Whan that Aprille with his shoures soote, The droghte of March hath perced to the roote, And bathed every veyne…
The Canterbury Tales (1387-1400) by Chaucer, Prologue
This is the month Asia hosts sprays of new years across multiple regions. Many of these celebrate the fecundity of Earth, spring and the departure of bleak winter months. Each new year is filled with hope for the coming year. The vibrant colours of varied cultures celebrate spring in different ways, but it is a welcome for the new-born year, a jubilation, a reaffirmation of the continuity of the circle of life. Will the wars, especially the shortages caused by them and felt deeply by many of us, affect these celebrations? Had they impacted the festivals that were celebrated earlier? These are questions to which we all seek answers. We can only try to gauge the suffering caused by war on those whose homes, hopes, families and assets have been affected other than trying to cope with the senselessness of such inane attacks. But, in keeping with TS Eliot’s observations on Prufrock, most of us continue our lives unperturbed and as usual.
Some of us think and try to dissent for peace and a world without borders with words – prose or poetry. To reinforce ideas of commonalities that bind overriding divides, we are excited to announce a poetry anthology mapping varied continents with content from Borderless Journal, Wild Winds: The Borderless Anthology of Poems. We are hugely grateful to Hawakal Publishers for this opportunity and to Bitan Chakraborty for the fabulous cover design. We invite you all to browse on the anthology which is available in hardcopy across continents.
Our issue this month is a bumper issue with the translation of Tagore’s Roktokorobi (Red Oleanders) by Professor Fakrul Alam. It’s the full-length play this time as earlier we had carried only an excerpt. The play is deeply relevant to our times as is Somdatta Mandal’s English rendition of his story, ‘Daliya’, set in Arakan. We also have also translated Tagore’s response to the idea of mortal fame and deification in poetry. Kallol Lahiri’s poignant Bengali story about the resilience of an ageing actress has been brought to us in English by V Ramaswamy. Isa Kamari brings us translations of his Malay poems exploring spirituality through nature.
But what really grips are the fables that Hughes will be sharing with us over four months. He calls them Rhysop Fables, after the ancient ones from Aesop’s with the ancient author himself being mentioned in one of the short absurdist narratives this time. In fiction, our regular fable writer, Naramsetti Umamaheswararao explores a modern-day dilemma, that of social media intruding into the development of children. Jonathon B Ferrini glances at resilience and mental disability while, Sangeetha G looks into societal attitudes that still plague her part of the world. Oindrila Ghosal gives a story set in Kashmir.
From Kashmir, Gower Bhat shares a heartfelt musing on being a first time father. Mohul Bhowmick writes of Eid in Hydearbad (Hari Raya in Southeast Asia) — echoing themes from Kamari’s poems — and Anupriya Pandey ponders over the quiet acceptance of mundane life that emphasises social inequities. Jun A. Alindogan brings home issues from Phillipines. While we have stories about Vietnam from Meredith Stephens, Suzanne Kamata muses about Phnom Penh, mesmerised by Cambodian dancers.
Farouk Gulsara writes of his cycling trip from Jaipur to Udaipur bringing to life dichotomies of values and showing that age can be just a number. Chetan Poduri reinforces gaps created by technology as does Charudutta Panigrah, a theme that reverberates from poetry to fiction to non-fiction and much of it with a light touch. Devraj Singh Kalsi sprinkles humour with his strange tale about hiring a bodyguard.
Keith Lyons has brought in Keith Westwaters, a soldier-turned-poet who seems to find his muse mainly in New Zealand. We have also featured an author who overrides borders of continents, Marzia Pasini. Her book, Leonie’s Leap, has a protagonist of mixed origin and her characters are drawn out of Russia, India, Bulgaria and many other places.
This rounds up our April issue. Do visit our content’s page and explore the journal further.
Huge thanks to the wonderful team, especially Sohana Manzoor for her art. They help bring together the colours of the world to our pages. Huge thanks to contributors who make each issue evolve a personality of its own. And heartfelt thanks to readers who make it worth our while to write.
If one wants to understand the ‘chaos theory’, one has to place oneself at the centre of ‘around about’ — the way the traffic weaves around, observing the traffic go by as everyone swerves to get to their destinations. The one from 9 o’clock reaches 3 o’clock; 6 o’clock reaches 12 o’clock. It does not matter whether the vehicle is following or counter to the traffic flow; it gets through.
Adding to the pandemonium is the incessant honking from all right, left and centre.
Despite knowing all these, after our stint from Kashmir to Leh, India still managed to lure us back. This time around, we signed up for a tour across Rajasthan, from Jaipur to Udaipur.
Day 0: Delhi to Jaipur
After landing in Delhi from Kuala Lumpur late at night, we left for Jaipur the next morning. We had our first lesson in chaos theory that morning. The confusion about transport arrangements, running to get a taxi in a hurry, rushing to an unmarked site designated as Jaipur bus station, waiting for a bus we thought had left, and finally getting on the correct bus were all proof that the churning of the Universe is indeed impossible to comprehend.
Despite all the traffic jams, the packed vehicles and our increasing anxiety not to miss the bus, all the taxi driver could tell us was “aram sey!” (equivalent to saying, take a chill pill).
Jaipur, the Pink City, had its rare February showers the day before. As if to usher in our visit, the large part of the city around the lake, Jal Mahal, was in full gear, preparing for an air show. We managed to catch a glimpse of what the Indian Air Force had in store.
Jaipur showcases a history that built alliances with the Mughals and managed to preserve its buildings and heritage. Their allegiance with the invaders could have been viewed as betrayal by their contemporaries, the Sikhs and Marathas, who were fighting tooth and nail against the Mughals. Ajmer Fort is a massive fort with brilliant engineering.
To top that, there is a stepwell, Phanna Meena Ka Kund, with its intricate geometrical design that has stood the test of time. Jaipur is known as the Pink City, not without good reason. The roads leading to town are paved, lined with multiple red buildings and architectural marvels. The intricacies of Hawa Mahal make it look like a 3-D movie cutout propped against a building. It was too beautiful to be true.
Phanna Meena Ka KundHawa Mahal
Adjacent to the Hawa Mahal is Jantar Mantar, a UNESCO World Heritage Site that houses the world’s largest stone sundial clocks. One cannot help but wonder: with so much scientific knowledge in their ancient past, how did they just fall like swatted flies when the Western imperial powers walked over them in the 18th century through to the 20th?
Day 1: Jaipur to Sambhar
We started early at 6 am to avoid the morning traffic. Surprisingly, Rajasthanis must be early risers, as even at that early hour, the streets were already bustling with activity.
The itinerary for each day was straightforward. We would cycle daily around 70-90km, with a water break every 20-30km, and reach our predetermined accommodations around noon. There were 12 cyclists; the youngest was 33, but most were over 60.
The route on the first day was mainly flat, traversing small towns and villages, and sometimes haggling with motorcycles, lorries, and buses for space to pass. The trouble is that the vehicle sometimes appears unannounced (with loud honks, of course) and goes against the traffic!
The terrain was mostly flat. It was funny cycling in desert-like conditions, with scorching sun and a cool 20 C wind. The early morning temperatures would start around 15C and reach 23C at noon.
After reaching the hotels prepared by the organisers, evenings would be spent in tête-à-têtes, awaiting dinner, or being shown around town.
Flamingos at Lake Sambar
Day 2: Sambhar to Pushkar
Starting before the break of dawn, at 6, we began cycling into the dark under the guidance of the bicycle headlight and the road lines. When dawn broke, we finally realised that our view was acres of fields as far as the eye could see. About an hour into our journey, we reached a village, one of the many villages yet to come. The villagers would look at us funnily, not knowing what to make of us, a bunch of fellows cycling at an unearthly hour. All we had to do was hail, “Jaya Sri Ram“! Their look would change, a smile would emerge, and they would raise their hands in unison, in solidarity, knowing quite well that we were harmless and one of them.
Along the journey, we saw many animals that we, Malaysians, would not see in mainstream. We saw peacocks perched on trees and houses. Lining the roads were innumerable cows, donkeys, goats and even pigs.
As the day got hotter, the temperature built up to about 25 °C. Riding in desert-like conditions with no shade from trees or clouds. The interesting thing is that we did not see a single person carrying an umbrella. They were pretty much comfortable, just under the sun, with the ladies in their veils and the men in their turbans.
Lake at Brahma Temple
The main attraction of Pushkar is the rare Brahma temple. Legend has it that Lord Brahma was cursed that He should not be worshipped. The irony of this place is the presence of a large lake amid arid terrain with desert vegetation. It remains an enigma waiting to be answered, just like the mystery of creation and why the Creator Himself does not have a temple of worship.
Day 3: Pushkar to Beawar
Again, the trip started early at 6 in the morning, in complete darkness, along what turned out to be acres and acres of fields. The generic appearance of a village would have concrete roads, a row of shops with large advertisement boards in big Hindi fonts, and a strikingly gaudy combination of hues: yellow, green, and red. This same psychedelic colour combination is mirrored in Rajasthani clothes. The ladies’ sarees and dupattas are so contrasting that they cannot be missed. The same goes for the men’s unique bright coloured turbans.
Cows would seem to roam freely, with their droppings spread liberally on and by the roads. The row of buildings would mostly end with a temple or a school.
Around Beawar
The terrain today was mostly flat, with the sun shining at its fullest by 9.30 at 23C. After about 6 hours, we reached Beawar.
For a small town, Beawar has so many mid-range hotels, probably to cater to the numerous businesspeople who come here. Beawar, due to its central location, serves as an important hub for the cement, textile, and wool industries. There is no special iconic monument.
Day 4. Beawar to Kamlighat
Rise and shine, and we hit the roads again. Today’s menu is a gruelling one, cutting through the Aravalli hills.
“What is all this for?” asked a curious onlooker when told that we were cycling from Jaipur to Udaipur. I thought that was a profound question that questions the core of our existence. What is the purpose of anything in life?
This ride turned out quite hilly, mostly along the national highway. Missing today were the tractors with loudspeakers blasting Bhangra beats. For the past few days, we had seen tractors plying the countryside carrying workers and produce, setting the beat for the whole vicinity to get into the dancing mood. Err, but the lyrics were neither inspiring nor devotional. They were suggestive and laced with profanity.
Growing up in Malaysia, we were taught that travelling on a highway was sacrosanct, with traffic rules to be followed and vehicles in tip-top condition. Not in Rajasthan, they are not. One could actually see a whole five-tonne lorry travelling on the wrong side of the highway and honking violently at oncoming traffic as if the lorry’s right to drive on the wrong side was being infringed!
The terrain was monotonous, with rolling hills and a steep 6.5% incline, and the sun was hot from 9.30 am. Being a highway, there was nothing much to see here. About 6 hours later, we reached Kamlighat, some 88km away.
Kamlighat
Kamlighat is a small town with nothing spectacular to show. A row of shops, many stalls selling fruits and vegetables, and our accommodation was the biggest building around. A stroll pretty much covers the whole town.
Kumbhalgarh Fort
Day 5. Kamlighat to Kumbhalgarh
This proved to be the toughest ride yet. Riding through the Aravalli hills was no walk in the park. It was a slow burn with multiple gradual inclines. The 70km journey ended at the Kumbhalgarh Fort. The fort is labelled the Great Wall of India, the second-longest wall in the world after the Great Wall of China.
There was a light-and-sound show that essentially narrated the glory (and sometimes turbulent) days of Maha Rana Kumbha. He was a descendant of Emperor Asoka and later Rana Rathap, who fought valiantly against the invaders.
Day 6. Kumbalbagh to Udaipur
This proved to be a fun ride. Starting late at 7 am, it turned out to be a short ride, after much heckling and joking. A large proportion of the journey was along national highways; the later detour through the smaller villages proved interesting. A few observations I made as a curious Malaysian passing through the everyday people in the midst of their day-to-day lives are these.
Villages in Rajasthan are no different from those in Malaysia. If in Malaysia, azan and religious sermons are broadcast over the speakers, here in almost every village, it is the sound of ‘Om Jaya Jagadisha Hare[1]‘ and sermons on their speakers. The bottomline is that the majority dictates what is kosher for the masses.
We, the cyclists, were kind of local celebrities among the people, especially among the younger kids, who would wave at us. Some would even come so far as to bump fists with us. Interestingly, even some young ladies who walked along the roads would wave to us. If one were to observe, the ladies would not do the same when accompanied by a male companion. Instead of waving, they would pull down their shawls to cover their gaze.
Addendum
The cyclists shared many pleasant moments on and off the saddle. During one of those tête-à-têtes, the talk about each other’s countries’ politics came up. There was a lot of Modi-bashing among the Indian cyclists — that he had outlived his usefulness and that his every move appeared like propaganda. So I asked them one question, “If there were a snap national election today, who would you vote for?” Without a pause, they all replied in unison, “Modi!” That’s the trouble everywhere. Nobody has a perfect government. Everyone has to decide between the devil they know and the one they do not.
Last day in Udaipur, running around
The cyclists utilised this day to unwind after six days of cycling. The few touristy spots were the target.
City Palace, Udaipur
First, we visited the picturesque City Palace and scenic Lake Paricha. There was a boat ride around the lake, quite reminiscent of that in Budapest, only that Udaipur had much more to offer. The City Palaces had many sections and a museum attached to them. Pichola Lake is situated in the centre. A boat takes tourists around and makes a stop at a luxurious hotel to give them a taste of opulence. The property opens onto another section of town called Hathipole, which features rows of shops showcasing Rajasthani art, crafts, produce, and souvenirs. Hathipole is another proof of order within chaos. The auto-trishaws and motorcycles weave through the tiny lanes while shoppers still manage to jump from shop to shop, getting their best bargains.
To absorb the Rajasthani experience, one has indulge in their culinary traditions. Two dishes specific to this region are batti, a tennis-ball-sized hard bread made from unleavened wheat flour. It is eaten with dal or yoghurt. Next is lal maas, a fiery mutton dish, packed with chilli and Rajasthani spices.
The day ended with lazing around town and walking the streets of Udaipur. Fateh Sagar Lake offered an excellent view of the various hues of the setting sun on the horizon. It houses a solar observatory station.
Extra day
While we were still in recovery mode, most Indian cyclists returned home. We had one more day to kill, so we went out to explore more of Udaipur, the Lake City.
Still centred around the lakes, we took a cable car trip up to Neemach Maa Mandhir, perched 900 metres up on a hill overlooking Fateh Sagar Lake. It is said to be a powerful protective guardian of a particular dacoit clan.
Fateh Sagar Lake, Udaipur.
Next stop was at the Maruthar Folk Dance to sample a traditional Rajasthani Cultural show. Besides witnessing some folk dances, we watched puppet shows and an experienced dancer performing a balancing act with multi-tiered pots on her head whilst grooving to metal petals, bowls, and shredded glass.
To end our visit on that hot day was the mausoleum erected for Rajasthan’s most revered hero, Maharana Pratap and his heroes who defended the region from foreign invaders. The enclosure also includes a museum that relives the glory days when the kingdom of Rajasthan was a force to be reckoned with.
Take-home message
An international expedition like this is quite life-affirming. It is priceless to realise that our mental illness is shared by many around the world. With this healthy obsession, we can explore places worldwide at a quite close and personal level. One is not merely taken to touristy spots, but can see the country as it is, warts and all.
While walking around the Kumbalbagh fort, we encountered a group of 60- and 70-year-old American cyclists, not quite by accident but by what was screaming on their T-shirts. After the usual cursory greetings, we discovered that they were more eccentric than we. These people in the geriatric age group were on a month-long cycling tour around Rajasthan, Kashmir, and Ladakh!
[1] “Om, Victory to the Lord of the Universe (Vishnu), the Remover of Miseries”. A devotional prayer in Hindi.
Farouk Gulsara is a daytime healer and a writer by night. After developing his left side of his brain almost half his lifetime, this johnny-come-lately decided to stimulate the non-dominant part of his remaining half. An author of two non-fiction books, Inside the twisted mind of Rifle Range Boy and Real Lessons from Reel Life, he writes regularly in his blog, Rifle Range Boy.
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
Signing in the Air, Malashri Lal’s second poetry collection, announces itself as a meditative, non-linear poetic journey from the very outset. A poet, academic and critic, Lal explains in her preface, there is “no linearity in such a theme,” and the poems move instead through cycles of time, memory, myth, and lived experience. The seventy-six poems converse with each other and portray her meticulous craftsmanship.
The collection draws deeply from the Indian concept ofritu — the six seasons — while simultaneously acknowledging the disruptions of climate change and modern dislocation. Nature in Lal’s poetry is neither sentimental nor static; it is capable of both “ravage and rejuvenation,” a duality that becomes central to the collection’s philosophical stance.
The poet’s voice resists fixity. The lyrical “I” is deliberately “timeless, generic author, reader, witness,” allowing the poems to transcend individual autobiography and become collective meditations on human and feminine destinies. This makes the book not merely confessional but contemplative, situating personal memory within wider cultural and ecological continuums.
The five sections of the book do not function as isolated compartments but intricately connected that speak to one another.
‘Whispers of the Earth’ foregrounds the elemental: trees, rain, seasons, and landscapes, yet avoids pastoral nostalgia. Lal speaks to nature rather than about it, creating an intimacy that acknowledges environmental fragility without moralising.
‘Installations’ shift attention to material culture and memory. Objects, such as, old books, domestic utensils, inherited artefacts become repositories of time. Lal’s reflection on ancestral possessions, such as the hamam or the dol[1] for washing clothes, raises radical questions: have women’s destinies changed as technology has advanced, or have only the tools evolved while labour and inequality persist?
‘Echo of Myths’ is one of the most resonant sections, reworking mythological figures like Lakshmi, Sita, and Radha not as static icons but as evolving subjects. Lal’s engagement with myth is neither reverential nor iconoclastic; it is dialogic. Myth becomes a living language through which contemporary women’s struggles, endurance, and resilience are articulated.
‘Meditative Missives’ carries a distinctly philosophical tone. Time dissolves into moments of stillness, and poetry itself becomes an act of contemplation. Lal explicitly frames the volume as possessing “a meditative streak weaving through it,” where mind and body interact to create “kaleidoscopic images” that search for form and vocabulary.
‘Women Who Wander’ brings the collection into the socio-political present. Drawing upon the idea of the flâneuse, Lal reimagines wandering as a gendered act—women moving through cities, histories, and emotional terrains. These poems reclaim mobility as agency and witness.
Lal’s language is marked by clarity rather than excess. Her metaphors are precise, often luminous, and grounded in lived experience. The imagery functions kaleidoscopically: fragments turning to reveal new patterns rather than fixed meanings. Light, shadow, seasons, and movement recur as motifs, reinforcing the book’s concern with impermanence and continuity.
A powerful example of Lal’s ethical and spiritual engagement appears in the opening poem, ‘Invocation: Devi Stuti – The Divine Feminine’. Here, the feminine divine is portrayed as both creator and destroyer, compassionate yet fearsome:
She, the feminine power creates as well as destroys… Evil seems to flourish and goodness struggles but She knows whom to vanquish in the final reckoning.”
The poem moves beyond ritual praise to a contemporary plea, invoking divine protection against “violence, brutality, torture of the everyday woman”. This invocation sets the moral and emotional tone of the entire collection, anchoring the personal within the cosmic.
A recurring concern in Signing in the Air is hybridity of place, language, identity, and time. Lal reflects on her own transitions between Jaipur, Bengal, and Delhi, embracing what critics have described as her ability to be “at home in her multiple worlds, and an outsider looking in”. This tension enriches the poems, allowing them to speak across geographies and generations.
Memory functions not as nostalgia but as ethical inheritance. The poet’s recollection of her grandmother—an early graduate of the University of Calcutta—foregrounds women’s intellectual legacies often erased from public history.
The book cover is understated yet evocative. The image of a silhouetted tree against a luminous sky visually echoes the book’s thematic preoccupations: imprint and erasure, presence and absence, rootedness and transcendence. The title Signing in the Air is aptly suggestive, writing that leaves no permanent mark yet insists on meaning.
In terms of physical quality, the book is finely produced. The paper and layout are reader-friendly, lending dignity to the text without distraction. The careful structuring of sections and the inclusion of preface, acknowledgements, and critical blurbs enhance the book’s scholarly and aesthetic value.
Signing in the Air is a mature, reflective, and deeply humane collection. Malashri Lal writes with quiet authority, weaving together ecology, myth, memory, spirituality, and women’s lived realities. The poems resist closure, inviting readers into an ongoing conversation, one that unfolds across seasons, histories, and inner landscapes.
Ultimately, this is a book that does not shout but resonates. It affirms poetry as an act of witness, meditation, and ethical imagination: truly, as Lal suggests, a way of “scribbling in the empty air where intimations of spirituality and social truth coexist without definable boundaries.”
A boy is born to modest means, where dreams are weighed in gold not for him, but for the house, where bills pile, stories untold. His father sweats in sunlit streets, a wallet thin as thread, each rupee split for bread and books, while dreams hang by a thread. The boy, he learns to bite his tongue, to bury wants too deep "Can we afford this course?" he thinks, while others soar, he creeps.
II. LESSONS
No talk of stocks, no wealth, no bonds, just whispers 'cross the wall, "Auntie bought a fridge today!" "How? Who will pay it all?" They teach him to gossip, not grow, to judge, but not invest. He masters how to count flaws, but not to pursue his own interests. The classroom hums with bright futures, while he just counts the cost. His grades dip low, his focus strays a lifetime’s chance is lost.
III. ADULTHOOD
Then comes the wife, then comes the war, the mother’s tear-stained cheek. He stands there, torn and hollow-eyed, too weak to speak or seek. "Choose her or me!" the women scream, his heart a fractured bone. He pleads for peace but feeds the fight, and weeps—yet stands alone. Promotions pass, his peers ascend, while he’s knee-deep in strife. No raise, no risk, no rebel leap— just middle-class for life.
IV. CYCLIC ECHOES
The cycle spins, his son now stares at fees he can’t afford. The boy, like him, will shrink his dreams to fit the family’s hoard. Oh, middle-class! Your chains are soft no tyrant’s whip, no decree, just love that clips the wings you yearn, and calls it "family".
Mohit Saini is a poet, writer, and researcher, working as an Assistant Professor at Compucom Institute of Technology & Management, Jaipur. He currently serves as an editor in the Journal of Advances in English, Telugu and Indian Languages (AQIE Publication) and for the International Journal of Language, Linguistics, Literature and Culture.
.
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
That is the question Ratnottama Sengupta is asking with so many grey heads since London’s Westminster voted in favour of Assisted Dying
From Public Domain
“She was in so much pain these last four months that we are not mourning her final exit. We are celebrating her liberation.”
Speaking with Bhabhi’s[1] nephew last week forced me to readjust my emotions regarding the final goodbye. Condolences are in order, worldwide, when a dear one departs the mortal world. But of late I have been noticing that people “celebrate the life’ of the departed soul rather than mourn the death. Yes, every departure is a loss, taking an emotional toll of those left behind. And still I am not shocked nor angry that on June 20, a day after Bhabhi breathed her last in Singapore, the British Parliament voted in favour of a bill to legalise Assisted Dying for terminally ill people.
This has paved the way for a long debated social change that has, for as long as I can remember, been held in abeyance. Because? It has always been argued that, since we cannot bring the dead to life, we do not have the right to take away life. Indeed, the UK parliamentarians voted on the subject 10 years after it was first proposed, I learn from the news reports. And even as the Wise Men of London debated the issue, demonstrators outside were crying out, “Kill the Bill, Not the Ill.”
Once the Bill is passed by the House of Lords, the Terminally Ill Adults (End of Life) Law will give “mentally competent, terminally ill adults in England and Wales with six months or less life to live, the right to choose to end their life with medical assistance. Those who would want the procedure would have to gain the compassionate “Aye!” of two doctors and a panel of experts.
While the scrutiny by the Upper House might take months, it is unlikely to be blocked now that it has gone past the Commons and secured a nod from the PM.
*
My first acquaintance with the concept was garbed in the words, ‘Mercy Killing’. I was a school-going teenager when I read a Bengali courtroom drama, Parashuramer Kuthar (1989, Parashuram’s Axe) where the son was in the dock, fighting the charge of murdering his mother with morphine. “Night after night she would cry out of acute pain. Night after night I sat by her bed, watching her inch towards death. The doctor had prescribed the morphine that let her sleep at night. But when that failed, I gave her a repeat dose so she could go to sleep…”
Half a century ago that sounded ominous. Now, having seen — and digested — the ‘Assisted Suicide’ of celluloid icon Jean Luc Godard[2] in the autumn of 2022, I have been weighing my responses to the concept.
Godard, born on July 7, 1930, had lived in France from where he had revolutionised cinema across the globe. At the age of 91, with “multiple disabling pathologies” — to quote his doctors — he went to Switzerland because that was the only country to have legalised euthanasia as long back as 1941. Albeit they have specifications, the overriding one being this: the person assisting the suicide must not have any selfish — read, monetary — motive to provide the seeker the means to exit.
*
“Euthanasia is death with dignity,” my Jyotish Pishamoshai had said three decades ago. At 90 something, the man who went around all his life in trams and buses, to look up his younger cousins, simply hated to be bed bound. Besides, he had seen his youngest brother Dinesh “hang till death” at age 20, without a trace of remorse for having bombed the Writers Building in the Capital of the Raj. So why would the elder brother, his memory intact, want to “be a burden” to even his only son? Mercifully, Sudhir Da did not have to go the way of Parashuram. The almighty in heaven voted for the nonagerian’s exit.
*
My response to the issue peaked when I read this poem, ‘Antim Akanksha’ (The Last Wish) , by Purnendu Ghosh of Jaipur. This IIT-ian from Kanpur, a diehard cinema aficionado, has penned the same thoughts in Bengali and English too. But I had already translated his anguish in Hindi before I spoke with him. “I had written these lines when I was sitting by my mother-in-law, then languishing in the hospital. When I had first seen her, she was 46. Over the next 46 years, I was witness to the transformation age had forced upon her I could only watch, helpless, because the final exit is in the hands of only the Almighty.”
I am still weighing my responses. Yes, I believe in the Existence of a Superior Force. Still, when a person has to lie waiting to bid goodbye to pain, would he or she wait for His mercy, or that of the medics?
Ratnottama Sengupta, formerly Arts Editor of The Times of India, teaches mass communication and film appreciation, curates film festivals and art exhibitions, and translates and writes books. She has been a member of CBFC, served on the National Film Awards jury and has herself won a National Award.
.
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
Shantanu Ray Chaudhuri in conversation with M.S. Viraraghavan and Girija Viraraghavan
M.S. Viraraghavan and Girija Viraraghavan
In their new book Roses in the Fire of Spring: Better Roses for a Warming World and Other Garden Adventures (Running Head, 2023), world-renowned rose hybridisers, M.S. Viraraghavan and Girija Viraraghavan, record their journey of over fifty years, creating more than a hundred new rose varieties, in a range of colours, shapes and types. The authors spoke to Shantanu Ray Chaudhuri on their lifelong passion for the rose.
The passion for roses goes back a long way – can you recall the first moments when you realised that this was a ‘calling’ you had to follow? Any epiphanic moment that leaps to the mind?
From quite a young age, Viraraghavan was fascinated with roses, but the epiphanic moment was really when his family spent summer vacations in Coonoor, staying at the government guesthouse within Sim’s Park, which overlooked a rose garden. Every morning, he would wander about this garden which was a blaze of colour of the new roses created from the golden rose of Persia, R. foetida by Pernet Ducher, a great French rose breeder. The brilliant, never-before-seen colours of these roses amazed him – from bright gold and apricot to dazzling oranges and reds. In particular, one of the golden roses took his breath away – ‘Julien Potin’, aptly named for a jeweller – its vivid colour was quite overwhelming for the boy of thirteen, already thrilled with roses. From this came the intoxicating thought: ‘If Pernet Ducher could do it, why not I?’
There’s a delightful little bit about Viraraghavan sir’s viva-voce for the IAS and how his knowledge of roses played an important part in him getting through that. Would you like to share that with our readers?
A difficult part of the IAS examination is the viva-voce, where a panel of senior administrators question the aspirant about various aspects of his or her life and ambitions. Viraraghavan was in the middle of this interview when the Chairman, by chance a learned rose grower, asked him what his hobbies were. ‘Growing roses,’ was the response. The next question was meant to be a googly to confuse a nervous candidate. ‘What roses can you grow in Madras City?’ But Viraraghavan had read the CompleteGardening in India by K.S. Gopalaswamiengar, well-known horticulturist of Bangalore, many times, so my answer was nearly verbatim from the chapter on various kinds of roses which do well in low-to-medium elevations, i.e., warm climates, so he reeled off the different rose classifications: Teas, Noisettes, Bourbons, Chinas, Hybrid Teas, Hybrid Perpetuals. The interview committee then decided it was prudent to go on to other questions rather than get a lecture from a young and seemingly unflurried candidate! But his capacity to master detailed information on various subjects had been noted, and he came through with flying colours (pun intended).
You mention making your presence on the world stage as late as 2000. Please give us a brief account of your work on roses before and after – a potted highlights package, if one can call it.
From the start, our rose breeding focused on creating better roses for warm climates based on the dictum of India’s pioneer rose breeder, B.S. Bhatcharji of Bengal and Bihar, who had stressed the need for a separate breeding line for warm climates as distinct from the Western focus on creating cold-hardy roses suitable for them. Thus, in the early years, our work was with those roses which, though Western, performed well in hot climates, and we had bred many which did well in Hyderabad where we lived. Then, after perusal of many books on roses, we realised the potential in two Indian rose species Rosa gigantea (from northeast India) and Rosa clinophylla (perhaps the world’s only tropical rose species). After getting them with great effort, we began to work with them. At every annual national rose convention in India we would present updates of our work. In 1999, at what happened to be a World Regional Rose Convention, in Jaipur, Viraraghavan’s talk, as always, focused on the breeding with the two rose species mentioned. After the talk, the World Federation of Rose Societies President, Helga Brichet, and Vice-President (South America), Mercedes Villar, came up to him and said they had never before heard of this kind of rose work or of these rose species and invited him to be a speaker at the next World Rose Convention to be held in May 2000 in Houston, Texas.
That was the start of a further phase of rose breeding with the realisation that other than India, several warm parts of the world were also looking for roses that would do well there. These two rose species had been personally collected by us from their native habitat. At Houston, and in other places, people were fascinated by this aspect, which no earlier breeder had undertaken, that is, personally collecting rose species in the wild, at great risk, growing them and using them in creating new roses; starting from scratch as it were. It made sense to them when Viraraghavan explained the dictum of that great German breeder Wilhelm Kordes I who said –‘The soup ladle will only bring out what is already in the tureen’, meaning that fresh genetic input was required if new and different roses are to be created. The enthusiastic response to his ideas strengthened his determination to go ahead with this new rose breeding line. There is nothing as intoxicating as the realisation that the rose world is watching our work with great interest.
One of the most fascinating sections of the book is the one titled ‘The Ones Who Came Before’. Please provide readers with a short account of these legendary influences.
Karrie’s Rose. Photo courtesy: M.S. Viraraghavan and Girija Viraraghavan
We had noticed that invariably roses were named for famous people with often no connection to the world of roses. This made us think: why not name our roses for the intrepid plant-hunters who had discovered roses in the wild, on mountains and in forests, and botanists who had contributed to the knowledge on plants.
One wild Indian rose is R. gigantea, from our north-east, and Myanmar. Three great plant hunters were responsible for collecting this species in the wild – Sir George Watt, General Sir Henry Collett and Frank Kingdon Ward. We decided to name our rose hybrids for all three. Sir George was a medical doctor with an interest in botany, and worked as a surveyor with the British India government. During the course of his work, in the 1880s, he found Rosa gigantea growing on the slopes of Mt Sirohi, now in Manipur, and collected specimens. Almost simultaneously, so did Sir Henry Collett, except in the Shan Hills in what is now Myanmar. Both specimens were identified as being the same and named by the great Belgian taxonomist of the time, François Crepin. Climbing Mt Sirohi in 1990, we came across and collected plants from perhaps the precise location that Sir George had found Rosa gigantea. We named our first hybrid, a creamy yellow climbing rose, for him. We then felt it should be planted near his ancestral home in Scotland. With the help of the Royal Botanic Garden, Edinburgh, we managed to get this new rose planted in the Logan Botanic Garden, very near Sir George’s birthplace. Some years later we embarked on a sentimental journey, along with his descendants and his associates’ descendants, visiting his grave and the hospital he had worked in after retiring from India, to see the rose blooming in Logan.
We named a second seedling we had bred from R. gigantea for General Sir Henry Collett, a rose with big creamy white blooms that has been planted in suitable areas in Britain as well, and, gratifyingly, being grown by some of his descendants. A third rose, a climber with blooms of yellow-suffused pink, was named for Frank Kingdon Ward, the legendary and intrepid plant hunter who collected innumerable new and wild Himalayan plants despite his surprising acrophobia! We then came across a piece by the then BBC 4 gardening anchor, Matthew Biggs, who had visited Kingdon Ward’s grave in Grantchester near Cambridge. He wrote about the neglected condition of the grave of one of the world’s greatest plant explorers. So we decided to make amends by planting ‘Frank Kingdon Ward’ by the wall nearest his grave in the churchyard in a moving ceremony organised by Matthew Biggs, and attended by a number of well-known British horticulturists, as also the family. An urn with the ashes of Sheila Macklin, Kingdon Ward’s wife, for whom he had named a Himalayan lily, and who had died just the previous year, was interred near his grave, and close to where the rose was planted.
We have also named a rose for Leschenault de la Tour, the great French plant explorer who found a beautiful new rose species, called Rosa leschenaultiana after him, in the Western Ghats in the early 1800s; our rose named for him is a climber with pure white blooms.
And of course we have a rose to celebrate the remarkable life and career of the great Indian botanist and cytogeneticist, E.K. Janaki Ammal, who co-wrote the Chromosome Atlas of All Cultivated Plants in 1945. She studied botany at Michigan State University in the 1920s on a full scholarship, later receiving a PhD and DSc honoris causa. Back in India, she played a vital role in creating the ‘Noble’ strain of sugarcane – an extraordinary hybrid of sugarcane and bamboo leading to varieties thick as a man’s arm in contrast to the pencil-thin traditional varieties. But credit was stolen by seniors at the research station, and so she went off to Britain. There she worked at famous institutes, including John Innes, Kew and the Royal Horticultural Society. Later, she met the then Prime Minister Jawaharlal Nehru on a plane, and he put her in charge of reforming the Botanical Survey of India in Calcutta. But sadly she was a forgotten figure by the time of her death in 1984. Our rose named for her has the same colour hues as the saris she wore – orange yellow and saffron. A plant of this rose was planted in 2020 at the World Regional Rose Conference Kolkata, at the Botanical Survey of India garden. The rose has also been planted in the John Innes Institute, in Kew and the Royal Horticultural Society’s garden in Wisley in the UK.
If one were to ask you of one moment each – one particular achievement in the journey and one abiding regret – what would these be and why?
There can be no doubt that the moment which was special in our rose breeding career was the moment described above, when Helga Brichet and Mercedes Villar came up to us in Jaipur in 1999, and said they had never heard such a new approach to breeding roses, pioneered by us, of using two Indian rose species to create a new line of warm-climate roses. It was their invitation to speak in Texas launched us on to the world stage of roses.
As for an abiding regret, that’s all too easy to answer. It’s the systematic neglect of Indian-bred roses by the rose-growing public of India, who remain fascinated by roses raised in Europe and the U.S. though they are utterly unsuited for Indian climates. This unreasonable preference for foreign rose varieties is part of the general craze for all things foreign. Fortunately, more recently, there has been a change, and young rose breeders and growers are realising that Indian bred roses do better in the heat and are slowly beginning to grow these.
Give us an insight into the challenges and pitfalls of growing and creating roses in India, as informed by your journey. Interesting story that highlighted these.
The main challenge was getting Indian roses accepted by the Indian rose growing public, as highlighted above. Indeed, now our roses are being grown in India, perhaps because they are being grown around the world! Another thing is one must learn patience. It takes us about eight to nine years to name and release a new rose. It is a long process, of the actual crossing of two roses, waiting for the fruit to ripen, then harvesting the fruit (rose hips), collecting the seeds, stratifying them in the refrigerator (if one lives on the hot plains), sowing the seed, waiting for the seedlings to sprout, growing the plant for a number of years to test its potential, and suitability, and only then finding a name and releasing it, by sending to a rose nursery to make more plants.
Our long career in rose breeding and our connected travels around the world has provided us with many interesting, even hilarious experiences. We were in Japan, at the Sakura Rose Garden. With us was a group of people including our friend, the well-known Japanese plant scientist, Dr Yuki Mikanagi. We were looking at a rose plant, with dark pinkish-red blooms with white on the reverse, bred by us and as yet unnamed. Yuki said she liked this rose very much. We immediately told her that we would name it for her. She said: ‘But this rose is red and white, whereas my name means “snow” in Japanese. Viru’s instant response was, ‘Then we will it name it Blushing Yuki,’ much to the delight of Yuki and everyone.
In his government service days, when we lived in Hyderabad, Viru would tend to his roses, watering and spraying them with fertilizers before leaving for office. There would be a number of telephone calls for him about some official matter. Girija would answer the phone (landline in those days), and when she told the callers he was busy spraying, they would hear it as ‘praying’ and immediately apologise: ‘Please do not disturb him when he is at his prayers’.
Both of us were hands-on gardeners, doing most of the work ourselves and you cannot garden without muddy hands and clothes. Very often visitors would mistake us for the garden help and request us to take them to the master or the mistress of the house. The looks on their faces when they realised who we were would make us laugh.
On one occasion, we were in California to receive the ‘Great Rosarians of the World’ Award. At the ceremony, we both first gave a talk on ‘Roses in India, Past Present and Future’. At the end of the ceremony, an earnest old lady came up to us and asked, in all seriousness, ‘Do roses grow in India?’
For most of us, roses are red and a Valentine’s Day Gift. Appendix 1 of your roses runs to 50 pages! Tell us briefly of some of the interesting ones, in particular the very evocative names you have, for example, Kindly Light, Meghamala/Wine-dark Sea, Twilight Secret. What goes into giving a name to a rose?
Apart from the roses we have named for friends, for other roses we like to give evocative names.
KINDLY LIGHT: we named this lovely white shading to soft pink rose after the hymn ‘Lead, Kindly Light’, a favourite of Mahatma Gandhi’s. We have the practice of giving two names to some of our roses, one better understood in India, if it is a Sanskrit word, and one for the West. This rose is named ‘Swami Vinayananda’ in India, for a monk of the Ramakrishna Mission order. He was great plantsman, his book on dahlias is a definitive work on all aspects of dahlia growing and he was very good rose grower.
MEGHAMALA/WINE-DARK SEA: One more example of two names for a rose. Meghamala translates as ‘garland of clouds’. The name for our rose was inspired by the purple garland-like pattern, reminiscent of clouds, on the petals of this rose, which otherwise are dark orange-red in colour. ‘Meghamala’ is from a line by Devulapalli Krishna Sastri, beloved modern poet of the Telugu language, to whom the rose is a tribute. ‘Wine-Dark Sea’ derives from Homer’s epithet, in both the Iliad and Odyssey, of the purple shadows of approaching night on the orange-red waters reflecting the rays of a setting sun on the Aegean Sea.
ALLEGORY OF SPRING: We named a very special light-pink rose with intriguing pointed petals after the famous Botticelli painting La Primavera, also called ‘Allegory of Spring’.
INCENSE INDIGO: An indigo purple rose with an enticing fragrance was the inspiration for this name.
TWILIGHT SECRET and TWILIGHT TRYST: Two purple-hued roses that remind one of the late evening, shadowy light, romantic secrets and trysts.
AHIMSA: We gave this name to a golden yellow rose borne on a plant without any thorns (prickles), thinking of the Mahatma’s philosophy of non-violence.
KUSABUE’S GUARDIAN ANGELS: Kusabue is the name of a rose garden in Sakura City, Japan, entirely looked after by volunteers, all very senior citizens. This is our tribute to them.
Golden ThresholdKanyakumariPhoto Courtesy: M.S. Viraraghavan and Girija Viraraghavan
Shantanu Ray Chaudhuriis a film buff, editor, publisher, film critic and writer. Books commissioned and edited by him have won the National Award for Best Book on Cinema twice and the inaugural MAMI (Mumbai Academy of Moving Images) Award for Best Writing on Cinema. In 2017, he was named Editor of the Year by the apex publishing body, Publishing Next. He has contributed to a number of magazines and websites like The Daily Eye, Cinemaazi, Film Companion, The Wire, Outlook, The Taj, and others. He is the author of two books: Whims – A Book of Poems(published by Writers Workshop) and Icons from Bollywood (published by Penguin/Puffin).
.
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
Borderless 