Categories
Essay

A Cyclist’s Diary: Jaipur to Udaipur

Narrative and photographs by Farouk Gulsara

If one wants to understand the ‘chaos theory’, one has to place oneself at the centre of ‘around about’ — the way the traffic weaves around, observing the traffic go by as everyone swerves to get to their destinations. The one from 9 o’clock reaches 3 o’clock; 6 o’clock reaches 12 o’clock. It does not matter whether the vehicle is following or counter to the traffic flow; it gets through.

Adding to the pandemonium is the incessant honking from all right, left and centre.

Despite knowing all these, after our stint from Kashmir to Leh, India still managed to lure us back. This time around, we signed up for a tour across Rajasthan, from Jaipur to Udaipur.

Day 0: Delhi to Jaipur

After landing in Delhi from Kuala Lumpur late at night, we left for Jaipur the next morning. We had our first lesson in chaos theory that morning. The confusion about transport arrangements, running to get a taxi in a hurry, rushing to an unmarked site designated as Jaipur bus station, waiting for a bus we thought had left, and finally getting on the correct bus were all proof that the churning of the Universe is indeed impossible to comprehend.

Despite all the traffic jams, the packed vehicles and our increasing anxiety not to miss the bus, all the taxi driver could tell us was “aram sey!” (equivalent to saying, take a chill pill).

Jaipur, the Pink City, had its rare February showers the day before. As if to usher in our visit, the large part of the city around the lake, Jal Mahal, was in full gear, preparing for an air show. We managed to catch a glimpse of what the Indian Air Force had in store.

Jaipur showcases a history that built alliances with the Mughals and managed to preserve its buildings and heritage. Their allegiance with the invaders could have been viewed as betrayal by their contemporaries, the Sikhs and Marathas, who were fighting tooth and nail against the Mughals. Ajmer Fort is a massive fort with brilliant engineering. 

To top that, there is a stepwell, Phanna Meena Ka Kund, with its intricate geometrical design that has stood the test of time. Jaipur is known as the Pink City, not without good reason. The roads leading to town are paved, lined with multiple red buildings and architectural marvels. The intricacies of Hawa Mahal make it look like a 3-D movie cutout propped against a building. It was too beautiful to be true.

Adjacent to the Hawa Mahal is Jantar Mantar, a UNESCO World Heritage Site that houses the world’s largest stone sundial clocks. One cannot help but wonder: with so much scientific knowledge in their ancient past, how did they just fall like swatted flies when the Western imperial powers walked over them in the 18th century through to the 20th?

Day 1: Jaipur to Sambhar

We started early at 6 am to avoid the morning traffic. Surprisingly, Rajasthanis must be early risers, as even at that early hour, the streets were already bustling with activity.

The itinerary for each day was straightforward. We would cycle daily around 70-90km, with a water break every 20-30km, and reach our predetermined accommodations around noon. There were 12 cyclists; the youngest was 33, but most were over 60.

The route on the first day was mainly flat, traversing small towns and villages, and sometimes haggling with motorcycles, lorries, and buses for space to pass. The trouble is that the vehicle sometimes appears unannounced (with loud honks, of course) and goes against the traffic!

The terrain was mostly flat. It was funny cycling in desert-like conditions, with scorching sun and a cool 20 C wind. The early morning temperatures would start around 15C and reach 23C at noon.

After reaching the hotels prepared by the organisers, evenings would be spent in tête-à-têtes, awaiting dinner, or being shown around town.

Flamingos at Lake Sambar

Day 2: Sambhar to Pushkar

Starting before the break of dawn, at 6, we began cycling into the dark under the guidance of the bicycle headlight and the road lines. When dawn broke, we finally realised that our view was acres of fields as far as the eye could see. About an hour into our journey, we reached a village, one of the many villages yet to come. The villagers would look at us funnily, not knowing what to make of us, a bunch of fellows cycling at an unearthly hour. All we had to do was hail, “Jaya Sri Ram“! Their look would change, a smile would emerge, and they would raise their hands in unison, in solidarity, knowing quite well that we were harmless and one of them.

Along the journey, we saw many animals that we, Malaysians, would not see in mainstream. We saw peacocks perched on trees and houses. Lining the roads were innumerable cows, donkeys, goats and even pigs.

As the day got hotter, the temperature built up to about 25 °C. Riding in desert-like conditions with no shade from trees or clouds. The interesting thing is that we did not see a single person carrying an umbrella. They were pretty much comfortable, just under the sun, with the ladies in their veils and the men in their turbans.

Lake at Brahma Temple

The main attraction of Pushkar is the rare Brahma temple. Legend has it that Lord Brahma was cursed that He should not be worshipped. The irony of this place is the presence of a large lake amid arid terrain with desert vegetation. It remains an enigma waiting to be answered, just like the mystery of creation and why the Creator Himself does not have a temple of worship.

Day 3: Pushkar to Beawar

Again, the trip started early at 6 in the morning, in complete darkness, along what turned out to be acres and acres of fields. The generic appearance of a village would have concrete roads, a row of shops with large advertisement boards in big Hindi fonts, and a strikingly gaudy combination of hues: yellow, green, and red. This same psychedelic colour combination is mirrored in Rajasthani clothes. The ladies’ sarees and dupattas are so contrasting that they cannot be missed. The same goes for the men’s unique bright coloured turbans.

Cows would seem to roam freely, with their droppings spread liberally on and by the roads. The row of buildings would mostly end with a temple or a school.

Around Beawar

The terrain today was mostly flat, with the sun shining at its fullest by 9.30 at 23C. After about 6 hours, we reached Beawar.

For a small town, Beawar has so many mid-range hotels, probably to cater to the numerous businesspeople who come here. Beawar, due to its central location, serves as an important hub for the cement, textile, and wool industries. There is no special iconic monument.

Day 4. Beawar to Kamlighat

Rise and shine, and we hit the roads again. Today’s menu is a gruelling one, cutting through the Aravalli hills.

“What is all this for?” asked a curious onlooker when told that we were cycling from Jaipur to Udaipur. I thought that was a profound question that questions the core of our existence. What is the purpose of anything in life?

This ride turned out quite hilly, mostly along the national highway. Missing today were the tractors with loudspeakers blasting Bhangra beats. For the past few days, we had seen tractors plying the countryside carrying workers and produce, setting the beat for the whole vicinity to get into the dancing mood. Err, but the lyrics were neither inspiring nor devotional. They were suggestive and laced with profanity.

Growing up in Malaysia, we were taught that travelling on a highway was sacrosanct, with traffic rules to be followed and vehicles in tip-top condition. Not in Rajasthan, they are not. One could actually see a whole five-tonne lorry travelling on the wrong side of the highway and honking violently at oncoming traffic as if the lorry’s right to drive on the wrong side was being infringed!

The terrain was monotonous, with rolling hills and a steep 6.5% incline, and the sun was hot from 9.30 am. Being a highway, there was nothing much to see here. About 6 hours later, we reached Kamlighat, some 88km away.

Kamlighat

Kamlighat is a small town with nothing spectacular to show. A row of shops, many stalls selling fruits and vegetables, and our accommodation was the biggest building around. A stroll pretty much covers the whole town.

Kumbhalgarh Fort

Day 5. Kamlighat to Kumbhalgarh

This proved to be the toughest ride yet. Riding through the Aravalli hills was no walk in the park. It was a slow burn with multiple gradual inclines. The 70km journey ended at the Kumbhalgarh Fort. The fort is labelled the Great Wall of India, the second-longest wall in the world after the Great Wall of China.

There was a light-and-sound show that essentially narrated the glory (and sometimes turbulent) days of Maha Rana Kumbha. He was a descendant of Emperor Asoka and later Rana Rathap, who fought valiantly against the invaders.

Day 6. Kumbalbagh to Udaipur

This proved to be a fun ride. Starting late at 7 am, it turned out to be a short ride, after much heckling and joking. A large proportion of the journey was along national highways; the later detour through the smaller villages proved interesting. A few observations I made as a curious Malaysian passing through the everyday people in the midst of their day-to-day lives are these.

Villages in Rajasthan are no different from those in Malaysia. If in Malaysia, azan and religious sermons are broadcast over the speakers, here in almost every village, it is the sound of ‘Om Jaya Jagadisha Hare[1]‘ and sermons on their speakers. The bottomline is that the majority dictates what is kosher for the masses.

We, the cyclists, were kind of local celebrities among the people, especially among the younger kids, who would wave at us. Some would even come so far as to bump fists with us. Interestingly, even some young ladies who walked along the roads would wave to us. If one were to observe, the ladies would not do the same when accompanied by a male companion. Instead of waving, they would pull down their shawls to cover their gaze.

Addendum

The cyclists shared many pleasant moments on and off the saddle. During one of those tête-à-têtes, the talk about each other’s countries’ politics came up. There was a lot of Modi-bashing among the Indian cyclists — that he had outlived his usefulness and that his every move appeared like propaganda. So I asked them one question, “If there were a snap national election today, who would you vote for?” Without a pause, they all replied in unison, “Modi!” That’s the trouble everywhere. Nobody has a perfect government. Everyone has to decide between the devil they know and the one they do not.

Last day in Udaipur, running around

The cyclists utilised this day to unwind after six days of cycling. The few touristy spots were the target.

City Palace, Udaipur

First, we visited the picturesque City Palace and scenic Lake Paricha. There was a boat ride around the lake, quite reminiscent of that in Budapest, only that Udaipur had much more to offer. The City Palaces had many sections and a museum attached to them. Pichola Lake is situated in the centre. A boat takes tourists around and makes a stop at a luxurious hotel to give them a taste of opulence. The property opens onto another section of town called Hathipole, which features rows of shops showcasing Rajasthani art, crafts, produce, and souvenirs. Hathipole is another proof of order within chaos. The auto-trishaws and motorcycles weave through the tiny lanes while shoppers still manage to jump from shop to shop, getting their best bargains.

To absorb the Rajasthani experience, one has indulge in their culinary traditions. Two dishes specific to this region are batti, a tennis-ball-sized hard bread made from unleavened wheat flour. It is eaten with dal or yoghurt. Next is lal maas, a fiery mutton dish, packed with chilli and Rajasthani spices.

The day ended with lazing around town and walking the streets of Udaipur. Fateh Sagar Lake offered an excellent view of the various hues of the setting sun on the horizon. It houses a solar observatory station.

Extra day

While we were still in recovery mode, most Indian cyclists returned home. We had one more day to kill, so we went out to explore more of Udaipur, the Lake City.

Still centred around the lakes, we took a cable car trip up to Neemach Maa Mandhir, perched 900 metres up on a hill overlooking Fateh Sagar Lake. It is said to be a powerful protective guardian of a particular dacoit clan.

Fateh Sagar Lake, Udaipur. 

Next stop was at the Maruthar Folk Dance to sample a traditional Rajasthani Cultural show. Besides witnessing some folk dances, we watched puppet shows and an experienced dancer performing a balancing act with multi-tiered pots on her head whilst grooving to metal petals, bowls, and shredded glass.

To end our visit on that hot day was the mausoleum erected for Rajasthan’s most revered hero, Maharana Pratap and his heroes who defended the region from foreign invaders. The enclosure also includes a museum that relives the glory days when the kingdom of Rajasthan was a force to be reckoned with.

Take-home message

An international expedition like this is quite life-affirming. It is priceless to realise that our mental illness is shared by many around the world. With this healthy obsession, we can explore places worldwide at a quite close and personal level. One is not merely taken to touristy spots, but can see the country as it is, warts and all.

While walking around the Kumbalbagh fort, we encountered a group of 60- and 70-year-old American cyclists, not quite by accident but by what was screaming on their T-shirts. After the usual cursory greetings, we discovered that they were more eccentric than we. These people in the geriatric age group were on a month-long cycling tour around Rajasthan, Kashmir, and Ladakh!

[1] “Om, Victory to the Lord of the Universe (Vishnu), the Remover of Miseries”. A devotional prayer in Hindi.

Farouk Gulsara is a daytime healer and a writer by night. After developing his left side of his brain almost half his lifetime, this johnny-come-lately decided to stimulate the non-dominant part of his remaining half. An author of two non-fiction books, Inside the twisted mind of Rifle Range Boy and Real Lessons from Reel Life, he writes regularly in his blog, Rifle Range Boy.

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
celebrations

Six Years of Borderless Journal…

Art by Sohana Manzoor

Six years ago, a few of us got together to bring out the first issue of Borderless Journal. We started as a daily blog and then congealed into a monthly journal offering content that transcends artificial borders to meet with the commonality of felt emotions, celebrating humanity and the Universe. Today as we complete six years of our existence in the clouds, we would like to celebrate with all writers and readers who made our existence a reality. We invite you to savour writings collected over the years that reflect and revel in transcending borders, touching hearts and some even make us laugh while exploring norms. 

In this special issue. we can only offer a small sample of writings but you can access many more like these ones at our site…Without further ado, let us harmonise with words. We invite you to lose yourselves in a borderless world in these trying times.

Poetry

Click on the names to read

Jared CarterSnehaprava Das,  Manahil Tahir, Ryan Quinn Flanagan,  Luis Cuauhtémoc BerriozábalSaptarshi Bhattacharya, John Swain, Ron Pickett, Saba Zahoor, Momina Raza, Annette GagliardiJenny Middleton, Afsar Mohammad, Rhys Hughes, George FreekMitra SamalLizzie PackerShamik BanerjeeMaithreyi Karnoor,  Hela Tekali, Rakhi Dalal, Prithvijeet SinhaAsad Latif, Stuart MacFarlane

Isa Kamari translates his poems from Malay in The Lost Mantras. Click here to read.

Two of her own Persian poems have been written and translated by Akram Yazdani. Click here to read.

A Poet in Exile by Dmitry Blizniuk has been translated from Ukranian by Sergey Gerasimov. Click here to read.

Refugee in my Own Country/ I am Ukraine… Poetry by Lesya Bakun of Ukraine. Click here to read. 

Sukanta Bhattacharya’s poem, Therefore, has been translated from Bengali by Kiriti Sengupta. Click here to read.

Amalkanti by Nirendranath Chakraborty has been translated from Bengali by Debali Mookerjea-Leonard. Click here to read

Ye Shao-weng’s poetry ( 1100-1150) has been translated from Mandarin by Rex Tan. Click here to read.

Rebel or ‘Bidrohi’, Nazrul’s signature poem, ‘Bidrohi‘, translated by Professor Fakrul Alam. Click here to read.

Manish Ghatak’s Aagun taader Praan (Fire is their Life) has been translated from Bengali by Indrayudh Sinha. Click here to read.

Tagore’s poem, Tomar Shonkho Dhulay Porey (your conch lies in the dust), has been translated from Bengali by Mitali Chakravarty as ‘The Conch Calls’. Click here to read.

Waiting for Godot by Akbar Barakzai; Akbar Barakzai’s poem has been translated by Fazal Baloch. Click here to read.

Ihlwha Choi spent some time in Santiniketan and here are poems he wrote in reaction to his observations near the ‘home of R.Tagore’, as he names Santiniketan and the Kobiguru. Click here to read Nandini.

Fiction

Flash Fiction: Peregrine: Brindley Hallam Dennis tells us the story of a cat and a human. Click here to read.

Rituals in the Garden: Marcelo Medone discusses motherhood, aging and loss in this poignant flash fiction from Argentina. Click here to read.

Navigational Error: Luke P.G. Draper explores the impact of pollution with a short compelling narrative. Click here to read.

Henrik’s Journey: Farah Ghuznavi follows a conglomerate of people on board a flight to address issues ranging from Rohingyas to race bias. Click here to read.

The Magic Staff , a poignant short story about a Rohingya child by Shaheen Akhtar, translated from Bengali by Arifa Ghani Rahman. Click here to read.

A Cat Story : Sohana Manzoor leaves one wondering if the story is about felines or… Click here to read. 

Pus Ki Raat or A Frigid Winter Night by Munshi Premchand has been translated from Hindi by C Christine Fair. Click here to read. 

American WifeSuzanne Kamata gives a short story set set in the Obon festival in Japan. Click hereto read.

Hena, a short story by Nazrul, has been translated from Bengali by Sohana Manzoor. Click here to read. 

A Queen is Crowned: Farhanaz Rabbani traces the awakening of self worth. Click here to read.

A Penguin’s Story: Sreelekha Chatterjee writes a story from a penguin’s perspective. Click here to read.

Disappearance by Bitan Chakraborty has been translated from Bengali by Kiriti Sengupta. Click here to read.

The Sixth Man: C. J. Anderson-Wu tells a story around disappearances during Taiwan’s White terror. Click here to read.

Looking for Evans: Rashida Murphy writes a light-hearted story about a faux pas. Click here to read.

Used Steinways: Jonathan B. Ferrini shares a story about pianos and people set in Los Angeles. Click here to read.

The Beaten Rooster, a short story by Hamiruddin Middya, has been translated from Bengali by V Ramaswamy. Click here to read.

The Onion: JK Miller brings to us the story of a child in Khan Yunis. Click here to read.

Santa in the Autorickshaw: Snigdha Agrawal takes us to meet a syncretic spirit with a heartwarming but light touch. Click here to read.

The Untold Story: Neeman Sobhan gives us the story of a refugee from the 1971 Bangladesh Liberation War. Click here to read. 

The Wise Words of the Sun: Naramsetti Umamaheswararao relates a fable involving elements of nature. Click here to read.

The Headstone, a poignant story by Sharaf Shad has been translated by Fazal Baloch. Click here to read.

Sandy Cannot Write: Devraj Singh Kalsi takes us into the world of adverstising and glamour. Click here to read.

Musalmanir Galpa (A Muslim Woman’s Story) Tagore’s short story has been translated by Aruna Chakravarti. Click here to read.

Non-Fiction

 Haiku for Rwandan Girls: Suzanne Kamata writes of her trip to Africa where she teaches and learns from youngsters. Click here to read.

Menaced by a Marine Heatwave: Meredith Stephens writes of how global warming is impacting marine life in South Australia. Click here to read.

 ‘All Creatures Great and Small’: Devraj Singh Kalsi writes of animal interactions. Click here to read.

One Life, One Love, 300 Children: Keith Lyons writes of a woman who looked after 300 children. Click here to read.

When West Meets East & Greatness Blooms: Debraj Mookerjee reflects on how syncretism impacts greats like Tagore,Tolstoy, Emerson, Martin Luther King Jr, Gandhi and many more. Click here to read.

The Day Michael Jackson Died: A tribute  by Julian Matthews to the great talented star who died amidst ignominy and controversy. Click here to read.

Amrita Sher-Gil: An Avant-Garde Blender of the East & West: Bhaskar Parichha shows how Amrita Sher-Gil’s art absorbed the best of the East and the West. Click here to read.

Dramatising an Evolving Consciousness: Theatre with Nithari’s Children: Sanjay Kumar gives us a glimpse of how theatre has been used to transcend trauma and create bridges. Click here to read.

Potable Water Crisis & the Sunderbans: Camellia Biswas, a visitor to Sunderbans during the cyclone Alia, turns environmentalist and writes about the potable water issue faced by locals. Click here to read.

T.S Eliot’s The Waste Land: Finding Hope in Darkness: Dan Maloche muses on the century-old poem and its current relevance. Click here to read. 

 My Love for RK NarayanRhys Hughes discusses the novels by ths legendary writer from India. Click here to read.

Travels of Debendranath Tagore : These are travel narratives by Debendranath Tagore, father of Rabindranath Tagore, translated from Bengali by Somdatta Mandal. Click here to read.

The Comet’s Trail: Remembering Kazi Nazrul Islam: Radha Chakravarty pays tribute to the rebel poet of Bengal. Click here to read.

From Srinagar to Ladakh: A Cyclist’s Diary: Farouk Gulsara travels from Malaysia for a cycling adventure in Kashmir. Click here to read.

 Baraf Pora (Snowfall): This narrative gives a glimpse of Tagore’s first experience of snowfall in Brighton and published in the Tagore family journal, Balak (Children), has been translated by Somdatta Mandal . Click here to read.

In The Hidden Kingdom of Bhutan: Mohul Bhowmick explores Bhutan with words and his camera. Click here to read.

The Day of Annihilation: An essay on climate change by Kazi Nazrul Islam has been translated from Bengali by Radha Chakravarty. Click here to read.

Reminiscences from a Gallery: The Other Ray: Dolly Narang muses on Satyajit Ray’s world beyond films and shares a note by the maestro and an essay on his art by the eminent artist, Paritosh Sen. Click here to read.

The Bauls of Bengal: Aruna Chakravarti writes of wandering minstrels called bauls and the impact they had on Tagore. Click here to read.

The Literary Club of 18th Century London: Professor Fakrul Alam writes on literary club traditions of Dhaka, Kolkata and an old one from London. Click here to read.

From Madagascar to Japan: An Adventure or a Dream: Randriamamonjisoa Sylvie Valencia writes of her journey from Africa to Japan with a personal touch. Click here to read.

250 Years of Jane Austen: A Tribute: Meenakshi Malhotra pays a tribute to the writer. Click here to read.

The Chickpea That Logged More Mileage Than You: Ravi Varmman K Kanniappan gives an interesting account of the chickpeas journey through time and space, woven with a bit of irony. Click here to read.

The Day the Earth Quaked : Amy Sawitta Lefevre gives an eyewitness account of the March 28th earthquake from Bangkok. Click here to read.

Where Should We Go After the Last Frontiers: Ahamad Rayees writes from a village in Kashmir which homed refugees and still faced bombing. Click here to read.

The Last of the Barbers: How the Saloon Became the Salon (and Where the Gossip Went): Charudutta Panigrahi writes an essay steeped in nostalgia and yet weaving in the present. Click here to read.

That Time of Year: Rick Bailey muses about the passage of years. Click here to read.

The Untold Stories of a Wooden Suitcase: Larry S. Su recounts his past in China and weaves a narrative of resilience. Click here to read.

Adventures of a Backpacking Granny: Sybil Pretious recalls her travels across the world post sixty, including Kiliminjaro. Click here to read.

Categories
Poetry

Found in Translation: Pravasini Mahakuda’s Odia Poems

Five poems by Pravasini Mahakuda have been translated to English from Odia by Snehaprava Das

Pravasini Mahakuda
YOUR POETRY 

You do not get liberated by arguments.
Liberation isn’t on your mind,
Neither is it in your fortitude or your courage,
Nor in the tricky manoeuvring of your steps.
Liberation is in the challenges
Your soul ceaselessly confronts.
Salvation is in each line of the poem you write.
Do you know or do you not?
That even after you quit this beautiful earth,
Your poetry will live.
Readers of poetry will continue to be.
Your poetry will live forever because
You hold a timeless lover inside you,
And because of your love,
Which is liberation itself.
Your poetry will thrive as a green permanence,
Even on a blazing summer noon.
You and your poetry are one,
And have never existed apart.
You yourself are poetry --
Only poetry, and nothing else.
Because like you, Poetry, too, is a woman>
And you, like poetry itself
Are the eternal Truth.

THE REST OF THEM

Let the rest of them
Write about revolutions
And resistances,
About rights and responsibilities.
I write about life.
I write about love,
And things that happen around me.
I write about the changing seasons,
About the prices of goods,
Of the soreness hidden in the heart.
I write about the hopes and fears that
The heart incessantly wavers between,
Of an unseen wound that never stops to hurt.
I write about the eye that cannot see
The tears trickle down the other one,
Or the drenched pillow and the sari-end.
I write about a hand
That does not care to share
The ache in the other one.
I write about the song the dead river
That flowed once between us had sung.
Let others write about
What they won and lost.
I will write about the pain emanating from
An aspired for void.
Let others write about spite and disdain,
I will sing of life and love.

SHRAVANA*

For which Shravana must the woman
Write a poem now?
What kind of a poem of Shravana
Must she write to sprinkle life
Into the desert dying inside her
To cheer herself up?
Do you think it is easy to write poetry?
You do not know perhaps,
Only a drop of rain comes down
Against millions of palmfuls of tears.
In that lone drop of rain,
Rings a primeval tune
That perhaps lay buried under
A century old rock.
You had never been in that song
In any phase of life,
Not as friend, a husband or a neighbour
Neither as a reader, nor a critic.
The agony is because
You were never a part of that song.
The Shravana is because
You were never a part of that song.
And the rain is because of that,
And the poem too!
It’s half-hour past eight.
On this evening of a Shravana Sunday
The Shravana pours generously.
Do you believe a woman somewhere
Still sits waiting for you on this evening,
Watching her own silent tears
Mingle in the Shravana rains outside?

*Month of July-August in the Indian calendar, normally monsoons in India.

GODDESS

She is not a goddess --
The one you invoked while
Immersing,
Or immersed while
Invoking.
She is a woman.
Perhaps you have not cared to see
The tears in the eyes of that goddess.
During those performances,
You have time and again played games
With her body and her tears.
Every night,
On the freshly made beds
And in freshly written verses too.
You always know that the
Finale of the game
Will be under your control
And by your choice.
Because you have ensured the result
Would be in your favour,
You have taken the game for granted.


SAREE

The pain and pangs I have lived through
Are as many
As the threads woven
In my saree.
The end of the saree fails to hold
the profusion of
All honour and dishonour,
All joys and sorrows,
Interest and indifference,
The ache of losing things
I had won,
The ecstasy of loving
And the agony of no response.
As I set out on a journey,
The sorrow-flowers bloom in a row
Along the border of the saree,
Spring into life.
As innocent symbols of that agony,
A scene floats past my mind in a flash
Where I find the whole of my being
Standing by the loom.
I marvel at the intimate emotion
Of a beautiful loving mind
Employed at the act of weaving
Such a saree of choice.
The threads in this saree
I am clad in are as many as
The sorrows and sufferings,
Joys and elations that roll
Inside me like the gentle undulations of
The middle notes of a song.

Pravasini Mahakuda is a distinguished Odia poet and translator with 18 original books and 8 books in translation from Hindi to Odia. She has received the Odisha Sahitya Akademi award, Jhankar Award and Junior and  Senior Fellowships from the Ministry of Culture, Govt. of India. Her international engagements include participation in poetry festivals in Germany presenting her work in Berlin, Munich, Hamburg, Leipzig and Frankfurt. She regularly contributes poems in national magazines and attends seminars and poetry festivals across India. 

Dr.Snehaprava Das, is a noted writer and a translator from Bhubaneswar, Odisha. She has five books of poems, three of stories and thirteen collections of translated texts (from Odia to English), to her credit. 

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
Review

This Could be A Love Poem for You

Book Review by Gazala Khan

Title: This Could Be a Love Poem for You

Author: Ranu Uniyal

Publisher: Red River

This Could Be a Love Poem for You by Ranu Uniyal, is her fifth collection of poems. Uniyal is a passionate bilingual poet at heart, a retired professor of English literature by profession and an inspiration to many budding poets. Across the Divide (2006), The Day We Went Strawberry Picking in Scarborough (2018), December Poems (2012) and Saeeda Ke Ghar (In Saeeda’s home, Hindi, 2021) are some other significant contributions made by the poet.

“Poetry and beauty are always making peace. When you read something beautiful, you find co-existence; it breaks walls down.” A quote by Mahmoud Darwish is reflective of Dr Uniyal’s poignant portrayal of human existence layered with love, grief, crises and relationships with the One (Self) and the World.

The collection is an aesthetic delight that traverses the heart of the readers with astute directness and a distinct confessional tone. It has three segments: ‘Dust My Regrets’, ‘Be a Good Girl’ and ‘Thy Eternal Grace’. Collectively, there are 62 poems in all.

The poems start from the personal and move to the universal  with their intricate details. The poetic sensibilities take us to the female imaginary of the physical, psychological and spiritual domains. If Kamala Das in the 20th century introduced the readers to her brazenness in poetry, then Ranu Uniyal in the 21st century coerces her readers to travel from the common routine to the coveted spiritual abode found in the creative doctrine of poetry. The poetic depth can also be inferred through the rhythmic structure, the play with the words through alliteration and rhymes introduce jibes in poems such as ‘The Shop and the Shutter’.

The themes of love, identity, self-expression, language and power, old age, body’s fragility, vulnerability, precarity, loss, women and domesticity, motherhood, death and memory are persistent throughout the collection. She poetically contours the theme of human existence and its distinct flavours like WB Yeats in Sailing to Byzantium with — “That is no country for old men.”

The poetic pondering over the question of ‘Self’ or recurrent declaration of ‘I’ is developed through linguistic, racial, and geographical temporal identities. For example, the poet’s ‘Garhwali’ identity is camouflaged with the the more modern Anglophone identity. The declaration of the personal “self” and dedication to some personalities like Mohini Mangalik, S. A. Hamid and Amma takes us to the glints of the poet’s biography in the most poetic manner. Gulzar once uttered that, “we poets are errant grains of dust… life takes us and tosses us, we do not know where it will end.” The poems hail the essence of life’s evolutionary journey, especially the one of experience and the mature years of life.

Her poems present multiple binaries: of love and grief, seller and buyer, life and death, through picturesque imagery. Additionally, the poet familiarises the readers with the references to the pagan myths from diverse cultures, Christ, Nachiketa, Yama, Isis, which also introduce us to the eco-folklorists’ traditions which is a delight to explore.

She writes in aphorisms at times and critiques the personal and public crises. The poem, ‘Only Grief’, provocatively emotes the climate crisis as an apocalyptic warning through a distant voice from the future, wherein, critiquing the war-torn present world and the catastrophic space left for the progeny of the future.

We sang dangerously of the failure.
Of our prodigal ancestors.

Another poem, ‘From One Life to Another’, reflects a similar concern about the cataclysmic/tragic climate situations left for the future:

Sparrows and crows have 
been hushed to silence.
The once-green acacia shrieked
as they chopped her limbs.

Nature and motherhood hold each other’s hands in sharing the identity of exploration and exploitation. Furthermore, the intricate details through the lens of the ecofeminist poetic sensibilities highlight the diversified literary corpus in the anthology. The same poem states further:

I was once a tree- all green.
Very tall, bobbing in the wind.
I had leaves, branches.
And occasional flowers.
I, too, had a name.
A woman. A mother.
Once a tree.
I brush them aside,
My tears, an upright foliage
Lying heavy on my chest.

Dr Uniyal can be set alongside the “literary greats” like Kamla Das and Sujata Bhatt.

The usage of the colloquial vernacular Hindi words and phrases makes it more personal, tinctured with cultural aesthetics.

The eponymous poem in the anthology, ‘This Could Be a Love Poem for You’ is raw and personal between the one waiting for the other partner far away from a distance is the talisman of the relationship, the theme that finds its way again and again in the poet’s poetic oeuvre. This colourful and mature anthology glossed with distinct sonorous imagery could indeed be a reflective love poem for the present and for our progeny, the rightful claimants, who would reminisce over the past.  It’s a love poem about resilience and human existence that shall follow the hearts of the readers for a long, dialogic course of expressions and insights.

Gazala Khan teaches in the Department of English at Doon University, Dehradun, India. She has published poetry in magazines such as Setu, Borderless, and The Fictional Café and has been consistently working on creative and literary projects.

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Review

Ebrahim Alkazi: Holding Time Captive

Book Review by Satya Narayan Mishra

Title: Ebrahim Alkazi: Holding Time Captive

Author: Amal Allana

Publisher: Vintage Books, Penguin

During an extensive interview, Pankaj Kapur, the highly acclaimed actor, director and writer, nostalgically remembered his days in NSD[1] as a student in the 70s and of Ebrahim Alkazi who was the guiding light of the school as the Director from 1962-77. Mandi House was the vibrant cultural hub where the quartet of NSD, Triveni Kala Sangam, Sriram Art Centre and Kamani Auditorium breathed cadences of art, music, dance and theatre. As the presiding deity of NSD, Alkazi’s prodigious talent in all aspects of theatre except costume (where his wife was the moving spirit) brought his dynamic genius into the quest for intercultural and interdisciplinary thinking in artistic expressions that was both transformative and liberative for his myriad students like Sai Paranjpye, Nasir, Om Puri, Surekha Sikri, Uttara Baokar and Pankaj Kapur[2], who later on lit the stage and celluloid  though their exceptional talents and skill. He would have been a hundred this month. Amal Allana, his daughter has authored a biography of her father, Ebrahim Alkazi: Holding Time Captive. The book  makes an absorbing read.

She brings out Alkazi’s early encounters and reception by the Hindi Theatrewallas of Delhi in the early 60s. It is the story of a western educated Bombayite who was presumptuous enough to think he could teach Delhi theatre buffs a thing or two. As a second-year student, Sai Paranjpye recalls Ebrahim as a storm under whom a metamorphosis took place in the NSD overnight. Walking in to the den of Hindiwallah writers’ camp, Alkazi caught them unawares by picking up the works of the most cerebral and experimental of the Hindi new wave movement; Mohan Rakesh’s Aashadh Ka Ek Din[3]and Dharmavir Bharat’s Andha Yug[4]Aashadh ka Ek Din, a play with a rural background, was the story of the Indian villager, whose lifestyle, pace and values were succumbing to the inevitable onslaught of urbanisation. The basic theme was autobiographical to Mohan Rakesh himself, where he identified himself with a classical playwright like Kalidas. This mix of history and the present entwined in to a single entity, was a modernist strategy that Alkazi too had attempted while contemporising myths. He exquisitely crafted the mise en scene[5]that sparkled with delicate, nuanced performances from young student actors such as Sudha Sharma as Mallika and Om Shiv Puri as Kalidas.

 India had lost a war with China in 1962.  Alkazi had chosen Andha Yug, set during the last days of the Kurukshetra war, when Aswasthama stood in rage, prepared to use the ultimate weapon to annihilate the mankind. It was just not the play’s topicality, its anti-war thrust that drew Alkazi to it. Alkazi tried to shrug off the baggage of European modernism he was carrying, embarking now on a foundational journey towards a deeper ‘discovery of India.’ Through Andha Yug, Alkazi came closer to learning about India’s value system and philosophy as explored in the Mahabharata, while Aashad gave him an appreciation of the artistic sensibility of the great Sankrit poet-dramatist Kalidas, India’s veritable Shakespeare. From now on, he would engage with the idea of India between the two polarities: India as a myth and India as a kind of documented reality. Alkazi was introducing the idea that theatre was a performance art, not literature performed on stage. He was creating a language of performance that was distinct from the language of words.

The making of Tughlaq and its staging in Purana Qila is a watershed event in the theatre landscape of Delhi. Alkazi was greatly drawn to Girish Karnad’s play Tughlaq. Karnad had confided in him how Tughlaq was the most idealistic, the most intelligent king ever to come on the throne of Delhi and one of the greatest failures also. And how in the early sixties India had also come very far in the same direction. Alkazi felt that this play effectively reflected the trials and opposition a visionary leader faced, while trying to function within a corrupt political scenario. The cast of Tughlaq had some of the most brilliant actors, each painstakingly trained by Alkazi himself. There was Manohar Singh who was playing Tughlaq, Surekha Sikri and Uttara Baokar were doubled as Sauteli Ma, Nasiruddin Shah as the Machiavellian Aziz, Rajesh Vivek as Najeeb. The young reporter members included Pankaj Kapur, KK Raina, Raghuvir Yadav, a veritable who is who of latter-day cinema. Tughlaq was staged in 1972 at the Purana Qila (Old Fort) in Delhi, utilising the historical ruins as a backdrop for the dramatic spectacle. This production is considered a landmark event in Indian theatre, combining history, politics and performance to create a commentary on the reign of Tuqhlaq[6] and politics of the 60s.

Nehru’s dream of reconstructing the nation needed a powerful and unitary concept of ‘nationalism’ to recognise all productive forces in the country. Culture was very much a part of the reconstructive process that needed to be systematised and brought under one umbrella and for this purpose, three national academies had been set up: the Sangeet Natak Academy, the Lalit Kala Academy and the Sahitya Akademi. The desire to modernise Indian theatre was part of the same reconstructive cultural policy. And Alkazi was the mascot of the theatre movement and Mandi House, the epicentre of cultural conflation and crescendo.

The Purana Qila festival in 1972, with Tughlaq, Sultan Razia and Andha Yug became the most talked about cultural event of the decade He wanted to offer both the hoi polloi and the cognoscenti, including burqa clad women, high quality theatre that did not conform to ‘popular taste’; theatre that had a social relevance, that both instructed and entertained. This was Alkazi’s ideal of what constituted national theatre.

There have many stars in firmament of Indian theatre. Ebrahim revitalised Indian theatre. Habib Tanvir, blended folk traditions with modern drama. Badal Sirkar revolutionised Bengali theatre by challenging conventional norms. They are like the great troika of Indian Cinema, Satyajit Ray, Ritwick Ghatak and Mrinal Sen.

Alkazi left NSD as it was denied autonomy by scheming bureaucrats. Allana brings out how Alkazi passionately believed that an artist belongs to no political party, and has no religious ideology. An artist has to distance himself from each one of these in order to see each one of these objectively. “And finally, he has to distance himself from himself.” He wrote: “ It is our duty and moral responsibility to study history dispassionately, but with a passion for the truth, with humility and with a profound sense of responsibility and to ask ourselves seriously: What is the legacy that we shall leave behind?

[1] National School of Drama

[2] Well known Indian actors

[3] A Day in Aashadh (June-July) was a Hindi play that debuted in 1958

[4] Blind Age was a verse-play in Hindi written in 1953

[5] Placed on stage

[6] A 1964 Kannada play by Girish Kannad, translated to Urdu in 1966 in NSD and most famously performed for in Purana Qila, New Delhi, in 1972

Satya Narayan Misra is a Professor Emeritus and author of seven books. The latest, Against the Binary, was published in December 2024. He is a regular columnist and reviewer of books for several leading newspapers in Odisha and digital platforms likeScroll.in and The Wire. He was associated with the NSD in the 70s.

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Review

Silver Strands of Soaring Symphonies

Book Review by Anita Balakrishnan

Title: Silver Years: Senior Contemporary Indian Women’s Poetry

Editors: Sanjukta Dasgupta, Malashri Lal and Anita Nahal.

Publisher: Sahitya Akademi

Several centuries ago, women poets had to fight to be heard, their poems often dismissed as unworthy or mediocre. It is a testament to their determination, grace and sheer talent that today female poets are amongst the most celebrated and respected the world over. In India, pathbreaking women poets such as Toru Dutt, Sarojini Naidu and Kamala Das paved the way for more recent talents such as Eunice de Souza, Suniti Namjoshi and Sujata Bhatt. Of course, this list does not include the vast number of women poets writing in Indian languages ranging from Assamese, Bengali, Hindi, Malayalam, Punjabi, Tamil and Telugu to name but a few.

A recent anthology of poems by senior contemporary Indian women poets titled Silver Years, reflects the centrality of women in today’s Indian society. While elders have always been revered in this society, the overwhelming influence of western media has brought in a certain skepticism towards such traditions. In this context, it is refreshing to read these poems that showcase the maturity, resilience, humour and sagacity of these women. They offer their diverse perspectives on the experience of being an Indian woman, exploring changing societal attitudes to their place in the world, the dynamics of their social roles and the trauma and transcendence they encounter in their lives.

The poems in this collection are not just pretty words that pander to social expectations, they carry the weight of the experiences of fifty senior women poets who have lived rich and varied lives, working in their chosen fields and observing the radical transformation of the world around them. The common thread that runs through this anthology is the forthright tone and boldness of expression in the over 160 poems included. As women who have lived full lives, both in India and across the world, these poets never shy away from controversies, rather expressing with rare grace and tenderness what it means to be sixty plus and female in contemporary society.

The introduction to this volume is no less impressive than the poems. Jointly written by the editors of the collection, Sanjukta Dasgupta, Malashri Lal and Anita Nahal, the introduction traces the evolution of Indian women’s poetry in English, eloquently delineating the political and social challenges faced by women writing in English. Furthermore, the introduction also explores the impact of a deeply patriarchal culture on women in Indian society. The recasting of mythology to suit contemporary societal expectations also finds a mention as well as an emphasis on the voice, agency and power these poets claim for themselves through their poetry. Most significantly, the introduction underscores the resolve, resilience and charm of these sixty plus women, who erase with the power of their words the negativity and weakness associated with aging.

The poems in this anthology vary widely in style and theme, ranging from poems that reimagine gender and societal roles, to those that focus on the havoc wrought by humans on the environment. Perhaps understandably, in an anthology of poems by women poets over sixty, perspectives on aging are numerous.

Anita Nahal’s poem ‘We are the Kali Women’ is a searing condemnation of patriarchal oppression, casteism and discrimination based on skin colour. The poems refrain “Ma Kali. Ma Kali. Ma Kali. Don’t think she’s not watching” strikes a warning note to those hypocrites who are guilty of crimes against her followers while piously bowing before her image.

On a similar theme, but in an entirely different key, is the poetry of Lakshmi Kannan. This poet’s feminism is not overt, but the poems convey an effective message nonetheless. ‘Silver Streaks’ sets forth an idea that is common to many of the poems in the anthology, that senior women do not become less attractive as they age. Instead, this poem emphasizes the power of self-knowledge that maturity brings.

Malashri Lal’s poetry slides into the readers’ consciousness as smooth as silk. Replete with irony and layered with nostalgia, her minimalistic verse has a visceral appeal. ‘Book of Doubts’ evokes a sense of loss for the books one used to treasure. ‘Jaipur Bazar’ is almost like a haiku, conveying the beauty of an emerald and the heritage it encapsulates. ‘Kashmir One Morning’ contrasts the senselessness of sectarian violence with the Gandhian legacy of nonviolence. ‘Krishna’s Flute’, juxtaposes the mellifluous music of the flute and the dreaded coronavirus pandemic. One is associated with the certitude of faith that Krishna’s tunes represent while the other stalks the silent city leaving death and loss in its wake. This is elegant poetry, that does not shock for effect, instead gently evoking images that resonate in the reader’s mind.

Sanjukta Dasgupta’s poems focus on aging with honesty interwoven with humour. Her poems cut to the bone without any unnecessary sentimentality or understatement. Aging, for Sanjukta Dasgupta is an undeniable fact, she asserts that one has to accept the harsh reality of physical debility and the inevitability of death. The poet does not try to gloss over the signs of age, rather she sees them as a culmination of a life lived to the hilt.

The poem ‘When Winter Comes’, is a recasting of P. B. Shelley’s famous line ‘…when winter comes, can Spring be far behind’. The optimism of Shelley’s ‘Ode to the West Wind’ is contrasted with the reality of aging as Dasgupta notes:

In such an intimate Winter
No time
To spring back to Spring

Spreading its embrace….
Scripting a cryptic memoir
On every inch
From face to toe

The poem ‘Fall’ resonates with the repetition of the words ‘falling’ and ‘failing’, which sets the tone for the final descent “into everlasting rest”. The images used in these poems are at once concrete and fanciful, “the swan throat a tortoise neck now” with “countless rings of recorded time”. The poem “Crowning Worry” addresses the anxiety of aging:

Silver waved among blackened hair
Like flags of treachery
Flashing grin of metallic strands

This poem highlights the power of poetry to acknowledge the reader’s anxieties and ameliorate their lack of self-worth:

Black and blonde tresses howled
In low self-esteem, utter frustration
And massive bi-polar manic depression
As the Grey Gorgeous divas
Grinned and Glowed

Poems such as these emphasise the beauty of the older woman, whose youthful innocence may have gone, replaced by something finer, the beauty of self-assurance and poise.

Another significant theme among the poems is climate change and environmental degradation, the burning issue of our times. As mature adults who are aware that their legacy to future generations includes denuded forests, polluted rivers and oceans, arid landscapes and a rampantly consumerist mindset, these poets feel compelled to lament. The elegiac tone is prominent in many poems. Well-known poet from Northeast India, Mamang Dai celebrates the biocentric culture of the tribes of the region in her poem ‘Birthplace’. The poem ‘Floating Island’ also describes the harmony that exists between women and nature. ‘Earth Day’ by Smita Agarwal is another poem that focuses on the negative impact humanity has had on the environment.   

The poems in this anthology reflect the changing status of women in present day society. The poets are successful women and their clear-sighted view of life reflects their wisdom and rich experience. Aging is not seen as degeneration, but an enlightened phase where the wealth of one’s experience makes for a perspective that is to be celebrated. The poets included herein write with skill, empathy and wisdom, showing readers the hidden nuances of life that are often overlooked in the heedlessness of youth. They are unafraid to boldly present their wrinkles and grey hair as signs of a new beauty, one that is bolstered by maturity and self-acceptance. Pathbreaking feminist Betty Freidan sees aging not as decline, but as a new stage of life filled with power and promise. Her famous quote “Aging is not lost youth but a new stage of opportunity and strength” emphasises her views on the fountain of age.

In these 143 poems, these poets have offered readers a fresh perspective on these new horizons, so that they can be viewed with compassion and a renewed appreciation for the felicities of life. Most significantly, these poems reiterate that the silver years are a time of hope and light that shines on the promise of fresh achievement.  

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Dr. Anita Balakrishnan is former Head, Department of English, Queen Mary’s College, Chennai, India. Author of Transforming Spirit of Indian Women Writers (2012) and contributor to the Routledge Encyclopaedia of Postcolonial Studies, ed by Sangeetha Ray and Henry Schwarz. Has published papers in national and international journals and reviewed books for The Book Review, Borderless Journal  and others. Her interests include contemporary Indian Writing in English, Ecocriticism, Ecofeminism, Cultural Studies and Postcolonial studies.

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Excerpt

Forever Yours

                                                       

Tite: Forever Yours and Other Poems

Author: Swati Pal

Publisher: Hawakal Publishers

A deathly pall

Sometimes

The silence creeps up

And deafens me,

Tearing into me

Slicing through me

And mincing me to bits

.

And from every bit

Of me

A cry so dark

So desperate

So alien

Longs to burst out

That you would shudder

If you heard it.

It’s as if

In some nightmare

That once I saw

In which

My severed head

Was in my hands

But my shrieks

Could be heard

Far and wide.

.

When my eyes

Opened,

A deathly pall

Hung low over me,

Until it swallowed me whole

And we collapsed

As one

Forever.

.

To be a firefly

Oh, to be

A firefly

Dancing

In the dark,

Spreading hope

With its

Brilliant light

Even as

It is enveloped

In blinding night,

To flash

Before the eyes

And soar

Higher

Into the skies…

.

I lie awake

And pray

I become

That firefly.

.

Whilst I live,

I wish only

To spread cheer

To do good

And then

To melt

Into the ether

And be

Not remembered

Yet not forgotten,

Like the firefly…

About the Book: “The deafening silence of a loved one’s absence turns the poet into the eternal Ma enduring separation. Swati Pal’s poetry also straddles the particular to the universal theme of grief and loss and symbolically suggests compassionate ways of healing the pain … Swati Pal’s Forever Yours and Other Poems holds ajar that mysterious door to the panorama of a mother’s love, loss, grief and hope. Her poems will resonate beyond her individual story.” — Prof. Malashri Lal (Former Head, Dept of English, University of Delhi)

About the Author:  Swati Pal, Professor and Principal, Janki Devi Memorial College, University of Delhi, is a Fulbright-Nehru fellowship scholar, a Charles Wallace scholar and the first Asian scholar to receive the John McGrath Theatre Studies Scholarship at Edinburgh University. Author of several books on theatre, creative and academic writing, her newspaper articles articulate her views on education. Her areas of research interest include performance studies and cultural history. She translates from Hindi to English and several of her translations have been published. She writes poetry and her poems appear in several anthologies; she also has two collections entitled In Absentia and Forever yours and a curated collection called Living On. She is the Vice Chair of the Indian Association for Commonwealth Literature and Language Studies and has been the recipient of several national and international awards, both as a teacher as well as an administrator. 

Click here to read an interview with Swati Pal.

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Poetry

Found in Translation: Ashwini Mishra’s poems

Five poems by Ashwini Mishra have been translated from Odia by Snehaprava Das

Ashwini Mishra
RIDING THE EARTH: THE LAST DAY

Farewell!
A final goodbye!
The prologue to an epic of an endless rest
Has to be something
Extra special.

Gathering up all the strength
Of his senses
He strove to know the people
Around him.
He spoke fondly to them
‘Let you all be there in my heart
Forever,
May my world keep shimmering
With the glow of this endearing bond.’
He rode each passing day
That galloped on --
Like a well-fed, robust horse,
He rode on,
His feet securely stuck in the stirrups
His hands gripping the rein hard.
In an instant he could
Gallop around the earth
Cradling time under his arm.
The river, the ponds
And the rainclouds brought water
For his parched throat,

Towards the end of the journey
He called one by one his folks
Whom he held dear to his heart.
Some of them sounded assuring,
Some promised to come.
A few fulfilled their promises too
And came --
Still, there was a disturbing emptiness
Somewhere within.

Where has disappeared
The knot of love that had held
So strong in the days of past?
It was as though that knot
Had loosened and shredded.
Worn out like a weary page
In the mindscape,
Like someone that had once
Played a major role,
And had moved away from the centerstage,
To stand by the stage-wings
Distanced and dispassionate!

SWORD


I had never wanted
To wield a sword, a dagger or a goad.
I had always wanted to tuck plumes
into the hair,
To draw a lotus on the palm,
To play the notes of spring breeze
For the ears of the
Blazing summer noon.
I had wanted to be a dreamer,
To let my eyes close
At the touch of the delicate petals
Of exotic blooms!
But you did not let that happen.
My loved ones,
My folk I held close to my heart,
Fell at the merciless blows
Of harsh and hostile words
Your canons shot.
Your anger, your cruelty,
Weighed heavy on me
And a thunderstorm brew inside me.
Unnoticed by others.
In the end,
My compelled hands
Reached out to the scabbard
Lying abandoned under
The smuts of time
To draw the sword out.

THE CLAY LAMP

A clay lamp can always guess
How long the ghee and
The wick in it will last.
It is a living thing
How brief might its lifespan be.
It can, like all living beings,
Battle the wind and the darkness
In its struggle to survive
In an unenclosed space
That is vulnerable to
The assault of hooves of animals
Or the misty spray of the dew.
It knows that
The moment the curtain rises,
Revealing the stage
All set for the entry of light,
The first act of the play will end
And Its role will be over
Even before the makeup is
Rubbed off the face or the artificial tint
On the hair fades.
The hand that had lit it
May turn impassive, too!

A woman, her heart and hands
Focused on the act,
Keeps lighting up the clay lamps,
Not knowing for sure
How long their light would last
Or when the flames would die.
The idol of the goddess
That glittered in the light of
The lamps she lights
Never steps down to help her
When the flames char her body.
There is not a soul in sight
When her flame dies,
Except a few burnt insects.

GAZA
You neither have a chest
Nor arms now
To embrace those who once saw
You as their own
Like you did before.
The natives and the foreigners,
Who trod your soil,
Now take a turn either to your left
Or to your right and move on.
No longer the chirrups of birds
Come sprinkling down
Either from your sky, or your trees.
There are vultures everywhere
Scavenging on the tender human flesh
Getting fat and heavy.
The sun, the moon and the stars
In your sky are
Blown away into thousand pieces now.
You may dig up some of them
Graved under your ground.
The Death in your sea breeze
And in your explosive garb
Haunts living humans
To turn them to corpses.
Like a farmland ladened with crops,
Skeletons are heaped in your streets.
Houses and buildings where life dwelt
Are mounds of shattered concrete.
Wreckage of kitchenware,
And of home appliances
Lie on the desolate roads
In pathetic scatters.
A book satchel slings from the
Severed hand of a dead child.
The thirst for war is not quelled yet,
New strategies are deliberated upon
To pursue newer missions of death.
New weapons must be hoarded
In the arsenal
To launch an attack on the netherworld
After this world is razed to ruins.

WHIP

The whip that once basked proud in
The love of the kings and the feudal lords
And danced in elation on
The defenseless back of the oppressed,
Now lies worn and weary
In a niche in the royal palace or
Behind the glass doors in the shelf
Of a museum,
Coated in dust and dirt.
The obsequious tanners,
Who were far below the
Aristocracy,
Polished this tool of tyranny
Bright with oil,
And it jumped crazy
On their haggard backs,
Drawing crooked lines
Of livid blue and red.

How wide is the chasm between
Sage Dadhichi who gave his bones
For forging a thunderbolt
To kill demon Brutrasura*,
And the stingray that gave its tail to
Shape a whip
That performs its brutal dance
On the back of innocent humans?
Even today,
The barges of history and legends
Voyage across the pages
Of text books taught in the classroom,
Their sails fluttering
On their proud masts.

*Brutrasura was killed by Indra with a weapon made with Sage Dadhichi’s bones as per mythology.

Aswini Kumar Mishra has 13 poetry collections to his credit. He has been translated widely into English, Hindi, Bengali, Tamil and other Indian languages. He has authored a fiction in English, Feet in the Valley (Rupa Publications, 2016),  His poems and essays have appeared in several literary journals including Indian Literature, Kavya Bharati, Wasafiri, M.P.T, The Little Magazine, Samakaleen, Konark, Rock Pebbles and Vahi etc. A recipient of several awards, he currently lives in Bhubaneswar and can be reached at cell phone +919438615742, +918456953936. His email id is:  mishra.aswini53@gmail.com

Dr.Snehaprava Das, is a noted writer and a translator from Bhubaneswar, Odisha. She has five books of poems, three of stories and thirteen collections of translated texts (from Odia to English), to her credit. 

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

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

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

Categories
Stories

Nandu by Ajit Cour

Translated from Punjabi by C. Christine Fair

His name was “Nandu”.  He was a servant in our neighbour’s house, where he did all of the household chores. He was a smallish boy. Who knows what his actual name was. Everyone just called him Nandu.

Sometimes he would finish his work in the afternoon and would come sit with me. Although he was from Garhwal, he spoke Punjabi well, albeit haltingly. His face always made it appear as though he were laughing. We gave him the nickname “Laughing Man.”

“Nandu, how many brothers and sisters do you have?”

“Four sisters and three brothers. All of the sisters are older than I am, and the brothers are younger.”

Then Nandu fell silent. It was as if he were thinking that if his brothers were older, they would be working, and Nandu would not have cuts on his hands from washing vessels all day at such a young age. Nor would he have been forced to leave his small house nestled in the mountains.

“Nandu, how did you manage to leave your parents and everyone else to come here?”

Then he smiled, and his lips spread out.  “Who knows why?” he smiled, but it seemed as if the smile was trying to convince me that it doesn’t matter whether you want to or don’t want to do all of this work, you still have to do it. Right?

“Madam, back there, we barely eat twice a day. We cooked once a day, and we ate the leftovers for a second meal. Moreover, I was not free there at all. I would take the cows outside for grazing. I also bathed them sometimes. I would also feed them fodder. When my mother would milk the cows, I wanted to drink the milk fresh from the bucket. But madam…if we don’t sell the milk, then maybe we won’t even be able to cook one meal.

“And there, people must have their own lands?”

“What kind of lands, Madam? Just small parcels. And then you have to pay land tax and interest on the loan.”

When Nandu spoke like this, it seemed to me that this child was a fifty-year-old man. Yet he was hardly thirteen years old. He was eight or nine when he ran away from his village to come here.  Perhaps, he couldn’t tolerate hunger. There had been a time when he had been self-respecting. He would go on saying, “Where I used to work before, the old woman was angry with me one day. And I left.”

I was astonished that now he is verbally abused all day long, but he has gone nowhere. The reason may be that he had grown accustomed to it.

Nandu only spoke Punjabi. He would say that he had forgotten Garhwali. And he never posted letters to his family.  He would say that he only knew his father’s name and the name of his village. Nothing else. And the villages in Garhwal had such long addresses. Sometimes he would become very sad thinking of his mother and father. Once, I saw him outside, wiping his eyes with his dirty Ludhiana shirt. But usually, he would try to hide his pain in a smile from which his broad lips would stretch wide. He said carelessly, “According to them, I died long ago.”

Our neighbors were Sikhs. And Nandu bought a gutka[1] with his salary, even though he was completely illiterate. (He only took that part of his salary that he needed for necessities.)  He also bought a picture of Guru Gobind Singh Ji and wrapped it in his spare shirt to keep it safe. When the shirt he is wearing gets dirty, he washes it, wraps the picture of Guru Gobind Singh in it, and wears the other shirt.

Over time, he began imitating the children of his boss, a Sikh man, and began wearing a turban. He also got the worn-out turban of his boss’s youngest son. For two annas, he bought some grey dye and dyed the turban. He also acquired a small kirpan[2], which he did not remove while bathing or sleeping. He went from Nandu to Nand Singh.

One time, a man from his village came to find him.

“Does someone by the name of Nandu live here?
“There’s no one here by that time. You’ve come here by mistake,” Nandu said with deliberation. He was already afraid that if some man from the village recognised him, he would have to send money home. And maybe he would have to return to that place, where, after caring for the cows all day, he got only one meal, and for the second meal, he was given dried pieces of roti. Here, he could satisfy his hunger at least twice a day. He didn’t need to worry a bit about work. And what about scolding and abuse? Ultimately, a person learns to tolerate these things.

Even though Nandu’s face had completely changed, seeing his wide laughing lips, the man from his village recognised him. He said something to Nandu in Garhwali. Nandu began to say somewhat angrily, “I don’t understand what you are saying. Don’t talk nonsense. Speak correctly.”

And the next day in the afternoon, when he told me that he no longer understood Garhwali, I suddenly let out a sigh. Maybe I sighed because Nandu had forgotten his mother tongue, which must have been the first words he heard when God threw him on this planet, thinking him to be disposable.

“What did he say to you, Nandu?”

“Nothing. He said only that ‘your mother is missing you a lot.’ But I know no one is crying for me. She must be thankful that there is one less hungry mouth to feed. She used to always say to me, ‘May you die.’”

But that man from Nandu’s village kept coming around. Over time, Nandu’s heart softened. Nandu remembered his mother, he remembered his elderly father, who must no longer be able to work the fields. And Nandu remembered his small, dirt shack, whose outside wall was plastered with rocks. The fragrance of fresh soil and paste made of cow dung and mud floated to his mind. And now Nandu was constantly sad. In the end, he was still a child, all of thirteen years old.

Then one day, who knows what happened, but cysts appeared near his ear. The boss, the Sikh, was charry of the illness, thinking no one would keep a sick man in his house. He tossed Nandu out. While leaving, Nandu cried copiously! He gave me the gutka and the picture of Guru Gobind Singh. He was going back to his village.  He said he would take them back when he returned from his village.

So much time had passed without hearing from him. On several occasions, my eyes would well up looking at his things. Poor Nandu.

Then one day, there was a knock at my door. It was the afternoon. I opened the door. A smallish boy was standing there wearing a dirty hat and a filthy shirt, and in his hands was a smallish bundle. I thought someone must have come to meet our servant. But seeing those wide lips smiling in his laughter, I immediately recognised him. It was him. Nandu.

Nandu had cut his long hair. Now his name was Anand Ram. I asked him how he was doing and gave him some water. He spoke haltingly. While speaking, he said some words that I had difficulty understanding. In the end, embarrassed, he began to explain that due to living in his village, it was hard for him not to speak Garhwali. In the end, he was still Nandu, who had come to me in the afternoon and to tell me all of his sorrows.

“Your things are still with me, Nandu.”

“You keep them.” It seemed as if words were not coming to him. He didn’t know what to say, “I have another photo.” He began to open his bundle. There were a few pieces of clothing from which Nandu withdrew a picture. It was a picture of Lord Krishna.

I kept on thinking that hunger knows no religion. Wherever one gets food, one adopts that religion and that language.  Then what is the essence of a person? A cog that has to fit into every machine because a cog outside of a machine doesn’t get oil, and it becomes rusty. And Nandu? What was Nandu? A thing without life? He was a ball rolling down the mountainside, which, moving very quickly down the hill, would get stuck on a rock momentarily, then again begin rolling. Maybe Nandu was like that same wind-up doll that my little brother has. The only difference is that the wind-up doll is fat, whereas every one of Nandu’s ribs could be counted.

After two years, Nandu came yesterday. There was barely any difference in his build. I recognised him immediately. But he could not recognise my little brother. In those two years, he had grown a lot. The wheels of time leave different marks on different people.

Now Nandu spoke Hindi. He spoke some words very quickly, which I had difficulty understanding.

“So Nandu, where are you these days?”

“I’m working for a woman from Madras. She’s terrible. She harasses me a lot. Otherwise, everything is fine. Initially, I couldn’t eat their food, but now I can.”

Then I thought he was doing this just to keep his belly full, just like sparrows and crows who eat to keep their bellies full. Just like wild dogs roaming the streets to fill their bellies. What is a meal? Whatever you get, you eat, whether it’s leftover food or something else. Something just to fill one’s stomach. But to feed himself, one has to sell himself.

I had thought that Nandu had sometimes become Nand Singh and sometimes Anand Ram. There was a time when he kept a picture of Guru Gobind and a gutka. Now he keeps a picture of Krishna. Sometimes he spoke Garhwali, sometimes Punjabi, and now Hindi. But Nandu kept on washing dishes. Nandu kept on sweeping. He kept on washing clothes. He went on cooking.  And he continued to be scolded. Still, he’s a child. Poor Nandu!

“Sister, are you still writing stories?”

“Yes, Nandu. I’m writing now.”

“And you were saying that you were going to write my story?”

I smiled. Feeling demoralized, he began to ask, “But who will read it?”

Then it occurred to me that Nandu couldnot read his story himself, but many others would read it.

“Nandu, the people of future generations will read about Nandu and thousands of Nandus, just like the Bible.  And these stories will be worshiped just like you worship these pictures. Because you all strengthen the foundations of the new world.”

Who knows whether he understood what I was saying, but he smiled.

[1] A quid of betel and tobacco

[2] Small dagger, a ritualistic thing carried by Sikh men

Ajit Cour

Ajeet Cour (born 1934) is an Indian writer who writes in Punjabi. She is a recipient of the Sahitya Akademi Award and the Padma Shri, the fourth-highest civilian award by the Government of India. She is the author of twenty-two books, including novels, novellas, short stories, biographical sketches, and translations. Her novellas include Dhup Wala Shehar (The town with Sunshine) and Post Mortem. Her novel, Gauri, was made into a film, while her short story Na Maaro (Don’t Beat) was serialised for television. Her works have been translated into English, Hindi, and several other languages.

C. Christine Fair (born 1968) did her Ph.D. in South Asian Languages and Civilizations at the University of Chicago. She is currently a professor of Security Studies at Georgetown University. Her translations have appeared in Muse India, Orientalia Suecana, The Bangalore Review, Borderless, The Punch Magazine, The Bombay Literary Magazine, and The Bombay Review.

Categories
Feature

In Translation: Bitan Chakraborty

The story of Hawakal and a conversation with the founder, Bitan Chakraborty, whose responses have been translated from Bengali by Kiriti Sengupta.

Hawakal Publishers grew out of the compulsive need young Bitan Chakraborty had to express and connect. This was a young man who was willing to labour at pasting film hoardings to fund his dreams. An Information Technology professional by training, Chakraborty realised early he did not want to tread on trodden paths and started his journey as a creative individual. Now, he not only writes and publishes but also designs the most fabulous covers and supports local craftsmen.

Over the last nearly two decades, the brand Hawakal has become synonymous with traditional poetry publication from India. They do not offer buy back deals or ask to be paid like most publishers but pick selectively. No one seems to know what it is they look for. All Chakraborty says is – “We aimed to introduce a fresh wave in publishing.”

Chakraborty writes fully in Bengali which is why the dentist-turned-writer-turned-publisher, Kiriti Sengupta, had to chip in with the translation of his responses in Bengali. Their friendship matured over the last decade when Sengupta approached Chakraborty to publish a book of critical essays, which along with essays on Sharmila Ray’s poetry homed critical writing on his too. This was the first English publication of Hawakal.

Sengupta had given up dentistry by then and was living in a hostel on a packet of Maggi a day to indulge his creative passions.  A skilled poet with a number of books under his belt, he eventually joined Chakraborty to run the English section of Hawakal.  He also translates from Bengali to English. We have one of his translations of Chakraborty’s short story, Disappearance. A powerful reminder of social gaps that exist in the Subcontinent, it’s a poignant and frightening narrative, the kind someone writes and imagines out of a passion to reform.

Some of Bitan’s works are available in English. His style — by the translations — seems graphic. The deft strokes make the landscape and the stories almost visual, like films. 

Chakraborty worked with ‘Little Magazines’ for some time. Then he made his way into publishing full time. Though he found it hard to make ends meet, he started his adventure without compromising his beliefs. He wanted to take books to readers and, with that spirit, they started the Ethos Literary Festival, where they host writers published by them. In fact, in the 2025 festival, Hawakal sold more than 400 books in seven hours! Who said poetry doesn’t sell?

Chakraborty and Sengupta have yet another hallmark. They wear matching clothes. These are tailored with material sourced from handloom weavers. They resorted to this when they found that commercialisation was killing the traditional homeborn handlooms. In that spirit, they started a clothes venture too, Mrinalika Weaves. 

Chakraborty is an unusual person – as the interview will reveal – humble, stubborn with aims like no other publisher or writer in this day and age! He doesn’t talk of money, survival, politics, awards or glamour, but what matters to him. He is direct and straightforward and perhaps, his directness is what makes his outlook appealing. He translates a few to Bengali for his own growth. But these are poets who are known for their terse writing. Maybe, that is what he looks for… Let’s find out!

Conversation
Bitan Chakraborty. Photo Courtesy: Kiriti Sengupta

Bitan, you are a multifaceted person: a writer, an artist, a photographer, and, most importantly, a publisher for all writers. What is it you most love to do and why?

I need to talk. What I observe or learn from my experiences compels me to express myself. Therefore, regardless of the medium I use, I strive to convey meaningful messages. Nevertheless, the range I enjoy in weaving words is unparalleled.

What sparked your interest in writing? Please elaborate. Do you only use Bengali to communicate with others? Do you translate from other languages to Bengali?

I felt emotionally down when I began writing. What a dreadful time it was! I believe it must be the emotional turmoil of my youth. However, writing has never left me since then. It’s more accurate to say that I have never managed to rid myself of my urge to write. During the early period, my writings contained more emotion than substance. In my college years, I was engaged in student movements that helped me discover the purpose of words. Society, socio-economic status, politics, and human dissatisfaction are the themes that run through my stories. Bengali is my mother tongue: I think, speak, dream, and curse in Bengali. I find it challenging to derive the same pleasure from using another language; it is my shortcoming.

Nevertheless, when I meet outstanding works in English, I attempt to translate them into Bengali. Not everything I read, but I have translated poems by Sanjeev Sethi and Kiriti Sengupta. I have consistently translated Gulzar into Bengali, but it has yet to be published in book format. Translation is a mental exercise; it particularly helps when I am experiencing writer’s block. I read poetry when I wish to untangle my thoughts, and when I come across fine poems in another language, I try to make them my own — bring them into my culture through translation.

Do you write only prose or poetry too?

I have been writing stories and essays for the past fifteen years. Interestingly, I began with poems, but they turned out to be junk. Therefore, I focussed on writing fiction.

Many of your stories focus on the Bengali middle class. What inspires your muse the most? People, art, nature, or is it something else?

I grew up in a lower-middle-class environment. Poverty, unemployment, and debt were parts of my formative years. I witnessed how this economic disparity allowed a particular segment of society to insult and humiliate others. Consequently, I have developed a strong affinity for those who are underprivileged. Later, when I began writing fiction, my political awareness enhanced my observations — I was able to merge the existing economic inequality with the nation’s political perspectives. The lessons I have learned over the years motivate me to write.

You design fabulous book covers. Do you have any formal training, or is it a natural flair?

When I entered the publishing industry, I had no funds to commission professionals for book covers or layouts. I had been involved with Little Magazines since my college days. I used to spend hours with the printers, meticulously observing how they designed cover spreads and interior text files. This experience proved useful when I began producing books. For the past several years, I have frequented bookstores, picking up a book or two — I also purchase books online, especially those that help me stay abreast of recent developments in book architecture. In my early years, I was unable to learn design formally due to financial constraints.

When and why did you decide to go into publishing? Could you tell us the story of Hawakal?

From 2003 to 2008, I was involved with four Little Magazines. Bengali Little Magazines thrive on minimal funds. Therefore, we (the team) managed everything necessary to publish a little magazine. We oversaw printing, distribution, book fairs, and other activities. By the middle of 2007, I realised I wasn’t suited for a day job. I understood that I would struggle to survive the conventional 10 am to 5 pm career. During that time, my family was in financial difficulties. Suddenly, we had the opportunity to publish Kishore Ghosh’s debut collection of poems, Ut Palaker Diary. It was published under the banner of the little magazine I was actively working with. As we worked on the book, I learned that publishing a magazine and publishing a book were entirely different endeavours. A little magazine is primarily sold through the efforts of its contributing writers and poets, while a book is sold through the combined efforts of the author and the publisher. I decided to pursue publishing as my career after we successfully sold 300 copies of Ghosh’s book in 10 months. That was the beginning.

Why did you opt to name your firm after a windmill — Hawakal in Bengali? Please elaborate.

We spent days selecting a name for our publishing concern. Finally, we chose the title of one of Kishore Ghosh’s poems as our company name. Hawakal, in English, means windmill. It signifies an alternative source of energy. We aimed to introduce a fresh wave in publishing. As an independent press, we have consistently operated ahead of our time. From developing a fully-fledged e-commerce hub (hawakal.com) in 2016 to producing the highest number of books during the pandemic (2020-2021), Hawakal has accomplished it all.

The first logo of Hawakal designed by contemporary artist, Hiran Mitra and then modified over time by Bitan Chakraborty.

You have boutique bookshops in Kolkata, Delhi — any other places? I believe you started a collaboration to get your books into the USA? Could you tell us a bit about your outlets and how you connect writers with the people? Are your boutique shops different from other bookshops? Do they only stock Hawakal books?

As you know, Hawakal has two functional ateliers in Delhi and Kolkata, while our registered office is located in New Delhi. We do not have any plans for an additional studio in India. We also have a bookstore in Gurgaon called Bookalign. There is a small outlet in Nokomis, Florida. It is a new unit in the United States. We primarily stock books published by Hawakal and its imprints (Shambhabi, CLASSIX, Vinyasa). However, we carefully select titles from other publishers for our store. We have sufficient seating in the store, allowing readers to browse the books before making a purchase. Since we publish non-mainstream authors, readers need to make a conscious choice. This not only benefits the authors we publish, but it also helps us evaluate the effectiveness of our selection process.

You started as a Bengali publisher, if I am not mistaken, and then forayed into English; now you are bringing out a translation in Hindi? How many languages do you cover? Do you plan to go into publishing in other languages?

We initially focused on Bengali books. Our venture into English titles began when Kiriti Sengupta joined Hawakal as its Director. Publishing a Hindi book was unexpected. However, we will not release books in other languages that we cannot read or speak. It is essential, as a publisher, to be well-versed in the language of the books we publish.

What kind of writers do you look for in Hawakal?

Would you like me to reveal the truth? We expect more than just satisfactory work from our writers: we want writers who will value their work passionately and take the necessary steps to reach a wider readership. Please don’t assume that what we expect from our authors is not something we adhere to ourselves. We expect this because we understand what it means to be truly passionate about one’s writing.

I heard that Hawakal was diversifying into textiles. How does that align with your writerly and publishing journey?

We opened our first kiosk in Mathabhanga, North Bengal, back in 2016. We simultaneously sold books and sarees from that small outlet. We had to close the shop due to a lack of staff. Kiriti Sengupta has long cherished the dream of representing the fine textiles of Bengal. Our family has grown larger. Bhaswati Sengupta and Lima Nayak have joined the team; they are the ones who established Mrinalika, collaborating with artisans from remote regions of India to showcase their creations to a wider audience.

Where do you envision yourself and Hawakal, your most extraordinary creation, ten years from now?

We aim to publish fifty timeless books over the next decade.

Thanks for your time and for the service you render to readers and writers.

[1] Ut Palaker Diary – Diary of a Camel Herder

Click here to read Disappearance, a story by Bitan translated from Bengali by Kiriti Sengupta.

(This feature — based on a face to face conversation — and online interview is by Mitali Chakravarty)

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

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

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