Categories
Stories

After the Gherkin

Deborah Blenkhorn

A Mrs Tadpole Mystery by Deborah Blenkhorn

Parry Lines was an ordinary fellow, so much so that even his friends couldn’t be bothered to find out his actual name and were content to call him “Parallel,” his nickname since childhood.  Regular, indeed nondescript features were surmounted by his trademark bald pate; the most you could say was that occasionally he wore a bright plaid shirt in neon pastels to liven things up a bit.

Ten weeks A.G. (After Gherkin)

Yet his death (by gherkin) caused a butterfly effect that changed the world.  Until the incident with the gherkin, the most notable thing that had ever happened to Parry was when his surprisingly dashing teenaged son had consumed an entire teacup full of gravy during Thanksgiving dinner.  Honoured guests had watched in horror as Parry Jr. (PJ for short), notable for his twinkling hazel eyes and flowing chestnut hair, gulped down the rich, brown fluid–though they should have expected something of the kind when he poured the gravy from the pitcher on the table into the China cup ready at his place setting for after-dinner tea.

Present at that event, and at the gherkin incident as well, was Mrs. Honoria Tadpole, English professor and amateur sleuth.  Her demure, conservative appearance (she always wore a smart, tailored suit–or at least the best the local thrift shop could provide–and had her silver-blonde hair cut in a perky, short bob) and her self-effacing manner and diminutive (if plump) stature belied the sharpest mind north of California. It would fall to her to unravel the complicated mystery that the local paper dubbed “Gherkingate.” 

Interviewed by the features’ editor, as the criminal trial of the alleged murderer dragged on, Mrs. Tadpole was asked the inevitable question of how it had all started. The interview took place in Mrs. Tadpole’s well-appointed parlour, a room replete with Victorian bric-a-brac.  With characteristic hospitality, she poured out a strong brew of  BC Bold to accompany the delicate sandwiches (ham, egg, and cucumber) and homemade oatmeal cookies that were her signature “high tea,” known to local islanders as a four o’clock tradition at the old manse where Mrs. Tadpole rented a small suite.

“Now, Mrs. Catchpole, I understand you were part of the original party that travelled to Moany Bay,” the interviewer began.

“Tadpole,” Mrs. Tadpole corrected.  A veteran instructor of nineteen- and twenty-year-olds, she was used to misspellings and mispronunciations. Marpole, Rumpole, Toadpole: she had heard and seen it all, and could make the necessary correction without even flinching anymore.  She cast her mind back almost three months to a mid-summer weekend off British Columbia’s Sunshine Coast.

She began with an allusion to classic culture: “Just sit right back and you’ll hear a tale, a tale of a fateful trip…”

Sadly, the features’ editor of the Island Gleaner failed to catch the reference to Gilligans Island, one of the best sit-coms of the 1960s.  Mrs. Tadpole had been a toddler when the series was first aired, but its popularity throughout her childhood made it a touchstone for, really, almost everything in life, according to her observations.  She knew that some people accorded such a status to the iconic, original Star Trek, but what did Captain Kirk have that “the Skipper” did not?  Not much, thought Mrs. Tadpole.

The premise of Gilligan’s Island was classic: a small number of people, randomly-assorted, stranded on an island together with no real prospect of deliverance.  After all, wasn’t that just the paradigm of human existence?  You didn’t need to be an English proffessor (though Mrs. Tadpole was one, of course) to figure that out. 

That fateful weekend, when the seeds of the gherkin incident was sown, had been rife with undertones of Gilligan’s Isle.

Breathing deeply of the fresh Pacific breeze, the passengers sat out on the deck of the vessel as it hugged the rugged BC coastline. The rushing water behind the Skirmish flumed out into a fan of spray, while the murky depths offshore spat out seals and sealions–even the occasional humpback whale–with random irregularity.  Black bears hid among the rocks and evergreens in the uninhabited areas; cabins dotted the beaches in the populated areas of cottage country.  On the way up the coast, the party of friends and family had composed their own version of the theme song, with each member of the group assigned to a role from the original cast.  Mrs. Tadpole was the Professor, of course.  Never mind that the community college where Mrs. Tadpole worked had opted not to accord academic titles to their teachers, or that the original Professor in the TV series was a man.  (As Mrs. Tadpole had been known to say to her first-year college students, we live in a post-gender, post-glass-ceiling world. And if we don’t, we should).

Aboard the Bayliner, Skirmish, Parry Lines was the Skipper, and his hapless, gravy-drinking son was typecast as the irrepressible Gilligan, full of mischief and ridiculous ideas. Mrs. Tadpole could only hope that her adorable niece, Mary Anne (same name as her Gilligan’s Island counterpart!), was immune to his sauce-swilling charms.

The Millionaire role was assumed by the reclusive entrepreneur Deadhead, Mickey Garcia (if that were in fact his real name), accompanied by his charming wife, Penelope, a voluptuous brunette. Together they had built an empire founded on tribute bands and biopics.  The rumour mill had it that there was trouble in paradise, but no one outside his immediate family had seen Mickey for years, so it was difficult to substantiate the gossip.

The cast was fleshed out (so to speak) with a bona fide movie star, the internet sensation who began as one of the central figures in a YouTube series called Project Man Child (“For the price of a cup of coffee… you can buy this underemployed househusband a cup of coffee!”) and had gone on to a viral barrage of TikToks under the sobriquet of “The Naked Gardener”.  Mrs. Tadpole was relieved (as no doubt were the others) to note that all the passengers aboard the Skirmish, including this one, appeared to be fully clothed. 

At least, all whom she could see wore conventional travelling attire:  Mr Garcia, recovering from surgery and groggy with heavy opiates, was shrouded in a blanket and wearing dark glasses. He slumped a little to the side, and his heavy breathing attested to a well-earned reputation for napping as a pretense in order to ignore his surroundings.

As Mrs Tadpole later told the Gleaner interviewer, the real concern of the trip quickly emerged: not the rapprochement of Mary Anne and Parallel Jr., but the burgeoning, even violent antagonism between Parry Sr. and Penelope Garcia, whom the latter insisted on calling “Cherry” with a suggestive leer while her husband languished in his bunk.  “Is he grateful? Or just dead?” quipped Lines. One night, Penelope went so far as to brandish a knife in Lines’ general direction and had to be restrained by Mrs Tadpole and Mary Anne in tandem.

Although Madame Garcia was the only one to meet his taunts with open animosity, no one was spared the self-proclaimed wit of Parallel Lines.

He had the nerve to call Mrs Tadpole’s beloved niece, whose sunny disposition was outshone only by the sweet, fair face that perched above her perfect figure, “Mistress Mary, Quite Contrary” –nothing could have been further from the truth!  Of course, Mary Anne merely smiled and shrugged it off, as if no insult could penetrate her cheerful exterior … but others were less armour-clad.

The bully referred mercilessly to the Naked Gardener as “Jamie Oliver, the Naked Chef” (whom he slightly resembled) a slur that obviously got under the man’s skin (“I couldn’t boil an egg to save my life!” he protested angrily.  “That’s not my brand at all! He’d better watch his back…”).

Even Mrs. Tadpole (surprisingly resilient after having been bullied through her shy youth as resembling a chubby little toad) came in for her share of abuse, rechristened as “Mrs Toad” after making her one of specialties, toad-in-the-hole, for her shipmates. (Once she discovered that the galley of the Bayliner was stocked with a potato ricer and La Ratte potatoes, there was no holding her back.  A ring of caramelized onions surrounded each serving dish, with two nut-brown sausage-ends sticking out of the centre, for all the world like a couple of froggy eyes.) “No one calls me Toad,” she intoned ominously.

Cruelly and unaccountably, Parallel Lines saved his worst tirade for his own son.  Recalling that terrible moment of youthful folly, that mind-gripping shame that only time could heal, the father saluted the son like a champion hog-caller summoning his prize sow. “Sooooo-Eeeeee! Want some gravy with that?” Alternatively, he would break into song to the tune of ‘Hey, Jude’:

"Au jus,
Just make it fat,
Take some gravy
And make it wetter..."

It was pitiful to see the boy’s response, especially in front of Mary Anne. His pale face was suffused with a ruddy glow beneath his chestnut fringe, and hot, angry tears rose in his sensitive, hazel eyes.

“I’ll kill him,” PJ muttered under his breath.

And now the tranquil Mary Anne, who couldn’t have cared less about any vitriol directed her way, was at last roused to fury in defense of her maligned and helpless friend.  “I’ll do it for you!” she offered.  “By G—!”

Two Hours B.G. (Before Gherkin)

Suffice it to say, no one was all that distressed when Parallel Lines failed to return to the Skirmish after an afternoon in the seaside village of Egmont (pronounced with an “egg” and not an “edge”).

Penelope had steered Mickey off in a collapsable wheelchair they had stowed on the boat; “the millionaire and his wife” were off for lunch al fresco, heading for a picnic table in an accessible, though private, spot.  Roast beef sandwiches and condiments, along with champagne and a couple of plastic flutes, had been assembled into a decorative yet sturdy straw basket which the amazon-like Penelope slung easily over one arm as she manouevred the wheelchair down the forest path.

The movie star had gone in search of Egmont’s famous cream cheese cinnamon buns, hoping to be recognised at the Forest Cafe by someone who would do a double take and exclaim, “Hey!  Wait!  Aren’t you that man child?”

Mrs Tadpole and her niece decided to go for a refreshing swim in the brisk waters of the bay, washing off the grime of shipboard life before stopping at the Village Green Room for a bowl of veggie curry soup and some fresh, hot rolls.

As for PJ, he declared himself too upset to leave the Skirmish, and was hoping to curl up with a graphic novel, a diet soda, and a bag of Doritos, to forget all his cares for a few hours while the rest of the party looked around Egmont Village.

But where was Parallel? It was time to cast off. If they didn’t leave soon, they wouldn’t make it to the Coastal Lodge before dark.  And–not to mention–P. Lines was the skipper!

“I’m perfectly capable of getting us there,” insisted PJ, fortified by his power nap.  “I’ll bet you anything, dad’s holed up at the Drifter Pub, and he’ll crash at the hotel there. I’m sure he’s as tired of us as we are of him.  Let’s just go.  We’ll all have cooled off by tomorrow morning, and I’ll swing back and get him then, bring him up to the Lodge for the rest of the weekend.”

The plan sounded good, and all agreed to it willingly.  Off they set for the rustic cabin someone had dubbed the Coastal Lodge in hopes (quite justified, as it turned out) of charging a tidy sum in AirBnB rates.  Never mind that it featured a remote outhouse and a camp kitchen; the setting was beyond beautiful, and the (now) congenial group looked forward to beach and forest walks, blazing bonfires, and midnight swims.  Mrs Tadpole insisted on taking charge of the outdoor kitchen: she had brought the ingredients for her famous moussaka and looked forward to the challenge of cooking it in a casserole dish on the barbecue.  PJ and Maryanne diced feta, tomatoes, onions and cucumbers for a Greek salad, while the movie star tried in vain to get a cell signal and the millionaires played cribbage by the big bay window in the cabin. 

Parallel Lines could cool his heels at the Drifter until morning, thought PJ and crew.

G.T. (Gherkin Time)

“So,” said Mrs. Tadpole to her interviewer, “Can you guess who did it?”

“Uh,” said the Features editor.  “Nope.”

“I’ll give you a hint: don’t ask who was the perpetrator. Ask who was the victim!”

“Well, that would be Mr. Lines, would it not?”

“Would it?  What if the wheelchair-bound invalid, Mr. Garcia, was really Parallel Lines in disguise?”

“But–”

“He was wrapped in a blanket, wearing dark glasses and a mask, slumped in his chair.  And there was a switcheroo.”

“A what?”

“A switch.  In the forest.”

“Well, I’ll be jiggered. Why haven’t you said anything?”

“Blackmail.”

“You’re blackmailing the unlikely lovers? Parry Lines and Madame G?”

“No, they’ve been blackmailing me.  But it’s time to come out. My trans-formation is at hand!”

“Mrs Tadpole!  What a story for the Gleaner–and for the world!  May I be the first to congratulate you?”

“You may.”        


Deborah Blenkhorn is a poet, essayist, and storyteller living in Canada’s Pacific Northwest.  Her work fuses memoir and imagination, and has been featured in over 40 literary magazines and anthologies in Canada, the United States, Britain, the Netherlands, Germany, Australia, Brazil, India, and Indonesia.

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

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

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Categories
Review

To Lhasa, with Love

Book Review by Somdatta Mandal

Title: Old Lhasa: A Biography

Author: M.A. Aldrich

Publisher: Speaking Tiger Book

“Contrary to common perceptions, Lhasa is not forbidden to outsiders” – M.A.Aldrich

Old Lhasa: A Biography, (a revised edition published in 2025 for the South Asian market of a book originally published in 2023), is a voluminous 615-page book that combines historical research, travel writing, religion, and culture to offer a comprehensive account of Lhasa, the capital city of Tibet. The author, M. A. Aldrich, is a lawyer who has lived and worked in Asia since the 1990s and had earlier published books on cities like Peking and Ulaanbaatar. Written on the basis of his multiple trips to Lhasa and its surroundings (the last one as late as September 2024), he is happy to discover that Old Lhasa has stood the test of time and still accurately captures the sight, sounds, and feelings of the city and foreigners can wander about freely without a minder so long as their papers are in order. As this book slowly emerged, it grew into both a portrait of the history and culture of that city as well as a serviceable guidebook for readers who are able to go to Tibet when political and regulatory circumstances permit.

Aldrich paints an intricate portrait of Lhasa, a storied city and its history, by giving us the evolution of how the Tibetan script came to be, with inspiration from ancient India and at the same time livens up the narrative with humorous anecdotes, interesting legends and charming fables that makes this book blend many genres into one. Divided into 49 chapters and enriched with several maps and black and white photographs, the chronological narration rightfully begins with the first chapter titled ‘Prelude to Lhasa’ where we are told that with Lhasa as the geographical focal point of their faith, Tibetans believe the dharma[1] has always been connected to their country. He begins the journey in the seventh century during the final moments of the life of Buddha, mentions specific Buddhist virtues such as compassion, wisdom, and benevolent power, among other essential qualities for the path to awakening. For Tibetan followers of the dharma, the history of Tibet is the history of the Bodhisattva of Compassion, which is simultaneously woven into the story of Lhasa.

In the 1920s, when Tibet enjoyed its greatest freedom from outside interference in the modern era, Lhasa had a population of only around twenty-five thousand. It was divided into two districts: one that is now the Old Town, with its seventh-century Jokhang Temple (or, more simply, the “Jokhang,” meaning the “House of the Lord”) at its centre; and the other being Shol Village, which is at the foot of Marpo Ri (Red Mountain). These administrative districts were divided by a north-south boundary that ran through the Turquoise Bridge, another structure dating to the seventh century. The Old Town was not much larger than two- or three-square kilometers, while Shol was even tinier. The residents of Lhasa at that time took immense pride in the religious heritage of their city. Nearly every luminary in Tibetan history had come to Lhasa because of the importance of the Jokhang as the focal point from which Tibetan civilization evolved and expanded. No other city could rival it.

Lhasa grew organically outward in concentric circles. Around 1160, a monk built the Nangkhor, a pilgrim’s circuit (korlam) directly adjacent to the inner sanctum of the Jokhang, so that devotees could practice the religious ritual of circumambulation. It is from this kernel that the boundaries of Old Lhasa came into existence. By the 14th century, Lhasa was enclosed within the Barkhor, a kilometre-long korlam circling the temple and a monastery among other buildings. By the 1650s, Lhasa’s outer limits had been expanded to the Lingkhor, a ten-kilometre pilgrimage route. And so, the boundaries of the city remained until recently.

Lhasa’s significance also drew heavily upon the nearby presence of government buildings and monastic sects of learning. The Potala Palace, with its superb representation of Tibetan architecture, is a massive and dazzlingly beautiful fortress-like monastery that had been the residence of the Dalai Lama and the seat of the Tibetan government since 1648. Three monasteries outside the city were centres of the so-called Yellow Hat or Gelukpa School of Tibetan Buddhism, preserving a venerable tradition of scholasticism and monastic training that had been imported to Tibet from the universities at Nalanda, Odantapuri and Vikramshila in Northern India. Daily life in early 20th century Lhasa was mostly grounded in religion for both the laity as well as the clergy. The Lhasa calendar year revolved around a sequence of religious festivals that tracked the flow of one month into another in a never-ending cycle of faith and devotion. Though religion permeated society, Lhasa was not an “other-worldly” place. In 1951, when the People’s Liberation Army marched into Lhasa behind portraits of Chairman Mao Zedong, Zhou Enlai, and Liu Shaoqi, the days of the city with its self-administered culture were numbered. During the 1959 Tibetan Uprising, the Chinese Communist Party reacted to the civil unrest as if Tibet should be taught a lesson. The Party continues to do so despite brief intermittent periods of slightly relaxed policies. Though Chinese modernity has been imported wholesale into Lhasa, the author opines that Old Lhasa is still there in its people who maintain their centuries-old faith and customs. One just needs to know where and how to look.

In the Prologue, Aldrich had confessed that this is not a “serious book” about Lhasa as the term is understood within the narrow confines of modern academia, since its objective is only to share what he had learned about Lhasa with simpaticos. His audience is the general reader or armchair traveller with a basic understanding of the tenets of Buddhism and the broad outlines of Asian history. He does not go into great depth on religious theory, and he hopes his views might also be of interest to Tibetans who have come of age in the diaspora and are curious about what a non-Tibetan thinks of this fabled city. He attempts to avoid the excessive solemnity and despair that attends much writing about Tibet. It is not that he is ignorant of ongoing atrocities and the appallingly cruel policies of the Party, but he has no doubt Tibet will have a renaissance. He opines Tibetans will overcome the current dark cycle just as they have overcome other bleak phases in their history.

In conclusion, it can be said that even after reading it thoroughly and enjoying it, this book as the author rightly states, “will nudge readers to learn more about Tibet and Tibetan culture.” Also, as Dr. Lobsong Sangay, former head of the Tibetan Government in Exile, rightfully mentions in the ‘Foreword’

, “Though the story of Tibet is an ongoing tale of tragedy, it also is a tale of the human spirit and the resilience of the Tibetan people. …this book is a window for seeking genuine access that will help you make meaningful discoveries of your own, whether you are physically travelling through the streets of Lhasa or traveling through the pages of this book far away from Lhasa.”

[1] faith

Somdatta Mandal, critic and translator, is a former Professor of English at Visva-Bharati, Santiniketan, India.

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

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Categories
Musings

When Nectar Turns Poisonous!

By Farouk Gulsara

” No, you cannot refuse this!” my wife said. “This is prasad, the divine offering to the gods.”

A motichoor laddoo… Photo courtesy: Farouk Gulsara

I reluctantly looked at the glazed motichoor ladoo[1]. The memories of my last blood test results started flooding my mind. 

The learned GP looked disapprovingly at my results through his reading glasses, one eye fixed on the result and the other condescendingly on me. Did I hear geckos chapping away in the background, or is the doctor making disgruntled sounds about my glucose levels?

“9.0 fasting sugar is not good! Congratulations, you are a diabetic now!” he declared. I thought I saw a gleam in his eyes as he announced it. 

“Let him have his day,” I told myself. “This is his terrain, let him have his last say.”

Quietly, I was guessing how well the doctor’s fasting sugar would be. Looking at his general appearance, it would not be so great. Proudly carrying around his protuberant apron of a paunch, slouched in his chair all day, the closest he must come to exertion would be leaning forward to examine his patients; he does not scream of a paradigm of health. Yet, this is his turf. Hence, I sheepishly blurted, “Yes, doctor.”

There are some things in life one cannot fight, like who your parents are and the garbage of genetic material one is thrown with. With my very strong family history of diabetes, it was a matter of time before I was garlanded with the same laurel. No amount of time spent at the gym or hours of burning the soles of my running shoes was going to steer me away from his genetic heirloom. I knew that. Still, it is unfair to say, nevertheless. 

So when she offered me the sucrose-dripping divine offerings, I looked at them as my mug of hemlock, as a concoction offered with an intended outcome, no matter how much one can sugarcoat it with divine intervention. Like an accountant who tallies debit and credit transactions, the body does not take into account whether a food is blessed or otherwise. It is quite transactional in its dealings with the trash that is shoved in versus the energy consumed, aided by detoxifying and catalytic agents. 

My mind then wandered upon the practice of emphasising food as one of the highest deeds one can offer to humanity. Every religious function invariably ends with a big feast. Forget prayers; one would get upset if a wedding, a birthday invitation, or even a casual visit to an acquaintance’s home is not accompanied by a meal or at least a snack. What is a birthday party without loads of sugar or unnecessary calories? Feuds have occurred in the past when caterers failed to meet their hosts’ promises. Our community believes that the taste of the wedding meals should be savoured much longer than the newlyweds keep their wedding vows. 

The highest brownie points in most religions must surely be for feeding the masses. No one is denied a meal in most places of worship. Why this fixation on meals and their intermingling with divinity? If any calamity were to befall any part of the world, the Sikh brothers would always be the first to be at Ground Zero to whip out some piping hot vegetarian food for the victims. Where do the homeless in the underprivileged part of town go for a square meal? A langar[2] , the Sikh community kitchen, of course.

I once heard an actress boasting about her polyamorous lifestyle and how she managed to win so many hearts. Her answer stuck in my mind. “Honey, the sure way to a man’s heart is through his stomach. You can either stir a nice meal, or you can compliment him on how slim he looks. You can tell him you can hardly see his stomach!” The actress also said that Belgian chocolates win any girl’s heart. 

Why this fixation on meals and their intermingling with the human psyche and divinity? Food and divinity are closely intertwined, not only because a hungry soul cannot sing praises of the giver, but also because the gratitude and joy showered upon their givers can be intoxicating. It fosters human connection at a primordial level, regulating social orders. After all, hunger remains one of the primitive needs before social conditioning expanded our insatiable wants. 

Famine has been a regular feature in the Indian subcontinent[3]On the other end of society, opulence and wastage were prevalent. The society decided to imbue the act of ‘giving a dog a bone’ with religious fervour, bestowing it with a divine status. We were undernourished then and overnourished now. Either way, we are malnourished[4] , just that in the former, we were fed a wee bit too little, while in the latter, a tad too much. Both leave us much to be desired, metabolically speaking. 

Just as Empress Marie Antoinette could not comprehend why the peasants did not stop their boisterous shouts and just eat the cake[5], my wife cannot understand why I am having second thoughts about indulging in some blessed sweet ladoos.

.

[1] Sweet

[2] A Sikh community kitchen serving free meals to all regardless of religion, caste, gender, economic status, and ethnicity

[3] https://en.wikipedia.org/wiki/Timeline_of_major_famines_in_India_prior_to_1765

[4] . Malnutrition is an imbalance between the nutrients your body needs to function and the nutrients it gets. It can mean undernutrition or overnutrition.

https://my.clevelandclinic.org/health/diseases/22987-malnutrition

[5] “Let them eat cake” is the traditional translation of the French phrase, “qu’ils mangent de la brioche“, said by ‘a great princess’ according to Rosseau. It has been attributed to Marie Antoinette. Brioche is not cake but an enriched bread made with eggs, flour, butter and sugar. (ref:  https://en.wikipedia.org/wiki/Let_them_eat_cake)

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

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Categories
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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Categories
Excerpt

Love and Crime in the Time of Plague

Title: Love and Crime in the Time of Plague: A Bombay Mystery

Author: Anuradha Kumar

Publisher: Speaking Tiger Books

Maya is Discomfited

What shall we talk about?’ Maya asked in her irrepressible way, a lilt in her voice. That afternoon she was out cycling with Henry when the rain came down, turning heavy in moments. It was August and the middle of the monsoon season.

‘Tell me more about what you found. More about those…mysterious sketches. You have two minutes,’ Henry rolled his eyes playfully as he pulled out his watch.

Dark, thick clouds loomed over the sea and gathered by the palm trees and rocks lining the shore. Leaving their bicycles against the tall, old Ashoka tree, they had run, like many times before, toward the old Prong’s lighthouse to their right. Its white walls were damp-streaked and moss-stained, and the grey rocks huddled by it were dotted by foamy flecks. The sea swirled in noisily with an insistent rhythm.

They stood on the low stoop, looking out at the gravestones across the road. The door behind, blue paint flaking in places, creaked in the wind. The room in the old lighthouse always smelt musty. It was sparsely furnished with wooden chairs, a table, and a cupboard. Faded red curtains fluttered on the windows. A part of the roof near the fireplace leaked, and rainwater often dripped down into a large wooden tub. Soon, Henry always joked, it would fill up with fish. The keeper, an old Eurasian, waved to them from an upstairs window, his beard flailing through its rusting iron bars.

They were right at the tip of the city on the island of Colaba, and the new bicycles—shipped to Henry only that summer—were safe to ride on, with their evenly spaced wheels, pneumatic tyres, and a chain system. Henry was pleased with these new ‘Rover’ cycles, made by a company in Chicago, Henry’s home town. The wind left a mist on their faces, the gulls were noisy on the rafters, and they waited for the rain to ease.

The Causeway, its white stones grey in the wan light, stretched to the mainland. Built some fifty years ago, it now connected what had been the separate islands of Colaba, and the Old Woman’s Island to the bigger island of Bombay. If they craned their necks and looked to the left, through the palm trees, the stone walls of the old fort were clearly visible.

Henry took his cap off, twirled it with his fingers then placed it back on his head. Maya scraped the soles of her muddy boots against the stoop, and leaned against the door. They heard a sharp clear call, two eagles were majestically scouring the skies, their wings spotted white, and lighting up when the sun momentarily breathed through the clouds.

‘You’ve been thinking about the sketches, haven’t you?’

Maya nodded, her eyes the colours of the stormy sea. The eagles, she was thinking, maybe they were the White-bellied Sea Eagles familiar to these parts.

‘Tell me about it,’ Henry encouraged, stealing a look upstairs, and noting the open window. The keeper was probably all ears. They were always the subject of gossip, and Henry ruefully accepted this, always with a turmoil in his heart. He enjoyed Maya’s company and tried not to think too much of the future; most times he failed. Sometimes he thought Maya felt the same way.

~

Maya had found the sketches only a fortnight ago. In a room, dark, mysterious and unused, at the very back of the grey-stone ‘doctors’ house’ where Maya lived. She had wanted to use the room as a study. The doctors’ house stood on a narrow lane leading off the Colaba Causeway, on the sliver of land where Bombay stretched into the sea in a crab-like way. One walked through the house’s main hallway, and the study appeared after a series of small steps. Next to the study was the covered courtyard and on the left, its lone window faced the garden, with its wooden latticed fence, the bougainvillea and oleander creepers, and tall palm trees. Farther beyond, closer to the sea, lay the asylum and a part of the lighthouse, always visible from the upper floor windows of the doctors’ house. Sounds of the horse-drawn tramcars, the bells of the Afghan Church, the train coming in every morning and in the late afternoon, and the constant rolling of the sea, shaped a pleasing backdrop to everyday life in the house.

Once owned by Hormuzji Dorabji, a merchant whose business interests spread across Bombay, Surat, East Africa and Natal, the doctor Edith Pechey had first rented it when she came to Bombay to manage the city’s first women’s hospital. Soon there were two of them, when Charlotte Ellaby responded to Edith’s invitation, and that was how the bungalow got its name. Then about two years ago, though Maya felt it was much longer, the doctors’ house had a new resident when Maya joined them, a few weeks after reaching Bombay as part of a travelling theatre troupe from Lahore. The troupe soon moved on to another city, but Maya had stayed back. For a while only, she had thought at first, but months had flown by and the ‘doctors’ house’ was her home now. Edith had moved out when she married Herbert Phipson, an American businessman with offices in Bombay, and Maya still stayed on with Charlotte. Finding her feet in a city, warm and lively. Finding her heart too, but with that Maya wanted to take more time.

~

For Maya, the string-bound folder with the sketches was an unexpected find. It lay in the old wooden almirah, lost among dusty old account ledgers, old books, in old Pali and Persian, and crinkled maps brown with age.

‘They look so old, and so skilfully done.’ Henry still remembered the awed expression on Maya’s face the afternoon she told Charlotte and him about it. They had shared Maya’s delight, looking at the sketches—lifelike depictions of birds, drawn mainly in black ink, with distinct colours on some.

(Excerpted from Love and Crime in the Time of Plague: A Bombay Mystery by Anuradha Kumar. Published by Speaking Tiger Books, 2025)

ABOUT THE BOOK

It is 1896. A ship docks in Bombay Harbour, and as the workers rush to unload the cargo, a scream rings out. A large black rat, frothing at the mouth, has bitten one of the men.

Within weeks, a miasma of fear engulfs the city as ship-borne rats overrun its nooks and crannies, and more and more of its inhabitants fall sick—and die. Dr Acacio Viegas is the first to ring the alarm—it is the plague. The only way to control it is to sanitize the city’s slums, clean its drains, report any fever, and stay at home. The British Administration embarks on these measures on a war footing—until warning notes begin to turn up at Doctors’ House, where Maya Barton lives with Dr Charlotte Ellaby, and at the Women’s and Children’s Hospital—notes that threaten those who are ‘interfering’ with people’s religion and customs with dire consequences—all signed by the ‘Native Society’.

Maya and her friend Henry Baker, the American trade counsel, are soon hot on the trail of the Society, which leads them to the formidable Rangnekar Bhau, the Society’s founder, and its Secretary, the treacherous Satarkar, who hates everything new and ‘modern’, whether the British and the brown sahibs, and their so-called anti-plague drive, or women like Maya, who think too much of themselves.

As Maya and Henry unravel the mystery, they draw closer to each other and to what could be a future together. And Maya learns more about Reverend Barton, who could have been her father, and the Kashmiri woman who might have been her mother.

Anuradha Kumar once again uses her talent for recreating a period setting and engaging characters to brilliant effect in this sequel to the acclaimed The Kidnapping of Mark Twain, her first Bombay Mystery.

ABOUT THE AUTHOR

Anuradha Kumar has worked for the Economic & Political Weekly. She has an MFA in Writing from the Vermont College of Fine Arts (VCFA). Her stories have won awards from the Commonwealth Foundation, UK, and The Little Magazine, India. She writes regularly for Scroll.in. Her stories and essays have appeared in publications like Fiftytwo.in, The India Forum, The Missouri Review, among others. Two of her essays received notable mention in ‘Best American Essays’ editions of 2023 and 2024. Her essay collection, The Sound of Lost Memories, was recently a finalist for the Gournay Prize (University of Iowa) and will be published (2027) by Cornerstone Press (University of Wisconsin, Stevens-Point).

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Categories
Essay

From Madagascar to Japan: An Adventure or a Dream?

By Randriamamonjisoa Sylvie Valencia

For as long as I can remember, I have been an introvert — this is who I am and will always be. Yet, few believe it. I come from Madagascar, a distant island where the people are called the Malagasy — a community bound by culture, tradition, and a shared sense of identity. Malagasy people are known for their warmth and generosity, often revealing a talkative side as they delight in conversation, and playful exchanges.  In contrast, I am reserved — a shy person who expresses myself freely only when comfortable and among those I trust.

As a child, I was the most talkative among my siblings, recounting every detail of my school day to my parents. I delighted in describing the funny expressions my primary school teacher made while explaining lessons, or the mischievous boys who always stuck their chewing gum on the pupils’ desks and all the tasks I had accomplished. I wanted my parents to know I was doing well, that the teacher praised me, and that I helped classmates who struggled.

Both my parents are very talkative, especially my father, from whom I inherited the gift of words. Speaking in front of my family comes naturally, yet in front of others, my words often falter — a fear that has always troubled me. I speak freely only with those I know well— my family and a few close friends.

Facing a large audience has always been daunting. My father encouraged me to confront this fear, to be confident, and to meet the audience’s gaze. I tried many times: presenting in group projects, speaking as a class representative, even addressing an audience at a classmate’s parent’s funeral.

As I grew older, my determination to overcome this fear grew. I devoured books and videos on public speaking, eager to communicate with confidence. My first real test came in 2018, when I delivered a speech in a Japanese language contest. I had loved Japanese language since childhood, captivated by its culture, and dreamed of becoming fluent. Entering the contest was a dream — an opportunity to speak publicly and a chance to win a trip to Japan.

I was guided by two close friends who practiced with me daily. They corrected my mistakes, offered feedback, and most importantly, encouraged me. Having known me for years, they understood how terrifying standing on stage could be, yet they supported me out of love, friendship, and belief in my potential.

During rehearsals, I gave my utmost effort, memorising the script when necessary. Still, doubts lingered about meeting expectations, conquering fears, and not disappointing those who believed in me. The days of practice passed quickly, and soon, the big day arrived. Nervous at first, I gradually became more at ease while speaking. I managed to control my anxiety but knew my performance was imperfect. I focused on each word, yet my mind occasionally went blank, struggling with the judges’ questions. Embarrassment washed over me; I feared I had let my friends and family down.

In the end, I did not win the first prize, but my closest friends congratulated me. They reminded me that the true milestone was stepping onto the stage, speaking in front of an audience, and maintaining composure. Their encouragement helped me realise that courage and effort mattered more than the outcome itself.

As an introvert, talking to strangers is challenging, let alone addressing a crowd. Hearing the words “public speaking” makes my stomach tighten, palms sweat, and heart race. Stage fright, fear of facing many people and sharing my thoughts has always been real. Each time my name is called, I shake, my mind blanks, heart pounds, mouth dries, and confidence seems to vanish before I start. Yet, I have never lost hope. Deep down, I knew a strength within me would help rise above fear and grow into a better version of myself.

One year later, I stood again in the same contest. This annual competition was a goal I refused to let go of. As before, my friends encouraged, pushed, and trained with me every day until the D-day. Their support gave me the strength to continue. I prepared even more fiercely — joining language clubs and volunteering in storytelling activities. But it was not easy. I never felt comfortable speaking or working with strangers. I was told teamwork required discussion, sharing, and collaboration — a nightmare for an introvert.

Solitude had been my ally, yet suddenly, I was surrounded by people of all ages and personalities. Cooperation was no longer optional. However, through this challenge, I discovered an important truth: whether introverted or extroverted, whether silent or talkative, we must learn to connect with others. Survival and growth depend on collaboration and support.

The big day of the speech contest arrived in May, a season of transition between summer and winter. I arrived at the hall just in time, accompanied by a close friend. A staff member guided me to my seat, only a few meters from the judges. I felt cheerful, and calm, even giving a fist bump to nearby contestants. For the first time, I felt truly ready to give a speech — optimistic, and at peace. Perhaps it was the preparation or my friends’ wholehearted support, or maybe I had begun to trust myself.

There were four contestants in the advanced level, and I was the last to speak. Each of us hoped to win the grand prize — a trip to Japan. I did not worry about the others. I believed in my success and was determined to win first place. Just days before, I even dreamed of visiting Japan, so nothing could stand in my way.

Finally, it was my turn. I adjusted the microphone, greeted in Japanese, and bowed to the judges and audience. I spoke for about five minutes on how Malagasy parents raise children. Three judges asked each two questions. Thanks to countless practice hours and mock questions and answers sessions with my best friends, I answered every tricky question. For the first time, right after my speech, I felt like a winner.

The event lasted about three hours, and the final verdict came. The Master of Ceremonies announced winners, starting with the beginner level, then the advanced. Among the four in my category, only two remained. The Master of Ceremonies paused dramatically before announcing the first-place winner… and pronounced my name. I whispered a silent thanks to God. This result — the goal I had worked so hard for — had become reality. The trip to Japan was the reward, and even more importantly, I had overcome stage fright. I spoke naturally and confidently in front of the audience — another milestone achieved.

Later that year, in 2019, I visited Japan for the first time. The experience was magical. I met wonderful people, explored my favorite country, and fulfilled a long-cherished dream.

Six years later, I returned to the Land of the Rising Sun—this time as an international student. I now live in Tokushima prefecture, which is in southeastern Japan, far from the bustling cities, in a quiet countryside where few tourists venture. Yet, the city and its neighbourhoods are simply wonderful. It is peaceful, surrounded by greenery, and while the locals may seem reserved, they are incredibly welcoming. Even with some grasp of the local language, adapting to a new country as a foreigner is challenging. Still, thanks to the support of my seniors and friends who have lived here for years, I managed to navigate my first six months successfully.

The city where I live hosts an annual Japanese speech contest open to foreigners who have been residing here for some time. I was encouraged to participate, partly because I could speak some Japanese, and partly because it was a great chance to gain experience. I thought, why not? After all, I gradually grew more comfortable speaking in front of others.

This time, participants could choose their own topics, though it was suggested to focus on their experience in Japan or explore cultural connections between their home country and Japan. I was eager to participate, but selecting a topic was harder than I expected. Inspiration felt scarce, and I had no clear direction. Still, I knew that finding my own perspective was key to making the speech meaningful.

Overwhelmed by my studies, I barely noticed the passage of time. Before I knew it, the deadline had arrived. I had not written a single word, though ideas swirled in my mind. I opened my laptop, took a deep breath, and began writing everything that came to my mind. Reflecting on my experiences in Japan, I realised that people often struggled to pronounce my name correctly. That inspired me to talk about the hidden culture behind Japanese and Malagasy names.

With my theme set, I focused on making my speech coherent and captivating. I tend to draw inspiration at the last minute. I wrote, rewrote, and proofread repeatedly, staying up all night without noticing morning approaching.

Finally, I finished my manuscript and emailed it to one of my Japanese teachers to check for grammatical errors. She responded immediately, and her quick proofreading allowed me to submit my speech on the deadline. I felt relieved, yet strangely nervous, a sensation I could not quite describe.

Six years have passed since I last spoke in front of an audience. Preparing another speech made me feel nostalgic, bringing back memories of long rehearsals, the advice of my best friends, and countless sleepless nights.

A month after submitting my manuscript, I received an email from the event organizer announcing my selection. I was among the fourteen candidates chosen to compete. I whispered a quiet “wow,” but doubts immediately surfaced. I had two months to prepare. To understand what awaited me, I watched recordings of previous competitions, while my seniors and Japanese teacher helped me refine my speech.

Four students were selected from my university. The other three were Asian students with extensive experience in Japanese language and culture. They read Kanji (Japanese characters)effortlessly and conversed naturally. And then, there was me. Though I had been exposed to Japanese language and culture since childhood, memorising every character reading and grasping dialects was never easy. Back in my country, despite growing interest in Japanese language and culture, opportunities to use it in daily life remain limited. Once again, I faced a new challenge—this time in the Land of the Rising Sun.

Time flew, and soon the two months of preparation had passed. Finally, the big day arrived. Early that morning, a kind university staff member greeted us with a bright smile. As I descended from my dormitory, I saw her waiting by her car near the main gate, bowing politely. Her excitement was palpable. Three of us rode in her car; she asked about our preparations and told jokes, perhaps to ease our nerves, which were all visible.

After twenty minutes, we arrived at a large building and walked up to the fifth floor through corridors decorated in traditional style. Japanese architecture and design have always fascinated me, and I was struck by their beauty once again. The event hall was medium-sized, with a small table at the entrance holding our name tags.

One by one, the other candidates arrived. We were then led to a smaller room for a preparatory meeting. While waiting, we chatted briefly to get to know one another. The competition began in the early afternoon. We were instructed to enter the hall one by one, greeted with warm applause. Observing the other candidates, I could tell they were ready. Fourteen contestants competed in total. Thirteen were Asians from countries including China, Vietnam, India, Indonesia, the Philippines, Taiwan, Sri Lanka, and Thailand. I was the only African, from a distant country few people knew. Before each speech, the Master of Ceremonies shared a brief anecdote about the candidate’s country, offering the audience a glimpse into its culture. Each contestant then delivered a five-minute speech.

There were two types of awards: the Golden Prize for first and second place, followed by four Silver Prizes. I had hoped to place among the top five while preparing my speech.

As I listened to the first three candidates, I was deeply impressed. Their speeches were powerful, emotional, and delivered with near-native fluency. I was surprised by how advanced and impressive their speaking skills were. I was the sixth speaker. Perhaps it had been so long since I last addressed an audience, or perhaps it was the absence of my closest friends but standing alone in a foreign country in front of strangers was overwhelming. My hands trembled. When my name was announced, I feared I might not endure those five minutes on stage.

Still, I stood before hundreds of people. I bowed, held the microphone firmly, and began. My heart raced and sweat ran down my face and back. Gradually, the pressure eased. When I shared the example of the longest name in the world—from my country, the audience reacted with surprise and amusement. I realised how attentive they were and regained inner calm. Although I forgot one line, I finished my speech smoothly and expressively.

The remaining eight candidates were equally impressive. Their eloquence was such that, with eyes closed, one might mistake them for native speakers. It was the highest-level contest I had ever participated in. Each theme and presentation were unique, and every contestant spoke with confidence. I doubted whether I would receive a prize, but reassured myself that even without one, the experience was worthwhile. Most participants had lived in Japan for over three years, and the Chinese and Taiwanese contestants were especially strong in oral expression. Yet, standing among such talented competitors was an honor.

After a break that was supposed to last twenty minutes but stretched to fifty, results were announced. They began with six Encouragement Prizes. I thought I might be among them, but my name was not called. Two more awards followed, still not mine. A friend nudged me, whispering, “Congratulations!” I replied, “Stop joking. Congratulations to you instead!”

Finally, the Silver Prizes were announced. They first called my country, then my name. The applause and cheers overwhelmed me, and tears welled in my eyes. I had not expected to win a Silver Prize, given the competition’s level. One friend from my university won the Golden Prize, and the second Golden Prize went to a Vietnamese contestant.

Participating in such a high-level competition was a tremendous challenge. Every step—from manuscript preparation to standing on stage—pushed me beyond my comfort zone. Yet, when it was over, I felt immense pride. I had once again delivered a speech before a large audience, this time in the country whose language I had cherished for years.

Though I had been nervous, the audience remained unaware. Their attentive expressions and warm applause carried me through. Afterwards, my Japanese teachers praised my performance, saying I had done exceptionally well. In that moment, I realised every hour of preparation, every doubt, and every fear had been worthwhile. I had faced a formidable challenge, stood my ground, and expressed myself fully, a reminder that courage, practice, and determination can transform daunting experiences into triumphs. It is a memory I will treasure forever.

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Randriamamonjisoa Sylvie Valencia is from Madagascar and is currently studying in Japan as a trainee student. She enjoys reading, writing, listening to music, and traveling to explore new cultures.

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

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Categories
Musings

Just Passing Through

By Farouk Gulsara

During my early days of cycling, as I trained during the early hours before dawn, my greatest fear was not the darkness. Beyond fearing fear itself, the next thing that frightened me was the possibility of a head-to-head encounter with a pack of stray dogs that throng the country roads leading up to Genting Peres, the border between the districts of Hulu Langat in Selangor and Jelebu in Negeri Sembilan. 

The dogs are not from the wild. Some of these ‘man’s best friends’ served as guard dogs for the numerous orchards and homes of indigenous dwellers along the valley. A few packs of dogs must have been abandoned by their owners for various reasons. In Malaysia, a peculiar tradition during the Lunar New Year is to adopt animals based on the celestial animals associated with that year. Dogs, rabbits, and pet roosters are highly sought after until the excitement of the new year diminishes. Afterwards, people often look for ways to discard their pets. Where do you think they end up? Here, at the edge of civilisation. Fortunately, tigers and dragons, which are also animals in the Chinese calendar, cannot be kept as pets for obvious reasons. Imagine abandoning these creatures into the wild after the flavour of the month!

Over time, we occasionally hear of dogs attacking cyclists or cyclists falling off their bikes after being harassed by these canine creatures. The interesting thing about these wild animals is their need for vigilance. Creatures of the wild generally live by the rule of survival. They base their behaviour on constant vigilance. In a universe where ‘might is right’ and the law of the jungle dictates that the winner takes all, a misjudgment could be their last. Their default behaviour is to establish dominance in any given situation. If the opponent appears uncertain, frightened, or even runs away, the animals will try to assert dominance. Conversely, if they seem disinterested or exude confidence, the wild animals will likely just slither away. It is all about exerting dominance, marking territory, and size—these really matter. 

Imagine a child who, after being frightened by the appearance of a stray animal, immediately reacts with fear and runs away. This kind of submissiveness can be easily detected by predators. It is 101 in their survival toolkit. Next comes the attack. The more one bows, the more he will be smacked down. This is the law of the jungle before Earth became civilised, but is it relevant still?

We like to believe that civilisation ushers in less violence. A civil society is meant to resolve conflicts through negotiation and arbitration. The higher one climbs the ladder of education, the less one resorts to swords and machetes to prove one’s point. At least, that is the belief we have been taught. 

We were also told that we are not the sole owners of the planet. We share it with other beings, both human and non-human, to pass it on to the next generation in the pristine condition in which we received it. Every being deserves its place in the Sun.

Someone from my secondary school WhatsApp group recently sent a gruesome video of a toddler being mauled by a stray dog on a busy street. It is unfair to speculate about the events that led to the incident, but suffice it to say, rabies is quite rare in the community, and the dog was quickly captured and probably put down. 

The whole fiasco brought to mind the recent ruling of India’s Supreme Court on stray dogs[1]. After a six-year-old girl died from rabies following an attack by a stray dog in Delhi, society recognised the seriousness of the stray dog problem in India. There are about 15 million stray dogs in that country [2]. The Supreme Court decreed that all strays should be removed from the streets and be vaccinated, neutered, and placed in shelters permanently. 

What followed was a farcical display of comedy. Animal activists were furious, accusing others of cruelty for confining animals in cages. The highest courts reversed their decision and allowed the dogs to be returned as strays after sterilisation and immunisation, as if that would reduce dog attacks. Perhaps if the gonads are removed, they would be less aggressive. 

Many talk shows and YouTubers appeared in the media, debating the issue and trying to find common ground. Some activists may have lost perspective, forgetting that human lives are involved. They personify the stray animals, attributing more importance to them than to children, and prioritise animal rights and freedom. Some animal enthusiasts even link animal aggression to human behaviour. In my books, children and human lives may take precedence over animals. Some conspiracy theorists went so far as to say that PETA [3]and animal sympathisers are foreign agents to discredit India and maintain the Indian demand for rabies vaccines. 

The rising sales of pepper sprays only confirm that we should be more wary of fellow humans than other beings[4]. The increasing avenues for ladies (and men) to call for help in case of domestic or sexual assaults do not speak well of our ‘civil’ society. The ongoing stories about horrific crimes further serve as evidence of these crimes[5]. Leaders whom we elected democratically to protect us are determined to turn the world upside down, aligning with the military-industrial complex. They seek to wage war, not to promote peace. They play the fiddle while their capital goes aflame. They indulge in cakes when the common man has no bread.

We may convince ourselves that we, as a society, have become less violent. As a hunter-gatherer, our lifetime chance of a violent death was close to 15%[6]. In modern times, however, despite years of introspection, aggression still occurs. A growing concern is violence against oneself in the form of suicide, war and genocide against others due to differing ideologies, homicide for self-interest, and killing other animals for recreation. And we call ourselves cultured. Animals only kill for food, territory and mates for the continuity of the species. We do it for recreation during the hunting season, and for a psychopath, it gives him power, control, grandiosity and ecstasy with no remorse[7]. (6)

(P.S. Like how a mafia would walk into the neighbourhood and receive a cursory nod from the town folks, the pack of stray dogs and I have established a working relationship. They do their thing of barking and exerting authority, whilst I simply pass through unceremoniously. It is an understanding between a wandering dog and a cycling dog!)

Photo Courtesy: Farouk Gulsara

[1]  https://www.bbc.com/news/articles/c5yejnze4p1o

[2] ). https://visionias.in/blog/current-affairs/stray-dogs-management-in-india-balancing-public-safety-with-animal-welfare#:~:

[3] People for Ethical Treatment of Animals

[4] https://timesofindia.indiatimes.com/city/chennai/woman-partner-get-life-in-jail-for-killing-her-kids/articleshow/122888742.cms

[5]  https://www.bbc.com/news/world-us-canada-46269794

[6]  https://cliospsyche.org/articles/fuchsman-k-2014-the-complexities-of-being-civilized-clios-psyche-214-256-264

[7] https://leb.fbi.gov/articles/featured-articles/psychopathy-an-important-forensic-concept-for-the-21st-century#:

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.

Disclaimer: The opinions expressed are solely that of the author and not that of Borderless Journal.

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Categories
Poetry

Two Poems by Stephen Druce

A CATASTROPHIC HABITAT


Nothing works in
my small flat -
it's a catastrophic
habitat,

the key to the flat
won't turn in the door,
the sign says three but
it's really number four,

the letterbox opening's
a millimetre wide -
the doorbell rings
but only outside,

security was fitted
with the burglar proof -
so the thieves broke in
through the leaking roof,

a fire broke out and
the smoke alarm failed,
the wall fell down when
I pulled the curtain rail,

the power cuts are frequent
so I'm often in the dark,
the cat can't meow and
the dog can't bark,

the stereo is broken and
the bathroom mirror cracked,
no signal on the wi-fi --
the extractor wont extract,

the microwave blew --
there's a hole in the bin,
the ceiling fell through and
the goldfish can't swim,

the fridge won't close and
the cupboards don't fit --
like my wrong-sized clothes
and the washing line split,

the rocking chair snapped
and I landed on my head,
I bounced into the bedroom
and I broke the waterbed,

the toaster burns the bread
when the settings on low --
the cork's stuck in the bottle
and the plants won't grow,

the vacuum cleaner won't suck --
the light bulbs have popped,
the superglue has never stuck
and all the clocks have stopped,

they undercut the window panes --
they all have two inch gaps,
the gas pipe burst -- I must be cursed --
the building just collapsed.


THEY'LL NEVER KNOW
THE WAY WE FEEL


They'll never know
the way we feel.

they'll know our names
and what we earn --
our capital gains --
our tax return,
and what we're worth --
our height and weight,
our place of birth --
the time and date,
our number flat --
our fixed abode,
our habitat --
our postal code,
our social links --
our network friends,
the way we think --
how much we spend,
our DNA --
the streets we go,
our resume --
the bills we owe,
our hidden scars --
our blood relation,
where we are --
our information,
star sign -- if
our passport's real --
but they'll never know
the way we feel.
From Public Domain

Stephen Philip Druce is based in Shrewsbury UK. He is published in the USA, India, the UK and Canada. He’s written for theatre plays in London and BBC 4 Extra. 

Contact: Instagram – @StephenPhilipDruce

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Categories
Poetry

Expletive by Jyotish Chalil Gopinath

EXPLETIVE

The word arrives in my inbox
screaming,
steam rising from its sizzling,
alone,
answering
a simple question.
May I send you a poem?
or simply
May I?

An all-caps no.

You do wield
your expletives
well.

But I do too.
I reply —
Thank you.

Jyotish Chalil Gopinathan is a nephrologist residing in Kozhikode, India. His poems have been published in several online journals including Muse India, Borderless Journal, Poems India, Madras Courier, The Punch Magazine, Annals of Internal Medicine, Ethos Literary Journal, Plato’s Cave Online, and The Chakkar. In August 2025 Hawakal published his second collection of poems, Almanac of the Sickle Moon.

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

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Categories
Essay

The Bauls of Bengal

Aruna Chakravarti writes of the Bauls (wandering minstrels) of Bengal and the impact their syncretic thought, music and life had on Tagore

Religious movements such as Bhakti and Sufi have spanned time and territory and entered Bengal, in successive waves, creating a syncretic culture in which music and poetry are amalgamated. One of the forms in which these movements find creative expression is Baul Gaan —the singing of itinerant minstrels.

Universally recognised as foremost among the oralities of Bengal, the Baul Sampradai is a community for whom singing is synonymous with worship. The Baul expounds a philosophy of humanism which rejects religious orthodoxies and stresses human equality irrespective of caste, class, religion and gender. The Baul sets himself on a spiritual journey, lasting a lifetime, towards discovering his moner manush (man within the heart) thereby alienating the notion of seeking the Divine in external forms such as mosques, temples, images and sculptures. Since God is believed to reside within man, the human body is viewed as the site of the ultimate truth –that which encompasses the entire universe. This tenet of Baul philosophy is known as deha tatwabad—the belief that the soul being pure the body that houses it, together with all its functions, is pure and holy.

Concentrated mostly in Kushthia, Shilaidaha and Sajadpur in East Bengal (now Bangladesh) and Murshidabad and Birbhum in West Bengal, the Baul tradition, though drawing elements from Tantra, Shakta and Sahajiya[1], stems from two main sources — Muslim Sufi and Hindu Vaishnav. Hence the simultaneous presence of Hindu and Muslim bauls in the villages of Bengal and great composers from both streams—Lalon Fakir, Duddu Shah, Madan Baul, Gagan Harkara and Fakirchand. Rejecting religious codes such as Shariat and Shastras, caste differences, social conventions and taboos, which they see as barriers to a true union with God, they sing of harmony between man and man. “Temples and mosques obstruct my path,” the Baul sings, “and I can’t hear your voice when teachers and priests crowd around me.”

Refusing to conform to the conventions of religion and caste ridden Bengali society, Bauls (the word is sourced from the middle eastern bawal meaning mad or possessed) are wandering minstrels who sing and dance on their way to an inner vision. Essentially nomadic in nature walking, for them, is a way of life. “No baul should live under the same tree for more than three days” — the saying seems to stem from the Sufi doctrine of walking an endless path (manzil) in quest of the land where the Beloved (the Divine) might be glimpsed. Bauls live on alms which people give readily. In return the Baul sings strumming his ektara[2] with dancing movements. The songs are rich with symbolism, on the one hand, and full of ready wit and rustic humour on the other. The Baul rails against the hypocrisy of religion and caste and takes sharp digs at the clergy but totally without rancour.

Many of the composite forms found in an older culture of Bengal have become sadly obscured in the present scenario of identity politics. But the one that has not only survived but is gaining in recognition day by day, is the Baul tradition. This is, in no small measure, owing to the intervention and interest taken by Rabindranath Tagore. In his Religion of Man Rabindranath tells us that, being the son of the founder of the Adi Brahmo Samaj, he had followed a monotheistic ideal from childhood but, on gaining maturity, had sensed within himself a disconnect from the organised belief he had inherited. Gradually the feeling that he was using a mask to hide the fact that he had mentally severed his connection with the Brahmo Samaj began tormenting him. And while in this frame of mind, travelling through the family estates in rural Bengal, he heard a Baul sing. The singer was a postal runner by the name of Gagan Harkara and the song was “Ami kothai paabo tare/ amaar moner manush je re[3].”

“What struck me in this simple song,” Rabindranath goes on to say, “was a religious expression that was neither grossly concrete, full of crude details, nor metaphysical in its rarefied transcendentalism… Since then, I’ve often tried to meet these people and sought to understand them through their songs which are their only form of worship.” In his Preface to Haramoni[4], Rabindranath makes another reference to this song. Quoting some lines from the Upanishads—   Know him whom you need to know/ else suffer the pangs of death— he goes on to say, “What I heard from the mouth of a peasant in rustic language and a primary tune was the same. I heard, in his voice, the loss and bewilderment of a child separated from its mother. The Upanishads speak of the one who dwells deep within the heart antartama hridayatma[5]and the Baul sings of the moner manush. They seem to me to be one and the same and the thought fills me with wonder.”

A Portrait of Lalon Fakir sketched by Jyotindranath Tagore(1849-1925)

Lalon Fakir’s commune was located in the village of Chheurhia which fell within Rabindranath’s father’s estates. Though there is no authentic record of a meeting between the two, it is a fact that the poet was the first to recognise Lalon’s merit which had the quality of a rough diamond. His inspiration was powerful and spontaneous but, lacking in clarity of expression, lay buried in obscurity till Rabindranath brought it out into the open. Publishing some of the songs in some of the major journals of the time, Rabindranath took them to the doors of the educated elite. Not only that. They gained in popularity from the fact that he, himself, often used Baul thought and melody in his own work. “In some songs,” he tells us in his Manush er Dharma[6], “the primary tunes got mixed up with other raags – raaginis which prove that the Baul idiom entered my sub conscious fairly early in life. The man of my heart, moner manush, is the true Devata[7]. To the extent that I’m honest and true to my knowledge, action and thought — to that extent will I find the man of my heart. When there is distortion within, I lose sight of him. Man’s tendency is to look two ways — within and without. When we seek him without — in wealth, fame and self- gratification — we lose him within.”

But it wasn’t only in his compositions that Rabindranath disseminated Baul ideology. It went deeper than that. The primitive simplicity and freedom of Baul thought and living charmed him so completely that he started imbibing them in his own lifestyle. He grew his hair long, kept a flowing beard and wore loose robes. He created Baul like characters in his plays and dance dramas and enacted the roles himself. And, as he grew older, a restlessness; an inability to stay in one place took hold of him. Leaving the ancestral mansion of Jorasanko he relocated to Santiniketan but even there he could not stay in the same house for more than two months. In the last two and half decades of his life, a tremendous wanderlust seized him. He travelled extensively both within the country and without, earning for himself the sobriquet of ‘roving ambassador for India’.

Perhaps, the most powerful testimony of the evolution of Rabindranath from a princely scion of the Tagores of Jorasanko to the man he finally became is found in Abanindranath’s portrait of his uncle. It depicts an old man with flowing white locks and beard, wearing a loose robe and holding an ektara high above his head. The limbs are fluid in an ecstatic dance movement. It is a significant fact that the painting is titled Robi Baul.

Robi Baul (1916): Painting by Abanindranath Tagore (1871-1951). From Public Domain

[1] Different schools of philosophy and religion. The Sahajiya is a philosophy that embrace nature and the natural way of life.

[2] String instrument

[3] Translates from Bengali to: “Where will I find Him — He who dwells within my heart”

[4] The Haramoni (Lost Jewels) is 13-volume collection of Baul songs compiled by Mansooruddin to which Tagore wrote the preface for the first volume published in 1931

[5] Translates to ‘innermost part of the heart and soul’

[6] Collection of Lectures by Tagore in Bengali, published in 1932

[7] Translates to “God’

Aruna Chakravarti has been the principal of a prestigious women’s college of Delhi University for ten years. She is also a well-known academic, creative writer and translator. Her novels, JorasankoDaughters of JorasankoThe Inheritors, Suralakshmi Villa and The Mendicant Prince have sold widely and received rave reviews. She has two collections of short stories and many translations, the latest being Rising from the Dust. She has also received awards such as the Vaitalik Award, Sahitya Akademi Award and Sarat Puraskar for her translations.

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

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