Robihara 2 (Sunless 2) by Nazrul has been translated from Bengali by Professor Fakrul Alam. Click here to read.
Chapter 1 of Isa Kamari’s novel, The Throne,has been translated by the author from Malay. We will be running the whole novel as serial through the year. Click here to read.
An excerpt from Aslam Dostain‘s novel, Sótkál, has been translated from Balochi by Fazal Baloch. Click hereto read.
A Sudden Shower has been written and translated from Korean by Ihlwha Choi. Clickhere to read.
Jhor or Storm, a poem by Tagore, has been translated from Bengali by Mitali Chakravarty. Click here to read.
Rain, Steam, and Speed – The Great Western Railway, 1844, Painting by Joseph Mallord William Turner
Perhaps, the only constant that makes a difference in this ever-transforming world is how we react to changes around us. How do we interact with not just humans but our whole planet with its climate, contours, its plethora of flora and fauna? Will that impact our survival in the long run? And yet with our focus on legacies, traditions, beliefs, we tend to ignore the call to adapt to the new that might help us move towards an unpredictable future. We forget perhaps that these systems had all been made by our ancestors to ensure survival. Somewhere along the way, these have become like fences caging us into small subsets. The strange thing is we continue to allow that to happen and create enclosures which we fight to maintain. The future that we face now seems even more tumultuous with climate change, rising sea levels and global warming taking a front seat while influx of refugees from war and natural disasters have already started making themselves felt. Add to that the shortages of resources that we have taken for granted for centuries. How would we survive these?
Is it by redefining the constructs we have created or just meeting in corners and finding commonalities as suggested by Ryan Quinn Flanagan in his poem ‘Corners’?
Corners are a meeting place, they hold a room together
Our poetry section often reflects what we experience, feel or see around us. We have poems on how nature overrides human constructs by Khayelihle Benghu. In ‘Passport for the Rain‘, she writes:
If rain possessed a passport, it would read: Citizen of every place that drinks.
We also have poetry in our translations with Ihlwha Choi giving us a glimpse of Korean life. Professor Fakrul Alam has brought to us in English a Bengali poem by Nazrul written on the death of Tagore, a poem that was read out in Calcutta radio by the poet himself in 1941. Tagore’s poem, Storm, has been translated in keeping with the heavy downpours in Asia this season. Fazal Baloch has shared an excerpt in English, which reads like a short story, from Aslam Dostain’s Balochi novel, Sótkál, giving us a flavour of the hard life in their region, where self-reliance is a felt need for survival. We have mental heath issues woven into this section with Isa Kamari’s translation of his own Malay novel into English, The Throne. We will be running a chapter every month from this novel.
Book excerpts also has a translation this time with Ramananda Bharati’s Bengali travelogue, The Forest of Snow, brought to us in English by Somdatta Mandal. Aruna Chakravarti has reviewed this non-fiction for us. The other excerpt is from Hughes’ The Biscuit Thief, a book that reflects his distinct brand of absurd humour. Keith Lyons’ interview this time features an excerpt from interviewee Jayanthi Sankar’s short story set in Singapore. Mandal has written on yet another translation from Assamese by Ranjita Biswas of Arupa Patangia Kalita’s The Moonlight Saga. Bhaskar Parichha has discussed Rabindranath Tagore: The Myriad-Minded Man, co-authored by Krishna Dutta and Andrew Robinson. He claims that this book is “is indispensable reading for anyone interested in literature, intellectual history, cultural modernity, or the life of a man whose vision of humanity continues to speak powerfully to an increasingly interconnected world.”
This month’s non-fiction section has trotted around the globe. We have Ravi Varmman K Kanniappan’s essay discussing how to redefine norms. His take is a bit different from Flanagan’s. He tells us, using Huck Finn, Terminator and Sangam Literature, people need to ask not, “What is right?” but “How did I come to believe this is right?” Rengin Uçkan’s writes on the need for framing rules that are compassionate for refugees. And Farouk Gulsara with his inevitable gruff humour talks of climate change while stating things as it is: “Climate change not only shrinks our summer beachwear but also makes outdoor living impossible. Additionally, it’s proving to be more expensive to consume anything…” Jun A. Alindogan narrates how typhoons have increased in number in Philippines and how it affects them while Jeena R. Papaadi reflects on her literary journey. Meredith Stephens shares her sailing adventures in Australia with stunning photographs by Alan Noble. And Suzanne Kamata has brought us a flavour of the unique Zine Fest in Kobe, where both groceries and books find a place!
Devraj Singh Kalsi hovers between fact and fiction. He has a musing which seems like a hash of dark fiction but based on his experiences. He has also shared a story that is purely fictional. Yi-jung Chen brings to us a quirky love story set in Taiwan across time and space while Brindley Hallam Dennis tells a tale about a dog who sits at a table and sips drinks with a straw! Jay Samanta gives a narrative about a modern relationship based on social media output. Naramsetti Umamaheswararao has shared a fable that talks of freeing nature. The issue is, can we really?
In Borderless Journal, we hope to create a space which will help reflect not just the times but also look forward to ideas that can move us towards surviving in a happier world, built on the basis of accepting differences, filled with love, kindness and compassion. While this may sound clichéd and repetitive, given the current climes, these values cannot be emphasised often enough and perhaps our content to an extent does reflect that, sometimes with a soupçon of humour. Do pause by our contents page for this August and tell us what you think.
Winding up this issue, we would like to thank our all contributors for their wonderful writings and photographs. Huge thanks to the Borderless team without who this issue would not have been as vibrant. Special thanks to Sohana Manzoor for her fabulous artwork. Thank you all. All of you together make this journal come alive.
A physician by profession, Aslam Dostain is widely regarded as one of the prominent contemporary Balochi fiction writers. Although he has also written short stories, he is best known for his novels. To date, two of his novels have been published. The flexibility, fluency, and natural flow of language are among the most distinctive features of his novels. The passage under discussion is taken from his first novel, Sotkaal, which was first published in 2008 by Gaam Publications, Gwadar.
An excerpt from Aslam Dostan’s novel, Sótkál, been translated from Balochi by Fazal Baloch
Whenever Asumi spoke of Noddranzán, his words seemed to brim with longing. He was often found talking about the coast of Noddranzán.
Asumi was my cousin, and we were the same age. In the beginning, he was a shepherd like me, but later he began travelling with camel caravans and took up trading. He spoke so admiringly of the coast simply to tempt me and stir my curiosity.
As far back as I can remember, I had never been beyond Sótkál, except once. I have only a faint memory of it. My grandfather had taken me with him down to the coastal region to offer condolences. After that, my entire world was Sótkál. There was hardly anything in Sótkál that escaped my eyes. I knew where water could be found, where the trees and the shades rustled, where the ravines and gorges lay, and which areas were infested with ferocious wild beasts.
Grandfather used to say: “A shepherd who does not know his flock, its ways, and its temperament can never truly be a shepherd. And here, in rain and storms, to be unfamiliar with the temperament of the river that comes surging from the far reaches of Sótkál is to invite your own destruction.”
Grandfather had another story to tell. Once, a group of the British came here determined to find the source of the Sótkál River. Starting from here, they travelled northward, covering some eighteen manzil[1], but eventually grew exhausted and turned back. They said they had done everything they could, but they could not find its source. That is why only those who live along its banks truly understand the temperament of this river, and that, indeed, is the truth.
For as long as I can remember, my entire universe has been these sheep and goats. Grandfather said only this to me: “Ghulamuk, my son! This flock is yours now. You know what to do with it.”
I had no other work besides this. From dawn until I went to bed at night, I was occupied with the flock. Grandfather had, with great wisdom, kept me busy. It took me many years to understand that there could hardly be a greater calling than this.
Whether it was the scorching sun, the freezing winter rains and storms, or the hot, blistering winds of summer, I could find no rest. I was forever responsible for guarding and tending the flock: making sure that no goat fell into a ravine and broke its bones, that none wandered off and got lost, that no beast of prey carried one away, and that no goat drank all of its own milk.
By virtue of being a shepherd, I came to know every corner of the wilderness. Sometimes I would take the flock to the ravine of Kachól, sometimes to the Basshám Pass. At times I could be seen wandering with them through the desert of Mojén Dém, and at others in Masháni. But there was still one place in Sótkál that I had never taken the flock: Jinnani Jomp—The Mounds of the Jinns.”
Grandfather had strictly forbidden me from going there. “Ghulamuk, my child! You may go wherever you please in every corner of Sótkál, but never, ever turn towards the Mounds of the Jinns.”
We were allowed neither questions nor arguments. Whenever such a thing seemed about to arise, Grandfather would stop us before we could even finish speaking.We were always under his watchful eye.
“Don’t put your hands on your head, boy!”
“Don’t stand on the threshold. It is the time of sunset.”
“Straighten your slippers. They’re lying upside down.”
We always carried within us the fear that whatever we did, Grandfather would see it.
Except for one occasion, he had never actually beaten us. But threats, scolding, and warning us with nothing more than a look were part of his everyday manner.
God knows whether we had a guest that day or what the occasion was, but that day Grandfather slaughtered the hen with black-and-white feathers and had it cooked for lunch. We all sat down together for the meal. Everyone began to eat, but Asumi kept his hands to himself.
“What’s the matter, boy? Why aren’t you eating?” Grandfather asked.
“Grandpa, I don’t eat chicken,” Asumi replied.
“You don’t eat chicken? Why not?”
“I don’t eat chicken because chickens eat lizards.”
A look of disgust passed over everyone’s face, but no one said a word.
“So, chickens have only just started eating lizards, have they? They were eating lizards before you were born, and they’ll go on eating them long after you’re dead. Come on, start eating, and don’t talk such nonsense.”
“No, Grandpa. I don’t eat chickens that…”
Asumi had not even finished the sentence when a slap landed just below his ear. Everyone was startled, but no one dared say anything.
“You think you’re clever enough to make arguments? Eat, and be done with it. Didn’t I tell you never to find fault with the food?”
Without uttering another word, Asumi lowered his head and began to eat.
From that day onward, Asumi stopped finding fault with things. I am certain that no sage, mullah, or learned man could have cured him of that habit so swiftly. Yet one hard slap from Grandfather set him right in a moment.
Grandfather would always say, “Don’t be in a hurry. With time, you will ripen into wisdom.”
No one ever sat us down to advise or teach us the ways of the world. With the passing of time, we learned and gathered our share of experience.
How right Grandfather had been!
***
One scorching day, one of the straps of my sawás[2] snapped. I tried as hard as I could to mend it, but everything I did couldn’t fix it. The earth was burning like an oven, with waves of heat rising from it, while the goats of my flock had scattered in every direction.
Reluctantly, I set out across the scorching ground and gathered the flock. When I finally returned and sat down beneath a tree, I looked at my bare feet and felt tears welling up in my eyes. They were covered in blisters, some as large as lemons.
At dusk, I drove the flock home. By then, I could hardly put my blistered feet to the ground. The moment I reached home, I went straight to Grandfather.
“Look at my feet. Just look at how badly they’re blistered! This broken strap has caused me so much trouble. Please make me a new pair of sawás, whatever it takes.”
When Grandfather saw my blistered feet, he replied with a touch of sarcasm: “All right, son. Go and soak the dwarf-palm leaves in water. After dinner, I’ll make you a new pair”.
I did exactly as Grandfather had told me. After dinner, Grandfather sat talking with the family for a while. Then he lay down and soon drifted off to sleep. I thought to myself that perhaps he would make them for me early the next morning.
The next morning, I saw Grandfather heading towards the fields, a shovel slung over his shoulder.
“Grandpa, what about my sawás?” I called out.
“Oh, damn! I completely forgot,” he said with a laugh. “Never mind. You go on. I’ll ask a man named Nakam to make you a pair.”
I took my flock, tucked the dwarf-palm leaves under my arm, and set off towards the jungle, hoping to find Nakam there.
I waited for him for a long time, but there was no sign of him anywhere. My feet were still covered in the blisters I had got the day before, and I had no strength left to walk under the blazing sun.
There was no sign of Nakam.
“What am I supposed to do now, O God?” I wondered.
To hell with him. Let him come or stay away. Why should he care? It’s my feet that are covered in blisters. With that thought, I set about making the sawás myself. I had watched people make them before, so I knew more or less what to do. They might not have been perfect, but somehow, I managed to make myself a new pair.
I was overjoyed. At last, I thought, my feet would no longer have to suffer the burning ground. When I returned home, Grandfather looked at me and, as usual, asked with a teasing smile: “So, my son, did Nakam ever show up?”
“Grandpa, why did you make me believe that a man named Nakam would come and make me a pair of sawás? I waited for him for ages, but he never came,” I replied, a little irritated.
“My son, the truth is, there is no man named Nakam in the whole hamlet. I told you about him because you are a shepherd, and you must learn to fend for yourself. If I make your sawás for you today, what will you do tomorrow?”
Then he added: “Ghulamok, my son, learn to take care of your own needs. Do not sit around waiting for someone named Nakam, because there is no such man in the entire hamlet.”
[1]Manzil: A Day-long journey equivalent to forty-eight mile
[2]Sawás*: Traditional handcrafted Balochi slippers made of dwarf-palm leaves.
Front cover images of the first and second edition of Sótkál
Fazal Baloch is a Balochi writer and translator. He has translated many Balochi poems and short stories into English. His translations have been featured in Pakistani Literature published by Pakistan Academy of Letters and in the form of books and anthologies. He has the translation rights of this novel.
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
Charudutta Panigrahi introduces us to to the eighteenth century literary giant, Upendra Bhanja, who gave up his crown for the love of words. Click here to read.
Ravi Varmman K Kanniappan highlights the contemporariness of Sangam Literature with discussion about a narrative based on trust and power politics. Click hereto read.
Art by Joseph Mallord William Turner (1775–1851). From Public Domain
Floods, heatwave, hurricanes and storms — wild weather rips parts of the earth. While experts attribute these to El Niño and climate change, one wonders if peace and lifestyle choices could have any impact to reverse the changes on our home planet. Do wars add to our deep distress? We lose people, homes, what we nurtured and loved, the beautiful cities and structures we built, even forests, fields and rivers. The nuclear holocausts, the killing fields of the World Wars, the mined fields of Cambodia and Vietnam which continue to maim farmers… all these should have taught us to avoid wars but now when the television throws up images of war-torn zones, one wonders if those are worse than climate disasters?
In climate disasters we lose lives, homes and cities too — but people can step in to help and rebuild after the disaster. In a war setting, rescue workers are at a risk as bombs mow down terrain and destroys the tenor of daily lives. The disasters born of climate change too can be irreversible — especially with rising water levels, depleting shorelines and warmer climes ripped by storms. Which is worse — wars or climate disasters? What do you think? Could we go back to a pollution free world and reverse the darker impacts of climate change?
Just as history accepted wars and moved on, perhaps the time has come when climate change has to be accepted as a part of the new reality, and we have to find new ways of life. Exploring such stories is a book by Rajat Chaudhuri,The Climate Crossroads: Literature’s Encounter with a Planet on Fire. It has been reviewed by Bhaskar Parichha who tells us: “It reminds us that the climate crisis is not solely a scientific or political problem but also a crisis of imagination. Rajat Chaudhuri demonstrates with remarkable insight that stories are among humanity’s most powerful tools for understanding uncertainty, confronting ecological loss, and envisioning more just futures.” Somdatta Mandal, on the other hand, has brought in more on environment with her discussion of Siddharth Kak’s A Fire over Mount Everest. Andreas Geisbert adds colour to this section with his exploration of Angel Ramon’s Requiem of a Lost Nation. Satya Narayan Misra has reflected on Bhaskar Parichha’s Icons of Odisha – Lives that Shaped a State, a non-fiction whose excerpt tells us much about the journey of the author to bring to us community builders in various streams of life. We also have a bit from Kanupriya Dhingra’s non-fiction about a book bazaar that flourishes despite bookshops finding it hard to survive, The Sunday Book Bazaar: Daryaganj and the Making of a Reading Public in Delhi.
Our interviews this month touch upon environmental issues with Keith Lyons conversing with Helen Townsend, environmental entrepreneur and plant enthusiast who is high on sustainability and earth friendly solutions while Suzanne Kamata has interviewed Lily West who has travelled to all the countries in the world and has put it all down in her memoir, West goes East. Like Kamata, she teaches in Japan now. Kamata has also given us a humorous piece on remote controls. Humour is a sentiment that has also been wrought into our nonfiction with a flourish byDevraj Singh Kalsi too. He writes of his wedding sherwanialmost with a passion like the Dickensian Ms Havisham[1] exhibited for her crumbling wedding gown, except it has a different tone — that of wry tongue-in-cheek irony. Farouk Gulsara has a similar twinge of sarcasm as he muses on uncertainties in the future. Ian C Smith brings in a bit of the weather as he muses on a rainy day while Subramaniam Cheemalapati muses on the star-studded sky, dwelling on his anecdotal childhood experiences. Gowher Bhat introduces us to an aid worker who helps war victims. Meredith Stephens continues on her sailing adventures in Western Australia with photographs by her husband, Alan Noble. The photograph of the pink jellyfish is awesome. Do check it out!
Translations have brought in a shower of poetry with Tagore’s poem on a rainy-day hinting at shared confidences. Professor Fakrul Alam has translated Bengali lyrics Nazrul wrote for his friend and mentor, Rabindranath Tagore. Ihlwha Choi has brought to us a whiff of the Korean summer with his verses and Fazal Baloch has brought to us soulful poems from Balochi by Mohammad Hussain Anqa. Isa Kamari’s translations carry a flavour of Malay life in Singapore, and this set of verses bring to a close his book, The Lost Mantras. We are very privileged to have his entire book translated solely in our pages. Isa Kamari is an eminent literary voice of the Malay Singaporean community.
We have news about our hardcopy poetry anthology. We have had six media coverages in less than three months. Professor Malashri Lal deems: “For those of us who still believe in principles of care and compassion, humanism and amity, Wild Winds is a lifeline to keep afloat…It is especially commendable for wrapping global concerns in the fine tissue of hope.” And Mandal tells us: “Reading through these one hundred poems is indeed a pleasurable experience even for readers with a more prosaic temperament.” We are delighted that the book has had a warm welcome. Huge thanks to our publishers for giving us a hardcopy platform.
Thanks to all our contributors, readers and the fabulous team that make borderlessjournal.com come alive each month with a vibrant soul. Huge thanks to Sohana Manzoor for her fabulous artwork. Do pause by our contents page for the July 2026 issue.
Mohammad Hussain Anqa (1907–1977) was a poet, historian, journalist, and political activist. He spent a significant portion of his life in prison because of his dissenting political views, an experience that is reflected throughout his poetry. Anqa’s most important contribution to Balochi literature was the introduction of a modern aesthetic sensibility into the Balochi ghazal. The selected fragments are drawn from various couplets in his ghazals, collected in Roken Poll (The Glowing Flower), a volume of his poetry published by the Balochi Academy in 2007.
(1)
Drop by drop, celestial honey flows into my ears— In midnight hours, when the chime of your bangles fills the air, I wonder whence the angels brought you this grace and modesty; No moon glows so purely, no blossom blooms so fair.
(2)
Whenever, in prayer, I lifted my hands, they were scorched. Like ember smouldering beneath ash was the sky. Tyranny's flames sear the earth like a griddle. I seek to rest a little while, but tell me, how could I?
(3)
If it bears not the fragrance of her perfumed tresses, Let this callous breeze fall dead — I do not care. In quest of my heart, I seek you — but you’re nowhere, My heart—may it lie tangled in a knot of your hair.
(4)
If you have seized my forbearance, along with your grace, The joy of love and longing will fade, you must know. At dawn, Anqa whispered to the nightingale in the cage: “Most of my captive days are gone, just a few left to go.”
(5)
The cloud burst forth and showed you — Ask your tresses how blessings are bestowed. A home is where the heart finds peace, Cots and couches alone make no abode.
(6)
I know not by what mysterious fashion, the Creator shaped this world— The shepherd dreads the wolf; the wolf fears the shepherd’s wrath. Anqa! I spilled my blood so blossoms might grace every garden in the land; Yet never once did I dive for pearls beneath the ocean’s path.
(7)
They crushed the only blossom I called my own May every garden wither, far and nigh. They show me not the path unto her abode May God rend every star out of the sky.
(8)
He rends the garment, only to mend it whole again. How artful this madness proves itself to be. Why does autumn fall to me, while spring blossoms for you, If from the selfsame clay are fashioned both you and me?
(9)
Like a night flower's fragrance adrift through the eerie darkness, O butterfly of my love, when will you come to me silently? Beside my pillow, there shimmered your outstretched hand. I reached to steal a kiss, but the sword cut through me.
.
Fazal Baloch is a Balochi writer and translator. He has translated many Balochi poems and short stories into English. His translations have been featured in Pakistani Literature published by Pakistan Academy of Letters and in the form of books and anthologies.
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
Nazrul’slyrics ofMor Ghumogore Elo Monohor (In my Sleep, Came the Enchanting One) has been translated from Bengali by Professor Fakrul Alam. Click here to read.
Four of his ownMalay poems have been translated by Isa Kamari. Click here to read.
The Heartless, a Balochi story by AbdulQayum Sarbazi, has been translated by Fazal Baloch. Click here to read.
Dragonfly 2 has been composed and translated from Korean by Ihlwha Choi. Click here to read.
Tagore’s poem, Amra Choli Somukhpane(We Look Forward and March), has been translated from Bengali by Mitali Chakravarty. Clickhere to read.
Pandies Corner
Songs of Freedom: Pink Dreams is an autobiographical narrative by Priyanka, written and compiled by Deeksha Vats. These stories highlight the ongoing struggle against debilitating rigid boundaries drawn by societal norms, with the support from organisations like Shaktishalini and Pandies. Clickhere to read.
Larry S Su, who migrated from a mud cave in Shaanxi province to America, shares his story of the changes he sees during three visits to his home and muses on the gaps he has observed between these two places. Clickhere to read.
Summer, Dune in Zeeland by Piet Mondrain (1872 – 1944)
Time present and time past Are both perhaps present in time future, And time future contained in time past.
‘Burnt Norton’, Four Quartets (1941) by TS Eliot
If we look back in time, we have a better life than that of our ancestors. Though conflicts rage and climate change is a reality that we all dread, it can safely be said, we have progressed beyond the imagination of those who lived a hundred years ago. The fact that some books from the past still reverberate with echoes of what the present holds says much for the outliers or authors who could think out of the box. Despite this complex intermingling of ideas and times, perhaps the world will change more now than before. We do not know anything for sure though experts are always predicting a future that for most of us remains unknown. What we can present is our own estimate of what can be and a definite assertion of what is. Truth as such is a matter of perception. That complicates it further. However, one of the changes that is definitely here to stay is climate change and our changing environment. Given that this is the month that homes World Environment Day, we have a smattering of writings that revolve around nature and also the human spirit that defies age.
We have featured a writer who revels in nature and is an ageless voice that bridges multiple cultures, Ruskin Bond. As he turned ninety-two last month, he published multiple new books. We have an excerpt from one of them, Scenes from the Magic Mountain: Five Seasons in the Mussoorie Hills and Beyond, a brilliant collection of snapshots of his interactions with nature over time — be it frogs, snakes or just trees. Some of the vignettes are humorous and some, as all classics are, thought provoking. Bond puts into words how he chose to work in Landour (a small town in Himalayas) and continued to write from there for sixty years. He talks of the spell the mountains cast on him, “I like to think that I have become a part of this Magic Mountain; that by living here for so long, I can claim a relationship with the trees, wild flowers, even the rocks that are an integral part of this landscape.” The other book excerpt is a contrast to Bond’s, a non-fiction called Burnout Highway by Anmol Diddan. It explores the collective suffering of stress at work where achievements distance humans from nature and a fulfilling life and urges readers to be open to changes.
In keeping with the theme of environment, Bhaskar Parichha has reviewed Stephen Alter’s The Fragrance of Rain: A Brief History of the Monsoon. He tells us: “The Fragrance of Rain is much more than a history of weather. It is a meditation on nature, culture, memory, and belonging… Like the season it celebrates, the book is refreshing, nourishing, and lingering in its impact…” While Rakhi Dalal expresses her delight with Shyam Manohar’s The Cold War of Sadanand Borse, a novella translated from Marathi by Jerry Pinto, Meenakshi Malhotra revels in Giti Chandra’s debut book of poems, Setting Traps for Light.
In translations, Professor Fakrul Alam has captured the flavours of Nazrul’s Bengali lyrics, which also echo of the rainy season or monsoons. Isa Kamari brings to us more of his Malay poems in English and Ihlwha Choi shares a rendering of his Korean poem, ‘Dragonfly 2’, into English. One of Tagore’s poems from Balaka (Flight of the Cranes, 1916) has found its way into this issue after being translated. We also have a touching Balochi story around social gaps from the late Abdul Qayum Sarbazi, brought to us in English by Fazal Baloch.
Hughes has continued sharing his short fables, which are absurd but also, comical! A sensitive story about the natural world mingled with Maori concepts by Keiran Martin seems so much in sync with the oceans while Jeena R Papaadi has woven a strange narrative located in a land that only one man could visit. Plamen Vasilev shares a human-interest story set in Europe and Rabiya Rehman takes us to Lahore in quest of a missing destination! Naramsetti Umamaheswararao’s narrative takes us back to a village that opted for trees, thus enriching the environmental lore in this issue.
We have a real life heart rending story from a young girl in our Pandies Corner, written and related by Deeksha Vats, based on the story told by a victim of familial violations and violence.
Our non-fiction section homes Larry Su’s essay on how his life took him from a rural mud cave in Shaanxi province to the glamour of Chicago. Reflecting on the changes he has experienced on his rare visits to his original homeland, Su muses on the cultural and socio-economic gaps he has observed between the two places. Charudutta Panigrahi – as if in direct opposition — shares similarities between two diverse geographies.
Suzanne Kamata explores a custom which may not be that eco-friendly in her column from Japan. Jun A. Alindogan brings home the impact of climate disasters while dwelling on blessings with his narrative about a narrow escape from the Typhoon Ondoy (2009). While Meredith Stephen writes of sailing to Timor Sea with photographs by Alan Noble, Farouk Gulsara takes us on a cycling adventure around the mountains of Titiwangsa. In another musing, he also explores the idea of good and evil in a sardonic tone while Sai Abhinay Penna dwells on the grandeur and vastness of the universe over his morning jog. Gowher Bhat writes of a man for whom age seems to be just a number as he publishes his debut book at 93! One wonders at the frequency of such occurrences — we have writings about two authors above ninety in the June issue. In contrast, Devraj Singh Kalsi brings in mortal fears while writing of visiting doctors with a soupçon of humour – some of it directed at himself.
Perhaps, laughter is really the best medicine to keep well! Ruskin Bond makes us laugh and writes of nature in a way that touches hearts and makes us forget the contrasting glitzy world, where we suffer stress and burnout. Our environment makes a difference, doesn’t it?
With that we wrap up our June issue. Huge thanks to our fabulous team, especially Sohana Manzoor for her wonderful artwork. To all our contributors, heartfelt thanks — we are because you are. And gratitude to our readers who make it worth our while to write and publish here.
We will next meet you during the monsoon months of South Asia though, near the equator, it rains almost every day and, in the Southern Hemisphere, it will be peak winter!
Story by Abdul Qayum Sarbazi: translated from Balochi Fazal Baloch
AbdulQayum Sarbazi (d. 2022) was a Karachi-based fiction writer who began his literary career in the mid-1980s. Deeply influenced by the tradition of social realism, his stories illuminate the struggles, inequalities, and everyday realities of ordinary people. The story translated here first appeared in Monthly Balochi (a magazine in the public domain) in May 1988 under its original title, Bey Maarag.
The doctor checked the unconscious child’s pulse and said, “You have almost killed the child before bringing him to the hospital.”
He lifted the child’s eyelids and examined his mouth and throat. Then he placed a thermometer in his mouth and rolled up his shirt slightly. Looking at the child’s hollow stomach and protruding ribs, the doctor began critiquing the parents in a stern tone. “He is suffering more from starvation than illness. If you cannot take care of your children, why do you bring them into the world?”
The doctor removed the thermometer from the child’s mouth and blinked arrogantly before continuing to scold the father. “May God guide you. Such a high fever. He is standing at the edge of death. Why didn’t you bring him here earlier? Though I know people like you are not entirely to blame. This is what happens when people have too many children and assume they will somehow grow up on their own. Such children do not become responsible human beings; they become a burden on society. But what do you care? For the sake of ‘momentary pleasure’, you bring children into the world only for others to carry their burden.”
The boy’s father lowered his pale face and listened silently to the doctor’s taunts. It was nothing new to him. He had long grown used to harsh words from the police, the coast guard, and the dealer. Rubbing one palm against the other, he let out a weary sigh and looked helplessly at the doctor. His eyes drifted toward the swollen veins in his hands and feet before he sank into a dark cloud of worry.
The doctor cleared his throat, washed his hands with soap, dried them on the hanging towel, and resumed his sermon. “The way you treated this child… not even do we treat our worst enemy so harshly. Anyhow, I will give him two vitamin injections. He also needs glucose. There is barely any sign of life left in him, but I will do whatever I can within my capacity. The rest depends on the boy’s fate.”
The boy’s father lowered his head even further as darkness clouded his already blurred vision. In that moment, a terrible wish rose in his heart: that the earth would split open, the four-storey hospital building would collapse, and everything would be buried beneath the rubble.
After wallowing in helplessness and grief for a short while, he slowly regained control of his breathing and looked again toward the doctor. His eyes faced the merciless man like those of a beggar pleading for mercy. The doctor ran his tongue across his lips as though sharpening a blade on stone and continued coldly: “This is not how a child should be raised. Children require care, sacrifice, and hardship. For breakfast, they should be given half-fried eggs, milk, butter, and bread. At lunch, boiled beans and minced meat. In the evening, fresh fruits and salad. For dinner, meat, chicken soup, and rice. And before going to bed, a glass of milk.”
The boy’s father’s already pale face darkened with despair. He shifted slightly, crushed beneath hardship and helplessness. The doctor glanced at his wristwatch and continued his barrage of words. “At this moment, the child is still not out of danger. Deposit five hundred rupees at the counter in advance for emergency medicines and treatment. The final bill can be settled later.”
The father felt as though he had been stung by a scorpion. His senses were already numb, and whatever strength remained in him now seemed to disappear completely.
For the first time, he spoke. Looking at the doctor with helpless eyes, he said softly, “I do not have five hundred rupees.”
The doctor struck him again with his words. “This hospital is not for the poor and needy. You see all these people working here? They have to be paid. Medicines come from companies, and they demand payment immediately. Do whatever you think is best, but let me make one thing clear: your child will not survive without medicine. If he dies, his blood will be on your hands.”
Then, lowering his voice slightly, the doctor added, “I took pity on your condition and asked for only five hundred rupees. Otherwise, we charge one thousand.”
The father’s dry lips trembled beneath tears that came too early and too painfully. Even the violent tides of the sea seemed less cruel than the doctor’s words. To him, the doctor appeared like a disciple of the Angel of Death, hardened by the complete loss of compassion. Closing his eyes, the father fell at the doctor’s feet and pleaded in a voice heavy with pain: “All I have is two hundred rupees. I do not know whether such a small amount means anything to you, but it is the cry of a helpless father’s soul.”
The doctor’s face darkened with anger. His arrogance swelled again as he replied coldly: “If your money is so dear to you, then take the boy’s dead body home. Perhaps you do not believe my words, but do whatever suits you.”
The boy’s mother stood silently in a corner, numb like a statue. Ever since they arrived at the hospital, she had not uttered a single word. Life had shown her only one face: hunger, poverty, humiliation, and endless helplessness. So she remained quiet.
The boy’s father was not very old, yet he looked far older than his years. He had spent his entire life in patience and endurance. And it was all the poor could afford. But sometimes humiliation becomes heavier than patience itself. Once again, he saw the bitter truth before him. A doctor, whose hands were meant to heal like those blessed by God, had turned his noble profession into a business. To the poor, such men seemed no different from heartless merchants or cruel officials.
Yet the father felt it wiser, perhaps easier, to fall at the feet of this “angel of death” if it might save his child’s life. Swallowing the anger rising inside him, he spoke softly:
“My helplessness lies before you as clearly as an open road. I listened carefully to all your words and hold them with respect. You said that people like us bring children into the world for ‘momentary pleasure’. I have only two children. One lies before you, struggling at the mercy of death, while the other plays in the dirt back at home. Luxury and comfort are sweet words, doctor, but I have never truly known them. The land has nothing to offer us. It is the sea that feeds our children. The old days were much better for people like us, but as time passed, the chains of circumstance tightened around our lives”.
He continued, “I returned home today after spending twelve days at sea battling rough tides. We managed to catch some fish, but the coast guard took their share as if it were their right. Some were taken by the police and customs officers, and whatever remained was bought by the dealers at miserable prices. In the end, my share came to only two hundred rupees. When I reached home, everything was in chaos. My wife was almost unconscious. One child lay unconscious with fever while the other cried from hunger. My wife told me the boy had been burning with fever for a week, but she could not take him to a doctor because she had no money.”
After revealing the bitter truth of his life, he placed the crumpled two hundred-rupee notes on the doctor’s table and said: “I leave both the money and the boy with you. If he survives, he will find his way home. And if he dies, bury him with a handful of dust, because I do not even have enough money for his funeral.”
With these words, he walked away.
The doctor stood silent, staring at his own reflection in the mirror.
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Fazal Baloch is a Balochi writer and translator. He has translated many Balochi poems and short stories into English. His translations have been featured in Pakistani Literature published by Pakistan Academy of Letters and in the form of books and anthologies.
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
In conversation with Teresa Rehmanwith focus on her non-fiction, Bulletproof: A Journalist’s Notebook on Reporting Conflict and a brief introduction to her book. Click here to read.
Translations
Robihara(Sunless)by Kazi Nazrul Islam has been translated by Professor Fakrul Alam from Bengali. Clickhere to read.
Four of his ownMalay poems have been translated by Isa Kamari. Click here to read.
