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Contents

Borderless, June 2022

Art by Sohana Manzoor

Editorial

We are All Going on a Summer HolidayClick here to read.

Interviews

In Conversation with Rinki Roy (daughter of legendary director Bimal Roy) about The Oldest Love Story, an anthology on motherhood, edited and curated by journalist and authors, Rinki Roy and Maithili Rao. Click here to read.

Achingliu Kamei in conversation with Veio Pou, author of Waiting for the Dust to Settle, a novel based on the ongoing conflicts in North-east India. Click here to read.

Translations

The Funeral, a satirical skit by Tagore, translated by Somdatta Mandal. Click here to read.

Three Shorter Poems of Jibananda Das have been translated from Bengali by Professor Fakrul Alam. 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.

Fakir Khizmil & the Missing Princess, a Balochi Folktale has been translated by Fazal Baloch. Click here to read.

Pie in the Sky is a poem written and translated from Korean by Ihlwha Choi. Click here to read.

Taal Gaachh or The Palmyra Tree, a lilting light poem by Tagore, has been translated from Bengali by Mitali Chakravarty. Click here to read.

Pandies’ Corner

This narrative is written by a youngster from the Nithari village who transcended childhood trauma and deprivation. Dhaani has been written in Hindi and translated to English by Kiran Mishra. Click here to read.

Poetry

Click on the names to read

Jared Carter, Sutputra Radheye, Ryan Quinn Flanagan, Antara Mukherjee, David Francis, Alpana, George Freek, Prashanti Chunduri, John Grey, Ashok Suri, Heather Sager, G Venkatesh, Candice Louisa Daquin, Elizabeth Ip, Rhys Hughes, Michael R Burch

Poets, Poetry & Rhys Hughes

In From a Kafkaesque Dream to the Penguin Cafe Orchestra, Rhys Hughes brings out a new strain of tunes that grew out of Jeff Simon’s unusual journey and it continues to persist beyond his life. Click here to read.

Stories

Oliver’s Soul

Paul Mirabile weaves a story of murder and madness in Madrid of 1970s. Click here to read.

The Wallet

Atreyo Chowdhury spins a tale set in Kolkata. Click here to read.

Flowers on the Doorstep

Shivani Shrivastav writes of an encounter with a mysterious child in Almora. Click here to read.

A Riverine Healing 

PG Thomas’s narrative set in Kerala, explores a leader’s old age. Click here to read.

Pagol Daries

Indrashish Banerjee creates a humanoid scenario where robots take on human roles. Click here to read.

Musings/ Slices from Life

In Memoriam: Star of the Stage Shines on Screen

Ratnottama Sengupta pays a tribute to famed actress, Swatilekha Sengupta (May 1950- June 2021). Click here to read.

Pizzas En Route to Paradise

Keith Lyons discovers the import and export of desires in Varanasi, one of the oldest cities in the world, beside one of the most revered rivers. Click here to read.

Notes from Japan

In Marathon Blues, Suzanne Kamata talks of pandemic outcomes in Japan in a lighter tone. Click here to read.

Musings of a Copywriter

In Journey of an Ant, Devraj Singh Kalsi explores life from an insect’s perspective. Click here to read.

Mission Earth

In Tuning in to Nature, Kenny Peavy tells us how to interact with nature. Click here to read.

Essays

Kabir & His Impact on Tagore

Mozid Mahmud explores Kabir and his impact on Tagore, which ultimately led to a translation of the great medieval poet. Click here to read.

A view of Mt Everest

Ravi Shankar travels in the freezing cold of Himalayan splendour and shares magnificent photographs of Mt Everest. Click here to read.

The Good, the Bad, and the Benign: Back across Bass Strait

Meredith Stephens shares a photographic and narrative treat from Tasmania. Click here to read.

The Observant Immigrant

In Season’s in the Sun, Candice Louisa Daquin explores what intense positivity can do to people. Click here to read.

Book Excerpts

Excerpt from Tagore’s Gleanings of the Road, translated by Somdatta Mandal. Click here to read.

Excerpt from Waiting by Suzanne Kamata. Click here to read.

Book Reviews

Meenakshi Malhotra revisits Harsh Mander’s Locking down the Poor: The Pandemic and India’s Moral Centre. Click here to read.

Indrashish Banerjee reviews Keki N Daruwalla’s Going:Stories of Kinship. Click here to read.

Gracy Samjetsabam reviews Pronoti Datta’s Half-Blood. Click here to read.

Bhaskar Parichha reviews Deepti Priya Mehrotra’s Her Stories –Indian Women Down the Ages — Thinkers, Workers, Rebels, Queens. Click here to read.

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Editorial

We are All Going on a Summer Holiday…

Yes! It is vacation time, and we are all able to travel at last. Though the pandemic which had closed borders for us seems to be evolving as an endemic, another huge human crisis, a war which cannot be justified in any way, stares us in the face. Loss of lives, homes, towns, cities and threats of global recession follow in the footsteps of refugees wandering into our lives. Lesya Bakun, the Ukrainian refugee whose story we have been following, told me four of her relatives’ homes in Mariupol have been erased out of existence and her extended family has scattered where they found safety as her cousin continues a prisoner of war, captured while defending the iron and steel factory at Azovstal. While majority of the world expresses solidarity with the Ukrainians, another set of refugees remain in shadows. They have completely lost their country in which they had lived from ancient times. I am referring to the Rohingya of Arakan. CNN world states:

“The Rohingya are a stateless Muslim minority in Myanmar’s Rakhine State, thought to number about 1 million people.

“Myanmar does not recognize them as citizens or one of the 135 recognized ethnic groups in the country.”

 We are privileged to host a powerful poignant translation by Arifa Ghani Rahman of Shaheen Akhtar’s short story about such a voiceless Rohingya child in a refugee camp. Though this is a fiction inspired by Akhtar’s visits to such shelters, we hope at some point these children will be able to build new lives to create a world free of violence, intolerance, hatred and greed.

One of the questions that springs to one’s mind, watching such atrocities destroy innocent lives is that should one accept bullies and give in to their pressure tactics? Bullies can be found among world leaders as well as perpetrators of decadent societal norms which are often critiqued by satires. Somdatta Mandal has translated one such satirical playlet where social conventions are targeted in a lighter vein by Tagore. In the same spirit, the maestro’s iconic poem about a palmyra tree called Taal Gaachh has been transcreated to bring the joy of innocent wanderings back into the narrative, creating an island of healing thoughts. We continue with our translations of Jibananada Das by Professor Fakrul Alam, a Korean poem by Ihlwha Choi and a magical Balochi folktale by Fazal Baloch. Let us read such translations to connect with varied cultures so that compassion and acceptance of diverse perspectives end horrors like wars, starvation and hunger.  

Tagore’s writings translated to English by Mandal in Gleanings of the Road, a collection covering the maestro’s travel to the West, is part one of our book excerpts and highlights Rabindranath’s perspectives on the need to connect with the larger world. The other book excerpt, from Waiting, poetry by Suzanne Kamata, takes up the theme of victimisation, crime and murder. Dwelling on no less horrific narratives, though justified as non-criminal, is a review by Meenakshi Malhotra of Harsh Mander’s Locking down the Poor: The Pandemic and India’s Moral Centre. Gracy Samjetsabam’s assessment of Half-Blood by Pronoti Datta informs about the greyer areas of a whole community in Mumbai. Indrashish Banerjee reviewed Keki Daruwalla’s stories on human relationships anthologised in a collection called Going: Stories of Kinship while Bhaskar Parichha has acquainted us with Deepti Priya Mehrotra’s Her Stories –Indian Women Down the Ages — Thinkers, Workers, Rebels, Queens, a non-fiction that visits inspiring women.

Inspiration can also be drawn from Rinki Roy Bhattacharya’s and Maithili Rao’s The Oldest Love Story, featuring a medley of men and women writing on the theme of motherhood along with some narratives about their mothers or on the experience of being one. The medley includes well-known names from films and literature like Shabana Azmi, Saeed Mirza, Shashi Deshpande, Nabanita Dev Sen and more. We interviewed Roy Bhattacharya to find out more about this impactful book. Achingliu Kamei, an academic and writer, has conversed with Naga writer, Veio Pou, whose award-winning book, Waiting for the Dust to Settle, was reviewed earlier — a book that gives a glimpse of conflicts in the Northeast of India.

Taking on the theme of conflicts at a personal level, Atreyo Chowdhury’s and Banerjee’s stories create a sense of disquiet as Paul Mirabile’s explores crime, madness and its impact on humans. G Thomas takes a relook at heroism and bravery as a concept. His story set in Kerala shakes our complacency, upending traditional concepts of heroism and bravery just as Candice Louisa Daquin has upended the cult of positivity in her essay. Notes of discord and accord seem to ring through this edition and the undertones of greys spread out towards an exploration of life and death. We have multiple ghost stories this time, even from the Nithari column written by Kiran Mishra, a youngster who got over the trauma of violence in the community and discovered her place as a bilingual writer and educator.

Our poetry section is honoured to host Walt Whitman Award winner, Jared Carter, again with his poetry on a Japanese artefact as George Freek’s continues to be inspired by the style of Song dynasty poets. Michael Burch writes beautiful love poems. We have a vibrant poetry section with Daquin, Sutputra Radheye, Ryan Quinn Flanagan, Antara Mukherjee, Rhys Hughes, who has also revisited ‘The Penguin Café Orchestra‘. This band started a new kind of musical trend with nothing but passion and conviction. Hughes of course cannot escape the bonds of his tongue-in-cheek style, also adopted by Devraj Singh Kalsi while he pretends to be an ant.

Keith Lyons has got the bug of tongue-in-cheek too as he gives us a piece on his travels in Varanasi that well captures the dichotomies we find in India. Dwelling on social dichotomies also is Ratnottama Sengupta’s powerful tribute to Swatilekha Sengupta, a film and theatre doyenne who brought to life Tagore’s novel, Ghare Baire (Home and the World, 1985). An essay by Mozid Mahmud exploring both the syncretic elements in Tagore’s and Kabir’s works, the medieval poet’s impact on the Nobel laureate and a dispute over Rabindranath’s own translation blends with the tone of greys in this edition.

Travel narratives and photographs by Meredith Stephens sailing the seas in Tasmania and Ravi Shankar trekking on the slopes of the Himalayas to get a view of Mt Everest make for perfect holiday adventures. From Japan, Kamata has given us a narrative set in the pandemic. And environmentalist Kenny Peavy dwells on reconnecting with nature in Mission Earth.

We have a fair deal from across the globe in the June issue. But, as usual, some of the treats in the content have not been mentioned though they are wonderful pieces of writing too. We look forward to your continued support as you delve into our treasure trove of gems from across the oceans. A huge thanks to our fabulous team, to the contributors and readers. I especially want to thank Sohana Manzoor for sharing her lovely artwork and wish you all a wonderful read!

I hope you have a fabulous summer.

Thank you.

Mitali Chakravarty

borderlessjournal.com

Categories
Poetry

Pie in the Sky

Written in Korean & translated by Ihlwha Choi

Starry Night by Vincent Van Gogh(1853-1890) Courtesy: Creative Commons
PIE IN THE SKY

As I get older, pies in the sky increase.
Now there are so many pies in the sky.

When I was young, I hoped to be a seaman,
but now my dream has become a pie in the sky.

Once, Pestalozzi, Dalgas, Schweitzer were my heroes,
but they all have become pies in the sky.

The friends from my boyhood,
the lassie to whom I wrote love letters,
all of them have become pies in the sky.

Boys, be cautious.
The dream -- like a brilliant rainbow --
will become a pie in the sky with the flow of time.

Ihlwha Choi is a South Korean poet. He has published multiple poetry collections, such as Until the Time, When Our Love will Flourish, The Colour of Time, His Song and The Last Rehearsal.

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

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Editorial

Catch a Falling Star…

Art by Sohana Manzoor
For when your troubles starting multiplying
And they just might
It's easy to forget them without trying
With just a pocketful of starlight

Catch a falling star and put it in your pocket
Never let it fade away (never let it fade away)
Catch a falling star and put it in your pocket
Save it for a rainy day

'Catch a Falling Star' by Paul Vance and Lee Pockriss

Perhaps, it is time to find that fallen star popularised by pop singer Perry Como is 1957. Optimism glimmers faintly, sometimes even conceals itself, in a world passing through a dark phase in history. For instance, few of us would know that we might find more answers to tackle  climate change as dinosaur fossils (from the time an asteroid hit the planet) have been unearthed recently. That sounds like solutions can be had to what was perceived as inevitable doom.

Another bit of news that perhaps will cheer some is the first anthology of Borderless Journal will soon be available in market. It has been accepted by a publisher, an old, trusted and reputed name from India, Om Books International. They have bookshops splattered all over — should make it easy for buyers to access the book. Hopefully, you can target the anthology for your Diwali or Christmas gift hampers. Om Books has one of the most iconic editors-in chief, Shantanu Ray Chaudhuri. A multiple award-winning editor, he has worked in Penguin and Harper Collins and is currently churning out wonderful books from Om with a fabulous production team, working with whom has been a pleasure. Ray Chaudhuri is an outstanding film writer and poet. He is part of a group that is creating a film archive online. To know more about him or his views on publishing, you can read our online conversation with him.

The energy one gets from optimism like starlight from a fallen star, lightens the darker shadows that create gloom with the war leading to rise in prices and threats of recession in a post pandemic scenario. Lesya Bakun, the refugee from Ukraine whose story we carried last month, finds her starlight by sharing updates of her story.  She added to her narrative with the news that her cousin has been taken as a prisoner of war by Russia from the besieged factory in Ukraine. Though sharing does not alleviate suffering, Bakun’s ability to cling to hope and imagine a future where she gets her dream highlights the strength of her convictions. The other thing that is revealed by her narrative and media coverage is exclusivity and boxes of ideology split humankind, erase families, cities, countries, lives and sanity. The war can appease only the lust of warlords. Against this desolation caused by the devastation, what could be the starlight that would lead to a happier future?

Laughter. Unleashing the ability to laugh at oneself is as potent as laughter that generates relief and lightens our mood, so that we can view differences as whimsical, treat them with tolerance and compassion and not destroy the diversities that add colours to the world. Perhaps, that is why Tagore took to humour too. Somdatta Mandal has translated a series of humorous skits by Tagore. We are featuring one of these called the ‘Ordeal of Fame’. Yet another translation or transcreation of a poem called ‘Lukochuri’ or ‘Hide and Seek’ reflects the playful in Tagore’s oeuvre. These, along with Rhys Hughes humour on the pandemic in poetry and prose, bring good cheer into our journal. Hughes has also used his column to tell us why he curated a new humorous anthology of verses by seventeen poets called Wuxing Lyrical. I wonder if he is serious or joking!

We were fortunate to have a tongue-in-cheek online discussion with an academic with a witty sense of humour who started a book based on his PhD research with a limerick, Amit Ranjan, author of John Lang the Wanderer of Hindoostan, Slanderer in Hindoostan, Lawyer for the Ranee. While Ranjan brought to us a narrative of an Australian who challenged the colonial mindset, went to court representing the Rani of Jhansi, wrote for Charles Dickens in Household Words and moved around the world just like one of us, hopping jobs and looking for a life, we have diverse cultural streams woven into the journal with translations of a Balochi folktale from Fazal Baloch, a Korean poem by Ihlwha Choi and Professor Fakrul Alam’s translation of Jibananda’s poetry, an ongoing project in Borderless.

The Nithari column has yielded us a story that was written in a mix of Hindi and English by Yogesh Uniyal and translated fully to English by Nirbhay Bhogal. We have strange stories this time. Nileena Sunil’s short narrative and Paul Mirabile’s longer one set in Madrid explore the unusual. More stories delve into the intricacies of the human mind.

As we trot around the globe, Suzanne Kamata tells us about a Monet museum in Japan where she ate madeleines made with the artist’s recipe! Meredith Stephens sails to Tasmania with her camera and gives us a glimpse of nature’s plenty. Ravi Shankar relates his trekking adventures among the Himalayas in Nepal, with awesome photographs of these mountains, while Kenny Peavy who lives in Indonesia dwells on the value of falling down and getting up in a light humorous vein against the backdrop of nature – though metaphorically perhaps the world needs to do that. We have G Venkatesh’s story about his stay in Johannesburg where he discovers that skin tones do not matter.

Ratnottama Sengupta makes the whole world look like a home with the story of a legendary screenwriter, Jean Claude Carriere, who wrote the script of Mahabharata for Peter Brook’s play (1985) of the same name and the subsequent film (1989) — with characters drawn from all over the world. Candice gives us an overview of the pandemic, with more focus on US where she lives.

Mike Smith travels back to another time when an ailment called World War II raged and has revived a writer from the past, HE Bates (1905-1974). We have another essay by Dan Meloche on a legendary book which turned 100 this year — Herman Hesse’s Siddhartha. Rakhi Dalal revisits more than a century old translation by Devabrata Mukherjee of Tagore’s The Post Office which bears relevance to the present day as it shows how the human spirit endures over even the darkness of death.

Bhaskar Parichha has reviewed Radhika Gupta’s Limitless: The Power of Unlocking Your True Potential, by his assessment a book that inspires youngsters to take charge of their future. On the other hand, there are books that explore the darkest in humans. Basudhara Roy has reviewed a collection short stories by Sunil Sharma called Burn the Library & Other Fiction. Indrashish Banerjee reviews Upamanyu Chatterjee’s latest novel based on modern day crimes, Villainy, from which we are carrying a book excerpt too. The other excerpt is from a narrative written from a refugee’s perspective, Ramy Al-Asheq’s Ever Since I Did Not Die, translated by Isis Nusair from Arabic. Born in a refugee camp in Damascus, this Syrian-Palestinian poet defies all genres to touch hearts with brutal honesty. No less sincere is Michael Burch’s poetry on summer that ushers in the season as much as Sohana’s beautiful painting that we are using as our cover photo. We have poetry from not just Shantanu Ray Chaudhuri but also by George Freek, S. Srinivas, Tohm Bakelas, Abin Chakraborty, Marianne Tefft and many more. As usual, I have not mentioned all the treats in store for you. Delve into our contents page and browse to find out more.

Before winding up, I would want to extend my thanks not only to our team and contributors, but also to our publisher who is willing to republish our content with some tweaking. Thanks to our readers who, I hope, will be excited to have selected content between their palms as a hardcopy anthology with 49 of our most iconic pieces. We have more than a thousand published works. This anthology will be an iconic sample that you can carry anywhere with you even if there is no internet – that would include Mars and Moon!

I wish you happy reading, happy dreaming and hope… plenty of it.

Best wishes,

Mitali Chakravarty

borderlessjournal.com

Categories
Poetry

The Colour of Time

Poetry & translation from Korean by Ihlwha Choi

Courtesy: Creative Commons
THE COLOUR OF TIME

Every tree colours with their own colour.
Chestnut trees have their own tint.
Oak trees revel in their unique hues.
When I was young, was my colour quite green?
My first love seemed like a magnolia.
My job, where I worked all my life,
My native village -- a variety of flowers, cicadas
and the crust of overcooked rice – each were distinct in their colouration.

Becoming old ripens one's own nature.
The passion of red roses transform to autumn colours,
The farmers assume the colour of earth on autumnal mornings
and a poet’s character matures. 
Love and hatred, meeting and departing,
Sweet temptation and bitter betrayal,
and the dialects like the barley buds of old playmates
are all turning to the colour of the early winter.

Ihlwha Choi is a South Korean poet. He has published multiple poetry collections, such as Until the Time, When Our Love will Flourish, The Colour of Time, His Song and The Last Rehearsal.

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

Categories
Poetry

The Way of the Fallen Leaves

Poetry & translation from Korean by Ihlwha Choi

LEAFLESS TREES

The fallen leaves did not become
colourful by themselves.
Green leaves through the summer
do not turn red in one magical day,
without the help of the sun and the wind.
The fresh green buds in spring,
the flowers that blossom to bear fruits
can't be made by the trees alone.
Likewise, the falling leaves do not fly dancing
to fall by themselves.
Wild cats often wet the feet of trees,
birds fly away leaving traces of songs on boughs
that receive sunshine and share water
with the neighbouring trees in the dry seasons.
The fallen leaves have walked for a long time
following the way of the fallen leaves.
The trees have raised the flowers and fruits
by the orbits of the sun and the moon.
But they are letting the flowers and fruits
go their own way.
Now the trees are letting even the leaves
return to their original places.
Finally, the trees will stand as leafless trees.

Ihlwha Choi is a South Korean poet. He has published multiple poetry collections, such as Until the Time, When Our Love will Flourish, The Colour of Time, His Song and The Last Rehearsal.

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

Categories
World Poetry Day

Imagine…

And as imagination bodies forth 
The forms of things unknown, the poet's pen 
Turns them to shapes and gives to airy nothing 
A local habitation and a name. 

-- Midsummer Night's Dream (premiered 1605)by William Shakespeare

Imagine… if words could weave a world in harmony! Perhaps… then as Shakespeare declared and more recently John Lennon wrote in his song ‘Imagine’ (1971), we might have constructed a new world…

In hope of the same perhaps, Nazrul had published his poem, ‘Bidrohi‘ or the rebel a hundred years ago, a few months before TS Eliot published Wasteland, again a poem raising humane concerns and reinforcing values post the First World War. More recently Akbar Barakzai who has passed on at the start of this month, wrote about a better world in his poem, ‘We are all Human‘. And yet we have a war …

In response to the war, we have modern voices that ring out in harmony, including the voice of a Ukranian refugee. In reaffirmation of a world that can transcend divisions created by human constructs and soar in a virtual world, we also present to you interviews of half-a-dozen poets.

From the Treasury

Rebel or ‘Bidrohi’: Nazrul’s signature poem from 1922, ‘Bidrohi, translated by Professor Fakrul Alam. Click here to read.

A Special Tribute

We are All Human by Akbar Barkzai, translated by Fazal Baloch, has been published as not only a tribute to the poet who left us forever on 7/3/2022, but also as his paean to humanity to rise about differences which lead to war and horror, to unite us as one humankind. Click here to read.

War, Peace and Poetry

Poetry from across the world in support of peace and voicing concerns over the humanitarian crisis in Ukraine, we have Ukranian Lesya Bakun give us poetry as a war victim, a refugee. Rhys Hughes, Ron Pickett, Michael R Burch, Kirpal Singh, Malachi Edwin Vethamani, Suzanne Kamata, Mini Babu, Sybil Pretious and Mitali Chakravarty have contributed poetry written for the Ukraine crisis. Click here to read.

Poets across Borders

Half-a-dozen poets from different continents tell us about their poetry. The poets include Ryan Quinn Flanagan, George Freek, Luis Cuauhtémoc Berriozabal, Ihlwha Choi, Sutputra Radheye, Anusuya Bhar. Click here to read.

Categories
A Wonderful World

Poets beyond Borders

In Conversation with Ryan Quinn Flanagan, George Freek, Luis Cuauhtémoc Berriozabal, Ihlwha Choi , Sutputra Radheye, Anasuya Bhar

We surfed virtually around the globe to gather half-a-dozen poets for the lovely lines they write to ask them what makes them write as such. We start from the top of the cold frozen north to travel down to warmer climes where birds and bees have started singing tunes of a vibrant spring. Meet some of the moderns who contribute towards a world undivided by manmade constructs...  

Ryan Quinn Flanagan is a Canadian-born author residing in Elliot Lake, Ontario, Canada with his wife and many bears that rifle through his garbage.  His work can be found both in print and online. He is truly prolific and his poetry endears as you read it repeatedly. Click here to read a poem by him.

Why do you write poetry?

Writing, particularly the physical mechanism, has always been something I enjoyed.  It is a solitary act that I derive great enjoyment from.  To be able to sit down and create something seems a wonderful thing to me, regardless of medium.  I love fine art as you know, but cannot paint.  Writing is my music, my form of painting I guess.  It is a great release as well.  To be able to create and express as I wish is the ultimate freedom.

What is your poetic process? 

I may have a few rough notes and ideas/titles, but nothing really fleshed out.  I get up and never shower on a writing day.  I don’t know why, but it seems to get me in the right head space.  Then I listen to the same music and eat the same thing I have for years.  For writing days, that is oatmeal.  Then I head upstairs and sit down to write with some wine.  I tend to put on some classical music so that my voice is the only one, but I can still zone out to the musicality of what is playing.  I tend to do that for about six hours at a time.  That is the same writing process I have followed for years now. 

Do you believe in inspiration and the Muse? Or is it the sweat of your brow alone?

I most definitely believe in inspiration and the Muse.  That is why I repeat the same processes, to put myself in the right inspirational mood or be ready for the Muse or whatever you wish to call it.  I believe that things are created in a certain time and space and once created, belong to that specific time and space.  You can never really return to that exact place, but you can look back on it through the work for sure.  Other things are then created in a whole other head space and the process continues.  Sweat of the brow or hard work is also important though, not only in creation but in submissions, building and assembling, as well as editing books.  There is a lot of work that goes into everything, so hard work must be there to compliment any inspiration that may come.

Do you think what can be said in poetry can be said in prose too?

I think so.  I don’t really differentiate between poetry and prose that much.  It’s all a voice and time and expression to me, so whatever way it chooses to come out is not overly importance to me.  For me, it is much more to get it out instead of caring much about how or why.  And to enjoy the mechanism while doing so.

George Freek is a poet and playwright living in Illinois. His poetry and plays have been widely published. His plays have been performed by the Milwaukee Repertory Theatre, the Changing Scene in Denver, and the Organic Theatre in Chicago, among others. He has also received grants from the Illinois Arts Council and The National Endowment for the Arts. His poetry is modelled often after Chinese poets of the Tang and Song dynasty. Click here to read his poem.

Why do you write poetry?

I write poetry because it’s the form that best suits my thoughts and feelings.

What is your poetic process?

The process begins with the need to express an emotion. Then it’s work to find the appropriate “objective correlative” in T.S. Eliot’s words.

Do you believe in inspiration and the Muse? Or is it the sweat of your brow alone?

I don’t necessarily believe in “Inspiration” unless that means simply the initial urge to express the emotion or the thought. After that it’s mostly work to make it sound right and unpretentious and yet avoid banality.

Do you think what can be said in poetry can be said in prose as well?

I think my response to your last question is included in my first statement. If something can be expressed in prose, it’s not poetry, although there is some prose which has the quality of poetry, e.g. Joseph Conrad!

Luis Cuauhtémoc Berriozabal is a Mexican-born author, who resides in California and works in the mental health field in Los Angeles. He is prolific and often his poetry shuttles is enriched by his ability to assimilate varied cultures into one lore. Click here to read his poetry.

Why do I write poetry?

I write poetry because I like to read it. In the many years I have been reading poetry, I continue to find new writers, some no longer in this world. These writers have influenced my work over the years. I write poetry because I enjoy writing it. Sometimes I write personal poetry. It is a sort of catharsis. It is a way describing how I am feeling about myself, about others, and about the world. Sometimes I write nonsense and rubbish, which I try to keep away from readers. 

What is your poetic process?

My poetic process is writing one poem a day. It is really that simple for me. It could be a three liner, a ten liner, or a long poem of more than 20 to 30 lines. If a poem comes out like rubbish or a journal entry, I try my best to come up with something better the next time around. There are times I get lucky, and a keeper comes along. I am not writing to impress anyone. I am writing for myself most of all and I share my words with readers. If some like what I have written, then that makes me feel good. If someone hates what I have written, I could not care less. I will not lose any sleep over it. I will continue to write as long as I have breath or until something else comes along that takes up my interest.

Do you believe in inspiration and the Muse? Or is it the sweat of your brow alone?

I do believe in inspiration and the Muse. I am inspired by everything and everyone I come in contact with: nature, night and day, moon and sun, the stars and the rain; the woman I love and the dreams that come along, some haunting and some sublime. I am inspired by the poetry, art, lyrics, and music of others. I am inspired by the news of the world, by the clients I work with in mental health, and those close to me that care for me (my family and friends). I am influenced by the birds in flight, the landscape of Los Angeles, trees, flowers, and animals. The sweat of my brow alone only comes into play when you consider everything else that provides knowledge to one’s mind. Whether clever or strange, imagination is also a great thing to have.

Do you think what can be said in poetry can be said in prose as well?

While poetry is brief and concise as opposed to prose, what can be said in poetry can also be said in prose. Authors writing prose can be poetic in their words and have been throughout the years. If I had more patience, I would give prose a try one day. I am more comfortable in poetry, where I can express something in a few words. Get in, write it, and get it out.

Ihlwha Choi is a South Korean poet. He has published multiple poetry collections and what is most interesting is that he translates his own Korean poetry to English to reach out to the world. Click here to read his poetry.

Why do you write poetry?

I grew up in the countryside. Most of the people at that time were poor agriculturists. I was accustomed to the lifestyle of a farmer. I couldn’t access musical instruments or painting equipment. I naturally expressed my thoughts and feeling with my pencils on the notebook. During my middle school, I fell in love with a popular girl. She was popular because she received a poetry award. I fell in love with her, but my love was unrequited. I was very disappointed, so I began to write something on the paper. Most of them were poems but I have never learned the method of poetry writing. There were no teachers around me who taught me about poetry. I tried hard to write good poetry but always failed. After that period, I was very busy studying for university entrance exam and military service. In our country, all young men must go to the army or navy or air force. I served as a sergeant in the army for three years. Then, I had another problem of earning a living and marriage. My passion for writing poetry revived after I married. I don’t think that I had been born with lot of poetic talent. I don’t want to be famous but try hard to write better poetry for my own satisfaction.

What is your poetic process?

Usually, I do not sit in front of the desk to write a poetry. When I brush my teeth, wash dishes or read, one line of a poem comes to me and I catch it in my memory or on the memo of cell phone. I call it the seed of poetry. Later, when I sit in front of my personal computer, I write a poem based on that line. Sometimes I write a poem very quickly because of the first line and sometimes it is a longer process.

Do you believe in inspiration and the Muse? Or is it the sweat of your brow alone?

I think both sides are necessary. Inspiration gives the poet pleasure and happiness. But if he does not try hard, he will not be able to write poetry.

Do you think what can be said in poetry can be said in prose too?

Yes, what we say in a poetry can be said in prose. The only difference is the form of expression. One poet said that when you want to know if a poem is good or not, it is necessary to rewrite it in prose. Some poems are so difficult to understand that ordinary reader cannot grasp it. When a poetry can be explained meaningfully into prose they are recognised as good poetry. But every prose cannot be changed into poetry. Poetry needs symbol, metaphor, rhythm, simile, compression etc. Though nowadays a poems are sometimes written like a prose without any stanza or poetic line. There should at least be some rhythm to make it into a poem, even  though it is written like a prose.

Sutputra Radheye is a poet from India. He has published two poetry collections — Worshipping Bodies (Notion Press) and Inqalaab on the Walls (Delhi Poetry Slam). His works are reflective of the society he lives in and tries to capture the marginalised side of the story. Click here to read his poetry.

Why do you write poetry? 

I write poetry because it gives me a voice. For me, it is a personal and intimate affair. In poems, I can be naked. I can roam naked on the streets of my mind without pretending. I can be blunt, and raw without filtering myself. I feel safe in my poetry and so I write.

What is your poetic process? 

There is no such process for me. I write when I feel something. I write when I am angry. I write when I am happy (though this only happens sometimes). I write when I am depressed and pessimistic. I write to unleash my demons on paper so that I don’t need to carry them to bed with me. It is more like a release for me. Sometimes, I find it to be metaphysical where you can just leave everything behind once you write it down. But not always. The process keeps changing. I used to listen to music while writing two years back. Now, I don’t. What has remained constant is this burst of raw feelings. 

Do you believe in inspiration and the Muse? Or is it the sweat of your brow alone?

Yes. I believe in inspiration and muse. As human beings with different tastes or choices, we will get intrigued by different things in life and they somehow become a part of our poetry. It is those things that separates our poetry, I believe.

Do you think what can be said in poetry can be said in prose too?

Yes it can be said in prose too. But, the way it will be said will be different. It will lose certain elements that poetry brings but will gain what prose has to offer. 

Anasuya Bhar is an academic teaching English literature in St. Paul’s Cathedral Mission College, Kolkata, India. She would also want to be known as a poet. She writes lovely essays and has written on eminent voices like Tagore and Satyajit Ray. Click here to savour her poetry.

Why do you write poetry?

I write poetry merely to unburden. In many ways, poetry is also therapeutic for me. The motive impulse for my poetry is mostly a moment of pain and sorrow. I feel that the best way to come to terms with such moments is to weave words around them in comfort, camaraderie and friendship. My poetry usually concentrates on the self and its many experiences, moods and flavours.

What is your poetic process? 

Most commonly, poetry comes to me in a whiff of words, pluri-significant and usually in a gust, like a burst of fresh air, triggered by memory. I also often get excited by particular and occasional colours, shades of light, and even smells, because they bring with them a certain cosiness, which is both intimate and personal.  It is only in moments of calm and silence, when my mind usually processes these sudden words into some kind of meaning, trying to give concrete forms to fleeting bouts of impressions. My poems are usually ready after one, or two revisions, but they do need tending and pruning. 

Do you believe in inspiration and the Muse? Or is it the sweat of your brow alone?

Yes, I do believe in inspiration and the concept of the Muse. My poetry is imbued with a feminine presence – that of warmth, care, nurture, protection and sometimes even passion. Such a presence has sometimes found embodiment but, almost always remains elusive and a figment of my imagination, unseen but, powerfully felt. This has always remained with me; it is only now that it has compelled me to express myself in words and through poetry. My muse is a picture of beauty and charm and sometimes even of spirituality.

Do you think what can be said in poetry can be said in prose too?

Yes, at times, perhaps. But poetry is metaphorical, and one can suppress as well as express oneself in it. Prose might prove to be more probing at times. I feel that there are subtle differences between prose and poetry, even though prose can be poetic and philosophical. 

We are grateful to all the poets for sharing with us their personal journeys.

The poets have been interviewed online by Mitali Chakravarty.

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

Categories
Editorial

Where Have All the Sunflowers Gone?

Only when the cries of the wretched of the earth will stop renting the skies,
Only when the oppressor’s bloody sword will cease smearing battlefields,
			A rebel, weary of war,
			Only then I won’t stir.
…
I’m the ever-rebellious hero--
	Soaring over the world, all alone, head forever held high!

--  Rebel or 'Bidrohi' (1922) by Nazrul, translated by Fakrul Alam
Borderless: Digital Art by Ayaan Ghoshal
These fragments I have shored against my ruins
…
Datta. Dayadhvam. Damyata.         
 Shantih shantih shantih

-- Wasteland (1922) by TS Eliot

These lines reiterate values we would do well to live by in a war-torn, dissension-worn world where the need for a rebel to recreate a humane society that lives with values such as peace, generosity, acceptance, tolerance, compassion and restraint — is a felt need. The two great poems made history by remaining as popular a hundred years after they were written — ‘The Rebel’ by Nazrul and TS Eliot’s ‘Wasteland’. Nazrul defined a rebel as an iconoclast who breaks norms to find peace, justice and love for all, to move towards the creation of an ideal world. TS Eliot quoted from the Upanishads and ended with redemption coming with giving (giver perhaps denoted generosity), compassion and restraint. Despite the wisdom of these great poets and seers, war still continues a reality. The values remain neglected not just in as we see in conflicts, like the one in Ukraine that destroys lives, property and nature with intolerance towards differences, but also in our personal lives. Tagore also reiterated the same need for stepping out of personal, social, economic and political insularity. We carry a translation of a song that echoed this need while inviting participation in his ecstasy. He wrote:

Why do you sit in isolation,
Dwelling on self-centred issues? 

Tagore had not only written of the negative impact of isolation from the world but he led by example, building institutions that could lead the world towards pacifism with acceptance of diversity and inclusiveness. Sriniketan and Santiniketan were created to move towards these ideals. Many of the people he influenced or who studied in Santiniketan made history, like Prime Minister Indira Gandhi, Satyajit Ray; many added to the sense of inclusiveness, like Mahasweta Devi, who other than her enormous work to integrate different cultures, also wrote a memoir about Santiniketan in Bengali. Radha Chakravarty, nominated for the Crossword Translation Award (2004) for In the Name of the Mother by Mahasweta Devi, has translated this memoir, a narrative which brings us close to Tagore’s ideals of the whole world being a family. How wonderful it would be if the world were open to such ideals and would behave like a global family and not go to war!  Mahasweta Devi, Our Santiniketan, which has been reviewed by Meenakshi Malhotra, reiterates Tagore’s vision of a planet living in harmony with the flora and fauna.

Bhaskar Parichha has reviewed another non-fiction by Ashok Kumar Pandey, Why They Killed Gandhi; Unmasking the Ideology and the Conspiracy. Parichha writes: “The finest point about this book is its storytelling…” The book review brings to mind in the midst of a war and violence that Gandhi had tried to erase this mindless destruction of lives, nature and cities with Ahimsa or non-violence. Will we ever rise up to it? Perhaps… We see strains of recognising the negative impact of insular outlook in writings like that of Temsula Ao, a Sahitya Akademi Award winner, according to Indrashish Banerjee who has reviewed her new book, The Tombstone in My Garden: Stories from Nagaland. Keith Lyons has reviewed Asian Anthology: New Writing Vol. 1: Stories by Writers from Around the World, edited by Ivy Ngeow, an exotic medley of Asian stories, one of which has been excerpted as well.

We are privileged to carry another excerpt from Ruskin Bond’s Friends in Wild Places: Birds, Beasts and Other Companions, a hilarious story about a pet tiger adopted by the legendary writer’s grandfather. What is amazing about Ruskin Bond’s writing is the love and compassions for all creatures great and small that colours the tongue-in-cheek humour he rolls out to his readers. If only we could think like Bond, there would be no wars. His writing, I feel, transcends political borders or ‘isms’, and laces with love and compassion tales of menageries of monkeys, snakes, mongoose, humans of different denominations. This excerpt is a treat we are giving Borderless Journal as the journal completes two years of its existence. We are truly grateful to Speaking Tiger for sharing this excerpt with us. But our celebrations this time are sombre as the war rages with incoherence accompanied by heart-breaking ravages.

The refrain from Ukraine has been taken up by Ratnottama Sengupta as she takes us through the past and present experiences of the devastated country, bringing in the views of the legendary folk singer and pacifist, Pete Seeger (1919-2014), who she had interviewed over a span of four days. The writer of ‘Where have all the Flowers Gone?’, a song based on an Ukrainian folk song, Seeger said, “The point is not to ask for yourself alone — one has to ask for everybody: Either we all are going to make it over the rainbow or nobody is going to make it.” Candice Louisa Daquin has also pondered on the justification of war, contextualising it with the current one along with her essay on the paradox of modern linguistic communication.

We have an exhaustive essay on the legendary Satyajit Ray’s creations by Anasuya Bhar. Malhotra has pondered at exclusivity reinforcing divisions, margins and borders to plague humankind, against the backdrop of the Women’s Month, March. Highlighting women in writing, we have interviewed two female writers, one from Nepal and another from Bangladesh. Sangita Swechcha lives in UK but her writing, till now largely in Nepali, often pines for her home embedded in the Himalayas whereas, an expat, Neeman Sobhan, shuttles between Bangladesh and Italy with the affluence and assurance of a privileged background.

Finding a way to override lack of privileges, deprivation and violence, are the youngsters of Nithari on the outskirts of Delhi where less than two decades ago other than poverty, savage criminality devastated the local populace. These youngsters transcended the suffering over time with help from volunteering NGOs to create narratives that amaze with their inventiveness and confidence. Tanveer Hussain from Nithari, self-motivated and self-made from a young age, asks questions that would be relevant for all humankind in a letter to God. It has been translated from Hindustani by Vritika Thareja of pandies’. This edition’s translations include Professor Fakrul Alam’s mellifluous rendition of Jibanananda Das’s poetry from Bengali to English, Ihlwha Choi’s Korean poetry and a Balochi poem by Munir Momin rendered in English by Fazal Baloch. Baloch had earlier translated poems by Akbar Barakzai, a great poet who departed on 7th March, depriving the world of yet another powerful writer who imbibed hope of a better future in his poetry. We are privileged to have hosted the translations of some of his poems and his last interview.

Another well-known poetic voice from Singapore, Kirpal Singh, has given us poignant poetry that can be applied to the situation that is leading to the wreck of Ukraine. Anasuya Bhar has  poetry, one of which despite being in the ilk of Nazrul’s great poem, ‘Rebel or Bidrohi’, questions gently mainly social constructs that obstruct the flow of harmony. Ryan Quinn Flanagan has pondered on the acceptance of a changed world. We have humour from Rhys Hughes in poetry and wonderful poems by Michael R Burch on spring. Jay Nicholls shares the last of her dozen Pirate poems as Blacktarn sails the lemon seas to fight pollution. Luis Cuauhtémoc Berriozábal, George Freek, Sutputra Radheye, Mike Smith, Shaza Khan and many more have contributed a wealth of beautiful lines. Penny Wilkes has captured storms and seas with photographs and text and Rhys has surprised us with some strange, bizarre tales in his column.

We have musings from around the world. San Lin Tun, Meredith Stephens, Erwin Coombs, G Venkatesh have all brought in flavours of multiple cultures. Devraj Singh Kalsi has spoken of a book fair he visited in a semi-sardonic tone. He has also given us a short story as has Farah Ghuznavi – a truly borderless story which takes place in an aeroplane, in the sky where all borders collapse. We have more stories from Balochistan, US and India.

Suzanne Kamata continues writing on Japan as she  introduces us to an Australian film maker who is making films in Japan and in Japanese, called Felicity Tillack. Cultures are perhaps truly crossing borders as we can see Kenny Peavy, an environmentalist who moved from US to Indonesia start a new column with us called ‘Mission Earth’. We hope, like Tagore or Rousseau, he will help to revive our felt need to live with nature, acknowledge the nurture that we get from the planet to live in harmony with it and on it.

At the end of twenty-four months of existence – that sounds better than a mere two years— we are happy to host a melange of writers from across the borders and be the meeting grounds of writers and readers from across continents. I am truly thankful to all of you for helping concretise an ideal. Huge thanks to all the writers, artists, photographers and the readers for the contribution of their time, effort and love. And thanks to our fabulous team who continue to support the journal unwaveringly. I would also like to thank Sohana for the lovely visuals she generously shares with us. A special thanks also to young Ayaan Ghoshal for his digital art where hands reach out to support a truly borderless world.

As usual, all the content has not been covered here, I invite you all to enjoy our March edition of Borderless Journal.

At the start of the third year of our existence, let us march onwards towards renewed hope – maybe the Ukraine experience will take us closer to a war-free world with an awakening of a felt need for peace and compassion in a planet without borders.

In quest of a peaceful, humane world, I invite you all to continue being part of this journey.  

Mitali Chakravarty

Borderless Journal

Categories
Poetry

Autumn is Long

Poem written in Korean and translated to English by Ihlwha Choi

Courtesy: Ceative Commons
AUTUMN IS LONG

Until the farmers finish their harvest
Until the boats laden with fish reach the harbour
Until the oaks of the hill fully ripen
Until the squirrels finish their storing of winter foods
Autumn stretches long enough
Until all the peppers on the straw mats are dried
Until the drops of sweat on grandma's forehead evaporate 
Until the seeds of the wildflowers ripen
Until the migratory birds finish their long journey
Autumn stretches long enough

Ihlwha Choi is a South Korean poet. He has published multiple poetry collections, such as Until the Time, When Our Love will Flourish, The Colour of Time, His Song and The Last Rehearsal.

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