real-life fathers in the Nat community of Forbesganj. They would actually auction off their daughters to the highest bidder when the mela came to town! But as I began working in the red-light area I saw that they were not black and white criminals but human beings desensitised through decades and generations of oppression. Of course, there was no excuse that they did not try to fight back. I did see some fathers change when they saw their daughters succeed. Until then the possibility of a different future had not even occurred to them.

When hope unfurls in a downtrodden human being, it is like a tendril. I saw it in the eyes and actions of some fathers in the red-light area of Forbesganj when their daughters won gold medals in karate.

Me: You have not learnt kung fu. Why did you project Rini Di – clearly your alter ego – as a kung fu teacher? It is a physical art of self-defence. How precisely does that connect with, or help, girls who are in the river of flesh?

Ruchi: I still remember, it was early morning when a boy came to my home with his mother to seek help. His sister and cousin were locked up by traffickers to stop them from coming to the hostel. We had to mobilise the police to get them out. I noticed then that the girls were badly bruised while the traffickers were unscathed. I wished that the girls were able to fight back.

Our Apne Aap women’s group met that afternoon at the centre. Everyone was afraid that we would be beaten in retaliation for the police raid. That’s when I suggested martial arts classes. The women loved the idea. I used to see a couple teach karate teacher near the rice fields to boys in a private school. We hired them and the classes began. Soon the bullying in schools stopped.

As the girls started to win competitions, something changed. The very townspeople who had agitated to urge the principal to expel our red light children began to respect them. And the fathers in the community began to see value in their daughters. The biggest change was in the girls themselves. They began to own their bodies and value themselves. As they gained self-esteem, they began to do better in class. Soon more mothers began to stand up to the traffickers and even to their husbands in the lane, saying they would send their daughters to school.

Me: How did Apne Aap help change the picture at the ground level?

Ruchi: Today Apne Aap has educated more than 3,000 girls from red-light areas through school and college and is still continuing to do so. They are in jobs as animation artists, teachers, doctors, lawyers, chefs, managers of pizza parlours and of gas stations too.

Our NGO’s community has become a safe space to hold meetings, share stories, get food, do homework, and plot against traffickers. Women, very much like Mai and Mira Di, meet regularly in the centre to solve their problems. They fill out forms with the help of Apne Aap workers to access government entitlements like low cost housing, ration and loans. They go collectively to talk to the authorities when there are delays.

The Apne Aap legal team helps victims to file police complaints, testify in court and get traffickers convicted. The real Gainul and the real Ravi Lala are in jail. In 2013, Apne Aap survivor leaders and I testified in Parliament for the passage of section 370 IPC, a law that punishes traffickers and allocates budgets for services to the prostituted and the vulnerable.

Before these could happen, I had shown my documentary and testified to the UN and to the US senate for laws that would decriminalise the victims; increase choices for vulnerable and trafficked girls and women; and punish the traffickers and sex buyers. I can proudly say that my testimony and inputs contributed in the passage of the UN Protocol to end Trafficking in Persons and the UN Trafficking Fund for survivors as well as the passage of US Trafficking Victim Protection Act.

Me: Ruchi you come from an established, politically aware, well connected and much respected family. You grew up in the metros and now live an international life, mostly abroad. You won a coveted award for The Selling of Innocents. You helped in the making of Love, Sonia. Why did you not continue to make films? In short, what compelled you to start Apne Aap Women Worldwide?

Ruchi: As you know, I started as a journalist right after graduation. I learnt to ask questions, and I listened. The question that changed my life was: Where are the girls?

I was researching a story in the hills of Nepal when I came across rows of villages with missing girls. I had asked this to the men playing cards in the villages in Nepal. I followed the trail and found that a smooth supply chain existed from these remote hamlets to the brothels of India. Little girls, perhaps only twelve, were locked up in cages in Kolkata, Delhi and Mumbai for years and sold for a few cents night after night.

All the girls were from poor farming families. Many, like Heera, were from nomadic indigenous communities or marginalised castes. Like her, they were either not sent to school, or bullied until they dropped out, or pulled out by their fathers and sold into prostitution.

I was sad, then angry, and finally determined to do something about it. That’s how I ended up exposing the horror in my documentary. When I was on the stage in Broadway receiving the Emmy in 2013, all I could see beyond the glittering lights were the eyes of the mothers who had broken their silence to save their daughters. I decided in that instant to use my Emmy not to build a career in journalism but to make a difference.

I did two things. I dubbed it in six languages and I travelled across the world with it. I screened it in villages to show parents what the brothels were like. I showed it to the UN and the US Senate when I testified against the crime that is human trafficking. It contributed to a global push by activists that led to a new UN protocol to end trafficking and the first US anti-trafficking law, the Trafficking Victims Protection Act (TVPA).

Me: What was your magic wand?

Ruchi: I had no magic wand. I didn’t even have experience to stop the kidnapping of girls, or knowledge about how to put traffickers in jail. I was an English literature student from Kolkata’s Loreto College who joined The Telegraph while pursuing my honours degree graduation. But as a journalist, I saw the reality and invented ways to move forward.

Something had happened while I was filming the documentary. A pimp had stuck a knife to my throat. I was in a small room. There was nowhere to run. Suddenly, I was encircled by the 22 women I was interviewing. They told the pimp that he would have to kill them first. He knew it would be too much trouble to kill so many women, so he slunk away. I was saved. That moment changed my life.

The Emmy award money helped me start Apne Aap Women Worldwide with the women who had bravely spoken up in my film. I listened to the women who said they had four dreams: Education for their children; a room of their own; an office job; and punishment for those who bought and sold them. That became my NGO’s business plan.

I learnt that the best solutions came from those who experience the problem. The idea of the hostel, the idea of food in the community centre, and even the idea of karate came when we sat in a circle in the mud hut that is our community centre. It evolved into a grassroots approach which we call asset-based community development – ABCD or the 10 Asset model. Every woman or girl who becomes an Apne Aap member gains ten assets – both tangible and intangible. These are: a safe space, education, self-confidence, the ability to speak to authorities, government IDs and documents, low-cost food and housing, savings and loans, livelihood linkages, legal knowledge and support, and a circle of at least nine friends.

Each of these assets is a building block in an unfolding story of personal and community change. I wrote this novel to share with you that change is possible.

Me: Ruchi you had come up with the art-documentation, The Place Where I Live is Called Red Light Area. You got the girls to make a series of videos about different aspects of their life. You supported a documentary on the scheduled tribes. What inspired you to shun Art For Art’s Sake and pursue Art as Activism?

Ruchi: I learned in a very practical way the power of women’s collective action and the importance of sticking by one another. I promised myself I would never give up on those women’s dream. As a result, today thousands of girls have exited the prostitution systems from brothels across the country. There is more awareness about sex trafficking globally. And there are better laws and services for victims like Mira Di in over 160 countries.

Me: But we still have miles to go before we sleep…? 

Ruchi: Yes, because the truth is that there isn’t one but many, many more Heeras. Girls Bazaar still exists in many parts of the world, including the USA. The brothel in Queens is real. The International Labour Organisation estimates there are more than 40 million victims of human trafficking globally with hundreds of thousands of victims in the US alone. Human trafficking is the second largest organised crime in the world, involving billions of dollars, according to the United Nations Office for Drugs and Crime (UNODC).

Me: So, what more actions would you suggest to tackle the issue? Through IKAIF, an upbeat tale of an underdog’s rise to victory, you have shown that ‘lost girls’ earmarked for ‘the oldest profession’ can erase their ‘destiny’ through education, and reliance on their own inner strength. What other positive actions would you suggest?

Ruchi: Heera’s is a story of hope in spite of great odds. It’s about our bodies — who they belong to, the command they can give us. It is about friends who make changes you want in your life. It is about a community that resolves to make change contagious, and succeeds.

You too can ‘Join The Movement’ to create a world in which no child is bought or sold. You can do that in so many ways. You can 1) Sign the freedom pledge on my website Ruchiragupta.com. 

2) Learn more about the issue by reading I Kick and I Fly, and by watching The Selling of Innocents on my website.

3) Create further awareness by sharing the book, the movie and the pledge on your social media handles.

4) Volunteer and intern with Apne Aap or a local NGO in your town.

And you can Sponsor a girl like Heera on apneaap.org!

.

[1] Oneself

[2] The Best Bengali – An award given by the Ananda Bazaar Patrika group

[3] Unity: The Ekta Award is a National Award from India

Ratnottama Sengupta, formerly Arts Editor of The Times of India, teaches mass communication and film appreciation, curates film festivals and art exhibitions, and translates and write books. She has been a member of CBFC, served on the National Film Awards jury and has herself won a National Award. 

.

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

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

Click here to access Monalisa No Longer Smiles on Amazon International