Categories
Slices from Life

Serendipity in Vietnam

Narrative by Meredith Stephens: Photographs by Alan Noble

Boat which took the author and her husband to Mekong Delta

We alighted from the ferry and disembarked at a small island in the Mekong Delta. Our Vietnamese guide had promised us that we could witness how local people lived. After walking along a trail, we were ushered into a small boat with a local lady at the rear who would row us down the river. We stepped into the back of the boat and another couple stepped into the front.

“Would you mind taking a photo of us?” asked a woman with a bright smile and an energetic voice. I could hear she was English. Then the four of us started bantering and I detected that her partner was English too.

Next, we hopped off the boat and were treated to the chance to hold a cobra, sample local delicacies, and listen to the villagers’ musical performance. The next day we were taken to a restaurant where you could make your own seafood pancakes. Just before lunch, we were given the opportunity to cycle along a nearby path. Those of our group who wished to cycle selected a bicycle. I chose one and headed to the path. Then I looked ahead of me and realised that the English woman’s bike was the wrong size for her.

Cycling tour of the village

“Would you like to swap bicycles? Mine is too large and yours seems to be too small.”

She nodded. We swapped bicycles and seemed to find the perfect match. Our tour guide gave the signal and off we went. After a few kilometres, he signaled to stop so the group would stay together. I found myself at the front of the group and turned around to see the English woman immediately behind.

“I commuted to work by bike for twenty years,” I explained, surprised to be the one who had to stop so the others could catch up.

“I was in Japan. Japan is much friendlier to cyclists. The traffic is slower, and the roads narrower. It’s easier than driving, at least for short distances.”

She nodded. “They cycle a lot in Amsterdam. Also in Cambridge, where I lived for three years.”

I didn’t want to ask too many personal questions of this woman I had only just met, but I was curious. I wondered if she had studied at Cambridge University. Instead of being nosy, I added a few comments about Cambridge.

“We visited there recently. We stayed on the outskirts, and walked in. We had to walk through a park where there were cows grazing with bells around their necks. I much prefer Cambridge to Oxford.”

“Yes, it’s smaller. But Oxford is pretty good too!” she added.

By then the other cyclists had caught up. We continued along the path and then returned for lunch. We resumed the tour and were dropped off back in Ho Chi Minh City.

“Where can we store our luggage?” Alex asked her.

“Here at the tourist agency. We’ll leave ours there while we pop into the markets to get Ian a new backpack. His is broken.”

“Thanks for the tip. By the way, do you have an email address so we can exchange photos?”

“Sure. Where are you heading next?” she asked.

“Hoi An,” she replied.

“Oh! We are going there too. We are doing a cooking class. Would you like to join us?” offered Alex.

“Sure! Send us the link.”

We parted ways.

“See you in Hoi An,” I said, hoping that we could meet again.

The English woman was so easy to talk to, so quick to respond, and pick up on any nuance. I’d already decided that she must be a therapist. I had been trained since early adulthood not to ask people what they did for a living. It wasn’t fair to allow your knowledge of their career success to determine your assessment of them. But I admit to being curious. If she had studied at Cambridge, what career had followed?

Alex and I caught a sleeper train to Hoi An. There we found generously proportioned historic buildings. However, there were too many tourists in Hoi An, people like us. We walked around the town and felt overwhelmed. We could barely move down the street without bumping into other tourists.

The next day Alex texted the English woman. He must have been just as eager to meet the couple again as I was.

“Sorry, your cooking class was full. We booked another one. How about drinks this evening?” she replied.

Alex accepted. That evening we made our way to the bar she had suggested. They stood up and hugged us.

“I’m Jill* by the way. And this is Ian*.”

“I’m Alex, and this is Merri.”

We ordered a gin and tonic. They were drinking beer.

“Since we were meeting you today, we thought we’d better order a gin and tonic,” I explained. This drink brought back memories of England.

After we had sipped our drinks, Alex broached the question that was on my mind.

“So, what do you do when you’re not touring in Vietnam?” he asked.

“I write historical fiction. Ian has retired. When the children were younger, he supported me, but now it’s my turn to support him.”

I was beside myself with excitement. If you asked me which profession intrigued me most, I would have said a writer. I have little inclination to meet actors, politicians, astronauts, rocket scientists, or billionaires, but I certainly would like to meet writers (not to mention musicians). For the next couple of hours, Jill shared her experience of writing, and Alex and I shared our experiences of sailing. I was so excited that I lost my appetite and only nibbled a few snacks at the end of the evening. They told us that they lived in a nearly three-hundred-year-old house in Somerset*, one of my favourite places in the UK.

“Just a warning. We will visit,” Alex added.

“Certainly!” replied Jill.

“And please come sailing with us when our boat is ready!” I urged.

We parted company, and I floated all the way back to the hotel. I looked up her many books online and resolved to read her latest one as soon as I could.

A day later, Alex and I caught another sleeper to Hanoi. It was so pleasant rolling along the tracks that I was lulled to sleep as soon as I lay down. I informed Alex that when we returned to Adelaide, I needed a sleep machine that mimicked the motion of rolling along the tracks and provided the accompanying background noise.

When we exited the station a throng of taxi drivers approached us to offer us rides. We had been advised that it is more secure and economical to use the local ride called Grab[1]. I shielded Alex from one driver that persisted in following him around too closely. I positioned myself between Alex and the driver with my back to the driver. Then we looked over and saw a couple laden with suitcases and eyes glued to their phones. The husband made eye contact with me and gave an exaggerated Gallic shrug and I immediately knew they were French. They looked desperate, and I knew I had to put my rusty French to practice. Years of study at the Alliance Francaise did not equip me to use my French in context. French speakers tended to switch to English as soon as I made my opening gambit in French. This was either because my English accent was too strong, or the French speakers wanted to practice their English. However, this time, the urgency of the situation prompted me to use my French.

“Have you tried to use Grab? It’s less expensive,” I informed them.

“We couldn’t install it. We’re trying to contact the hotel. They were meant to pick us up.”

Her husband was persevering on the phone.

“We’re meant to be going home tomorrow,” the wife informed me. “But our flight has been cancelled.”

“Because of the…,” I offered, unable to quickly find the words for ‘Middle East conflict’.

“Because of the…,” she confirmed. She knew what I meant.

“We were here for our anniversaire,” she explained.

I knew that ‘birthday’ is ‘anniversaire’ in French, but as I was scrambling to communicate, I temporarily assumed that it meant its false friend, anniversary.

“How many years?” I asked.

“69 and 64,” she explained.

Whoops! She must have meant birthday. I pointed to Alex. “He’s ten weeks older than me,” I added.

She laughed and then switched to English.

‘Where are you from?” she asked.

She must have known we were anglophones, but not which anglophone country we came from.

“Australia,” I replied.

She was very surprised to hear this. I continued to scramble to make meaningful conversation, sacrificing precision for getting the words out quickly.

“We come from a town that no-one has heard of,” I added in exaggeration, reverting to French. “Our city Adelaide often gets left out when visiting performers and VIPs come to Australia.”

She laughed again. Then Alex saw on his phone that our Grab ride had arrived. We picked up our bags and exited the station.

Alex decided to join in in French.

Bonne chance,” he said, hoping they would soon find their transport.

Bon voyage,” she replied.

Bon voyage,” I echoed.

I felt sorry and guilty as we boarded our Grab outside the station.

The third serendipitous encounter was on our boat tour in Lan Ha Bay. After spending the night on a small cruise ship, we boarded a dinghy to take us to the rowing boats which were to take us to the caves.

Our tour consisted of two Indian couples, two Danish girls, three Russian couples, and a young Australian family of four from the east coast. Each rowing boat seated eight. As Alex and I were lining up to board we were directed to the boat with the three glamorous young Russian couples. I was a bit concerned about how we would converse in the boat. Sitting in silence would be awkward. The only Russian I knew were those words from the media in the ‘80s, perestroika and glasnost. They wouldn’t get us far because these Russians would be too young to remember the times when these words were used. Alex and I averted our gaze, and the tour guide gave up trying to persuade us to board the boat. We turned around and saw the young Australian family lining up behind us. We smiled at them.

“Aussies!” I exclaimed. We had been deprived of conversation with our compatriots for quite a few days.

The six of us hopped in the rowing boat and were taken inside the stunning Lan Ha Bay. I am not sure that our conversation with our compatriots amounted to much, but it was animated and fun, and I hardly had the time to take in the wonderful bay.

Lan Ha Bay

Seeing the sights in other countries is both a privilege and an enormous treat. What is just as exciting is meeting locals, and the random, sometimes fleeting, and yet meaningful encounters with fellow tourists. We may meet Jill and Ian again. We will never meet the French couple again and don’t even know their names. We just hope they made it to their hotel and then safely back to France. We probably won’t meet the young Australian family again either. The east coast is just too far away. Nonetheless, we have been enriched by the knowledge shared by our kind, enthusiastic and energetic Vietnamese tour guides, and the unexpected encounters with fellow tourists trying to navigate this unique culture together.

* Some names have been changed.

[1] A Singaporean company that caters all over Southeast Asia

.

Meredith Stephens is an applied linguist from South Australia. Her recent work has appeared in Syncopation Literary Journal, Continue the Voice, Micking Owl Roost blog, The Font – A Literary Journal for Language Teachers, and Mind, Brain & Education Think Tank. In 2024, her story Safari was chosen as the Editor’s Choice for the June edition of All Your Stories.

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
The Lost Mantras

Four More Poems by Isa Kamari

Poetry and translations from Malay by Isa Kamari

INCENSE BURNER

O, incense from rock and root!
In the name of God and salutations to the Prophet,
I sprinkle you onto the charcoal ember
in the incense burner inherited from Elders.
Ssseesshh! Ssseesshh! Ssseesshh!
Billow across the span of humanity.
Sharpen our senses, elevate our spirits,
as an adornment of prayers for peace,
as an accompaniment of the dead.
Send blessings to the world of jinns and humans.
The doors of servitude open,
the purpose both are created.
You are the balm for tormented souls.
You welcome the mind into the realm of remembrance.
Focus the soul on complete devotion
to the One, the only One.
Those with vague knowledge
only see smoke of superstition,
stupefied as rose water is sprinkled.

Ssseesshh! Ssseesshh! Ssseesshh!

O, this servitude is indeed fragrant!
O, this worship is indeed mystical and intimate
to the One, the Only One.
When the kris blade is smouldered by smoke,
after washed with lime juice,
in the name of God and salutations to the Prophet,
the blade is dried and withstands rust,
preserving inheritance and the calling.
Culture and religion are intertwined,
knowledge and understanding of the sacred realm
that bless the worlds of jinns and humans.
The doors of servitude open,
creatures of the One,
servants of the only One.
O, this servitude is indeed fragrant!
O, this worship is indeed mystical and intimate!
Ssseesshh! Ssseesshh! Ssseesshh!
Allah! Allah! Allah! My Lord!

DEBT

Hey, bestower of pleasure!
Hey, the saving hand!
I think I have been to hell:
My soul is charred by sins,
My mind is bombarded by doubt.
I have rebelled against Me
for fulfilling my desire.
I think I have been to heaven:
My soul is at peace with gratitude.
My mind is still in acceptance.
Everything has its place.
Everything is measured.
I am accepted by Me,
mutual and pure.
But return my will,
return my future,
return my entire me to the world and reality,
from mere illusion, from every expectation.
I want to live.
I want to live.
I want to live in a bit of doubt,
in a pinch of rebellion,
to learn by myself,
to be in place and measured.
Hey, bestower of pleasure!
Hey, the saving hand!
Let me pay my debt in feelings unsatiated.

THE MOUNTAIN
God, smash the mountain
in my soul.
Obliterate the entire me
with your Grace and Love.
I could no longer bear
the sufferings of alienation.

FIRASAT
(Spiritual Intuition)

People nowadays do not know firasat.
People nowadays do not use firasat.
Purity brought down from Elders—
the first intuition without veil,
the stirrings and effects of unity of experience:
Nature, knowledge, and actions unified,
moved by the eye of the soul,
nurtured by the discipline of the mind,
based on strings of reiterative knowledge,
demonstrated by signs from layers of Nature,
validated by proofs in actions and breaths.
The mind, soul, and spirit
moulded in the self and surroundings.
Ever since it is compartmentalised by thoughts
that distinguish object from subject,
dissecting issues to the atom,
limiting conclusions and acceptance,
denying possibilities and visions,
veiling light by separation of knowledge.
Is not this world a mirror?
Is not this universe a sign?
Is not this life a labyrinth?
Is not a problem interlinked?
Science, philosophy, psychology, history, and religion
are only points of view
that need to be reunified,
that need to be rejuvenated as a whole
with stirrings and effects of firasat
that will pierce layers of existence,
that will open secret doors of
the manifest, symbolic, transcendent, and immanent worlds.
Are not all that fall from the sky,
grow on the surface of the earth,
and return to the sky a belief in the unity of everything?
So, the dust that floats in the air
remembers the moment of attesting of the spirit
that is gently blown at the boundaries of seven worlds.
"Am I not your Lord?"
The Malay testifies in firasat:
"Yes, we affirm!"

Isa Kamari has written 12 novels, 3 collections of poetry, a collection of short stories, a book of essays on Singapore Malay poetry, a collection of theatre scripts and lyrics of 3 music albums, all in Malay. His novels have been translated into English, Turkish, Urdu, Arabic, Indonesian, Jawi, Russian, French, Spanish, Korean, Azerbaijan and Mandarin. Several of his essays and selected poems have been translated into English. Isa was conferred the S.E.A Write Award from Thailand (2006), the Singapore Cultural Medallion (2007), the Anugerah Tun Seri Lanang (2009) from the Singapore Malay Language Council, and the Mastera Literary Award (2018) from Brunei Darussalam.

He obtained a BArch (Hons) from the National University of Singapore in 1989, an MPhil (Malay Letters) from Universiti Kebangsaan Malaysia in 2008 and is currently pursuing a PhD programme at the Academy of Islamic Studies, Univeristi Malaya. His area of research is on the problem of alienation and the practice of firasat (spiritual intuition) in selected Singapore Malay novels.

The Lost Mantras is a collection that blends spirituality, Malay cultural heritage, and universal human experience. First published as part of Menyap Cinta (Love Greetings, 2022, Nuha Books KL), these poems are like a bridge between mysticism and everyday life, where traditional images (betel, jasmine, kris[1], oil lamps, setanjak[2]) are woven with Qur’anic echoes, prayers, and existential questioning. The collection carries a Sufi resonance—always circling back to longing, humility, surrender, and beauty as signs of God. The poems are not only lyrical but also function as cultural memory: they preserve Malay traditions, communal practices, and village life, while situating them in a cosmic framework of faith, sin, and redemption. The use of Malay customs, rituals, and objects is powerful: it asserts that spirituality is not abstract but embedded in heritage. This makes the collection uniquely Southeast Asian despite its universal in appeal.

[1]A dagger

[2] Malay headgear

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

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

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Categories
Musings

Dreaming in Pondicherry

Narrative and photographs by Mohul Bhowmick

Pondicherry must have been a dream. To co-exist in the halls of history where the French had left their mark was well within one’s capacity, but to thrive in a society where sandwiches were the norm and butter paneer the exception verged on the extraordinary. Every day in Pondicherry merited a visit to Baker Street, whose otherworldly triad of sandwich, croissant and quiche deserved an equally competent pat on the back; to not grow fat, content and happy in this town would have been doing it an injustice.

The Basilica of the Sacred Heart of Jesus, towering above the modest remains of Mahatma Gandhi Road, buffered the excesses that Our Lady of Angels (or Notre Dame des Anges – you tended to pick up lingua colonia in Pondicherry) gracefully bypassed. The ashram of the terrorist-turned-mystic Aurobindo Ghosh sat quietly on Rue Marine. To capture the whiff of spirituality by contact two lanes away on Rue de Dupleix was not to ask for much.

The breath of fresh air that Ananda Adyar Bhavan up the same road promised but did not deliver remained just as it was when I had last come here three monsoons ago; in a stubborn reluctance to offer it anything but importune wisdom, I remembered being carried away by Alexander Dumas’ The Count of Monte Cristo (1846).Yet, it befitted the traveller to note that Rue Dumas honoured the colonialist Pierre Benoît Dumas[1], and not the man considerably greater than him. Of course, the French celebrated Dupleix[2] far more, as evidenced by a huge monument dedicated to him at the end of Goubert Avenue. To them, he was the greatest hero in a world where Napoleon was yet to be born, and where the English did not have Cromwell and the Americans had not seen Washington.

The sun bypassed the graceless winds that set up shop on the Promenade every evening; frequented far more by tourists than locals, it risked losing its sheen as something more than a weekend destination. But the coffee — of course, the coffee — whose aroma one could smell five streets away, was only a tad more appealing than the Pain au chocolat in all the bakeries of Pondicherry, upon whom entire paeans could be written.

To be carried away by such history was a must in Pondicherry; to stay sane, all one had to do was avoid mixing one’s emotions up in the Black Town, and be carried away by scarcity, poverty and destitution while crossing the canal between Netaji Salai and HM Kassim Salai. When I asked a fumbling Frenchman as to why the most significant roads of Pondicherry were named after men who vociferously advocated for self-rule, he told me that he did not know much about de Gaulle, and that his companion, a mild-complexioned young woman to whom being a liberal meant the same as being a libertine, had not read Voltaire.

In the heart of every Frenchman, there is wine,” I said, quoting Ramanujan, who had been to Strasbourg and Marseille by road, but this only elicited the tiniest of smiles from a pockmarked student from Nantes who had read Hugo, and to whom the world was only just showing its vraies couleurs. It was all she could do not to stand in attention and belt out La Marseillaise under the mid-afternoon sun on Rue de Bussy.

[1] Pierre Benoît Dumas (1668–1745) was the French Governor General for Pondicherry

[2] Joseph Marquis Dupleix (1697-1763), Governor general of French India

 Mohul Bhowmick is a national-level cricketer, sports journalist, poet, essayist and travel writer from Hyderabad, India. He has published five collections of poems and one travelogue so far. His latest book, The Past Is Another Country, came out in 2025. More of his work can be discovered on his website: www.mohulbhowmick.com.

.

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
The Lost Mantras

It’s but a Memory… More Poems by Isa Kamari

Poetry and translations from Malay by Isa Kamari

THE BENCH

The melodious magpie on the bamboo twig --
the passing breeze welcomed the chirping.
Sitting on a dilapidated wooden bench,
under the thick canopy of the mango tree,
village folks rested in the shade,
calming the tremors of troubled hearts.
The hardship evident in the sighs,
still hopeful of tomorrow’s dreams,
drying the sweat of weariness.
Honest earnings chased away worries.
A pinch on the thigh, a cry of pain.
Laughter and jokes were shared merrily,
teasing the maiden sitting by the door,
smiling sheepishly, welcoming attention.
Recollecting a slice of an old tale,
fun and camaraderie were reminisced,
firm and amicable bonds were fostered.
It’s but a memory. It’s but a memory. It’s but a memory.
Now alone in a room,
gazing at the handphone screen,
chatting aimlessly in social media—
do we remember and long for the dilapidated bench,
crafting old tales, forging firm and amicable bonds?
Do we remember and pine
for the maiden sitting by the door?



CUSTOMS


Customs are not like banana fritters
coated with rice flour, dipped in hot oil,
served instantly, crispy and delicious, eaten warm,
accompanied by sips from a cup of black coffee.
Customs are like rain
that falls on the whims of the weather.
It’s always there, although infrequent,
temperamental and purposeful,
sometimes an inconvenience— plans thwarted—
but always invigorating
and instils a sense of acceptance.
If received with gratitude,
directed with perseverance,
and tempered with wisdom.
Life is beautiful with droplets of grace.
Life is fertile with the pouring of bounties.
Life is prosperous with love bestowed.
Customs make the earth supple.
Customs make the village noble.
Customs make a people well-mannered.
Once in a while,
relish a crispy banana fritter
and sip warm black coffee
while it rains cats and dogs.
Momentary disruption of plans,
the alleys and roads flooded—
moments of reflection,
moments of appreciation for the day,
is inherent in droplets of grace,
inherent in the pouring of bounties,
inherent in love bestowed.
Shifting of time and signs
the soil is tilled with purpose.
The village gathers and collectively agrees,
the people ready to realise
aspirations of good character
and respected stature.



SMOKE

Like smoke billowing amidst rubbish,
he burns his self-worth,
dances in the flames,
when the fire is meant
to warm breakfast and meals to school.
Now like smoke,
his children are floating,
begging for favours
at tips of cigarettes and cars’ exhaust pipes,
crushed by confusion in the stifling air.
Who would be hungry
if the smoke does not billow in the kitchen,
and for generations,
our humanity returns uncooked to God?



CURSE OF A WARRIOR

Hail the snake and its venom!
Call it a callous and rebellious act!
Shame be endured,
head decapitated!
Surrender not, carry the corpse!
Foolish is the mind,
desperate are the moves.
Let death fulfil the curses.
Let death be executed by the Angel.
Destroy my body, take my soul.
The wooden club hit the coffin.
Pierce my tongue and neck.
Stab my chest, guts dis-embowelled.
Blood spurts, life departs.
The warrior kisses the earth.
Blood turns into pus.
Pus turns into ambers of Hell.
Let me die so you die.
Let us die so everyone dies.
I give you my sin, my hurt, my sadness.
You’ll bathe in blood.


Isa Kamari has written 12 novels, 3 collections of poetry, a collection of short stories, a book of essays on Singapore Malay poetry, a collection of theatre scripts and lyrics of 3 music albums, all in Malay. His novels have been translated into English, Turkish, Urdu, Arabic, Indonesian, Jawi, Russian, French, Spanish, Korean, Azerbaijan and Mandarin. Several of his essays and selected poems have been translated into English. Isa was conferred the S.E.A Write Award from Thailand (2006), the Singapore Cultural Medallion (2007), the Anugerah Tun Seri Lanang (2009) from the Singapore Malay Language Council, and the Mastera Literary Award (2018) from Brunei Darussalam.

He obtained a BArch (Hons) from the National University of Singapore in 1989, an MPhil (Malay Letters) from Universiti Kebangsaan Malaysia in 2008 and is currently pursuing a PhD programme at the Academy of Islamic Studies, Univeristi Malaya. His area of research is on the problem of alienation and the practice of firasat (spiritual intuition) in selected Singapore Malay novels.

The Lost Mantras is a collection that blends spirituality, Malay cultural heritage, and universal human experience. First published as part of Menyap Cinta (Love Greetings, 2022, Nuha Books KL), these poems are like a bridge between mysticism and everyday life, where traditional images (betel, jasmine, kris[1], oil lamps, setanjak[2]) are woven with Qur’anic echoes, prayers, and existential questioning. The collection carries a Sufi resonance—always circling back to longing, humility, surrender, and beauty as signs of God. The poems are not only lyrical but also function as cultural memory: they preserve Malay traditions, communal practices, and village life, while situating them in a cosmic framework of faith, sin, and redemption. The use of Malay customs, rituals, and objects is powerful: it asserts that spirituality is not abstract but embedded in heritage. This makes the collection uniquely Southeast Asian despite its universal in appeal.

[1]A dagger

[2] Malay headgear

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
The Lost Mantras

Four Poems by Isa Kamari

Women wearing baju kurongs and men wearing kain sampings. From Public Domain
OIL LAMPS

We did not taste chicken unless it was Hari Raya.
Mats laid on the corridor floor in front of ten doors—
the barrack houses at the end of Ramadan
decorated by oil lamps at each corner.
The gloomy village turned bright.
Each family brought out trays of varieties of dishes and cakes,
the feast welcoming Shawal.
The call of prayer from the radio,
followed by the hymns to glorify God.
Life in the village was indeed harmonious,
although sprinkled with misunderstandings,
slighted feelings throughout the year.
Exchanging delicious food,
extending congratulatory wishes,
laughter and tears flowed unimpeded.
The young proceeded to the field,
ignited the fuse of bamboo cannons
stuffed with carbide powder fodder.
The new moon was welcomed by blasts, claps, and cheers of happiness.
Flames of oil lamps swayed in the breeze,
resplendent till the morning,
before going to the mosque in groups,
wearing the baju kurung and kain samping.


THE BENCH

The melodious magpie on the bamboo twig,
the passing breeze welcomed the chirping.
Sitting on a dilapidated wooden bench,
the thick canopy of the mango tree,
village folks rested in the shade,
calming the tremors of troubled hearts.
The hardship evident in the sighs,
still hopeful of tomorrow’s dreams,
drying the sweat of weariness.
Honest earnings chased away worries.
A pinch on the thigh, a cry of pain,
laughter and jokes were shared merrily,
teasing the maiden sitting by the door,
smiling sheepishly, welcoming attention.
Recollecting a slice of an old tale,
fun and camaraderie were reminisced,
firm and amicable bonds were fostered.
It’s but a memory. It’s but a memory. It’s but a memory.
Now alone in a room,
gazing at the handphone screen,
chatting aimlessly in social media—
do we remember and long for the dilapidated bench,
crafting old tales, forging firm and amicable bonds?
Do we remember and pine
for the maiden sitting by the door?

CUSTOMS

Customs are not like banana fritters
coated with rice flour, dipped in hot oil,
served instantly, crispy and delicious, eaten warm,
accompanied by sips from a cup of black coffee.
Customs are like rain
that falls according to the weather.
It’s always there, although infrequent,
temperamental and purposeful,
sometimes an inconvenience— plans thwarted—
but always invigorating
and instils a sense of acceptance.
If received with gratitude,
directed with perseverance,
and tempered with wisdom,
life is beautiful with droplets of grace,
life is fertile with the pouring of bounties,
life is prosperous with love bestowed.
Customs make the earth supple.
Customs make the village noble.
Customs make a people well-mannered.
Once in a while,
relish a crispy banana fritter
and sip warm black coffee
while it rains cats and dogs.
Momentary disruption of plans,
the alleys and roads flooded—
a moment of reflection,
a moment of appreciation of the day,
inherent in droplets of grace,
inherent in the pouring of bounties,
inherent in love bestowed.
Shifting of time and signs
so the soil is tilled with purpose,
so the village gathers and collectively agrees,
the people ready to realise
aspirations of good character
and respected stature.

SIN

Sin is the earth,
Sin is the water,
Sin is the air,
Sin is the fire,
moved by a rebellious heart,
whispered by a vile intention.
Yes, Sin is the arrogance.
Yes, Sin is the pawn of power.
Yes, Sin is shamelessness.
Sin is a human,
who is given a will without limits,
without pity, who wants to be the reigning deity,
who wants to be the undeterred devil:
also, a human who chooses to want darkness,
wants to cheat, gorge, and be satiated:
the snake slithering in dark crevices,
the scorpion hiding in an undetected nest,
the leech waiting for prey in wetlands.
But Sin is the smelly compost that cultivates,
the cracked mirror that reflects form,
despondent valleys that look up to the summit,
tumultuous sea flowing from the openness of estuaries.
If the earth, water, air, and fire
are cleansed by seven skies, seven rivers, and seven blossoms,
moved by a modest heart,
whispered by a sincere intention,
Yes, the Sin will change to Repentance.
Yes, the Sin will change to Obedience.
The Sin will become Blissful and Fragrant.
Humanity.

Isa Kamari has written 12 novels, 3 collections of poetry, a collection of short stories, a book of essays on Singapore Malay poetry, a collection of theatre scripts and lyrics of 3 music albums, all in Malay. His novels have been translated into English, Turkish, Urdu, Arabic, Indonesian, Jawi, Russian, French, Spanish, Korean, Azerbaijan and Mandarin. Several of his essays and selected poems have been translated into English. Isa was conferred the S.E.A Write Award from Thailand (2006), the Singapore Cultural Medallion (2007), the Anugerah Tun Seri Lanang (2009) from the Singapore Malay Language Council, and the Mastera Literary Award (2018) from Brunei Darussalam.

He obtained a BArch (Hons) from the National University of Singapore in 1989, an MPhil (Malay Letters) from Universiti Kebangsaan Malaysia in 2008 and is currently pursuing a PhD programme at the Academy of Islamic Studies, Univeristi Malaya. His area of research is on the problem of alienation and the practice of firasat (spiritual intuition) in selected Singapore Malay novels.

The Lost Mantras is a collection that blends spirituality, Malay cultural heritage, and universal human experience. First published as part of Menyap Cinta (Love Greetings, 2022, Nuha Books KL), these poems are like a bridge between mysticism and everyday life, where traditional images (betel, jasmine, kris[1], oil lamps, setanjak[2]) are woven with Qur’anic echoes, prayers, and existential questioning. The collection carries a Sufi resonance—always circling back to longing, humility, surrender, and beauty as signs of God. The poems are not only lyrical but also function as cultural memory: they preserve Malay traditions, communal practices, and village life, while situating them in a cosmic framework of faith, sin, and redemption. The use of Malay customs, rituals, and objects is powerful: it asserts that spirituality is not abstract but embedded in heritage. This makes the collection uniquely Southeast Asian despite its universal in appeal.

[1]A dagger

[2] Malay headgear

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

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Categories
Aeons of Art

Art is Alive

By Ratnottama Sengupta

The Gregorian calendar was still showing 1998.

I was in Oxford on a Charles Wallace fellowship to study John Ruskin’s influence on M K Gandhi and R N Tagore. Like any other student I lived in a hostel, walked up to the Ruskin School of Art and Ashmolean Museum, to the High Street and the flea market, to the Bodleian Library, and – of course – the book stores that continue to make that ancient city of academic excellence such a delight for a person like me who started crawling in the midst of books.

What caught my fancy on the book-lined shelves in the hometown of a ‘legal deposit’ library? The screenplays of Quentin Tarantino. Countless books on Elizabeth 1 – perhaps because Shekhar Kapur’s Elizabeth had just released worldwide. And the volumes on art. The gorgeous reproductions halved the tedium of walking miles of museums and galleries. And the history of art rekindled my love for paintings from our collective past.

But what I didn’t take kindly to was the neglect of – if not bias against — art from my homeland. There were books on Greek, Chinese, Japanese , African, Egyptian, Mayan, Roman art, on Russian Icons and Stained Glass windows, on French Impressionists and German Expressionists, Cubists and Moderns… But Indian art? For crying out loud, where was Ajanta-Ellora? The glass paintings and Miniatures? Pichwai and Patachitra, Nathdwara and Kalighat Pat, Warli and Madhubani, Santiniketan and Baroda?

That’s when I told myself, “Put the journey of Indian paintings between covers.” For, which other country has a continuity that I can boast, of a tradition that has continued unchequered for three thousand years and more?

Once I was back home, my friend Reeta Dutta Gupta approached me to edit an Encyclopedia of Culture for the India Series she was nursing. And Dr Jain of Ratna Sagar entrusted me to author a Notebook that would recount for school-going children the story of Indian art from Bhimbetka to the present millennia. What luck!

*

Be it the hunters and the hunted of Bhimbetka, the rock art now on the UNESCO list of World Heritage, or Kolam and Alpana and Rangoli, the decorative designs of Kerala and Bengal and Maharashtra. Be it the Buddha of Ajanta Frescoes or the ploughmen and blacksmith of the Haripura Congress panels painted by the Bengal master Nandalal Bose, be it the illuminations in the Jain manuscripts or the Mughal manners immortalised by the kalams: art in India has grown out of everyday life. These art expressions have been an integral part of the people’s existence, regardless of the style or the period in which they were painted. Yes, down centuries Indian art has withstood change of regiments, religions, philosophy, social content, historical setbacks. And, aesthetic excellence has found an outlet in forms and lines, strokes and colours, whether these were obtained by crushing gems or pounded rice.

This has helped India enjoy a continuity that is rare even in the developed societies. From the sketches of Bhimbetka to those of the tribal artists of Warli, from the murals of ancient India to the art of contemporary masters, from the miniaturised figures to the Tantric patterns – art in India has reinvented itself again and again. And each time it has emerged with renewed vigour and vitality. Because, every age has related to art in an intimate way. By painting on the wall. Decorating the floor. Placing it on the altar. Or simply by keeping an account of the times.

As A Ramachandran – then professor of art at Jamia Millia Islamia in Delhi – had said to me, “Even when our ancient language that was deemed the language of the gods, fell into oblivion, art transcended centuries because it was communicating through a universal language – the visual language of colours and hues.” The lines defined the form, and also created a unitary area for the use of colour, he had further explained. “No matter what the subject, comprehension was never a problem for the Indian – until he was confronted by the art that was imposed by the colonialists.”

The Western overemphasis on realism played havoc, with the native sensibility that allowed for imagination and stylization, Nair Sir had pointed out. That sensibility had no problem accepting a ten-armed goddess, Dasabhuja Durga, or Dasanan, the ten-headed Ravan. “Lifestyle changes too have led to the dilution of Indian aesthetics that once enveloped our workaday lives. The only living art today is the visual art traditions in the villages, but that too might not last as villagers now want to ‘rise’ to the level of the urbans!” he had lamented.

In such a situation, art becomes doubly significant in the life of a child. When she or he is exposed to it, the child can not only access the history and the continuity of a culture but also nurture it with love that can ensure it lives in the days to come… With this in mind, I will write to focus on the high points of Indian art.

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 writes books. She has been a member of CBFC, served on the National Film Awards jury and has herself won a National Award. 

.

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Categories
The Lost Mantras

A Song of the Wind & Other Poems by Isa Kamari

A SONG OF THE WIND 

I surrender my body and soul
to smoke, steam, and mist,
which I gather with one last fibre of strength.
Listen to this lonesome song,
for the sun is envious of my existence.
This life yearns for separation;
frailty is only human.
Ballads after ballads you would know.
An honest young man is always chided for his age.
The unending love of parents
sometimes makes them act as dictators.
If you feel life as silkworms
dreaming of freedom,
just remember your wings have broken
the moment you willingly accept
the smoothness of silk.
If the clouds are too heavy
for the roof of your home,
call the wind, summon the earth.
Then you would taste the sweetness of charity.
But remember,
a barren land sometimes is best left barren,
for art also seeks justice.
Proclaim, but do not claim,
for your worth is still in a balance.
As life is a bountiful gift,
be discreet in giving alms,
but you must be brave to challenge,
although it means
you have to burn a piece of love letter.
For God is closer than your jugular vein.
I come to you from a dusty journey
where I gather smiles from smoke, steam, and mist.
Listen to this lonesome song for a while,
for I am envious of the ensuing dusk.

MOTHER

Oh, Allah,
I know of your Love
from the binjai which she craved for—
a slice from the only fruit plucked by a neighbour.
I know of your Mercy
from the warmth of the womb that protects a soul,
a frail presence in want of a mouthful of rice mixed
with soy sauce and fried fish,
under the thick foliage of the tree of Time,
offering shade to the unfolding age.
The moment she left to meet You,
the tree of Hope fell;
the kingdom of the Hereafter shook in my soul.
Parting will ultimately lead to meeting again.
Only to You I surrender,
begging for your love for Mother—
a straight path tracing her footsteps;
asking for your mercy for Mother—
which overrides your wrath over my life astray;
seeking your gentle affection,
as warm as Mother’s fingers.

TWEET

The chirping has escaped the cage.
The chirping is free; the trap is empty.
The chirping is returned and received.
The chirping is delirious on the rotten branch.
Your tail searches for the nest,
Your claws clench the twigs,
Your wings sift the wind,
Your beak catches the worm,
Your eyes survey the rainbow.
Hey you, the bird which has escaped!
Hey you, the bird which is free!
You bring along the cage in your flight.
The trap awaits your return.
If your tail is not guided by faith,
If your claws are not holding on to good deeds,
If your wings are not spreading grace,
If your beak is not chirping gratitude,
If your eyes are not seeking redemption—
Your song is a caged cry,
Your tweet is a prisoned anguish.
The resplendent feathers that you show off
are hiding a sadness as wide as the sky.

THE TRAIN

The door will close.
If religion is the track,
it does not determine
the path and destination for commuters.
They board and alight at different stations,
not the one, not the only one, not the same always.
Religion is like a map;
it does not make life boring,
does not block a journey,
shows the path anywhere you go,
not the one, not the only one, not the same always.
We are not carriages
that do not have choices.
Just make sure the meandering path is fun and secure,
the last stop safe and peaceful.
The door will close.
The One awaits there,
wherever it is.
The inside of a binjai mango. From Public Domain

Isa Kamari has written 12 novels, 3 collections of poetry, a collection of short stories, a book of essays on Singapore Malay poetry, a collection of theatre scripts and lyrics of 3 music albums, all in Malay. His novels have been translated into English, Turkish, Urdu, Arabic, Indonesian, Jawi, Russian, French, Spanish, Korean, Azerbaijan and Mandarin. Several of his essays and selected poems have been translated into English. Isa was conferred the S.E.A Write Award from Thailand (2006), the Singapore Cultural Medallion (2007), the Anugerah Tun Seri Lanang (2009) from the Singapore Malay Language Council, and the Mastera Literary Award (2018) from Brunei Darussalam.

He obtained a BArch (Hons) from the National University of Singapore in 1989, an MPhil (Malay Letters) from Universiti Kebangsaan Malaysia in 2008 and is currently pursuing a PhD programme at the Academy of Islamic Studies, Univeristi Malaya. His area of research is on the problem of alienation and the practice of firasat (spiritual intuition) in selected Singapore Malay novels.

The Lost Mantras is a collection that blends spirituality, Malay cultural heritage, and universal human experience. First published as part of Menyap Cinta (Love Greetings, 2022, Nuha Books KL), these poems are like a bridge between mysticism and everyday life, where traditional images (betel, jasmine, kris[1], oil lamps, setanjak[2]) are woven with Qur’anic echoes, prayers, and existential questioning. The collection carries a Sufi resonance—always circling back to longing, humility, surrender, and beauty as signs of God. The poems are not only lyrical but also function as cultural memory: they preserve Malay traditions, communal practices, and village life, while situating them in a cosmic framework of faith, sin, and redemption. The use of Malay customs, rituals, and objects is powerful: it asserts that spirituality is not abstract but embedded in heritage. This makes the collection uniquely Southeast Asian despite its universal in appeal.

[1]A dagger

[2] Malay headgear

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

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

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Categories
Stories

Visions by Fabiana Elisa Martínez

Fabiana Elisa Martínez

“And suddenly, among all those people I didn’t know, I had this strange feeling, this implausible realisation that I was seeing him for the first time. Handsome, confident, articulate in a language I still cannot follow with grace. And I felt this pang inside, you know, as if a naughty elf inside me were swaying my heart with a rope. How can I see my husband for the first time after having been married to him for almost eight years?”

Rosalia remained silent, observing for some speculating seconds the little square of tablet that Rita had brought for their tea.

“Your husband is exactly like this sweet, darling, which, by the way, is delicious. I need the recipe before you leave.”

“Like tablet?” Rita inclined her head to the right in the exact same way her daughter did when she heard anything worth clarification. “My grandmother Cochrane would be very honoured to know you like her Scottish tablet so much. I cannot make anybody eat it at home. Henry says it’s too sweet and Maggie too sticky.”

“Well…,” Rosalia sighed, “for me it’s perfect, and I am sure nobody in this office will say no to this morsel of Heaven. It reminds me of a dulce de leche candy my detestable mother-in-law used to make in Buenos Aires for Christmas. As you can see, even her perfect evilness was imperfect.”

Rita smiled again and rejoiced at the fact that she could come to visit her older friend at the Castelo de San Jorge with the express purpose of selfishly collecting smiles like Maggie used to collect peacock feathers in the garden before she started going to kindergarten. Rosalia’s office was a new environment for their meetings now. A step up on the podium of a friendship that had begun outside the Castelo box office under a narrow eave on a humid stone bench. Rita loved to breathe in the peace of the office, with its austere decor and dark wooden cabinets that had once cherished the delicate porcelain of Portuguese queens and now held Rosalia’s dictionaries alongside maps, brochures, and tourist forms for all those who came to witness the royal luxury of ancient times.

“So, do you mean that this feeling of seeing Henry again for the first time at the bank’s banquet is sweet like my grandmother’s tablet?”

“Not exactly. When I saw those brownish cubes on the plate, I was convinced that it would be difficult for me to bite into them. You know, my weak teeth and all that. But then I bit into one of them, and it melted on my tongue. And I felt this torrent of pleasure bursting in my mouth. I think what happened to you on Saturday is that you saw Henry like random people usually see him. You heard a far echo of the vision you had of him when you fell in love.”

Rita’s inner elf jumped from her heart to her face to make her frown and purse her lips at the same time.

“But sadly,” Rosalia continued, “you already know that what you saw is an act. The source of your confusion and your loneliness. You love a vision in a dream, a beautiful piece of candy in a perfect window shop that gets further and further away as you get closer.”

A soft knock at the door interrupted the old woman’s thought and let Rita take a sip of tea to conceal her disillusionment. Rosalia took the documents that Victor brought, turned to her side desk, and placed one of the pages in her sturdy IBM Selectric. She adjusted the corners of the paper as if she were folding a handkerchief for the ghost of one of the queens that had inhabited the Castelo centuries ago. Rosalia’s eyes were fixed on the rectangular screen of her typewriter as she turned toward Rita and pronounced in perfect French, “Trompe-l’oil…. trompe-l’oil[1] people I call them. What you see is never what you get. The man I married and later divorced, so many decades ago, was like that. Sometimes, out of the blue, I remember how elegant and self-confident he seemed to be, and still, after all this time, that elf you mentioned still plays tricks with my heart and its cords. Do you know the legend of the two Greek painters of ancient times?”

Rita looked up from her cup and raised her left red-haired eyebrow as an invitation.

“There was a competition to declare the most realistic painter in the land. Zeuxis and Parrhasius presented their art. The grapes that Zeuxis had painted were so impossibly real that birds flew into them and crushed their beaks and heads on the purple spheres. They died a cruel death, believing they were tasting the sweetest pulps and the bitterest seeds. Zeuxis, sure of his triumph, asked his opponent where his painting was. Parrhasius walked him in front of the curtain that hid his work. ‘Draw this cloth and you will see it,’ he said humbly. But Zeuxis’ eager hand trampled on the folds of a fake, perfect drapery made of shades, hues, and light. Parrhasius won not only the prize but the admiration of his enemy.”

Rita inclined her head to the left. “I’m sorry for the birds.”

“That’s why I don’t tell this story much. My granddaughter has a phobia of birds that decide to fly stubbornly in the wrong direction. I’m afraid I instilled that in her with this tale.”

Rita picked up a brown crumb from her saucer. “If only I could draw aside the curtain Henry places between himself, Maggie, and me. I’m a good wife. I don’t know what else to do.” Rita dropped the crumb and killed an imminent sob with the tip of her finger.

“You are like the candid birds, my child. You are hurt but strong. Cannot you see?   You’re making sweets with the salt of tears, pure visions of love with the threads of deceit.”

[1] Deceive the eye… deceive the eye

Fabiana Elisa Martínez authored the collections 12 Random Words and Conquered by Fog. Other works of hers have been published in literary publications on five continents.

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Categories
The Lost Mantras

More Poems by Isa Kamari

Poetry and translation from Malay by Isa Kamari

DAWN

Hey, the morning breaks!
Hey, the faithful sun!
Hey, the disappearing dew!
Hey, the layered air!
The breath desires,
the soul asks:
Who do you greet?
Have you pondered, sons of Adam?
Death awaits, life prolongs.
Have you realised, progenies of Eve?
The earth is impregnated and layered by purpose.
The one that you welcome is the morning,
The one that you coax is the sun,
The one that you touch gently is the dew,
The one that you breathe is the air.
The gift of death,
life fulfilled,
accompanies the inevitable:
morning, sun, dew, and air.
A breath dissipates, a soul obliterates.
Nothingness. Gone.
Hey!

THE FIELD

The green grass is a mother’s heart,
the velvet of love for her children.
Although stepped upon by mischief and transgression,
she distils dews of hope
that her children would grow with the sun.
The earth is the preparation of a father:
soil and compost for his children
where character would be rooted.
Barren or fertile,
he digs into his responsibility and self-worth,
as long as the rain nourishes his age.
Grass flowers are the children
who only know the joy of the wind
for as long as their dreams
have not landed on earth
and kissed the grass.

MOLTEN EARTH

This moment,
we’re walking in the rain,
accompanied by a bluish rainbow
and red birds with purple blood.
If they’re heading towards the dais,
we have yet to embrace the longing.
When the moon is in tears,
it’s just ill-suited for us to sail
on the orange henna sea.
In truth,
we verily love the eagle
that flies in the desolate morning.
If not for ravens like you,
our forest would be infested with rabbits.
Give us white wings;
we want to fly with blue birds
that return to reciprocate love.
We want to taste milk.
Is it for us only urine,
the manifestation of love by dogs?
Sound your prayer call in our shacks
so that our tears
are not just to bear
the pain and bitterness
of a plate of rice.
If your pensiveness is just to reminisce
the sufferings of night longing for day,
our tears have flowed
from the earth’s molten belly,
which are stepped upon
by saints like you and them
who have cast curses
upon us wretched souls.

POTPOURRI

The screw pine thrives on damp soil,
next to the swampy pond.
It spreads its green in the wild;
roots clench the earth we tread upon.
The jasmine grows on the lawn,
marks the boundaries of property.
Sturdy branches, leaves flourish;
petals open, greet the clouds.
The sliced screw pine in a receptacle,
the jasmine blossoms spread on the tray,
perfume sprinkled to enhance the scent:
the potpourri of bunga rampai welcomes guests.
The ceremony officiated by the qadi,
the couple duly married,
customs and culture celebrated in fragrance,
religious laws honoured on the dais.
The shaving of the baby’s head,
first steps on the soil,
the coffin carried to the grave—
the potpourri of bunga rampai
adorns every domain,
binding firmly entire life’s moments.

Isa Kamari has written 12 novels, 3 collections of poetry, a collection of short stories, a book of essays on Singapore Malay poetry, a collection of theatre scripts and lyrics of 3 music albums, all in Malay. His novels have been translated into English, Turkish, Urdu, Arabic, Indonesian, Jawi, Russian, French, Spanish, Korean, Azerbaijan and Mandarin. Several of his essays and selected poems have been translated into English. Isa was conferred the S.E.A Write Award from Thailand (2006), the Singapore Cultural Medallion (2007), the Anugerah Tun Seri Lanang (2009) from the Singapore Malay Language Council, and the Mastera Literary Award (2018) from Brunei Darussalam.

He obtained a BArch (Hons) from the National University of Singapore in 1989, an MPhil (Malay Letters) from Universiti Kebangsaan Malaysia in 2008 and is currently pursuing a PhD programme at the Academy of Islamic Studies, Univeristi Malaya. His area of research is on the problem of alienation and the practice of firasat (spiritual intuition) in selected Singapore Malay novels.

The Lost Mantras is a collection that blends spirituality, Malay cultural heritage, and universal human experience. First published as part of Menyap Cinta (Love Greetings, 2022, Nuha Books KL), these poems are like a bridge between mysticism and everyday life, where traditional images (betel, jasmine, kris[1], oil lamps, setanjak[2]) are woven with Qur’anic echoes, prayers, and existential questioning. The collection carries a Sufi resonance—always circling back to longing, humility, surrender, and beauty as signs of God. The poems are not only lyrical but also function as cultural memory: they preserve Malay traditions, communal practices, and village life, while situating them in a cosmic framework of faith, sin, and redemption. The use of Malay customs, rituals, and objects is powerful: it asserts that spirituality is not abstract but embedded in heritage. This makes the collection uniquely Southeast Asian despite its universal in appeal.

[1]A dagger

[2] Malay headgear

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Categories
The Lost Mantras

Poems by Isa Kamari

Poetry and translation from Malay by Isa Kamari

THE KING

I bow to you, King.
I bear the torment of your sadness
in the embrace of my sleep.
May it transform into glad tidings
for the days of your people.
This exploration is to find your throne,
which has disappeared from our hearts.
For my love to you, King.

JASMINES

Earth jasmines, sky jasmines,
a string of jasmines encircles the heart,
jasmines poured with water from the hills,
jasmines sprinkled by a pinch of compost.
Seven rivers, seven clouds—
rain pelts onto forlorn petals.
Beauty is in the form,
beauty to the eyes,
beauty is the hand that tends to the soil,
beauty is the fingers that caress the leaves,
beauty is the cut on the arms of the gardener.
The scorching sun,
the shade from the foliage,
bountiful is the soul of the tree that delivers,
witness to a life devoted to hard work,
with the laws of nature as the axis.
Strong roots clench the earth,
shoots look up high to the sky.
Stand firmly, the soul sings.
Blossoms waft fragrant dreams.
Earth jasmines, sky jasmines,
bloom in the early morning.
Say your prayers,
introduce yourself.

BETEL LEAVES

To be at the top
is to function at the bottom,
upholding responsibilities and trust,
strengthening shared roots.
The fragile branches are free to stretch,
the green leaves spread wide.
Wild betel, untouched betel,
covers the soil, climbs the trellis.
To be at the peak
in essence is to grow shoots,
carrying fertile hopes and dreams,
giving way and space to grow,
to climb each posting energetically,
to qualify for the position when seasons change.
Lofty betels, heavenly betels,
reach for the stars, greet the clouds.
To be in the ceremonial receptacle
in essence is to uphold tradition,
surrendering to the preservation of culture.
Typically chewed with lime, slicing problems,
mature-red in speech,
tracing the lives of roots and shoots.
Wild betel, untouched betel, lofty betel,
heavenly betel, courtship betel, customary betel,
weaving values and the essence of leadership
entrenched in tradition.

HOME

Free souls wouldn’t be easily bored
by mentoring and demands,
for it’s the stable self
that gives rise to liberation.
And that’s called freedom —
it isn't about release without aims,
just like city folks,
released from home or work,
wander aimlessly at shopping malls,
seek excitement from novelty and transience.
It isn't that Life doesn’t require variety,
or it isn't that the soul doesn’t long for fun.
It’s just that we who claim to be free
are easily entrapped in useless pettiness
that we spread in the city
without ever realising
that we haven’t returned to the doors of our hearts,
although we’ve stepped afoot
onto the compound of the house.

Isa Kamari : A foremost Malay writer from Singapore: Photo provided by the poet.

Isa Kamari has written 12 novels, 3 collections of poetry, a collection of short stories, a book of essays on Singapore Malay poetry, a collection of theatre scripts and lyrics of 3 music albums, all in Malay. His novels have been translated into English, Turkish, Urdu, Arabic, Indonesian, Jawi, Russian, French, Spanish, Korean, Azerbaijan and Mandarin. Several of his essays and selected poems have been translated into English. Isa was conferred the S.E.A Write Award from Thailand (2006), the Singapore Cultural Medallion (2007), the Anugerah Tun Seri Lanang (2009) from the Singapore Malay Language Council, and the Mastera Literary Award (2018) from Brunei Darussalam.

He obtained a BArch (Hons) from the National University of Singapore in 1989, an MPhil (Malay Letters) from Universiti Kebangsaan Malaysia in 2008 and is currently pursuing a PhD programme at the Academy of Islamic Studies, Univeristi Malaya. His area of research is on the problem of alienation and the practice of firasat (spiritual intuition) in selected Singapore Malay novels.

The Lost Mantras is a collection that blends spirituality, Malay cultural heritage, and universal human experience. First published as part of Menyap Cinta (Love Greetings, 2022, Nuha Books KL), these poems are like a bridge between mysticism and everyday life, where traditional images (betel, jasmine, kris[1], oil lamps, setanjak[2]) are woven with Qur’anic echoes, prayers, and existential questioning. The collection carries a Sufi resonance—always circling back to longing, humility, surrender, and beauty as signs of God. The poems are not only lyrical but also function as cultural memory: they preserve Malay traditions, communal practices, and village life, while situating them in a cosmic framework of faith, sin, and redemption. The use of Malay customs, rituals, and objects is powerful: it asserts that spirituality is not abstract but embedded in heritage. This makes the collection uniquely Southeast Asian while still universal in appeal

[1] A dagger

[2] Malay headgear

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

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

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