Ujjal Dosanjh, former Minister from Canada and former Premier of British Columbia, discusses his autobiography, Journey After Midnight – A Punjabi Life: From India to Canada, and the need for a world with less borders. Click hereto read.
Professor Fakrul Alam discusses his new book of Tagore translations, Gitabitan: Selected Song-Lyrics of Rabindranath Tagore. Click here to read.
Translations
Tagore’sMusalmanir Galpa(A Muslim Woman’s Story) has been translated from Bengali by Aruna Chakravarti. Clickhere to read.
Masud Khan’s poem,In Another Galaxy, has been translated from Bengali by Professor Fakrul Alam. Click hereto read.
Wakeful Stays the Door, a poem by Munir Momin, has been translated from Balochi by Fazal Baloch. Click here to read.
Songs of Freedom: An Ordinary Taleis a narrative by Nandani based on her own experiences, translated from Hindustani by Janees. These narrations highlight the ongoing struggle against debilitating rigid boundaries drawn by societal norms, with the support from organisations like Shaktishalini and Pandies. Click hereto read.
“Other echoes
Inhabit the garden. Shall we follow?
Quick, said the bird, find them, find them…”
— TS Eliot, ‘Four Quartets: Burnt Norton’(1936)
Humans have always been dreamers, ideators and adventurers.
Otherwise, could we have come this far? From trees to caves to complex countries and now perhaps, an attempt to reach out towards outer space for an alternative biome as exploring water, in light of the recent disaster of the Titan, is likely to be tougher than we imagined. In our attempt to survive, to live well by creating imagined constructs, some fabrications backfired. Possibly because, as George Orwell observed with such precision in Animal Farm, some perceived themselves as “more equal”. Of course, his was an animal allegory and we are humans. How different are we from our brethren species on this beautiful planet, which can survive even without us? But can humanity survive without Earth? In science fiction, we have even explored that possibility and found home among stars with the Earth becoming uninhabitable for man. However, humanity as it stands of now, continues to need Earth. To live amicably on the planet in harmony with nature and all the species, including our own, we need to reimagine certain constructs which worked for us in the past but seem to have become divisive and destructive at this point.
Ujjal Dosanjh, former Minister in the Canadian cabinet and former Premier of British Columbia, in his autobiography, Journey After Midnight – A Punjabi Life: From India to Canada, talks of regionalism as an alternative to narrow divisive constructs that terrorise and hurt others. He writes in his book: “If humanity isn’t going to drown in the chaos of its own creation, the leading nations of the world will have to create a new world order, which may involve fewer international boundaries.” We have a candid conversation with him about his beliefs and also a powerful excerpt from his autobiography.
An interview with Professor Fakrul Alam takes us into Tagore’s imagined world. He discussed his new book of Tagore translations, Gitabitan: Selected Song-Lyrics of Rabindranath Tagore. He has brought out a collection of 300 songs translated to English. In a bid to emphasise an inclusive world, we also have a translation of Tagore’s ‘Musalmanir Galpa’ (A Muslim Woman’s Story) by Aruna Chakravarti. A transcreation of his poem, called ‘Proshno or Questions’ poses difficult challenges for humanity to move towards a more inclusive world. Our translation by Ihlwha Choi of his own Korean poem to English also touches on his visit to the polymath’s construct in the real world, Santiniketan. All of these centring around Tagore go to commemorate the month in which he breathed his last, August. Professor Alam has also translated a poem from Bengali by Masud Khan that has futuristic overtones and builds on our imagined constructs. From Fazal Baloch we have a Balochi translation of a beautiful, almost a surrealistic poem by Munir Momin.
We travel to Andaman with Mohul Bhowmick and further into Sierra with Meredith Stephens. Ravi Shankar travels back in nostalgia to his hostel and Kathleen Burkinshaw dives into the past — discussing and responding to the media presentation of an event that left her family scarred for life, the atomic holocaust of 1945 in Japan. This was a global event more than seven decades ago that created refugees among the survivors whose homes had been permanently destroyed. Perhaps, their stories are horrific, and heart wrenching like the ones told by those who suffered from the Partition of India and Pakistan, a divide that is celebrated by Independence Days for the two nations based on a legacy of rifts created by the colonials and perpetrated to this day by powerbrokers. Aysha Baqir has written of the wounds suffered by the people with the governance gone awry. Some of the people she writes of would have been refugees and migrants too.
A poignant narrative about refugees who flock to the Greek island of Lesbos by Timothy Jay Smith with photographs by Michael Honegger, both of whom served at the shelters homing the displaced persons, cries out to halt wars and conflicts that displace them. We have multiple narratives of migrants in this issue, with powerful autobiographical stories told by Asad Latif and Suzanne Kamata. Paul Mirabile touches on how humans have adopted islands by borrowing them from seas… rather an unusual approach to migrations. We have an essay on Jane Austen by Deepa Onkar and a centenary tribute to Chittaranjan Das by Bhaskar Parichha.
The theme of migrants is echoed in stories by Farouk Gulsara and Shivani Shrivastav. Young Nandani has given an autobiographical story, translated from Hindustani to English by Janees, in which a migration out of various homes has shredded her family to bits — a narrative tucked in Pandies Corner. Strange twists of the supernatural are woven into fiction by Khayma Balakrishnan and Reeti Jamil.
I would like to give my grateful thanks to our wonderful team at Borderless, especially to Sohana Manzoor for her fabulous artwork. Huge thanks to all our gifted contributors and our loyal readers. Borderless exists today because of all of you are making an attempt to bringing narratives that build bridges, bringing to mind Lennon’s visionary lyrics:
You may say I'm a dreamer
But I'm not the only one
I hope someday you'll join us
And the world will live as one
Ujjal Dosanjh left his village in Punjab in quest of a better life. He had a bare smattering of English, very less money and some family overseas when he left his home at Dosanjh Kalan at the age of seventeen. That was in 1964. He spent the first three years in Britain and then, moved to Canada to become a prominent lawyer, activist and political figure.
When he started in the 1960s, to earn a livelihood in England, he shunted trains in the British Railways. He left for Canada in hope of a better future. He had to work initially in sawmills and factories to support himself. Eventually, he could get an education and satisfy his ambitions in British Columbia, which became his home. Coming from a family which contributed to the freedom struggle of India, it was but natural that he would turn towards a public life. His uprightness, courage, tolerance, openness and commitment had roots in his background, where his parents despite different political ideologies, lived together in harmony. His family, despite their diverse beliefs, stood by him as he tried to live by his values.
Dosanjh voiced out against separatist forces that continue to demand an autonomous country for Sikhs to this day. In 1985, he was beaten almost to death by such Khalistani separatists as he boldly opposed the movement that had earlier led to the assassination of the Indian Prime Minister, Indira Gandhi (1917-1984) and to the bombing of an aircraft where all 329 people aboard died. However, undaunted by such attacks, he continues to talk unity, welfare for the underprivileged and upholds Mahatma Gandhi as his ideal. He went into Canadian politics with unfractured belief in the Mahatma. Dosanjh was the Health Minister of Canada and earlier the Premier of British Columbia. He has been honoured by both the Indian and Canadian governments. In 2003, he received the highest award for diaspora living outside India, Pravasi Bharatiya Samman, and, in 2009, he was a recipient of the Top 25 Canadian Immigrant Award.
Now, sixty years from the time he left his country of birth, he shares his narratives with the world with his updated autobiography — the first edition had been published in 2016 — and also with fiction. As an immigrant with his life spread over different geographies, he tells us in his non-fiction, Journey After Midnight – A Punjabi Life: From India to Canada:“Canada has been my abode, providing me with physical comforts and the arena for being an active citizen. India has been my spiritual refuge and my sanctuary.”He writes of what he had hoped could be a better future for humankind based on the gleanings from his own experiences and contributions to the world: “If humanity isn’t going to drown in the chaos of its own creation, the leading nations of the world will have to create a new world order, which may involve fewer international boundaries.”
In this interview, he shares his journey and expands further his vision of a world with diminishing borders.
You travelled from a village in Punjab, through UK and ended up in the Canadian cabinet to make changes that impacted humanity in your various public roles as a politician. Would you have been able to make an impact in a similar public role if you had never left India? Was the journey you went through necessary to help you become who you are?
It’s almost next to impossible to imagine what actually would have happened to my life in India had I stayed there. The most complicating element would be the standards that I would apply in such reimagining, the standards I most certainly wouldn’t have known or applied to my Indian life’s journey. I do think though and I have said it often in conversations with friends that had I stayed in India I would have either turned into a saint or devil; nothing in between for one who in 1964, the year I left, already hated the beginnings of the corruption that has now almost completely enslaved the country’s polity and ensnared the society.
Even though what has guided me throughout my life were the lessons I learnt from my freedom fighter maternal grandfather, my activist father and Mahatma Gandhi’s life, I believe the ethics and mores of public life, first in Britain and then in Canada helped shape and sculpt who I became and how I conducted myself. Had I not been to Britain and not lived most of my life in Canada, it’s impossible even to imagine the ‘me’ that would now be walking upon our planet earth.
While within five years of landing in Canada, you were studying in University of British Columbia and driving an Austin, some other immigrants fifteen years down the line continued in abject poverty. What does it take to rise out of endemic poverty? Do you see that happening in the world around us today?
The way you phrased the question conceals the fact that before I resumed full time college in January 1970s and went on to complete my BA and then LL.B. in 1976, I had spent full six years of my life in UK and Canada working jobs including shunting trains with British Rail, making crayons in a factory, being a lab assistant in a secondary school and pulling lumber on the green chain in a saw mill in Canada while often attending night school.
And I must add that my extended family and my spouse were largely responsible for paying my way through my B.A. and LL.B.
While even then it wasn’t easy, I do recognise the union wage then available to students in summer employment enabled them to save enough for the school year; with most summer jobs that’s not the case now. The students now more often than not have to depend on loans or help from the parents.
A significant section of the immigrant diaspora has done reasonably well while for many it’s becoming harder and harder to just make ends meet.
And by the way the Austin, you refer to, was the used Austin 1100, Austin Mini’s sister, I had bought for the then princely sum of six hundred dollars; it took mere six dollars to fill its tank.
That’s truly interesting. At the beginning of your biography, you stated ‘politics is a noble calling’. Later you have written, “I had realized I needed to make a clean break from thepettiness of politics.” Which of these is true? And why the dichotomy — pettiness as opposed to nobleness? And what made you change your perspective?
No, I have not changed my view of politics. It is a noble calling but only if you do it for the right reasons. More and more I found that a significant number of people seeking public office did so for glory that they perceived the elected public office bestowed upon them. Shorn of any lofty ideals and the pursuit of public good politics often degenerates into petty squabbles rather than the giant battles of great and contrasting ideas.
The pettiness is the result of small minds pursuing the mirage of glory in phony battles that barely move the needle on the bar of public good. I often refer to the absence of great leaders in the political landscape of India and the world; Canada has not escaped the current curse of the dearth of great minds in the political arena. Hence my exasperation at the situation I found myself in.
The world over, politics seems to have become the refuge of intellectual dwarfs—no offence intended to our shorter brothers and sisters. The small minds tend not to see too far into the future; they are oblivious to the need to constantly challenge the world to be what it could be.
After a lifetime of activism and close to eighteen years of elected office it was only natural for me to tire of the myopia and pettiness in what otherwise remains a noble endeavour.
You met Indira Gandhi — the second woman to lead a country in a prime ministerial role — and had this to say of her “Indira Gandhi loved India immensely. One can be an imperfect leader and yet a patriot”. Do you think she was an effective leader for India?
My wife and I spent an hour speaking with Indira Gandhi on the afternoon of January 13, 1984. We spent the first few minutes comparing notes about our grandparents and parents as freedom fighters and activists before discussing the issues related to the agitation in Punjab, its growing militancy and increasing violence in and outside the Golden Temple. From what she said it was clear she was extremely troubled about the dangerous situation of the militants holed up in the Temple and the toll it was taking on the peace, politics and the economy of the state. I sensed a certain helplessness in this otherwise quite brave woman when describing the unsuccessful efforts she and her office had made to reach a peaceful settlement of the issues raised by the Sikh agitation. Because I had met both the militant Bhindranwale and the peace loving leader of the agitation, Longowal, and understood the tension between the two men and their followers, I knew she was grappling with a political minefield. All of this and much more that we discussed left me in no doubt about her love for the country and all its people.
But I do believe she allowed the situation at the Golden Temple to linger too long and deteriorate before trying to bring it under control; thus, it and the Operation Bluestar, her ultimate response to the armed militants holed up in the Temple, remains one of her great misjudgements—perhaps as grave as the declaration of the National Emergency in 1975.
Imperfection being part of the human condition, one isn’t surprised that Indira Gandhi who saw all Indians as equally Indian, too, was imperfect; a strong but imperfect leader.
“Sikri was the capital for the new world of unity that Akbar had wanted to create. Ashoka took a similarly bold leap toward peace after a bloody war. Two millennia after Ashoka and four centuries after Akbar, Mahatma Gandhi shared with India a similar vision and a path out of colonialism. India killed him.” Please explain why you feel India killed Gandhi.
One can’t and mustn’t blame an entire country for the actions of one or two persons and yet what I said of Gandhi’s assassination, at least figuratively if not literally, can be said with ample justification; not one but several attempts were made to end Gandhi the mortal. If many Indian hearts and minds—and there were many in his lifetime, perhaps not as many as there are in Modi’s India—wanted Gandhi and his philosophy of nonviolence and love for all dead, then I must say, even without resorting to the writers’ licence, India stands accused and guilty of his January 30th, 1948 assassination; India killed Gandhi.
Even before the advent of Modi on the national scene India’s politicians had substantially diminished and damaged Gandhi’s legacy of Truth, Love and Non-violence. Considering the so few prominent voices in the public domain criticising the Modi regime’s single-minded undermining of Gandhi’s legacy, almost to the point of extinction, it can be said that if it already hasn’t done so, India is close to annihilating Gandhi’s Truth, Love and Non-violence.
“To India’s shame, the rich and ruling classes of today mimic the sahibs of yore. Some of them still head to the hills with their servants, the Indian equivalent of the slaves of the United States.” As Gandhi is seen as one of the architects of modern India, what would have Gandhi’s stand been on this?
When Gandhi lived in England and South Africa, he was part of the diaspora of his time and learnt new things as such. Today with social and digital media one hopes even living in India he would have been aware of the yearning of humanity for equality and economic and social justice. The way most rich and powerful treat the poor and the weak in India is absolutely antithetical to what an egalitarian India would demand of them.
I’m aware of how Gandhi didn’t support the abolition of caste and of his position or lack thereof on the question of equality for the blacks of South Africa at the time. But different times throw up leaders with different and perhaps better approaches to the fundamental issues. Were he alive today, he would have argued for the abolition of caste, equality for all and he wouldn’t have accepted or ignored how India treats its workers, poor and the powerless.
You have told us “India leads the world in the curse of child slavery and labour. Millions of India’s children are trapped in bonded labour, sex trafficking and domestic ‘help’ servitude.” Most people plead poverty and survival when they talk of children working. Do you see a way out? Is there a solution?
Yes, like all problems, this, too, has a solution:
Legislate, legislate and legislate.
Enforce, enforce and enforce the legislation.
I know some laws do exist but we need legislation with more teeth. The laws regarding minimum wage, hours of work, overtime and holiday pay and health regulations must be strengthened and more vigorously enforced, in particular, in the so-called domestic help sector. Better wages and working conditions rigorously enforced would attract adult workers who would be able to send their children to proper schools rather than thrust them in to slavery in exploitative homes, factories and workplaces.
Not much will improve on this front though unless Indians end the endemic corruption in law enforcement. You see corruption confronts and stares us in almost all, if not all, issues Indian; it is the elephant almost in each and every room.
“Violence can never be a tool for change in a modern, democratic nation.” You tried to use Gandhian principles through your life — even in Canada. Do you think non-violence can be a way of life given the current world scenario with wars and dissensions? How do you view Gandhi sanctioning the participation of soldiers in the first and second world wars? Can wars ever be erased or made non-violent?
First let’s deal with Gandhi’s sanction of the soldiers in the two world wars. Whether or not he had sanctioned their participation, the soldiers would have gone to war; most of them fought for wages, not for the love of war or the country except those for whom the Second World War was a war against fascism and hence justified.
I don’t believe Gandhi ever stated that in fighting a violent enemy or a perceived enemy one was not allowed to use violence. All I ever remember him saying was that you throw your unarmed body wrapped in soul force in front of the enemy but if you are too chicken to do so or can’t do so for some other reason but fight an aggressor you must, violence is better than doing nothing.
As for countries fighting each other I don’t believe he ever said that, in an uncertain world where the military of another country could invade at any moment, a country must forego a military of its own.
As for nonviolence being a way of life, it can and must be for a country in its internal life. On the borders however one always has to deal with what one is presented with; you can’t ask Ukraine to not fight; in the face of a suddenly expansionist China or a belligerent Pakistan, Gandhi wouldn’t have urged the Buddha’s meditational pose for India; he didn’t do so in late 1947 when Pakistani fighters invaded Kashmir.
As for wars being non-violent, they can never be if the likes of Russia continue to invade others.
You opposed the Khalistani separatists and stood for a united India. What is your stand on Khalistan, given the recent flare up? Did you do anything this time to allay the situation in Canada?
I have always been opposed to countries being carved out on ethnic, linguistic or religious basis; I am a firm believer in multilingual, multi-ethnic, multi-religious and multi-racial populations living together in peace within the boundaries of peaceful countries; for that to happen, secularism remains a sine qua non[1]. That is why I so passionately continue to support a secular and inclusive India.
As for me doing something in the face of what is happening in Canada today vis a vis the Khalistanis, I didn’t say anything because I don’t believe it would have added to the debate; everyone already knows what I think and believe.
What does concern me though is the weak-kneed response and reaction of the public leaders of Canada; they have not unconditionally condemned the glorification of terrorists, known murderers or those who on the streets of Canada glorify and revere the killers of Air India passengers or of Mrs. Indira Gandhi. For me, someone who immigrated to Canada in 1968 when the elder Trudeau became the Prime Minister of the country, the near silence of our politicians on Khalistani violence and its glorification has been a low point; the older Trudeau knew how to deal with the terrorists; he didn’t and wouldn’t have pussy footed around terrorism or its glorification.
When your autobiography was published the first time in 2016, your column in Indian Express was cancelled. As many of us grew up in India of the past, we believed in secularism and democracy with freedom of expression. How has it changed over a period of time?
After I left India and particularly when I was introduced to the Hyde Park, I reflected on India and it seemed to be one of the freest places in the world; any intersection of a city road or a corner of the village served as a mini Hyde Park; from the millions of speeches made in such Hyde Parks all over India, millions of ideas tumbled forth from the lips of ordinary but engaged Indians.
Of course, I do realise that in the lives of the poor and the powerless, the freedom hadn’t shone as bright. The imprisoning of the Naxalites without charges and Indira Gandhi’s Emergency were the first real jolts of un-democracy and unfreedom I felt India as a whole had suffered. From there it went downhill; that sporadic communal riots continued; that Godhra was done to the Muslims as was done the post Indira assassination violence to the Sikhs; lynchings of Muslims and Dalits continue today.
India’s response to the first major unfreedom, Indira’s Emergency censorship, was encapsulated in the blank front pages of the censored Indian Express, that symbol of the Journalism of Courage. That symbol may still burn today but it is smouldering and clearly less bright enveloped as it and others are in the atmosphere of fear of the likes of ED[2] and CBI[3]; almost none amongst the traditional media homes shines much or at all; the digital media has thrown up some brave examples like The Wire. But the overall scene is dismal. India needs many revolutions; one of them is the reawakening of some semblance of fortitude in India’s Godi[4] media outlets.
Over repeated trips to India, you observed that people did not want to talk of major issues like availability of potable water but wanted to discuss issues like the eroding culture among the diaspora. Why do you think this has happened? Is there a way to change this mindset?
Human mind is an amazing thing; it seeks engagement but when the immediate is painful to observe and feel, it finds solace in contemplating the scenes afar; for sheer survival in its troubled and troubling milieu it develops numbness; such numbness shields it from the immediate while thinking about the distant problems, imagined or real, offer it a sense of engagement. Such is what I thought happened to many in Punjab.
Another troubling thing was that much beyond the essential human pride a sense of chauvinism and superiority, at least among its rich and powerful, has plagued Punjab for a long time which has blinded it to the need for change and progress—one didn’t need to improve what one believed to be perfect and hence superior.
Punjab has significantly slipped in the Human Development Index. That this humbling fact is now quite widely acknowledged in intellectual and political circles gives me some hope that things may improve.
“There are massive water shortages across the country. There’s a crisis in health care…Under the weight of crippling debts and droughts, small and marginal farmers are killing themselves. There aren’t enough jobs being created for the millions of youth joining the job market every year. The human-rights record of the Indian State inKashmir, the Northeast and other parts in the grip of insurgency is horrific and shameful. Dalits and Muslims are lynched with impunity by Hindutva-inspired mobs for skinning dead cows, or being in the vicinity of meat that may or may not be beef.” Do you see a way out? What can India do to step out of the condition you have described so accurately?
I have argued for some time that what India needs is a new freedom struggle, a Values’ Revolution, to rid itself of corruption—rishwat[5], unethicality, religious and cultural fanaticism that impinges on many Indians’ right to life, dignity and liberty. In arguing this I am aided by Gandhi’s dictum—that I have always alluded to in my own writings—that he was engaged in not creating a new India but a new Indian; my reading of what he said has led me to conclude he meant a caring, humane, compassionate, egalitarian and an ethical Indian. To create an India with 1.4 billion ethical and progressive Indians requires a mammoth revolutionary change in our values; hence a Values’ Revolution.
At the moment I see the country’s civil society under constant attack by the forces of social division whereas in fact social solidarity and cohesion are sorely needed. A Values’ Revolution will require giant leaders; I see none on the scene today but I’m not disheartened because once begun the Revolution itself may, as do all revolutions, throw up the necessary giants.
You are an immigrant who has lived out of India for almost half a century. Do you think as part of the diaspora living outside India, we could all act together to heal a region broken by its own inability to live up to the vision created by those who wrote the constitution of the country? What would be your vision of India?
The diaspora coming together to even slightly nudge India forward is an emotionally compelling and noble thought; many of us constantly dream of doing something for the country we have left behind. Some of us do so while others revel in its imaginings only.
A major stumbling block to the diasporic unity on this question has been the ideological divisions amongst the Indians abroad which usually mirror India’s domestic political fault lines and unfortunately those difference have been only rendered sharper by the way elements of the diaspora have recently been employed in aid of India’s domestic political machinations. The old diasporic divisions now seem and feel more rabid; it is as if the political battles of India now rage equally actively in the diaspora itself.
I always dream of India as a caring, compassionate, egalitarian and ethical India. One that values all its citizens equally and brims with social and economic justice.
That is such a wonderful thought with which many of us agree wholeheartedly. You have written: “If humanity isn’t going to drown in the chaos of its own creation, the leading nations of the world will have to create a new world order, which may involve fewer international boundaries.” What is the world order you suggest?
For starter no order can be imposed by the so-called leading nations, no matter how powerful. It may take a significant amount of nudging and cajoling by them to change anything.
When I wrote my autobiography, I was imagining the world moving, at least to begin with, in the direction of regional groupings like the European Union. We saw that as the number of member states of the United Nations trended upwards, Europe witnessed the opposite where many countries dared to create the EU practically erasing borders; granted Britain rebelled – but even within its borders a referendum held today would most likely approve it re-joining the EU.
As a possible beginning for the rest of the world, our best hope lies in grand imaginings such as a South Asian Common Market at once reducing the expense of standing militaries staring angrily at each other across the borders; Southeast Asia, Africa, South America could follow; North American Free Trade Agreement already exists creating at least an economic union.
If to begin with the countries regionally moved toward the free flow of human beings along with the necessary and more convenient local trading, one could foresee the international will and desire developing toward a world populated by fewer borders and more freedom. Hopefully that would move humanity toward more international egalitarianism, prosperity and fewer wars.
Hopefully, the vision materialises. Thank you very much for giving us your time and wonderful books that make us think and emote.
Proshno or Question was written by Tagore somewhere between December 1931 and January 1932 and later published in 1932 in a collection called Parishesh[1]. The poem with its poignant overtones continues relevant to this date.
Art by Sohana Manzoor
Almighty, over eons, you sent emissaries
To this ruthless world,
They say: “Forgive everyone”, say, “Love only Love —
From deep within, toxicity purge.”
In these cataclysmic times, I turn them away with a shamed bow
For they now remain only as ideals to be revered, remembered.
I have seen the helpless persecuted by
Violence in the shadows of deceitful night.
I have seen unprotesting truth victimised,
Justice weep secretly in plight.
I have seen passionate young men driven wild,
Beat their heads on rocks and tortured, die.
Today, I am voiceless. My flute is stilled.
In the moonless night, who have filled
My universe with nightmares?
That is why cleanse with tears —
Those that poison the air, extinguish the light. O God,
Have you forgiven them? Have you given them your love?
One of the interesting things to note here is the reference to the flute player. Is he the same one who was evoked in his poem Ebar Phirao More (Take me back) written in 1894? That poem[2] starts with:
While the world moves busily
You play the flute, like a truant boy,
Leaning under a shady tree in a field with
The fragrance of the forest floating on
A tired breeze. O, arise — there is a fire!
Is it the same flute player whose flute has been stilled?
Professor Fakrul Alam discusses his new book of Tagore translations, Gitabitan: Selected Song-Lyrics of Rabindranath Tagore, published by Journeyman Books, Dhaka
Professor Fakrul Alam
Professor Fakrul Alam translates Tagore songs with a passion, refers to them as ‘song-lyrics’. In a recent essay, he claimed his favourite book is the Gitabitan, which houses 2232 songs by Tagore. The first edition of the book was published in 1931 and 1932 in three volumes. Over a period of time, Vishwa Bharati combined the three into one single volume.
During the pandemic, Professor Alam — a translator who has been lauded for his translation of Jibananda Das and also something as diverse from poetry as the autobiography of the founding father of Bangladesh, Sheikh Mujibur Rahman — took to translating Tagore songs to make a 300 strong collection, which has been published recently. When asked what was the basis for his selection of the songs, he responded: “What was the basis of my selections? Most important was my love for them. I listen to Rabindra Sangeet, that is to say, the songs of Rabindranath Tagore, every day without fail, unless I am travelling outside Bangladesh. Over the years, some songs by a few singers became so much a part of me that I began translating them. As was the case with my Jibanananda Das translations, you could say that translation was an act of homage as well as a way of coming really close to what you love. It strikes me also that many of the songs I ended up translating are by my favourite Tagore song singers — artistes like Debabrata Biswas and Kanika Bandhopadhyay for instance. Once again, translation as an act of possession!”
Professor Alam has been the recipient of both the Bangla Academy Literary Award for translation and the SAARC Literary Award. He has published around a hundred translations of Tagore songs and poems, edited and translated The Essential Tagore with Radha Chakravarty and lectured in a number of countries about Tagore. In his recently published translation, Gitabitan: Selected Song-Lyrics of Rabindranath Tagore, he brings to us a wide variety of songs which he has grouped into different sections. In this interview, he discusses his translated works, especially his new book.
You have translated Sheikh Mujibur Rahman, and Jibanananda Das, Nazrul and Tagore. What turned you towards translating poetry from prose?
Actually, I translated poetry first and then switched to translating prose. The first literary pieces I translated were poems by Jibanananda Das—surely the greatest Bengali poet of the twentieth century, if we leave aside Rabindranath Tagore who, of course, began writing poems towards the end of the nineteenth century and stood out among Bengali poets till his death in 1941. I then turned to translating some Tagore poems and songs for The Essential Tagore (2011) that I co-edited with Radha Chakravarty.
Also, from the time my book of translations of Das’s poems came out I either ventured into translating some poems by contemporary Bangladeshi poets from time to time either because I felt like doing so, or as responses to requests of a few poets to translate their verse. An example is Masud Khan, some of whose poems you have published in my translations in Borderless.
What moved you into translating?
I have to begin answering this question by once again naming the person I mentioned at the beginning of my answer to your previous question—Jibanananda Das. It was when I came across his works in Abdul Mannan Syed’s selection of his poems in the mid-1990s, and was so swept away by them, that I felt like translating Das’s verse. This was translation as an act consequent to being possessed—or if you like—gripped. Poems like “Banalata Sen” or “Abar Ashibo Pheere[1]” or “Bodh[2]” or “Aat Bachor Age Ek Deen[3]” seemed to want me to translate them. In fact, my translation of the word “Bodh” for the English poem is “Overwhelming Sensation” and that is how I would say I was taken by these works. And once I started with these poems I felt like translating a whole lot more.
You have a book of Das’s poetry and many poems of Tagore in various anthologies and sites. What made you decide to do a book of Tagore translations?
Rabindranath, of course, is the summit as far as Bengali poetry and song-lyrics are concerned. Because I grew up in a house where his songs were either being performed on the radio or on television, or sung by one of my sisters, in retrospect it appears to me that I was destined to translate them sooner or later. Once I had published Jibanananda Das: Selected Poems in 1999, I began to translate a poem or song by Rabindranath every once in a while. When I heard some of Rabindranath’s songs being sung by a singer like Debabrata Biswas or Kanika Badopadhyay, I felt I had to translate them. And that is how I ended up with the nearly 300 songs that constitute Gitabitan: Selected Song-Lyrics.
Is translating Tagore different from translating other poets?
Of course, and inevitably! Almost every great poet writes differently from his predecessor or contemporary poets and composes uniquely. As the great American critic, Harold Bloom, has put it in talking about Western canonical poets, they suffer from “the anxiety of influence” and must destroy all vestiges of their predecessor poets in them. They may begin conventionally but will soon find their distinctive voice or voices. They will as well move away from their earlier works all the time and not get stuck with one style. Thus, Tagore kept experimenting and, so to speak, shifting gears and taking new routes in versifying all the time. This is also true of Jibanananda. That makes the early Tagore or Das different from the later versions of these poets. In Tagore’s case, let me stress that he was particularly polymathic and kept opting for distinct poetic directions all the time. But as far as I can tell what makes him truly different is the musician in him. In particular, the songs have melodic components that take them away from established poetic forms. In fact, I would be happier with the term “song-lyrics” for his songs. Only in his later verses, did he move away from a melodic base towards relatively free verse or prose-poems. And so a translator of Tagore must strive to capture the music in his poetry, especially the songs, which makes the task of translating him quite a distinct as well as challenging task.
Tell us about this new book of Tagore translations. Are the translations a collection of your earlier publications or do you have new songs?
My new book is the result of years and years of translating the song-lyrics, something I do mostly during weekends. A few of them I published in Bangladeshi English language newspapers and a few came out in periodicals like Six Season Review, which I co-edited.
A few in have come out in Borderless. But all these years, I translated not with a definite plan but unsystematically. It was during the enforced period of home confinement during the pandemic years, however, that my translations of the songs gained momentum. I began at around this time to post my translations on FB regularly, hoping that the comments I receive would include constructive ones that would enable me to revise my work, if and when necessary. Nabila Murshed, an ex-student now living in the United States, then came up with the idea of forming a FB group called “Gitabitan in Translation” for not only my translations of the songs but also those of others who might be interested in contributing their own translations, or sharing their responses to the translated songs posted. She also decided to complement the translations with recorded versions of the songs that she collected from YouTube. All these things eventually led me to the idea of publishing a full book of translations.
I then hired an ex-student as a kind of assistant to sort out the songs I had been translating, according to the divisions and sequencing Tagore imposed on them in his collection. There are thus 13 divisions in my book, one of which, “Prokriti” or “Nature”, is itself divided into six sections following the six seasons of the Bengali calendar. But to sum up my answer to your question, the majority of the song-lyrics are going to see in print for the first time. I would say no more than 100 of them have been printed before.
Sometimes, your republications change from the earlier publications. The words change. Have you done that in this anthology too?
Occasionally. As I said previously, I translate a song when I hear it on YouTube. I might listen to the same song a couple of years later and feel like translating it again, forgetting at times that I had translated it before. This led occasionally to 2 or 3 versions of the same songs. Inevitably, while these versions would be close to each other, they would never end up being exactly similar. For the final round of selections for my book, however, I have chosen only one version of what I did, that is to say, the one I think was definitive. And, of course, I revised what I had done for the final print version.
Would you consider translating Tagore’ prose?
Of course. And I have translated a few already. For The Essential Tagore I translated “Hindus and Muslims” and “The Tenant Farmer”. And for Shades of Difference: Selected Writings of Rabindranath Tagore, I translated “The Co-operative Principle” and “The Divinity of the Forest.” As these titles indicate, Rabindranath is a writer whose works you can mine for topics that have continuing thematic relevance. That is why all translators will go back to him every now and then for essays and prose extracts relevant for our time.
Would you like to bring out a book of Nazrul translations too?
Who knows? I have translated about 12 of his poems and a short story by this great Bengali writer, who is also Bangladesh’s national poet. But at present I feel more inclined towards going back to Jibanananda Das and will continue to translate more of Rabindranath’s song-lyrics. This is because around the time I published my translations of his poems at the turn of the century, a trunk full of new poems by Das were discovered. Most of them have been published by now. If and when I can, I would like to bring out a new edition of my Das poems, incorporating some of these newly discovered ones. This is because I have already come across some that are truly memorable and deserve to be translated. Certainly, he is a poet the best of whose unpublished as well as published works need to be introduced everywhere.
Tagore is unique in as much he was socially committed to improving the lot of the villagers in Bengal. He practically created Santiniketan and Sriniketan. At a point, he wrote: “My path, as you know, lies in the domain of quiet integral action and thought, my units must be few and small, and I can but face human problems in relation to some basic village or cultural area. So, in the midst of worldwide anguish, and with the problems of over three hundred millions staring us in the face, I stick to my work in Santiniketan and Sriniketan hoping that my efforts will touch the heart of our village neighbors and help them in reasserting themselves in a new social order. If we can give a start to a few villages, they would perhaps be an inspiration to some others—and my life work will have been done.” This was in a letter in 1939 to Leonard Elmhirst, an agricultural scientist who helped him set up Sriniketan. Has any other poet done work of this kind in Bengal? What do you see as his greatest contribution —poetry or his ideals of human excellence and the work he did to realise his ideals?
Very few writers can come close to Tagore as far as the variety of his works are concerned. Such a polymath dedicated to the world of the spirit and the mind as well as human welfare is surely rarely to be found anywhere in any period of world history. Once he took charge of his father’s estates in what was then East Bengal and is now Bangladesh, Tagore plunged into work for the betterment of the people there and the surrounding areas. But he kept writing poems, fictional and nonfictional prose, plays and wrote all sorts of things for the amelioration of his people as well as his own need to articulate beauty and depict the Sublime in all its manifestations. And he would combine theory with practice, carrying out experiments and introducing new ideas for his tenants and others to implement in their farms and lives. His greatest contribution, however, was not only his poetry and prose but also his contribution to Bengali language and literature. I remember Dryden on Chaucer at this point: “He [Chaucer] found it [English writing] brick and left it marble.”
Thank you for giving us your time.
(The online interview has been conducted by emails by Mitali Chakravarty)
Tagore articles & Translations by Professor Fakrul Alam
Fakrul Alam brings to us Tagore songs in translation and in discussion on the season that follows the scorching heat of summer months. Click here to read.
Monomor Megher Songi (or The Cloud, My friend) has been translated by Professor Fakrul Alam. Click hereto read.
Giraffe’s Dad by Tagore: Giraffer Baba (Giraffe’s Dad), a short humorous poem by Tagore, has been translated from Bengali by Professor Fakrul Alam. Click here to read.
Oikotan(Harmonising) has been translated by Professor Fakrul Alam and published specially to commemorate Tagore’s Birth Anniversary. Click here to read.
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[1] Fakrul Alam translates this as ‘Beautiful Bengal’, but lietrally, it means I will return again
[2] Fakrul Alam translates this as ‘An Overwhelming Sensation’, but literally, it means sensation.
Bankim Chandra Chattopadhyay’s Bangalar Nobbyo Lekhokdiger Proti Nibedon(a request to new writers of Bengali), has been translated from Bengali and introduced by Abdullah-Al-Musayeb. Clickhere to read.
Poetry on Rain by Masud Khanhas been translated from Bengali by Professor Fakrul Alam. Click here to read.
Dancerby Bashir Baidar, has been translated from Balochi by Fazal Baloch. Click here to read.
Ratnottama Sengupta presents the first hand account of the war in Bosnia-Herzegovina (1992-1995) from a letter from her brother, who was posted there as part of the peace-keeping troops. Click here to read.
In your final rest
on a rope-cot,
were you still dreaming
of a piece of bread?
Beloved one,
we the people
of this country,
of that country,
can make anything
but a piece of bread
for you.
--Evening with a Sufi: Selected Poemsby Afsar Mohammad, translated from the Telugu by Afsar Mohammad & Shamala Gallagher, Red River Books, 2022.
These lines send shivers down the spine and recreate an empathetic longing for immigrant souls in search of succour. They also swiftly draw an image laced with poignancy — a loss, a regret, the economics that deny innovative young men their keep and force immigration in search of sustenance. Would the poet have been one of them?
Travelling from a small village in the South Indian state of Telangana, Afsar Mohammad has journeyed across continents and now teaches South Asian Studies at the University of Pennsylvania. Known as a trendsetting poet and literary critic for post-1980s Telugu literature, Afsar has brought out five volumes of poetry, one collection of short stories and two volumes of literary theory essays. He is also a distinguished scholar of Indian studies and has published extensively with various international presses, including Oxford and Cambridge. He is currently working on a translation of Sufi poetry from Telugu to English. In this interview, we trace his growth as a writer and editor of the webzine, Saranga, which now seems to be transcending linguistic barriers to give voice to multiple cultures…
Tell us about your journey as a writer. When and how did it start?
It’s a long story, but to cut it short — the beginnings were somewhat puzzling… Inspired by Shakespearean sonnets, I first wrote some sonnets in English, and then switched to free verse. Since most of my friends in my high school started pushing me to write something in Telugu, I had to migrate to Telugu. Quite surprisingly, I was first published in English, and then it took me a while to get something published in Telugu. I had hard time getting published in Telugu due to its newness in expressions and most editors felt that there was nothing “Telugu” in that kind of writing. So, my early writings quite naturally found their home in some English journals!
Your poetry rings with the pain of distance, the pain and struggle from others’ suffering transcending your own self. What is the source of your inspiration — is it your past or your present?What affects you more — your being an immigrant or a Sufi?
We’re distanced by many things — not just physically! We live in many shattered and scattered worlds, and sometimes we fail to reflect on those worlds. I feel like I’m a constant immigrant — despite my formal citizenship and legal boundaries. Sufism is merely a segment of this expansive realm. Both past and present define our destiny, right?! Of course, I try to live in the present rather than in the past, but never deny the baggage of the past.
Why do you subscribe to the Sufi school of poetry? What is Sufism all about?
I come from an extremely local rural setting where such Sufi mystical practices openly defined my everyday life. It’s not about the technicalities and theories or institutionalised Sufi schools of their philosophies, this is more about what I learned from my childhood, and its physical surroundings dotted by several hybrid shrines. I’ve described this cultural setting in my 2013 Oxford University Press publication, The Festival of Pirs: Popular Islam and Shared Devotion in South India. This version of Sufism has more to do with everyday life rather than a spiritual domain.
You have lived away from your country for long, and yet the past seems to still haunt you. What is the identity you seek as a poet? Is it necessary to have a unique identity or can one be like a drop that flows and moulds as per the needs of the vessel?
In a way — physically– I’m away from my birth place, but in many ways, I’m also closer to my homeland than in my past. When I moved away from the actual picture, I see many dimensions from a new lens. Each dimension contributed to my rethinking and reconsidering the idea of India. As I wander around and meet totally different places and people, I learn more about my birthplace and moved a little closer to it. I totally understand this as a process to reconcile with the past and connect it to a new present intensified by many factors, not just personal. We’re living in a virtual world, which also looks like “real” in its sounds, colours and words. Every moment it makes me realise that I’m actually not that far. On the other hand, I also see the people in my homeland who are far more removed by their immediate reality and everyday experiences. We need to read this conditionality more in terms of perspective rather than physical distance.
You are fluent in Telugu, Urdu and English. You started writing in English and then moved to Telugu. And all your poetry collections have been in Telugu. Why? Would the outreach of English not have been wider? What made you pick Telugu over English?
Great question! My literary graph is neither linear nor simplistic. When I look back and reflect on it, it’s a quite messy roadmap — actually, there’s nothing like a map to get its contours. Yes, I started writing in English and then suddenly stopped sending out the poems to magazines. In fact, I write more in my personal journals rather than in print journals. Theoretically, I saw poetry as a personal diary for my experiences for many years. Due to financial concerns within my family, I had to start working very early on and left most of my journals at home. Then, my friends found them by chance and put them together that became my first collection of poems in Telugu. The collection was an instant success for its innovative style and then that opened up my career in Telugu rather than English which was my first language of literary expression.
You are now bringing out a bi-lingual online magazine, Saranga? What made you think of a magazine in two languages?
Before entering into teaching career, I worked as an editor of the literary supplement and Sunday magazine for a largest circulated Telugu newspaper. When we moved to the USA, I thought it would be better to have some outlet to engage with my home language and literature. In the early phase, Saranga was primarily a Telugu webmagazine. When I started teaching South Asian literature, then I realised the importance of making Indian literary texts available to contemporary generation in the USA. That was just one reason, but there’re were many factors as our team saw a rise in the Indian diaspora writings in the new millennium. Luckily, we got wonderful support from writers and poets in various Indian languages. The humble beginnings have actually ended up as a rewarding experience.
What is it you look for in contributors from two languages? Is it the same guidelines or different?
We’re still learning how this works! As it appears now, these two sections require two different approaches and guidelines. Since the English section has been now attracting writers from various languages, it’s moving more towards a multi-lingual base. We’re trying to accommodate more translations into English from different Indian languages. We still need to do lots of work there.
Is the journal only aimed at South Asian diaspora or would you be extending your services to all cultures and all geographies?
Saranga, as we see it right now, is more about South Asia and its diaspora. As you know, we need more such spaces for South Asia and its diaspora. Not sure about its future directions at this point, however, if the situation demands, we will extend its services further.
You have number of essays and academic books in English. But all your creative writing is in Telugu. Why? Would you be thinking of writing in English too because proficiency in the language is obviously not an issue?
Most of my academic writing came out of my teaching experience. As I started teaching new courses, I then realised that we need more material from South Asia. I started focusing on producing such materials primarily for my courses and then gradually, they became useful for many academicians elsewhere too. I still believe creating writing as a more personal space — that enables me to articulate more about myself. However, the publication of Evening with a Sufi, brought a new change — as I’ve been getting more requests for more writing in English for the last two years. As you know pretty well, I’m an extremely slow writer.
How do you perceive language as a tool for a poet?
I see language working many ways since I dwell in multiple languages. I started my elementary education in Urdu, and my middle school was in Telugu, and the subsequent studies were in English. Through the last day of her life, my mother was extremely particular about me learning Arabic and Farsi. So, I believe that helped me so much to understand how language works in a poem. When I published my first poem in Telugu, the immediate critique was it was a not a “Telugu” poem. Telugu literary critics labelled me as a poet who thinks either in Urdu or English, then writes in Telugu. Of course, most of them were also fascinated by the new syntax of my Telugu poems and the new images and metaphors—that totally deviate from a normative or mainstream Telugu poem of those days. The uses of language in a poem varies for each poet. If you’re reading, writing and thinking in just “one” language, that might be a safe condition. A contemporary or modern poet, however, belongs to many languages and cultures. We also migrate from one language to another in our everyday life.
Do borders of nationalism, mother tongue and geographies divide or connect in your opinion? Do these impact your writing?
The response to this question might be an extension to the above conditionality of a person. Anyway, I’m not a big fan of those ideas of nationalism, mother tongue and singular geographies. They don’t exist in my world. Most of my writings both creative and academic contest such boundaries and borders. To describe this in a single term- borderless. In fact, I believe we’re all borderless, but unfortunately, many boundaries and borders are now being imposed on our personalities.
(The online interview has been conducted by emails by Mitali Chakravarty)
Published in 1906,Megh (cloud)can be found in Tagore’s collection called Kheya (boat).
Adrift, without a beginning and an end,
With an awning of black and white blend,
The sky is dressed whimsically.
We are all merely mounds,
Stacks of wafting clouds.
I think only of him and his whimsicality.
We have no boundaries nor home,
We come and we are gone.
Suns, planets, stars shine bright.
Though they are garlands of lights,
They remain tied to eternal tasks.
With permanence, they grace
Words illuminating a dark page.
We are merely like drafts—
With myriad of colours filled,
Re-written and erased at will.
Sometimes, when we are free,
We call out in a spree,
Smiling without a reason.
Does our caprice create an illusion?
The rain still falls without evasion.
The lightning is not a diversion.
Only, my friend, we do not stay.
With the breeze, we drift in or float away.
(This poem has been translated by Mitali Chakravartywith editorial support from Sohana Manzoor)
PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
Shadows, a poem in Korean, has been translated by the poet himself, Ihlwha Choi. Click hereto read.
Pranor Lifeby Tagore has been translated from Bengali by Mitali Chakravarty. Click hereto read.
Conversations
Shantanu Ray Chaudhuri converses withVinta Nanda about the Shout, a documentary by Vinta Nanda that documents the position of women in Indian society against the backdrop of the #MeToo movement and centuries of oppression and injustice. Click here to read.
Perhaps, most sceptics will say it is against human nature to stop fighting and fanning differences. The first recorded war was fought more than 13,000 years ago in what is now a desert but was green long ago. Nature changed its face. Continents altered over time. And now again, we are faced with strange shifts in climate that could redefine not just the dimensions of the surface area available to humankind but also our very physical existence. Can we absorb these changes as a species when we cannot change our nature to self-destruct for concepts that with a little redefining could move towards a world without wars leading to famines, starvation, destruction of beautiful edifices of nature and those built by humankind? That we could feed all of humans — a theory that won economist Abhijit Banerjee his Nobel Prize in 2019 so coveted by all humanity — almost seems to have taken a backseat. This confuses — as lemmings self-destruct…do humans too? I would have thought that all humanity would have moved towards resolving hunger and facing the climate crises post-2019 and post-pandemic, instead of killing each other for retaining constructs created by powerbrokers.
In the timeless lyrics of ‘Imagine’, John Lennon found peace by suggesting we do away with manmade constructs which breed war, anger and divisions and share the world as one. Wilfred Owen and many writers involved in the World Wars wrote to showcase the desolation and the heartfelt darkness that is brought on by such acts. Nazrul also created a story based on his experience in the First World War, ‘Hena’, translated for us by Sohana Manzoor. Showcasing the downside of another kind of conflict, a struggle to survive, is a story with a distinctive and yet light touch from S Ramakrishnan translated from Tamil by B Chandramouli. And yet in a conflict-ridden world, humans still yearn to survive, as is evident from Tagore’s poem Pran or ‘Life’. Reflecting it is the conditioning that we go through from our birth that makes us act as we do are translations by Professor Fakrul Alam of Masud Khan’s poetry and from Korean by Ihlwha Choi.
A figure who questioned his own conditioning and founded a new path towards survival; propounded living by need, and not greed; renounced violence and founded a creed that has survived more than 2500 years, is the man who rose to be the Buddha. Born as Prince Siddhartha, he redefined the norms with messages of love and peace. Reiterating the story of this legendary human is debutante author, Advait Kottary with his compelling Siddhartha:The Boy Who Became the Buddha, a book that has been featured in our excerpts too. In an interview, Kottary tells us more of what went into the making of the book which perhaps is the best survivor’s guide for humanity — not that we need to all become Buddhas but more that we need to relook at our own beliefs, choices and ways of life.
Another thinker-cum-film maker interviewed in this edition is Vinta Nanda for her film Shout, which highlights and seeks resolutions for another kind of crisis faced by one half of the world population today. She has been interviewed and her documentary reviewed by Shantanu Ray Chaudhuri. Chaudhuri has also given us an essay on a bookshop called Kunzum which continues to expand and go against the belief we have of shrinking hardcopy markets.
Gastronomical adventures seem to be another concurrent theme in this edition. Rhys Hughes has written of the Indian sweets with gulab jamun as the ultimate life saver from Yetis while trekking in the Himalayas! A musing on lemon pickle by Raka Banerjee and Ravi Shankar’s quest for the ultimate dosaaround the world — from India, to Malaysia, to Aruba, Nepal and more… tickle our palate and make us wonder at the role of food in our lives as does the story about biryani battles by Anagaha Narasimha.
Talk of war, perhaps, conjures up gastronomic dreams as often scarcity of food and resources, even potable water and electricity is a reality of war or conflict. Michael Burch brings to us poignant poetry about war as Ramesh Karthik Nayak has a poem on a weapon used in wars. Ryan Quinn Flanagan has brought another kind of ongoing conflict to our focus with his poetry centring on the National Day (May 5th) in Canada for Vigils for Missing and Murdered Indigenous Women by hanging red clothes from trees, an issue that perhaps has echoes of Vinta Nanda’s Shout and Suzanne Kamata’s poetry for her friend who went missing decades ago as opposed to Rachel Jayen’s defiant poetry where she asserts her womanhood. Ron Pickett, George Freek and Sayantan Sur have given us introspective perspectives in verse. We have more poetry asking for a relook at societal norms with tongue-in -cheek humour by Jason Ryberg and of course, Rhys Hughes with his heartfelt poem on raiders in deserts.
The piece that really brought a smile to the lips this time was Farouk Gulsara’s ‘Humbled by a Pig’, a humorous recount of man’s struggles with nature after he has disrupted it. Keith Lyons has taken a look at the concept of bucket lists, another strange construct, in a light vein. Devraj Singh Kalsi has given a poignant and empathetic piece about trees with a self-reflective and ironic twist. We have narratives from around the world with Suzanne Kamata taking us to Osaka Comic Convention, Meredith Stephens to Sierra Nevada and Shivani Shrivastav to Ladakh. Paul Mirabile has travelled to the subterranean world with his fiction, in the footsteps perhaps of Jules Verne but not quite.
We are grateful to all our wonderful contributors some of whom have not been mentioned here but their works were selected because they truly enriched our June edition. Do visit our contents page to meet and greet all our wonderful authors. I would like to thank the team at Borderless without whose efforts and encouragement our journal would not exist and Sohana Manzoor especially for her fantastic artwork as well. Thank you all.
Wish you another lovely month of interesting reads!
Borderless 