Title: Maya Nagari: Bombay-Mumbai A City in Stories
Editors: Shanta Gokhale, Jerry Pinto
Publisher:Speaking Tiger Books
The very mention of the name Mumbai (or Bombay) brings to our minds a great city in India where the thriving metropolis grows at a rapid speed because people not only flock here from different parts of the country to make quick bucks and survive against all odds, but also because the film industry of Bollywood has also established it as a city of dreams, one that never sleeps and instead creates a mirage-of-sorts — an illusion, rightly labelled by the editors of this anthology as ‘Maya Nagari’. Edited by Shanta Gokhale and Jerry Pinto, this book, comprising twenty-one short stories about Mumbai takes the road less taken to create a non-uniform image of the metropolis. In tune with its multicultural and multilingual nature, we have stories about the city that is a sea of people and speaks at least a dozen languages. There are stories translated from Marathi, Urdu, Gujarati, Tamil, Hindi, Kannada, Malayalam, and stories written originally in English. Among the writers are legends and new voices—Baburao Bagul, Ismat Chughtai, Pu La Deshpande, Ambai,Urmila Pawar, Mohan Rakesh, Saadat Hasan Manto, Ambai, Jayant Kaikini, Bhupen Khakhar,Shripad Narayan Pendse, Manasi, Krishan Chander, Udayan Thakker, Cyrus Mistry, Vilas Sarang, Jayant Pawar, Tejaswini Apte-Rahm and Anuradha Kumar.
As Jerry Pinto clearly states in the introduction, the stories can be read as we like, we can begin with the first story or the last, or any story in between. The observant reader might notice that he and the other editor Shanta Gokhale have deliberately chosen not to organise the material according to chronology, or geography. This is partly because they believe that the city lives in several time zones and spaces at once, as does India, but also because there is something essentially chaotic about its nature. So, he says, “the stories echo and bounce off each other, they do not collide, but there is a Brownian motion to these patterns” and he hopes to let the readers find it. Here, Mumbai is stripped of its twinkle; it is deglamourised to reveal how it’s the quotidian that lends the city its character—warmth and hostility alike and as inhabitants of the city the editors call ‘home,’ they hope a narrative will emerge.
In the twenty-one stories of this collection, there is the city that labours in the mills and streets, and the city that sips and nibbles in five-star lounges, the city of Ganapati, Haji Malang and the Virgin Mary. What binds the stories together is ‘human muscle’ – the desperate attempts of men and women of all classes and castes to survive in this heartless city amid all odds.
The stories are of different lengths and written in different narrative styles. Of the five or six stories translated by Shanta Gokhale herself from Marathi, one is struck by the excessive length of the so called ‘short’ stories. The very first one “Oh! The Joy of Devotion” by Jayant Pawar, forty-five pages in length, narrates in detail about the Ganapati festival and how it is related to the fate of the local people. Pu La Deshpande’s story “A Cultural Moment is Born”, set in the 1940s, tells stories of people living in chawls [slums] and how they spend their cultural days. Another very long story translated by Gokhale called “The Ramsharan Story” tells us about the rise and fall of a bus conductor by the name of Ramsharan who turns out to become a union leader. Baburao Bagul’s “Woman of the Street”, written originally in Marathi and translated by Gokhale again, tells the story of Girija, a sex-worker trying to collect money to cure her son in the village. The story ends on a disturbing note, as it reaffirms the relativity of success.
Once again, Krishan Chander’s story “The Children of Dadar Bridge” translated from Hindustani by Jerry Pinto is so long that it qualifies to be called a sort of novella. In this powerful story God comes to earth to a chawl and offers food to the first-person narrator. Then, impersonating as a small and innocent child, and along with the child narrator, he moves around different places in the city to witness its activities firsthand — we get to know about behind the scene affairs that take place in the film studios, about satta[1] dens, about bribery, local dons who arm-twist every new hawker to carry on their business after receiving their weekly cut money and more. In “Civic Duty and Physics Practicals”, Malayalam writer Manasi reveals the different experiences one comes across living in a society defined by power equations. Issues of hooliganism, superstition, illegal colonies, corruption, intimidation and violence are explored in a single story where the narrator is struggling, for days, with blaring speakers at a wedding nearby, even as her son tries hard to prepare for his upcoming exams. The story soon takes a dark turn where power trumps over consideration for fellow human beings.
A very powerful story written by Ambai in Tamil called “Kala Ghora Chowk” deals with issues of Marxist ideology, trade unions and the fate of a raped woman called Rosa. Anuradha Kumar’s “Neera Joshi’s Unfinished Book” tells us the life story of one woman who “made the city” and the perennial problems of displaced mill workers when the closed mills give way to high-rise buildings. Some of the stories are of course written in a lighter vein, though they also depict different problems related to city life. As the title of Vilas Sarang’s story “An Afternoon Among the Rocks” suggests, it narrates the plight of a couple trying to make love in the deserted seashore and how they get hijacked by a smuggler! In “The Flat on the Fifth Floor”, Mohan Rakesh writes about two sisters who meet the narrator after one failed love affair. A moving picture of the closing down of cinema halls in Mumbai comes out very beautifully in the Kannada story “Opera House” by Jayant Kaikini, especially narrating the plight of one of the sweepers working there when the declaration of permanent closure is pasted everywhere. Tejaswini Apte-Rahm’s “Mili” tells the story of a man who meets his ex-girlfriend after five years.
Though it is not possible to give the details of each and every story included in this anthology in this review, one must mention some of the stories that were originally written in English. Cyrus Mistry’s “Percy” about a young and lonely Parsi boy is so compelling that it was even made into a Gujarati motion-picture. “House Cleaning” by Jerry Pinto tells the story of a woman cleaner and his son, who talks about the reality of street dwellers. Eunice de Souza’s “Rina of Queen’s Diamonds” is not a straightforward narration at all but offers a collage of different vignettes of life in Bombay.
Though most of the stories portray the seamier side of life and in some ways de-glamourise Mumbai, at the same time they also portray how human resilience can combat all sorts of odds, and the city can be revealed only through shared experiences. Thus, each of the twenty-one stories in this collection tells a different tale of Mumbai, Bombay, Momoi, Bambai, Manbai and many others. As the editors have rightly pointed out at the beginning of their introduction, “You cannot catch a city in words. You cannot catch a city at all.” They felt that “it is not meant to be caught…this city resists even more because it was not designed at all; it just happened and it keeps on happening.” Thus, the four-hundred plus pages of this anthology Maya-Nagari remains a book to be treasured and read now at leisure and also at any time in the future.
It is clear that English is employed here not as a language on loan, but as the rich, spluttering resource of the marrow and the bloodstream.-- Arundhathi Subramaniam.
At the outset, let me make a candid statement. I am a very prosaic person, someone who in her long teaching career and academic writing as well as translation, has never ventured to write poetry myself. I might seem like the odd woman out, but somehow, I have been closely following the recent trends in which Indian Poetry in English has been rapidly spreading its wings and with new volumes being published every other day, it is now a force to be reckoned with.
Tomb of Henry Louis Vivian Derozio at the South Park Street Cemetery, Kolkata.
Recapitulating literary history briefly, it is well known that Indian English Poetry (or often called Anglophone poetry in India) is the oldest form of Indian English literature. Beginning roughly from 1850 to 1900, it went through the ‘imitative’ phase when Indian poets were primarily ‘romantic’ and tried to imitate the British masters. Beginning with Derozio[1], many poets of the time — namely Rabindranath Tagore, Sri Aurobindo, Sarojini Naidu, Michael Madhusudan Dutt, Toru Dutt — were also Bengalis by birth. The poetry written between 1900 to 1947 belonged to the ‘assimilative’ period and often questions were asked why the poets didn’t write in their ‘own’ languages. Post-independence poetry was primarily experimental, and when we come to contemporary Indian English poetry, we find it becoming wholly urban and middle-class. The poets are realistic and intellectually critical in the expression of their individualised experience. They go in for precision at all levels and do not stick to one genre but experiment with multiple poetic forms.
Interestingly, I realised that a whole host of Indian English poets writing at present (some have several volumes of poetry published already, whereas others have just given birth to one or two), but coincidentally many of them happen to be Bengalis — Bashabi Fraser, Sudeep Sen, Kiriti Sengupta, Sanjukta Dasgupta, Mitali Chakravarty, Angshuman Kar, Shyamasri Maji, Basudhara Roy,Radha Chakravarty, and others. It is not a complete list at all, and what makes this study more interesting is that except for a couple of them, all these poets come from an English literature background. It is also not a coincidence that most of them teach English as their profession. So, whether it be personal lyrics, free verse, memories, experiences, observations, or even translation, the English muse therefore gives them the impetus to experiment with all forms, and at the same time helps them to move away from themes like nationalism, nature, Indian culture, love etc. that dominated Indian English Poetry in earlier times.
Bashabi Fraser receiving her CBE (2021 The Queen’s New Year Honours) from Prince Charles, now King Charles III.
Bashabi Fraser is an Indian-born Bengali and a Scottish academic, editor, translator, and writer. She is a Professor Emerita of English and Creative Writing at Edinburgh Napier University. Fraser’s work traverse continents in bridge-building literary projects. She was appointed a Commander of the Order of the British Empire (CBE) in the 2021 New Year Honours for services to education, culture and cultural integration in Scotland, in particular for her projects linking Scotland and India. Among her several volumes of poetry the Bengal and Bengali connection comes out in volumes like From the Ganga to the Tay: a poetic conversation between the Ganges and the Tay (2009), Letters to My Mother and Other Mothers (2015), My Mum’s Sari (2019), and Lakshmi’s Footprints and Paisely Patterns: Perspectives on Scoto-Indian Literary and Cultural Interrelations (2023). Fraser has worked extensively on a project about the Bengal Partition and the angst resulting from this divide expresses itself in the following poem.
This Border Can shadow lines on the earth’s surface divide language and literature, rituals and customs, rivers…and memories?
There was a time when you and I Chased the same butterfly Climbed the same stolid trees With the fearless expertise That children take for granted Before their faith is daunted Do you remember how we balanced a wheel Down dusty paths with childish zeal Do you remember the ripples that shivered As we ducked and dived in our river Do you remember what we shared Of love and meals, and all we dared Together – without fears Because we were one In all those years Before we knew that butterflies Were free to share our separate skies That they could cross with graceful ease To alight on stationary trees On either side of this strange line That separates yours from mine For whose existence we rely Entirely on our inward eye This border by whose callous side Our inert wheel lies stultified This border that cuts like a knife Through the waters of our life Slicing fluid rivers with The absurdity of a new myth That denies centuries Of friendships and families This border that now decrees One shared past with two histories This border that now decides The sky between us as two skies This border born of blood spilt free Makes you my friend, my enemy.
Another well-established poet is Sudeep Sen who studied in New Delhi and in the United States and is a global citizen, so to say. Sudeep’s literary output is enormous and some of the titles of his volumes of poetry have subtle references to Indianness and Bengaliness embedded in them as well. Mention may be made of volumes like Leaning Against the Lamp-Post (1983), The Man in the Hut (1986), Kali in Ottava Rima (1992), Postmarked India: New & Selected Poems (1997), and several others. Though he might not do it consciously, his Bengaliness remains embedded in his psyche.
Kiriti Sengupta who has been awarded the Rabindranath Tagore Literary Prize (2018) for his contribution to literature, is a poet, editor, translator, and publisher. What is more significant is that along with Bitan Chakraborty, he mans the publishing house Hawakal, which has already carved a niche for itself as the largest publisher of Indian Poetry in English. Several poets mentioned in this essay have seen their creations see the light of the day through Hawakal Publishers and they have done yeomen service in this regard. As an established poet, Sengupta has several volumes of poetry to his credit. His collection from 2019, called Rituals, is very different from the work readers usually read in that there is a narrative thread in many poems that is not there simply to tell a story but to ultimately present a meditation on an aspect of life and the modern world that they haven’t considered before. “Fleeing the house and leaving the doors ajar. Is it perversion or fallacy?”
In an earlier volume entitled Solitary Stillness (2018), Sengupta does not give away the traits that have pervaded his poetry, he has not forgotten his Bengali roots, and has once again drawn his poetry on the canvas of the time that has been rooted in Calcutta. As he elaborates upon this point in his professional website, here, he makes a reference to Lapierre, and indeed, the ‘city of joy’ tag sounds fake just as we read that particular poem, which is so natural, that it almost appears to have been spoken by a resident of a city, one who is not a poet. According to him, that person who complains about water logging or that person for whom any tag of romanticism about the city is bourgeois, it is nothing but a label that’s needed to promote consumerism.
Mitali Chakravarty, the indefatigable editor of Borderless Journal, wrote to me saying that she is happy I feel she belongs to Bengal, “I call myself a Bengali and a human”. Though a non-resident Bengali, her perception of her own work and Bengali cultural identity is clearly revealed in a poem published in The Daily Star (Bangladesh)[2].
Confused
I am mixed up – cannot help English and Bengali under my belt
I can read a bit of Hindi Cannot understand much of French A little Chinese …low class, they said… I am mixed up – cannot help English and Bengali under my belt
I grew up thinking I will find a way But now pidgin is all that I can say I write in English – the language borrowed from the West The language that taught us or brought us unrest The language that through The Raj spread Importing Nationalism in its tread I am mixed-up – cannot help English and Bengali under my belt
But my life is that of the non-English A probashi Bengali at best
People say I am not typical, not quite the right type A mixed-up Bengali – I said Culture is something I dread at every tread Because what Culture I have is mine - Not of a Race, a Country or Religion – Human Being is the only race to which I belong
Help protect my home, the Earth – its every drop, its every stone
In a world of 7.7 billion, can I be alone? I am mixed up – cannot help English and Bengali under my belt
Though she has been writing poetry for a long time, Mitali’s first poetry collection, Flight of the Angsana Oriole: Poemswas published by Hawakal only in October 2023. In the ‘Introduction’ to this volume, she states that her random collection of poems “are sometimes of the past” as she knew it and “sometimes of the present. And sometimes in quest of a future or a dream that she hopes will go to create a more hopeful future than the world presents to us currently.” The poems in this volume are personal; some talk of her journey through life, the world as she sees it, some even influenced by her travels across the world. She further states: “Inherent in each line is not just the influence of my experiences in many countries but the nurturing I had in India, where I was born, educated and spent the first two decades of my earthly existence.” So, poems like ‘Death of Lalon’, ‘Shivratri’, ‘Kali Rise’, ‘Shraddha‘ [last respects] and a few others do convey the subconscious Bengaliness embedded in her psyche, irrespective of where she physically resides now.
Radha Chakravarty, a prolific writer and translator, Former Professor of Comparative Literature and Translation Studies at Ambedkar University, Delhi, has recently joined the bandwagon of Indian Poetry in English with her debut collection of poems Subliminal published by Hawakal Publishers in 2023. In a detailed interview given to Mitali Chakravarty for the March issue of Borderless Journal[3], she tells us about her aims and ambitions as a poet and how most of the poems in Subliminal are independent compositions, not planned for pre-conceived anthology.
My poetry actually delves beneath surfaces to tease out the hidden stories and submerged realities that drive our lives. And very often, those concealed truths are startlingly different from outward appearances. I think much of my poetry derives its energy from the tensions between our illusory outer lives and the realities that lurk within.
Many of Radha Chakravarty’s poems express the feeling of Bengaliness in different perspectives. We read about the typically soft quilt called kantha in Bengali in the poem ‘Designs in Kantha‘ thus:
Sewn into soft, worn layers, forgotten fabric of grandmother tales – patterns of the past, secret memories, hidden designs, intriguing patterns in silk strands dyed in delicate dreamy shades— embroidered storylines in exquisite, dainty kantha-stitch.
When Mitali Chakravarty asks her why she writes in English though it isn’t her mother tongue, she answers:
Having grown up outside Bengal, I have no formal training in Bengali. I was taught advanced Bengali at home by my grandfather and acquired my deep love for the language through my wide exposure to books, music, and performances in Bengali, from a very early age. I was educated in an English medium school. At University too, I studied English Literature. Hence, like many others who have grown up in Indian cities, I am habituated to writing in English. I translate from Bengali, but write and publish in English, the language of my education and professional experience. Bengali belongs more to my personal, more intimate domain, less to my field of public interactions…. Both Bengali and English are integral to my consciousness, and I guess this bilingual sensibility often surfaces in my poetry. In many poems, such as ‘The Casket of Secret Stories,’ ‘The Homecoming’ or ‘In Search of Shantiniketan’, Bengali words come in naturally because of the cultural matrix in which such poems are embedded.
Of course, the poet also mentions that all her poetry is not steeped in Bengali. In fact, in most of her poems, Bengali expressions don’t feature at all, because the subjects have a much wider range of reference. As a globe trotter, Radha has written about different places and journeys between places.
Another debut book of poems that Hawakal Publishers brought to light in December 2023 entitled Forgive Me, Dear Papa and other poems is written by Shyamasri Maji, an Assistant Professor of English teaching at Durgapur Women’s College, West Bengal. Dedicating this collection of poems to her “incurably romantic self,” Maji feels that “being ‘romantic’ in this context is being imaginative, reflective, puerile, rebellious and emotional.” The poems are a mixed bag, belonging to different thematic issues. Some focus on a woman’s radical views on the gender hierarchies in our society, in some nature plays the role of mediator between the narrator and the world, the idea of loss of love, which is closely linked with thoughts of death, while a few poems also represent an interpersonal dialogue between the self and the other. Some of Maji’s poems focus on the role of memory whereas some are experimental in the sense that they portray a woman’s comprehension of a man’s thoughts. Stressing upon the fluidity of identities, she shows how love, pain, pandemic, separation and grief affect all human beings irrespective of an individual’s gender and sexual orientation.
Six books of published poems and twenty-five years of creative journey has been a consistent exploration by the poet Sanjukta Dasgupta as she tries to find the path of freedom from among the misleading mesmeric mazes that threaten and stifle both sense and sensibility. As a woman poet with a strong feminist stance, Dasgupta admits in an online interview given to Basudhara Roy[4]:
Though I read Bangla poetry since my schooldays, I wrote my poems in English. It was an unconscious choice. Much later I learnt that I should have been embarrassed about writing in English rather than in my home language, my mother tongue Bangla. The poems written in English kept on being born on the page with embarrassing regularity.
Writing poetry is an irrepressible urge for me. It is, in a way, far more intense than the biological labour pain. This labour pain of creativity leaves me restless till the words are born on the page. But the creative process allows endless revisions; a biological production is largely about acceptance, neither revision nor deletion are considered ethical practices. In the case of poetry, it is not about choice, it is a compulsion which is intense and gratifying and multiple revisions often lead to the emergence of the perfect product.
The title of Dasgupta’s poetry book Lakshmi Unbound (Chitrangi, 2017) is very significant. Lakshmi being an intrinsic part of the fabric of Bengali culture, the radicality and dissidence of the idea of ‘Alakshmi[6]’ will require no explanation to a Bengali reader.
She thinks the core agenda in Lakshmi Unbound is a defiant, determined search for freedom. So, it is not just deconstruction, it is an endeavour to call attention to the need to destabilize the deep-rooted stereotypes that have controlled the minds and mobility of women. In Sita’s Sisters (Hawakal, 2019), she crafts a revisionist feminist mythology by taking up familiar figures like Sita, Lakshmi, Kali, Mira and attempts to free these mythic figures from their claustrophobic space so that they can be re-invented in sync with the contemporary times.
Residing in Jamshedpur, in the state of Jharkhand, Basudhara Roy is an established poet and has several books and publications to her credit. In her own website, is stated: “Committed to an undying affair with words, Basudhara finds in poetry an epistemological and existential skylight. She writes because she feels she must test words on her tongue, pulse, moods, agitation, abstraction and satire. She is convinced that words can change the world and hence, she works at them in her own culinary way – washing, peeling, grating, pounding, baking, sautéing, kneading, roasting, often flaming them for what they might yield.”
The following poem from Stitching a Home (Red River, 2021) considers the eternal problem of a woman that plagues women writers a lot.
The Right Kind of Woman
The right kind of woman will inspire affection, regard, trust. Not promiscuity, never lust.
Bred by a mother equally right, she knows to avert her eyes to innuendoes, telling smiles.
In crowded buses, shops, streets, she knows to shut tight, bud-like, relinquish space, circumscribe limbs.
Above all, she knows the prudence of holding her tongue, of choosing silence’s worth over wordy rebellion.
Schooled to surrender in dark rooms, she knows, unasked, to feign desire, moan, stifle, sigh on cue.
On her forehead, she had a third eye to emit fire, take sides, rake storms. Last night, its lid rusted
with disuse fell out, and the right kind of woman laughed herself to death over all she had left undone, unsaid.
“Writing poetry is an isolation exercise” says Angshuman Kar, an established Bengali poet who by profession is also an English Professor at a university in West Bengal. His book of poems Wound is the Shelter (Hawakal, June 2023) is unique and different from the other volumes discussed here because the poems are all translated by the poet himself from his original Bengali poems. In the ‘Introduction’, Kar tells us that authors who translate themselves often seem to be unhappy about the task of translating their own works. The Marathi poet Arun Kolkatkar likens it to incest, — “like making love to your own daughters.” Critics of translation studies have both supported and criticised self-translation. Those who support it argue that the author knows their work the best and hence s/he is the best translator of their own work. Those who oppose self-translation argue that the author-translator takes too much liberty while translating his/her own work; thus, the translation hardly remains faithful to the original. In such a situation Kar says, “Without being critical, I must say that I love self-translation. I enjoy translating my own work, I love committing incest. It makes me a better poet…. As a self-translator, I find incest healthy. It makes me a better poet – il miglior fabbro.“
Coming to the individual poems in Wound is the Shelter, it need not be reiterated that most of them portray universal feelings but at the same time are seeped in Bengali culture as well. In “My Poems” Kar talks about Jungle Mahal, the three districts of West Bengal that are full of jungles; in “World,” he writes about blooms of a sal tree and shiuli flowers; in “Memory Card” he talks about a bus ride to reach his maternal uncle’s house in Bankura from where he went to the studio to take a family photograph — “Grandma in the middle/On either side we – three brothers, two sisters and a cousin”. In “Father” he mentions how his father’s bereavement fades with time and how his portrait adorns the wooden throne in which gods and goddesses are kept and he stands with Kali, Shiva and Durga. In “Neelkantha” he refers to Shiva; in “Park” he states how man forgets grief when he comes to a park, “That is why in a city as sad and lonely as Kolkata the number of parks is always high.” The five-part poem “Tiger” is also very powerful, “there is a tiger inside every human being” he states. Kar also mentions about the mask of a demon of Chhou dance of Purulia, the aal path in paddy fields, the Chandi mandap[7] of a small village, the man called Bhagaban Das who labours in a factory, and the man called Shubhasis Babu who rents him cars, whose voice he hears but has not seen him. Thus, even in his transcreated poems, Kar’s Bengaliness expresses itself overtly.
It is not possible to analyse the poems of each of the Bengali poets that I have mentioned above within the purview of this single essay, and so I have just selected a few of them (especially the poets who have one or two volumes to their credit at present). As mentioned earlier, though Bengali by birth, all the poets rendering their emotions in English, do often consciously or unconsciously express multicultural elements, Bengali cultural nuances, and idiomatic force in their poems. As the trend for providing glossary is passe now, much is left to the readers’ imagination, but still certain occasional Bengali words and phrases make their poems even more appealing.
After sharing my random thoughts about Indian Poetry in English in general and selectively mentioning a few Indian English poets who also happen to be Bengali and often unconsciously exude a sort of Bengaliness in some of their poems, without attempting to sound rather parochial, I wholeheartedly wish to see more volumes of their poetry being published in future. I conclude by quoting a very salient observation made by Arundhathi Subramaniam who is not wholly optimistic about the situation, but believes that despite hurdles in publishing, the voices of Indian poets writing in English would be heard [8]:
Despite the clunky discourse that continues to hover around it, however, Indian poetry in English endures, even flourishes, seventy years after Independence. Publishers may be few and far between, the royalties meagre, the critical climate thick with indifference or theoretical bluster, and the poets themselves bewildered by disputes over their identity, even their existence. But poetry, in its mysteriously resilient fashion, continues to be written, shared and discussed (if sometimes with more passion than discernment). … I am not ecstatic about the state of Indian poetry in English. (But then I am not ecstatic about poetry; only, at times, about poems.) What I do know is that Indian poetry in English is alive. And like all things alive, it engages, it annoys, it provokes, it excites. On several occasions, it has given me the jolt of wonder for which I turn to poetry in the first place.
Considering the slightly mellow tone in Subramaniam’s observation, I personally feel Indian English Poetry has become a significant force in the literary arena at present and will grow stronger with time. Seasoned poets who have several volumes of poetry published already, as well as the fresher ones whose debut volumes promise a lot more to come in future, can all look forward to seeing their ‘spontaneous overflow of powerful emotions’ in print and carry on the legacy of Indian Poetry in English to newer heights. And sure enough, the sub-genre of Bengali Indian English poetry can be researched in greater details in future.
.
[1] Henry Louis Vivian Derozio (1809–1831), poet and assistant headmaster of Hindu College, Calcutta, a radical thinker and started the Young Bengal Movement.
This was her second week in Siolim as a resident, in her aesthetically pleasing, slightly bohemian, rented two bedroom flat. The flat itself gave very tropical vibes with a host of plants – both real and artificial, enhancing the outdoorsy look. Though her building was part of a bigger residential complex, it was miraculously not blocked by views of other buildings. Instead, the windows at both ends of the flat faced east and west, providing stunning views of the morning sky change colour as the sun rose over the dense grove of coconut palms and as if that were not already enough to drive up the rent, a peek of the setting sun, from the opposite end. No less than three spacious balconies with French doors offered an unobstructed view of the quaint sloped roof homes of the ‘locals’, the villagers, bordered by paddy fields beyond.
Except for one house in their midst. From her bedroom balcony that faced east, Anika noticed the one slightly better and bigger home, built with concrete walls and a concrete flat roof, functioning as its terrace. It was not directly opposite but slightly to the right so that she could only see it only from the window or the balcony.
Every morning she would look out in hope of spotting the big fawn dog – the unknown ubiquitous mixed breed — on the terrace. She was always entertained by his movements. He would strut about for a bit, peering over the edge while woofing his alpha dominion over other dogs and cats he spotted. At other times, thinking himself unobserved, he would lie down flat on his back, utterly vulnerable with his legs up in the air, squirming about, tongue lolling, making her laugh.
She had seen the other residents occasionally: two teenage girls who would climb and sit together leaning against the water drum conversing in the evenings as the sky deepened it hues, probably out of the hearing distance of the lady who would sit by herself at the far end staring at the horizon. Anika imagined that this might have been her only place of escape from the endless chores and hubbub of daily life. At other times, a much younger boy of about five followed a slightly older girl, probably his sister (or cousin) of about seven. As she sat to read and do her homework, he would entertain himself skipping about the flat terrace or lolling about on a mattress placed there. After dark, however, the terrace was the domain of the men of the household. Though there were no lights on the roof, the occasional clink told Anika that feni or urak had been smuggled upstairs.
Local families here tended to be ‘joint’ ones with aunts and uncles, siblings and cousins included in the same household. Daily, a slim, capable lady would briskly hang clothes to dry on strings stretched out from stakes. So many clothes every day! The only times Anika didn’t spot too many visitors to the terrace was on extremely sunny days when cotton sheets would be spread out with a brick at each end. They would dry fish on the sheet. She could never identify which of them it was — kokum, shrimp, jambul — from the plethora of spices, fruit and and fish Goans loved to sun dry.
She would have loved procuring some of it straight from them but was still conscious of being the non Goan outsider. She had already experienced all types of opinions. Those who were hypocritical and contradictory – people who welcomed European expats but looked down upon Indians from other states. Those who lamented the growing population due to migration – yet, uncomplainingly, raked in profits from the meteoric growth of the square foot rate. She had also experienced the warmth and hospitality of the majority of the Goans who would go out of their way to help you settle in and make you feel like family.
*
The lady who sat by herself was back today sitting as usual at the very edge. She had the terrace to herself. Something about her intrigued Anika, who realised she had been staring at her instead of being at work on her laptop for the past few minutes. Was it because she was the most frequent visitor? She spent a lot of time staring out over the other end. Or was it because even if others were there, they barely acknowledged her, not even glancing in her direction, or exchanging a friendly word. Likewise, she too ignored them for most part. The only one who paid her any attention was the small boy, too innocent and young to pay heed to family politics, who would wave and go running towards her when he saw her. She seemed to be the family outcast yet was outwardly unperturbed, never getting confrontational, at least on the terrace, from what Anika could observe.
On this day, she was back, presumably ruminating about life. Hailing from a nuclear family herself, Anika mused over the conveniences that a joint family surely had, from shared expenses and chores, to child supervision and upbringing. As she looked at the lady on the terrace, she also thought about the difficulties that living in a large group in a confined space probably entailed, with no privacy, varying opinions and multiple imagined slights.
Today, she seemed restless as she was strolling on the terrace. Anika stepped out onto the balcony to get a closer look. The south-west corner of the terrace with the water drums was the closest point to her balcony. The lady was whiling away time by walking along the perimeter of the terrace. As she wandered closer to the south-west corner, Anika finally got a good look at her.
Her personality was apparent even from this distance, from the way she held her body upright to the confident yet feminine walk. She was neither slim nor thickset but somewhere in between. There was a certain sophistication to her gait. Anika watched as she turned the corner and continued her solitary stroll around the edge of the terrace.
*
The sound of loud arguments in male and female voices interrupted her work the next morning – the family members had reached the downward curve in the sine wave of highs and lows of joint family existence. Adding to the cacophony was a girl’s full-throated wail. Perhaps a fall, burn or injury, with the elders blaming each other for the oversight?
The staircase that the family used to ascend was on the far east side and never visible to Anika. She now saw a small head make an appearance at the flat edge followed by the body of the boy who had climbed up unobserved. His sister as the designated minder was the injured one then. He looked for the assortment of toys that always lay in a heap in one corner of the terrace. Soon he was revving the toy car and following it about as it raced forward a few feet. Anika was a little concerned and stepped out to the balcony. What if the child wandered too close to the edge? The roof edge was unprotected by any railing or boundary wall. She stood undecided and hoped that someone else would arrive soon. That’s when she saw the lady walk towards the boy. Anika sighed in relief. She had probably been sitting, leaning against the other side of the water tanker, that’s why she hadn’t spotted her. The boy would point the car in her direction and she would then send the car revving back to him. The game continued until she heard shouts and the mother climbed halfway up the stairs gesturing at them to come down. The lady and the boy complied. Anika noticed that as usual she didn’t convey her gratitude either by gesture or a word to the lady who had kept a watchful eye over him. She wondered what had caused the breach in their relations and felt the lady deserved at least some acknowledgement. Maybe she sensed her empathy because suddenly she turned and looked directly at Anika. Anika felt a voyeuristic warmth flush her ears and stepped back inside her bedroom.
*
Anika noticed over the next few days that the lady had started sitting closer to the south-west edge, closest to her balcony. She would occasionally glance towards Anika. Her eyes were dark, so dark that you couldn’t distinguish the iris from the pupil. Anika felt a little sorry for her unfortunate circumstances. The only time she noticed her smile was on the rare occasions the boy wandered onto the terrace alone. With nobody to stop him from interacting with her, he would sit beside her presumably listening to stories or they would chase each other.
Anika wondered why she didn’t leave this house – perhaps she had no independent income. Anika had been doing the cleaning herself in her apartment but now she took a decision.
*
Anika stood at the gate of the concrete house. One of the teenage girls came to the gate. Anika did not know Konkani, the local language, but it had similarities to Marathi and with that including a mix of Hindi and basic English, conveyed that she was looking for a daily help to sweep and mop the floors, do the dishes and some light dusting. Would anyone from this household be interested? “Okay! I tell to my mother, give me house number,” she replied. As she wrote down the apartment number behind a schoolbook she had got from inside, Anika tried to find a diplomatic way to say that the sturdy looking lady on the terrace who played with her younger brother would be better for this kind of a job instead of anyone else from the household. However, as the girl looked at her uncomprehendingly, she realised that this was a task beyond her communicative abilities and left.
*
It was not quite dusk when her doorbell rang. The younger, slimmer lady Anika had seen so many times on the terrace, stood at her doorstep. Julie spoke English quite well and understood it even better. Anika took her on a brief tour of the flat stopping at the balcony that overlooked her house. “I really enjoy your dog’s antics early in the morning!” she said, to break the ice. Julie laughed.
Anika noticed that the boy had found his way onto the roof again and was lying on his stomach with his head in his hands, absorbed in the story the lady was no doubt telling him. She sat cross legged in front of him, using gestures and making faces while telling the story, hugely entertaining him. Julie noticed them and her face changed to a scowl.
Anika gestured towards them, “What about her? Doesn’t she need a job? I have seen her on the terrace by herself so many times. She doesn’t seem to be as busy as you are — that’s why I approached your house to look for help.”
“Who? Her? Sheela?” Julie looked thunderous. “Look at her! Wasting time, always sitting on the terrace!”
Anika’s face looked a question. “Well, she seems to look after the boy so well.”
Julie turned towards her – the scowl changing to a confused look. “Her boy? How long have you stayed here?”
“Oh, this is my just my fifth week.” And now, leaping to her defence, Anika continued, “I’ll tell you something you don’t know, that boy has come to the terrace so many times on his own and if it were not for Sheela’s presence, God knows what accident might have happened! Why do you all treat her so badly? Look, even now only she is there with him on the terrace, no one else is supervising him!”
I knew I had probably crossed a line with this as it was none of my business to comment on their affairs.
Julie was struck dumb by my outburst, but her eyes changed. The anger was fading. “Boy?” she repeated. “She lost her five-year-old son three months ago. He drowned in the well behind the house.”
The anger had faded completely from Julie’s eyes to be replaced with fear. “Look at her — she keeps playacting like she’s doing now, as if she is talking to him and can see him, scaring the children — that’s why we argue. She spends all her time sitting on the terrace from where she can watch the well.”
Anika turned back to the terrace. Sheela had noticed them watching her and walked closer. She looked up at Anika with an appeal in her liquid black eyes, almost as if to say, “You can see him too, can’t you?”
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Rakhi Pande, an experienced education professional, transitioned from a brand management career to become an award-winning teacher and school leader. An avid reader, she tries to write whenever time permits.www.linkedin.com/in/rakhi-pande
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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL.
Our Tanda
Our tanda is a bird’s nest
our homes: broken refuges
and our lives are feathers
swirling in the air.
The moon and the sun
hatch time so long as they wish
and flee, leaving folds,
on the lips of time.
Mirrors raise our hopes
showing ourselves
break our knuckles quietly
shatter into fragments and prick hearts.
Goats, cows, buffaloes, sheep and hearts,
all dig out rivers of forests with desires
as kids draw winged horses on the black of night
with fingers
dreaming of sugary peppermints or custard blobs.
Mothers sing lullabies,
oil-lamps
embellishing the night
to sleep.
Fathers guard homes
one eye on the house
the other eye on the field
with their heads out of their windows
they turn into flaming torches.
The ippa flowers grieve
releasing inebriety
listening to the story of our tanda.
Chakmak
I
There were a few chakmak
at the window, ants and insects wandered
among them.
Whenever I visit the window,
I licked the chakmak,
no sweetness touched my heart,
nor did smell hit my nostril,
though they look like candy jellies.
I picked them
and threw them out of the window.
Daada picked them up,
took them again into the house
and placed them at the sill.
I thought of doing the same again.
He taunted our hen indirectly —
I could understand that the hen was me.
I thought the mysterious relationship
of our folk remains untold,
hid in the skulls
about chakmak.
II
One day when daadi was busy
in stitching her tukri
she kept the chakmak beside her
sharpening the needle on a chakmak.
I sat beside her staring at the chakmak —
darkness and light played about,
I was astonished by the sharp light
emitting from them.
The beads were placed in front of daadi
on a piece of cloth for stitching them on her tukri,
they stopped singing and rolling,
were trying to peep into daadi's honey eyes.
The needle writing the joy of tukri on the chakmak,
white stains swelled out from the black chakmak
when accidentally her sweat fell on it.
She saw me and asked me to sit beside her,
started narrating the tales of chakmak,
as I continued staring at them.
III
Birth after the water broke —
you crept out of your mother's womb
with stains of the eternal world
giving her womb to rest from the eternal sea.
This black stone gave you the world,
cut your umbilical cord
but it suffered by your birth,
fevered, it one day burnt our hut.
At the age of two
when the moon was peeping into the rice
squeezed in my hand with milk,
my hand filled with moonlit serpents crawling down
that trembled in my blood tunnels.
Your daada sang a song —
the red stones brought joy to earth,
consoling the hard skin of daada's hand,
illuminating his loneliness
Then you got an invitation to the wonderland,
and there you slept in the bed of the red stone's reflection.
At the age of five,
we were summoned by the monsoon and started migrating.
We were stuck in the forest
you weeping of darkness and hunger,
in the fierce night.
Flesh-coloured stones devoured the darkness,
sprinkled its hunger on your fear
and roasted a few onions for you.
At the age of eight,
you were anxious about seeing the lunar eclipse —
the milk stone dragged the sky in its reflection.
She kept on stitching her tukri.
I was plunged into gazing at the chakmak,
my heart sensed something strange strange is about to happen.
IV
I picked the chakmak into my palm.
The curves in the palms and lines on the chakmak
are trying to mate, and the curiosity in me reached my neck.
A cleft appeared in the chakmak.
I checked others for any more.
After a few minutes,
a butterfly soars from stone,
a man falls from its wing.
I take him in my hand,
he turns into a flute
made of animal bone.
I train my ear to hear him.
A voice from the bone flute starts talking
from the rusted past,
how we vanished from our identities,
how we were sheltered in the tortoise shells
and hung on horns of deers.
The world is trying to heap the chakmak together,
ransack our tribe for stones
and change the tanda into a haat
of banjara tribes.
The chakmak in the haat were ready to burst
with chronicles untold.
You gather the people.
The flute disappears.
I try fabricating the remaining tale.
Courtesy: Chakmak, art by Ramavath Sreenivas Nayak
Canvassing the Lives of Banjaras
By Surya Dhananjay
Banjara is an indigenous ethnic tribe of India. Banjara were historically nomads and later established settlements called tanda. Generally known as Gor-Banjara, they are also called Lambadis in Telangana, or Banjaras collectively across India. However, they are known by different names in various parts of the country, including Banjara, Gor, Gorya, Tanda, Laman, Lambadi, Sugali, Labhan, Labhana, Baladiya, Ladniya, Adavi, Banjari, Gypsy, Kora and Gormati, among others. The other names also indicate synonyms and signify the principal nature — wandering of Banjaras in various parts of the country.
Banjaras generally suffix Nayak with their names, along with other surnames such as Jadhav, Rathod and Pawar. Nayak was a title given by the local kings, Britishers and Mughals, as the Banjaras were warrior transporters, who transported essential commodities, such as salt, food grains (as well as weapons) on ladenis, bullock caravans for their armies. The titles were bestowed in appreciation of their honesty and hard work. Over time, the title has become the traditional name of many of the Banjaras.
The word Banjara is derived from the Sanskrit word Vana Chara — wanderer of the jungle. The word Lambani or Lamani, by which our community is also known, is derived from the Sanskrit word lavana (salt), which was the principal product the community transported across the country. Their moving assemblage on a pack of oxen was named tanda by the European traveller Peter Mundy in 1632 AD.
Historically, they were the original inhabitants of Rajputana, Rajasthan, and professional cattle breeders and transported these essentials to different parts of the region, using crucial transport routes. They are known to have invented Laman Margass1.
They then migrated to North India, East Asia and Europe in the ancient periods and to Central India and South India in the medieval periods along with the armies of Mughals from thirteenth to eighteenth century.
Banjaras lost their livelihood during British rule when the railways and roadways were constructed and they became the victims of predatory capitalism. Banjaras who were uprooted by the British government from their transportation profession were forced to indulge in petty crimes for their livelihood, which invited the wrath of the British and brought them under the ambit of the Criminal Tribes Act of 1871. Later, abandoning their traditional Ladeni profession, they settled wherever their Ladenis had halted in the colonial period and established their tandas, dwellings.
Traditionally, Banjaras depended on the pack of bullocks and bullock carts, called balder bandi in their Gorboli, for carrying out their ladenis and the cattle and oxen only were their properties for the ages, on which they built their livelihood through centuries. Many generations of Banjaras have taken birth on the balder bandi and have used it as shelter too.
Their language is called Gorboli, an Indo-Aryan language in addition to their own culture and traditions.
Gorboli has no script, it is either written in Devanagari script or the script of the local language, such as Hindi, Marathi, Telugu and Kannada, etc.
Most of their populations are concentrated in Maharashtra, Karnataka, Telangana, Andhra Pradesh, Bihar, Madhya Pradesh, Gujarat, Tamil Nadu, Himachal Pradesh, Orissa and West Bengal.
As such the local languages have much impact on their language, the words of which have found their way into Gorboli.
Owing to the fact that it is a dialect, the Banjaras do not have much written literature either. However, they keep their songs, lyrics, and literature alive orally. As there is no written literature available to the outer society about Banjaras, the chances of knowing their history, sentiments, culture and traditions are meagre.
Banjaras show a unique lifestyle, holding steadfast to their ancient dress code, perhaps the most colourful and elaborate of any tribal group in India.
The versatile and colourful Banjaras are found to be interspersed amidst tribal and non-tribal populations and yet tenaciously maintain their cultural and ethnic identity. Their dress and decoration and social practices have remained almost unchanged through the ages despite the habitation shift from northwest India to across India. Banjaras are a strong and virile race with tall stature and fair complexion.
The Banjara women’s dress and jewellery are auspicious and the whole outfit consists of elaborately embroidered and studded phetya or ghagro (skirt), kaacnhli or kaali (blouse), tukri and ghunghto (veil stitched in patches of cloth of various colours along with mirrors of different shapes, cowries and beads).
Women also wear baliya, bangles made of ivory to save their lives from wild animals. They wear many ornaments like topli, hanslo, rapiyar haar, wankdi, kasse, ghughara and phula pawla, which weigh nearly 20 kgs or more.
Banjara men (maati mankya) wear turban on their heads, a few wear babli (earrings) on the top of the right ear, kameez (white shirt) and dhoti, kolda (silver fat ring wrapped to wrist) in turban they hide chutta (cigar), tobacco, beedi leaves, cotton and chakmak (flint stone), etc.
Tattoos on their body parts define philosophies and memories of childhood. The main intention of tattoos is to sell them and buy food after death in heaven or hell. They make sacrifices to the earth and stones because they believe that God is in nature.
Banjaras have their own culture and traditions that reflect their life and beauty. Banjaras celebrate the festival of Goddess Seethla Matha (starting at the time of the rainy season to save us and our cattle from seasonal disease and for good yield) at the end of the rainy season.
They celebrate Teej Festival, a celebration of wheatgrass grown for nine days in bamboo baskets by maiden girls to get married to a good groom in the presence of Goddess Jagdamba,
Baar Nikler/ Baarand khayer is a feast in the forest, exposing the love towards nature that protects them.
Historically they had a big struggle to settle down since they led a nomadic life for centuries. During difficult times, they ate grass and clay. Their regular diet consists of grass poppies, leafy boiled dough-made baatis (chapattis), bran, maize, jowar, deer, pigeon, rabbit, fish, hen, turkey, peacock, tortoise, turtle, porcupine, goat, sheep, radish, raw onions, wild onions, green chilli, roasted potatoes, red clay, black clay, tamarind sprouts, rela pulu (golden shower flower as used to make curry) and monitor lizard.
Few folks sell their children, lands, traditional dress, ornaments and even wombs and many girls and women are known to have faced human trafficking. Many people have slaved as daily labours, women were sexually exploited, many of their tandas were wiped out and they have been killed.
Though The Constitution of India had provided many rights to the tribes, the provisions are unknown to these people who lead their lives as daily labourers, selling firewood and children for food, becoming street vendors, roadside chapati-makers and the like. People who do not know this stare at them. A small percentage of people use the reservation benefits, and most of them are subject to discrimination and exploitation.
As such, not much is spoken about in media channels and newspapers about the atrocities of land evictions and exploitations of Banjaras. This still happens throughout the country.
Only a few scholars have written books and presented papers on their lives. Few non-fiction collections have been published in Telugu, Kannada and Hindi languages. But no creative literature has been produced from the community.
This effort of bringing out the poetic illustration of the life of Banjaras is made by Ramesh Karthik Nayak, a young member of the Banjara community.
He hails from the small, remote village of VV Nagar Tanda of Jakranpally Mandal of Nizamabad District. He has published a poetry book, Balder Bandi (Ox Cart) and a short story collection, Dhaavlo (Mourning Song), canvassing the life of Banjaras in Telugu.
Both books have been received well by the literary world and have since opened the doors to Banjara literature. Within a short span, he has been able to bring before us this wonderful poetic format, which shows his interest in bringing out the historical, cultural, traditional and contemporary issues of Banjaras before the world.
I believe that he is like a popular flower called kesula (moduga puvvu in Telugu), which is seen brightly among all the trees in a jungle.
According to my knowledge, this is the first poetry collection written on the lives of Banjaras in the English language which brings out the rawness of Banjara’s lives and the poems are brilliantly written. It is a rare drop of honey from a kesula flower, in which the lives of Banjaras are carved transparently.
I believe that each poem of this collection is a chakmak, flint stone, which ignites many endless thoughts in the reader. I hope that this poetic creation of Ramesh Karthik Nayak will also definitely be received in a big way by all the literary minds. I hope this introduction about Banjara tribes will help you understand the tribal communities a little.
Finally, without going into the depth of his poems, I would like to quote a few lines from his poem ‘Tanda’:
Our tanda is a bird’s nest
our homes: broken refuges
and our lives are feathers
swirling in the air.
In this poem Ramesh has carved the picture of the status of the lives of Banjara tribes in the present-day context and earlier days. Banjara lives are indeed shattering day by day.
Courtesy: Chakmak, art by Ramavath Sreenivas Nayak
About the Book
Ramesh Karthik Nayak’s poems are marked by rich imagery, poignant stanzas, and moving stories about his people. I enjoyed reading his poems. — Hansda Sowvendra Shekhar
Ramesh Karthik Nayak distills all the pains and fears of his tribe to create a poetry of intense suffering and profound communion with nature. There is something primal, elemental, about his poetry that helps the reader distinguish it from the dominantly urban Indian English poetry. The poet brings a fresh voice, a new tone, and timbre seldom seen in traditional English poetry in the country, without making his poetry less sophisticated. — K Satchidanandan
Through his poems, Ramesh Karthik Nayak presents the celebratory life of the Banjara people; at the same time, he questions his existence. The questions he poses to us are both poignant and plausible. The poet expresses the truth with spontaneity and ferocity that if we are untouchables then, from nature to your vitality to your body, everything in this world has been touched by us. — Sukirtharani
Ramesh Karthik Nayak’s poems represent the dimensionalisation of Indian poetry in English. It’s appalling to think that a mature collection of poetry from a tribal/nomadic tribe poet had to wait for so long after Maucauley’s initiatives. Anchored in his cultural inheritance, Nayak documents with elan his dreams for the future. — Chandramohan S
About the Author
Ramesh Karthik Nayak is a Banjara (nomadic aboriginal community in South Asia) bilingual poet and short story writer from India. He Writes in Telugu and English. He is one of the first writers to depict the lifestyle of the Banjara tribe in literature. His writings have appeared in Poetry at Sangam, Indian Periodical, Live Wire, Outlook India, Nether Quarterly, and Borderless Journal and his story, “The Story of Birth was published in Exchanges: Journal of Literary Translation, University of IOWA. He was thrice shortlisted for the Sahitya Akademi Yuva Puraskar in Telugu.
Chakmak is his first collection of poems in English.
The poet can be reached at rameshkarthik225@gmail.com
Vincent Van Gogh written is different scripts. Courtesy:Creative Commons
The whole world opens up in the realm of ideas that have existed wafting and bridging across time and space. Sometimes they find conduits to come to the fore, even though they find expression in different languages, under varied cultural milieus. One way of connecting these ideas is to translate them into a single language. And that is what many have started to do. Celebrating writers and translators who have connected us with these ideas across boundaries of time and place, we bring to you translated writings in English from twenty eight languages on the International Translation Day, from some of the most iconic thinkers as well as from contemporary voices.
Prose
Tagore’s short story, Aparichita, has been translated from Bengali as The Stranger by Aruna Chakravarti. Click hereto read.
Nadir Ali’s The Kabbadi Player has been translated from Punjabi by Amna Ali. Click here to read.
Kamaleswar Barua’s Uehara by has been translated from Assamese and introduced by Bikash K. Bhattacharya. Click here to read.
S Ramakrishnan’s Muhammad Ali’s Singnature has been S. Ramakrishnan, translated from Tamil by Dr B. Chandramouli. Click here to read.
PF Mathews’Mercy, has been translated from Malayalam by Ram Anantharaman. Click here to read.
Road to Nowhere, an unusual story about a man who heads for suicide, translated from Odiya by the author, Satya Misra. Click here to read.
An excerpt from A Handful of Sesame by Shrinivas Vaidya, translated from Kannada by Maithreyi Karnoor. Click hereto read.
Writings from Pandies’ Cornerhighlight the ongoing struggle against debilitating rigid boundaries drawn by societal norms. Each piece is written in Hindustani and then translated by a volunteer from Pandies’ in English. Clickhere to read.
Rakhamaninov’s Sonata, a short story by Sherzod Artikov, translated from Uzbeki by Nigora Mukhammad. Click hereto read.
Of Days and Seasons, a parable by the eminent Dutch writer, Louis Couperus (1863-1923), translated by Chaitali Sengupta. Click here to read.
The Faithful Wife, a folktale translated from Balochi by Fazal Baloch. Click hereto read.
An excerpt from Ramy Al-Asheq’sEver 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.
Poetry
Two songs byTagore written originally in Brajabuli, a literary language developed essentially for poetry in the sixteenth century, has been translated by Radha Chakravarty. Click here to read.
Rebel or ‘Bidrohi’, Nazrul’s signature poem, ‘Bidrohi‘, translated from Bengali by Professor Fakrul Alam. Click here to read.
Banlata Sen, Jibananada Das’s iconic poem, translated from Bengali by Professor Fakrul Alam. Click here to read.
A translation from Nabendu Ghosh’s autobiography, Eka Naukar Jatri(Journey of a Lonesome Boat), translated by Dipankar Ghosh, from Bengali post scripted by Ratnottama Sengupta. Clickhereto read.
Ueharaby Kamaleswar Barua has been translated from Assamese and introduced by Bikash K. Bhattacharya. Clickhere to read.
Kurigram by Masud Khan has been translated by Professor Fakrul Alam from Bangla. Clickhere to read.
Bonfire by Ihlwha Choi has been translated from Korean by the poet himself. Clickhere to read.
In Indian Pale Ale, Rhys Hughes experiments with words and brews. Click here to read.
Conversation
Being fascinated with the human condition and being vulnerable on the page are the two key elements in the writing of fiction, author and poet Heidi Northtells Keith Lyons in a candid conversation. Clickhere to read.
In Multicultural Curry, Suzanne Kamata reflects on mingling of various cultures in her home in Japan and the acceptance it finds in young hearts. Clickhere to read.
Ratnottama Sengupta explores the poetry in lyrics of Bollywood songs, discussing the Sahityotsav (Literary Festival) hosted by the Sahitya Akademi. Clickhere to read.
ENTWINED PLACES
Standing on the Juhu beach,
I heard, more than a decade ago,
The winds from the Marina,
In a smattering of Marathi and Tamil,
Accompanying birdsongs.
Blame that on a bout of homesickness
But what about last year, when
The Sealdah station, its turf
Pounded by the waves of human feet,
Seemed to me to reverberate
With the weighty steps of the rush hour,
Also felt in Mylapore and Nariman Point?
Perhaps, the crowds stirred me then
But that cannot be all, for
Often on cool Hyderabadi afternoons,
I have worn, in silence, the unease
Of Bangalore's woolen evenings;
And sensed in Delhi's nippy nights
The cold grip of other Indian winters...
Extremes sometimes addle the brain
And lull the heart, but…
Even when I take a leisurely stroll
On a summer dusk, around the lake
That girdles my neck of the woods,
I am greeted by the lush sights, of
The long winding ways yonder...
To Darjeeling and Kodaikkanal,
To Yercaud and Dehradun,
To Kashmir and Kanyakumari,
And to all that lies beyond.
Srinivas S teaches English at the Rishi Valley School, India. He spends his free time taking long walks, watching cricket and writing poetry in short-form (mostly haiku).
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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
Borderless 