Categories
Contents

Borderless, July 2022

Art by Sohana Manzoor

Editorial

Whispers of Stones… Click here to read.

Translations

Tagore’s Mono Mor Megher Shongi (‘The Clouds, My Friends‘)has been translated by Professor Fakrul Alam. Click here to read.

The Welcome, a skit by Tagore, has been translated by Somdatta Mandal. Click here to read.

The Bus Conductor, a short story by Dalip Kaur Tiwana has been translated from Punjabi by C. Christine Fair. Click here to read.

Hasan Sol: A Balochi Folktale from Geedi Kessah-4(Folktales Vol: 4) compiled and retold by Gulzar Khan Mari, has been translated by Fazal Baloch from Balochi. Click here to read.

Cry of the Sunflower written in Korean and translated to English by Ihlwha Choi, a poem for Ukraine. Click here to read.

Tagore’s Nobobarsha (or ‘New Rains’) has been translated 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. Lockdown had been written in Hindustani by Jishan and translated to English by Grace M Sukanya. Click here to read.

Poetry

Click on the names to read

Michael R Burch, Supatra Sen, Jenny Middleton, Pramod Rastogi, Ron Pickett, George Freek, Devangshu Dutta, Candice Louisa Daquin, David Francis, Raja Chakraborty, Michael Lee Johnson, Ashok Suri, Ryan Quinn Flanagan, Sutputra Radheye, Maid Corbic, Rhys Hughes

Poets, Poetry & Rhys Hughes

In The Anthology in my Mind, Rhys Hughes talks of a make believe anthology. Click here to read and find out what he imagines.

Conversations

Eminent film journalist, Ratnottama Sengupta, converses with legendary actress, Deepti Naval, on her literary aspirations at the Simla Literary festival, Unmesh, in June 2022. Click here to read.

Keith Lyons interviews Steve Carr, a writer who has written 500 short stories and has founded the Sweetycat Press. Click here to read.

Stories

A Cat Story

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

My Christmas Eve “Alone”

Erwin Coomb has a strange encounter at night. Is it real? Click here to read.

Bus Stop

The story by Rinu Antony focusses on chance encounter at a bus stop. Click here to read.

Murder at the ‘Pozzo di San Patriza’

Paul Mirabile travels to 1970s Italy to experience a crime inside a sixteenth century well. Click here to read.

Musings/ Slices from Life

Grune Point and an Inkling of Eternity

A poetic account by Mike Smith as he explores the area that hovers between England and Scotland. Click here to read.

Olympic Game Farm: Meeting and Greeting Animals from Disney Movies

Hema Ravi visits a farm that houses animals that had a past in Disney. Click here to read.

Notes from Japan

In A Visit to the Isamu Noguchi Garden Museum, Suzanne Kamata visits a Museum dedicated to an American Japanese artist. Click here to read.

Musings of a Copywriter

In Shopping for my Funeral, Devraj Singh Kalsi goes on a bizarre spree. Click here to read.

Mission Earth

In On a Bamboo Bicycle from Thailand to Indonesia, Kenny Peavy revisits his trip across Asia exploring the biodiversity and conservation efforts. Click here to read.

Essays

Discovering Books and Places: The Voyage from Eden

Meredith Stephens sails the Australian coastline, recording her experiences with words and her camera. Click here to read.

Trekking to Tilicho Lake

Ravi Shankar treks up to Tilicho Tal at 4940 m. Click here to read his trekking adventures.

A Modern-day Animal Fable with Twists

Dan Meloche visits a contemporary Canadian novel written as an animal fable to draw an unexpected inference. Click here to read.

The Observant Immigrant

Is it okay to be ordinary? by Candice Louisa Daquin explores the responses of people to being accepted as ordinary. Click here to read.

Book Excerpts

An excerpt from The Mendicant Prince (based on the Bhawal sannyasi case) by Aruna Chakravarty. Click here to read.

An excerpt from Nabendu Ghosh’s Dadamoni: The Life and Times of Ashok Kumar. Click here to read.

Book Reviews

Meenakshi Malhotra reviews Tagore’s Gleanings of the Road translated by Somdatta Mandal. Click here to read.

Rakhi Dalal reviews Geetanjali Shree’s Mai, Silently Mother, a Sahitya Akademi winning translation of the Hindi novel by Nita Kumar. Click here to read.

Indrashish Banerjee reviews Nabendu Ghosh’s Dadamoni: The Life and Times of Ashok Kumar. Click here to read.

Bhaskar Parichha reviews Prosanta Chakrabarty’s Explaining Life Through Evolution. Click here to read.

Categories
Review

The Life and Times of Ashok Kumar by Nabendu Ghosh

Reviewed by Indrasish Banerjee

Title: Dadamoni: The Life and Times of Ashok Kumar

Author: Nabendu Ghosh

Publisher: Speaking Tiger Books

Dadamoni: The Life and Times of Ashok Kumar by Nabendu Ghosh (1917-2007) is a reflection on the Hindi film industry as much as it’s a biography of the legendary actor.  An eminent scriptwriter in Bollywood and director, Ghosh was an award-winning Bengali writer whose oeuvre of work includes thirty novels and fifteen collections of short stories. As a script writer, he wrote the scripts in Hindi for iconic films like Devdas, Bandini, Sujata, Parineeta and many more.

Ashok Kumar (1911-2001) was a part of both the small and the big screen in India while he lived. Was Ashok Kumar a star? What was his position in the Hindi film industry? When did he become a character actor? Was he a good actor? These questions are very easy to answer about others but when it comes to ‘Dadamoni’, as he was fondly called, the answers become nebulous.

Ashok Kumar started his career in the early 1930s which makes him senior to stars like Raj Kapoor, Dilip Kumar and Dev Anand who made their debuts and attained stardom when Ashok Kumar was already a reigning star. Ghosh knew Ashok Kumar personally for many years. And the personal touch comes through in many places – through anecdotes and because of the regard that shines through the narrative. The jokes that Ashok Kumar cracked from time to time, the things the thespian told the author, all find place in the book. There is also a visible attempt to protect Dadamoni’s reputation against any allegation of vices generally attributed to stars. Ghosh, who had gone to Bombay as part of Bimal Roy’s team, constantly tries to establish Dadamoni as a gentle, thoughtful and educated person.

But this gentle, thoughtful and educated person didn’t have it easy in the world of films. Ashok Kumar had a shaky start. A shy and retiring person, he had gone to Bombay while studying to become a lawyer in Calcutta — to become a director. The ambition was idealistically driven – films, a new medium then, could be a means of educating people. But fate intervened. The person supposed to play the hero’s role in Achhut Kanya (Untouchable Maiden, 1936) had gone missing and the search for a replacement was on.

One day, Ashok Kumar, an employee of Bombay Talkies then, discovered the owner of the studio, Himanshu Rai, quizzically looking at him. Rai had found the replacement for the hero of Achhut Kanya. But for the hero, it was beyond belief that he could act in a movie. The most endearing part of the book is how this diffident hero finds his footing in the industry becoming its earliest and biggest star. And the most poignant part is the gradual decline and death of the studio system even as its product – Ashok Kumar – rose to new heights.

As the narrative draws to a close, one is left wondering what is Ashok Kumar’s position in the legion of Bollywood stars? This has been answered exhaustively in the ‘Afterword’ by Ratnottama Sengupta, eminent film critic and Ghosh’s daughter, who brings in not only personal lore but also her own experience. She tells us Ashok Kumar served “as a textbook for actors wanting to perfect characterisations, voice control, timing, gestures postures” and that he transformed “the acting style in Indian cinema from theatrical to naturalistic – which is still the cinema language worldwide.”

Naming him the “Elder brother of the industry”, Sengupta asserts, “I’d say he is the one personality who symbolises Indian cinema’s journey from Bombay Talkies to Bollywood.” She brings in his stories of interactions with film stars, his hits and directorial ventures, his launching of major actors and his deep links with them, including his acclaimed brother, Kishore Kumar, with more anecdotes from multiple eminent actors like Shammi Kapoor, Moushumi Chatterjee, David Lean and his associates and family ties that stretch to embrace actors from different religion and race. Bharti Jaffrey, Ashok Kumar’s daughter, who has written a heartfelt forward for this edition, is married to actor Saeed Jaffrey’s elder brother.

What makes this book unique is that Ghosh wrote this book in English himself and it has been republished posthumously[1] with the addition of a forward and an exhaustive afterword by the well-known daughters of the two film icons. It also has classic photographs of Ashok Kumar. Both the emotionally charged forward by award-winning actress Bharti Jaffrey, and the afterword by Sengupta, a national film award-winning journalist, explore further the enigma that was Ashok Kumar. By the end of the ‘Afterword’, one realises how deeply tied and organic are the Bollywood families and how much they do to try and create bridges and close gaps – the Ashok Kumar Foundation being one such effort. The whole package – the forward, the narrative, the photographs and the afterword — leaves one spellbound.  

CLICK HERE TO READ THE BOOK EXCERPT


[1] First published in 1995 by Harper Collins – mentioned in the ‘Preface’ written by Ghosh in 1995 and reproduced in this edition published by Speaking Tiger Books.

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Indrasish Banerjee has been writing and publishing his works for quite some time. He has published in Indian dailies like Hindustan Times and Pioneer, and Café Dissensus, a literary magazine. Indrasish is also a book reviewer with Readsy Discovery. Indrasish stays and works in Bangalore, India. 

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

Categories
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.

Categories
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
Stories

Pagol Diaries

By Indrasish Banerjee

Courtesy: Creative Commons

I never knew Maa had developed such a filial attachment with Pagol* until I found her diary the other day. Probably to dispel her loneliness, Maa had started maintaining a diary. The diary had all the usual entries recording her day-to-day activities. Some about daily humdrum activities. “Today Anita came late again…the third day in a row….” Some on past recollections trigged by something with a tinge of melancholy. “Today morning the big glass jar slipped from my hand, raced to the floor and shattered. It was an antique dear to Gogol’s father.”

What took me by a pleasant surprise were Maa’s diary entries on Pagol. In Sweden those days lot of experiments were being carried out with robots. Robots were gradually replacing humans in various jobs. People were both excited and worried about them. Robots were being seen as a solution to many human problems as well as a threat to human existence. People felt the time when robots would completely take over humans was not very far.

Like many, I used to read a lot on the latest advancements happening in the world of robotics on my phone. One day I received an advertisement alert on my phone about a robot exhibition happening in the city. On a sunny Sunday afternoon, I visited the exhibition.

It was a noisy place. There were kiosks of companies from different parts of the world. Salesmen were demonstrating robots of different kinds to curious visitors and answering their questions. Most were basic robots which could perform singular tasks, and some were not for domestic use but meant for factories. They hardly looked like humans; in fact, some resembled snakes and even zombies of different shapes and sizes depending on the purpose they were made for. This disappointed many visitors, particularly children who had a very romantic notion about robots acquired from sci-fi comic books, TV serials and movies that were becoming very popular with youngsters.

It had been a few years since Baba had passed away when I finally left India, taking a job abroad. I had spent a few years in the West, in Germany, when Baba worked there. Since we returned to India, I always had a yearning to go back to the West. After working in India for some years, finally when I got a job abroad, Maa’s happiness was dampened by a trace of melancholy. I was the only son, after all. Initially I had plans to take Maa with me after I had settled down a bit, but it never came to pass.

When a Japanese kiosk drew my attention, a wave of euphoria gripped me. A boy was demonstrating a robot to some onlookers. The robot looked very close to an actual boy not much older than the demonstrator. The robot could have basic conversation with humans and perform basic tasks to assist elderly people. When one of the listeners referred to the contraption as robot, however, the boy immediately corrected him: “It’s a humanoid, sir.” I was familiar with the term, roughly meaning a combination of robot and human.

I tentatively approached the demonstrator, probably in his early twenties, and asked if I could take it to India. “We can completely dismantle it and put it in a suitcase for you, Sir.”  After some deliberation, I purchased the humanoid.

Later that month, I would travel to India and surprise Maa with it.

Gogol called from Sweden today. He will come to Calcutta next week. He said someone is going to come with him. He didn’t reveal anything about the person. I didn’t insist.

This morning Gogol arrived from Sweden. The first sight of him suggested he had lost some weight since he visited last time but when I complained he said he had actually put on weight and has to drop some. Apart from his usual paraphernalia, he had a metallic suitcase in hand. Once the initial euphoria was over, I asked him about the other person he had talked about on phone. He didn’t reply but I realised he was thinking about something and didn’t repeat the question. Gogol is a very absentminded boy especially when his mind is on something.  It could be the new company he has joined which is a little smaller than his last one, but he has more responsibilities, he said. Later in the day he had a telephonic meeting with his boss and immediately after the meeting his sat down to work – and remained with his laptop the rest of the day.

Today the whole day the suitcase lay in a corner of his room next to a book rack. My mild enquires about the content of the mysterious case, which looks a little unlike normal suitcases, failed to make me any wiser.

Last night, sleep arrived a little late and until it did the suitcase kept me worried. It felt like a trivial matter but somehow, I couldn’t get it out of my mind. It is an unusual looking suitcase. A modern-day version of our old-day trunk, a little smaller and stouter of course with big knob-like pins lining its sides, giving it a tough and impregnable appearance. Is it a memsahib Gogol is hiding inside? I didn’t bring up the topic at the breakfast table. We discussed humdrum things.

This afternoon, Anita came running to the kitchen when I was frying fish Gogol likes to eat with rice and daal. Panting, Anita mumbled something unintelligibly looking at our dining table. I held her arms and then leaned to check what it was. My heart missed a beat. A boy was standing in the passage. It had a very un-humanly chiseled looks – everything was too perfect as if it had walked out of some fairy tale book. But what would have scared Anita took me by surprise, too: its lifeless eyes, its gaze fixed in one direction. It looked like a human, but it wasn’t quite. When I stepped out of the kitchen, the boy robotically moved towards me: “Good afternoon, Maa.”

 I screamed. Gogol was standing next to the door of his room wickedly smiling as if sadistically observing what was going on and congratulating himself for his prescience.

 “Is it your surprise?” I asked now a little calmer realising that if Gogol was smiling the way he was it was part of his design.

“Yes, Maa. And now onwards it’s your companion. You have to give it a name, Maa.”

“Name? What name? What is it in the first place? Is it a live human?”

“It’s a humanoid which can do several things to assist you. It will make you feel less lonely when I am not around, Maa.”

Maa named the robot Pagol rhyming with my name, Gogol.  Until Maa became used to Pagol, there was a stiff carefulness. She had dealt with high technology in the past, particularly when we were in Germany, but not without close supervision of Baba until she became quite sure she could handle it herself. Anita learnt how to operate the robot very quickly and once she became comfortable Maa learnt things from her.

There wasn’t much to learn, though. Pagol was a fully automated robot with the intelligence of a two-year-old kid which helped it learn things by seeing them and then perform them with some basic assistance. It could perform four to five household chores, like reminding Maa of her daily medicines at the time she had to have them, bringing a tray to her with anything of moderate weight placed on it and having a basic conversation.

Slowly I’m forgetting Pagol is a robot. When Gogol visited me the next time, from Sweden, he did some tinkering to Pagol to make him more responsive to our needs and idiosyncrasies – and seeing me upset with him when he took Pagol apart to work on him, Gogol said: “Maa, you have become emotionally attached with Pagol. It’s only a contraption.” But it’s not the technological aspect of Pagol which has got me used to him but the fact that he has filled up a void in my life, one that had been left behind not so much by Gogol’s father’s sudden death in a road accident in Poland because there was Gogol to be brought up and other challenges that his passing way exposed me to, to be handled; as much by Gogol’s leaving India. Of course, Gogol does his bit to minimise the loneliness by phoning frequently and there is Anita, but the bouts of loneliness return nonetheless. I have fewer of those nowadays, thanks to Pagol.

You may find it strange that someone can develop emotions around a robot — a machine. Pagol is not many things that a normal human is. He can speak in, as Gogol calls them, preprogrammed scripts but you can’t have a conversation with Pagol. Nor can Pagol do things that come so naturally to us, like making meaningful eye contact or, say, a spontaneous chuckle or laugh or smile. But then doesn’t emotion, like beauty, lie in the eyes of the beholder?

But to Anita, Pagol was always a robot. Anita used to take care of all the mechanic needs of Pagol, setting the robot up on its charging station once every three days, calling me up in Sweden whenever Pagol needed technical attention.

But that wasn’t to be for too long.

                                                              *

When Maa called me in Sweden and very affectionately described how Pagol had ‘hit’ her gently, as if it had made the robot more endearing to her if anything, it reminded me of Edda. She had expressed her misgivings when I had told her that I was going to gift Maa an assistive robot. “There are lot of ethical concerns around these robots,” she had warned me. The concept of assistive robots for elderly people was widely known by then and so were the concerns about them. The popular concerns partly owed themselves to the sci-fi films and children’s books exaggerating these but also some incidents that had been reported widely in the media. Thanks to them, people saw robots as having a sinister side to them. What if a robot hit the elderly person it was assisting! Worse still, what if its functionality was sinisterly tweaked by someone to do so? Such were the concerns.

But Edda being a studious type was not the one to be swayed by popular beliefs. When she warned me, she had the real incidents reported in the media in mind. In one of them, an assistive robot helped an elderly person from his hospital bed to the balcony by holding his arms suddenly left the old man’s arms leaving the old man to himself and the old man, who couldn’t walk steadily without assistance, lost his balance, wobbled and fell down on a table injuring himself. 

On another occasion, an assistive robot had locked a bathroom door from outside locking an old woman in….And it took a long time for human help to arrive. The elderly woman was found in a state of panic and profusely sweating.

                                                         *

But we had to finally get rid of Pagol for entirely different reasons.

For a few days Pagol seems to have developed human qualities, a will of his own. He does things without being told to do them. This started since Gogol installed a new program in him to improve his cognitive abilities. I haven’t told it to Gogol because he would get worried and doing anything from so far is difficult anyway.

But since what Pagol did the other day, I have been a little concerned. Before Anita leaves for the day, which is generally late evening, she switches off Pagol and places him on his battery stand. It means Pagol is completely dysfunctional at night. That day I had dozed off while reading a Sunil Gangapadhay novel. After sometime, I woke up and realised I had slept off without switching off the lights and taking my medicines. I got up, finished my rituals, I retired for the day.

Sleep was hard to come by. I looked at the rafters thinking desultory thoughts until gradually the sleep god relented. Suddenly I felt the presence of another person in the room. When I looked up, I was startled. Two bright eyes were looking at me. For a moment I was paralyzed by fear, then I recognised the eyes — they were Pagol’s. I turned on the lights. I was right: Pagol was standing facing me. “Maa, you have not taken your medicines today,” he said.

But how did Pagol know this? During the day, when it is time for my medicines, he brings them to me on a tray. But at night, I take my medicines myself. And in any case Anita had put him to sleep for the night.

“What are doing here, Pagol? Didn’t Anita Di put you to sleep for night?” Pagol can respond to such simple questions nowadays, but he remained quiet, looking at me. Trying to move him to a corner of the room would be futile — Pagol was too heavy for that. The sudden surprise had dispelled my sleep. But, after sometime, I dozed off.

Next morning another surprise awaited me. When I got up, I didn’t see Pagol in the room. I rushed to the place where Anita keeps Pagol before leaving for the day — he was there exactly how Anita left him the previous day.

Today Pagol dropped a glass jar from his hand. He had taken the glass jar in his hand of his own volition; no one asked him to do it. When the glass slipped from his hand to the floor, Anita and I rushed to the kitchen. We were surprised. Not so much by the shattered jar as much by the expression of guilt on Pagol’s face. Anita shouted at Pagol: “Who asked you to play with that jar?” Later Anita saw Pagol standing in the balcony, looking at the lane below as if thinking something.

I knew very little about all this until I received a call from Anita one day. “Dada, lately Pagol has started acting strangely. It does things you don’t expect a robot to do.” She told me about the glass jar incident and what Maa had told her about finding Pagol standing in the middle of the room in the middle of night.

I was worried but I didn’t know what to do. I searched the net and found some short stories on robots developing human agencies. Finally, I mailed the Japanese company I had purchased Pagol from. After a few days, I received a response from a Japanese person by the name of Akinari, a robot engineer as per his mail signature.

Akinari said he had received similar complaints from customers before and had asked them to keep the robots under observation for some time to find out if there was any error of judgment on their part. He said he remembered almost everyone responding and confirming his doubt: that the complaints were the figment of imagination of the elderly persons receiving assistance from the robots.

I replied:

‘The robot assists my mother, and she is the person it spends most of its time with apart from Anita who takes care of my mother. It’s Anita who told me about the robot’s exploits. She wasn’t privy to some of them. She heard them from my mother, so I reluctantly ascribe some of the activities to my mother’s figment of imagination or error of judgement but Anita herself was witness to the other things the robot did.’

I want to mainly check with you if the robot can harm its benefactor.

Akinari wrote back:

‘I discussed it with other experts. Ordinarily we would have dismissed it as we have never heard anything like this before. But since you seem to be sure that your people back home have closely observed the robot for some time and are quite sure it is displaying behavior it is not programmed to, we would like to commission a special study of the robot in our lab.’

A week later a Japanese man visited our Calcutta house. Assisted by Anita, he dismantled the robot and took it with him.

The final entry on Pagol in Maa’s diary read:

It’s been six months since Pagol went missing one morning. He has not returned since. Anita assures me he will. The silly girl doesn’t seem to understand I know what they did to Pagol.

*

I never heard about Pagol again. I wrote to Akinari a few years after he sent a person to collect Pagol from our Calcutta home. But I didn’t get any reply from him. Did they completely dismantle him, and then dump his remains in a yard located somewhere in a third world country to add to the mounting pile of discarded gadgets abandoned because their utility to humankind had expired? I read on the net the other day that discarded robots are being recycled, also being used as fertilizer in some parts of the world. So, has Pagol ended up nourishing the food on the plate of someone?

I had expected Maa to react to Pagol’s sudden disappearance with the delirium of a mother who has suddenly lost her child. I had asked Anita to keep a tab on Maa in the days, weeks and months that followed Pagol’s sudden disappearance. But Maa never said anything about Pagol again. She continued with her life as if nothing had happened. Did she internalise the grief not expressing it lest it was trivialised by others? Or did she finally make peace with the fact that Pagol was a machine, after all.

After so many years I can only guess.

*Pagol in Bengali means mad or crazy.

Indrasish Banerjee has been writing and publishing his works for quite some time. He has published in Indian dailies like Hindustan Times and Pioneer, and Café Dissensus, a literary magazine. Indrasish is also a book reviewer with Readsy Discovery. Indrasish stays and works in Bangalore, India. 

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

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Review

Going by Keki N Daruwalla

Book Review by Indrashish Banerjee

Title: Going: Stories of Kinship

Author: Keki N Daruwalla

Publisher: Speaking Tiger

There are short stories where the ending is a collective culmination of all their subplots and themes, somewhat like a novel, but if you have read Somerset Mugham, you know what I mean. And there are stories which couldn’t care less. They move from one event to another, one subplot to another, make abstract observations and then suddenly come to an end. Maybe because every story must come to an end, but it’s the journey you must enjoy; it’s the journey that’s of greater importance. There are readers who like the former style – they appreciate its logical pattern of one thing leading to another. And there are readers who like the journey and believe disorderliness is a better reflection of life’s idiosyncrasies – and reflect on the sudden ending to connect it with what happened earlier.  It is a delight to discover a writer. I knew Keki N. Daruwalla’s works – For Pepper and Christ – but had never read him. And now that I have read Going: Stories of Kinship, I will move back and try out his other works.

Among Keki N. Daruwalla’s acclaimed short story collections are Sword and Abyss (1979), The Minister for Permanent Unrest and Other Stories (1996) and Love Across the Salt Desert (2011). His first novel, For Pepper and Christ, was shortlisted for the Commonwealth Fiction Prize in 2010. He was awarded the Padma Shri in 2014. But Keki N. Daruwalla is better known for his poetry. His poetry volumes include Under Orion, The Keeper of the Dead (winner of the Sahitya Academy Award, 1984), Landscapes (winner of Commonwealth Poetry Award, 1987) and the Map Maker. Most recently he was honoured with the Poet Laureate award at the Tata Literature Live, Mumbai Litfest, 2017.

Thematically connected short stories are in fashion. But it’s difficult to identify any common thread running across the stories in Going. Each one is different.

Sometimes that sudden or understated ending can be a reference to a subplot within the story. Lionidas Campbell, in ‘The Bhahmaputra Triology’, many years after making love to an Indian woman discovers that he had sired a son from the relationship – and the story ends there. It can sometimes be reflective of the larger message the story wants to convey.  After Ardeshir’s daughter, Arnavaz, elopes with a Muslim boy against her father’s wishes refusing to be dissuaded by her father’s attempt to invoke the history of persecution of Parsees by Muslims, Ardeshir is a heartbroken man.  At the end, while wallowing in grief, sitting on armchair, Ardeshir suddenly feels the “frail silhouette of Arnavaz adrift on his memories” – and a yearning for his daughter grips him. The climax makes two messages very clear. The helplessness of a man seeing personal concerns of his daughter triumphing over a need for historical justice; filial love prevailing over community loyalty and concerns about history.

As much as all the stories, to an extent, explore the inner lives of characters, Bikshu is more so. The entire story is about Bikshu’s inner journey, its conflicts, evolution, emotional layers with occasional detours to Bikshu’s past, his family and mother. At the end of the book, I discovered the commonality.  When you have read the stories and reflect on them as a collective, you feel they are about human relationships and how they evolve over time.

Indrasish Banerjee has been writing and publishing his works for quite some time. He has published in Indian dailies like Hindustan Times and Pioneer, and Café Dissensus, a literary magazine. Indrasish is also a book reviewer with Readsy Discovery. Indrasish stays and works in Bangalore, India. 

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

Categories
Contents

Borderless May 2022

Painting by Sohana Manzoor

Editorial

Catch a Falling StarClick here to read

Interviews

Shantanu Ray Chaudhuri: In Search of Serendipity: Shantanu Ray Chaudhuri, an iconic editor and film writer from India, converses on his own journey and traditional publishing. Click here to read.

A Wonderer Who Wanders Between Waves and Graveyards and Digs Up Ancient Tales: In Conversation with Amit Ranjan, a writer-academic, who is trying to redefine academic writing, starting with his book, John Lang the Wanderer of Hindoostan, Slanderer in Hindoostan, Lawyer for the Ranee. Click here to read.

Translations

Jibananda Das’s All Afternoon Long, translated from Bengali by Fakrul Alam. Click here to read.

The Colour of Time, Korean poetry composed and translated by Ihlwha Choi. Click here to read.

The Ordeal of Fame, a humorous skit by Rabindranath, translated by Somdatta Mandal. Click here to read.

Fazal Baloch translates a retold folktale from Balochi, The Precious Pearl. Click here to read.

Tagores’ Lukochuri has been translated from Bengali as Hide and Seek by Mitali Chakravarty. Click here to read.

Pandies’ Corner

These narratives are written by youngsters from the Nithari village who transcended childhood trauma and deprivation. The Story of Rajesh has been written by Yogesh Uniyal in a mix of English and Hindi, and translated fully to Hindi by Nirbhay Bhogal. Click here to read.

Poetry

Click on the names to read

Michael R Burch, Shantanu Ray Chaudhuri, Ron Pickett, Abin Chakraborty, Tohm Bakelas, Mini Babu, Sudakshina Kashyap, George Freek, Shailja Sharma, Allison Grayhurst, Amritendu Ghosal, Marianne Tefft, S Srinivas, Rhys Hughes

Poets, Poetry & Rhys Hughes

Rhys Hughes shares why he put together an anthology of humorous poetry with seventeen writers, Wuxing Lyrical. Is his logic funny or sane? Click here to find out.

Stories

Intersleep

Nileena Sunil gives us a flash fiction. Click here to read.

Ants

Paul Mirabile tells a strange tale set in Madrid. Click here to read.

Mausoleum

Hridi gives us a poignant story on the banks of the river Seine. Click here to read.

The Persistence of Memory

Vedant Srinivas reflects on a childhood lost and a career found. Click here to read.

Viral Wisdom

Rhys Hughes finds humour within pandemic sagas. Is it dark or light? Click here to read.

Musings/Slices from Life

Sea Days, Sea Flowers

Mike Smith uncovers the wonders of British writer, H.E Bates. Click here to read.

Ruleman Ngwenya and Johannesburg

G Venkatesh shares the experience of his first trip out of India long, long ago. Click here to read.

“You don’t have to understand life. You just have to live”

Shubha Apte muses on a book that taught her life lessons. Click here to read.

Mission Earth

In Falling Down and Getting Up, Kenny Peavy explores how to raise resilient children. Click here to read.

Notes from Japan

In An Encounter with the Monet on Naoshima, Suzanne Kamata writes of snacking on Claude Monet’s hundred year old recipes while savouring his art and that of the famed artist who makes bold art with polka-dots, Yayoi Kusama. Click here to read.

A Special Tribute

In Jean Claude Carriere: A Writer for all Directors, Ratnottama Sengupta pays homage to Jean Claude Carriere (1931-2021), the legendary screenwriter of Peter Brook’s Mahabharata. Click here to read.

Essays

Hesse’s Siddhartha: Towards a Shadowless Present

Dan Meloche revisits a hundred-year-old classic by Herman Hesse that is based on Buddhist lore. Click here to read.

Himalayan Stories: Evenings with Nuru at Pheriche

P Ravi Shankar takes us to a trekkers’ life in the Himalayas. Click here to read.

Living up to my Seafaring Name in Tasmania

Meredith Stephens explores Tasmania on a boat and with hikes with a gripping narrative and her camera.Click here to read.

The Observant Immigrant

In A Post Pandemic Future …?, Candice Louisa Daquin takes a look at our future. Click here to read.

Book Excerpts

An excerpt from Upamanyu Chatterjee’s Villainy. Click here to read.

An excerpt from Ramy Al-Asheq’s Ever Since I Did Not Die, translated from Arabic by Isis Nusair, edited by Levi Thompson. The author was born in a refugee camp. Click here to read.

Book Reviews

Rakhi Dalal revisits Tagore’s The Post Office, translated from Bengali in 1912 by Devabrata Mukherjee. Click here to read.

Indrashish Banerjee reviews Upamanyu Chatterjee’s Villainy. Click here to read.

Basudhara Roy reviews Sunil Sharma’s Burn The Library & Other Fiction. Click here to read.

Bhaskar Parichha reviews Radhika Gupta’s Limitless: The Power of Unlocking Your True Potential. Click here to read.

Categories
Contents

Borderless, March 2022

Painting by Sohana Manzoor

Editorial

Where Have All the Sunflowers Gone?… Click here to read.

Ukranian Refrains

In When will we ever learn? Oh, will we ever learn?, Ratnottama Sengupta, comments on the current situation in Ukraine while dwelling on her memorable meeting with folk legend Pete Seeger, a pacifist, who wrote ‘Where have all the Flowers gone’, based on a folk song from Ukraine. Click here to read.

In Can Peace come Dropping by,Candice Louisa Daquin explores war and peace pausing over the attack on Ukraine. Click here to read.

Three Poems from Ukraine by Leslya Bakun. Click here to read.

Translations

Manush: Nazrul’s Lines for Humankind: Translated from Bengali by Professor Fakrul Alam. Click here to read.

Jibananda Das’s Where have all these Birds Gone & On the Pathways for Longtranslated from Bengali by Professor Fakrul Alam. Click here to read.

Munir Momin’s You & I translated from Balochi by Fazal Baloch. Click here to read.

Down the stairs by Nabendu Ghosh, a gripping story exploring the greyer areas of ethical dilemmas, has been translated by Sarmishta Mukhopadhyay with editorial input from Ratnottama Sengupta. Click here to read.

Autumn is Long, a poem written in Korean and translated to English by Ihlwha Choi. Click here to read.

Tagore’s Anondodhara Bohichche Bhubone (The Universe reverberates with celestial ecstasy)…translated from Bengali by Mitali Chakravarty. Click here to read.

Pandies’ Corner

These narratives are written by youngsters from the Nithari village who transcended childhood trauma and deprivation. A letter to God by Tanveer Hussain  uses the epistolary technique to asks questions that would be relevant for all humankind. It has been translated from Hindustani by Vritika Thareja. Click here to read.

Poetry

Click on the names to read

Kirpal Singh, Rhys Hughes, Sutputra Radheye, Jay Nicholls, Uma Gowrishankar, Mike Smith, Anasuya Bhar, Luis Cuauhtémoc Berriozábal, Supatra Sen, George Freek, Pramod Rastogi, Ryan Quinn Flanagan, Ananta Kumar Singh, Michael R Burch, Shaza Khan

Nature’s Musings

In Storms & Seas, Penny Wilkes explores birds and the ocean during rough weather. Click here to read.

Poets, Poetry or Rhys Hughes

In Tall or Short Tales, Rhys Hughes explores the absurd. Click here to read.

Musings/Slices from Life

Eva Zu Beck & Marco Polo

San Lin Tun writes of how, in Yangon, he spends the lockdown watching a travel blog by Eva Zu Beck. Click here to read.

Messages through Space and Time

Meredith Stephens explores how the art of letter writing creates links across borders of time and place. Click here to read.

It’s Amazing the Things We can Do

Erwin Coombs takes us through his life in Egypt and has a relook at Nazi occupied Europe with a dollop of humour to come to an amazing conclusion. Click here to read.

An Existential Dilemma

G Venkatesh uses the laws of thermodynamics to try to interpret the laws that define life. Click here to read.

Musings of a Copywriter

Devraj Singh Kalsi ponders on his Visit to a Book Fair. Click here to read.

Notes from Japan

In Imagining a Possible Future: Filmmaker Felicity Tillack, Suzanne Kamata introduces us to an Australian film maker who is making films in Japan now and some are in Japanese. Click here to read.

Mission Earth

Kenny Peavy starts his column with Mama Calling, a cry to go back to living with nature. Click here to read.

Interviews

From the Himalayas to the Banks of Thames: In Conversation with Sangita Swechcha, a writer shuttles between England and Nepal and writes of her homeland. Click here to read.

At Home Across Continents : In Conversation with Neeman Sobhan, a Bangladeshi-born writer who writes of her experiences as an expat in Pakistan, Bangladesh, Italy and America. Click here to read.

Stories

The Man Who got Eaten

 Kieran Martin tells a tall tale or is it short? Click here to read.

Death Will Come

Munaj Gul Muhammed captures the wafting sadness of grieving in this short poetic narrative. Click here to read.

SofieMol

Sharika Nair paints a vignette of the past merging with the present in her narrative. Click here to read.

Faith & Fortune

Devraj Singh Kalsi shows how the twists of faith are aligned to wealth and fame. Click here to read.

Henrik’s Journey

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

Essays

The Kaleidoscopic World of Satyajit Ray

Anasuya Bhar takes us into the literary world of Satyajit Ray, the world famous film director. Click here to read.

Are Some of Us More Human than Others ?

Meenakshi Malhotra ponders at the exclusivity that reinforces divisions, margins and borders that continue to plague humankind, against the backdrop of the Women’s Month, March. Click here to read.

The Observant Immigrant

In The Paradox of Modern Communication, Candice Louisa Daquin takes us through the absurdities that haunt modern verbal communication. Click here to read.

Book Excerpts

An excerpt from Friends in Wild Places: Birds, Beasts and Other Companions by Ruskin Bond. Click here to read.

An excerpt of a short story by Yang Ming from Asian Anthology, edited by Ivy Ngeow. Click here to read an excerpt.

Book Reviews

Meenakshi Malhotra reviews Mahasweta Devi, Our Santiniketan translated by Radha Chakravarty. Click here to read.

Indrashish Banerjee reviews The Tombstone in My Garden: Stories From Nagaland by Temsula  Ao. Click here to read.

Keith Lyons reviews Asian Anthology: New Writing Vol. 1: Stories by Writers from Around the World, edited by Ivy Ngeow. Click here to read.

Bhaskar Parichha reviews Why They Killed Gandhi; Unmasking the Ideology and the Conspiracy by Ashok Kumar Pandey. Click here to read.

Special Issues

Imagine… Click here to read our World Poetry Day Special.

Categories
Review

The Tombstone in My Garden: Stories From Nagaland

Book review by Indrashish Banerjee

Title: The Tombstone in My Garden: Stories From Nagaland

Author: Temsula  Ao

Publisher: Speaking Tiger Books

The problem with any place that’s politically disturbed is that the rest of the aspects of the place – its culture, society, myths, beliefs – are obscured to outsiders. The place comes to be seen only through the prism of the disturbances and not savoured for its characteristics, its turmoils casting an impregnable shadow on its people, myths, its flora and fauna. Slowly even literature gets so obsessed with its ‘issues’ that it becomes difficult to find anything to read on the place which doesn’t talk about them or delves deeper. 

 Temsula  Ao’s The Tombstone in My Garden cuts through that roughage and takes its readers to the soul of Nagaland – to its villages, tribal myths, social practices that have been woven into five short stories that light a torch into every aspect of society in Nagaland.  Without the pretence of being a social observer or commentator, the narratives unfold with the unobtrusiveness of a storyteller who doesn’t highlight social practices judgementally but as ordinary things — unworthy of special attention. The perniciousness can be felt only after they arrive at their narrative outcomes. 

A very significant voice from Nagaland and contemporary Indian literature, Temsula Ao, has won several prestigious awards including the Padma Shri in 2007 and the Nagaland Governors’ Award for Distinction in Literature in 2009. Her Laburnum for My Head, a collection of short stories, won her the Sahitya Academy Award in 2013. 

The opening story, ‘The Platform’, takes us into the world of Nandu, a Bihari migrant to Nagaland who earns his living working as a coolie in Dimapur railway station. Promoted to become a senior among other porters for his hard work and his knowledge of various languages, including Nagamese, one day Nandu picks up an abandoned Muslim boy from the platform. He, slowly, develops paternal feelings for the waif despite a constant tension between the two due to their religious differences. 

But life in a railway station is hardly far from the lives who make a living from vices. As the boy grows up, he falls into the company of Shankar, a pimp. One day a fight breaks out between the boy and Shankar over a prostitute – and it ends in the boy’s carefully guarded religious identity getting exposed. The next day Nandu sees a crowd in the platform. He goes to find out what it’s about – and finds the boy dead. 

‘Snow-Green’, the third story in the collection, is thematically an open-ended story – where enthusiasts of many stripes will find something for them. The fate of the self-centred mistress will warm the cockles of the environmentalist’s heart. When Snow-Green’s trauma starts, the climate enthusiast will feel vindicated about his convictions about human treatment of nature being responsible for our current climate-induced miseries. The turn of the events at the end is impressive. 

In the ‘Saga of a Cloth’, when a brawl becomes the last straw, leading the village Council to expel Imlijongshi from the village, you will feel a bit vindicated: Imlijongshi, the self-destructive fool has finally got what he deserved. However, when the story makes a complete U-turn after that, you will feel you should have held back your judgement.  

“In a small voice almost breaking with grief and perhaps regrets too, Otsu addressed the departing figure, ‘Jongshi, wait, I have something important to tell you which you must know; do not leave me to die alone with this secret’.” 

This passage brimming with suspense is almost a start to another story retreating three generations, to a different time and space, when Otsu was a young girl dating Imdong and being stalked by Lolen unaware of what the future held in store. By the time the narrative descends three generations and returns to Imlijongshi, your feelings about the boy, his fate, his grandmother and the whole business of life — will be much more introspective, much more nuanced, much less stereotypical. 

‘The Tombstone in my Garden’, the title story of the collection, has some similarities with ‘The Saga of Cloth’. Both are long stories spanning generations; both have a woman at the centre suffering because of marriages to men they hadn’t intended to marry. But there the similarities end. Whereas ‘The Saga of Cloth’ has a rural, rustic setting, ‘The Tombstone in my Garden’ has an urban setting. Whereas Otsu is rooted in Naga traditions, Lily Anne is just the opposite, an Anglo Indian who deals with jibes about her dual cultural identity her whole life.  But that is just one aspect of ‘The Tombstone in my Garden’. 

A first-person narrative, the story starts on a suspenseful note, an old lady explaining her relationship with a tombstone, the graveyard of her husband, in her garden.  Using the tombstone as a starting point, she slowly meanders into her story. The reader is kept guessing till her narrative is complete. The story has a feminist touch. 

The stories in The Tombstone in My Garden may be short but they are very unlike short stories. They don’t rely on snappy twists in the tale to keep them going. Instead the plots move at an unhurried speed, one subplot making way for another seamlessly and gracefully. For instance, the  impact of Lolen’s contempt for Otsu’s life riles not so much while reading of the deeds, their immediacy and narrative pace preoccupying the reader, but impacts when Otsu’s entire later life seems mangled by Lolen’s intemperate actions.  Similarly, the reader is miffed not so much by the supercilious indifference of the mistress to the Snow-Green, a flowering plant of rare beauty but how a shallow human need of the mistress — her desire to win the first prize in the annual flower show — towers over the most existential concerns of the flowering plant. 

You may argue this is the nature of all narratives – to take you to extraordinary outcomes through seemingly ordinary occurrences – but where Tombstone In My Garden differs is that it acquaints with the ‘ordinary’ things about a place where we have come to believe the ordinary is always in short supply. 

At the end, almost all the stories have clearly demarcated epilogues narrating the later fates of the characters. This helps remove the conclusions from the immediacy of the preceding story leaving the reader ruminating with the advantage of hindsight and a melancholic feeling, like an aftertaste of a novel.

 As time goes short stories are moving away from their parental identity – the novel. They are getting shorter all the time and are being seen as tools for instant gratification. The current song and dance over flash fiction is an example. Temsula Ao’s collection of short stories makes the reverse journey, taking the short story back to its parental origin – the novel. 

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Indrasish Banerjee has been writing and publishing his works for quite some time. He has published in Indian dailies like Hindustan Times and Pioneer, and Café Dissensus, a literary magazine. Indrasish is also a book reviewer with Readsy Discovery. Indrasish stays and works in Bangalore, India. 

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

Categories
Contents

Borderless February 2022

Winter in Africa. Painting by Sybil Pretious.

Editorial

What’s Love Got to Do with it’ … Click here to read.

Interviews

Sriniketan: Tagore’s “Life Work”: In Conversation with Professor Uma Das Gupta, Tagore scholar, author of A History of Sriniketan, where can be glimpsed what Tagore considered his ‘life’s work’ as an NGO smoothening divides between villagers and the educated. Click here to read.

Akbar: The Man who was King: In conversation with eminent journalist and author, Shazi Zaman, author of Akbar, A Novel of History. Click here to read.

Translations

One Day in the Fog, written by Jibananda Das and translated from Bengali by Professor Fakrul Alam. Click here to read.

Mahnu, a poem by Atta Shad, translated from Balochi by Fazal Baloch. Click here to read.

A Superpower in the Pandemic, written and translated from Korean by Ihlwha Choi. Click here to read.

Eyes of the Python, a short story by S.Ramakrishnan, translated from Tamil by Dr.B.Chandramouli. Click here to read.

Raatri Eshe Jethay Meshe by Tagore has been translated from Bengali as Where the Night comes to Mingle by Mitali Chakravarty. Click here to read.

Pandies’ Corner

These stories are written by youngsters from the Nithari village who transcended childhood trauma and deprivation. The column starts with a story, Stranger than Fiction from Sharad Kumar in Hindustani, translated to English by Grace M Sukanya. Click here to read.

Poetry

Click on the names to read

Rhys Hughes, A Jessie Michael, Jay Nicholls, Moonmoon Chowdhury, Mike Smith, David Francis, Ananya Sarkar, Matthew James Friday, Ashok Suri, John Grey, Saptarshi Bhattacharya, Candice Louisa Daquin, Emalisa Rose, Ryan Quinn Flanagan

Nature’s Musings

Penny Wilkes explores dewdrops and sunrise in A Dewdrop World. Click here to read.

Poets, Poetry & Rhys Hughes

Rhys Hughes explores the paranormal with his usual wit in Three Ghosts in a Boat. Promise not to laugh or smile as you shiver… Click here to read.

Musings/ Slices from Life

Requiem for the Melody Queen

Ratnottama Sengupta sings her own paean in which a chorus of voices across the world join her to pay a tribute to a legend called Lata Mangeshkar. Click here to read.

Forsaking Distant Hemispheres for the Immediate Locale

Meredith Stephens introduces us to the varied fauna found in South Australia with vivid photographs clicked by her. Click here to read.

Breaking the fast

P Ravi Shankar takes us through a breakfast feast around the world. Click here to read.

Musings of a Copywriter

In Life without a Pet, Devraj Singh Kalsi gives a humorous take on why he does not keep a pet. Click here to read.

Notes from Japan

In Bridging Cultures through Music, author Suzanne Kamata introduces us to Masaki Nakagawa, a YouTuber who loves Lativia and has made it big, playing for the President of Lativia at the Japanese coronation. Click here to read.

Essays

Farewell Keri Hulme

A tribute by Keith Lyons to the first New Zealand Booker Prize winner, Keri Hulme, recalling his non-literary encounters with the sequestered author. Click here to read.

Satyajit Ray’s Cinematic Universe: Can Isolation Lead to a New World?

Rebanta Gupta explores two films of Satyajit Ray, Kanchenjunga & Charulata to see what a sense of isolation can do for humans? Click here to read.

‘What remains is darkness and facing me – Banalata Sen!’

Rakibul Hasan Khan explores death and darkness in Fakrul Alam’s translation of Jibanananda Das’s poetry. Click here to read.

Dhaka Book Fair: A Mansion and a Movement

Ratnottama Sengupta writes of a time a palace called Bardhaman House became the centre of a unique tryst against cultural hegemony. The Language Movement of 1952 that started in Dhaka led to the birth of Bangladesh in 1971. In 1999, UNESCO recognised February 21 as the Mother Language Day. Click here to read.

The Observant Immigrant

 In To Be or Not to Be, Candice Louisa Daquin takes a close look at death and suicide. Click here to read.

Stories

Navigational Error

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

The Art of Sleeping

Atreyo Chowdhury spins an absurd tale or could it be true? Click here to read.

Dear Dr Chilli…

Maliha Iqbal writes of life as a young girl in a competitive world. Click here to read.

The Literary Fictionist

In MissingSunil Sharma gives us a long literary yarn. Click here to read.

Book Excerpts

Two Banalata Sen poems excerpted from Jibanananda Das: Selected Poems with an Introduction, Chronology and Glossary, translated from Bengali by Fakrul Alam. Click here to read.

An excerpt from Mahasweta Devi, Our Santiniketan. Translated from the Bengali by Radha Chakravarty. Click here to read.

Book Reviews

Indrashish Banerjee reviews The Best of Travel Writing of Dom Moraes: Under Something of a Cloud. Click here to read.

Gracy Samjetsabam reviews Masala and Murder by Patrick Lyons. Click here to read.

Rakhi Dalal reviews Kavery Nambisan’s A Luxury called Health. Click here to read.

Bhaskar Parichha reviews Growing up Jewish in India: Synagogues, Customs, and Communities from the Bene Israel to the Art of Siona Benjamin, edited by Ori Z. Soltes. Click here to read.

Special Issues

Cry, Our Beloved… Click here to read (For Peace)

Born to be Wild …Click here to read (World Wild Life Day)